[Mitch] Dobrowner’s black and white images of that megastorm are some of the most spectacular in his ever-expanding portfolio of extreme weather photography. Although tornadoes get all the attention on TV, Dobrowner is more interested in supercells, massive storm systems that sometimes spawn tornadoes. “I see them as living things,” he says. “Some are gorgeous and beautiful, some are tornadic and violent. And the longer they last the more form they take. Eventually, they mature and die. So I try to take a portrait, almost like with a person.”
The Domino’s feed is not appetizing by any objective measure. But if you look at it long enough, over enough time, the cadence of grotesqueness begins to sink in. The studio lighting and Photoshop-enhanced pepperoni of Papa John’s and Pizza Hut start to look like the culinary equivalent of a French manicure and a spray tan. Fake.
Instead of employing professional photographers, Domino’s relies on its digital marketing team to update the social media feeds. The cinema verité approach began in 2012, when Domino’s launched the Show Us Your Pizza Campaign, and shared the (often ugly) food photos taken by its customers. After that, the aesthetic just stuck. And today, the pizzas Domino’s photographs are all real, either pulled from a test kitchen oven, or delivered by an employee, no food stylist required. And, clearly, there’s no sweating the need for natural light or perfect post-processing by Domino’s employees who will sometimes even take photographs in their own suburban homes. Domino’s is a living embodiment of a #nofilter brand.
New Zealanders are to get a chance to vote on a new flag for their country, which could replace its existing graphic featuring the Union Jack.
Joy as mathematicians discover a new type of pentagon that can cover the plane leaving no gaps and with no overlaps. It becomes only the 15th type of pentagon known that can do this, and the first discovered in 30 years.
Love Boat Rejects is a collection of pictures taken by Ian Hughes and his fellow photographers onboard American, Norwegian and Italian cruise ships throughout the 1990s.
The idea that particular individuals drive history has long been discredited. Yet it persists in the tech industry, obscuring some of the fundamental factors in innovation.
So a guy walks into a bar one day and he can’t believe his eyes. There, in the corner, there’s this one-foot-tall man, in a little tuxedo, playing a tiny grand piano.
So the guy asks the bartender, “Where’d he come from?”
And the bartender’s, like, “There’s a genie in the men’s room who grants wishes.”
Make sure you read the rest. It doesn’t proceed as you’d expect.
First, This Is My Jam announced they’re closing the service. (Note how classily they’re doing this: the site will go read-only with a permanent archive and API, all the data is being open sourced, users can export their data and/or opt-out it being archived.)
In the link above, Peter Kirn bemoans the devolution of our web-based music services:
Call it a jam session that has completely fallen apart.
Having Web services go dark is certainly not news in this day and age. We’ve come to expect that Internet services won’t be there forever. (Google Reader, anyone?)
But if you pull apart some of the backstory behind the end of a service called “This Is My Jam,” you’ll come across an unnerving reality of the way music on the Web is evolving (or devolving).
See also Rev Dan Catt’s post on how he’s manually archiving anything that isn’t persistent, like Spotify playlists.