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Sunday, April 14th, 2013
My website is being attacked by hackers.
My website, like many millions of others, is powered by the WordPress content management system. If you have a WordPress-powered website, chances are your site is being attacked as well.
What’s going on? A couple of days ago it was discovered that hackers somewhere in the world are using a massive botnet (apparently over 90,000 machines) to attack websites all over the world (and the servers that run them) powered by WordPress. Why did they pick WordPress? Well, in addition to being plentiful (WordPress is used by over 60 million websites) it also has a quirk: WordPress by default doesn’t limit the number of times someone can try to log in as an administrator. That means that hackers can write computer programs that try lots of different passwords in a short period of time, hoping they get lucky and happen to try the right password (this is known as a “brute-force” attack… they’re just throwing a ton of different things at the wall and hoping one sticks).
Once they guess the right password and successfully get administrator privileges, the hackers are apparently installing malware on the servers that host the compromised WordPress sites which gives the hackers the ability to send instructions to be carried out by the servers (yes, hackers are using a botnet to build a bigger botnet).
But how do the hackers guess the right passwords? Well, the sad truth is that many people who have WordPress-powered websites never bother to change the default password. So simply trying the default password will often get the hackers access. But even when people do create their own password, they often make it something that’s easy to guess (a word in the dictionary, for example). Since the hackers control tens of thousands of computers and since WordPress doesn’t limit the number of login attempts, the hackers can try lots of different common passwords to see if they can get the right one. There are anywhere from a quarter of a million to a million words in the English dictionary, which sounds like a lot. Except that if a hacker is trying a thousand different passwords per second, he can guess every word in the English language in less than twenty minutes!
Why are the hackers going to fail to crack my password? Two reasons: First, I have an incredibly strong password! Instead of a simple word from the dictionary, my password is 14 characters long and uses uppercase, lowercase, numeric AND special (!@#$%^, etc.) characters. So instead of the at most one million possible passwords if I were to just use a dictionary word, there are how many possibilities? (get ready for some math, and some big numbers)
There are 26 lowercase characters, 26 uppercase characters, 10 numerical characters and at least 10 special characters (although there are actually more than 30). This means there are a minimum of 72 possible characters. With a 14-character password, that means there are 72^14 possible passwords the same length as mine, or 1.006×10^26… which, written out, is roughly 100,613,197,241,792,000,000,000,000.
So at the same one thousand tries per second, when it would take a hacker about sixteen minutes to guess any word in the English language, it would take a hacker 3,190 trillion years to guess my password… which, of course, is many, many, many times longer than, for example, the age of the universe.
Plus, the second reason hackers are going to have a hard time breaking into my site is that I also added a plugin to my WordPress site that limits the number of times a hacker can try to login to my WordPress administration area. The plugin is called “Limit Login Attempts,” and can be found right from within the “Add Plugin” area of WordPress.
Hackers have been attacking my site with login attempts continuously for at least the last 18 hours, and are still doing so. But since I’ve taken these two very simple steps (having a strong password and a plugin that limits the number of times they can try), I’ve essentially guaranteed that this “brute-force” attack isn’t going to work on me. It will, sadly, work on lots and lots of other people who have weak (or even default!) passwords, and hackers will compromise thousands of people’s sites. Obviously if you have a WordPress site, I would strongly suggest you do these two things: make sure you have a strong password and install that plugin!
Sunday, April 14th, 2013
This weekend I have two photo & video shoots in two days involving six locations, seven models and a three-camera interview setup (one of which being the Blackmagic Design Cinema Camera, which I’ve never used before). Today’s shoot was a location shoot for a university here in Boston where I visited five different locations in about six hours. Tomorrow’s shoot, by contrast, is a studio shoot where I’ll be in one room for six hours doing headshots and interviews of seven models.
It’s about 9:30pm on Saturday night and I just finished and delivered the same-day edit of today’s shoot (now how’s that for client service!), and now it’s time to pack of the Blackmagic camera along with my trusty Canon 5D Mark II and 7D to get ready for tomorrow’s shoot…
Quick frame from today’s shoot below.
Sunday, November 25th, 2012
I hope everybody had a great Thanksgiving!
I spent Turkey Day this year in New Hampshire, and in between the never-ending meals and copious football games I took the opportunity of a few days outside of Boston (and its ambient light!) to shoot a couple of night timelapses. I’m working on processing them (I’ll actually have a whole new timelapse demo reel soon… I’m working on it and it’s almost done), but for the moment I just wanted to show a quick preview. The following still is one frame from one of the timelapses I shot this weekend. The area of New Hampshire where I spent the weekend is very rural, and as a result has very little ambient light / light pollution in the night sky, so it’s a great place for seeing the stars. If you know your constellations, you can see Orion on the right side of this image (the three stars that form his belt are nearly vertical).
Again, I hope everybody had a great Thanksgiving, and check back in soon for the new timelapse reel!
(Click the image below for a larger version)
UPDATE: I got the new timelapse reel cut together today. Take a look here!
Tuesday, September 25th, 2012
I mentioned in my last blog post that I’ve been focusing on the outdoors in my personal work recently. I’ve been an avid rock climber since college and have always thought rock climbing photos, done well, were really cool. I’d done a couple of rock climbing photo shoots, but none recently, so about a month or two ago I decided that I wanted to organize one. I was on a climbing excursion a several weeks ago when I happened to meet some other climbers who were amiable to the idea of having someone shoot photos of them while they climbed, so we exchanged some emails and set up a day we were all free to get together.
Rock climbing photos shot from the ground are usually pretty boring, so to do them well and get a more interesting camera angle, the photographer really needs to be an active participant and actually gear up and get off the ground. But doing this is logistically a bit complicated (you need a second anchor, people who know how not to kill themselves building the anchor, etc.), so it takes time to set up and do properly. So we decided to shoot for this past Sunday as our day.
This weekend was a busy weekend for me as I was shooting for Boston University all day on Saturday and we wanted to get an early start on Sunday (the particular area of rock I wanted to use faces directly east and it was imperative that we not be in shadow for the photos, so we needed to be shooting in the morning). But I think it was worth it. I haven’t had a chance to edit the images from the shoot yet, but I took a quick look and I like them. Additionally, one of my intrepid cohorts even pulled out a brand new, shiny iPhone 5 (mine is coming on Friday, I can’t wait!) and started taking pictures of me taking pictures! One of those images is below, followed by a rough edit of one of my frames from the day.
The iPhone 5 really does look like it is capable taking quality, quality images. When mine arrives I’ll have to do some tests with it… but that’s a post for another day. Here’s a rough edit of one of the images from the day. I can’t wait to go through and edit the rest!
Many thanks to my “models” for the day!
Monday, September 10th, 2012
Back in 2010 I was hired to shoot an executive portrait. It was a very standard assignment, but it was for a very special client: my dad.
Well, actually, my dad was the subject, but he wasn’t the client. My dad had recently retired from his position as president of Maine Medical Center, a large hospital in Portland, Maine, and the hospital was commissioning a portrait of him to hang in its Board room, along with those of all of the other past presidents. We had quite a bit of flexibility in terms of the setup of the shot; the only real requirements were that the final portrait be black and white and three-quarter length (to conform to the convention that had been in place for over a hundred years!). We talked about things that I talk about when I’m shooting any portrait (what ideas we wanted the image to convey, how to achieve them with wardrobe, location, framing, lighting, etc., shooting in a location where the subject is comfortable and relaxed, etc.). Ultimately we ended up settling on my parents’ home just outside of Portland as our location, and on the day of I drove up from Boston and did the shoot. Obviously it was a ton of fun shooting with my dad as my subject, and I was pretty happy with the final image.
Fast forward two years, and a couple of weeks ago I got a phone call from a designer saying that Maine Medical Center was putting together a tabletop history of the hospital, and wanted to use the image I shot of my dad in the book. Interestingly, the designer said that she wanted to use a color version of the (as-delivered black and white!) image (what they would have done if I had shot the image on black and white film I’m not sure). Thankfully, I had shot the image digitally and converted it to black and white after the fact, and had kept not only the final file but also the original, color RAW file (let this be a lesson kiddos, ALWAYS KEEP YOUR ORIGINALS!!!).
I did some editing to get the color version prepared for printing and sent it off to the client, and now I’m looking forward to seeing my dad in a book in a picture that I made.
Tags: black and white, Boston, client, color, comfortable, Dad, executive portrait, framing, lighting, location, Maine, Maine Medical Center, Portland, Portland Maine, RAW, relaxed, subject, three-quarter length, wardrobe
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Saturday, August 4th, 2012
Some friends went out of town for the weekend, so we have a guest.
Wednesday, March 14th, 2012
Yesterday’s shoot location was a warehouse in Sudbury, MA. The shoot involved a wide shot down one of the long aisles and since the warehouse’s lights were pretty dim (even though it may not look that way from the iPhone image above), we ended up needing to light the entire length of the aisle.
We ended up with nine Profoto studio strobe heads arrayed down the length of the aisle, powered by five packs.
Tuesday, January 24th, 2012
As every professional photographer knows, the as-yet-unreleased successor to the Canon 5D Mark II camera body has been an immensely anticipated new product. For non-photo professionals, think of it as the “new iPhone” of cameras: everybody’s talking about it, what features it’s going to have, what it’ll be able to do, how much it’ll cost, and most importantly, when it’s going to come out. The 5D Mark II is now over three years old, and is overdue for an update. There have long been rumors that its replacement will be called the 5D Mark III, but pretty much everything else about the camera has been a mystery. Canon sponsors (read: pays) a number of high-profile photographers and allows them early access to new, unreleased equipment and the rumor has been that these photographers have had their hands on the 5D Mark III for some time. These folks are all under legally binding contract not to talk about anything they see early though, so the pro photography world is holding its breath in anticipation.
Well, we just got the biggest hint yet. A wildlife photographer named Stephen Oachs (who is NOT sponsored by Canon and is not under NDA) is currently on safari in Kenya and spotted a Japanse man using unreleased equipment. Oachs, being a wildlife photographer on safari, had a camera and a long lens on hand, and snapped a number of photos of the man and the equipment he was using. The most important image is here:
Stephen was even so kind as to publicly post the raw file of this photo as proof that it was not faked or manipulated in any way. After cropping and rotating the image for easier viewing, it looks like this:
A few things are clear from this photo:
- -The camera this man is using is not a 5D Mark II (the control layout is all wrong, among other things)
- -It also isn’t a 7D (no pop-up flash and the button directly above and to the left of the rear scroll wheel doesn’t exist on a 7D)
- -It also isn’t any version of a 1D (the battery grip is a screw-on attachment, not integral to the camera body)
So it is clear that this is an unreleased camera. It is possible that this is a replacement not for the 5D Mark II but the 7D (a “7D Mark II”?), but seems unlikely, since the 5D Mark II should be ahead of the 7D in terms of an update and since the optical viewfinder prism looks too big for the camera to be crop-sensor.
By the way, it is also clear that this unreleased camera includes substantial video functionality, since it includes a prominent still/video switch just like the 7D.
There are now inklings coming out about a Canon announcement on Feb. 7, so it sounds like photographers’ long wait for the mythical 5D Mark III may be about to end.
Saturday, October 29th, 2011
A quick little post on this snowy October Saturday (!?!):
Every so often we get to see a Mother Nature put on a spectacular display. Natural phenomena paint the sky and the world around us with colors almost too rich to be true. This is one of those instances:
The shot below is of Mount Rainier near Seattle, Washington. Every once in a while, when the light is just right and the cloud layer sits just below Mt. Rainier’s summit, early risers get the treat of seeing Rainier cast a shadow across the sky right at sunrise.
Check out more images at http://www.komonews.com/weather/blogs/scott/132629943.html.
Now to go find my snow shovels… (seriously, shoveling in October?? I think there might be some hot chocolate in my future).
Thursday, October 6th, 2011
I never knew Steve Jobs; I never even met him.
And yet I, like many other people, refer to him only as “Steve.” To lots of people it probably seems weird or silly to be on a first-name basis with someone you’ve never met. But to a lot of people who admired him, he wasn’t Steve Jobs, CEO of Apple, Inc., Steve Jobs, Founder of Pixar Animation or any of the other handful of titles he had. He was just “Steve.” He didn’t need any titles, because his actions, accomplishments and foibles spoke for him. If somebody talked about Steve you knew immediately that they were talking about the visionary who in addition to being a genius was also an uncompromising perfectionist and was so demanding that often he was a giant pain in the ass to the people who worked with him.
I never even met Steve, and yet my life, like many others, has been affected by him in many ways, both large and small, both superficially and fundamentally. Like millions of other people, I use his gadgets. Steve’s gadgets let me listen to music wherever and whenever I want, they keep me in touch with my friends and family, they entertain me when I’m bored sitting waiting in airports. Steve’s gadgets they tell me how to get where I’m going when I’m lost, they help me do my work creating photographs and they allow me to write this very blog post.
While these things are all important, they’re somewhat superficial. But my life has been impacted by him much more deeply as well. I started learning about Steve when I began to realize the incredible world-changing potential of the products that were coming out of Apple, mostly unnoticed at the time. I read as much about him as I could and I became convinced that there was genius there that was largely undiscovered. I invested heavily in his company when the rest of the industry was writing it off as a failure and suggesting it should be shut down, and the unbelievable returns that Apple provided me on my investment later allowed me to buy the home I now live in, which I would never have been able to afford to do as early as I did were it not for my prediction of Apple’s success.
The more I read about Steve the more fascinating he was; adopted by parents who promised his biological parents he would get a good education, he sat in on a calligraphy course in college before dropping out after one semester because it was costing his parents too much and he didn’t see the value. He lived on friends’ couches and floors returning empty bottles for food money before leaving on a spiritual trip to India, all before his twenty-first birthday when he founded Apple in his parents’ garage with his buddy Steve Wozniak. He talked about a lot of these things and many more in a Commencement address he gave to Stanford University’s graduating class in 2005. It may be the most inspirational speech I’ve heard and is certainly the best Commencement address I’ve ever heard. But the most fascinating thing about him was his absolute insistence on perfection. As the head of a multi-billion-dollar business where millions of dollars could be made or lost by even the slightest delay bringing a product to market, even then Steve was an uncompromising perfectionist. Steve was known for killing product ideas that had spent months or years in development because he didn’t think they were good enough. It is rumored that Apple engineers proposed three completely separate designs for the original iPhone, all of which Steve killed, because they weren’t up to his standards. He made the teams go back to the drawing board and do better.
It is through this uncompromising demand for excellence that Steve had what I believe will be his most important legacy. By demanding the very best and settling for nothing but, Steve inspired me through his example to challenge myself, aim higher, and demand more from myself and accomplish great things.
I am not the only person who was inspired by Steve to do great things, and as a result, each of us benefits not only from the many things Steve gave us while he was alive, but by the many things that will by accomplished by others who were motivated by his example.
The world lost a leader yesterday, someone who excited our imaginations and motivated us to aim higher than we thought we could. It seems like great human beings always die too early, but the world was lucky to have had Steve among us, for even the brief period time we did.
Rest in peace, Steve. You will be missed. The world is a better place because of you.
Wednesday, September 21st, 2011
Yesterday I posted a quick bit about the photo shoot I put together on the Charles River just out side of Boston. The focus of the shoot was recreational water sports like kayaking and canoeing. It was the first time I had worked with any of the five models we had that day, but they were all wonderful to work with.
I was shooting with my Canon 7D camera body and a variety of lenses, primarily the Canon EF 70-200mm f/2.8L IS II USM. I chose to use my 7D body for this shoot for a variety of reasons; as the newest of my cameras its autofocus system is arguably the fastest and best, which was important for this shoot since the models and boats, the focal points of the images, were going to be in constant motion. Also, the 7D has a faster continuous-shooting frame rate than my 5D Mark II body, for example, which better allowed me to capture the fleeting moments of best facial expression, body position, etc. on the models in a fully dynamic environment like the one in which we were shooting. An additional side benefit of the 7D was that its APS-C size image sensor yields a crop factor of 1.5, meaning that all of my lenses were 50% longer, which was nice for flattening the images and bringing the subjects right up close and personal even when they were a distance out on the water.
We were slightly hampered by the fact that some clouds rolled in the middle of the shoot and therefore the light was a bit flatter and less vibrant than I would have wanted (we were relying mostly on nature to provide our light for us although we were using some modifiers and artificial light for fill), although towards the end of the day the clouds began to dissipate and gave us some nice light again towards what turned out to be the end of the day.
A slideshow of some of the images is below.
Ultimately it was a pretty good shoot and I think everybody had fun.
After we had packed up and most of the models and crew had left, I saw one more shot that I thought was worth setting a camera and tripod back up again for. I thought it was a pretty fitting end to the day.
Wednesday, September 14th, 2011
Today I saw another example of very powerful photography. I’ve heard on the news about the on-going drought in the southern central United States (particularly Texas), but until I saw the slideshow below from the Texas Parks & Wildlife Department, I had no idea just how bad it was.
The images below punch the viewer in the gut with the severity of the crisis (and some graphically depict its effect on wildlife).
This is another instance where photography won’t solve the problem (it seems that only nature can do that), but it can make people thousands of miles away who will never see the problem first hand understand just how serious the situation is, with an eye-opening immediacy that reading all the newspaper descriptions in the world never will.
Friday, August 26th, 2011
The East Coast is starting to flip out about Hurricane Irene (I just read that New Jersey is ordering gambling halted in Atlantic City… the horror!) and since it looks like Irene has Boston in its sights, it looks like I’m going to be spending my Saturday getting a generator and moving things out of my basement in case it floods. In the mean time though, before it gets here, check out this image NASA created from one of its GOES geosynchronous orbit satellites:
And here’s a closeup of the U.S. showing the storm:
NASA is wonderful for this kind of stuff. I’m sure two days from now I’m going to be much less of a fan, but from 22,000 miles up, the storm is beautiful!
This is just more proof of what I’ve always thought – anything can be beautiful if you look at it in the right way.
Wednesday, July 20th, 2011
It is a very special and rare moment for me when I discover a photographer whose work I haven’t previously seen and which includes what I call “The Trifecta” – the three ingredients which I consider to combine to form stunning photography. I had one of those moments yesterday when I happened to see a National Geographic article about the Kermode bear (or “Spirit Bear,” as some of the indigenous people in Canada call it). The article featured photography by the Canadian nature and wildlife photographer Paul Nicklen. After seeing the images there, I found Paul’s website and, put very simply, sat in pure awe for the next 20 minutes staring at the images he has created.
I’ve spent enough time studying, appreciating and shooting photography that I can tell pretty quickly when someone’s got The Trifecta. And pretty much instantly, I could see that Paul has it. Below are a few of Paul’s photographs. While the photographs are so powerful that they elicit an immediate visceral response, try to appreciate them for a few extra moments; consider how all three elements of The Trifecta are present in each image.
So what is The Trifecta? Here goes – the three things that contribute to truly stunning photography:
#1: Interesting Subject
It goes without saying (so much so that it’s sometimes forgotten!) that when the subject of a photograph is interesting, it is a lot more likely that the photograph itself is going to be appealing. A photograph doesn’t HAVE to have an interesting subject to be appealing (a photographer who excels in one or both of the other parts of The Trifecta can make a great photograph of even a boring, unremarkable and commonplace subject), but it sure helps. A good subject is the most obvious and, frankly, the easiest part of The Trifecta.
It is pretty obvious why the subjects of Paul’s images are fascinating to anyone who doesn’t live above the Arctic Circle (and probably even to a lot of people who do!). He goes to the ends of the Earth (literally) to find them.
#2: Technical Skill
Many modern cameras have been designed to require a lot less technical know-how in order to use them to make a workable photograph (i.e., the “program” and “auto” modes on many cameras). But unless you get lucky, that know-how is still needed in order to make a truly great photo with the appearance the photographer envisions: does the photographer think a slight bit of motion blur is going to enhance the look of the photo? Would the photo be more striking if only a small, specific part of the subject was in focus? Does one area of a photo need more or less light than it’s getting in order to show it properly? If so, how are these things going to be accomplished? These are considerations under the best of circumstances. In a challenging environment, under challenging lighting conditions, etc., the need for technical skill goes up astronomically.
It’s easy to take a picture of a polar bear in daylight through the fence at a zoo; when you’re in the Arctic wilderness submerged under water that’s only a few degrees above freezing and there’s nothing between you and the bear but a few feet of that water, things get a bit more complex. For example: how does the fact that the photographer is underwater affect the shutter speed needed to achieve the swimming motion visible here in the bear’s feet?
#3: Creative/Artistic Vision
Ansel Adams famously said that he didn’t simply see a pretty scene and capture it; instead he imagined in his mind an image of how he wanted a scene to look, then used all of the tools at his disposal (the technical skill) to make that image in his mind appear on paper in the photograph. This creative or artistic vision is the most important ingredient in The Trifecta, and also the hardest to come by. Creative vision is how the photographer chooses to present the image through artistic choices like composition, shape, motion, contrast, texture, color, light, darkness, depth of field and many other variables to visually convey the emotions and the visceral, gut-reaction feel desired. It is how a talented photographer can take even a bland, unremarkable everyday subject and make a striking and visually interesting image of it, or an ugly scene and find the beauty in it.
The photo above is a perfect example of how a talented photographer can convey emotion. Looking at that image, your first reaction would be one of fright, feeling like you’re about to become dinner to a ruthless and terrifying predator. And in fact, those were the emotions Paul was feeling when he shot that image. As he describes in this video, when Paul got in the water with the seal he was intimidated by its size. But soon, he saw that the seal wasn’t threatening, but was actually trying to care for him, bringing him food and trying to feed him, the way a concerned mother would care for its young. And this friendlier, nurturing feel is evident in another photo Paul made soon after:
It is rare indeed to see a photographer with a ready command of all three parts of The Trifecta. Too often, photographers lean on an interesting subject as a crutch to disguise weak technical skill or creative vision (this kind of failing can be seen frequently when imagery of exotic people or places is shown without artistry or any emotion conveyed with the image… this crutch is sometimes used so extensively that, in the wedding industry for example, some individuals will take on a client only if that client’s wedding takes place in a beautiful location and involves only beautiful people). Photographers must avoid the temptation to take this easy way out, and consumers should take the time to appreciate not only the subject matter of photographs, but also how they are presented, and how much of the photographer’s emotions they can feel in the image.
Because as Paul Nicklen and many other masterful photographers have shown, while one strength or another can make a good image, it takes The Trifecta to make a truly great one.
Friday, July 1st, 2011
So I walked over to my town’s local fireworks display last night (right around the corner from my house), and just for fun, I carried along a camera and tripod (of course… it’s just who I am). It was crazy – a much bigger production than I’d assumed: all of the streets were blocked off, there were thousands of people in the streets, food trucks, etc etc.:
No sooner than I had set up my tripod I was approached by a woman who introduced herself as writer for the Boston Globe, asking me who I was there shooting for (in other words, if I worked for another news organization). When I replied that I’m a self-employed photographer and was just there shooting photos for my own amusement, she asked if she could use one of my photos for her Globe article – apparently the Globe “didn’t have budget” to send one of their own photographers to cover the event.
Everyone knows that times are very tough for print media organizations – since everyone is getting their news online, newspapers’ subscriber bases are evaporating and with them go the newspapers’ revenue, which has resulted in terrible staff cuts at just about every paper. But it is a sad state of affairs indeed when a leading regional newspaper “doesn’t have budget” to pay a photojournalist to cover an event on which they plan to publish a story, and this was an example of why I am very, very glad that I am not a photojournalist.
In any case, I was there shooting photos anyway, and since they’d already decided they weren’t going to pay for photography of the event (that much was clear) I told the writer that provided I was given proper credit for the photo, I’d give the Globe one to run with their story*. The writer took my email address, and several hours later via email I sent her a few photos I captured from the evening.
For the Globe’s article, they picked one of the photos I sent, and the writer actually quoted me as well (which I didn’t know she was going to do! If I’d known I was going to be quoted, I’d have paid attention to my grammar!). The article can be seen here: http://www.boston.com/yourtown/news/somerville/2011/07/somerville_fireworks_light_up.html
Here are a few of the photos I shot that night (it really was a great display, and as Somerville Mayor Joe Curtatone was sure to point out, the fireworks didn’t cost taxpayers a dime, since they were funded in full through private donations).
*: I understand this issue may anger some professionals in the industry who rely on paying editorial work. The debate about shooting for pay vs. shooting solely for a credit is not an insignificant one, and it is truly embarrassing for the Globe that they have cut back so dramatically on paying editorial work that they didn’t send a staff photographer or editorial freelancer to shoot something that they thought was important enough to warrant a story. It is a bad time to be an editorial photographer or photojournalist indeed.
Tags: Boston, Boston Globe, Fireworks, Independence Day, July 4th, Mayor Joe Curtatone, media, newspaper, Photographer, Photographing Fireworks, Photography, photojournalism, photojournalist, print media, revenue, Somerville, taxpayers
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