Next MacBook Air Powered by M2, To Come in Multiple Colors: Report

If a new rumor is to be believed, Apple wasn’t done using color with its new M1 iMac series: the design aesthetic is coming to the next MacBook Air as well. Famed Apple leaker Jon Prosser, who has a pretty decent track record, has released a set of new renders that he says is indicative […]

Next MacBook Air Powered by M2, To Come in Multiple Colors: Report

If a new rumor is to be believed, Apple wasn’t done using color with its new M1 iMac series: the design aesthetic is coming to the next MacBook Air as well.

Famed Apple leaker Jon Prosser, who has a pretty decent track record, has released a set of new renders that he says is indicative of MacBook Air designs he was shown from his own source at the company.

As reported by , the renders feature several notable changes to the current MacBook Air design. The most obvious change is that the computer will supposedly be available in one of seven colors: Silver, Blue. Yellow, Orange. Pink, Purple, and Green. Not coincidently, those are the same colors that Apple’s newly-announced M1 iMacs are available in.

Additionally, Prosser’s renders show that the colors continue on the inside of the machines except for the thin bezels around the monitor and the keyboard keys which he was told will be white. This is in contrast to how Apple has designed its laptops in the past and all the way up to the most recent M1 MacBooks, which feature black bezels and black keys. The whole chassis is also thinner than before, with just enough height to fit a USB-C port.

One more note on those bezels: they’re quite thin. Prosser does admit that the size of the bezels was mostly a guess, but getting this small wouldn’t be crazy. As Digital Trends points out, other 13-inch laptops with 16:10 displays like the Dell XPS 13 and the Razer Book 13 already feature similarly thin bezels.

Prosser tends to get a lot right when it comes to features or generalities, but how products actually end up looking is where Prosser’s rumors tend to break up.

While he totally nailed that Apple was going to release the iMac in several colors, he struck out on what exactly those colors would be and how Apple actually ended up physically designing the computers. While many still hope for a pro-level iMac later this year that will look pretty much exactly like the Pro XDR Display, at least for now the iconic iMac “chin” ended up coming forward to the new designs despite what Prosser’s initial renders promised.

Finally, Prosser says this particular design won’t feature M1, but the new M2. It isn’t clear when Apple would release these new MacBook Air designs, but the company did reportedly start production on the next generation M chips late last month, which puts them on schedule for release in devices by the fall — a typical launch window for the company. Apple announced the M1 processor as well as the current MacBook Air, Mac Mini, and MacBook Pro last November.


Image credits: All renders by Ian Zelbo for John Prosser.

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As a Black and White Photographer, Why Are My Latest Photos in Color?

Some photographers are known for their black and white work (think Ansel Adams, Henrí Cartier-Bresson, Robert Frank, or Sebãstio Salgado) – while others are known for their use of color (think Ernst Haas, Joel Meyerowitz, Martin Paar, or Steve McCurry). Do you have a preference? If so, do you know why? I’ve been thinking about […]

As a Black and White Photographer, Why Are My Latest Photos in Color?

Some photographers are known for their black and white work (think Ansel Adams, Henrí Cartier-Bresson, Robert Frank, or Sebãstio Salgado) – while others are known for their use of color (think Ernst Haas, Joel Meyerowitz, Martin Paar, or Steve McCurry). Do you have a preference? If so, do you know why?

I’ve been thinking about this as I look back across my own creative output over the past 12 months. I am first and foremost a street photographer — Joel Meyerowitz once told me that I was a portrait photographer who uses the street as his studio — but I am also a black and white photographer.

And yet, not completely.

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In my book “Streets of New York” (first published in March, 2020), 53 of the 69 images in it are indeed black and white. I love black and white photography — but 16 other images I chose to include were in color. Recently, though, that proportion has inverted altogether: 23 of the 35 latest photographs I’ve posted on Instagram have been color.

What’s happening to me? I already know why I love to shoot street, and I know that hasn’t changed.

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Beyond the fact that it is the home of my birth, every single time Claudia and I engage with the denizens of New York City, I am reassured that the world is not a uniformly terrible place. Unlike Bruce Gilden or Mark Cohen, I almost always ask the people I photograph for their permission. Once we get to “yes,” a moment of casual intimacy is created in which we both participate: we create an image together.

I think the pandemic has played a significant role in the changing boundary between my black and white and color work. Like so many of us, it has been a blow to my psyche.

Now, however (at least for some of us; for too many of us not yet), it’s as if the world is slowly exiting a period of darkness and entering the light, and I’m responding in kind, at least metaphorically: it’s much harder to see color in the dark. It is a joy to see it now.

I do wonder if evolutionary biology just might play a role, too, perhaps as a faint genetic memory each of us retains of an actual exit from darkness to the light. After all, many mammals evolved from nocturnal to diurnal creatures after the sudden extinction of the dinosaurs: they could finally wander out during daylight without becoming lunch meat for the apex predators of the era. This is why only 6% of our photoreceptors are cones (what we might think of as color vision) while the rest are the biologically older rods (which are much more sensitive in low light and therefore we might think of as our black and white vision).

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As for why black and white photography in the first place? For me, it’s a function first and foremost of the time in which I grew up, which was the mid-20th century. From the photographers I studied to the cost and speed of color film versus the black and white film I chose instead to shoot, develop, and print in my own darkroom, my sensibilities and how I see were set then. I wonder if black and white will reassert its primacy for me in the months ahead, or if instead, this is a more permanent change.

I wonder: am I evolving?

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About the author: Hugh Brownstone is a photographer, writer, educator, filmmaker, and YouTuber. His book “Streets of New York” was published in 2020. He is the founder and owner of “Three Blind Men and An Elephant Productions” and he and his wife Claudia are the producers of the documentary web series Mariner East and co-lead their Streets of New York workshops. You can learn more about them at here. You can find Hugh on Instagram and YouTube.

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