业余休闲玩家，家里已经有一台去年刚更新的 PC 机
买 MBP 纯粹是为了兴趣，想自己搞点 app 自娱自乐一下，能很流畅的编译 xcode 就行
目前在这几个配置中有点纠结
尺寸肯定是选 14 了，16 贵太多了
另外那个微纳米屏幕有必要升吗？
期待各位大神的意见
© Erin Schaff/The New York Times
© Erin Schaff/The New York Times
今年的新款 MacBook Pro 确实「火出圈」，不过不是因为产品本身挤爆牙膏，而是因为在发布前大半个月就被人开箱「测评」，堪称苹果史上最严重泄露事件。
但真正把产品拿到手上，又发现今年的 MacBook Pro 还是熟悉的配方：最大的更新是芯片，外观几乎无肉眼可见更新，连包装盒都不带换的……
所以这又会是一篇老生常谈的 MacBook Pro 性能测评文章？不全是，除了性能和使用场景，我们还想聊一聊这颗 M4 芯片的特别之处。
我们手上的全新 14、16 寸 MacBook Pro 配置为 14 核 CPU 核 20 核 GPU 的满血版 M4 Pro 芯片，运行内存 48GB，存储 2TB 的版本。
所以，M4 Pro 有多强？跑分虽然不代表一切，但是也是一种将性能量化的方式，可以直观的和之前的产品分一个高下。
先说结论：CPU 不管是单核还是多核跑分，都是仅次于 M4 Max 之下的水准，不过 GPU 核心数量的差距摆在这里，GPU Metal 跑分追赶 Max 和 Ultra 系比较吃力，比较接近的水平是 M1 Max。
对比上一代 M3 Pro，M4 Pro 在 CPU 和 GPU 都多了两个核心，CPU 单核提升了 26%，多核甚至提升了 48% ， GPU 也有了 40% 的提升。
如果要说 MacBook Pro 上一个「鲤鱼跃龙门」的时刻，恐怕是 3 年前的 M1 Max 亮相，将移动端的 MacBook Pro，拉到了桌面级别生产力。
所以我很好奇，全新的 M4 Pro MacBook Pro 和这座高峰比一比，究竟鹿死谁手？
▲ 隔了 3 代外观几乎一模一样
需要指出的是，我们找来的这台 16 寸的 M1 Max MacBook Pro 运行内存是更高的 64GB，系统版本为 macOS 13，由于一些客观原因无法做到所有变量保持一致，因此以下的场景比对仅供参考。
值得一提的是，往年只有 Max 机型才独享的「高性能」模式，今年也下放到 Pro 芯片，能够让 MacBook Pro 的风扇以更高速度运行，对以上跑分场景影响不大，在视频和模型渲染的测试中，两台机器的发热也极其克制，风扇没有运转。
实际测试，达芬奇渲染一段 30 分钟 H.265 编码 4K 25 帧的视频，这在日常视频工作中已经属于比较重度的场景，M1 Max 渲染时长 10 分 16 秒，M4 Pro 则花了 14 分 20 秒完成。
而在 Blender 测试中，M4 Pro 反败为胜。即使是用 GPU 渲染，同一个「冰川」场景的单张图像，M4 Pro 仅渲染了 3 分钟出头，而 M1 Max 渲染了 4 分 20 秒。
▲ M4 MacBook Pro 的 Blender 渲染图
原本用上面这台 M1 Max MacBook Pro 的剪辑小伙伴也试用了全新的 14 寸 M4 Pro MacBook Pro，剪了 5 分钟片后他就立马跟我说：感觉电脑快了。
不过一个下午过去，他又表示，其实差别不太大。
在导入素材方面，以往的 M1 Max 在拖入具有非常多文件夹素材的时候，不能很快将素材的预览图显示完成，而 M4 Pro 基本能做到秒速预览。
还有一处提升是视频变速。在 DaVinci 上对素材进行变速处理后，如果设备性能跟不上，一般在时间轴中的实时预览都会出现卡顿，需要先进行渲染才能正常查看变速效果。
而 M4 Pro 和 M1 Max 即使进行了变速，也能大体流畅地在时间轴实时预览，前者效果要比后者更好，更有助于剪辑直接在时间轴调整效果。
至于渲染环节，他也体感和 M1 Max 大差不差，和我们的场景测试结果吻合。
我问了他一个更简单直接的问题：那你会打算换这台来用吗？他思考了一下，觉得没必要，特别是在运行内存不够高的情况下。
看来，苹果还是「等级森严」，要想彻底打败 M1 Max，或许还得看 M5 Pro。
M4 Pro 在少了 12 个 GPU 核心的情况下战了个平局，M4 Max 更能赢得不费吹灰之力。根据苹果官网数据，在 Redshift 3D 渲染环境中，M4 Max 速度是 M1 Max MacBook Pro 的 3 倍以上，重度视频处理也有 1.5 倍的速度提升。
除了处理器性能，新款 MacBook Pro 还有几个对各种生产场景有所影响的变化。
机身的接口都升级成了雷雳 5，数据传输速度高达 120Gb/s，不过即使是雷雳 4 的 40Gb/s 速度，也已经是快到溢出的速度，能够跑满的场景并不多见。
至于电池续航，那自然是 M 系处理器的强项。官网数据 M4 Pro 的续航能够坚持 24 小时，实际测试，7 个小时内渲染了三次视频、一次 Blender，用 AI 生了几张图后，电池还有一半左右的电。
整整一天的续航表现，加上 ARM 芯片不需要插电也能解锁完整的性能释放，你完全可以把 MacBook Pro 带到办公室之外的地方继续狂飙生产力。
为了能让你在各种地方都能自在工作，新款 MacBook Pro 显示屏 HDR 峰值亮度高达 1600 尼特，SDR 内容在明亮光线下也能正常显示，加上新增可选的纳米纹理选项，实测即使在大太阳下，MacBook Pro 上的内容都是肉眼可见清晰，也无惧炫光。
不过，如果办公环境主要是在室内，不管是我，还是视频组的小伙伴，都还是推荐观感更通透的标准显示屏，显示对比度也更高，还能省下 1100 元，拿这笔钱加 400 元又能升级运行内存或者存储空间了。
M4 Pro 这么强悍的性能，难道还是只能用来剪视频？下面就进入大家更喜闻乐见的测试环节——游戏。
如果你在社交平台上谈论 Mac 打游戏的可能性，相信很快评论区就会出现这样一张梗图：
不知道你有没有感觉，这张图在网上出现的频率越来越高了，背后的原因或许是因为，不管是苹果还是厂商，还是我们消费者用户，都在加速探索 Mac 打游戏的可能性。
让 Mac 成为游戏本这件事，苹果是认真的。去年的 M3 系列，苹果的升级重点放在了图形性能上，硬件支持加速光追，还给当时的 macOS 配备了游戏模式。
那么，时隔一年的 M4 Pro，游戏表现怎么样？
今年发行的《哈迪斯 2》在近期适配了 Apple Silicon 的原生版本，最高画质能够以每秒 120 帧流运行，显示效果非常惊艳，即使是打斗的场景也没有丝毫卡顿和延迟。
大作《博德之门 3》跑起来就没这么轻松了，3.5K 画质下，MacBook Pro 基本能稳定在 25 帧每秒下运行，不过很快机身就会变成「烤盘」。
经典的 Mac（测试）游戏《古墓丽影：暗影》未适配 ARM 架构，因此 M4 MacBook Pro 需要靠转译运行，机身也很快发烫，玩五分钟就能听到风扇声，但是总体也是流畅， 帧率在 60-80 帧每秒浮动。
而得益于 M3 加入的硬件光追能力，《古墓丽影》的光线效果还不错。
当然，性能已经不是掣肘 Mac 打游戏的主要问题，游戏生态才是更大的短板。
去年我们测试 M3 MacBook Pro 时，200 多款游戏中，只有 50 多款适配了 Mac。今年的数据有所变化，但是比例还是大差不差：游戏库 452 款游戏，只有 109 款支持 Mac，其中 2024 年推出的游戏有 10 款。
明年，《赛博朋克 2077》《刺客信条：影》等人气更高的 3A 大作也将登陆 Mac 平台。
除了图形性能，今年的 M4 系列还有一个重点——AI 性能。根据苹果官方的说法，M4 全系的神经引擎都能提供两倍于 M3 的 AI 算力，并且 M4 Mac 也全系升杯 16GB 运行内存起步。
但神经引擎，或者说 NPU 的性能，并不代表实际体验中的 AI 能力，我们还是需要回到当下的 AI 场景中进行实际体验。
在一些内容创作的场景，不管是 Adobe、DaVinci，还是苹果自己的 Final Cut Pro，其实已经集成了不少 AI 功能。AI 技术也催生了一些从前不存在的编辑效果和流程，比如视频超分。
Topaz AI 就是近几年兴起的编辑平台，能够利用设备的 AI 性能，实现视频分辨率和帧率的提升，以及降噪、消抖的效果。只不过这个软件非常吃性能，大部分电脑渲染速度奇慢。
同一个 4K 50 帧的 10 秒钟视频，提升到 8K 画质并且进行 H.265 转码，M1 Max 用了 7 分 38 秒，M4 Pro 快了半分钟不到，用时 7 分 11 秒。
这个测试也是很少有地让两款机器风扇高速运转，因此我尝试关闭 M4 Pro 的高性能模式进行，风扇声音确实小了很多，但与之对应，生成速度也慢了二十秒左右。
至于在本地部署文生图 AI 模型 Stable Diffusion 的平台 Diffuser，同样的规格、指令，如果只靠神经引擎生图，M4 Pro 用时 9 秒就能完成生图，而 M1 Max 耗时 88 秒，几乎用了 10 倍的时间。
但如果是 GPU + 神经网络引擎双管齐下，M4 Pro 生成反而更慢，用时 13 秒，而 M1 Max 更强的 GPU 性能在这里得以体现，进步神速来到 15 秒。
可以说，在 AI 环境下，M4 Pro 更强的神经引擎确实弥补了图形性能不足的短板，只是当下更常见的是混合场景，图形性能也是重要的一环。
而对于有着更强 GPU 和神经引擎性能的 M4 Max 来说，「AI 电脑」的定义，已经不仅仅只是「用 AI」，甚至包括了「造 AI」：苹果直接注明，M4 Max 的 MacBook Pro 可以与拥有千亿参数的大语言模型进行交互。
第三方本地大模型运行平台 LM Studio 表示，凭借 M4 Max、最高 128GB 运行内存和高达 546GB/s 的内存带宽，MacBook Pro 能够支持本地运行 2000 亿参数的大模型。
虽然在 AI 开发和应用上慢人一步，但苹果对硬件的 AI 性能确实毫不含糊。除了「剪片本」「设计本」「音频本」之外，以后的 MacBook Pro 说不定还能再贴上一个「大模型」本的标签。
2020 年，苹果宣布 Mac 产品向自研芯片过渡，次年更是推出了 M1 Pro、M1 Max、M1 Ultra 等一系列性能爆表的处理器。2021 年第四季度，Mac 销量创下历史记录。
相比起英特尔向 M1 的飞跃，M2、M3 可以说平淡了不少，性能和产品力提升都在预期之内，所以这两年每次 Mac 更新，评论区都少不了那句「M1 还能再战几年」。
虽然每次都比上一代强那么一点，但如果将 3 代的更新累计起来，你会发现，今年的 M4 系列和 M1 系列对比，仿佛当年 M1 和英特尔的对比。
所以 M4 还有一个新的使命：「拔钉子」，用了 3-4 年，M1 刚好也开始进入换新周期，用户升级到 M4，在各个方面基本都能感受到倍级提升，特别在图形性能的方面。
加上全系 16GB 起步的运行存储加量不加价，这一代 Mac，尤其是入门款，有望成为新的「钉子户」。
只是苹果现在的对手，也不再只有自己。
虽然面对最新的 M4，设计对标 M2 的高通骁龙 X Elite 有点不够看，但这颗芯片更多只是起到一个先锋的作用，未来的高通 X 系 PC 芯片，差距只会和 Apple Silicon 越来越小，今年的手机端芯片已经初见端倪。
未来的高通，一定也会推出自己的「Pro」「Max」「Ultra」系列，开启全面追赶，毕竟从骁龙 8cx Gen 3 到骁龙 X Elite，高通只走了 2 年的时间。苹果 M1 系列吃到至今的红利，也会有到头的一天。
至于「老朋友」英特尔，全新的 Lunar Lake 芯片也证明了 x86 这个传统平台，同样具有实现低能耗高性能的潜力。
而负责造设备的 OEM 厂商，也早已在形态上实现了超越：华为能推出 MacBook Air 还要轻半斤的轻薄本，荣耀甚至能将一块独立显卡塞入 2 千克不到的机身。
从 M4 上，我们能看到苹果的更多想法，试图将 Mac 产品的触角延伸更多方面，而不只是「剪视频」：拉到满级的 AI 性能，甚至能用来当大模型开发机的真·AI PC；流畅运行 3A 大作，音画素质还处于顶级的游戏本……
不止于此，彭博社爆料，2026 年的 M6 MacBook Pro，有望采用全新的轻薄设计，以及 OLED 显示技术。
这看起来确实符合今年的苹果哲学：M4 iPad Pro 成为史上最薄的苹果产品，M4 Mac mini 也瘦身成功，刚好，全都是「M4」。
与此相对， M4 MacBook Pro 的更新显得很平淡，但每一步都踏在了正确的方向上；MacBook Pro 的未来还未至，但 M4 或许就是开启未来的钥匙。
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据 The Information 报道，苹果的 Vision Pro 预计会在今年年底之前停产，原因是市场需求低迷。
这一点其实很容易理解。对于大多数消费者来说，Vision Pro 价格昂贵，可使用场景有限，不易融入大多数人的现有工作流程，并且由于软件适配方面的问题，它并不是「刚需」。
苹果公司 CEO 库克就曾在接受采访时表示 Vision Pro「不是一个大众产品」。
然而，停产不意味着停售。据 Vision Pro 的三个零部件供应商的员工透露，目前已经生产了 50 万到 60 万个 Vision Pro 头显，这一数字也与 The Information 和其他几家媒体此前分析的索尼每年可以生产的微型 OLED 显示器对的数量一致。
▲图源：Mashdigi
可见，显示屏是限制 Vision Pro 生产规模的重要因素，其高昂的成本也大部分来源于此。
据估计，Vision Pro 所使用的索尼近 4K 微型显示屏成本为 350 美元，一对显示屏则需要 700 美元。而每个头显的成本约为 1500 美元，显示屏占了近一半。
▲图源：GPT 中文网
据 The Information 的韦恩·玛（Wayne Ma）报道称，早在 Vision Pro 投产之前，苹果就在测试视涯（SeeYa）和京东方（BOE）两家中国供应商的新型微型 OLED 显示屏，以期降低成本。
不过，最近的报道表明这两家潜在供应商均未能满足苹果严格的质量标准。
近日据韩媒爆料，苹果现在正在向 LG 和三星寻求成本更低、分辨率也较低的微型 OLED 显示屏。来自日本的 JDI 也在向苹果推销像素密度接近微型 OLED 显示屏的常规 OLED 显示屏。
▲图源：WatchGeneration
虽然「仍然为如何降低成本感到困惑」，但苹果目前为之付出的努力也很可能不是完全打了水漂：有消息称苹果正在筹备一款成本更低，当然售价也更低的「非 Pro 版 Vision 头显」。
彭博社的马克·古尔曼（Mark Gurman）报道称，这款「平价版」Vision 头显将搭载用于 iPhone 的 A 系列芯片而非 M 系列，采用更便宜、更轻的材料制造，并且不带 EyeSight 前置显示屏，售价约为 2000 美元。
古尔曼还透露新的头显设备预计「将计算组件转移到 iPhone 上」，并且「与 Xreal 公司的眼镜大致类似」。也就是说，「平价版」Vision 头显拥有与 iPhone 绑定的选项，这有助于苹果手机保持其生态系统的中心地位。
▲图源：Xreal
The Information 近期的报道则称，苹果告诉一家供应商，预计将为 400 万台更便宜的「non-Pro」Vision 头显生产足量零部件。许多消息来源称苹果计划在 2025 年推出这款头显。
有趣的是，消息一向准确的供应链分析师郭明錤（Ming-Chi Kuo）却似乎不同意这个观点。他认为「平价版」Vision 头显将会在 2027 年之后推出，理由是「仅仅降低价格并不会让一个产品更加成功」。
从显示器技术的角度来看，这样的说法其实不无道理。即使高密度常规 OLED 显示屏的成本微型 OLED 显示屏低得多，但它们仍处于早期开发阶段，最早要到 2026 年才会进入批量生产。
▲图源：ARinChina
筹备「平价版」Vision 头显并不意味着苹果完全放弃了高端市场。郭明錤透露，一款配备 M5 芯片的全新 Vision Pro 将会在 2025 年下半年开始量产，并且是「苹果明年唯一一款新的头戴式显示设备」。
目前的 Vision Pro 使用 M2 芯片运行 VisionOS，而苹果声称 M4 的 CPU 性能比 M2 高 50%，GPU 性能比 M2 高 4 倍。这表明搭载 M5 芯片的 Vision Pro 将会有相当明显的性能提升。
除了芯片大升级之外，郭明錤表示新款 Vision Pro 的供应链将「大部分保持不变」，因此「其他硬件规格和设计不会有太大变化，以降低成本」；The Information 则称此举是为了「重复使用多余的组件」。
当然，由于处理器的升级和硬件配置的相对持平，新款 Vision Pro 的售价将「依然昂贵」。
▲图源：scoop
对此，外媒编辑瑞安·克里斯托菲尔（Ryan Christoffel）认为新型号 Vision Pro 消息的透露，可能会让现在有兴趣购买 Vision Pro 的潜在用户化身「等等党」，让本就滞销的 Vision Pro「陷入了独特的困境」。
其次，他认为如果当前的 Vision Pro 不能获得全面的 Apple Intelligence 支持，也不能更新新款 Vision Pro 的所有后续功能，那么现在拥有 Vision Pro 的用户就变成了「冤种」，他们很可能相当后悔甚至不满。
无论如何，对于厂商来说，「升级」总是积极而有必要的；而对于用户来讲，选择适合自己的才是最好的。
预算充足的朋友，可以等待 M5 Vision Pro 的发布，而预算不太充足的朋友则可以期待一下「平价版」Vision 头显。另外，苹果公司正在悄然启动代号为「Atlas」的智能眼镜计划，准备向 AR 硬件领域进军。
苹果将会如何梳理未来智能可穿戴的产品线呢？让我们继续保持观望。
#欢迎关注爱范儿官方微信公众号：爱范儿（微信号：ifanr），更多精彩内容第一时间为您奉上。
14 寸 m4 32g+512 ， 14 寸 m4 pro 24g +512
平常主要开 idea 3-4 个项目 同时启动可能 2 个，30 个 chrome 页面，navcat, postman, cursor, 微信，飞书，wps 。网易云音乐，娱乐软件 5 个以内。 这种情况上面的配置选哪个好？ 希望同时运行不卡。
10 月初，全新的 MacBook Pro 在尚未公开前，直接被几位博主提前开箱上手，堪称苹果自 iPhone 4 以来最严重的产品泄露事件。
原本以为苹果会把发布会提前举办，接住这泼天的流量。结果，苹果跟赌气似的选择跳过发布会，还一天发一件，终于在 iMac 与 Mac mini 之后，全新 MacBook Pro 携 M4 全系列芯片登场。
还是熟悉的配方，这代 MacBook Pro 在外观上并没有太大变化，我们直接将目光先聚焦在今天的重点上——M4 系列芯片。
与 iMac 不同，MacBook Pro 上使用的 M4 芯片均为满血状态，配备 10 核 CPU 与 10 核 GPU，与昨天发布的 Mac mini 对齐。
搭载 M4 标准版芯片的 MacBook Pro 在编辑照片等任务上比配备 M1 的 13 英寸 MacBook Pro 快 1.8 倍，在 Blender 中执行渲染任务时，速度可达 3.4 倍。
搭载 M4 标准版的 MacBook Pro 另一个变化，就是同样起步就配备 16GB 内存，最高支持 32GB。
面对与日俱增的 AI 需求，电脑对内存的需求也在不断攀升。全力押注 AI 的苹果也到了不得不违背「祖宗之法」的时候了。
此前，搭载 M3 芯片的 MacBook Pro 在闭合的情况下，支持一台分辨率最高达 6K (60Hz) 的外接显示器，以及另一台分辨率最高达 5K (60Hz) 的外接显示器。
现在好了， M4 MacBook Pro 开盖也能连两台显示器。
昨天出现在 Mac mini 上的 M4 Pro 继续登场，最多集成 14 核 CPU 与 20 核 GPU 以及 16 核 NPU，M4 Pro 性能与配备 M1 Pro 的 16 英寸 MacBook Pro 相比，在 Mason Redshift 中渲染场景的性能高达 3 倍。
同时，M4 Pro 对应的起步内存与 M4 芯片也拉开了差距，升级到 24GB，最高支持 48G 内存。
为了 AI，苹果还想了别的办法——搭载了 M4 Pro 的 MacBook Pro 的内存带宽比上一代大幅增加了 75%——这是任何 AI PC 使用的芯片的两倍。
除了前两天已经发布的 M4 标准版与 M4 Pro，最大杯 M4 Max 也终于在今天亮相。
按照惯例，M4 Max 与 M4 Pro 一样分为高低两个配置，低配 14 核 CPU、32 核 GPU、16 核 NPU；高配 16 核 CPU、40 核 GPU 以及 16 核 NPU。
M4 Max 芯片版本的 MacBook Pro 内存从 36GB 起步，最高支持选配 128GB。
M4 Max 的性能也稳步提升，据苹果宣称，M4 Max 在 Maxon Redshift 场景渲染中的性能最高可达 M1 Max 的 3.5 倍，可轻松完成视觉效果、3D 动画和电影配乐等繁重的创意工作量，在 Xcode 中编译代码时，构建性能速度也能高达 2.2 倍。
在人工智能方面，M4 Max 的提升较为明显，可以提供比 M1 Max 快 3 倍以上的神经引擎，配合增大的内存，开发人员可以轻松与具有近 2000 亿个参数的 LLM 交互。
在拓展方面，新 MacBook Pro 也变得更为强大，在 M4 Max 加持下，可以在开盖的情况下，最多外接 4 个额外显示器。
除了核心性能，M4 MacBook Pro 的接口也有所升级。
之前的 M3 MacBook Pro 入门级配备 2 个雷雳 4 接口，现在 M4 MacBook Pro 将从 3 个雷雳 4 接口起步，与更高配置机型看齐，Pro 与 Air 的界限进一步分明；
M4 Pro 与 M4 Max 机型则配备昨天在 Mac mini 上首次出现的雷雳 5 接口，可以实现高达 120 Gb/s 的数据传输速度，吞吐能力是雷雳 4 接口的 2 倍以上。
在新的 MacBook Pro 上，苹果引入了全新的纳米纹理面板，可以在明亮环境中显示高达 1000 尼特的 SDR 内容，并以 1600 尼特的峰值亮度显示 HDR 内容，屏幕旁边的摄像头也升级了——一个支持自动将用户居中的 1200 万像素的摄像头，同时也支持「桌上视角」功能。
最后，苹果宣称新 MacBook Pro 的续航最长可达 24 个小时，并且支持快充，最快只需要 30 分钟就可以充电 50%，续航烦恼进一步得到解决。
苹果向来钟爱于深空灰和银色这类具有光泽感的配色，去年发布的深空黑配色却打破常规，黑得更为深邃，呈现一种强烈而沉稳的金属质感。
以往深空黑色专属于 M3 Pro 与 M3 Max，现在，最便宜的 M4 MacBook Pro 也能享受到这种高级感了。
M4 系列的 MacBook Pro 依然分为 14 和 16 英寸两种规格，其中 14 英寸可选择 M4、M4 Pro、M4 Max 三种性能版本，而 16 英寸可选择 M4 Pro 或 M4 Max 两种性能版本。这样的方案与前代保持一致。
最后，公布一下价格：
14 寸 M4 MacBook Pro ：
16 寸 M4 MacBook Pro ：
搭载 M4 系列芯片的 MacBook Pro 将于 11 月 1 日上午 9 点接受预购，11 月 8 日正式发售。
2020 年底，苹果自研的 M1 芯片登场，彼时，大家聊得最多的，还是大数据、云计算和元宇宙。
四年过去，AI 成了目前最炙手可热的话题。
话题永远与产品息息相关，作为苹果最专业的便携终端，MacBook Pro 起步内存集体「升杯」，显然已经为迎接 AI 时代做好了准备。
不过，由于国行版本的 AI 功能的暂时缺席，M4 MacBook Pro 更大的意义也许在于，机身终于来到一个相较前代，定位更清晰、结构更合理、功能更齐全的舒适区。
你会选择 M4 MacBook Pro 吗？你觉得哪个版本是性价比之选？
欢迎在评论区给出你的看法。
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In the more northerly latitudes, grass that’s essential for cattle to graze grows little during the winter months. Farmers keeping cattle therefore have to provide alternative feed for their livestock for several months each year. This can include root crops such as brassica varieties including turnips and swedes (also known as rutabaga), but the most widespread is cut and dried grass as hay.
Where climate and day-length are suitable, as in much of England and France, dedicated hay meadows can provide two harvests each year. Left ungrazed through the winter, the first is normally ready to mow in the late Spring, and when there’s sufficient rainfall during the early summer, a second hay harvest can be obtained before the weather deteriorates in the early autumn. The mowing of hay has also been known as math, and mowing a second time is thus the aftermath or lattermath.
The essential requirement for hay is that it’s dried thoroughly, or it will rot over time and become unusable as fodder. In the centuries before mechanisation during the nineteenth century, this process was described as: first mow the grass, “scatter it about, gather it in windrows, cock it overnight, scatter it about, windrow it, cock it, and so on to the stack and stack it”. (Fussell) Those steps are shown well in paintings.
The companion to Pieter Bruegel the Elder’s painting of the grain harvest, The Hay Harvest from 1565 shows all stages in progress. In the left foreground a man is beating the blade on his scythe to sharpen it ready for mowing. Three women are striding towards him with the rakes they use to scatter and gather the mown hay. Behind them, in the valley, others are gathering the hay into small stacks or cocks, where it continues to dry before being loaded onto the hay wagon to be taken back to the farm.
At the right are wicker baskets containing other crops, including what appear to be peas or beans, together with a red fruit.
Ferdinand Hodler’s marvellous Mower from about 1898 is seen sharpening the blade on his heavy scythe using a whetstone, as the sun rises behind and to the left.
The couple in Jules Bastien-Lepage’s Haymakers from 1877 are enjoying a short break from their labours, with the mown hay behind them still scattered to dry, before it can be raked into cocks.
Henri-Jean Martin painted Summer, or Mowers in 1903, as mechanisation was spreading across Europe. Several small clusters of men are mowing the hay in this meadow with their scythes, as three young women are dancing in a ring on the bed of flowers, and another sits nursing an infant.
Henry Moret’s Haymaking in Brittany from 1906 shows a smaller team busy mowing and raking on steeper ground.
In Camille Pissarro’s Divisionist painting of Haymaking, Éragny from the summer of 1887, a team of women are raking the cocks into haystacks.
Women in this hay meadow in Ukraine are raking in the harvest to be transported by a hay wain drawn by a pair of oxen, as painted in Mykola Pymonenko’s undated Haymaking.
In Jean-François Millet’s Haystacks: Autumn from about 1874, the harvest has been gathered, and three huge haystacks dominate the canvas. At the foot of one of them, a shepherd leans on his staff, resting from his labours as his flock grazes on the stubble.
Surplus hay was also a good cash crop for those who could get it transported to towns and cities. Along the east coast of England, barges were filled with hay then taken to London for sale. Much of the land in the county of Middlesex, to the west of London, was devoted to producing hay to feed horses in the city.
Robert Bevan’s painting of Hay Carts, Cumberland Market from 1915 is a view of London’s last hay market, near to the artist’s studio. By this time, the bales shown were made by mechanical baling machines and brought to London by barge.
In the next article in this series, I’ll look at a novel crop that soon became the staple food for many, the potato.
iOS 18.1 正式版终于在昨晚推出，像是写作工具、聪明版 Siri、照片搜索、智能邮件这些 AI 功能，咱们国行版的用户一个都用不了。
虽说明年才会支持中文，不过我们还是在，港版 iPhone 16 Pro 上率先用到了 Apple Intelligence。
苹果智能在 iOS 18.1 上大致可以分成「写作-Siri-照片-邮件」四类 AI 功能。
写作工具没有固定的入口，只要有字的地方就能用。你可以对文字进行「校对」，语法或用词、甚至标点符号的错误它都能帮你指出。
另外，你还可以让苹果智能，帮你「改写」文案风格，用「友好」「专业」「简洁」三种语气应对生活和工作中的不同场景。要是你连脑子都不想动，它还能当「代写」。
写作功能还可以概括全文、列出重点 ，或者生成相应的表格。
虽然目前仅支持英文文本，对大部分人的用处不是太大，但咱们转化下思路：这对于那些正在考研、考雅思的朋友来说，简直不要太好用，妥妥的一个阅读写作神器。
写作工具给你改文笔，聪明的 Siri 还能陪你练口语。全新 Siri 不仅有了全新的动效，对话过程也更自然流畅，即使磕磕绊绊地讲话 ，也能 get 到你的意思。
而且你现在能通过各种方式唤醒 Siri。
Siri 的确比以前更聪明了，但不多，那能力不够 GPT 来凑。遇到有难度的问题，屏幕上方会跳出「是否询问 ChatGPT」的选项。
这就像是给国足请了 11 个外援，有一种「我和科比合砍 81 分」的感觉，除了上面这些 iOS 18.1 还有很多藏在角落里的 AI 功能。
全新的相册很难用，但新加入的 AI 消除和智能搜索，还是能消除一点苹果用户的火气的，一键清除的速度挺快，消除背景区别明显的人物或物体，它很拿手，但在很多元素的杂乱背景上，它就有点儿乱来了，主打一个「你就说消没消吧」。
相册现在还能通过关键词和照片里的文字，来搜索指定照片，这对手机里存有海量照片的用户来说，真的好用。
最后一个邮件功能看起来没前面那么智能，但很实用。邮箱会根据邮件内容自动分类整理，最重要的信息会被放在最上面。
邮件顶部还能一键生成摘要，好用是真好用，就是希望之后，能接入微信、飞书等更多的办公软件。
iOS 18.1 上的 AI 功能，用一句话总结就是：中规中矩，没有惊喜。
比起更新，我更愿意称它为补齐。语音助手、文案改写、AI 消除国产手机早都有了。
虽然 Apple Intelligence 在名字上占了便宜，苹果也在硬件上给 AI 做足了准备，但反而是苹果 AI 本身，好像还没准备好，Genmoji、Image Wand 等生图功能，还要等到下个版本才会推出。
国行版用户今天能用到和 AI 唯一有联系的功能，就只剩通话录音了。不过开启和关闭录音时 对方电话里会有提示音，通话结束后，录音文件会自动生成文字版，保存在备忘录里，很实用，也很尴尬。
关于 iOS 18.1 和苹果智能，你还有什么想了解的吗？欢迎在评论区留言，等稍后苹果智能支持中文后，我们也会在第一时间，带来评测体验。
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The first twenty or so chapters of Miguel de Cervantes’ groundbreaking modern novel Don Quixote consist of a series of largely self-contained comic misadventures. After the knight and his long-suffering squire Sancho Panza release a group of convicts, they fear for their safety, so head for the mountains. Once there, events become more interrelated and complex, presenting even greater challenges to those who tried to paint them in standalone works, rather than illustrations accompanying the text.
The pair find a hoard of gold coins apparently abandoned with a notebook in a travel bag. Then Don Quixote catches a glimpse of a man leaping around the bushes half-naked, and suspects that he’s the owner of the bag and its coins. A little way around the hillside, they find a dead mule whose owner they think had carried that bag.
This scene must have fascinated the French artist Honoré Daumier, who painted a series of oil sketches of it in about 1867.
In the first, the knight leads his squire towards the dead mule.
This rough oil sketch shows them drawing even closer.
Sancho Panza and Don Quixote in the Sierra is more generic, and omits the dead mule altogether.
A little later, Sancho Panza’s donkey is stolen, so the knight dispatches him on his own horse Rocinante to obtain three replacement donkeys, and deliver a letter to the Lady Dulcinea, Quixote’s semi-imaginary ‘lady’ of his chivalric quests. Meanwhile, the knight laments and feigns madness for the lady. Panza meets their village priest and barber, and they agree to deceive Quixote in a bid to persuade him to return to the village for his madness to be treated.
As the three head back towards Don Quixote, they meet Dorotea, who had previously been tricked and seduced. She agrees to dress up as a fine lady and pose as Princess Micomicona, who purports to have come all the way from Guinea to ask a boon of the knight.
Pedro González Bolívar’s painting of The Introduction of Dorotea to Don Quixote from 1881 shows their meeting. Without that background information, this would prove impossible to read.
Don Quixote is persuaded to leave the mountains and return home with them, but that’s the start of another series of misadventures. During these, Dorotea’s true identity is revealed, and at dinner Don Quixote gives a long and impassioned speech in which he argues surprisingly rationally in favour of the pre-eminence of arms over learning.
This is recorded in Manuel García Hispaleto’s painting of Don Quixote’s Speech of Arms and Letters from 1884. Sancho Panza stands immediately behind the knight, at the head of the table, on the right. Seated along the table’s length are a man who has just arrived from Algiers with a Moorish woman, the village priest, and others.
Don Quixote’s madness only continues, and eventually he has to be bundled into an oxcart and taken home.
On a Sunday when all the locals are out in the square, the oxcart bearing Don Quixote enters his village at noon, as shown in Hippolyte Lecomte’s undated Don Quixote’s Homecoming. At the left, Don Quixote’s niece or housekeeper holds her hands up in horror at his condition. To the left of the cart are the priest and barber, still mounted. Sancho Panza is riding his donkey, and has been greeted by his wife and their children, who are more interested in how many fine skirts he brought back for her, and how many pairs of shoes for their children.
The priest and barber leave Don Quixote alone to recover for a month after their return, then reassess him, as shown by Miguel Jadraque in this Visit of the Priest and Barber to Don Quixote from 1880. Don Quixote is becoming animated with them as he sits up in bed. In the left background are the knight’s niece and housekeeper, praying in vain for his recovery.
Don Quixote and Sancho Panza then leave on their third sally, which first takes them on a futile mission to El Toboso in quest of the Lady Dulcinea. After that, they head towards the city of Saragossa, and meet a cart full of players in costume, who create mayhem.
Carlos Vásquez Úbeda shows this encounter in his undated painting of Don Quixote. At this stage, the pair are still on their mounts, but shortly afterwards a clown causes Rocinante to bolt and throw Don Quixote, and one of the other players rides off on the squire’s donkey. For once, Sancho manages to persuade his master not to retaliate, and they continue on their way without coming to grief.
Later, they meet a group from a village, and are invited to attend a wedding there the following day.
The wedding brings an elaborate deception in which the bride’s first suitor appears to impale himself on his own sword so that he can marry the bride as his dying wish, but then miraculously comes back to life, to cheat the groom from marrying the bride as had been expected. Manuel García Hispaleto’s painting of The Marriage of Basilio and Quiteria from 1881 shows the priest officiating in the centre, as the bride to the right is married to the dying suitor, who is supported by Don Quixote with his lance. The groom stands at the front of the tent at the right, staring in disbelief at what’s going on.
The newlyweds entertain Don Quixote and Sancho Panza for three days, enabling them to visit the Cave of Montesinos and the Lakes of Ruidera nearby. Gustave Doré, whose illustrations for the whole book have been used by others as the basis for further illustrated editions, painted this non-narrative scene of Don Quixote and Sancho Panza Entertained by Basil and Quiteria in about 1863.
In the middle of Cervantes’ second book of Don Quixote, the knight and his squire Sancho Panza become guests of a Duke and Duchess who had already read Cervantes’ first book, and set out to trick the pair into further comical misadventures. Soon after their arrival, the Duke’s chaplain asserts that Don Quixote isn’t a knight errant at all, causing the knight to deliver a searing riposte.
Out of the blue, maids arrive to wash and lather the knight’s beard, and that of the Duke, in a procedure that defuses a tense situation by transforming it into the absurd. Columbano Bordalo Pinheiro’s painting of Don Quijote in the Duke’s House from 1878 shows this bizarre moment, with the rotund figure of Sancho Panza at the left, the gaunt Don Quixote in the centre, and the Duke and Duchess seated at the right, in obvious amusement.
Although Cervantes had completed Don Quixote in 1615, and it quickly became popular across Europe, it appears to have been painted infrequently before the nineteenth century. Only Valero Iriarte seems to have painted its comical adventure stories in the previous century. Although Eugène Delacroix painted the non-narrative Don Quixote in his Library in 1824, Cervantes’ novel was generally ignored by the major narrative artists of the nineteenth century, who continued depicting mostly classical myth.
These paintings demonstrate how modern fiction can form the basis for successful narrative painting, even though that has remained unusual.
Telling a story in a painting intended to be viewed independently of its literary account requires great skill. Illustrations have the advantage that they’re going to be seen alongside the words, but a narrative painting could be exhibited almost anywhere. The most popular solution is to depict the best-known myths and legends, typically from classical times, stories that all educated viewers should be familiar with.
Painting a modern novel is even more of a challenge, making those showing Miguel de Cervantes’ epic Don Quixote, published in 1605 and 1615, among the boldest of all narrative paintings. A few years ago I published a long series of summaries of the book accompanied by paintings and illustrations. This weekend I look at just the former, from outside the immediate context of the literary account, considering whether they work as narrative paintings.
Cervantes himself spent at least two periods in prison, and it’s claimed that he started work on Don Quixote during the second of those. Mariano de la Roca’s painting of Miguel de Cervantes imagining El Quixote from 1858 may be as fictitious as the book, but reveals a clear vision of the knight and his squire, Sancho Panza. Their mounts are caricatured, but Don Quixote is fully detailed complete with the barber’s basin he wears as a helmet.
Nils Kreuger’s portrait of Don Quixote’s Horse Rocinante from 1911 is non-narrative, but nevertheless a fine painting, with the knight seated against the base of a tree and staring into the distance.
Quixote’s first, solo and briefest sally takes him to an inn, where he insists the innkeeper dubs him as a knight, as depicted by Valero Iriarte, who is now known almost exclusively for his paintings of this book.
Iriarte’s first scene of Don Quixote at the Inn (c 1720) shows one of the earliest comic events in the book, in which the landlord pours wine into a hollowed-out length of cane to enable the aspiring knight to drink through his helmet. Immediately beforehand, the two women had fed him, as his hands had been fully occupied in holding up his cardboard visor. To anyone familiar with the opening chapters of Cervantes’ book, this would have been instantly recognisable.
Iriarte’s second scene is set inside the inn, with Don Quixote Dubbed a Knight (c 1720). Quixote is on his knees ready for the ceremony, while the fat innkeeper stands behind with his back to the viewer, busy rehearsing his reading. To the left of Quixote is a young lad holding a candle, and a prostitute is holding the knight’s lance as she’s negotiating with her next customer, to the right. Again, Iriarte tells the story true to Cervantes’ account, and it’s readily recognisable.
After a couple of tragi-comic adventures, Don Quixote returns home battered and bruised.
One of his neighbours came past with a donkey, on which the knight was placed. To avoid any embarrassment, they don’t enter the village until after dark. Wilhelm Marstrand’s undated painting captures the sense of defeat during Don Quixote’s First Ride Home.
Don Quixote recruits Sancho Panza to be his squire during the fortnight he spends at home after that first sally. The pair then ride out together and engage in the most famous of their adventures, when Quixote attacks a windmill, convinced that it’s a giant.
José Moreno’s painting of Don Quixote and the Windmills from about 1900 portrays the climax perfectly, as the knight and his charger are hoisted aloft by one of the windmill’s sails, as it rotates with the wind.
Don Quixote and Sancho Panza then endure further misadventures, during which the knight loses part of his helmet and some of his left ear. They accept the hospitality of some goatherds for the night, and the following morning attend the burial of a local scholar whose death resulted from his unrequited love for a young shepherdess. She appears at the burial and denies responsibility, as painted by Cecilio Pla and Valero Iriarte.
Pla’s Marcela the Shepherdess from 1905 shows her standing defiantly above the scholar’s grave.
Valero Iriarte’s Story of Shepherds Grisóstomo and Marcela (c 1701-44) is overambitious in its detail. The shepherdess stands at the far right, well away from the burial taking place at the far left. Between them are Sancho Panza and Don Quixote, engaged in conversation.
The pair become involved in further unfortunate incidents, culminating in Don Quixote leaving an inn without paying for their accommodation. The knight then makes another spectacular error when he mistakes flocks of sheep for armies about to join in battle, a story that sticks in the mind.
As Johann Baptist Zwecker shows in his painting of Don Quixote from 1854, the knight then charges at the armies of sheep with his lance, to the annoyance of the drovers, who retaliate by knocking out several of his teeth with their slingshot.
A turning point in this second sally occurs when the pair free a dozen convicts who turn on them by bombarding them with rocks, then run away. Fearing that they are in danger, the knight and his squire ride off to hide in the mountains, as shown below in Adrien Demont’s painting of Don Quixote from 1893.
Tomorrow I’ll show paintings of what happened next.
摄影师之间有个共识：照片的优劣，不光取决于相机的镜头，而是取决于镜头后面的那双眼睛。
移动影像的上半场，几乎都是前面这颗镜头的竞争，如今这个答案已经十分明了：高像素、一寸底和计算摄影。
当手机拍出来的照片素质已经无可指摘时，移动影像的战场，就已经从前面的镜头模组转移到了后面的那双眼睛，从「拍出好的照片」，转移到了「拍出我觉得好的照片」。
「我觉得好」听起来像玄学，但玄学也有玄学的答案——比如说在抖音小红书上，形容一张照片拍得好，通常人们会说这张照片有「氛围感」。
那么，氛围感是个玄学吗？
至少 OPPO 觉得不是，而 Find X8 Pro，则是他们抛出来的答案。
▲ OPPO Find X8 Pro「复古」胶片风格拍摄
拿到 OPPO Find X8 Pro 的第一时间，我就注意到其最大的变化——前两代硕大的镜头模块变薄了不少，机身也不再采用双曲面和素皮拼贴的设计，而是更新了超窄边框的四微曲屏，以及换上了一整块的磨砂玻璃，整机设计不显山露水，更内敛优雅。
变薄了，并不意味着在配置上进行妥协。
Find X8 Pro 不可思议地在 215g、8.24mm 的机身里塞进了双潜望的影像模组，整块模组高度只有 3.67mm，可能是影像旗舰手机里最薄的。
实现轻薄机身的关键，在于业界首创的倒置潜望长焦设计——Find X8 Pro 上的这颗 3 倍长焦镜头，通过三重棱镜反射光路设计，实现了传感器的倒装，从而延长光路，进一步突破法兰距的限制，跟传统潜望结构相比，既能够保证塞进一块更大的传感器，也能保持较近的对焦距离，极大地节省了空间，降低了厚度。
通过将两颗设计原理不尽相同的长焦镜头进行组合， OPPO 找到了「双潜望」的新解法。
坚持「双潜望」配置，是为了追求更好的长焦影像，一个镜头专注人像，用不寻常的视觉压缩感来增添氛围感，另一个镜头专注风光，通过超远焦段捕捉广袤景色的细节和层次，为远方的风景赋予更深邃的视觉冲击力。
另一个不显山露水的地方，是与机身右侧浑然一体的这颗抓拍快启键，非常低调，却又手到擒来。
搭载快门键的手机并非没有先例，索尼 Xperia 手机、iPhone 16 系列都有类似的按键，也有很多手机可以通过音量键或组合键来实现相机的快速启动。
但抓拍抓拍，顾名思义就是抓起来就能拍，能拍得到，还要能拍得好。每一次抓拍，都应该是不假思索，都应该是条件反射，而不是瞻前顾后，精挑细选。
抓拍，是营造氛围感的关键。
生活中许多重要时刻，都是在瞬间发生的，无数的人生照片，都是在瞬间缔造了永恒。OPPO 首席产品官刘作虎认为，抓拍应该是一种能力。
技术并非目的，而是手段。当 Find X8 Pro 将抓拍定义为「能力」而不是「模式」时，事情就已经起了变化。
OPPO Find X8 Pro 选择了电容式按键的方案，目的是为了兼顾所有的情景——这颗没有键程的电容式按键，通过压力感应、震感回馈的方式运行，随时双击即可快速启动相机，单击拍照、长按连拍，横向持握手机时，可以滑动变焦，这些能力，就算是在水中也不会失灵。
除此之外，这颗抓拍键再无其他功能，只专注于一项能力——抓拍。
实际抓拍的表现也出乎意料，几乎做到了抬手就能拍的程度，而且成像素质非常稳，无论是在握在手里、揣在兜里甚至泡在水里，双击按键就会即刻响应。
在抓拍的这一瞬间里，Find X8 Pro 做了三件事：
首先是快门自适应技术，手机会自动判断运动幅度和主体，切换到合适的模式，无论是人像还是实况照片都能适应，而自适应瞬时双帧技术，则是在一次快门中同时完成两帧图像的采集，短帧来捕捉运动，长帧则用于改善画质；
并引入错峰计算技术来实现拍算分离，一次快门最多可以连拍 50 张照片，最多支持 200 张照片，每一张都不掉算法、不掉快门，保证无论是抓拍还是连拍，品质都跟平时拍照一样好：
在使用 Find X8 Pro 的这段时间里，抓拍键的使用率非常高，没有繁琐累赘的交互，没有身兼多职的任务，对手机质感的影响减到最弱，把抓拍的任务做到最好。
这种专注，我很喜欢。
形容近两年移动影像的飞速发展，有个说法相当贴切：
你的手机里装了 N 个镜头。
其背后折射出来的逻辑，在于每一颗镜头都能堪重任。以 Find X8 Pro 为例，四颗后置镜头都是 5000 万像素，而前置镜头也达到了 3200 万像素，能覆盖 15mm 到 300mm 各个焦段，相当于一部手机里就有 10 个镜头。
这次，OPPO 不仅让你带上镜头包，还往包里塞了一台胶片相机和几个柔光镜——这是一种由透明玻璃制成的滤镜，玻璃的表面被腐蚀成凹凸不平，当光线经过镜片表面时就会被散射，从而使被摄物的轮廓柔化、反差降低，产生一种柔光效果。
打开 Find X8 Pro 的滤镜，会发现多了三个「胶片」风格，而在人像模式里，还新增了一个柔光效果选项，内置了朦胧、柔美和梦幻三种效果。
胶片和柔光，是传统摄影中非常吸引人的效果，能够营造一种梦幻、浪漫的氛围，是富士、哈苏等胶片相机厂商的老手艺。在小红书上搜索「氛围感」，搜出来的不少都是胶片人像。
在传统摄影中，既要考虑镜头和胶片的色彩搭配，还要外接柔光滤镜，才能实现类似的效果，而 Find X8 Pro 则试图通过计算摄影一步到位，从样片来看，效果是喜人的。
▲ OPPO Find X8 Pro「复古」胶片风格拍摄
用 Find X8 Pro 自带的胶片风格进行拍摄时，现实环境中的每一个像素，会被专门打造的色彩映射方案重新标定，呈现风格化的独特色彩。
我尤其喜欢其中的「复古」胶片风格，这是 Find X8 Pro 提供的三个不同取向的风格中最浓烈的一款，在上手的第一时间就抓住了我的眼睛：暗部偏绿高光偏暖的高对比画面、质感粗粝的胶片颗粒——这一切都让我想起富士的 NC 胶片模拟，那是在社交媒体上大放异彩的配色。Find X8 Pro 的「复古」胶片风格选择了相似色彩倾向，不需要任何额外操作，一秒让照片回到浓厚又热烈的胶片时代。
▲ 左：OPPO Find X8 Pro「复古」胶片风格拍摄 / 右：富士 NC 胶片模拟拍摄
「清新」胶片风格则通过打造高对比、低饱和的画面，为照片注入了呼吸感，营造纯净的氛围：
「通透」胶片风格是三款滤镜中最平和的，较低的明暗对比度和适中的饱和度，将北欧的宁静与松弛融入到照片之中；
三种风格迥异的胶片风格，让照片迅速与「白开水」拉开差距，不仅人像，日常普通的街道也迎来了独特的氛围感。
如果说胶片风格是底色，那么柔光效果就是最后的一抹晕染，带来了一种温润轻盈的氛围感。
如果将一张照片的亮度分高光、中间调和阴影三个部分，Find X8 Pro 提供的三种柔光效果会对画面的不同亮度进行不同的处理，以适应各种场景。
朦胧效果使画面的中间调和高光部分柔和融合，仿佛隔着一层轻纱观看世界；
柔美则瞄准了高光，在保持影调对比的基础上，轻柔地散开光线，使高光部分显得更加柔和明亮；
而梦幻滤镜则采取了更为大胆的方式，画面三个亮度区间全面提亮，甚至将高光部分彻底变白，使照片整体呈现一种如梦似幻的效果：
最妙的是，Find X8 Pro 支持将这些胶片风格和柔光效果，带到实况照片当中。
本质上，实况照片就是一段 3 秒钟的短视频，镜头中一些微妙的活动轨迹，轻微的风吹动树叶、人物的表情变化、背景的声响等，都会被实况照片保留下来——无数影像之外的细节营造了独一无二的生命力，这是影像的另一种氛围感：
在相册中，可以为实况照片选择封面，基于天玑 9400 带来的强大性能，实况照片中的每一帧都记录了完整的算法、胶片风格和柔光效果，并且支持以 HDR 亮度显示。
实况照片和胶片柔光带来了一种新的化学反应：我的富士照片会动了。
此外，实况照片可以在相册中直接转为视频，在将来还会添加转为 GIF 图的选项，为分享照片提供更多的可能。
面对茫茫的照片，Find X8 Pro 内置的 AI 图像助手，则是另一双发现美的眼睛，帮我找回了许许多多有氛围感的时刻：
夕阳与夜幕交织下的海滨城市，万家灯火已经散布开来，我抬手想要拍下这一幕，却被玻璃破坏了意图——室内的反光将城市的细节扰乱，宁静温和的氛围中带有一丝混乱。
曾经，想要获得比较好的去反光效果，我需要将完整照片导入电脑，再进入 Photoshop 中精细处理，但现在在 AI 的帮助下，事情变得简单了许多。
长按电源键，AI 开始审视整个屏幕的画面：
帮我去掉图片中的反光。
在得到指令的第一时间，AI 自动打开了系统相册中提供的 AI 去反光功能，识别玻璃上不合时宜的反光，并将其去掉。相比于传统的复杂后期流程，一键 AI 问屏显然更加高效便捷。
同样的一键问屏操作，也能实现 AI 去拖影、AI 消除路人、扫描转文档等功能，相当方便：
拿到 Find X8 Pro 的第二天，我在海边等待一场日出，看见橘黄色的阳光慢慢将天际照亮，与深邃的蓝色混在一起，海滩上倒映着并肩高耸的建筑，于是下意识地按下快门，记录下建筑与自然和谐共生的一幕。
但沙滩上已经有稀疏的游客，与我一样早起，耐心等待一场壮丽的海边日出，从任何角度，我都没办法避免游客的入镜。同样的操作，一键让手机消除路人，AI 自动将画面中的路人识别并去除，将日出前静谧的氛围感还给照片。
这是技术和人文交汇的魅力时刻。
赶海拍日出时，有个瞬间让我难忘。
当时我正在海边找合适的机位，短短几分钟，日出已经相当漂亮了，我有些手忙脚乱，下意识地按下抓拍键，却惊喜地发现系统已经识别出了日出的情景，并自动调好了参数，于是我按下快门，拍下了这张海上日出，小时候无感的课文，此刻却成为了记忆的一部分：
太阳才慢慢地冲出重围，出现在天空，甚至把黑云也染成了紫色或者红色。这时候光亮的不仅是太阳、云和海水，连我自己也成了光亮的了。
在影像诞生之前，人类记录情感的办法只有图画和文字——小学的时候，我读不懂巴金笔下的《海上日出》，直到我在海边亲眼见证海上日出之后，我才能理解其文字的妙处。
但如今，Find X8 Pro 第一次将抓拍和氛围感连接在了一起，当我按下快门的瞬间，拍下了炙热耀目的光彩、波光粼粼的浪涛和振臂欢呼的呐喊，那是片刻的日出风景，也是永恒的真情实感。
什么是氛围感影像？
就是不需要费尽唇舌地解释、不需要搜肠刮肚地写作、不需要技法高明地描绘，
只需抓起手机按下快门，就能留下身临其境的感觉，定格自然松弛的画面，并且将瞬间的情绪凝结成永恒。
这不是很伟大的奇观吗？
带着 Find X8 Pro 边走边拍的这段时间里，有一个念头在我脑海里逐渐明晰：「氛围感」并非玄学，而是有迹可循的，而 OPPO Find X 系列已经寻找了多年。
若是抛开技术指标，从源头解构影像，事情就清晰多了——用理性的视角来看，一张照片，无非就是画质、影调、色彩三个维度。
「氛围感」就藏在这三个维度当中。
前年的 Find X6 用大底长焦的思路，带来了更好的成像画质，让手机影像画质登上新的台阶；
去年的 Find X7 则瞄准了影调的中间调，极大程度地解决了计算摄影饱受诟病的「数码味」，成片相当接近相机的质感；
而今年，Find X8 Pro 则是在色彩上寻求突破。
色彩，不止是颜色，还有光彩。
为手机加上「胶片风格」和「柔光效果」，其实是一个反直觉的设计，因为这会牺牲照片的锐度，但这正是重点。
▲ 柔光效果，可以将过于锐利的皮肤变得温和
在传统摄影中，对影像的理解并非只有技术，更在于情绪的把握。光学摄影的过程中存在着种种瑕疵，有人会为了追求胶片的颗粒感而刻意选用高感光度的底片，也有人会为了制造柔光效果给镜头加上柔光镜或者涂上凡士林。
这都是为了传递某种情绪，营造一种氛围感——就像蓝色往往代表着静谧与忧郁，红色则让人觉得炙热与活力，色彩的映射也是情绪的映射。
传统影像要表达情绪，其实是一件非常难的事情，摄影师需要兼具技巧、经验与审美，这需要倾注大量的心血，也是「摄影」能够成为一门艺术的原因。
如果说传统影像时代，色彩代表了情绪，那么在移动影像时代，情绪就代表了色彩——这就是氛围感影像有别于传统影像的关键。
▲ 不同的色彩带来相反的氛围
在 Find X8 Pro 当中，OPPO 把氛围感从一种难以捉摸的情绪，变成了一幅幅具象化的画面片段。
在按下快门之前，手机的影像系统就已经在捕捉画面了，而在按下快门的刹那，AI 则负责找到一个个瞬间中美的部分，让影像有颜色，有光彩，有动感，有情绪——于是，就有了氛围感。
有氛围感，就有好影像，这是独属于 OPPO Find X8 Pro 的影像叙事，是独属于 Find X 的影像技术探索，也是独属于移动影像的新解法。
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No matter what your background, religion or culture, there’s one universal cause for feasting and celebration, a wedding. One of the great challenges for the figurative painter, weddings are the central feature in three classical myths and one religious story examined in this article; tomorrow’s sequel looks at the depiction of less famous, personal weddings.
Of the three great mythical weddings, the first in chronological order was that of Hippodame and Pirithous, which brought an end to the dominance of centaurs on earth, the Centauromachy. This was celebrated in prominent places: the subsequent battle of the Lapiths and Centaurs was shown in sculpture on the temple of Zeus at Olympia, and on the Parthenon at Athens. It was Ovid, though, who chose to tell this story in the context of the Trojan War.
When Pirithous married Hippodame, the couple invited centaurs to the feast. Unfortunately, passions of the centaur Eurytus became inflamed by drink and lust for the bride, and he carried off Hippodame by her hair. The other centaurs followed suit by each seizing a woman of their choice, turning the wedding feast into utter chaos, like a city being sacked. Theseus castigated Eurytus and rescued the bride, so the centaur attacked him. Theseus responded by throwing a huge wine krater at Eurytus, killing him. The centaurs then started throwing goblets and crockery, and the battle escalated from there.
Piero di Cosimo’s The Fight between Lapiths and Centaurs (1500-15) is my favourite among the earlier paintings of the ultimate wedding feast gone wrong. In the centre foreground, Hylonome embraces and kisses the dying Cyllarus, a huge arrow-like spear resting underneath them. Immediately behind them, on the large carpets laid out for the wedding feast, centaurs are still abducting women. All around are scenes of pitched and bloody battles, with eyes being gouged out, and Lapiths and Centaurs wielding clubs and other weapons at one another. This is definitely a wedding to remember, if you survived it.
Towards the end of his life, Peter Paul Rubens painted The Rape of Hippodame (1636-38). At the right, Eurytus is trying to carry off Hippodame, the bride, with Theseus just about to rescue her from the centaur’s back. At the left, Lapiths are attacking with their weapons, and behind them another centaur is trying to abduct a woman.
The next wedding to be grateful you missed was that between the great hero Perseus and the princess whom he rescued from Cetus the sea monster. Andromeda’s parents were so delighted at their daughter’s rescue that she, who had already been promised in marriage to Phineus, was quickly married instead to Perseus. At the wedding feast, Phineus and his friends were understandably rather miffed, and a violent quarrel broke out between them and Perseus. As happens at the most memorable of weddings, this turned seriously nasty when weapons came out and bodies started to fall. The solution for Perseus was to brandish the head of Medusa and turn Phineus and his friends into cold statuary.
Annibale Carracci and Domenichino combined their talents in painting this fresco of Perseus and Phineas (1604-06) in the Palazzo Farnese in Rome. As Perseus stands in the centre brandishing the Gorgon’s face towards his attackers, Andromeda and her parents shelter behind, shielding their eyes for safety.
Surprisingly few paintings of this wedding make reference to the goddess Minerva’s protection of Perseus, which is clearly expressed in Jean-Marc Nattier’s undated painting of Perseus, Under the Protection of Minerva, Turns Phineus to Stone by Brandishing the Head of Medusa. The goddess, Perseus’ half-sister, is sat on a cloud to the right of and behind the hero. She wears her distinctive helmet, grips her spear, and her left hand holds the Aegis, providing narrative closure.
Perseus points his weapons away from himself and Minerva, and is looking up towards the goddess. In the foreground, one of Phineus’ party seems to be sorting through the silverware, perhaps intending to make off with it. The happy couple picked themselves up from the bodies, statues and debris, and moved on. Perseus gave thanks to Minerva for her support and the loan of her shield, by the votive offering of Medusa’s head, which Minerva had set into her shield, turning it into the Aegis.
The wedding of Thetis, sea nymph and spinster of this parish, and Peleus, king of Phthia and bachelor of that parish, was celebrated with a great feast on Mount Pelion attended by most of the gods. The happy couple were given many gifts by the gods, but one, Eris the goddess of discord, had not been invited. As an act of spite at her exclusion, she threw a golden apple ‘of discord’ into the middle of the goddesses, to be given as a reward to ‘the fairest’.
This is Jacob Jordaens’ The Golden Apple of Discord from 1633, based on a brilliant oil sketch by Rubens. The facially discordant Eris, seen in midair behind the deities, has just made her gift of the golden apple, which is at the centre of the grasping hands, above the table. At the left, Minerva (Pallas Athene) reaches forward for it. In front of her, Venus, her son Cupid at her knee, points to herself as the goddess most deserving of the apple. On the other side of the table, Juno reaches her hand out for it too. This sets up the Judgement of Paris, and the rest is legendary.
For once it’s the most modern version, painted by Edward Burne-Jones as The Feast of Peleus in 1872-81, that sticks most closely to the story. In a composition based on classical representations of the Last Supper, he brings Eris in at the far right, her golden apple still concealed. Every head has turned towards her, apart from that of the centaur behind her right wing. Even the three Fates, in the left foreground, have paused momentarily in their work.
This wedding banquet set up the beauty contest between Juno, Venus and Minerva in the Judgement of Paris. Venus won following her bribe promising Paris the most beautiful woman in the world, who happened at the time to be married to King Menelaus of Sparta. After Paris abducted Helen to Troy, the Greeks united to wage war against Troy, eventually capturing and destroying the city.
In 1562, Paolo Veronese was commissioned to paint a large work for the refectory of the Benedictine Monastery of San Giorgio Maggiore in Venice. Its central narrative is an episode of the ministry of Christ as recorded in the gospels: Christ and his disciples were invited to a wedding feast in Cana, Galilee. Towards its end, the wine started to run out, and he was asked what they should do. He directed servants to fill jugs with water, which he then miraculously turned into wine.
This huge canvas shows Christ, distinguished by his halo, at the centre of his disciples, with the Virgin Mary (also with halo) at his right, and sundry disciples arrayed along that side of the tables. The wedding group is at the far left of the party.
At the far right of the canvas, wine is shown being poured from a large container, a clear cue to the gospel narrative.
There’s also a great deal of other activity in every part of the painting. On the balcony behind Christ there are scenes of the butchery of meat, which is generally claimed to be lamb and symbolic of Christ’s future death as a sacrifice for mankind, as the ‘Lamb of God’, although there are no visual clues to support that interpretation. In the musicians below, and other guests, it is claimed that there are portraits of artists, including Veronese himself, and Titian. Other important figures who are supposed to be shown include Eleanor of Austria, Francis I of France, Mary I of England, Suleiman the Magnificent, and Emperor Charles V.
Finally, I turn to one of many weddings in more modern European literature.
The eighth story told on the fifth day of Boccaccio’s Decameron concerns the misfortunes of one Nastagio Degli Onesti, involving one ghost killing and dismembering the ghost of a woman, a strange and grisly tale told in a series of four panels by Botticelli. The fourth and last shows the hero Nastagio’s wedding, the bride and her women sitting to the left, and the men to the right, in formal symmetry. The groom is sat on the other side of the same table as the bride.
Ancient farmers discovered that repeatedly growing the same crop on the same plot of land soon led to falling yields and crop failure. We now understand this is the result of falling soil fertility: as successive harvests extract nitrogen and other essentials from the soil, without their replenishment there’s none for the plants to incorporate into their fruit or seed. Although animal fertiliser could compensate to some extent, the only solution was to ‘rest’ that land, to allow its soil fertility to be restored.
In southern Europe, including lands bordering the Mediterranean, crop rotation had been adopted by classical times, and was described by the Roman poet Virgil. This typically followed a two-year cycle:
As a result, at any time half the arable land would be productive, and half fallow and without a crop.
In northern Europe, a three-year cycle developed during the Middle Ages and later. This might run:
This is reflected in a different pattern in arable land, with only a third of it being left fallow at any time.
During the seventeenth century, farmers in the Low Countries appear to have adopted more elaborate rotations, and those were imported to England as the Norfolk Four-Course Rotation in the following century. In this:
This depended on integrating livestock production with arable farming, by adding cows to the sheep-corn system, which had become increasingly popular over this period.
One way to assess this is in paintings of farmed countryside, looking at the patterns of usage in fields. I show a small selection of examples here.
In Pieter Bruegel the Elder’s The Harvesters from 1565, much of the land visible is devoted to a single wheat crop, sown at the same time, and harvested together at the end of the summer. Some fields on the lower ground, closer to the town and estuary in the distance, are still green, though, suggesting they may be pasture being grazed during their fallow year.
At the same time as crop rotations were being developed, land was being enclosed and its use transformed from communal grazing for livestock to arable fields. John Crome captures this in this painting of Mousehold Heath, Norwich (c 1818-20), showing the low rolling land to the north-east of the city which had been open heath and common land until the late eighteenth century. By 1810, much of it had been enclosed and ploughed up for agriculture.
At about the same time, Alexandre Calame’s Swiss Landscape shows the shore of one of the country’s large lakes, probably Lake Geneva, with much smaller plots of land within large open fields, and a range of different crops being cultivated. This is more typical of the older sub-divided fields close to villages during earlier centuries in England.
By 1853, when the Pre-Raphaelite landscape artist Thomas Seddon visited Brittany and painted Léhon, from Mont Parnasse, Brittany, this small village had retained similar small plots being farmed in different ways, almost like the allotment gardens that developed around cities at this time.
Fields shown on the side of Les Jalais in Camille Pissarro’s Côte de Jalais, Pontoise from 1867 are divided into larger strips, and are at different stages of cultivation. Some are still earth brown following ploughing, others are green, and some may be ready to harvest. These appear to be in a longer crop rotation, perhaps four-course.
Although the classical two-year cycle was retained for longer in southern France, by 1890-92 when Paul Cézanne painted this Hillside in Provence, the pattern of colour in the fields makes it more likely that a three-year or longer rotation was in use.
By the early twentieth century, most farmland in England had been enclosed, but the fields in Percy Shakespeare’s painting of December on the Downs, Wartime, from the period 1939-44, remain open and still in use for a sheep-wheat system.
Perhaps the lesson here is that accounts of land use and crop rotations are too generalised to reflect the rich variety of local farming methods. As I have so far concentrated on arable and sheep farming, in the next article I’ll look at cattle and milk production.
近日，苹果发布了首部沉浸式微电影《Submerged》。
这部微电影时长十七分钟，说实在的，剧情稍有些乏善可陈：在二战时期，一艘潜艇遭到鱼雷袭击，船员们在船舱中度过了惊心动魄的十七分钟，就像超级马力欧那样解决完一个麻烦后，继续通向下一关，再面对更艰难的麻烦。
不过我觉得这部电影还是非常值得一看，因为在此之前，Apple Vision Pro 上的沉浸式视频以观察大自然探险、极限运动等为主，还没有一部基于剧本的电影制作。
我的主要任务是让你感受到主角的感受，让你经历他们正在做的事情。
以《西线无战事》拿下奥斯卡大奖的导演 Edward Berger 直言不讳地承认，这次拍摄的首要任务绝非一个精妙绝伦的剧本，而是代入感。
在影片上线后，苹果通过一段视频，详细揭秘了这部沉浸式短片的幕后细节。
想要以全新的方式去拍摄一部电影，除了人员配置外，场地、设备、技术支持，缺一不可。
首当其冲的问题，就是一台特殊的摄影机。
苹果自己开发了一套沉浸式视频摄影机，根据目前的资料来看，这台摄影机搭载了一枚醒目的双镜头系统，支持以 8K 清晰度录制立体视频，同时配合多向收音的麦克风，以较成熟的方案面对拍摄任务。
除了自己的设备，苹果也与更专业的公司合作，为第三方制作 Apple 沉浸式视频做准备。
在今年的 WWDC 大会上，Apple 宣布与视频调色软件开发商 Blackmagic 合作，共同设计了一款专用于拍摄 Apple 沉浸式视频的摄像机，命名为 Blackmagic URSA Cine Immersive。
这款摄像机配备了双镜头系统，可实现以每只眼睛 8160 x 7200 的分辨率录制立体视频，并具有 16 档动态范围，以确保呈现细腻且逼真的沉浸式效果。
此外，该系统内置专为 Vision Pro 校准的镜头数据，每个镜头的参数数据会直接嵌入到 Blackmagic RAW 文件中，并协同最新版本的 DaVinci Resolve 进行编辑，以全面支持 Apple 沉浸式视频的制作需求。
这些设备能够记录下镜头正面近 180° 的画面，相比之下，传统电影的视线范围大约在 40° 到 60° 之间。
超大的画面带来的是指数级提升的细节丰富度，这对整个制作团队都是巨大的考验，导演 Edward Berger 就为此大吐苦水：
画面范围真的很大，每件设备，每根破裂的管道和其他元素都很重要，你需要用真实存在的东西填满整个画面，完全不能偷懒，因为观众可能会好奇地观察能看见的任何地方。
为了足够真实，在拍摄过程中，制作团队仿照二战时期的潜艇结构搭建了一个全尺寸潜艇环境，布景使用了货真价实的钢材、黄铜和金属，并对每一处细节进行精心打磨，所用材料总重 23 吨。
在潜艇这种狭小的空间中，制作团队专门为摄像机设计了安装位置，可以在水下稳定摄像机，并捕捉特定角度或视角，确保拍摄时不影响画面稳定性和质量。
同时，制作团队还设定了实现特定特效（如火花、蒸汽、爆炸、水流等）的器械和结构，这些装置通常会在拍摄中与摄像机紧密配合联动，以便摄像机能够在火花、蒸汽、水和火的环境中安全拍摄，确保不破坏观众的沉浸感。
为了保持连续性和真实感，演员们对在传统影片画面外的镜头进行了精心编排和设计，并参加了大量的特技排练，包括在潜水水箱和开放水域中进行自由潜水训练。
在传统电影的制作中，导演和摄影指导等场外人员需要通过一些专业级别的监视器对摄影机中拍摄的画面进行实时监看，以保证曝光、颜色、构图的准确性。
而随着空间视频的出现，画面呈现由平面走向立体，场外工作也随之发生变化——从苹果发布的后台视频来看，专业的监视器上，画面变成了类似于「全景地球」般的圆形，而为了更好地预览实时效果，Apple Vision Pro 也介入到工作流程中。
Apple Vision Pro 用 M2 芯片提供的性能支持与内置的显示屏素质，在实时传输画面的同时，还撑起了专业监看级别的分辨率与色准，为影片的制作保驾护航。
一直以来，除了 iPhone、iPad 等明星硬件产品外，苹果出品的宣传片与短片也是大家津津乐道的话题之一，这些视频往往通过浪漫的色调、考究的光线、恰如其分的配乐，给观众留下深刻印象。
不过，这些影片的目的性也很明确——为某个产品或是功能展示「官方玩法」，再配合精良的制作，在观众心里留下深刻印象。
就比如我最喜欢的短片《Welcome Home》，苹果通过一位年轻女士在家中伴随着音乐律动、起舞，直至整个房间都随着她的舞姿与音乐节奏变幻莫测地延展、伸缩。
而实际上，这部短片是用新颖的创意与震撼的视听享受来为所有观众宣传 HomePod。
从 1984 年，Ridley Scott 以反乌托邦的风格执导了《1984》用以宣传 Macintosh 开始，到前些时日翻车的 iPad Pro 宣传片《Crush》，都是如此。
《Submerged》也不外如是，只是这次的宣传对象，换成了前途未卜的 Vision Pro，就像 Apple 营销传播副总裁 Tor Myhren 说，希望以此吸引更多的用户和制作者：
我们非常期待看到这项技术如何激励电影制作人，推动视觉叙事的极限，开启全新的创作可能。
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据彭博社报道，苹果副总裁、资深高管 Dan Riccio（丹・里奇奥）将于本月晚些时候卸任退休，结束他在苹果长达 26 年的职业生涯。
在苹果任职期间，他曾担任硬件工程主管等重要职位，并领导了多项重大项目，包括 Vision Pro 耳机的开发和苹果汽车项目。
Riccio 的 Vision Products Group 团队，包括几千名从事头显和相关技术工作的工程师，被告知苹果硬件业务负责人 John Ternus 将接手。
此前有消息称，Ternus 将会是未来接替现任 CEO 库克的有力竞争者。
Riccio 于 1998 年 6 月加入苹果，担任产品设计总监，2012 年 8 月，他被提拔为硬件工程高级副总裁，他在这个职位上工作了超过八年，直到 2021 年转向一个未公开的项目。
这个未公开的项目后被证实为 Vision Pro 头显。
除了 Vision Pro，Riccio 也曾向市场推出了多款热门产品，比如 AirPods、iPad Pro 和大屏 iPhone 等。
在当地时间周三麻省理工学院的一次活动上，Riccio 透露他在过去五年一直寻求退休，且他在苹果的最后一天将会是星期五。他还讨论了与库克以及乔布斯一起工作时学到的领导经验。
他表示希望更多地参与以他名字命名的大学工程项目，包括可能进行教学或开发课程材料。他还谈到了初代 iMac 的诞生，并说 iPhone X 是他最引以为豪的创造产品。
不过，Riccio 的职业生涯中也有一些失败的探索：最著名的苹果汽车，以及苹果电视机。
苹果汽车项目自 2014 年启动，历经十年却未能成功，在今年 2 月份被曝走向终结，这也意味着过往数十亿美元投资付诸东流。而在十年前，苹果超高清电视机开发计划也被曝出遭到了同样的命运。
实际上，Riccio 的退休计划早在 2021 年就已初见端倪。
当时，他从高级副总裁转为副总裁，并离开了苹果的核心管理团队，如今才于本月正式离开。报道称，退休后，他的副手 Mike Rockwell（迈克・罗克韦尔）将接管 Vision Products Group 的日常运营工作。
值得一提的是，Riccio 在乔布斯时期就是苹果的关键人物，并在 2011 年库克接任 CEO 之前发挥了重要作用。彭博社认为，他的离开标志着自苹果首席设计官 Jony Ive 离开以来最大的变化之一。
Riccio 曾指出，大型科技公司之所以遭遇失败，往往源于它们对风险的过度规避，以及高层管理者对于潜在损失的过度担忧。
他强调，苹果之所以能够持续繁荣，是因为它保持了敏捷的运营模式，并赋予了高管们明确的责任和权力。在苹果，一旦出现问题，可以迅速找到责任人并采取行动，而不是像其他公司那样，多个管理者互相推诿责任，寻找借口。
只是，目前摆在苹果面前的最大难题，或许是备受困扰的高管离职潮。
苹果管理团队的许多成员都已接近退休年龄。在乔布斯的延揽下，库克也是于 1998 年加入苹果公司，明年也将满 65 岁。本周，彭博社还报道称，苹果采购主管 Dan Rosckes（丹・罗斯克斯）也即将退休。
并且，自 Jony Ive 于 2019 年离职以来，苹果已有多位重要高管因各种原因离职，
例如，从 Ive 接管工业设计但于 2023 年离开的 Evans Hankey。紧随 Hankey 之后的其他人，包括 iPhone 和 Apple Watch 设计副总裁 Tang Tan 和资深工业设计师 Bart Andre。
未来几年，苹果或将经历一场高管的「大换血」，而这些改变会给苹果的产品带来怎样的影响，新鲜血液的流入能否给苹果带来新的活力，都是行业值得关注的焦点。
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Kindle 就是个泡面盖
不知道有多少朋友当年买了 Kindle 之后这样干过，虽然当时不舍得也没想到 Kindle 的这项隐藏技能，但也的确没怎么用过。它出现最多的地方，就是和朋友聊天时炫耀：这个我有啊，还是白色的。
墨水屏阅读器大家都不陌生，但也不常见，在地铁、公交上偶尔碰到一个拿着墨水屏看书的路人，旁边的乘客大概率都会多看他两眼。
这就是墨水屏当下最真实的写照，一边为「护眼」「耐用」「不被打扰」叫好，一边在它头上画了一个大大的问号「这能拿来干嘛？」，买的人甚少。
但有一个牌子不信命，不仅在这个小众赛道上摸索了 10 年，还接连推出新品，甚至一台比一台贵，上个月刚刚发布的 reMarkable Paper Pro 起售价 579 美元（约合人民币 4059 元）。
所以，一台阉割了大部分功能、性能和配置的「黑白平板」，凭什么敢卖得比真平板还贵？
墨水屏阅读器自诞生以来，就注定了它没法让多数人为其掏腰包，因为优缺点过于明显。
喜欢它的人会说，功能越少干扰越小，沉浸式阅读的快乐，你体会不到；讨厌它的人会说，明明同样的价钱，能买更全能、更好用的平板，为啥要花这个冤枉钱。
阅读是墨水屏最核心的功能，甚至是早期产品上的仅有功能：光线经过屏幕的漫反射变得柔和，接近真实纸张的效果，对眼睛比较友好；显示屏上的内容只有专注的黑白，没有花哨的色彩；界面切换反应迟钝，光是翻到下一页文字都得等待片刻…… 一切为阅读而生，一切为文字让步。
▲ 图片来自：Mashable
这是 Kindle 等产品的优势，也是发展的桎梏。找到更多的使用场景，扩大受众和基本盘，才有可能让这个本就不富裕的领域，寻得出路。
说到底，墨水屏就是一种高度模仿，它试图在电子阅读和传统阅读的中间，找到一个平衡点，所以把电子设备遮住，看看以前没有智能终端的年代，有哪些场景是满足黑白且静态展示的，那就是墨水屏能胜任的。所以除了阅读，文字书写就顺理成章地成为了下一个目标。
用平板写字或绘画时，有三个细节往往在左右创作体验：
纸上写字，可以通过行笔速度和落笔轻重，来控制笔迹的粗细，延迟越低，压感越接近真笔，用户的体验就越好。光做到这两点还不够，你会发现太光滑的屏幕不好控笔，得有点摩擦才行，这也是为什么许多有创作需求的平板用户，会多买一张类纸膜或磨砂膜。
而 reMarkable 恰好就抓住了书写功能，且很早就开始为书写体验布局。2013 年，创立没多久的 reMarkable 就和台湾公司 E Ink 合作，共同研发「能写字的墨水屏」。
上面的三点，对于很多平板设备可能会成为创作门槛，而 reMarkable 则把这些做成了产品护城河：它不仅拥有墨水屏的真实阅读观感，也有非常出众的手写交互体验。
最新推出的 reMarkable Paper Pro 就是当中的代表，可以说依靠第二代画布屏（Second-Generation CANVAS Display），它们把纸上写字，尽可能地在新机上还原了出来。
▲ 图片来自：The Verge
人在观察一个物体的运动和做出执行的时间大约为 20-25 毫秒，一般我们会把这条分界线形象地描述成「反不反应得过来」，若是低于 20 毫秒，运动过程会在我们眼里变成一瞬间的事儿，还没反应过来动作就已经做完了。
Paper Pro 的笔触响应时间只有 12 毫秒（眨一下眼的时间约 100-400 毫秒），看起来笔迹一直跟着笔尖走，中间几乎没有空隙，就和真的一样。
另外，Paper Pro 的压感为 4096 级别，压感阶级越高，能够调节和感应的力度范围就越宽，书写时笔迹就更接近真实。这和 Apple Pencil 的压感级别和书写体验，在同一梯队。
▲ 图片来自：engadget
reMarkable 的硬件主管 Herding 曾在采访中透露，他们为了做出更好的书写体验，还专门用 3D 扫描，来了解平面上的「坑洼地形」，找到最适合书写和阻尼感最真实的一种方案，并以此来设计设备的屏幕，以及笔尖的细节。
书写的重点除了躺在桌子上的那块屏，还有握在手里的这支笔。
▲ 图片来自：WIRED
reMarkable 的专用书写笔叫 Marker，笔尖和数字墨水之间的距离小于 1 毫米，增加了自然的书写感觉；碳填充笔尖也能在书写时提供更真实的摩擦力；不同的握笔角度还能写出不同粗细的笔迹……
更重要的是，它的重量只有 14g（内置橡皮版 18.4g），这轻过了市面上大部分卖的最火的手写笔。
reMarkable 用第二代 CANVAS 墨水屏和全新的手写笔，尽可能地将真实的书写体验，在电子屏上 1:1 地复现。这也是它们能通过前几代产品立足市场的核心竞争力。Paper Pro 踩在前辈的肩膀上，又把书写体验翻了一番，The Verge 体验完后甚至觉得：
在这东西上书写就像黄油一样顺滑。
这不仅是因为它用上了更大的屏幕（11.8 寸，上一代是 10.3 寸），更是源自新产品的独有功能：彩色显示与书写。
▲ 图片来自：engadget
彩色显示屏，是 Paper Pro 相较于往年产品，甚至同类产品变化最大的地方之一。
Paper Pro 能使用 9 种不同的原色书写注释，显示效果和手机平板上的彩色画面完全不同， 整体色调偏灰，如果把手机平板上的彩色比作水彩， 那 Paper Pro 上的颜色就是用彩色铅笔画出来的。
这项叫做「Canvas Color」的技术，是 E Ink Gallery 3 的改良版。要明白彩色如何在墨水屏上显现，就先要搞懂墨水屏的工作原理。
悬浮在液体中的带电纳米粒子受到电场作用而产生迁移。
硬件主管 Herding 把上面这句云里雾里的技术用语，做了一个形象生动的类比：
在电子纸等反射式屏幕中，像素有点像一杯牛奶，里面浸着奥利奥饼干。如果饼干在水面以下，像素就是白色的；如果饼干浮到上面，像素就是黑色的。
通常，颜色是通过在顶部放置 RGB 滤镜来添加的，这样白色像素就会被着色——但这也会影响分辨率和对比度。
为了避免这些问题，reMarkable 的做法是将一堆「彩虹糖」倒入牛奶中，这样分辨率和色彩对比度在墨水屏上就有了极大的显色保证。
▲ 图片来自：Google
也就是说，显示屏的每个像素内都若干个墨水颗粒，除了显示 9 种基本色彩，它们能通过不同的排列组合，随意搭配，产生 2 万种其他配色，也就是说，Paper Pro 几乎能覆盖到互联网上所有的色彩要求。
▲ 图片来自：The Verge
光有色彩还不够，要是想接近在纸上上的书写，还有一个重要的细节：笔迹覆盖。拿荧光笔在同一个地方画若干条重复的横线，每一条都会比上一条深，因为墨水浓度增加了，Paper Pro 捕捉到了这一点，所以在同一个地方绘制的层数越多，颜色越深。
▲ 图片来自：WIRED
相比纸张，Paper Pro 还有另一个好处：画多少笔都不用担心字迹被抹除，或者纸会烂掉。
用不同的颜色做笔记，是学生时代女同桌或者某些学霸的标配。并不是说颜色越多越好，而是不同颜色可以帮助笔记分层，比如原文摘抄用黑色钢笔，重点词语用绿色荧光突出，补充内容用蓝色在旁边标注……
这套操作放在初次学习考研或雅思阅读的长难句上也同样适用：主谓宾/主席表用黄色，定语从句用紫色，倒装句下方用橙色写上正常语序。
拥有了彩色的墨水屏，和书写功能结合在一起，不仅让显示内容更丰富，也让笔记的可玩性和可用性大幅提升，有人喜欢最原始的黑白标注，但也总有人喜欢层次分明的彩色总结，Paper Pro 则每个人都提供了适合自己的选择。
▲ 图片来自：The Verge
和 4 年前发售的 reMarkable Paper 2 相比，Paper Pro 的应用场景也更广泛，因为它新增了「阅读灯」和「键盘套」。
它的光源不是手机、平板那种背光灯，从底层打亮一整块屏幕，让所有的显示内容都发光，而是像环境光一样，从正面照亮屏幕，在阴暗的环境里也能看清屏幕上的图像文字。
▲ 图片来自：WIRED
配套的键盘 Type Folio 也收到了外媒的集体夸奖，整个键盘大小适中，几乎所有的快捷操作都能通过键盘完成，它能最大程度地让你远离其他可能会打断创作思绪的电子设备。
不过缺点也很明显，Type Folio 只能和 Paper Pro 单独配套使用，这款无线连接的键盘不能适配其他版本的 reMarkable 设备以及其他品牌的设备。
反过来，Paper Pro 要想使用键盘外接键盘，也只有它一种选择，而这款专属键盘套的价格是 229 美元（约合人民币 2096 元），和 iPad Pro 的妙控键盘，价格持平。
2022 年，Kindle 中国宣布，Amazon 将于一年后在中国停止 Kindle 电子书店的运营，今年 2 月 Kindle Oasis 也在美国停产，这意味着标志着一个时代、一个品类的产品，正式淡出消费电子的大舞台。
而墨水屏的苦日子，其实开始得更早一些。
根据《2020 年度中国数字阅读报告》，中国数字阅读用户规模为 4.94 亿，同比增长 5.56%；数字阅读行业市场整体规模为 351.6 亿，增长率达 21.8%。在这期间，和电子书相关的企业有 2800 家，其中有 69% 的相关企业都在这五年内成立。从 2017 年至 2019 年，新增企业均超过 500 家。
▲ 图片来自：澎湃新闻
企业看好行业，但市场却对产品不感冒，2020 年中国市场电子阅读器出货量仅有 237 万；去年，中国市场墨水屏销量只剩 123 万台，相比起超出货量超过 2800 万台的平板电脑，墨水屏依然只属于一小撮人。
墨水屏降低了频闪和强光对眼睛的伤害，降低了设备本身的娱乐属性，也降低了用户对这类设备的期待。
所以墨水屏到底有什么用？
今年柏林国际消费电子品展（简称 IFA）的，reMarkable Paper Pro 榜上有名。
▲ 图片来自：Google
这些获奖产品无一例外，都在都在影响和塑造着我们以后的生活方式，而一块墨水屏，一个差不多要被时代淘汰、被市场抛弃的阅读器，其实也在摸索走出另一条路——教育市场。
Kindle 退出中国市场后，国产品牌迅速吃下了这块空出的蛋糕，科大讯飞、掌阅、文石等墨水屏产品开始成为爆款，2023 年的销量均超过了 10 万台，合计占比为 53%。
墨水屏平板其实有个有趣的矛盾点：人们一方面想方设法用新技术消灭纸笔实体，另一方面又绞尽脑汁用怪点子复现纸笔体验。这就很像用 AI 找到了一棵适合钻木取火的树，传统与未来别扭地融合在了一起。
所以墨水屏，或者说手写交互，有其不可取代的原因：巩固记忆。
北京大学心理与认知科学学院副教授陈立翰曾在采访中说到：
纸上书写的动作只是大家看到的一个末端的输出过程，而前期从记忆中提取文字的形态，以及构思笔画的顺序和结构都是大脑认知深度加工的过程。
挪威科学家研究发现，当参与者拿笔写字时，不同大脑区域之间的连接会增强，特别是运动控制和记忆相关的区域，而打字时则不会。
所以手写笔记比键盘打字学习，效果更好，记忆也更牢固，再加上单一的功能和简陋的配置，可以说墨水屏就是为教育而生，这也是墨水屏转头深耕教育市场的底层逻辑和由头。
我自己也是手写笔记的爱好者，手写的另一个隐藏好处是极度自由。
虽说单看输入效率，打字（约 60 字/分钟）比写字（约 30 字/分钟）快了将近一倍，但手写可以随时调整位置、文字大小、排版方式，只需要调整下一笔的笔迹即可，但在电脑、平板上得通过多级菜单和多次点击才能完成，结果可能还不是你想要的。
至此，你可以顺着这个思路找出无数个「购买墨水屏的理由」，但在上头下单前不妨先问问自己：
即使你都能满足，那在面对全套 reMarkable 全家桶 829 美元（约合人民币 5812 元）的售价时，你是会选择一个单一功能的「天价」墨水屏，还是会买一套功能齐全的高配大平板？
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When the first Macs with internal hard disks started shipping in 1987, they were revolutionary. Although they still used 800 KB floppy disks, here at last was up to 80 MB of reliable high-speed storage. It’s worth reminding yourself of just how tiny those capacities are, and the fact that the largest of those hard disks contained one hundred times as much as each floppy disk. By the 1990s, with models like the Mac IIfx, internal hard disks had doubled in capacity, and reached as much as 12 GB at the end of the century.
Over that period we discovered that hard disks also needed routine maintenance if they were to perform optimally, and all the best users started to defrag their hard disks.
Consider a large library containing tens or even hundreds of thousands of books. Major reference works are often published in a series of volumes. When you need to consult several consecutive volumes of such a work, how they’re stored is critical to the task. If someone has tucked each volume away in a different location within the stack, assembling those you need is going to take a long while. If all its volumes are kept in sequence on a single shelf, that’s far quicker. That’s why fragmentation of data has been so important in computer storage.
The story of defragging on the Mac is perhaps best illustrated in the rise and fall of Coriolis Systems and iDefrag. Coriolis was started in 2004, initially to develop iPartition, a tool for non-destructive re-partitioning of HFS+ disks, but its founder Alastair Houghton was soon offering iDefrag, which became a popular defragging tool. This proved profitable until SSDs became more widespread and Apple released APFS in High Sierra, forcing Coriolis to shut down in 2019, when defragging Macs effectively ceased.
All storage media, including memory, SSDs and rotating hard disks, can develop fragmentation, but most serious attention has been paid to the problem on hard disks. This is because of their electro-mechanical mechanism for seeking to locations on the spinning platter they use for storage. To read a fragmented file sequentially, the read-write head has to keep physically moving to new positions, which takes time and contributes to ageing of the mechanism and eventual failure. Although solid-state media can have slight overhead accessing disparate storage blocks sequentially, this isn’t thought significant and attempts to address that invariably have greater disadvantages.
Fragmentation on hard disks comes in three quite distinct forms: file data across most of the storage, file system metadata, and free space. Different strategies and products have been used to tackle each of those, with varying degrees of success. While few doubt the performance benefits achieved immediately after defragging each of those, little attention has been paid to demonstrating more lasting benefits, which remain more dubious.
Manually defragging HFS+ hard disks was always a questionable activity, as Apple added background defragmentation to Mac OS X 10.2, released two years before Coriolis was even founded. By El Capitan and Sierra that built-in defragging was highly effective, and the need for manual defragging had almost certainly become a popular myth. Neither did many consider the adverse effects on hard disk longevity of those intense periods of disk activity.
The second version of TechTool Pro in 1999 offered a simplified volume map for what it termed optimisation, offering the options to defragment only files, or the whole disk contents including free space.
By the following year, TechTool Pro was paying greater attention to defragging file system metadata, here shown in white. This view was animated during the process of defragmentation, showing its progress in gathering together all the files and free space into contiguous areas. TechTool Pro is still developed and sold by MicroMat, and now in version 20.
A similar approach was adopted by its competitor Speed Disk, here with even more categories of contents.
By 2010, my preferred defragger was Drive Genius 3, shown here working on a 500 GB SATA hard disk, one of four in my desktop Mac; version 6 is still sold by Prosoft. One popular technique for defragmentation with systems like that was to keep one of its four internal disks empty, then periodically clone one of the other disks to that, and clone it back again.
Alsoft’s DiskWarrior is another popular maintenance tool, shown here in 2000. This doesn’t perform conventional defragmentation, but restructures the trees used for file system metadata, and remains an essential tool for anyone maintaining HFS+ disks.
Since switching to APFS on SSDs several years ago, I have missed defragging like a hole in the head.
这是一期 荒野楼阁 WildloG 和 皮蛋漫游记 的串台节目，由我和零号、初号一起，聊聊今年 Apple 发布的新产品以及一些周边的信息，作为 设以观复x两颗皮蛋 合作的那期视频内容的一些补充。
今年 iPhone 16 系列着实挺闹心的，一方面是 Apple Intelligence 的大饼迟迟未能落地，另一方面 Camera Control 独立按键加得有点莫名其妙。但我们还是决定在深入体验和使用 iPhone 16系列之后，能够匹配我们的深度测评内容一起，跟大家聊聊今年库克又挤出来了多少牙膏？
2:03 关键词：初号「过山车」苏志斌「意料之中」零号「Ridiculous」
8:10 AirPods 4 代很值得购买，刀法也足够精准
11:01 AirPods 助听器功能的背后
17:32 中文字体字重的调整
20:11 Siri 物理意义上变快了
22:31 相机控制按键：理想很丰满，现实…….
31:53 Mac 预览和 shownotes 支持 HDR 视频的延伸和补充
36:55 色彩风格+魔改 RAW
40:44 App Intents：让系统 应用互相直接能联动
45:57 Apple Watch：9 代到 10 代减薄的背后，11 代可预期的更大显示尺寸
54:55 相机按键如果是 AI 的视觉按键成立吗？
1:00:40 加了这个按键之后到处都是混乱和矛盾
1:06:25 手机为啥（暂时）不能 edge（显示）to edge（中框）
1:12:19 什么是产品的核心体验？
1:23:34 苹果会做折叠屏吗？
1:34:00 Meta Orion 是否是比 Apple Vision Pro 更正确的验证路线
1:41:54 为什么最好的虚拟现实 AI 设备一定是眼镜？
｜登场人物｜
苏志斌：从业 15 年的工业设计师，车联网智能硬件企业联合创始人及产品经理
零号：两颗皮蛋的零号，前手机行业产品经理，主管运营和项目管理
初号：两颗皮蛋的初号，前手机行业产品经理，主管内容创作和出镜
｜更多皮蛋｜
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视频：设以观复 x 两颗皮蛋 联合深度解析 iPhone 16 系列
｜相关链接｜
若你所使用的播客客户端未能完整显示插图，或遇网络问题未能正常播放，请访问：
荒野楼阁 WildloG 的地址：https://suithink.me/zlink/podcast/
阅读设计相关的各类文章：https://suithink.me/zlink/idea/
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欢迎在 小宇宙、Spotify、YouTube、Apple Podcast 收听本节目，期待你的留言。
Although birth hasn’t proved such a popular theme in paintings, there are countless depictions of death. Dominant among them in European works are those of the Crucifixion, but in this brief survey I concentrate on those showing figures from myth, history and contemporary life, particularly those of deathbed scenes, and omit religious paintings entirely.
Adonis is perhaps the only figure whose birth and death have been popular in paintings. Following his strange birth from the myrrh tree, when he was a young adult he bled to death after he had been gored by a wild boar while he was hunting.
Hendrik Goltzius’ startlingly foreshortened projection of the Dying Adonis from 1609 pushes his face and head into the distance and makes their features almost unreadable, while his feet take pride of place and you can even read their soles.
Piero di Cosimo’s wonderful painting of a dying nymph uses the full width of a panoramic panel to show a satyr with his goat legs and distinctive ears, ministering to the nymph, who has a severe wound in her throat. At her feet is a hunting dog, with another three in the distance. Sometimes claimed to show the death of Procris by a javelin thrown by her husband Cephalus, this tells a different and unidentified story.
The death of Dido is more easy to identify, particularly in this depiction by Henry Fuseli, from 1781.
Dido has mounted her funeral pyre, and is on the couch on which she and Aeneas made love. She then fell on the sword which Aeneas had given her, and that rests, covered with her blood, beside her, its tip pointing up towards her right breast. Her sister Anna rushes in to embrace her during her dying moments, and Jupiter sends Iris (wielding a golden sickle) to release Dido’s spirit from her body. Already smoke seems to be rising up from the pyre, confirming to Aeneas that she has killed herself, as he heads towards the horizon, and the eventual founding of Rome.
The story of lovers Pyramus and Thisbe and their tragic deaths has been popular with painters since classical times. When they arrange to meet outside the city, she flees from a lioness, leaving her bloodied cloak. He then arrives and assumes that she has been killed by the lioness and falls on his sword. She returns to find him dying, and falls on his sword so they can be reunited in death. Their spilt blood turns the fruit of the mulberry bush from white to red.
This version from the ruins of Pompeii includes all the main cues, with the lioness in the distance, and a mulberry tree with its white fruit. Its composition has remained in use for the two millennia since then.
More recent legends, particularly those of King Arthur, have formed the basis for some notable painted deathbed scenes.
In James Archer’s The Death of King Arthur from about 1860, the dying Arthur is surrounded by four women, as the black boat approaches the beach behind them. At the right, the ghostly figure of an angel holding a chalice is materialising, in accordance with Sir Thomas Malory’s popular literary account.
Many historical figures have been portrayed in their final moments.
In Paul Delaroche’s Death of Elizabeth I, Queen of England (1828) the haggard queen is shown slumped on a makeshift bed on the floor, putting her low in the painting. Her maids and other female attendants are in distress behind her, supporting the pillows on which her head rests. I presume that the male kneeling by the queen and extending his right hand towards her is Robert Cecil, leader of the government at the time, and behind him are other members of the Privy Council of England, who were shortly to install Elizabeth’s successor.
Benjamin West’s best-known painting of The Death of General Wolfe (1770) shows a scene from an almost uniquely brief battle between British and French forces on 13 September 1759, which lasted only an hour or so. At the end of their three months siege of the French city of Quebec, Canada, British forces under the command of General Wolfe were preparing to take the city by force. The French attacked the British line on a plateau just outside the city.
Within minutes, Wolfe suffered three gunshot wounds, and died quickly. The French commander, General Louis-Joseph, Marquis de Montcalm, was also hit by a musket ball, and died the following morning. The British line held, and the French were forced to evacuate the city, ultimately leading to France ceding most of its possessions in North America to Britain, in the Treaty of Paris of 1763. Wolfe’s death was quickly seen as the ultimate sacrifice of a commander in securing victory, West’s underlying theme here.
Just over twenty years later, it was the turn of the French Revolution to provide a more equivocal hero.
On the morning of 13 July 1793, Charlotte Corday, a young woman from Normandy, turned up at the Paris house of Jean-Paul Marat, one of Revolution’s most influential radicals, asking to see him; his fiancée turned her away. She gained entry later that evening, and started giving him the names of some local counter-revolutionaries. While he was writing them down, she drew a kitchen knife with a 15 cm (6 inch) blade from her clothing, and plunged it into Marat’s chest, killing him rapidly.
David’s famous painting shows Marat’s body slumped over the side of his bath, the murder weapon and his quill both on the floor, the pen still in his right hand, and a handwritten note in his left hand. Corday was executed in public by guillotine on 17 July. Marat became a martyr for the cause, after his friend David had organised one of the spectacular funerals for which he had become known.
When Théodore Géricault, who had painted The Raft of the Medusa in 1818-19, died in Paris on 26 January 1824, the young and promising history painter Ary Scheffer painted his tribute as The Death of Théodore Géricault (1824). At the artist’s bedside are his close friends Colonel Bro de Comères and the painter Pierre-Joseph Dedreux-Dorcy, and the wall of the room is covered by his paintings.
When Claude Monet’s first wife was dying in the late summer of 1879, he painted his tribute to her in Camille Monet on her Deathbed (1879). She appears to be surrounded by diaphanous feathers that rise on either side of her head to form angelic wings. She was only 32, and they had two children.
By the Deathbed (1895) is Edvard Munch’s painting from memory of his sister Sophie resting in her deathbed in 1877, when she was 15 and the artist wasn’t quite 14 years old. She died of tuberculosis, an unfortunately common event at the time. Munch explained that, when painting from memory like this, he depicted only what he could remember, and was careful to avoid trying to add details that he no longer saw. This explains its relative simplicity.
Sophie is seen from her head, looking along her length to her feet, her figure compressed into almost nothing by extreme foreshortening. Her deathbed resembles the next step, in which her body will be laid out in a coffin prior to burial. More than half the painting is filled by the rest of the family, father with his hands clasped in intense prayer. At the right is their mother, who had died of tuberculosis herself nearly nine years earlier.
Like Manet and the French Impressionists, Marià Fortuny painted motifs that challenged social attitudes of the day. His portrait of Miss Del Castillo on her Deathbed from 1871 shows a similar scene to Monet’s later painting above.
Sometimes, deathbed and other posthumous portraits prove too great a challenge.
Maria Munk, known as Ria, had been engaged to the actor and writer Hanns Heinz Ewers; when he called off their engagement, she committed suicide just after Christmas in 1911, by shooting herself in the chest. Gustav Klimt was commissioned by Ria’s family to paint a posthumous portrait of her, and first made Ria Munk on her Deathbed, initially completed in 1912 but here dated to 1917-18. She is manifestly dead, and surrounded by floral tributes. The family rejected the work, finding it too distressing, and asked Klimt to depict her when she had still been alive, from photographs.
A second portrait completed in 1916 was also rejected, although there’s doubt about the identity of the painting, and the reason for its rejection. Klimt started his third attempt in 1917, and was still working on it early the following year. It was clearly going to be one of his richly decorated paintings, with abundant colourful flowers in the background, and brilliant peppers and other vegetables. In early January 1918, Klimt caught the deadly influenza that had just started to spread across Europe. He quickly developed pneumonia, suffered a stroke, and died on 6 February 1918.
Once a cereal crop had been harvested and gathered for threshing, the fields might then be scavenged for any remaining grain, a process known as gleaning. Although this has been described since Old Testament times, there’s uncertainty as to who gleaned, and where they were able to glean. This article shows a selection of paintings from the nineteenth and early twentieth centuries showing gleaning, to see if they cast further light on those questions.
Biblical accounts establish that gleaning was then a means for the poorest in society to acquire their own free supply of grain, and was a right of the poor. Some assume that the same practice continued, under the same right, until it fell into disuse in the late twentieth century. That ignores complex changes in land ownership and rights, and national law, and makes assumptions about rural economies that may not be correct.
The majority of those living in the country between 1500 and 1800 had little need for money. Almost everything they required in life was grown or made locally, and there were few if any consumer goods that they would need to purchase. Most lived in two sets of clothes: working dress, which was handed down, patched and repaired until it was unwearable, and a Sunday outfit worn when attending church, similarly inherited. Furniture was scant, made from local wood, and handed down through generations. Food and other goods that the family couldn’t supply itself would normally be obtained by barter with a neighbour. While those with more land and animals could sell them at market, and use the proceeds to buy luxuries, that remained out of the reach of the majority. It appears to have been that majority who gleaned the fields after harvest.
Although some countries in Europe retained gleaning rights on the strength of Biblical law, as land was enclosed and brought into increasingly complex systems of private ownership and rights, some land owners challenged that ancient right, and in 1788 a notable English legal case set the precedent that there was no universal right to glean, no matter how poor you might be. Nevertheless, many landowners continued to allow gleaning on their land, and in some areas these were celebrated alongside the harvest itself. Gleaning, like much else in the country, thus varied from country to country, and by region and village, but wasn’t confined to the poorest by any means.
One pitfall in looking at paintings of gleaning is that some are retelling the Biblical story of Ruth and Boaz, rather than depicting contemporary gleaning.
In Samuel Palmer’s The Gleaning Field (c 1833), as in other accounts, gleaners appear to have been mostly women.
In 1854, Jules Breton returned to live in his home village of Courrières, not far from Calais in north-east France, and started painting agricultural workers in the local landscape. His style changed dramatically, and the following year he enjoyed success with his first masterpiece, The Gleaners (1854), which won him a third-class medal at the 1855 Paris Salon. Overseeing this gleaning is the garde champêtre or village policeman, an older man distinguished by his official hat and armband, who was probably an army veteran. In the background, behind the grainstacks that were later to be such popular motifs for the Impressionists, is the village church tower, surrounded by its houses.
Breton had started to plan this painting soon after his return. He made a series of studies, several of which survive, for its figures, but the view appears to be faithful to reality. The figure of the young woman walking across the view from the right (in front of the garde champêtre) seems to have been modelled on the daughter of Breton’s first art teacher, whom the artist married in 1858.
Jean-François Millet’s hope for the Salon two years later was his substantial painting of The Gleaners (1857), which is completely different in concept. The distant wagon, grainstacks, and village may appear common elements, as are the three women bent over to glean in the foreground, but that is as far as the similarities go.
Millet’s composition is sparse, concentrating on those three figures. There are no distractions, such as the garde champêtre to add colour or humour: it’s all about poverty, and smacked of socialism; unlike Breton’s painting it got the thumbs-down from both the rich and the middle classes who frequented the Salon. Millet had also been born and brought up in the country, in his case further west on the north coast of France, in the Normandy village of Gruchy, where he had worked on the land.
Breton’s Calling in the Gleaners (also known as The Recall of the Gleaners, Artois) (1859) is one of the treasures of the Musée d’Orsay. With the light now fading, and the first thin crescent of the waxing moon in the sky, the loose flock of weary women and children make their way back home with their hard-won wheat. At the far left, the garde champêtre calls the last in, so that he can go home for the night. Behind them a flock of sheep is grazing on the adjacent pasture.
Painted in 1880, Eugène Burnand’s Gleaners are set in high Alpine meadows, two girls with meagre gleanings. They are dressed in plain working clothes, but don’t appear particularly poor. Behind them a cart carries away the main harvest.
Léon Augustin Lhermitte’s most enduring expression of rural poverty was in showing four women salvaging the remains left in the fields after the harvest: the Gleaners, here his version of 1887. Lhermitte was another son of the country, this time Mont-Saint-Père in Picardy, inland in north-east France, although his father was a schoolteacher.
Cowed from 1887 shows gleaners at work in a field after the harvest in Denmark, but there’s much more to Hans Andersen Brendekilde’s story than that. The owner of the large farm in the left distance has gathered in their grain, and their harvesters have been paid off for their effort. Then out come the gleaners to scavenge what they can from the fields.
The family group in front of us consists of three generations: mother is still bent over, hard at work gleaning her handful of corn. Her husband is taking a short break, sitting on the sack in his large blue wooden clogs. Stood looking at him is their daughter, engaged in a serious conversation with her father, as her young child plays on the ground.
The daughter is finely dressed under her coarse gleaning apron, and wears a hat more appropriate to someone in service as a maid, or similar, in a rich household in the nearby town. She looks anxious and flushed, and is almost certainly an unmarried mother, abandoned by her young child’s father, and it’s surely she who is oppressed or ‘cowed’. Their difficult family discussion is being watched by another young woman at the far left, who might be a younger sister, perhaps.
Brendekilde took his name from the small village of Brændekilde, near Odense on the island of Funen in Denmark. The son of a clog maker, he lived with his grandparents for several years when a child, and at the age of ten made his living as a shepherd.
The Impressionists seldom seem to have painted controversial social issues. One of the few exceptions to this proved a lesson for Camille Pissarro in the practicality of Divisionism. He started work on his intensely sensory and idyllic painting The Gleaners in early 1888, using a squared-up study in gouache to finalise his composition. He found the painting hard, and wrote that he needed models so that he could complete its detail, which did the following year.
As Europe moved into the twentieth century, gleaning became increasingly unreal and romantic.
Gleaners were still commonplace in the Essex grain fields at harvest time, trying to scrape enough waste grain from the ground to feed their families. In Sir George Clausen’s Gleaners Coming Home from 1904, swirling brushstrokes make the gleaners’ improbably smart clothes appear to move as they walk home in the evening sunlight.
Clausen’s The Gleaners Returning (1908) is a marvellous contre-jour (into the light) view, again with swirling brushstrokes imparting movement in the women’s clothes, and no hint of their poverty.
Lhermitte’s Gleaners Near Haystacks (1912) shows a group of women gleaning, two of them almost bent double.
Even when he was well into his seventies, Lhermitte seemed able to find time and energy for just another painting of gleaners, in his Gleaning Women of 1920.
With the increasing depopulation of Europe’s rural areas and the introduction of mechanical methods of harvesting, gleaning seems to have died out by the middle of the twentieth century, only to reappear around 2000. It’s now an organised voluntary activity arranged with farmers, to recover crops unsuitable for mechanical harvesting, and other recoverable sources.
As with many other aspects of rural life, gleaning appears to have varied according to era and location. In some areas it seems to have been confined to those who were struggling to provide sufficient food for themselves, in the Biblical tradition. In others it was more general, and a normal phase of the harvest supplying most families with a free top-up of grain they could get ground by a miller to add to their supply of bread in the coming winter. It could also yield substantial amounts of grain: one report claims a widow and her three sons gleaned 325 kg (720 pounds) of wheat from one harvest. After all, if left in the field where it was, it would only have been ploughed back into the ground later in the autumn, and gone to waste.
David Hoseason Morgan (1982) Harvesters and Harvesting 1840-1900, Routledge ISBN 978 1 138 74476 9.
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