Although the famous Carrington Event of 1859 is often described as the first major space weather event to affect technology, earlier incidents did occur. Historical records show that telegraph systems were disrupted by geomagnetic storms as early as the late 1840s.

The post Study: Famous ‘Space Weather’ Train Delay Actually Happened Seven Years Later appeared first on Sci.News: Breaking Science News.

iPhone 18 Pro is at the center of What Holds Us, a new photography exhibition built around three very different approaches to image-making. Alex Prager, Jack Davison, and Jimmy Chin shot the entire project on Apple’s latest Pro iPhone, using the device in environments ranging from a Los Angeles soundstage to a London warehouse and the high-altitude terrain of British Columbia.

Curated by Kathy Ryan, the former longtime director of photography for The New York Times Magazine, the exhibition examines connection through touch, shared experience, physical environments, and human relationships.

It also gives Apple a more ambitious showcase for the iPhone 18 Pro camera than a conventional product demonstration. Rather than presenting standardized comparisons or individual sample images. What Holds Us asks three established photographers to work within their own visual languages while using the phone as their sole camera.

The exhibition opens in New York City on September 18 and runs through September 20 before traveling to London and Shanghai in the coming months.

iPhone 18 Pro takes three very different photographic approaches

The project works partly because the three photographers have little stylistically in common.

Jimmy Chin took iPhone 18 Pro into the Bugaboo Mountains of southeastern British Columbia, working around snow, ice, steep climbing terrain, and winds reaching as high as 70 miles per hour.

His series focuses on trust and connection within climbing, with veteran mountaineer Conrad Anker appearing throughout the photographs. Some images place Anker as a small figure against vast mountain landscapes, while others move much closer to rock, snow, and glacial textures.

Chin used both the 48MP Fusion Ultra Wide and Telephoto cameras to shift between those extremes. The practical appeal was also straightforward: carrying a phone instead of a full conventional camera setup reduced the equipment required in an environment where weight and mobility affect every decision.

Jack Davison took almost the opposite approach. Shooting inside a former sugar warehouse in London, he created intimate portraits built around people interacting with clay and chalk.

Davison is known for high-contrast black-and-white imagery, and his contribution emphasizes texture, shadows, highlights, skin, and physical contact with the material. Some subjects appear partly covered in clay, while others manipulate it directly, leaving fingerprints and marks across the compositions.

For Davison, the smaller camera changed the relationship between photographer and subject. Without a large camera constantly positioned in front of his face, he could maintain more eye contact and work at closer range.

His use of slower shutter speeds, RAW capture, and multiple lenses also illustrates how Apple increasingly wants the Pro iPhone camera to function as a configurable photographic tool rather than simply a computational point-and-shoot system.

Alex Prager pushes the phone into large-scale production

Alex Prager’s section places iPhone 18 Pro inside a much more elaborate production environment.

Working on a Los Angeles soundstage, Prager created color-heavy scenes filled with crowds, confetti, staged city elements, costumes, and loosely choreographed movement. Some images use high viewpoints to turn groups of people into a continuous visual pattern, while tighter photographs isolate individual figures within the same constructed world.

The visual approach resembles film production more than spontaneous mobile photography, which gives the project another test for the phone. The camera has to preserve detail across numerous faces, costumes, props, highlights, and areas of movement while operating within scenes deliberately designed for large-format presentation.

Prager also treated the camera’s immediacy as part of the creative process rather than simply a convenience. The ease of moving between perspectives and capturing repeated moments allowed the scenes to evolve through improvisation instead of being locked into a single carefully prepared frame.

That approach aligns with a recurring theme across the exhibition: the phone becomes less intrusive without requiring the photographers to abandon their existing visual standards.

For Apple, it is a useful distinction. Professional photography campaigns built around smartphones can easily become exercises in technical proof, where the central question is whether a phone can imitate equipment already available to photographers. What Holds Us is more interested in how a smaller camera changes the way an artist works.

Variable aperture gives the project a new technical foundation

The exhibition arrives alongside one of Apple’s most significant physical camera changes in years.

iPhone 18 Pro introduces variable aperture on its 48MP Fusion Main camera. The lens can operate at ƒ/1.48, ƒ/1.8, ƒ/2.8, or ƒ/4.0, changing both light intake and depth of field.

A wider ƒ/1.48 aperture is designed for stronger low-light performance, while narrower settings can retain more detail across different planes of an image. Apple also lets photographers select aperture settings manually through new Pro controls in the Camera app.

Those controls extend to shutter speed and white balance, with a histogram available for monitoring exposure. ProRAW remains available for photographers who want greater flexibility during post-production.

The rear camera system also includes 48MP Fusion Ultra Wide and 48MP Fusion Telephoto cameras, providing focal lengths from 13mm at the wide end through an optical-quality 8x option.

What Holds Us does not reduce the exhibition to those specifications, but the technical changes help explain why Apple chose photography, rather than video, for this particular campaign. Variable aperture affects choices that photographers traditionally make during capture, especially around available light and how much of a scene remains in focus.

What Holds Us extends the Shot on iPhone idea

Apple has spent years using Shot on iPhone campaigns to demonstrate camera quality through finished work rather than charts and controlled tests. What Holds Us pushes that format closer to a conventional curated exhibition.

Ryan connects the three bodies of work through the idea of human presence, but each artist interprets it differently. Chin finds it through dependence between climbers in hostile landscapes. Davison uses physical contact between people and clay. Prager builds populated fictional environments in which individual expressions emerge from larger crowds.

The images therefore function as an exhibition first and a hardware showcase second, even though the production is closely tied to the launch of iPhone 18 Pro.

That balance may be the most effective part of the campaign. Apple does not need to demonstrate that a modern iPhone can produce a technically competent photograph. The more interesting challenge is showing where its smaller size, computational processing, lens flexibility, RAW workflow, and new manual controls can alter the photographer’s decisions.

New York visitors will get the first opportunity to see how those images hold up away from a phone or computer display when What Holds Us opens September 18. After its three-day New York run, Apple says the exhibition will continue to London and Shanghai, giving the iPhone 18 Pro photography project a physical life beyond the launch campaign.

The post iPhone 18 Pro exhibition puts three photographers behind Apple’s new camera system appeared first on AppleMagazine.

It started as a routine data-quality check. But as Robert Wagner, a scientist with NASA’s Lunar Reconnaissance Orbiter (LRO), scanned a giant Moon map on his computer screen, an unusually large bright spot circled by a dark halo caught his eye, as it implied that surface material in that area had been shaken up.

“I just stopped, dropped everything, and started looking into what that spot was,” said Wagner, an image-processing specialist from Intuitive Machines who works with data from the Lunar Reconnaissance Orbiter Camera (LROC) system.

By comparing before and after images of the Moon, Wagner realized he had discovered the largest, newly formed crater ever found in the solar system, as scientists reported Wednesday in Science Advances. This discovery highlights the value of NASA’s Moon orbiter data in studying a dynamic landscape as the agency advances a sustained human presence and expanded scientific and commercial activity on the Moon.

Officially named McGetchin after pioneering lunar scientist Tom McGetchin, the crater formed on the Moon’s eastern edge sometime between April 11 and May 22, 2024, after a comet or asteroid the size of a three- to six-story building hit the surface.
 
The crash left a crater, 728 feet wide, that spans the length of two football fields. And at 141 feet deep, the crater could fit three vertically stacked yellow school buses.
 
Scientists estimate that an impact of this magnitude happens on the Moon about once in a century or even longer.

Moon takes some hits

For more than 17 years, LRO has been circling the Moon and using its seven instruments to map the topography, surface composition, temperature, and radiation environment there. The spacecraft’s team has identified at least 1,000 new impact craters throughout the mission and flagged 100,000 more surface changes from an object smashing into the Moon or from the debris that flung out after.

With no atmosphere to slow them or burn them up, space rocks and other objects easily reach the lunar surface. Most are much smaller compared to the object that carved out McGetchin crater. The smallest craters scientists can distinguish from LRO images are about 30 feet wide, the length of a three-story building laid on its side, made by rocks about 43 inches wide, the size of a monster-truck tire. Scientists estimate that impacts of this scale produce about 140 new craters across the Moon each year. But most new ones are made by microscopic projectiles that leave holes too small to identify in orbital images.

With its numerous instruments, the spacecraft can observe changes to the lunar surface that aren’t apparent in the LROC images alone. After the crater was discovered, scientists working with LRO’s thermal instrument, Diviner, made follow-up observations of the site. They found a 4-mile-wide area around the crater that is about 16 degrees Fahrenheit cooler at night than its surroundings.

Reporting in a second paper Wednesday in the same journal, researchers say that the cooling happens because the impact fluffs up the regolith around the crater, making it less dense and therefore less able to retain heat.

The large extent of this “cold spot” is striking, scientists say, because it shows that impacts can modify the Moon’s surface far beyond the crater itself. These physical changes could affect how rover wheels interact with the surface, for instance.

Road to discovery

The LROC system collects images from about 60 miles above the Moon as LRO loops from pole to pole. The system includes two cameras that capture high‑resolution black‑and‑white images and one camera for moderate‑resolution multispectral images. Over the years and thousands of passes, scientists have built maps detailed enough to spot not only new craters, but also landslides, landers, seismic faults, and even hints of lava tubes.

LROC scientists regularly analyze close-up images of small portions of the Moon’s surface taken by the Narrow-Angle Camera. Using these images, they look for changes that are typically less than 30 feet across. But every few years the team searches for large (wider than 150 feet) features by creating global Moon maps and comparing them to older versions.

That’s what Wagner was doing on Oct. 24, 2025, when he came across McGetchin. Using images from LROC’s Wide-Angle Camera, which captures broad views with pixels the size of football fields, he stacked hundreds of “before” and “after” frames with software designed to highlight change. Anything that stayed the same turned gray while anything different showed up as bright or dark patches.

While the process sounds straightforward, spotting real craters requires a lot of manual work. The software flags every tiny shift in lighting or shadow, generating hundreds of false alarms. For this reason, Wagner typically verifies the software, looking for small fuzzy halos around pixel‑wide bright points, which indicate splashes of regolith around a new crater.

Spanning hundreds of pixels, McGetchin stood out immediately. “It was by far the most obvious impact debris pattern I’ve ever seen in one of these images,” Wagner said.

After his discovery, scientists turned to the Narrow-Angle Camera, which takes much sharper views at about 3 feet per pixel. This camera’s close-up images, taken as LRO flew over the impact site again, revealed the crater size, shape, and how the surrounding terrain was affected. These images also helped researchers estimate the size and force of the rock fragment that formed the new crater, details that are expected to appear in a future paper.

Banner image caption: A zoomed-in view of the Moon, with debris around McGetchin crater visible as a white spot circled by a dark halo just right of center of the image (marked with black arrows). This is the view that Robert Wagner saw on Oct. 24, 2025, during a routine data-quality check. Wagner is an image processing specialist for NASA’s Lunar Reconnaissance Orbiter Camera, a system of three cameras. Using images from the Wide-Angle Camera (WAC), which captures broad views with pixels the size of American football fields, he stacked hundreds of images captured by WAC over the last several years with software designed to highlight change. Anything that stayed the same is gray; anything that changed showed up as bright or dark patches. The stripes in the image are due to slight changes in lighting between the older and newer images. This image composite shows an area of the Moon approximately 900 miles across.

The post NASA’s Moon Orbiter Spots New, ‘Once-in-Century’ Moon Crater appeared first on NASA Science.

It started as a routine data-quality check. But as Robert Wagner, a scientist with NASA’s Lunar Reconnaissance Orbiter (LRO), scanned a giant Moon map on his computer screen, an unusually large bright spot circled by a dark halo caught his eye, as it implied that surface material in that area had been shaken up.

“I just stopped, dropped everything, and started looking into what that spot was,” said Wagner, an image-processing specialist from Intuitive Machines who works with data from the Lunar Reconnaissance Orbiter Camera (LROC) system.

By comparing before and after images of the Moon, Wagner realized he had discovered the largest, newly formed crater ever found in the solar system, as scientists reported Wednesday in Science Advances. This discovery highlights the value of NASA’s Moon orbiter data in studying a dynamic landscape as the agency advances a sustained human presence and expanded scientific and commercial activity on the Moon.

Officially named McGetchin after pioneering lunar scientist Tom McGetchin, the crater formed on the Moon’s eastern edge sometime between April 11 and May 22, 2024, after a comet or asteroid the size of a three- to six-story building hit the surface.
 
The crash left a crater, 728 feet wide, that spans the length of two football fields. And at 141 feet deep, the crater could fit three vertically stacked yellow school buses.
 
Scientists estimate that an impact of this magnitude happens on the Moon about once in a century or even longer.

Moon takes some hits

For more than 17 years, LRO has been circling the Moon and using its seven instruments to map the topography, surface composition, temperature, and radiation environment there. The spacecraft’s team has identified at least 1,000 new impact craters throughout the mission and flagged 100,000 more surface changes from an object smashing into the Moon or from the debris that flung out after.

With no atmosphere to slow them or burn them up, space rocks and other objects easily reach the lunar surface. Most are much smaller compared to the object that carved out McGetchin crater. The smallest craters scientists can distinguish from LRO images are about 30 feet wide, the length of a three-story building laid on its side, made by rocks about 43 inches wide, the size of a monster-truck tire. Scientists estimate that impacts of this scale produce about 140 new craters across the Moon each year. But most new ones are made by microscopic projectiles that leave holes too small to identify in orbital images.

With its numerous instruments, the spacecraft can observe changes to the lunar surface that aren’t apparent in the LROC images alone. After the crater was discovered, scientists working with LRO’s thermal instrument, Diviner, made follow-up observations of the site. They found a 4-mile-wide area around the crater that is about 16 degrees Fahrenheit cooler at night than its surroundings.

Reporting in a second paper Wednesday in the same journal, researchers say that the cooling happens because the impact fluffs up the regolith around the crater, making it less dense and therefore less able to retain heat.

The large extent of this “cold spot” is striking, scientists say, because it shows that impacts can modify the Moon’s surface far beyond the crater itself. These physical changes could affect how rover wheels interact with the surface, for instance.

Road to discovery

The LROC system collects images from about 60 miles above the Moon as LRO loops from pole to pole. The system includes two cameras that capture high‑resolution black‑and‑white images and one camera for moderate‑resolution multispectral images. Over the years and thousands of passes, scientists have built maps detailed enough to spot not only new craters, but also landslides, landers, seismic faults, and even hints of lava tubes.

LROC scientists regularly analyze close-up images of small portions of the Moon’s surface taken by the Narrow-Angle Camera. Using these images, they look for changes that are typically less than 30 feet across. But every few years the team searches for large (wider than 150 feet) features by creating global Moon maps and comparing them to older versions.

That’s what Wagner was doing on Oct. 24, 2025, when he came across McGetchin. Using images from LROC’s Wide-Angle Camera, which captures broad views with pixels the size of football fields, he stacked hundreds of “before” and “after” frames with software designed to highlight change. Anything that stayed the same turned gray while anything different showed up as bright or dark patches.

While the process sounds straightforward, spotting real craters requires a lot of manual work. The software flags every tiny shift in lighting or shadow, generating hundreds of false alarms. For this reason, Wagner typically verifies the software, looking for small fuzzy halos around pixel‑wide bright points, which indicate splashes of regolith around a new crater.

Spanning hundreds of pixels, McGetchin stood out immediately. “It was by far the most obvious impact debris pattern I’ve ever seen in one of these images,” Wagner said.

After his discovery, scientists turned to the Narrow-Angle Camera, which takes much sharper views at about 3 feet per pixel. This camera’s close-up images, taken as LRO flew over the impact site again, revealed the crater size, shape, and how the surrounding terrain was affected. These images also helped researchers estimate the size and force of the rock fragment that formed the new crater, details that are expected to appear in a future paper.

Banner image caption: A zoomed-in view of the Moon, with debris around McGetchin crater visible as a white spot circled by a dark halo just right of center of the image (marked with black arrows). This is the view that Robert Wagner saw on Oct. 24, 2025, during a routine data-quality check. Wagner is an image processing specialist for NASA’s Lunar Reconnaissance Orbiter Camera, a system of three cameras. Using images from the Wide-Angle Camera (WAC), which captures broad views with pixels the size of American football fields, he stacked hundreds of images captured by WAC over the last several years with software designed to highlight change. Anything that stayed the same is gray; anything that changed showed up as bright or dark patches. The stripes in the image are due to slight changes in lighting between the older and newer images. This image composite shows an area of the Moon approximately 900 miles across.