At last month’s huge U2 show at the Rose Bowl in Pasadena, Calif., how could you tell the difference between the professional photographers and your average amateurs?

Answer: the professionals were the ones whisked away after Bono and friends finished their third song, and the amateurs were still there, happily shooting to their heart’s content.

Nearly every person at any show these days is going to have some form of camera with them, be it a point-and-shoot, an iPhone or some other camera phone, and it seems that there is almost no way to imagine keeping all those devices out.

That new reality is forcing an increasing number of bands to come to grips with the fact that they can’t really control the images from their shows, and that, for the most part, they’re better off letting fans cram Facebook and Flickr with such pictures anyway.

“It’s an acknowledgment of the way technology is changing, and how much digital cameras have become a part of our lives,” Rob Sheridan, the creative director for Nine Inch Nails, told CNET News. “Now that everyone has video and still cameras in their phones, and pocket digital cameras take HD video and great quality pictures, not only is it impossible to keep cameras out of shows, but it’s fighting an increasingly uphill battle against what is now a cultural norm: people freely documenting their lives and the things they do to share it with friends and family.”

In fact, the only people who may emerge frustrated from this new paradigm are the professionals. For those shooting with credentials, the phrase is “three songs and you’re gone,” said Bob Carey, the president of the National Press Photographers Association, meaning that pros are generally allowed to shoot from a designated “pit” near the stage during a band’s first three songs, and then they have to leave.

Last month, I was one of those sporting a photo pass at the 96,000-fan U2 Rose Bowl show. And even as I was clicking away during those first three songs, I was acutely aware that there were hundreds of people even closer to the stage than I was, toting cameras capable of taking some pretty great pictures. Indeed, a quick Flickr search confirmed just that.

Little dynamos
Many of those fans–and thousands more throughout the Rose Bowl that night–were shooting with nothing more than a camera phone. And no one worries about the dissemination of images taken with devices like that. But some people were shooting with cameras like Canon’s new PowerShot G11, a little 12.5-ounce, 10-megapixel dynamo much more than capable of producing professional images.

So, while the professionals are being ushered out after those three songs, how is it that the fans are able to keep shooting?

The answer is camera policies in effect at concerts, which are almost always defined by the bands themselves. And conversations with people throughout the music industry make it clear that while there are no standard policies, and that the rules run the gamut from “anything goes” to “no pictures, please,” artists today are increasingly tolerant, even encouraging, of fans taking all the pictures they want.

Look, for example, at the Nine Inch Nails Web site, which spells out the band’s open camera policy, “inviting fans to capture the events with anything from a cell phone to a hi-def video camera.” The reason is clear: “The results have been overwhelming, filling our own galleries with thousands of images and videos from every show, and inspiring a number of ambitious fan-sourced video projects within the NIN community. Some of those projects are starting to surface now, and we couldn’t be happier with the way the fans have organized themselves and created some truly impressive work.”

Further, Sheridan told CNET News, even the proliferation of pictures of the band’s shows taken by fans hasn’t hurt its commercial interests.

“Despite the fact that our fans take thousands and thousands of their own photos at each NIN show with whatever camera they’d like, we still sell prints of live photos taken by me through a Web site called frcphotos.com,” said Sheridan. “This is presumably the type of thing that other acts would be trying to ‘protect’ by limiting photography at shows, but we’ve found that fans are still eager to purchase reasonably-priced professional prints, often taken at angles or distances that only someone working for the band would have access to.”

Some artists are clearly concerned about fans’ rights to take pictures, and go so far as to issue reminders when there are restrictions. For example, the indie rock due, Tegan and Sara, have sent tweets saying things like, “Hollywood Bowl restricts cameras that are deemed professional. This usually means cameras with a removable lens. So keep that in mind!!!” And, of course, other rock stars are not at all behind the notion of fans taking pictures. Among those are said to be Prince, Kanye West, Bjork, and others. At shows by those artists, security is known to assiduously stop people from taking pictures of any kind, even with camera phones, though one wonders just how effective such policies can be.

Less anti-camera attitudes
But clearly, anti-camera attitudes are becoming less and less prevalent these days.

“It’s something that artists have come to realize they have no control over,” said Abe Baruck, a manager who works with big-name acts like Journey, Clint Black, and Peter Wolf. It’s “more a realization that this is just the way people enjoy entertainment. They want to capture something for their own nostalgia (and it) just doesn’t go anywhere other than for their own use.”

That thinking is likely what is behind the restrictions on specific kinds of camera equipment at some shows, like U2’s, and on professionals. Even though millions of amateur photographers now own digital SLRs, there is still a mindset in the entertainment industry that anyone toting one at a concert is a professional and therefore should be limited in where and how they shoot.

That’s why some bands, like U2, make a point of allowing fans to take pictures, so long as they stick to lower-end equipment. “Since 2001, U2 has openly allowed fans to bring cameras to their shows,” reads the FAQ on the site U2tours.com. “Your camera, however, must be a point-and-shoot camera; DSLRs are not allowed.”

“It’s just a very simple calling card saying, ‘I’m a professional media person,’” Philip Blaine, a producer with Coachella promoter Goldenvoice, said of photographers with digital SLRs, “‘and I know how to utilize this media in a professional manner.’”

And while it’s generally bands that are setting camera policies, some venues have also asserted control over what fans can and can’t bring.

One example is the Hollywood Bowl, in Los Angeles. As evidenced by the tweet from Tegan and Sara, that venue imposes restrictions around certain kinds of equipment. A Hollywood Bowl spokeswoman said that that venue won’t let ticket-holders bring in professional-grade equipment.

Professional sports seem to largely work the same way. According to NFL spokesperson Brian McCarthy, football fans are allowed to bring in any kind of still camera–though lenses are restricted to less than six inches long, for security reasons–they want. That policy is standard across the entire NFL, McCarthy added, and prohibits fans from bringing in any kind of camcorder.

The same basic policy applies to other sports, too. According to Nick Ohayre, a spokesperson for the NBA’s Golden State Warriors, fans are free to carry and use cameras at basketball games, so long as they don’t use flash and don’t bring large, professional equipment.

But over time, as the technology improves, it may become more common and force sports leagues and entertainers to pay more attention to what’s happening with imagery taken by the thousands of small devices fans bring with them to events, especially as the quality of pictures from those devices is often good enough for professional publication and licensing.

Some even think that band representatives need to do a better job of keeping up with what’s possible in technology.

“I don’t think they’re aware of some of (what’s possible) with new devices,” said Carey of the National Press Photographers Association. “I don’t think they’ve figured out the nuances of what point-and-shoots can do with photos and video.”

But the increasing permissive attitude toward letting fans shoot whatever photos they please may simply come down to the realities of what it would take to do a serious search of every one of the thousands of people who go through an event’s gates.

In the old days, said New York freelancer Lia Bulaong, if she wanted to sneak a camera into a show, she would hide its battery in her bra and then convince security she had brought her powerless camera into the show in order not to risk it being stolen from her car.

But in the last two or three years, she said, such subterfuge is pointless.

“No-camera policies just became extra ridiculous because pretty much everyone has a camera in their phone,” Bulaong said. “Venues can’t turn away camera phones and will never the capacity to check them in like they do coats and bags.”

Plus, she pointed out, more and more, the bands want to incorporate the fans’ phones into their shows.

“The one thing you will see at every concert now, regardless of the artist, is the moment when everyone has their camera phone out and the venue is awash in tiny lit up screens.”

Copyright ©1995-2009 CBS Interactive Inc. All rights reserved. Used by permission.

Is a computer with no disk drive and no applications software still a computer?

Litl LLC, a small Boston company, says its eponymous Litl device is the future of personal computing. Litl is a Web computer with a full keyboard and an operating system designed for people who use online software like Google Docs and store their photos on Flickr or Shutterfly.

On its screen, a viewer sees 12 business-card-sized Web pages. Clicking on the desired page expands it to full screen, and the user can read the page, buy shoes or build a spreadsheet. It doesn’t have icons, files or menus of its own.

The device can also be flipped up into an A-frame so the screen is visible to show photos, videos or text-news feeds that can be seen from across a room.

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For Jessica Gwozdz, a professional photographer and mother of two, Flickr was a blessing. It allowed her to share photos of her children, Grace and Henry, with distant, tech-averse relatives for whom a username and password would have been too great an obstacle. It even allowed potential clients to freely browse her gallery.

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Who takes down your email and Flickr accounts after you’re dead?

As we increasingly live life on the Web, services are popping up to help people manage their online lives after they die. At the same time, regulators are cracking down on privacy violations for the deceased.

VitalLock.com offers an application that lets people encrypt personal messages on their computers and send secure messages to people now or after they die. The goal is to give people a safe way to share account passwords, wills and other important information, said founder Bob Stewart.

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When it comes to social-networking sites, women are more plugged in than men, according to data analysis by Brian Solis, president of Silicon Valley public-relations firm Future Works.

Mr. Solis used Google (GOOG) Ad Planner to determine the gender breakdown of users signed up for the most popular social-networking sites and found that in most cases, women outnumbered men. “The point of interest that’s worth review and discussion is that in social media, women rule,” he wrote.

For example, the data show that on Facebook, 57 percent of users are women and 43 percent are men, with the same gender breakdown on Twitter and Yelp. On MySpace, it’s a whopping 64 percent female, and on the social-network-creation site Ning, 59 percent of users are women. There’s slightly more equitable gender distribution on YouTube, which is half women and half men, and professional-networking site LinkedIn has the same gender breakdown. On the photo-sharing site Flickr, women make up 55 percent of users, as they also do on FriendFeed.

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In a vault beneath the British Library here, Jeremy Leighton John grapples with a formidable challenge in digital life. Dr. John, the library’s first curator of eManuscripts, is working on ways to archive the deluge of computer data swamping scientists so that future generations can authenticate today’s discoveries and better understand the people who made them.

His task is only getting harder. Scientists who collaborate via email, Google (GOOG), YouTube, Flickr and Facebook are leaving fewer paper trails, while the information technologies that do document their accomplishments can be incomprehensible to other researchers and historians trying to read them.

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After a Chicago student gained national fame for editing a picture of President Obama in the image of the Joker villain from “The Dark Knight” and posting it to Flickr, some of the focus, especially among the tech community, quickly shifted to Flickr for removing the image.

On a site forum, Flickr, a Yahoo (YHOO) property, says it isn’t banning accounts for posting the altered version of a Time magazine cover.

However, the company did receive a notice of infringement under the Digital Millennium Copyright Act, or DMCA, which sparked the removal, wrote Heather Champ, Flickr’s director of community.

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The Army has ordered its network managers to give soldiers access to social media sites like Facebook, Flickr, and Twitter, Danger Room has learned. That move reverses a years-long trend of blocking the web 2.0 locales on military networks.

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Microsoft (MSFT) on Thursday took another step towards the launch of its most important product in years, Windows 7, with the release of a near-final version of the operating system. There are a number of new features in the latest version of Windows 7, but the most eye-catching is–-drum roll, please–-wacky wallpaper!

That’s right, the “release candidate” version of Windows 7 that Microsoft made available Thursday has some of the most visually arresting background images ever to ship with a piece of software. They make all the pretty pictures of bamboo, flowers and fish that ship with Apple’s (AAPL) Macintosh computers look hopelessly stuffy by comparison. Windows 7 wallpaper images, including some fairly conventional ones, have been posted on the Web; here’s one collection on Flickr.

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The White House is making unprecedented use of consumer web technologies but those technologies aren’t always well suited to fit the government’s needs. They aren’t always well suited to fit anyone’s needs–but maybe if Obama leans on them a little bit things will change.

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I’m imagining a world where each of us, and all groups, networks, enterprises, institutions, agencies and NGOs, have dashboards which are associated with our online presence. Some of these dashboards exist today in the guise of “NetVibes” start-up pages or as iGoogle and MyYahoo pages.

Facebook, MySpace and all social-networking software are another kind of dashboard. And all social media services–from Twitter, Friendfeed, and Flickr to dopplr, Blurb or NetFlix (NFLX)–they’re all dashboards, each with its own nuance, subtlety and approach.

Anytime you see “About” or “Your Account,” that’s your dashboard. So each account you have, everywhere, is another dashboard.

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If Jerry Yang has been saving up a “band of brothers” moment with his troops, this is it. The departure of Flickr’s co-founders, the husband-and-wife team of Caterina Fake and Stewart Butterfield, follows the earlier resignation of Jeff Weiner, who was executive vice president of Yahoo’s network division.

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In the wake of Microsoft’s aborted courtship of Yahoo and Jerry “Oh, did you increase your offer?” Yang, there’s bound to be a lot of scrutiny about what’s next for Yahoo.

One asset that’s well known but perhaps not scrutinized from an investment perspective is Flickr, the world’s most popular photo-sharing site that Yahoo picked up for a song (estimated $40 million) in 2005. Today, Flickr attracts more than 44 million unique visitors a month, according to Comscore, while Compete.com reports Flickr had 30 million unique visitors and 70.2 million page views in the U.S. last month.

Despite Flickr’s popularity, it is arguably under-monetized. In terms of advertising, it’s minimal at best. Instead, Flickr makes most of its money by selling Flickr Pro memberships for $24.95/year and offers e-commerce services through partners such as photocards, posters, frames and calendars.

So, what’s Flickr worth, and, more important, what could it be worth if it was managed more aggressively?

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OK, the title may be a slight exaggeration, but the data from a new study by the social-contact search site Rapleaf is nonetheless interesting.

In what they claim is the largest social-network study ever done, Rapleaf looked at the social connections of both men and women. All told, they collected data from over 30 million people on sites such as Facebook, MySpace, Bebo, Flickr, Hi5 and others.

Interestingly, when you focus on users with fewer connections (well, relatively speaking–we’re talking about one group of people with between 1 and 100 connections, and another with between 100 and 1,000), women tend to have more friends than men. However, when you get to a really large number of connections (1,000 to 10,000, and also 10,000-plus), men have more friends.

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