Adobe deleted several Bluesky social media posts promoting its Firefly AI image generator after facing significant backlash from artists concerned about copyright infringement and the use of their work in training the AI model. The posts, which featured AI-generated images alongside prompts showcasing the technology, were criticized for being tone-deaf and dismissive of artists' rights. The company ultimately removed the content and issued an apology, acknowledging the community's concerns.
Only a handful of images exist from Venus's surface, all captured by Soviet Venera landers between 1975 and 1982. These probes, designed to withstand the extreme heat and pressure, managed to transmit data and photographs for a short time before succumbing to the hostile environment. The resulting images, while limited in number and quality due to the thick atmosphere and challenging conditions, reveal a rocky, desolate landscape with flat plains and scattered rocks, often tinged orange by the filtered sunlight. These precious glimpses offer a unique perspective on a planet so different from our own.
Hacker News users discussed the incredible difficulty of imaging Venus's surface due to its extreme heat and pressure, which quickly destroy landers. They expressed fascination with the Soviet Venera missions that managed to capture these images despite the harsh conditions. Some commenters highlighted the ingenuity of the Soviet engineers, while others marveled at the desolate, alien landscape revealed in the photographs. A few comments touched on the challenges of future Venus exploration and the potential for more robust landers, and the desire to see higher resolution images from the surface. Several users also reminisced about seeing these images in their youth and how it sparked their interest in space exploration.
The Substack post "Photographs of 19th Century Japan" showcases a curated collection of images offering a glimpse into life in Japan during the Meiji era and late Edo period. These photographs, many hand-colored, depict a range of subjects, from landscapes and cityscapes to portraits of individuals and scenes of daily life. The collection illustrates a period of significant transition in Japan, bridging the traditional world with the burgeoning influences of modernization. The curated imagery emphasizes the beauty and unique cultural aspects of Japan during this historical timeframe.
Hacker News users discuss the captivating nature of the linked photographs, appreciating the glimpse into everyday life in 19th-century Japan. Several commenters express fascination with the clothing and hairstyles depicted, with some noting the apparent mix of traditional Japanese and Western styles. The quality of the photographs, especially considering their age, is also a point of admiration. One commenter points out the poignancy of these images, representing people who lived entirely different lives, yet shared the same human experience. A few users share links to related resources, including other collections of historical Japanese photographs and information on the photographic techniques of the time.
Jumping spiders, a diverse group with over 600 species in North America, are known for their exceptional vision, complex courtship rituals, and unique hunting strategies. Rather than building webs, they actively stalk prey using their keen eyesight to judge distances for remarkable jumps, often secured by a silk dragline. Their vibrant colors and intricate movements, particularly the males' elaborate dances and ornamentation to attract females, make them fascinating subjects of study. They play a crucial role in controlling insect populations and contribute significantly to biodiversity.
HN users discuss the jumping spider's intelligence and hunting prowess, referencing the article's description of their ability to plan routes and learn from trial-and-error. Several commenters share personal anecdotes of observing these spiders' remarkable behaviors, including their curiosity and seemingly playful interactions. Some express fascination with their complex visual system and hunting strategies, contrasting their cognitive abilities with their small size. The discussion also touches on spider taxonomy, with one user clarifying the distinction between jumping spiders and other spider families. A few commenters humorously suggest potential applications of jumping spider intelligence, such as training them for tiny tasks.
The iNaturalist project "First Known Photographs of Living Specimens" aims to document the earliest known photographs of organisms in their natural state. It seeks to compile a collection of verifiable images, ideally the very first, depicting various species as they appeared in life, rather than as preserved specimens or illustrations. This project prioritizes photographs taken before 1900, especially from the early days of photography, offering a glimpse into the historical record of biodiversity and the development of nature photography. Contributions require evidence supporting the claimed date and identification of the organism, ideally with links to primary sources.
HN users generally found the iNaturalist project documenting first known photographs of species fascinating. Several commenters highlighted the surprisingly recent dates for some common species, like the European hedgehog in 1932. Discussion arose around the challenges of verification and the definition of a "good" photograph, with some suggesting the inclusion of museum specimens as a valuable addition. Others pointed out potential biases in the dataset, such as a focus on charismatic megafauna or limitations based on photographic technology availability and adoption across regions. The project's value in demonstrating biodiversity loss and changing species distributions was also acknowledged.
The Smithsonian Magazine is seeking help identifying a prolific yet unknown photographer who documented San Francisco street life in the 1960s. Thousands of color slides, discovered in a box at a flea market, offer vibrant snapshots of everyday life, fashion, architecture, and cars of the era. The photographer's identity remains a mystery, and the magazine hopes the public can help shed light on who this individual was and the story behind the remarkable collection.
Hacker News users discussed the mystery photographer's skill, noting the compelling composition and subject matter of the photos. Some speculated on the photographer's possible professional background, suggesting they might have been a photojournalist or worked in advertising given the quality and volume of images. Several commenters focused on the technical aspects, discussing the likely camera and film used, and the challenges of street photography in that era. Others shared personal connections to San Francisco in the 1960s, adding context and reminiscing about the city during that time. A few users also suggested strategies for identifying the photographer, such as examining photo metadata or contacting local historical societies. The overall sentiment was one of appreciation for the discovered photos and a desire to uncover the photographer's identity.
Professional photographers are contributing high-quality portraits to Wikipedia to replace the often unflattering or poorly lit images currently used for many celebrity entries. Driven by a desire to improve the visual quality of the encyclopedia and provide a more accurate representation of these public figures, these photographers are donating their work or releasing it under free licenses. They aim to create a more respectful and professional image for Wikipedia while offering a readily available resource for media outlets and the public.
HN commenters generally agree that Wikipedia's celebrity photos are often unflattering or outdated. Several suggest that the issue isn't solely the photographers' fault, pointing to Wikipedia's stringent image licensing requirements and complex upload process as significant deterrents for professional photographers contributing high-quality work. Some commenters discuss the inherent challenges of representing public figures, balancing the desire for flattering images with the need for neutral and accurate representation. Others debate the definition of "bad" photos, arguing that some unflattering images simply reflect reality. A few commenters highlight the role of automated tools and bots in perpetuating the problem by automatically selecting images based on arbitrary criteria. Finally, some users share personal anecdotes about attempting to upload better photos to Wikipedia, only to be met with bureaucratic hurdles.
This article provides a comprehensive overview of Canon's autofocus (AF) motor technologies used in their EF and RF lenses. It details the evolution from the original Arc Form Drive (AFD) to the more advanced UltraSonic Motors (USM) – ring-type, micro-USM, and nano-USM – and the Stepping Motor (STM). Each motor type is described in terms of its operating principles, performance characteristics (speed, noise, accuracy), and typical applications. The article highlights the advantages of USM for speed and quiet operation, particularly the ring-type USM for professional lenses, and the benefits of STM for smooth and silent focusing during video recording. It also covers the power-saving Lead-screw type STM found in some smaller lenses. Essentially, the article serves as a technical reference for understanding the different AF motor technologies employed by Canon and how they relate to lens performance.
HN users generally found the article informative, especially regarding the different autofocus motor technologies Canon uses. Several commenters shared their own experiences with specific lenses and motor types, highlighting the performance differences between USM, STM, and Nano USM. Some discussed the tradeoffs between speed, noise, and cost associated with each motor type. The practicality of micro-adjustments for autofocus was also debated, with some users finding it essential and others considering it a workaround for poor lens design. Finally, there was some discussion around the article's focus on Canon, with some users wishing for similar breakdowns of autofocus systems from other manufacturers like Nikon and Sony.
Offloading our memories to digital devices, while convenient, diminishes the richness and emotional resonance of our experiences. The Bloomberg article argues that physical objects, unlike digital photos or videos, trigger multi-sensory memories and deeper emotional connections. Constantly curating our digital lives for an audience creates a performative version of ourselves, hindering authentic engagement with the present. The act of physically organizing and revisiting tangible mementos strengthens memories and fosters a stronger sense of self, something easily lost in the ephemeral and easily-deleted nature of digital storage. Ultimately, relying solely on digital platforms for memory-keeping risks sacrificing the depth and personal significance of lived experiences.
HN commenters largely agree with the article's premise that offloading memories to digital devices weakens our connection to them. Several point out the fragility of digital storage and the risk of losing access due to device failure, data corruption, or changing technology. Others note the lack of tactile and sensory experience with digital memories compared to physical objects. Some argue that the curation and organization of physical objects reinforces memories more effectively than passively scrolling through photos. A few commenters suggest a hybrid approach, advocating for printing photos or creating physical backups of digital memories. The idea of "digital hoarding" and the overwhelming quantity of digital photos leading to less engagement is also discussed. A counterpoint raised is the accessibility and shareability of digital memories, especially for dispersed families.
Sutro Tower, a prominent San Francisco landmark, offers a unique and immersive visitor experience through its website. Explore virtual tours of the tower, including 360° panoramic views from the top and detailed looks at its internal structure and broadcast equipment. The site also delves into the history of the tower, from its controversial beginnings to its current role in broadcasting for the Bay Area, highlighting key figures and milestones. Additionally, visitors can access educational resources, technical specifications, and information on the surrounding Mount Sutro Open Space Reserve.
HN users generally enjoyed the Sutro Tower website, praising its interactive elements, detailed information, and overall aesthetic. Several expressed nostalgia for growing up near the tower and appreciated learning more about its history and function. Some technically-minded commenters discussed the types of antennas used, the challenges of broadcasting from the location, and the complexities of maintaining such a structure. A few questioned the actual necessity of Sutro Tower in the modern era of cable and internet streaming, sparking a brief debate about the continued relevance of over-the-air broadcasting for emergency situations and underserved communities. There were also some lighthearted jabs about the tower's appearance, with one commenter comparing it to something out of a dystopian sci-fi film.
The Substack post "Photographs of the Old West" showcases a curated collection of historical images offering glimpses into life in the American West during the late 19th and early 20th centuries. The photographs, many by renowned photographers like William Henry Jackson and Edward Curtis, depict diverse subjects, from landscapes and indigenous peoples to frontier towns, cowboys, and the burgeoning railroad. The post emphasizes the romanticized perception of the West versus its complex realities, highlighting both the grandeur of the landscape and the hardships faced by those who inhabited it.
Hacker News users discussed the surprising modernity visible in the "Old West" photographs, noting the paved streets, electric lines, and fashionable clothing. Some commenters highlighted the staged nature of many iconic Western images, contrasting them with the more mundane reality depicted in these photos. The discussion also touched on the rapid technological advancement of the era, the relatively late closure of the frontier, and the romanticized perception of the Old West perpetuated by Hollywood. Several commenters shared additional resources, including links to other photo collections and historical information. A few questioned the accuracy of the "Old West" designation for some of the later photographs, pointing out that they depict a period closer to the early 20th century.
The author recounts their visit to the National Museum of the U.S. Air Force in Dayton, Ohio, specifically to see the XB-70 Valkyrie. They were deeply impressed by the sheer size and unique design of this experimental supersonic bomber, describing its presence as awe-inspiring and otherworldly. The post focuses on the aircraft's visual impact, highlighting features like the drooping wingtips and massive size, alongside numerous high-quality photographs showcasing the plane from various angles. The author emphasizes the privilege of witnessing such a rare and significant piece of aviation history, capturing their personal sense of wonder and the enduring legacy of the XB-70.
HN commenters generally express awe at the XB-70's ambitious design and capabilities, with several noting its stunning appearance and sheer size. Some discuss the technical challenges overcome in its creation, like the unique compression lift generated by its wingtips and the complex fuel system needed for Mach 3 flight. Others lament the project's cancellation, viewing it as a missed opportunity for advancements in supersonic flight. A few commenters offer personal anecdotes about seeing the aircraft in person, highlighting the visceral impact of witnessing such a large and unusual plane. The impracticality of the XB-70 as a bomber due to advancements in surface-to-air missiles is also mentioned, along with its later contributions to supersonic research. A recurring theme is the romanticism surrounding the project, representing a bygone era of ambitious aerospace engineering.
The Hacker News post asks for recommendations of both photographers and artists creating work with generative code. The author is seeking inspiration and hoping to discover new artists working in these mediums, specifically highlighting an interest in those who push boundaries and create visually unique outputs. They are open to various forms of photography and generative art, from still images to animations and interactive experiences.
The Hacker News comments on this "Ask HN" post offer a variety of artist suggestions, ranging from well-known figures to lesser-known individuals. Several commenters recommend photographers like Saul Leiter, known for his street photography and use of color, and Vivian Maier, whose street photography was discovered posthumously. Others suggest generative artists like Refik Anadol, noted for his data sculptures and immersive installations, and Tyler Hobbs, known for his algorithmic art and explorations of randomness and control. Some commenters focus on specific niches, recommending artists working with AI, analog photography, or particular coding languages like Processing. A few commenters also share their own work or mention online platforms for discovering artists, like fxhash.
Richard Feynman's blackboard, preserved after his death in 1988, offers a glimpse into his final thoughts and ongoing work. It features a partially completed calculation related to the quantum Hall effect, specifically concerning the motion of a single electron in a magnetic field. The board also displays a quote from "King Lear" – "What art thou that dost torment me in this world" – alongside a drawing and some seemingly unrelated calculations, hinting at the diverse range of topics occupying his mind. The preserved blackboard serves as a poignant reminder of Feynman's relentless curiosity and enduring engagement with physics.
HN users discuss the contents of Feynman's blackboard, focusing on the cryptic nature of "Know how to solve every problem that has been solved." Some interpret it as a reminder to understand fundamental principles rather than memorizing specific solutions, while others see it as highlighting the importance of studying existing solutions before tackling new problems. A few users point out the irony of the seemingly unfinished thought next to it, "What I cannot create, I do not understand," speculating on what Feynman might have intended to add. Others comment on the more mundane items, like the phone numbers and grocery list, offering a glimpse into Feynman's everyday life. Several express appreciation for the preservation of the blackboard as a historical artifact, providing insight into the mind of a brilliant physicist.
The Ryugyong Hotel in Pyongyang, North Korea, nicknamed the "Hotel of Doom," remains unfinished and unopened despite decades of construction. Recent photos offer a glimpse inside the colossal 105-story pyramid-shaped structure, revealing bare concrete interiors and a lack of fixtures or furnishings. Although exterior lighting and some window panes have been installed, suggesting intermittent progress, the building's interior appears far from completion. Originally envisioned as a symbol of North Korean ingenuity and a luxury hotel, the Ryugyong Hotel has become a notorious symbol of the country's economic struggles and broken promises.
HN commenters discuss the Ryugyong Hotel's history, noting its construction coincided with the fall of the Soviet Union and subsequent economic hardship for North Korea, halting progress. Some express skepticism about its true "emptiness," suggesting possible internal use by the regime or as a surveillance hub. Others point to the hotel as a symbol of North Korean propaganda and failed ambitions. The practicality of its pyramid shape is questioned, with comments suggesting its form was chosen for symbolic, not functional, reasons. The discussion also touches on the challenges and ethical considerations of tourism in North Korea. Several users highlight the difficulty of verifying information coming out of the country.
"The Human Alphabet," published in 1848, presents a whimsical yet structured exploration of letterforms created by contorting the human body. Engraved by artist Edward Lumley, the illustrations depict men, women, and children individually and in groups, painstakingly arranged to mimic each letter of the alphabet. The poses range from simple to complex, demonstrating both the flexibility of the human form and the ingenuity required to achieve these typographic representations. Ultimately, the work serves as a playful intersection of art, anatomy, and typography, offering a unique visual interpretation of the alphabet.
Hacker News users discussed the historical context and artistic merit of human alphabets. Some noted similar formations depicted in older works, like a 15th-century manuscript. Several appreciated the diversity represented by including non-Western alphabets, pointing out examples from Ethiopia and India. There was debate about the practicality and accuracy of the formations, with some questioning how legible or standardized they truly were, particularly for languages with larger character sets. Others found the concept aesthetically pleasing and fascinating, appreciating the ingenuity and creativity of representing language through the human body. A few comments focused on the photographer's skill in capturing these intricate poses. The overall sentiment leaned toward appreciation for the historical curiosity and visual appeal of the human alphabets.
The 1930s saw a diverse range of camera formats coexisting, from large format plate cameras favored by professionals to increasingly popular roll-film cameras like folding cameras and box cameras for casual users. Miniature format cameras using 35mm film, though existing, were still gaining traction. The era was characterized by evolving technology, with advancements in lenses, shutters, and film contributing to improved image quality and ease of use for amateur photographers. While sophisticated, high-quality cameras were available, affordability remained a barrier for many, with simpler, more accessible cameras dominating the consumer market.
Hacker News users discussed the practicality and social implications of the "Living Image" setup described in the linked article. Some questioned the claimed real-time nature of the system given the technological limitations of the 1930s, suggesting significant latency and low resolution would have hampered true "live" viewing. Others pointed out the substantial resources required, making it an exclusive technology accessible only to the very wealthy. The potential for surveillance and voyeurism was also raised, with comparisons to modern security systems and the panopticon concept. Finally, several commenters expressed fascination with the ingenuity of the system and the glimpse it provided into the technological aspirations of the era.
Trevor Traynor's photo series "Newsstands, 2012-2019" documents the disappearing presence of New York City newsstands over seven years. The photos capture the diverse and often cluttered character of these small businesses, showcasing their role as a microcosm of city life. The project subtly highlights the changing urban landscape and the decline of print media as many of the featured stands eventually vanish, leaving behind empty sidewalks. The series serves as a visual elegy for a fading piece of New York's cultural fabric.
Hacker News users generally praised the photography and nostalgic feel of the "Newsstands" project. Several commenters shared personal anecdotes about their experiences with newsstands, highlighting their role as community hubs and lamenting their decline. Some discussed the changing media landscape and the impact of digital news on print publications, which contributed to the disappearance of these businesses. A few users pointed out technical aspects of the photographs, like the consistent framing and lighting, while others appreciated the project's focus on a specific, vanishing piece of urban life. A couple of New Yorkers offered insights into the continued existence (albeit diminished) of newsstands in the city, noting their evolution towards selling snacks and beverages.
The Finnish Wartime Photograph Archive (SA-Kuva) offers free access to over 160,000 digitized photographs documenting Finland's wars between 1939 and 1945, including the Winter War, Continuation War, and Lapland War. The archive features images from both the military and home front, providing a comprehensive visual record of the conflicts' impact on Finnish society. Searchable in Finnish, Swedish, and English, the archive facilitates research and allows users to explore photographs by keyword, photographer, location, and date.
Hacker News users generally expressed appreciation for the Finnish Wartime Photograph Archive, praising its size, searchability, and the quality of the digitized images. Several commenters pointed out the poignant contrast between mundane photos of daily life and those depicting the harsh realities of war. Some noted the powerful human element present in the collection, observing that the faces of the soldiers and civilians captured reflect universal experiences of conflict and resilience. A few users with Finnish ancestry shared personal connections to the archive, explaining how it helped them connect with their family history and understand the experiences of their relatives during wartime. The ease of navigation and browsing through the vast collection was also highlighted as a positive aspect.
Fluorescent mineral photography captures the vibrant, otherworldly glow of minerals under ultraviolet light. This specialized photography requires UV light sources, filters to block visible light, and a long exposure time to reveal the fluorescent colors invisible under normal lighting. The website "Nature's Rainbows" showcases a stunning collection of these photographs, demonstrating the wide range of colors and patterns produced by different mineral specimens, transforming them into breathtaking works of art.
Hacker News users discussed the challenges and rewards of fluorescent mineral photography. Several commenters highlighted the highly specialized and technical nature of the process, emphasizing the need for specific UV light sources, filters, and camera settings. Some shared their own experiences and offered advice on equipment and techniques, including the use of tripods and stacking software to improve image quality. The discussion also touched upon the ethics of enhancement and representation in mineral photography, questioning the balance between showcasing the beauty of fluorescence and maintaining scientific accuracy. The rarity and cost of some fluorescent minerals were also noted. There was a general appreciation for the beauty and otherworldly appearance of the photographed specimens.
The Atlantic has announced the winners of its 2024 infrared photography contest, "Life in Another Light." The winning images, showcasing the unique perspective offered by infrared photography, capture surreal and dreamlike landscapes, transforming familiar scenes into otherworldly visions. From snowy mountains bathed in an ethereal pink glow to vibrant foliage rendered in shades of red and white, the photographs reveal a hidden dimension of color and light, offering a fresh perspective on the natural world.
Hacker News users generally praised the striking and surreal beauty of the infrared photos. Several commenters discussed the technical aspects of infrared photography, including the use of specific film or digital camera conversions, and the challenges of focusing. Some pointed out how infrared alters the way foliage appears, rendering it white or light-toned, creating an ethereal effect. A few users shared links to resources for learning more about infrared photography techniques and equipment. The overall sentiment was one of appreciation for the unique perspective offered by this photographic style.
This article details the creation of a custom star tracker for astronaut Don Pettit to capture stunning images of star trails and other celestial phenomena from the International Space Station (ISS). Engineer Jas Williams collaborated with Pettit to design a barn-door tracker that could withstand the ISS's unique environment and operate with Pettit's existing camera equipment. Key challenges included compensating for the ISS's rapid orbit, mitigating vibrations, and ensuring the device was safe and functional in zero gravity. The resulting tracker employed stepper motors, custom-machined parts, and open-source Arduino code, enabling Pettit to take breathtaking long-exposure photographs of the Earth and cosmos.
Hacker News users generally expressed admiration for Don Pettit's ingenuity and "hacker" spirit, highlighting his ability to create a functional star tracker with limited resources while aboard the ISS. Several commenters appreciated the detailed explanation of the design process and the challenges overcome, such as dealing with vibration and thermal variations. Some discussed the technical aspects, including the choice of sensors and the use of stepper motors. A few pointed out the irony of needing a custom-built star tracker on a space station supposedly packed with sophisticated equipment, reflecting on the limitations sometimes imposed by bureaucracy and pre-planned missions. Others reminisced about previous "MacGyver" moments in space exploration.
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https://news.ycombinator.com/item?id=43653885
HN commenters were largely critical of Adobe's social media strategy. Some felt their attempt at lightheartedness ("besties" post) fell flat and appeared out of touch, especially given the context of recent price increases and perceived declining product quality. Others saw the deletion of the posts as an acknowledgement of this misstep, but also an avoidance of genuine engagement with user concerns. Several suggested Adobe should focus on improving their products rather than managing their social media presence. A few commenters offered more cynical takes, speculating on internal pressure to appear active on new platforms regardless of having meaningful content.
The Hacker News post discussing Adobe's deletion of Bluesky posts after facing backlash has generated a moderate number of comments, focusing primarily on the nature of the original artwork, the implications of AI training datasets, and Adobe's handling of the situation.
Several commenters discuss the fact that the artwork used was a redrawing of a copyrighted piece, questioning whether the artist who redrew it had the right to give permission for its use. This raises questions about the chain of ownership and copyright when derivative works are involved. Some argue that Adobe should have performed better due diligence before using the artwork, regardless of the artist's granted permission.
The discussion also delves into broader concerns about AI training and copyright. Commenters point out the existing legal ambiguities surrounding the use of copyrighted material in training datasets, and the potential for lawsuits to clarify these issues. There's a sense that this incident with Adobe is a symptom of a larger, unresolved problem. Some speculate about the future legal landscape and how it might affect artists and AI developers.
A few comments mention the original "Loebner prize winner" artwork itself, expressing surprise at the amount of attention it's receiving given its relative simplicity. They contrast it with the rapid advancements in AI image generation and question why Adobe would choose such a basic image for their demonstration.
Several commenters criticize Adobe's decision to delete the posts, viewing it as an attempt to sweep the issue under the rug rather than engage with the criticism. This perceived lack of transparency fuels further distrust of Adobe's practices.
Some of the most compelling comments highlight the potential chilling effect this incident could have on artists. They express concern that artists might become hesitant to share their work online for fear of it being used without proper compensation or attribution in AI training datasets. This ties into the larger ethical questions surrounding AI art and the rights of artists.
A few comments offer alternative perspectives, suggesting that the backlash might be disproportionate to the offense. They argue that the use of the image, given the artist's permission, might not have been intentionally malicious. However, these views are in the minority, with the majority of commenters expressing disapproval of Adobe's actions and concern about the broader implications for artists and copyright.