With the changing landscape of work it’s important to have an automated disinfection option for individual workstations. Targus has a solution that will be released next March.
The Targus UV-C LED Disinfection Light is another solution available to help reduce pathogens with UV-C light. UV-C radiation is a known disinfectant for air, water and surfaces that can help reduce the risk of acquiring an infection and has been used extensively for more than four decades. All bacteria and viruses tested to date (many hundreds over the years, including various coronaviruses) respond to UV-C disinfection.
A recent study, “UV-LED disinfection of Coronavirus: Wavelength effect“, published by the Journal of Photochemistry and Photobiology B: Biology reveals that Ultraviolet LED lights can kill Coronavirus and suggests that “UV-LEDs could probably be used in the fight against SARS-CoV-2 and COVID19”. Although we’re now on the path to erradicate the actual pandemic, thanks to vaccination, UV-LEDs can be used to combat pathogens in the future as there are no known pathogens resistant to UV-C, a clear indication that UV-C light can be used as a valuable part of any protection strategy.
The Targus UV-C LED Disinfection Light incorporates, says the company, “state-of-the-art UV-C LED and automation technology that provides safe and consistent no-touch ultraviolet solution to help reduce pathogens with UV-C light. Designed to stand on your desktop, the AC-powered light turns on and runs for 5 minutes, every hour, to break down the DNA of microorganisms. Regular use is effective at eliminating harmful pathogenic microorganisms.”
How the Targus UV-C LED Disinfection Light works
“We’re thrilled to be named a CES Innovation Awards honoree for our UV-C LED Disinfection Light. With the changing landscape of work, Targus is continuing to innovate to enable people to work anywhere—in the office, at home and on-the-go,” says Mike Sexton, Sr. Director of Global Product Management & Development. “With this UV-C desktop disinfecting light, there is less need for chemical or liquid-based cleaning that could damage electronics, creating the perfect low maintenance, automated disinfection solution for individual workstations to reduce pathogens on critical high-touch items like keyboards, mice, and smartphones.”
When the automated disinfection cycle begins, the light emits a purple ambient hue indicating that it is in use. The UV-C LED is then activated and begins to break down the DNA of microorganisms in the active disinfection area. Safety measures are built into the light including auto shut-off features that utilizes motion sensors. If any motion is detected within the safety zone or directly outside of the active cleaning area, the UV-C LED will be automatically disabled. After five minutes of inactivity, the light will then attempt to resume the disinfection cycle.
The Targus UV-C LED Disinfection Light is scheduled to be released in March 2021.
Is there No Limit to our suffering. Locked in a race as to who can kill the arts first, we bear witness to a gargantuan dick swinging contest fought between haphazard bureaucrats in government and a deadly bat pathogen. The fight is escalating with no end in sight, but one thing is for sure – corporate America will profit endlessly. The psychological side of coronavirus I find very interesting. Are you cracking yet? I am! It is in no doubt a real and dangerous virus which kills many, many people. It is also true that government lockdowns break people in their …
Texas wedding photographer recently got sick with coronavirus after a wedding she photographed. She contracted the virus at the maskless ceremony, thanks to the groom who hadn’t disclosed that he was positive. According to Texas Monthly, the photographer spent an hour or two at the ceremony, indoors, and no one was wearing a mask. After […]
I first came to the hospital back in June, having decided that the stories and experiences of the front line staff shouldn’t be forgotten. We’d all seen inside the Italian hospitals, but when the virus hit the UK, there was nothing coming out of the UK, so I made it my mission to gain access and document the life and death struggles going on behind closed doors.
This project is unique, and through it, we have a chance to see what it was like inside a COVID hospital at the peak of the pandemic and hear from the front line staff in their own words what they were going through. The Kickstarter book will also help these very same people because all of the royalties are being given to the hospital’s charity, and used only to improve the staff’s working lives. It is a chance to give back to the people who have given so much.
I’ve had some scary photo shoots before, the floor of a nuclear power station is pretty up there, as is the time I had to jump on the back of a motorcycle taxi to escape an angry crowd that had me surrounded, but this was different, and I remember walking in for the first time feeling rather scared. I was knowingly going into a coronavirus hot spot, repeatedly and over many days, back when there were no tests to diagnose the virus and no cast-iron guarantees of how to avoid catching it.
My heart was in my mouth when for the first time I went into a ‘Red Room’ — one with a confirmed Coronavirus patient. I was there to photograph the medical staff as they treated him, and I was both excited and worried as I pulled on the PPE gown, mask, visor, and gloves. It struck me as a bit stupid that I could hardly see through the viewfinder, but in a way that probably helped me concentrate on the photography rather than my worries. It would be pointless to put myself and my assistant in danger if I didn’t even get the shot.
The general atmosphere in the hospital was intimidating. People were rushing to and fro, always on the way somewhere, or gliding by pushing beds with silent occupants. And it’s not surprising that many people didn’t want to be photographed.
They’d been, and in fact were, going through so much. They’d tell me stories of incredible suffering and heartache, such as the physiotherapist seconded into ITU who “could still hear all the beeping and the alarms in my ears when I got home, sitting in a dark quiet room,” or the nurse who told me “I still have nightmares at least three times a week and I know I’m not the only one in there.”
And so it became incredibly important that I approach the people, who nearly always didn’t know to expect me, with a great deal of tact and understanding. A portrait is a photograph of a person who has volunteered to share themselves, for better or worse, with the photographer – they’ve made the decision that they’ll let a stranger in, and show them who they actually are. That’s a big ask at any time, let alone when surrounded by “the most intense pain and grief and suffering.”
And so how do you as a photographer, make a connection in such terrible circumstances? It’s easier to say what not to do. That’s because each person is a world unto themselves. The bridge that the photographer has to build between them and their subject has to relate to them, and not the photographer, and so you can’t come at it with a list or a recipe — otherwise, you’re only taking a portrait of yourself.
So this is how it goes: I’m standing there in a corridor or a ward, lights and set up ready, and I’m feeling anxious about interrupting people as they scoot past. There’s a tug of war happening inside me, one part saying run away so I don’t leave myself open to their rejection, and the other half, the half that eventually wins, picks up when someone slightly slows down or slightly orientates themselves in my direction. But why did they do that? Why are they open?
That’s the question I now resolve to answer. It’s time – time for me to step out and try to find a bridge of some description. It’s always the most nerve-wracking moment, and it’s not something that I enjoy. I also never know what I’m going to say or do, which is doubly worrying! I’m often as much of a spectator as anyone else as to what’s going to come out of my mouth, but I’ve taken a decision that this is the way that it should be done, this is the way that it has to be, and so I follow my own lead – I genuinely want to know why they’re different from all the rest.
The present is a dangerous place which is why so many people avoid it at all costs. But to take a portrait, you have to be present with the other person, and place yourself in the precarious position of not knowing what will happen next. These kinds of portraits require that.
And it’s partly that unknowing, that makes me love this phase of the shoot so much. It’s like racing down a steep slope on a rickey go-cart, knowing that you may well wipe out, but you also might fly triumphantly onwards, reaching your unknown destination in glorious technicolor. And in the hospital, that feeling of being on the way to an unknown destination was heightened because I needed to have something much more meaningful than a regular conversation.
I had to ask them about situations and events that were incredibly painful – literally about the life and death of them, their patients and their families, and all that goes into that – and ask them to go back there and tell me about it. It kinda spooks me, thinking about it now, because of the enormity of what I was asking them to do. But I remember feeling that we were both high up, on a level far above that of a regular mundane moment. It was both enlivening and chastening to be elevated so precipitously without a net beneath, only the two of us. It all felt so fast, and so precarious.
And the difficult thing about photography is that you’re doing two mutually exclusive things at the same time. On the one hand, you are present and together with the other person; and on the other, you’re attending to the technical side of things which are constantly trying to strip you clean of the moment: is the exposure right, the location appropriate, does the composition or lighting need changing, how would they react to me doing that … is the lens cap on?
When you get it wrong, the sense of loss is huge. I’m sure every photographer knows the feeling when one of the spinning plates comes down. Sometimes you’ll only realize it hours or even days later. And here in the hospital, I was continually worried that I was in the wrong place, or taking the wrong approach, or going after the wrong thing. The weight of all the people’s experiences sometimes felt so heavy – what if I just wasn’t up to the job of translating these people’s experiences? What if they were telling, for the first time, the most extreme events of their lives to a stranger, and all for nothing?
The project is now a book, and I like to think that people are alive inside it. As you leaf through, it feels to me that you’re almost walking along the corridors or wards with them, or taking the buses home, or greeting their families on their return. I think also that inside it we can learn how to look after our own selves because so many of the people here are figuring out how to care for themselves too.
What has happened at the hospital, let’s not kid ourselves, is trauma en masse. Many of these people, on these pages, have undergone trauma on a scale unknown outside of war. And indeed, there have been more deaths of British hospital staff in 6 months than the British armed forces suffered during 12 years of war in Afghanistan, and 6 years of war in Iraq, combined. Combined.
It’s not normal, what they’ve been through, and I think, I hope, that this book tells their stories. These are their words, and these are their images.
About the author: Slater King is a photographer in London, UK. The opinions expressed in this article are solely those of the author. Details of the book are on his site. All royalties from the book are being given to the hospital’s charity – ring-fenced so that they can be used to make these people’s working lives easier and more enjoyable. Think a coffee machine in a staff room, or funding to buy paints for a mural to brighten a place up. The book launched Tuesday, November 24th.. Slater won with three of these images at the prestigious British Journal of Photography’s Portrait of Britain Awards 2020 in September 2020.
Well, it looks like we’ve reached the stage of 2020 when sharing a selfie could end up in getting arrested or paying a massive fine. A UK photographer recently posted a selfie which proved that she had broken the self-isolation order. Consequently, she was ordered to pay £6,600 (around $8,530) after sharing the photo on […]
Early on in the pandemic, you may have noticed that commercials did not deviate from norms, which led to a bit of a reality disconnect between viewers and advertisers. Eight months later, that definitely has changed.
According to Adobe’s Stock Creativity Insights, COVID-19 led to notable and trackable changes in both the creative and visual landscapes. Citing its own “State of Creativity” blog post, Adobe noted that 87%t of creatives believe the events of 2020 will have lasting impacts on creative businesses, and 82% went a step further and said that 2020 forever changed how they create. Additionally, 83% agreed that the events of 2020 have made it more important than ever to expand their creative skill sets.
As photoshoots either shut down or dramatically compressed, stock images and video have exploded in popularity, with specific types of images seeing a marked increase in demand. Images of people quickly moved from in-person imagery to feature virtual spaces with 5.7 times more daily searches for “virtual” stock images post-state of emergency (March 14 to Sept. 22) compared to pre-state of emergency (Jan. 1 to March 13).
Even basic search terms changed. Instead of firms looking for “people-in-person,” Adobe noted that “people-on-screens” grew significantly. You can see in the graphic below the kinds of images that became more popular given the months of the year with the search term “people”:
Adobe also cites that in 2020, it noted that meeting rooms and office spaces traded out with video conferencing calls and social distancing imagery. Masked workers briefly took the top licensing spot, but was quickly replaced by remote work imagery.
COVID-19 isn’t the only situation that affected stock imagery. Adobe notes that the Black Lives Matter movement affected search as well.
January was the pinnacle for growth regarding searches for “diversity” assets (402% YoY growth), which were soon eclipsed by searches for “Black Lives Matter” assets in April—peaking in June (810% YoY) in searches on “diversity”, “African American,” and “Black Lives Matter.”
Searches and licenses for “protest” assets reached an apex in June (1,100% MoM growth for searches and 1,000% for licenses), and have seen steady growth YoY going into the fall season, revealing that creatives are taking a stance on social activism.
Gratefully, creators are apparently uploading considerably more content under the term “science” each month, with that segment seeing 147% growth. Adobe states that six of the top ten assets licensed under the science category are coronavirus related, which is down from ten out of ten searches in March.
Stock is, generally, one of the worst ways for a creative to make money. In order to gain enough traction to make a notable amount monthly, a photographer would not only have to upload a mammoth number of images, but they would also have to do so expecting to make sales in incredible volumes. If, however, you are the kind of photographer who had to shift your business as a result of COVID-19, data like this can help you understand what kinds of imagery is in demand, and how you can increase your volume within those segments to take advantage of that demand.
You can read Adobe’s full Stock Creativity Insights Report here.
2020 has definitely been the most unusual year we’ve lived in. The coronavirus pandemic has changed everything, from daily chores to big life events – including weddings. This is Reportage has chosen the best documentary wedding photos of this weird year, and they’re really something else! They show raw and unstaged moments of 2020 “corona-weddings,” […]
Like other companies, Tamron also seems to be struggling with the consequences of the coronavirus pandemic. The company has recently confirmed that its two major companies will remain closed throughout 2020. According to a press release, the reason for this decision is “decreased worldwide demand.” Hirosaki and Namioka factories, both in Japan’s Aomori prefecture, have […]
You probably tried to read various guidelines on going back to work on set or location. Your skepticism increased with each “it is highly recommended.” And you plowed through additional palaverous proposals of precautions for picking up production. Now, I’m no more qualified to give advice on getting back to work or working safely than some of the “experts” and magical thinkers expounding on TV, despite my few years in pre-med studies and a healthy skepticism of sheltering in place in a stunt coordinator’s “designated safe zone.” That’s too often the place where debris unexpectedly lands from an exploding car in a movie stunt, despite assurances to the contrary.