June 16, 2010
Secure development: why security awareness is a failure

I have finished reading a nice article from Dark Reading about secure development or, said otherwise, taking security into account when developing software.

Two major problems are brought forward:

  • your average developer doesn’t have the right mindset for understanding security which doesn’t play well with his artistic skills.

  • security awareness and training programs are a failure. Besides the budget constraints, developers would never chose security over meeting their deadlines.

I can see the logic behind the (partial?) failure of security awareness and training programs. Think about Time to Market, competitiveness, frequent evolution of technologies and needs and you’ll get the idea. In this context, adding a security brick to an already unsteady building which is way behind the defined deadlines is unrealistic. According to Caleb Sima, CEO of Armorize, a secure development software vendor:

“If I’m a developer, as soon as I’ve been assigned a project, I’m already behind. If there’s a faster way to do something, they’re going to take it, because for them speed is more important than security.”

So what options do we have?

According to Fortify, another secure development software vendor, many development companies add a security specialist to their development team. This person is in charge of bridging the gaps between the security and development teams but also helps identifying and correcting the vulnerabilities.

This approach has however some serious limitations as the security specialist might not identify all vulnerabilities given the diversity of projects and programming languages. But more importantly, she might become a bottleneck in the team as everyone is waiting for her feedback before moving forward and/or rushing to her with urgent requests given the deadlines.

To solve this problem, some organizations opt for secure development frameworks such as BSIMM but these are pretty heavy to implement and they require a formalized development process.

According to many of the interviewed experts, one solution consists of using vulnerability identification tools that nicely integrate with the IDEs and automatically identify vulnerabilities as code is written. While the experts here are heavily biased given that they work for companies that provide such tools, I think the point is valid nonetheless.

Given the time and budget constraints that most (if not all) software development projects have to take into account, such tools might really help a lot as they act as your off-the-shelf debugger or code quality checker and integrate nicely into the existing toolchain, specially if their output is not some security mumbo jumbo.

This approach is indeed limited to code validation/checking. Some important phases of the development process such as use cases or design are not covered but if you think that you can easily take security into account during those stages, be my guest.

This is a step in the right direction and a pragmatic one that take into account developer needs and constraints instead of the other way around.

April 24, 2010
Please, View it Large on Black.

Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: none.

I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French.

If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

Please, View it Large on Black.

Mamiya C330, 80mm lens, f/22, 1/500, Kodak Tri-X 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: none.

I wanted an old-looking picture here that doesn’t look like it’s been taken in 2010. The Mini Cooper is an old model and in such an environment with old buildings I decided to give it a shot. Also, The café on the left is called “Le Progrès” which means “Progress” in French.

If I had followed strictly speaking the Sunny f/16 (well “strictly” might not apply for such a rule), I would have exposed for the shades and select f/8 or f/11 instead of f/22 and I am happy with the results as the picture is underexposed the way I wanted it.

April 16, 2010
Most-Industrial Intruders In a Post-Industrial Scene

Please, View it on black.
Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: B/W treatment, picture straightening.

I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go!

While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

Most-Industrial Intruders In a Post-Industrial Scene

Please, View it on black. Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: B/W treatment, picture straightening.

I fell in love with this old house at first sight but then my vision was disturbed by the shiny Porsche car and the Renault Scenic on the left. They just didn’t fit in the scene. I was about to push the shutter button when my eye caught sight of the bike coming from afar. Remember that the Mamiya’s viewfinder is horizontal and you look at it from above, without your eyes being “stuck” in it like in your typical SLR/DSLR that’s how I could see the bike coming. So I waited for it to be between the two cars and there you go!

While the Kodak Ektar 100 is color neg and I liked the way this picture looked with colors on, I think that B/W is better for this kind of scene.

April 14, 2010
Please, view it on black!

The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera.

On the day it was taken, there was some pretty heavy wind and the ocean was agitated.

This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

Please, view it on black!

The following picture was taken in Chateau d’Olonne, Vendée, France with a Panasonic Lumix DMC-LX3 compact camera.

On the day it was taken, there was some pretty heavy wind and the ocean was agitated.

This place is called Puits d’enfer (Hell Pit). It is pretty intriguing as the foam from the ocean’s water looks like milk.

April 13, 2010
Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (guess work).

Exposure number: 6.

Changes to the original: none.

I spotted this church entrance while strolling with my relatives in downtown Sables d’Olonne. Mostly aged persons went and came through this door. What drew my attention is of course the obvious association between the very old looking stones of this particular church’s walls (the Atlantic Ocean is probably 400 meters at most from this place) and the aged persons. So I decided to just stand there and wait. My back was on a closed shop’s window hence the rather tight framing and I was expecting someone like the woman featured on the picture. A few persons came out but though aged, they looked in a pretty good shape and then this woman came out and I closed the shutter and only then I realized that I had an Ektar 100 film loaded and not some nifty XP2 400 ;-).

While the picture doesn’t look particularly straight, that’s because the steps are a bit of a slope…

Mamiya C330, 80mm lens, f/11, 1/125, Kodak Ektar 100, no light metering (guess work).

Exposure number: 6.

Changes to the original: none.

I spotted this church entrance while strolling with my relatives in downtown Sables d’Olonne. Mostly aged persons went and came through this door. What drew my attention is of course the obvious association between the very old looking stones of this particular church’s walls (the Atlantic Ocean is probably 400 meters at most from this place) and the aged persons. So I decided to just stand there and wait. My back was on a closed shop’s window hence the rather tight framing and I was expecting someone like the woman featured on the picture. A few persons came out but though aged, they looked in a pretty good shape and then this woman came out and I closed the shutter and only then I realized that I had an Ektar 100 film loaded and not some nifty XP2 400 ;-).

While the picture doesn’t look particularly straight, that’s because the steps are a bit of a slope…

April 11, 2010
Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: none.

Mamiya C330, 80mm lens, f/4, 1/500, Ilford XP2 400, no light metering (Sunny f/16).

Exposure number: 2.

Changes to the original: none.

April 8, 2010
Villa du Lavoir.

Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

Villa du Lavoir.

Mamiya C330, 80mm lens, f/2.8, 1/500, Ilford XP2 400, no light metering (guess work).

Exposure number: 3.

Changes to the original: exposure adjusted by -0.75 to show some details at the far end and the walls surrounding the woman.

March 24, 2010

The Story of Bottled Water, by the creators of the Story of Stuff.

March 13, 2010
Visual Pollution on Pont des Arts

Let's Straighten It OutA few days ago, I was taking a nice walk after lunch on Pont des Arts when I came across a rather huge number of padlocks hanging from the bridge’s sides. At first, I was puzzled. Who would hang so many padlocks to such a nice bridge and mess with the visual harmony of the scenery? Closing-up, I started noticing names written/engraved on most of them. Was it some sort of happening or some student party gone wrong? Giving a closer look to the names, a pattern began to emerge. The names always came in pairs. Two first names: a boy’s first name and a girl’s first name. Oh… Let me guess… lovers right?

When I got back to the office, I showed the pictures I got around to a few coworkers who haven’t had a single clue about what these padlocks mean. So I rubbed my Internet magic lamp (Bing, used to be something called Google before) and the answer was revealed to me.

These padlocks symbolize love hence their names, lovelocks (any relationship with Lovelock, Nevada ?). On Valentine’s Day, lovers would go for a nice romantic stroll to the bridge, hang their padlock engraved with their names to the side of the bridge and throw the key in the Seine (like it wasn’t polluted enough already…) and walk away leaving behind their ever-lasting love symbol behind (!).

OK, I let the Parisian inside of me speak here. I have nothing against love, far from it. However, I don’t like pollution, be it visual (ugly padlocks all over the sides of a wonderful bridge in the heart of Paris), physical (so many rotting keys in the Seine…) or otherwise.

I am calling out to all the padlock hangers out there. How about keeping your love to yourself for once or go back to engraving your names on trees (you do know that you hurt them by doing so right?). Let me take this idea back. I have a better one: permanent tattoos! That way, you will always see that symbol wherever you go and not on every full moon when you walk on Pont des Arts by pure coincidence and then remember that you had a padlock on the side of the bridge only to find out that the city janitors broke it and trashed it…

March 11, 2010
Considering Transportation Options

Considering Transportation Options

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