Titi magazine april 2018

APRIL 2018

ISSUE 4

TITI

MAGAZINE

THE FUTURE OF PHOTOGRAPHY

TITI

CONTRIBUTORS Anita Olive Dickson

MAGAZINE

Efenudu Ejiro Michael Bekesu Anthony Dickson Max Prince Stephen Mayes EDITOR Dickson Max Prince

Video game Review Splinter cell: Blacklist The Last Of Us Driveclub

PUBLISHERS PUCUTITI.Inc Gadget Review Tag Huer Connected

Tecno Cm Infinix Zero 5

For more info

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Automobile of the month : BMW X4 ARTICLE: THE FUTURE OF PHOTOGRAPHY

Copyright © PUCUTITI.Inc

5 TiTi ® Magazine, April 2018

Tom Clancy's Splinter Cell: Blacklist is an actionadventure stealth video game developed by Ubisoft Toronto and published by Ubisoft. The sixth installment of the Tom Clancy's Splinter Cell series, it is the sequel of Splinter Cell: Conviction.

In Blacklist, players assume control of series protagonist Sam Fisher as he seeks to stop a terrorist group called the Engineers. The gameplay emphasizes stealth, and utilizes the third-person perspective. During the game, players can rotate its camera, run, crouch and leap over obstacles.

Since Blacklist intended to continue the "aggressive stealth" of Conviction while retaining the traditional stealth features of the older games, it combines action and stealth, and allows players to use different approaches and methods to complete objectives and defeat enemies. Players can complete levels without being noticed by the non-playable characters' artificial intelligence by taking cover or using other traditional stealth methods. If the player chooses to kill enemies, other enemies are alerted when they see their companions' dead bodies. To avoid this, players can hide corpses. Fisher can also create a strategically advantageous dark environment by destroying nearby lights, and is equipped with customizable night -vision and sonar goggles to detect enemies in darkness and see through walls. He also has the Tri-Rotor, a compact surveillance drone which can spy on enemies, create distractions, give electric shocks, and self-destruct to kill enemies.

Players can play a more aggressive run-and-gun game by using gadgets and weapons to eliminate enemies. They can interact with environmental objects, such as ledges and zip-lines, to navigate levels. Conviction's mark-and-execute system returns in Blacklist, with refinements and additions to allow players to mark several targets. When they attack, they can kill all marked targets instantly. Improvements made the system work more fluidly. A variety of enemies (including soldiers and dogs) are encountered in the game, following the protagonist and alerting their companions.

Players have the option to kill them, leave them untouched, or incapacitate them, and the game classifies their choices in one of three categories: Ghost (stealthy play), Panther (stealthy, aggressive play), and Assault (aggressive play) Although the game has interrogation sequences involving questioning (or torturing) targets, it does not have Conviction's interactive torture scenes. Players can still decide whether to spare their targets or kill them after interrogation, and these decisions influence the relationship between Fisher and other crew members.

After spending some few hours playing, I can already tell it is going to be a game that is worth my time.

Prince Max Dickson

6 TiTi ÂŽ Magazine, April 2018

The Last of Us is an action-adventure survival horror video game developed by Naughty Dog and published by Sony Computer Entertainment. It was released for the PlayStation 3 worldwide on June 14, 2013. Players control Joel, a smuggler tasked with escorting a teenage girl named Ellie across a post-apocalyptic United States. The Last of Us is played from a third-person perspective; players use firearms and improvised weapons, and can use stealth to defend against hostile humans and cannibalistic creatures infected by a mutated strain of the Cordyceps fungus. In the game's online multiplayer mode, up to eight players engage in cooperative and competitive gameplay.

Attributes such as the health meter and crafting speed can be upgraded by collecting pills and medicinal plants. Health can be recharged through the use of health kits.

Multiplayer

The online multiplayer allows up to eight players to engage in competitive gameplay in recreations of multiple single-player settings. The game features three multiplayer game types: Supply Raid and Survivors are both team deathmatches, with the latter excluding the ability to respawn; Interrogation features teams investigating the location of the enemy team's lockbox, and the first to capture such lockbox wins. In every mode, players select a faction—Hunters (a group of hostile survivors) or Fireflies The Last of Us is an action-adventure survival horror game played (a revolutionary militia group)—and keep their clan alive by collecting supfrom a third-person perspective. The player traverses across postplies during matches. Each match is equal to one day; by surviving twelve apocalyptic environments such as towns, buildings, forest and sew- "weeks", players have completed a journey and can re-select their Faction. ers to advance the story. The player can use firearms, improvised Killing enemies, reviving allies, and crafting items earn the player parts that weapons, and stealth to defend against hostile humans can be converted to supplies; parts can also be scavenged from enemies' and cannibalistic creatures infected by a mutated strain of bodies. Players are able to carry more equipment by earning points as their the Cordyceps fungus. For most of the game, the player takes control clan's supplies grow. Players can connect the game to of Joel, a man tasked with escorting a young girl, Ellie, across the their Facebook account, which alters clan members' names and faces to United States; Ellie and other companions are controlled by match the players' Facebook friends. Players have the ability to customize the artificial intelligence. The player also controls Ellie throughout their characters with hats, helmets, masks, and emblems. the game's winter segment.

I tend to classify this game among the Resident Evil series, wild environIn combat, the player can use long-range weapons, such as rifles, ment shotguns, and bows, and short-range weapons such as handguns and Classic gameplay and lots of unexpected events happening at random. short-barreled shotgun. The player is able to scavenge limited-use melee weapons, such as pipes and baseball bats, and throw bottles I think I need to go back and continue with this game, because you lose track of time when holding the controller, someone could use the distracand bricks to distract, stun, or attack enemies. The player can uption this days. grade weapons at workbenches using collected items. Equipment such as health kits and Molotov cocktails can be found or crafted usPrince Max Dickson ing collected items.

7 TiTi ® Magazine, April 2018

Driveclub is a racing game in which players compete in racing events around the world in a variety of different fashions.

Players can compete in clubs with other players, earning a reputation as one of the best clubs, and leveling up to unlock better items. Another game mode is tour, essentially a campaign mode. Players can compete in standard races, as well as time trials, drifting events, and championship tournaments, which may take place in Norway, Canada, Scotland, India, Japan, and Chile. Players may customize their car, their club, or their driver, and may complete optional challenges during events. A weather system and day-night cycle is also included.

Players complete challenges together representing their club and earn fame and XP. The player earns fame by driving well and completing challenges. Fame determines the player's level as well as the club level. As the player levels up, they automatically unlock items, such as new vehicles, accolades, or colour schemes. Every team member's action contributes to the club's overall success.

The game's tracks and environments are inspired by real places in diverse regions across the globe, such as Norway and India. Driveclub features dynamic weather system such as rain and snowfall and a day-night cycle. Each rain drop has realistic behavior.

There are three main game modes in Driveclub; tour, single event and multiplayer. Tour is a campaign mode where singleplayer events set in various locations can be played using the allocated cars.[12] A set of objectives are present and can be tackled during the events. In the single event game mode, players choose what event they would like to play (drift, sprint, race or time trial) and have the freedom to select the location, weather and other options.[13] The multiplayer game mode revolves around competition and co-operation with real life players. Players can complete challenges with social leaderboards, play with clubs, and play online races.

[14] There are a total of 50 cars available initially, as well as over 60 more cars that can be downloaded from the PlayStation Store for free or with a charge.[15] The cars are split into five categories based on their in-game stats: hot hatch, sports, performance, super and hyper. Each car can be customized with paintjobs and stickers.

8 TiTi ÂŽ Magazine, April 2018

TOP 3 RACING GAMES

7

9 TiTi ® Magazine, April 2018

11 TiTi ® Magazine, April 2018

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Tag Heuer Connected

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ZERO 5

BUYERS GUIDE

The Tag Heuer Connected measures 12.8 mm deep on your wrist, which is a fair old chunk of titanium, making it fatter than most Android Wear watches to date. However, the chosen material pays off and it only weighs 52g.

Interestingly, the Connected comes with a black rubber strap, which can be changed for the colour versions shown above. These are, of course, sold separately.

Intel is on board as a partner, powering the Tag Heuer silicon fans, it's the same one found inside the Intel a host of wearable devices including the recently re-

Connected with an Intel Atom Z34XX processor. For Edison development board, which was the platform for vealed Blocks.

The screen itself is slightly underwhelming, and we nected for a Carrera Cal16 mechanical watch. The 360 already lags way behind the competition.

don't think anyone will mistake the Tag Heuer Conx 360 LCD only boasts a pixel density of 240ppi, which

To put that in perspective, the Huawei Watch has a 1.4 highest of any Android Wear device to date. However, will trump everyone with a 480 x 480 panel at

-inch 400 x 400 display with a ppi count of 286; the the soon-to-launch LG Watch Urbane Second Edition 348ppi.

Elsewhere, there's 4GB of storage on-board – standard nected is IP67 rated.

for Android Wear devices – and the Tag Heuer Con-

Jean Claude Biver promised all-day battery life and it's minimum 25 hours battery life.

powered by a 410mAh battery, which should offer a

BUYERS GUIDE

14 TiTi ® Magazine, April 2018

Tecno Camon CM

Connect More With 4G LTE, you can transfer data, audio, video or image quickly, making a more efficient and convenient way to connect the world. The signal is also promoted to be more stable and secure. It is better suited to today's fastpaced lifestyle.

See More A totally wide field of screen view is now offering you! CAMON CM has an 18: 9 bezel-less frame design, display ratio reached by 85%. With a 5.7 inches screen and 1440*720 resolution, you can easily immerse yourself when you watching video or playing games.

Selfie More Worried about poor selfie quality at night? 13MP front camera and a flashlight can help you show your best self! 60lux brightness front flashlight will be effective for reducing noise, helping to promote image brightness during night shooting.

Ease More

Thanks to 2.5D Corning Third Glass, giving the screen a better visual effect and a smoother touching feeling. More importantly, it's tougher for avoiding broken screen.

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BUYERS GUIDE

15 TiTi ÂŽ Magazine, April 2018

ZERO 5

BUYERS GUIDE

MY SILVER BALLER

She Keeps me going at all times; even when I don’t need her.

What a love! on cold dark nights, she has always acted as my pillow.

She is so tender, she needs soft hands; the feeling I get from her climax is compared to no other.

Her scream is like that of water drop; the effects echo like no other.

She releases and there is chaos in the other side.

Oh , my silver baller , there is non like thee.

Prince Max Dickson

BMW X4

DESIGNED TO IGNITE CONVERSATION. It doesn’t get more unique than the standout design of the X4. This Sports Activity Coupe® warrants every bit of the attention it commands. Turn heads with its coupe-like roofline and tastefully athletic curves – or make a bolder statement with Shadowline exterior trim, exclusively available with the M Sport Package.

ENGINEERED TO LEAVE THEM SPEECHLESS. The X4 packs coupe performance. With its M Performance Twin Power Turbo inline 6-cylinder engine, the BMW X4 M40i delivers roaring horses and best-in-class acceleration.

MAKE AN INTERIOR STATEMENT. Create the interior you want with exclusive options. Ride in sporty style with the M Sport Package. M leather steering wheel and Sport seats perfectly complement high-quality wood or Brushed Aluminum trim, for a driving look and feel that’s unmatched.

19 TiTi ® Magazine, April 2018

CONNECT TO INSPIRATION.

FOCUS ON THE ROAD AHEAD.

Stay connected with the iDrive 5.0 system. With wireless integration of apps like Spotify and Pandora, enhanced graphics, iDrive controller, and a navigation system that learns and adapts to your frequently driven routes, iDrive 5.0 doesn’t just keep you in touch, it puts the world effortlessly at your fingertips.

BMW’s Full-Color Head-Up Display projects information such as navigation directions, current speed, and a scrollable song list onto the windshield, directly in your line of sight. So now you can keep your eyes on what matters – every inch of thrilling road.

POWERFUL ENGINES THE HEART OF EVERY X4.

28i: BMW’s mighty inline 4-cylinder TwinPower Turbo. Displacing just 2.0 liters, this 240-hp marvel generates 260 lb-ft of torque at just 1450 rpm, for potent thrust that kicks in right from the start and continues all the way up to 4800 rpm. Lightweight and smooth-running, it incorporates BMW’s award-winning High Precision Direct Injection, Valvetronic and Double-VANOS technologies.

Available in: X4 xDrive28i

AN INTELLIGENT CHASSIS ADVANCED BMW ENGINEERING AT WORK. xDrive, BMW’s Intelligent All-Wheel Drive System: Working in tandem with Dynamic Stability Control, BMW’s xDrive all-wheel drive system monitors the road’s conditions. Once it senses excess slip, it smartly sends power to the wheel with the surest footing, improving traction and delivering neutral, responsive handling.

ASSUME TOTAL CONTROL. Get a more hands-on drive with the 8-speed Sport Automatic Transmission, standard on all X4 models. Paddle shifters let you change gears manually, allowing you to make the most out of every drive— especially when taking the X4 M40i from 0 to 60 in just 4.7 seconds.

20 TiTi ® Magazine, April 2018

THE FUTURE OF PHOTOGRAPHY By STEPHEN MAYES It’s time to stop talking about photography. It’s not that photography is dead as

many have claimed, but it’s gone. Just as there’s a time to stop talking about girls and boys and to talk instead about women and men so it is with photography; something has changed so radically that we need to talk about it differently, think of it differently and use it differently. Failure to recognize the huge changes underway is to risk isolating ourselves in an historical backwater of communication, using an interesting but quaint visual language removed from the cultural mainstream.

The moment of photography’s “puberty” was around the time when the technology moved from analog to digital although it wasn’t until the arrival of the Internet -enabled smartphone that we really noticed a different behavior. That’s when adolescence truly set in. It was surprising but it all seemed somewhat natural and although we experienced a few tantrums along the way with arguments about promiscuity, manipulation and some inexplicable new behaviors, the photographic community largely accommodated the changes with some adjustments in workflow.

But these visible changes were merely the advance indicators of deeper transformations and it was only a matter of time before people’s imagination reached beyond the constraints of two dimensions to explore previously unimagined possibilities. And so it is that we find ourselves in a world where the digital image is almost infinitely flexible, a vessel for immeasurable volumes of information, operating in multiple dimensions and integrated into apps and technologies with purposes yet to be imagined.

Digital capture quietly but definitively severed the optical connection with reality, that physical relationship between the object photographed and the image that differentiated lens-made imagery and defined our understanding of photography for 160 years. The digital sensor replaced to optical record of light with a computational process that substitutes a calculated reconstruction using only one third of the available photons. That’s right, two thirds of the digital image is interpolated by the processor in the conversion from RAW to JPG or TIF. It’s reality but not as we know it.

For obvious commercial reasons camera manufacturers are careful to reconstruct the digital image in a form that mimics the familiar old photograph and consumers barely noticed a difference in the resulting image, but there are very few limitations on how the RAW data could be handled and reality could be reconstructed in any number of ways. For as long as there’s an approximate consensus on what reality should look like we retain a fingernail grip on the belief in the image as an objective record. But forces beyond photography and traditional publishing are already onto this new data resource, and culture will move with it whether photographers choose to follow or not.

As David Campbell has pointed out in his report on image integrity for the World Press Photo, this requires a profound reassessment of words like “manipulation” that assume the existence of a virginal image file that hasn’t already been touched by computational process. Veteran digital commentator Kevin Connor says, “The definition of computational photography is still evolving, but I like to think of it as a shift from using a camera as a picture-making device to using it as a data-collecting device.”

The differences contained in the structure and processing of a digital file are not the end of the story of photography’s transition from innocent childhood to knowing adulthood. There is so much more to grasp that very few people have yet grappled with the inevitable but as yet unimaginable impact on the photographic image. Taylor Davidson has described the camera of the future as an app, a software rather than a device that compiles data from multiple sensors. The smartphone’s microphone, gyroscope, accelerometer, thermometer and other sensors all contribute data as needed by whatever app calls on it and combines it with the visual data. And still that’s not the limit on what is already bundled with our digital imagery.

Layer on top of that the integration of LIDAR data (currently only in some specialist apps) then apply facial and object recognition software and consider the implication of emerging technologies such as virtual reality, semantic reality and artificial intelligence and one begins to realize the mind-boggling potential of computational imagery.

Things will go even further with the development of curved sensors that will allow completely different ways to interpret light, but that for the moment remains an idea rather than a reality. Everything else is already happening and will become increasingly evident as new technologies roll out, ushering us into a very different visual culture with expectations far beyond simple documentation.

Computational photography draws on all these resources and allows the visual image to create a picture of reality that is infinitely richer than a simple visual record, and with this comes the opportunity to incorporate deeper levels of knowledge. It won’t be long before photographers are making images of what they know, rather than only what they see. Mark Levoy, formerly of Stanford and now of Google puts it this way, “Except in photojournalism, there will be no such thing as a ‘straight photograph’; everything will be an amalgam, an interpretation, an enhancement or a variation – either by the photographer as auteur or by the camera itself.”

As we tumble forwards into these unknown territories there’s a curious throwback to a moment in art history when 100 years ago the Cubists revolutionized ways of seeing using a very similar (albeit analog) approach to what they saw. Picasso, Braque and others deconstructed the world and reassembled it not in terms of what they saw, but rather in terms of what they knew using multiple perspectives to depict a deeper understanding.

While the photographic world wrestles with even such basic tools as Photoshop there is no doubt that we’re moving into a space more aligned with Cubism than Modernism. It will not be long before our audiences demand more sophisticated imagery that is dynamic and responsive to change, connected to reality by more than a static two-dimensional rectangle of crude visual data isolated in space and time. We’ll look back at the black-and-white photograph that was the voice of truth for nearly a century, as a simplistic and incomplete source of information about what was happening in the world.

Some will consider this a threat, seeing only the danger of distortion and undetectable fakery and it’s certainly true that we’ll need to develop new measures by which to read imagery.

We’re already highly skilled in distinguishing probable and improbable information and we know how to read written journalism (which is driven entirely by the writer’s imaginative ability to interpret reality in symbolic form) and we don’t confuse advertising imagery with documentary, nor the photo illustration on a magazine’s cover with the reportage inside.

Fraud will always be a risk but with over a century of experience we’ve learned that we can’t rely on the mechanical process to protect us. New conventions will emerge and all the artistry that’s been developed since the invention of photography will find richer and deeper opportunities to express information, ideas and emotions with no greater risk to truth than we currently experience. The enriched opportunities for storytelling will allow greater complexity that’s closer to reality than the thinned-down simplification of 20th Century journalism and will open unprecedented connection between the subject and the viewer.

The twist is that new forces will be driving the process. The clue is in what already occurred with the smartphone. The revolutionary change in photography’s cultural presence wasn’t led by photographers, nor publishers or camera manufacturers but by telephone engineers, and this process will repeat as business grasps the opportunities offered by new technology to use visual imagery in extraordinary new ways, throwing us into new and wild territory. It’s happening already and we’ll see the impact again and again as new apps, products and services hit the market.

We owe it to the medium that we’ve nurtured into adolescence to stand by it and support it in adulthood even though it might seem unrecognizable in its new form. We know the alternative: it will be out the door and hanging with the wrong crowd while we sit forlornly in the empty nest wondering what we did wrong. The first step is to stop talking about the child it once was and to put away the sentimental memories of photography as we knew it for all these years.

It’s very far from dead but it’s definitely left the building.

By Stephen Mayes

Our instruments are connected to satellites that contribute GPS data while connecting us to the Internet that links our data to all the publicly available information of Wikipedia, Google and countless other resources that know where we are, who was there before us and the associated economic, social and political activity.

21 TiTi ® Magazine, April 2018

Bluetooth is a wireless technology standard for exchanging data over short distances (using short-wavelength UHF radio waves in the ISM band from 2.4 to 2.485 GHz[3]) from fixed and mobile devices, and building personal area networks (PANs). Invented by telecom vendor Ericsson in 1994,[4] it was originally conceived as a wireless alternative to RS-232 data cables.

Bluetooth is managed by the Bluetooth Special Interest Group (SIG), which has more than 30,000 member companies in the areas of telecommunication, computing, networking, and consumer electronics. The IEEE standardized Bluetooth as IEEE 802.15.1, but no longer maintains the standard. The Bluetooth SIG oversees development of the specification, manages the qualification program, and protects the trademarks. A manufacturer must meet Bluetooth SIG standards to market it as a Bluetooth device .

The development of the "short-link" radio technology, later named Bluetooth, was initiated in 1989 by Nils Rydbeck, CTO at Ericsson Mobile in Lund, Sweden, and by Johan Ullman. The purpose was to develop wireless headsets, according to two inventions by Johan Ullman, SE 8902098-6, issued 1989-06-12 and SE 9202239, issued 1992-07-24. Nils Rydbeck tasked Tord Wingren with specifying and Jaap Haartsen and Sven Mattisson with developing. Both were working for Ericsson in Lund. The specification is based on frequency-hopping spread spectrum technology.

The name "Bluetooth" is an Anglicised version of the Scandinavian Blåtand/Blåtann (Old Norse blátǫnn), the epithet of the tenth-century king Harald Bluetooth who united dissonant Danish tribes into a single kingdom. The implication is that Bluetooth unites communications protocols.

The idea of this name was proposed in 1997 by Jim Kardach of Intel who developed a system that would allow mobile phones to communicate with computers. At the time of this proposal he was reading Frans G. Bengtsson's historical novel The Long Ships about Vikings and King Harald Bluetooth.

The Bluetooth logo is a bind rune merging the Younger Futhark runes (Hagall) and (Bjarkan) , Harald's initials.

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SEE YOU NEXT MONTH