We love what we know and we’re afraid of what we don’t, so we don’t want to see our old friend replaced with this new thing. It’s irrational, but it’s human nature. When we look at our parents and grandparents we don’t see a crowd of pudgy gray-haired wrinkle factories… we see our history. We love them even when they start smelling weird and wheezing all the time. We wouldn’t dream of replacing them.
Our mistaking a familiarity bias for inherent superiority is where our gut reaction against iOS 7 comes from. It’s a kind of xenophobia. Apple took our beloved iPhone and gave it back to us a stranger. Still walks and talks the same, still the heart and soul we love; just not the face we knew.
I would expect desktop to plateau a little longer before immediately declining.
However, the more immediate effects will be felt as the audience shifts more time away from desktop to mobile. While some mobile consumption is incremental, much of it is substitutional. As desktop inventory plateaus, new mobile inventory — selling at a lower CPM — won’t immediately compensate for the decline in revenue growth.
You can’t half-ass your mobile app by just porting over your website.
The Story Behind Robert Capa’s Pictures of D-Day
Today is the 69th anniversary of D-Day, the beginning of the massive Allied invasion of western Europe to confront Hitler’s forces during World War II. Robert Capa famously made some of the only surviving pictures of the invasion on Omaha beach, which was chaotic, in part due to wind and current. The beach rockets intended to stun the Germans arrived too early and the aerial bombs landed too far inland. Many infantrymen deemed it suicidal to attempt to cross the open beach, so the waterline was soon mobbed with crouching, pinned-down men without officers to lead them forward. Capa, who had crossed the Channel with the soldiers, remained photographing on the beach for about an hour and a half that morning until his film was used up. He then boarded a ship to take him off the beach, which subsequently was hit and sank, and then made it back on another boat, where medics were treating the wounded. He arrived back in Weymouth, England, on the morning on June 7, handed his film to the Army courier, and returned to France.
When his film arrived in the Life London office that evening, there were four rolls of 35mm film (one of them probably unexposed) and half a dozen rolls of 2 1/4 film. Capa included a note with his films saying that the action was all on the 35mm rolls. Picture editor John Morris told photographer Hans Wild and the young lab assistant, Dennis Banks, to rush the prints. When the film came out of the developing solution, Wild looked at it wet and told Morris that although the 35mm negatives were grainy, the pictures were fabulous. A few minutes later, Banks burst into Morris’s office, blurting out hysterically, “They’re ruined! Ruined! Capa’s films are all ruined!” Because of the necessary rush to get prints on the flight to New York for the next edition of Life, he had put the 35mm negatives in the drying cabinet with the heat on high and closed the door. With no air circulating, the film emulsion had melted. Although the first three rolls had nothing on the film, there were images on the fourth. The film Capa had shot with his Rollei before and after the actual landings had not been put into the drying cabinet and so survived intact.
Although ten of the 35mm negatives were usable, the emulsion on them had melted just enough so that it slid a bit over the surface of the film. Consequently, sprocket holes—which would normally punctuate the unexposed margin of the film—cut into the lower portion of the images themselves. Ironically, the blurring of the surviving images may actually have strengthened their dramatic impact, for it imbues them with an almost tangible sense of urgency and explosive reverberation.
Written by Cynthia Young, ICP Curator of the Capa Archives
I read Capa’s biography when I was in college and this story always stands out in a life full of incredible stories. The photos are, of course, amazing.
Twitter, even more than many other social media tools, can feel disconnected from the real world. But a group of students and professors at research site Floating Sheep have built a comprehensive map of some of Twitter’s most distasteful content: the racist, homophobic, or ableist slurs that can proliferate online. Called Geography of Hate, the interactive map charts ten relatively common slurs across the continental US, either by general category or individually. Looking at the whole country, you’ll often see a mass of red or what the map’s creators call a “blue smog of hate.” Zooming in, however, patches appear over individual regions or cities; some may be predictable, while others are not.