Associated Press Wednesday May 7, 2025
Months after the release of a film that questions who took an iconic Vietnam War image of a naked girl running from a napalm attack, The Associated Press said yesterday it had found “no definitive evidence” to warrant changing a nearly 53-year-old photo credit. The AP released a 96-page report — its second examination in less than four months — about who actually took the Pulitzer Prize-winning photo credited to Nick Ut. The AP concluded that Ut should retain his credit because of a lack of conclusive evidence that the credit should change, notes The Washington Post.
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PetaPixel Wednesday May 7, 2025
Adobe is bringing non-Adobe artificial intelligence (AI) models into its Creative Cloud ecosystem, abandoning its Firefly-only approach in favor of response to community and customer feedback. The first third-party solutions are coming to the standalone Adobe Firefly app before becoming available directly in the rest of the Creative Cloud ecosystem, including apps like Adobe Photoshop and Premiere Pro. Google’s Imagen3 and Veo2, OpenAI’s GPT image generation, and Black Forest Labs’ Flux 1.1 Pro are arriving to Firefly first, with other AI models to follow, notes PetaPixel.
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The New York Times Wednesday May 7, 2025
The Trump administration has officially eliminated a loophole that had allowed American shoppers to buy cheap goods from China without paying tariffs. Eliminating the so-called de minimus rule will help U.S. manufacturers that have struggled to compete with a wave of low-cost Chinese products, but it has already resulted in higher prices for Americans who shop online, notes The New York Times. Use of the loophole ramped up in Trump’s second term as he hit Chinese goods with a minimum 145 percent tariff. Read the full Story >>
Keith De Lellis Gallery Wednesday May 7, 2025
After nearly a 35-year career, Carol Carlisle retired as Managing Editor of Popular Photography magazine, where, notes New York City’ Keith De Lellis Gallery, she was celebrated “for her keen eye and ruthless sense of perfection.” She was an avid collector who amassed more than 1,200 images, mostly from the 1960s and 1970s, often rescuing prints that were submitted to the magazine but were impractical to return and headed for destruction. Work from her collection is on view at the De Lellis gallery.
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