Reddit user BeardoGREG shared this unusual selfie of his family. I was mightily confused until one commenter explained it: “You were shot out of a cannon. The cannon is behind you and you are flying straight into the camera with that determined look on your face.” (r/confusing_perspective)
Neuhaus.world is a music video for Rotterdam artist Jo Goes Hunting in which the hyperdelic landscape in the video is generated by photos contributed by visitors to the site. “The video is made by Moniker in conjunction with Neuhaus, a temporary academy for more-than-human knowledge at Het Nieuwe Instituut.” Neuhaus.world (via Waxy)
Looking for a career in IT, gaming or software development? In the ever-changing world of the internet, versatility is your biggest asset. In other words, mastering Java might not cut it in an interview if you don’t know C#. However, there’s a bundle that covers the essentials in most any language. The Legendary Learn to […]
Getting a set of cookware that will outlast you is one of those signs you’ve truly grown up. It used to be easy to find durable materials that also cook well, but these days it can be hard to tell what’s quality and what brands are coasting by on a recognizable name. Well, there’s at […]
Whether you’re writing company memos or meticulously crafting a novel, everybody needs an editor – and we’re not just talking about a spell checker. Writing software has gotten pretty intuitive, to the point where programs like ProWritingAid can guard against more than just silly mistakes. They can actually improve your style. Designed as the first […]
The Sony World Photography Awards 2019 ended on April 18th with the final ceremony. The Italian Federico Borella won the price of the Photographer of the Year with his series “Five Degrees”, that aims to open our eyes on the dramatic conséquences of the climate change on Indian agriculture, that led to a massive wave of suicides among the Farmers. “I wanted to be able to show how our choices in the west affect people in places like India,” Borella said to The Guardian. “I felt obliged – but I didn’t want to produce cliched photos of desperate conditions in India. I wanted this to tell a personal story. “This visibility is simply an incredible oppportunity for me as a photographer, this is a winning ticket, a chance that only happens once” he adds. All the candidates explored, through their works, the main issues of contemporary world.
“I love spending time in front of a computer working on my images – sorting them, cataloging them and editing them,” said no photographer ever!
Well, maybe a few of us like to be sitting in front of our desk pouring over image after image, shoot after shoot. But let’s face it, as photographers, we would much rather get out there and photograph in the field than be chained to our desk and computers indoors.
This is where having a good solid workflow that can help you ease the post-shoot process is very important. Workflows are not just for the editing portion of your life as a photographer. In fact, a workflow is something that can help you before, during and even after your photo shoot.
Whether you are a busy professional photographer or an active hobbyist, having a good solid workflow and method of organizing images is crucial.
Having a workflow is even beneficial if you just photograph on your smartphone.
We have all been in situations where your phone runs out of space because you have images from three years ago that you have done nothing with. Sorting through three years worth of data to find images to delete under pressure of missing a key moment is no joke!
I wear many different photography hats as a wedding, lifestyle and travel photographer. So my workflow is slightly different based on the type of session I am photographing. But for the most part, I follow the same series of steps.
Here is my process. Hopefully, you may be able to replicate some or all of these steps to create a process that works for you in your photography.
Hexbyte – Glen Cove – News 1. Choice of Gear
My camera of choice is a Canon 5D MKIII. At this point, I only have one digital camera. I used to have a Canon 5D MKII as my backup, but ever since I starting working with a second shooter for my weddings, I didn’t find the need for my Canon 5D MK II. So I sold it.
For commercial shoots or bigger gigs that require multiple cameras and lenses, I just rent what I need. I am lucky in that I have a big camera store close to home that has all the gear I could need. They even have a studio that I can rent out should I need more space.
Batteries and Cards
I purchased two extra batteries when I was a full-time wedding photographer, and because I sold my backup gear, I am now left with extra camera batteries for my primary camera.
This works really well because I carry all my batteries with me when I am traveling or going to a multi-day event. That way I don’t have to worry about finding a plug point or charging my camera battery in the field.
This was a lifesaver earlier in the year when I traveled to Portugal and lost my power converter/adaptor. Try figuring out how to say power adaptor in a part of the world where you don’t speak the language! I drained out my batteries to the very last percent of battery juice during that trip!
Side tip: try shaking the battery to squeeze out every last bit of battery juice if you are running out of battery life. I’m not joking. I have tried this successfully many times in Portugal to get that last shot before the battery died!
I have 5 x 32GB CF cards, 3 x 16GB CF cards and a handful of 8 GB CF cards. For the most part, all these cards travel with me for a multi-day shoot or a personal travel trip that is several days long.
Part of my pre-shoot workflow includes downloading all my cards, charging my batteries and packing my bag with everything I need the night before.
My camera bag is a backpack that I used not just my photography but also for excursions and trips around town. I ditched the proverbial camera bag many years ago when I started traveling with my family of young kids. Carrying a camera bag, diaper bag, and a purse was just not practical. Also, once I got used to carrying a day pack that held all my treasures, it just seems second nature to me to pick that bag up no matter what the occasion.
Since I have just one camera/day pack, part of my workflow is to make sure the bag is empty and ready for the next adventure as soon as I come back home from a shoot/trip or even just going around town.
Luckily, it has enough pockets to store batteries, CF cards and other things like filters, and flashes.
At a recent class I taught, I loved seeing the diversity in terms of camera bags that everyone was using!
Hexbyte – Glen Cove – News 2. During the shoot
There is nothing quite like learning the importance of having a workflow than losing data or content in the absence of one. I learned the hard way when I lost all my images from a shoot on a card that failed. Luckily it was for a family shoot that I could reschedule.
So from that point onwards, I change my camera data card with each logical break in the event I am photographing.
For example, if I am photographing a wedding, I have the getting ready activities on one card, the ceremony on another card and the reception on a third card.
Even though the cards are not full, this gives me the security of losing only a part of the day should anything go wrong.
Of course, my backup for weddings is my second photographer who does the same thing.
For non-wedding related client work, I use a backup SD card in my camera. The Canon 5D MkIII has a dual card slot, so I take full advantage of the technology at my fingertips. If I am on a personal assignment, I change out my cards every night and download the photos onto an external drive.
Another thing that is important to note is how you store used and unused data cards. Figure out a system that works for you in how you separate the two. For me, used CF cards from a photoshoot are placed in a separate pouch from unused CF cards. I place those in another pouch in my camera bag.
In terms of the actual shoot, try and come up with a game plan for what you are photographing. As a wedding photographer, one of the key things I make sure to discuss with my wedding couples is a shot list. A shot list is a list of all the key moments and images that the couple absolutely wants to have taken. Typically these are around photos with family members.
With client and commercial shoots, the clients typically have a list of images they want to get from you. Use this concept of a shot list to list down all the ‘must have’ images you want to get out of a photographic excursion.
Shot lists save you effort, and they help you become more efficient with your time in the field.
Wedding photography can be quite stressful. There isn’t really a do-over option if you mess up. Having a workflow is critical and life-saving for a wedding photographer.
Hexbyte – Glen Cove – News 3. After the shoot
When I am back home from a wedding or a lifestyle shoot, the first thing I do is pack away my gear. I separate my camera body from my lenses and pack them away separately. All batteries are removed, including those from my flash. I have heard horror stories where batteries, especially AAAs, have leaked into the flash socket, so I don’t want to have to deal with that mess! Plus I use rechargeable batteries for all my flashes and external lights. Once they are out, I put them back in the case ready to be recharged for the next photography gig.
If I am at a multi-day shoot, all batteries are plugged into the charger slots right away.
These are the steps I take with my images:
I download all the images from my CF cards onto TWO external hard drives, that act as a storage for my RAW images.
Once the RAW images are successfully transferred to my external hard drive, I go through and spot check the images and the total image count to make sure all the images are moved over.
Images are moved over based on the shoot, location or event. For example a wedding will be downloaded as follows on the primary storage drive:
The secondary drive is less formal and has images just based on the event. For example:
I then format the cards in camera. This is done on the camera rather than the computer. The reason for this is because I have found that sometimes all the images are not cleaned out and the card still retains some data that occupies unnecessary space.
Treating every client shoot like it was a wedding really helped me nail down a process and workflow that works for me. Now it is second nature and something I don’t even have to think about.
Hexbyte – Glen Cove – News 4. After the shoot (remote)
When I am traveling for work or pleasure, I carry one WD My Passport Ultra external hard drive and all my camera data cards. Earlier in my career, I would carry two external hard drives and create primary and secondary backups in the field. Now I have found that I don’t photograph as much because I am more thoughtful about what I photograph.
So now I just carry all my cards, and one external hard drive to back them up in the field. I avoid taking an external hard drive when I am just traveling for pleasure or personal work to reduce my load.
When I get home, the RAW files from the CF cards used during the trip are copied over to both external hard drives (primary and secondary) that house all my raw images. They are deleted from the WD Ultra so that it is ready for my next trip.
Early in my photography career, there were times where I would travel with almost every lens I owned, a laptop, two external hard drives, and many camera cards to be safe. Perhaps it is age, or perhaps it is maturity (I like to think it is a little bit of both), but now I try to travel light and take only what is absolutely needed to get the job done.
If I need something along the way, I either borrow, rent or figure out creative solutions to make things work.
I would argue that personal photos are more important than professional ones – especially as the dedicated photographer of the family. I love documenting our journey for no-one but me!
Hexbyte – Glen Cove – News 5. Editing workflow
Eighty percent of my editing happens in Lightroom (LR). Photoshop is used sparingly if I have to make any advanced editing. I have invested in the Adobe Creative Cloud for LR and Photoshop. I’ve installed them on my iMac (my primary editing device), as well as my MacBook Pro (my travel companion).
My Lightroom catalog lives on an external HD. I understand some people have concerns over running a LR Catalog on an external HD, because of potential LR speed issues. So far, I have not experienced any issues with LR in terms of speed by having the catalog on an external HD. However, if you are concerned about speed, then your LR catalog can be put on your computer’s hard drive, and keep a backup on the external HD. A backup of my LR catalog lives on a cloud service that is updated every six weeks.
I used to use iPhoto on my iMac to store all my images and only upload selected images to Lightroom. I tried to use Bridge for a few years to select images that I want to import into Lightroom. Now I use Photos on my Mac to select images that I want to edit and upload them into Lightroom.
I know it is probably easier to just upload all images to Lightroom and sort them via the software to save an extra step. I have one Lightroom catalog that houses all my work since 2012, and so there are quite a few images in the catalog. I had found that when I used Lightroom to sort and select images, it takes forever to load.
My Lightroom catalog is sorted by year, and I use the following naming convention for my Lightroom. I am less worried about the naming convention in Lightroom than I am with my primary and second storage units. This is just my personal preference.
After editing is complete, I export my client images onto the same WD Ultra external hard drive as my Lightroom catalog.
The client folders get arranged by the date of the session.
This time the naming standard is as follows:
All images have the same naming convention as the folder, along with an image sequence number.
Every few years I go through and delete edited galleries from the external hard drive. I don’t delete client RAW files – just the edited files. I have found myself going back to many client galleries and re-editing images as my style evolves and changes. There is no point in keep multiple copies of the same image.
I use a mix of presets and hand edits for my images. It took me many years to finally come up with a style and method of how I want my images to look. Ninety percent of my edits follow that same process. Every once in a while I drastically change my “look” to keep things fresh.
As a rule, I spend no more than a minute on each image. I would much rather be outside photographing than indoors editing.
Exact same image – two different looks. And I love them both.
Hexbyte – Glen Cove – News 6. Editing Remotely
I really avoid extensive editing of images in the field. I prefer to focus on documenting and photographing rather than same day edits. I would much rather take a quick snapshot on my iPhone and edit using phone apps for a quick social media preview than spend time and effort in editing in the field.
A couple of years ago, I traveled out of the country for three months over the summer. This was before Lightroom came up with their cloud version. Because I was gone for so long, I took my Lightroom catalog with me on an external drive and used that for 3 months.
Recently, I started using Lightroom Classic and Lightroom CC for my workflow. I primarily used them for working when traveling. When I know I need access to my files for a particular project or a particular job, I upload those files to my Lightroom CC and work on them while on the road. Once back home, I ‘sync’ Lightroom CC as a collection in my Lightroom Classic and have all those edits readily available.
Hexbyte – Glen Cove – News 7. Client workflow
I use an external portfolio service to host my images for client work. These client galleries are only online for three weeks, and then they are deleted. My wedding photography packages all include edited images on a personalized flash drive whereas my family portraiture clients have the option of purchasing digital images if they want them for future use.
Every few years I go through and update client galleries and delete old ones. Keep in mind these are just the edited files. My client RAW files are stored indefinitely in case a client comes back after a few years for the images. If you don’t want to delete client images, you can invest in an external cloud storage system.
Hexbyte – Glen Cove – News In Conclusion
While it might seem like a lot, my workflow has simplified over time. Just as I limit the gear I own and use, I also try and limit the images I capture – for both client and personal work. Having 100 photos of a spectacular sunset no longer make sense to me. I also stick to my workflow because it saves time in the long run.
One of my favorite things to stock up on are external hard drives. Every so often they fail, and I have to replace them. As cloud storage gets more accessible and less expensive, I can see myself moving things over to the cloud and simplifying my process and workflow even more.
I encourage you to use this, or some variation of this workflow and tweak it to make it your own. If you do it consistently and often enough, it becomes second nature and saves you time so you can do what you enjoy doing – photographing.
Hexbyte – Glen Cove – News Ravishing shows, at the Brooklyn Museum and the Gagosian Gallery, contrast a master of spontaneous street photography with one of plotted theatricality.
Garry Winogrand once defined a photograph as “what something looks like to a camera.” Keep that in mind when viewing “Garry Winogrand: Color,” a fiercely pleasurable show, at the Brooklyn Museum, consisting mainly of hundreds of digitally projected Kodachrome slides, most from the nineteen-sixties. Winogrand, the all-time champion of street photography, died in 1984, at the age of fifty-six. He is most famous for his hyperkinetic shots of unaware—or wary too late—pedestrians, taken with high-speed black-and-white film. The relatively long exposures required by color film steered him to subjects more static: people seated rather than walking, or at a beach instead of on the street. Winogrand sometimes carried two cameras, often with a 28-mm. wide-angle lens: one loaded with black-and-white film and the other with color. But, in every case, the camera appears to have had a will of its own.
In film footage of him at work, a Leica repeatedly jumps, hungrily, to his eye and, a split second later, darts away, sated—going about its business while Winogrand chats with an interviewer. His part in the action looks like the gesture of a man brushing off a fly. (If a subject noticed what had happened and seemed startled, Winogrand would smile disarmingly, nod, and even pause to talk.) The shots taken may never have been seen by anyone, including the shooter. Winogrand left behind several thousand unproofed (not printed to contact sheets) and undeveloped rolls of film. Indulging his cameras drove him, as the toil of reaping their harvests did not. One of his wives (there were three) said that living with him was “like being married to a lens.” But what a lens!
Winogrand was photography’s climactic, even terminal, modernist, forcing to an extreme the medium’s forte: the description of visual reality. You don’t get elegant compositions from him. (Painters can supply those.) You see the comprehensive capture of scenes on the wing. If the camera tilts, it’s not for arty effect but to squeeze in the relevant details of, say, a group of women bustling forward between a beggar in a wheelchair and a small group of people standing or sitting at a curb—three rhythms in flashing counterpoint. It’s not a Cartier-Bresson-style “decisive moment” but perhaps an instant just after or just before such a moment, with a little lurch in time, like the favored offbeat in jazz. Each person can seem observed in some unconscious dance or solipsistic performance.
In his color work, he sometimes accepted ambient blurs of motion to emphasize, and estrange, the stillness of a certain subject amid a street’s commotion. Shopwindows served him, as seen in an image of mannequins in bridal gowns seeming to behold two nondescript men in black coats and hats obliviously trudging by. Meaning hangs fire, insistent but elusive. This is terrifically exciting—and humbling. It tells me that, as much as I relish city life, I miss perceiving all but a fraction of what goes on around me. Seeing was its own reward, for Winogrand. The photographer Stephen Shore has remarked that Winogrand didn’t need to develop his pictures to know how they’d look any more than Beethoven needed to hear how his music sounded.
Winogrand was a son of working-class Hungarian and Polish immigrants in the Bronx. After high school, he served in the Air Force and then studied painting, followed by photography, at City College, Columbia, and the New School. He subsisted as a photojournalist until around 1960, when he began to identify himself as an independent artist—a peer of such brilliant contemporaries as Diane Arbus and Lee Friedlander. Like them, he was hailed, and collected, by John Szarkowski, the magisterial curator of photography at the Museum of Modern Art. Formerly a poor relation of painting and sculpture, photography was gaining prestige as a pursuit central to modern sense and sensibility—all the more as important painters, starting with Andy Warhol and continuing with the likes of Gerhard Richter and Vija Celmins, capitulated to it by adopting photographs as their subject matter.
Winogrand’s work fell out of fashion in the seventies, partly owing to an emerging cohort of young artists who were skeptical of photography’s claim to veracity and partly for social and political reasons. A charge that he invaded people’s privacy seems quaint today, when no one can boast immunity to surveillance, but, in 1975, he made big trouble for himself with “Women Are Beautiful,” a book of sneaked shots of women on streets, in parks or restaurants, and at parties or political demonstrations. The project’s temerity outraged feminists and, to some extent, embarrassed almost everybody. Winogrand was denounced as predatory. It seems fairer to say that he was worshipful. But chivalrous ardor no longer cut ice as an alibi for presumption. The pictures, which are, indeed, beautiful, may be the last major artistic stand of the complacent male gaze.
The Brooklyn Museum show is flawed in a number of ways. First is the fact that Winogrand didn’t take digital images, though he surely would have embraced the technology. He took color slides. In one room, a carrousel projector circulates some of his slides, to authentic, relatively homely effect. Sixteen sequences of big digitized images projected onto the walls of a long room, by contrast, are only too gorgeous, in the medium’s smoothly flattening way. (We have become inured to the weirdness of digital picturing, which makes everything seem formed of a single miracle plastic.) The show ends with a selection from the museum’s holdings of black-and-white prints, which, as you emerge from what amounts to a chromatic car wash, look glum. The projections also go by at clips—eight seconds apiece for horizontal pictures and thirteen seconds for interspersed verticals—that pander to present-day attention deficits. Winogrand worked fast, but to absorb the results takes time, first to register the subjects and then to have the form and the drama, the intelligence and the beauty, of the vision sink in.
Finally, the onslaught of images of the U.S.A. in the sixties—those cars, those clothes, that hair—generates a misleadingly rah-rah glamour. (By the way, I lived in New York back then, and I recall it as a lot drabber and rougher—while fabulous, of course—than it appears in this show.) In truth, Winogrand was pessimistic about the nation. “Our aspirations and successes have been cheap and petty,” he wrote in an application for a Guggenheim grant. Subtract nostalgia from your response to the color work and consider how forced and tawdry are the seeming high spirits and the strenuous styles—hysterias of a prosperous era rushing toward smash. Winogrand’s full complexity as an artist, not even to think of the immensity of his unseen work, remains ungraspable.
Jeff Wall, whose show at the Gagosian Gallery is his first there after decades with the Marian Goodman Gallery, is one of the artists who came along in the seventies to torpedo the authority of direct photographers such as Winogrand. Wall was born and lives in Vancouver, British Columbia, which incubated a virtual school of technically ingenious, politically minded photographic and video artists, most notably Stan Douglas. Wall won fame for staged and manipulated color pictures, blown up and mounted on glowing light boxes. They worked by offsetting visual splendor with the thematic chill of, for example, Native Americans encamped beside a freeway bridge, or a white man on a street making a racist gesture to an Asian, or a panorama of actors posing as hideously wounded soldiers, or a steeply angled view of a suburban neighborhood where an eviction is in progress, or, less dire, the meticulous enactment of a famous Hokusai print of people by a pond in a high wind, which sends papers flying from the grasp of one character—a work whose staginess seems not its method but its very point. Each Wall picture is a one-off, secreting heady references and implications. You never know what to expect of him. He doubles down on surprise in this show, with eight very large works and one of modest size. All dispense with light boxes, a device that he has ceased to use in recent years.
Two works are black-and-white straight photographs, one of a brush-covered hillside in Sicily and the other of a bodybuilder hoisting weights in a squalid gym. Simple? Not really. Writing in the show’s catalogue, the critic and curator Russell Ferguson adduces Mediterranean history in Italian literature for the former and Plato’s cave for the latter. More readily ponderable is a lovely shot, made in Israel, of Bedouin olive pickers asleep under blankets on rugged ground at dawn, with the long, low expanse of a prison in the background. (But note that you wouldn’t know what the subject is if you weren’t told.) Two diptychs evoke bourgeois tristesse. One shows a couple sitting together at one end of a living room and apart at the other; the work is made uncanny by Wall’s casting of the pairs with different people who look very much the same. The second presents a young naked man on a floor and a young naked woman on a bed, both apparently fathoms deep in depression. A triptych tells riddling tales of masters and servants, with the same two actors playing all the roles, in two sumptuous gardens at an Italian villa. On a street in Los Angeles, a man with a tattoo in Hebrew appears perplexed by a little girl contentedly curled up on the sidewalk. In addition, there’s an awkwardly odd Arcadian scene of painted figures around a photographed young man. (Your move on that one.)
“The camera lies.” That was a watchword in the late seventies and early eighties among artists and promoters of the Pictures Generation, of which Wall was a kindred spirit. The game was to expose and/or to exploit photography’s deceitfulness, with implicit criticism of a culture industry bent on deluding the masses. Like other of those artists, Wall has gradually edged away from politics, toward aesthetic allure and more rarefied literary content. In retrospect, it’s ever clearer that the critical furor of the era was less revolutionary in artistic terms than it had seemed, though telling socially. Winogrand was as fully and dramatically cognizant of photography’s artificiality as, say, Cindy Sherman, but he assumed a right to be judged strictly on the quality of his work. What happened in the culture was a loss of licensed innocence, or, if you prefer, of impunity. ♦
Alexandra Bell Looks Back at the Central Park Five Case
Thirty years after the notorious crime and wrongful conviction, an artist looks at the responsibilities of journalism.
Dothraki. High Valyrian. Those languages on Game of Thrones sound so, so cool. If you’re ambitious, you can learn to speak them on your own—and some fans have—but if you really, really want to go for the gold, you create your own tongue.
Yes, you read that correctly. Latin may be dead, but that doesn’t mean the Lord of Light doesn’t want you to bring a language all your own to life. But how do you do it? We’re here to help.
WIRED asked David J. Peterson, the man behind the languages on Game of Thrones just how he does it. In the video above, he explains how to create new tongues, from mapping consonants to tongue placement to how to build all of your nouns and verbs. Have fun, and gundertark! (That’s our new word for “get going”—it’s a work-in-progress.)
Whether you’re looking to boost your productivity or your kill-death battle royale stats, these are the best keyboards for the job.There are few things as polarizing as PC keyboards. There are message boards and subreddits filled to the brim with opinions about the virtues and vices of different switch mechanisms, picking apart every aspect and component right down to the plastic used in the keycaps. There’s good reason for that. Whether we’re using a laptop or desktop PC, we spend more time than ever with our hands on or near a keyboard. We might as well make those hours as comfortable and enjoyable as possible. With that in mind, here are our five picks for the best computer keyboards. We hope they’ll make your home row feel a little more like home.
Note: When you buy something using the retail links in our stories, we may earn a small affiliate commission. Read more about how this works.
Best Overall Keyboard
Equipped with custom mechanical switches and crisp, colorful RGB lighting, the G513 is surprisingly subtle for a gaming keyboard. That’s why it’s my favorite keyboard for all-around use. Unlike many gaming devices, it doesn’t stick out like a sore thumb in an office environment. It’s quiet and understated when it needs to be—matte black like a stealth bomber. It achieves all of this without sacrificing any of the features you’d expect out of a high-end gaming keyboard, like customizable RGB lighting, durable keys, and a full-size number pad. You can even choose which switches it ships with: Romer-G Tactile, Romer-G Linear, or GX Blue switches. (See our switch explainer below.)
Best Smart Keyboard
Ever want a keyboard that can talk to your refrigerator? You’re in luck. The Das Keyboard 5Q is a formidable and well-designed gaming keyboard with all the usual bells and whistles, like RGB lighting and a customizable knob for additional controls. It can also link up to your smart home devices. Using IFTTT shortcuts, you can train your keyboard to flash a certain key for reminders, dim your smart lights, or even let you know when someone left the garage door open. In an age with smart coffee mugs and Wi-Fi connected juicers, why shouldn’t something as functional as your keyboard give you a little more control over the devices in your life?
Best Gaming Keyboard
Vulcan 120 Aimo
What’s the point of having a mechanical keyboard if you can’t see those meticulously engineered switches at work, right? That’s the design philosophy behind the Vulcan 120 Aimo, which puts its custom-built Titan switches on display with thin little keycaps. The switches themselves are illuminated from below with delightfully bright and customizable RGB lighting. Designed for gaming, Roccat’s Titan switches feel quick, responsive, and tactile. They help make the Vulcan 120 a precision instrument designed for competitive play.
Best Cheap Keyboard
Mechanical keyboards, long sought after for their superior responsiveness and tactile feedback, are the gold standard for gaming keyboards—and they’re usually priced to match that reputation. The Aukey KM-G3 bucks that trend. It offers those delightful clickity-clack keystrokes you want for less than $100. The included “blue” switches under each key are notoriously loud, giving each keystroke its characteristically satisfying click. Whether you’re writing up expense reports or swapping loadouts in Fortnite, the KM-G3 offers a satisfying typing experience at a price that’s hard to beat.
Best Work Keyboard
The Logitech Craft is a productivity tool. It’s made to slay spreadsheets, not orcs. It looks right at home in any workstation, with an aluminum and matte gray plastic design and quiet island-style keycaps. It’s wireless and has lasted us almost a week on a charge, but the standout feature is undoubtedly the touch-sensitive knob called the Crown. The included software features dozens of preprogrammed profiles to help make the most of it in different applications. The Craft intelligently recognizes which application is in use and configures the Crown to react appropriately. With just a twist or a tap you can adjust the volume of your music, advance a timeline in Adobe Premiere Pro, or jump between browser tabs in Google Chrome.
Switch It Up
Which Switch Is Right for You?
Mechanical keyboards are defined by their switches, and there are dozens of different kinds out there. They all feel a little different, and it’s tough to know which kind is right for you. Manufacturers like Logitech and Razer use their own proprietary switches, further complicating things. But no matter who makes them, switches typically come in one of three varieties. Clicky switches typically have very little resistance mid-stroke, followed by a sharp click as you press the key all the way down. Tactile switches behave similarly but have a less pronounced click after that mid-stroke resistance. And Linear switches feel smooth, quick, and sensitive—like hair triggers.
In early 2003, Intel launched the new Pentium 4 “HT” processor. This processor was clocked at 3 GHz and had “Hyper-Threading” Technology.
Over the following years, Intel and AMD battled to achieve the best desktop computer performance by increasing bus-speed, L2 cache size and reducing die size to minimize latency. The 3Ghz HT was superseded in 2004 by the “Prescott” model 580, which clocked up to 4 GHz.
It seemed like the path forward for better performance was higher clock speed, but CPUs were plagued by high power consumption and earth-warming heat output.
Do you have a 4Ghz CPU in your desktop? Unlikely, because the way forward for performance was higher-bus speed and multiple cores. The Intel Core 2 superseded the Pentium 4 in 2006, with clock speeds far lower.
Aside from the release of consumer multicore CPUs, something else happened in 2006, Python 2.5 was released! Python 2.5 came bundled with a beta version of the with statement that you know and love.
Python 2.5 had one major limitation when it came to utilizing Intel’s Core 2 or AMD’s Athlon X2.
What is the GIL?
The GIL, or Global Interpreter Lock, is a boolean value in the Python interpreter, protected by a mutex. The lock is used by the core bytecode evaluation loop in CPython to set which thread is currently executing statements.
CPython supports multiple threads within a single interpreter, but threads must request access to the GIL in order to execute Opcodes (low-level operations). This, in turn, means that Python developers can utilize async code, multi-threaded code and never have to worry about acquiring locks on any variables or having processes crash from deadlocks.
The GIL makes multithreaded programming in Python simple.
The GIL also means that whilst CPython can be multi-threaded, only 1 thread can be executing at any given time. This means that your quad-core CPU is doing this — (minus the bluescreen, hopefully)
The current version of the GIL was written in 2009, to support async features and has survived relatively untouched even after many attempts to remove it or reduce the requirement for it.
The requirement for any proposal to remove the GIL is that it should not degrade the performance of any single-threaded code. Anyone who ever enabled Hyper-Threading back in 2003 will appreciate why that is important.
Avoiding the GIL in CPython
If you want truly concurrent code in CPython, you have to use multiple processes.
In CPython 2.6 the multiprocessing module was added to the standard library. Multiprocessing was a wrapper around the spawning of CPython processes (each with its own GIL) —
def f(name): print 'hello', name
if __name__ == '__main__': p = Process(target=f, args=('bob',)) p.start() p.join()
Processes can be spawned, sent commands via compiled Python modules or functions and then rejoined into the master process.
Multiprocessing also supports sharing of variables via a Queue or a Pipe. It also has a Lock object, for locking objects in the master process for writing from other processes.
So you can have concurrent code in CPython, but you have to carefully plan it’s application for long-running processes that have little sharing of objects between them.
Another alternative is a third party package like Twisted.
PEP554 and the death of the GIL?
So to recap, multithreading in CPython is easy, but it’s not truly concurrent, and multiprocessing is concurrent but has a significant overhead.
What if there was a better way?
The clue in bypassing the GIL is in the name, the global interpreter lock is part of the global interpreter state. CPython processes can have multiple interpreters, and hence multiple locks, however, this feature is rarely used because it is only exposed via the C-API.
One of the features proposed for CPython 3.8 is PEP554, the implementation of sub-interpreters and an API with a new interpreters module in the standard library.
This enables creating multiple interpreters, from Python within a single process. Another change for Python 3.8 is that interpreters will all have individual GILs —
Because Interpreter state contains the memory allocation arena, a collection of all pointers to Python objects (local and global), sub-interpreters in PEP 554 cannot access the global variables of other interpreters.
Similar to multiprocessing, the way to share objects between interpreters would be to serialize them and use a form of IPC (network, disk or shared memory). There are many ways to serialize objects in Python, there’s the marshal module, the pickle module and more standardized methods like json and simplexml. Each of these has pro’s and con’s, all of them have an overhead.
First prize would be to have a shared memory space that is mutable and controlled by the owning process. That way, objects could be sent from a master-interpreter and received by other interpreters. This would be a lookup managed-memory space of PyObject pointers that could be accessed by each interpreter, with the main process controlling the locks.
The API for this is still being worked out, but it will probably look like this:
This example uses numpy and sends a numpy array over a channel by serializing it with the marshal module, the sub-interpreter then processes the data (on a separate GIL) so this could be a CPU-bound concurrency problem perfect for sub-interpreters.
That looks inefficient
The marshal module is fairly fast, but not as fast as sharing objects directly from memory.
PEP 574 proposes a new pickle protocol (v5) which has support for allowing memory buffers to be handled separately from the rest of the pickle stream. For large data objects, serializing them all in one go and deserializing from the sub-interpreter would add a lot of overhead.
The new API could be interfaced (hypothetically, neither have been merged yet) like this —
That sure looks like a lot of boilerplate
Ok, so this example is using the low-level sub-interpreters API. If you’ve used the multiprocessing library you’ll recognize some of the problems. It’s not as simple as threading , you can’t just say run this function with this list of inputs in separate interpreters (yet).
Once this PEP is merged, I expect we’ll see some of the other APIs in PyPi adopt them.
How much overhead does a sub-interpreter have?
Short answer: More than a thread, less than a process.
Long answer: The interpreter has its own state, so whilst PEP554 will make it easy to create sub-interpreters, it will need to clone and initialize the following:
modules in the __main__ namespace and importlib
the sys dictionary containing
builtin functions ( print() , assert etc)
The core configuration can be cloned easily from memory, but the imported modules are not so simple. Importing modules in Python is slow, so if creating a sub-interpreter means importing modules into another namespace each time, the benefits are diminished.
What about asyncio?
The existing implementation of the asyncio event loop in the standard library creates frames to be evaluated but shares state within the main interpreter (and therefore shares the GIL).
After PEP554 has been merged, and likely in Python 3.9, an alternate event loop implementation could be implemented (although nobody has done so yet) that runs async methods within sub interpreters, and hence, concurrently.
Sounds great, ship it!
Well, not quite.
Because CPython has been implemented with a single interpreter for so long, many parts of the code base use the “Runtime State” instead of the “Interpreter State”, so if PEP554 were to be merged in it’s current form there would still be many issues.
For example, the Garbage Collector (in 3.7<) state belongs to the runtime.
On July 13, 1967, Susan Galvin was found dead in a parking garage elevator at Seattle Center. The 20-year-old administrative employee at the Seattle Police Department, who moved to Seattle from Spokane, Wash., a year earlier, had been strangled and sexually assaulted.
For more than 50 years, detectives have searched for a suspect in the unsolved murder, until a break in the case came a year ago, when Seattle police employed the same science and legwork that led to the arrest last April of a suspect in the notorious “Golden State Killer” case in California.
Relying on DNA evidence collected at the scene of the murder, detectives turned to a free genealogy website called GEDmatch to look for matches in its database of voluntary submissions. What they learned through ancestral links, further research and the creation of a family tree allowed them to zero in on a previously unknown suspect.
On Tuesday, during a meeting at SPD headquarters in downtown Seattle, Chief Carmen Best, alongside Homicide Detective Rolf Norton, turned to Chris Galvin, a surviving brother of Susan Galvin, and said that after almost 52 years, police were confident that they had identified Susan’s killer.
“We never give up,” Best said.
And Norton, a 24-year member of the department, with 18 as a homicide detective, said he was amazed at every turn by the evidence collection, investigation through the years and finally technology that allowed he and fellow detectives and scientists to solve the case.
“The fact that we’re here today and to be able to talk about what we could do with forensic evidence that was collected 51 years ago is astounding to me,” Norton said.
A death at Seattle Center
Unlike the “Golden State Killer” case, in which 73-year-old Joseph James DeAngelo was identified and arrested as the suspect behind multiple killings and rapes across California, Seattle police won’t be bringing anyone in alive.
Frank E. Wypych, the newly discovered killer in the Galvin case, died in 1987.
According to police, Wypych grew up in Seattle’s Ballard neighborhood and graduated from Pacific School in 1959. He served a stint in the U.S. Army in the early 1960s and was 26 years old and a married father of one living in the Seattle area at the time of Galvin’s murder.
Wypych worked general labor and security jobs and was known to visit Seattle Center during his leisure time. The sprawling events center built for the 1962 World’s Fair, and home to the iconic Space Needle, was a burgeoning hub of activity.
Galvin was a civilian records clerk at the Public Safety Building in downtown Seattle — “she was one of us,” Norton said Tuesday, rattling off her SPD serial number. She lived in the Lower Queen Anne neighborhood, adjacent to Seattle Center, and was also known to spend her off time there.
After failing to show up to work a midnight-to-8 a.m. graveyard shift on July 10, 1967, Galvin was reported missing and an investigation into her whereabouts began on July 12.
On the evening of July 13, 1967, Galvin’s body was found by an attendant in a Seattle Center parking garage at 300 Mercer Street. The garage, which had been closed for several days, provided access to an elevated walkway above the street which Galvin reportedly used to get to the bus she took to work.
The crime scene was processed using techniques available at the time — fingerprints were lifted from the elevator and garage area. Autopsy evidence samples were collected and Galvin’s clothing was entered into the department’s evidence files. Homicide Detectives Archie Porter, Dave Grayson, Henry Aitken and William Sands began an investigation which lasted well in to the next decade.
Wypych divorced from his first wife in 1971 and was arrested for larceny that year and sentenced to nine months in jail. He remarried in the mid-’70s and lived at various times in locations around Seattle, including South Park, West Seattle, White Center, Burien, SeaTac, and Federal Way.
He was living in Federal Way when he died in April 1987 from complications related to diabetes, police said.
New technology, new leads
DNA evidence was first used to gain a conviction in the United States in a 1987 rape case in Florida, and it ushered in a new era of police procedure in which samples were collected from suspects to use against them in court. The FBI established a database of DNA profiles in the 1990s to be used to help determine whether convicted felons could be tied to other crimes.
Seattle homicide detectives reviewed the Galvin case in 2002 and submitted items associated with the victim from the crime scene to the Washington State Patrol Crime Laboratory (WSPCL) for DNA analysis. WSPCL scientist Lisa Collins was able to recover DNA from semen on Galvin’s underwear, but when the profile was searched in the FBI’s Combined DNA Index System (CODIS), no match was located.
Norton began re-investigating the case in October 2016.
At one point he even tracked down a man who worked as a clown at Seattle Center during the time of Galvin’s murder. Witnesses told original case detectives that Galvin was seen talking to the clown on the afternoon of July 9. The man was interviewed by police in 1967 but released.
In November 2016, Norton re-interviewed the man and obtained a search warrant to collect a DNA sample. Back at the WSPCL, the DNA failed to match that recovered from Galvin and the man was cleared as a suspect.
In July 2018, the suspect DNA from Galvin’s clothing was submitted to Reston, Va.-based Parabon NanoLabs, a DNA technology company. “Solve your toughest cases — FAST!” reads a tagline on a company web page touting a service called Snapshot, which includes tools such as genetic geneaology, which helps identify a suspect by matching their DNA to one or more family members.
The suspect’s profile was reformatted and entered into GEDmatch, the public genealogy website. Parabon genealogist CeCe Moore then conducted genealogy analysis of the results from GEDmatch and located ancestral links — two distant cousines — to the offender profile.
Additional ancestral research led to the creation of a family tree associated with the suspect and Wypych emerged as SPD’s main person of interest from that analysis.
It was determined that Wypych still had offspring living in the area, and in January, Norton contacted a relative of Wypych and received consent to collect a DNA sample from that person, which was then submitted to the WSPCL for comparison to the suspect profile.
Norton stressed on Tuesday that the Wypych family has been nothing but cooperative.
“The family of Frank Wypych has not done anything wrong and therefore I would consider them peripheral victims of this whole incident,” Norton said.
Around the same time in January, Rachel Forbes, a latent print examiner with SPD, now had a name to check on, and she dug into an old evidence file to find prints recovered from inside the elevator in which Galvin was murdered. She was able to match a palm print recovered from the elevator control panel, and lifted during initial crime scene processing, to those taken from Wypych in 1971 when he was arrested for larceny, SPD said.
With the family tree evidence and now the print match, Norton had what he needed to get a search warrant to exhume the remains of Wypych at a cemetery in King County.
On Feb. 26, SPD Homicide detectives, CSI detectives, WSPCL scientists, and the forensic anthropologist from the King County Medical Examiner’s Officer collected a DNA sample from Wypych’s remains, 32 years after he was buried, and nearly 52 years after the death of Susan Galvin.
The samples were submitted to Bode Technology, a private DNA testing and genealogical research lab in Lorton, Va., and last month scientists there extracted a DNA profile. The profile was submitted to the WSPCL on April 12 and it was confirmed that the DNA recovered from Galvin matched the DNA of Frank Wypych.
Privacy vs. police work
In a story last April about the genealogical technique used to identify DeAngelo, the alleged California serial killer, The Washington Post reported on how familial DNA searches were on the fringe of forensic science.
AncestryDNA boasts more than 10 million people in its database “to provide people with deeply meaningful insights about who they are and where they come from.” Other popular sites include MyHeritage (around 2 million) and 23andMe (around 9 million).
And while police and detectives are chomping at the bit to put the data and science to use to catch criminals, others, according to the Post, would rather not see widespread adoption of the technique, for fear of “turning us all into potential informants.”
“You allow that low-quality potential evidence to start being searched in these unregulated databases,” Stephen Mercer, a former public defender who helped pass a ban on familial search in Maryland, told the Post. “You’re casting a wide net of suspicion over many, many people.”
In 2015, Wired reported, in a story titled “Your relative’s DNA could turn you into a suspect,” that highly publicized success stories can obscure the fact that the science isn’t foolproof.
The searches look for DNA profiles that are similar to the perpetrator’s but by no means identical, Wired reported, calling it a scattershot approach that yields many fruitless leads, and for limited benefit.
“For the most part, law enforcement has used the website GEDmatch for all of these cases, and GEDmatch does not keep it a secret that they are cooperating with law enforcement,” Norton said Tuesday, referencing other recent cracked cold cases. “Now there are other genealogy websites that have not made it a secret that they are not cooperating with law enforcement so that’s someone else’s battle.”
Norton said the technique is not a slam dunk. Pieces have to fall into place regarding the suspect’s DNA profile, and there has to be a bare minimum of DNA sample. There is also a good deal of cost and time associated with the process.
“Hopefully things are going to get easier as technology advances like it always does, right?” he said.
A story in The New Republic after DeAngelo’s arrest in California stated that that case underscored how Americans may not realize how new technologies can be used against them.
“Do you realize, for example, that when you upload your DNA, you’re potentially becoming a genetic informant on the rest of your family?” Elizabeth Joh, a UC Davis law professor who studies the Fourth Amendment and technology, told the magazine.
It all has the potential to become a debate pitting the public’s value for privacy against the public’s desire to catch killers.
One lingering question
For the family of Susan Galvin, finding out today that there is finally a suspect tied to the death of the young woman in Seattle so many years ago only provides part of the answer.
Galvin was the oldest of eight children when she left Spokane in 1966. In a statement from her brother Larry Galvin, provided by SPD, the 53 years since have seen the passing of their mother, father and a sister, Arlene.
“The loss was felt mostly by our mother, who did her best to keep us near her. It would be hard for her to lose another child,” Larry Galvin wrote. “For her the question was not necessarily who, but why. We children were young and resilient. We found our own ways to cope; as the years passed, we scattered to the winds.”
While acknowledging that the “tenacity” of Detective Norton and the Seattle Police Dept. was “most appreciated,” Galvin thanked them for a “sense of closure.”
But while science and DNA data and police work have combined to provide one missing piece of the puzzle, technology will be hard pressed to solve the remaining mystery.
“52 years later we learn the who, but still have no clear understanding as to the why,” the victim’s brother wrote. “There will always be that lingering question.”
Police in the Netherlands on Thursday arrested a Tesla driver who had apparently fallen asleep at the wheel while driving down the highway. A Dutch police agency reported the arrest on Instagram.
A 50-year-old man was spotted driving close to the car ahead of him on the A27 road. “When we came alongside, the driver appeared to have fallen asleep,” the police said.
Police signaled for the driver to pull over, but he didn’t seem to notice. Eventually, the officers managed to wake the driver up using a siren, the Instagram post says. Police administered a blood alcohol test and found the driver to be under the influence of alcohol.
“His driving license was collected on the basis of Article 5 of the Road Traffic Act,” the police wrote.
This isn’t the first time authorities have pulled over an apparently sleeping and intoxicated driver in a Tesla. Last November, it took police seven miles to pull over a driver in Palo Alto, Calif. In that case, police had to speed ahead of the vehicle and