Posts Tagged ‘Won’t’

AT&T won’t sell the Huawei Mate 10 in the US over political concerns

12 Jan

Chinese device manufacturer Huawei was widely expected to announce its first distribution partnership for a flagship smartphone in the US with carrier AT&T at CES this week. However, the carrier pulled out of the agreement at the last minute for reasons that are not entirely clear, though there is some interesting speculation.

According to a report by the New York Times, it appears Huawei’s strong ties with the Chinese government and a fear of espionage have played an important role in the decision. This means that Huawei yet again won’t have an opportunity to compete eye-to-eye with its main rivals Apple and Samsung in the US, as its flagship device Mate 10 Pro will only be available to buy online, through retailers such as Amazon or Best Buy.

If you live in the US and are not so concerned about Chinese espionage, the Mate 10 Pro is definitely worth a closer look. With a 6-inch 18:9 OLED screen, Kirin 970 processor, 6GB of RAM, 128GB of storage, and its Leica-branded 12MP dual camera setup, it’s firmly placed in the high-end bracket of the market. That’s a lot smartphone for the $ 800 retail price.

Oh, and its camera is also one of the best among the current crop of flagship phones.

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Your Wacom tablet won’t work with macOS High Sierra until ‘late October’

26 Sep
Photo by Damian Patkowski

Apple’s newest macOS operating system, macOS High Sierra, launched today. But if you use a Wacom tablet to do your photo editing, you’ll want to hold off on hitting the upgrade button. It seems Wacom tablets won’t work with High Sierra until the end of October.

The disappointing news was broadcast in a tweet published by the main Wacom Twitter account that read, “We will release a Driver update late October for 10.13 High Sierra. The current driver is not compatible.” If you click on the more info link offered in that tweet, you get this slightly more detailed explanation:

Apple has announced 10.13 High Sierra will be released September 25th. Wacom is currently working on a new driver update to support the new operating system. The new Wacom driver will be ready by late October at the latest. Due to nature of the changes in High Sierra, the existing Wacom driver for 10.12 will not work. To continue to use your tablet uninterrupted, Wacom suggests not to upgrade to 10.13 until the new driver is released.

The news is particularly disappointing given that Apple announced High Sierra months ago, and gave developers access to that beta the very same day. And based on the wording of the announcement, the old driver won’t work at all, so upgrading to macOS High Sierra will leave you Wacom-less for at least a couple of weeks—if you rely on a Wacom tablet for your work, you’ll just have to wait.

Keep an eye on this link to know the instant Wacom releases their overdue macOS High Sierra driver.

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RIP Final Cut Pro 7: The video editor won’t even open on macOS High Sierra

29 Aug
Photo by Jakob Owens

Apple has revealed that its aging-but-beloved video editing program, Final Cut Pro 7, will not be supported by macOS High Sierra. If they update Apple’s upcoming operating system, existing Final Cut Pro 7 users who want to continue using Final Cut for video editing will be forced to transition to Final Cut Pro X.

This puts video editors who use FCP 7 in a rough spot. If you don’t update to the latest macOS, you might expose yourself to security risks; if you do, you’ll be forced to adapt your workflow to Final Cut Pro X, which many professionals are less fond of. According to cinema5D, Apple has started to notify Final Cut users about the change in an email that informs users that they’ll need to upgrade to newer versions like Final Cut Pro X, Compressor 4 and Motion 5 ASAP.

“Older versions of Apple pro video applications — including applications in Final Cut Studio — will not launch on a computer running macOS High Sierra,” reads the email. “New versions of Apple pro video applications — including Final Cut Pro X, Motion 5, and Compressor 4 — are compatible with macOS High Sierra. You can purchase these applications on the Mac App Store.”

Final Cut Pro 7 users who are interested in making the transition to the newer version are being directed to this page. Apple has also published a 22-page whitepaper for Final Cut Pro 7 users who are switching to X.

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Panasonic’s new organic CMOS sensor won’t be in your next camera but it’s cool anyway

10 Feb
Organic chips, but not the kind with sea salt. On the left the sensor is used in plain old visible light mode. By changing the electric charge applied to the chip, visible and near-infrared light are captured simultaneously, shown on the right.

Panasonic has been developing organic sensors for a while now and has just announced a new breakthrough: an organic CMOS chip that can capture visible and near-infrared (NIR) light simultaneously without sacrificing resolution.

There are sensors available now that can image both near-infrared and visible light, but they sacrifice one out of every four pixels to NIR capture. As a result, resolution of the final image suffers. Panasonic’s new chip makes use of two organic layers: the top layer is sensitive to visible light and the bottom layer is sensitive to near-infrared light. By changing the voltage applied to the layers, it’s possible to choose whether the lower layer is active or not. This means it can switch between visible and visible+NIR imaging frame by frame, which is useful in machine vision applications where subjects may be moving quickly.

The image on the left is recorded with color imaging mode, the right shows the scene in NIR imaging mode. The new sensor could be used for night vision and surveillance.

Alternatively, it allows for the creation of security cameras that capture visible light during the day then switch to visible+NIR for a full-resolution ‘night vision’ mode after dark.

It’s great news too if your job relies on checking things that aren’t visible to the human eye, like checking things on an assembly line that are out of sight, but this sensor is unlikely to ever be used in a consumer digital camera. Still, it’s promising to see that Panasonic’s experiments in creating chips made of something besides silicon are paying off.

If nothing else, separating the capture medium from the readout mechanism makes it easier to implement a global shutter design, since the light-sensitive layer can be switched on and off independently, rather than being constrained by the (sequential) read-out process.

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4 Value Speedlight Modifiers that Won’t Break the Bank

18 Sep

Cheap generally means nasty. But in this article, we’re going to look at four different light modifiers that give you a range of looks that definitely fit in the value category.

4 Value Speedlight Modifiers

#1 – The Godox 120cm Octagon Softbox

This modifier is a 48″ Octagon Softbox that uses an umbrella shaft to mount to a speedlight. The flash aims into the silver backing, meaning that it’s an indirect source. This gives one layer of softening, and because the flash faces away from the subject, there’s less of a hotspot that with a direct flash Octabox.

The single diffusion panel provides a second level of softness, making for a big beautiful light. There are plenty of similar looking Octaboxes on eBay or Amazon, but the Godox branded ones have one huge advantage: fibre glass rods. Usually the rods are u-shaped metal spines. These provide you with good strength while bending, but very little lateral strength. A blast of wind which knocks the softbox off or over will bend or break a metal rod. Fibre glass, on the other hand, has strength in all directions, making it more resilient.

Godox 120CM Octabox speedlight modifier

Bonus: You can bend the closed Octabox to make it fit into a suitcase. This is easily my most used location light modifier because I can vary the softness and coverage using distance. As the softness of the light depends on the relative size on the modifier to the subject, close means softer, and farther away, the light gets harder. Being four feet in size, it’s super soft in close.

Here’s a typical setup I use with this modifier and the resulting photo. Shot as an example in the studio.

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Here’s a few more example shot on location:

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Depending on the Octabox model you order, you can get it with a grid. This helps make the light more directional. By blocking the light going out the sides, it pushes the light forward. You may have situations where you need to stop spill (on the ground or background), and a grid really helps with that.

#2 – The Meking Ring Flash

There are a number of ring flash adapters for speedlights. None are perfect, but I really like this $ 30 modifier, the Meking Ring Flash. Firstly, it folds down really compact, so you can always have a modifier with you. Secondly, you get a really soft quality from this, providing a more flattering light. Thirdly, you’re not obliged to use it on camera, you can easily use it as an off camera light, either as a key light or as a fill.

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To use it, expand the ring, then push the magnetic separators together, pushing the two sides apart. Finally, mount the ring softbox to your flash using the retained velcro strap.

Here are some examples of  the ring flash use. Notice the shadow that surrounds our model, as well as the classic donut cathchlights in the eyes.

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Below I’ve used the softbox off camera, in a hotel foyer. This is two separate photos combined into one image.

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#3 – Westcott Double Fold Umbrella

Umbrellas are the staple diet of most speedlight beginners. The Westcott Double fold umbrella offers a little more than a basic one. For a start, it can be used as both a bounce  and shoot-through umbrella.

Using it as a bounce umbrella allows the light to focus a little and is good when the scene is larger and you need the light to fill in but still be out of camera view. You’d use it as a shoot-thru to get really close to your subject for big, soft light. The black backing can stay half on (see image below) to prevent spill onto clothes, making this a really versatile, compact, light modifier.


Here’s the standard bounce look. It’s similar in setup to the Godox (which is effectively a silver bounce umbrella with a layer of diffusion).

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Turning the umbrella around, and removing half the black covering creates this look (below):

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It’s much softer, but notice that the bottom part of the photo is darker. This is because the black covering is blocking light going to her body and clothes. It’s a great tip which comes from the inspirational Joe McNally, for when then clothes are distracting in a portrait. If it’s not clear, here’s what the umbrella setup looks like.

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The final look from the umbrella is using it as a shoot-through. This means removing the black covering altogether.

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As you can see, it’s really soft, and floods everywhere (especially compared to the bounce umbrella). Here’s the setup for this.

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Notice light spills everywhere with this setup which may work for light or high key portraits. If you want more light control use it as a bounce umbrella with the black cover on.

#4 – MagMod Basic Kit

MagMod is a Kickstarter based company whose products use strong rubber and even stronger magnets to make attaching speedlight modifiers a thing of ease. Rather than use annoying velcro, you stretch the MagGrip around your flash to hold the modifiers. You can see a MagGel on a MagGrip in my article How to use Lighting Gels to Change Your Background Color and in the image below.


There’s a whole range of MagMod accessories, but the basic kit comes with a grid and a gel holder, along with rigid gels for the holder. These rigid gels are a blessing. A regular gel is essentially a coloured sheet of acetate, so it folds and crumples easily. The rigid nature of the MagGels makes them easy to swap in and out of the holders. There are a variety of colors available. You get a basic set of color correction and ND gels with the kit, but there’s also the Creative and Artistic sets for a larger range of options.

The MagGrids are great for restricting light, letting you aim it with a huge degree of control.

Value speedlight modifiers magmod 0Here’s a shot done with a bare speedlight:

Value speedlight modifiers magmod 1

Here’s the same speedlight with a MagGrid attached. Notice how tight the light is around the model, more like a spotlight.

Value speedlight modifiers magmod 2

Here’s the Aqua MagGel from the Artistic series gels. I’ve set the white balance to daylight to keep the colour correct.

Value speedlight modifiers magmod 3

Combining the modifiers

The beauty of these light modifiers is you can mix and match them to make really creative light.

To achieve the image below, place your on flash on camera, with the Aqua MagGel attached. Next, put the Meking Ring Flash over it to create a soft aqua-colored fill light. Then, place a MagGrid on a second flash and aim it tight on the model’s head. The grid light washes out the gel from her face, but in the shadow areas, the gels fills in for a cool look.

It’s almost like the image has been post-processed for color, but it’s actually done in-camera.

Value speedlight modifiers magmod 4

Another look you can get is a high key portrait. First, set up the Westcott as a shoot-through umbrella on a boom, between you and the model. You’re shooting below the umbrella. For the background, set up the Godox Octabox facing the camera, behind your model. Use a reflector to bounce the light back up to the model for a perfect high key portrait.

Value speedlight modifiers mixed

All in all, this gear is under $ 200 (total if you buy them all) and will give you a good range of creative lighting setups. Even just one of them would make a great addition to your speedlight arsenal.

Do you have any other good value light modifiers you’d like to share? Please do so in the comments below.

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You Won’t Believe It’s Not Photoshop: 36 Fake-Looking Photos

18 Aug

[ By SA Rogers in Art & Photography & Video. ]

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The very existence of Photoshop has made it easy to immediately dismiss impossible-looking images as digitally altered, but some bizarre scenes are more real than they appear. Anything from a particularly alien-like landscape to a rare cloud formation can provoke cries of ‘Photoshop!,’ but it’s particularly impressive when these illusions are created through art, with the help of mirrors, acrobatic models, trick perspective and serendipitous timing.

Coincidence Project by Denis Cherim

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The almost too-coincidental-to-be-real photography of Denis Cherim relies on the patience to wait for exactly the right moment, when various elements of a scene come together in just the right way. His series ‘The Coincidence Project’ sees ordinary scenes from new perspectives, moving to particular vantage points to encourage serendipitous alignments.

Gravity-Defying Performances by Li Wei
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How can there possibly not be any photo manipulation going on in images where people are floating in mid-air? Li Wei’s particular blend of photography and performance art uses the strength of his subjects – including no small amount of acrobatics – along with invisible props and mirrors to create scenes that aren’t exactly as they appear.

Surreal Scenes by Sandy Skoglund

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Fish fly through blue-toned bedrooms, foxes take over dining rooms and people hang from ceilings in dreamlike scenes by artist Sandy Skoglund, who spends months building each elaborate set. Favoring vivid color schemes, Skoglund mixes her hand-made sets and inanimate figures with live human models and takes photographs of the resulting contrasts.

Toy Dinosaur Travel Shots by Jorge Saenz

What look like screenshots from an old stop-motion animation dinosaur movie are actually just toy dinosaurs artfully placed within landscapes by photographer Jorge Saenz. His ‘#dinodinaseries’ project makes the figurines appear larger than life, sometimes looking surprisingly real in their incongruous modern-day settings.

Mirror Landscapes by Guillame Amat

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Mirrors seem to offer portals into a slightly different reality in Guillaume Amat’s ‘Open Fields’ project, which carefully places a reflective stand in various landscapes. The reflections almost blend into the scene, but not quite – leading to images that are inaccurate renderings of the setting, but in such a subtle way it can take a moment to realize what’s wrong with the picture.

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You Wont Believe Its Not Photoshop 36 Fake Looking Photos

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Rumor has it: Galaxy S8 to come with dual-cam, iPhone 7 won’t have one

21 Jun

Another week, another dual-camera rumor. According to Chinese sources the Samsung Galaxy S8, which is expected to launch in early 2017, will come with a UHD screen for better performance with virtual reality applications. That would make it only the second device from a major manufacturer to feature such a high screen resolution, after the Sony Xperia Z5 Premium. The same sources say the S8 will also come with a dual-camera setup that will be made by Samsung subsidiary SEMCO. Apparently, this move is a reaction to the possible inclusion of a dual-camera in at least one version of the upcoming Apple iPhone 7 series, expected to launch in September this year. 

But the plot thickens! If another rumor is to be trusted, there won’t actually be any dual-cam iPhone 7 models this year. It appears an anonymous employee of Apple’s production contractor Foxconn has said that plans for a dual-cam iPhone 7 Plus have been cancelled due to ‘immature technology.’ There is also a possibility that sensor maker Sony would not be able to provide the required number of sensors due to yield issues and production lines that have been damaged by a recent earthquake.

It would certainly be interesting to see Samsung’s and Apple’s take on this new type of camera design but we’ll have to wait at least another few months before we’ll find out what, if anything, they can come up with. In the meantime you can have a closer look at the LG G5 and Huawei P9 which both have dual-cam modules and are available for purchase already.

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7 Travel Photography Tips Your Tour Guide Won’t Tell You

14 May

This article is sponsored by the New York Institute of Photography. NYIP offers high-quality online photography courses that are affordable, convenient, and accredited.

Beauty is hiding in plain sight, but only for those who learn to see beyond the obvious. To capture the heart of a region through your lens, you must connect with a place on a deeper level. This often involves slowing down and immersing yourself in the culture of those who call it home. By doing so, you become more than just a tourist with a camera, but a participant searching for truth and understanding. Every corner of this earth has its own unique characteristics, and the successful travel photographer exposes these differences in a way that others can relate to.


1) Search for Simplicity

It seems counterintuitive, but in searching for clean, simple compositions, your photos will benefit from a new level of sophistication. As Paulo Coelho said,

“Elegance is achieved when all that is superfluous has been discarded and the human being discovers simplicity and concentration: the simpler and more sober the posture, the more beautiful it will be.”

When visiting new places, sensory overload can overwhelm even the most deliberate photographers. This is where a slow, methodical pace will have a big impact on your work. Large bus tours with heavy agendas don’t typically allow the necessary time to capture the look and feel of a place. Instead, try a self guided tour, or a small group that caters to photographers.


2) Include a Human Element

Many photographers struggle with the idea of adding people to their compositions. After all, it can be unnerving to include a stranger in your composition. Yet, by working a human element into your travel work, your photography will become more visually engaging. Not only does it create a sense of scale, but they become more salable for stock photography. You’ll just need to secure a model release in order to do this. With a number of smart phone and tablet apps for releases, this no longer needs to be an awkward exchange of actual paper documents. For the participant’s cooperation, you can offer to send a high resolution copy of the image.


3) Think Small

We all love to shoot scenic vistas bathed in the golden light of magic hour. While these dramatic landscapes can certainly round out a portfolio, it’s what you do with the remainder of the day that sets your collection apart. As you explore a location through your lens, think of yourself as a visual detective. No detail is too small. It’s the little things that ultimately add up to form the bigger picture.


4) No Rest for the Weary

Anyone who says you should pack your camera away midday is doing you a disservice. Contrary to what many suggest, the light is good all day, even at high noon. The trick is to best match the various qualities of light to your subject matter. A rolling green landscape can appear lush and vibrant with the simple twist of a circular polarizing filter. Why limit your photography to the hours around sunrise and sunset?


5) Plan on Getting Lost

Researching potential shooting locations on the web is an essential part of any pre-trip preparation. With tools like the Photographer’s Ephemeris, you can study the precise time and locations of sunrise and sunset, along with with the moon phase. While this is helpful to create a basic shot list, remember to leave some time for unexpected adventure. Recognize that things will not always work out as planned. Getting lost is sometimes the only way to find what you’re looking for.


6) X Does Not Always Mark the Spot

It seems that even the most remote destinations have been photographed from nearly every perspective. This doesn’t mean you shouldn’t shoot them however. Instead, consider it a personal challenge to go one step further and create something unique. How can you take what’s already been done, and make it yours? It’s this vision that separates your work from the masses.


7) Explore Beyond Your Zoom’s Range

Zoom lenses give you the ability to change your focal length with a flick of the wrist. This is indeed convenient for many types of photography including travel work. Yet, if you limit your perspective to what the lens provides, you’ll miss out on a number of great opportunities. Travel photography calls for us to explore beyond the end of our zoom range. Let curiosity guide your compositions and the nature of a place will reveal itself.

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This article is sponsored by the New York Institute of Photography. NYIP offers high-quality online photography courses that are affordable, convenient, and accredited. Chris Corradino is a paid instructor with NYIP. 

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Jenga-Like Twisting Tower Won’t Leave Neighbors in the Shade

12 Feb

[ By Steph in Architecture & Offices & Commercial. ]

twisting tower 1

In order to get around strict city zoning regulations that forbid new structures from putting neighbors in the shade for more than two hours a day, architecture firm MVRDV devised a tower that twists upon itself to the point of seeming as if it could snap and fall over at any time. The twist creates an ultra-narrow profile right at the section of the building that would cast a shadow on nearby buildings.

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From certain angles, it seems like chunks of the Hochhaus Tower have been taken right out near the base in a Jenga-like effect. Not only does this mean the bottom ten floors won’t cut off sunlight, it also routes strong winds away from the building’s plaza.

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The twisting floors have outdoor terraces, while the rest feature glazed walls and 12-foot ceilings for sweeping views of Vienna and lots of natural daylight. The steel and glass facade will also have operable windows and full-height French doors.

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Designed to be multifunctional for residential units, offices or other businesses, the Hochhaus Tower won three-stage international competition. Construction will begin in 2016, with an expected completion date of 2018.

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Holdout Houses: 10 Stubborn Structures That Won’t Make Way

01 Jan

[ By Steph in Architecture & Cities & Urbanism. ]

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Despite the emergence of highways, shopping malls, frighteningly deep pits and even moats around them, the tenacious owners of these older structures refused to give in to developers, remaining in their increasingly incongruous homes. In China, they’re referred to as ‘nail houses,’ like stubborn nails in wood that can’t be pounded down; American developers call them ‘spikes.’ Most of them are ultimately demolished, but some stand like strange little monuments to the past.

Edith Macefield’s ‘Up’ House, Seattle

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Framed on three sides by concrete, Edith Macefield’s tiny cottage in the Ballard neighborhood of Seattle is strikingly out of place. But really, what’s out of place is the development that has sprung up around her 108-year-old farmhouse, which served as inspiration for the Pixar movie ‘Up’. Macefield purchased the house in the ’50s and lived there until her death in 2008, even after the rest of the homes on her street were gone, refusing to give in to developers who ultimately ramped up their compensation offers to $ 1 million plus a new home and nursing care for the rest of her life. Macefield felt she was too old and frail to move. But during the last years of her life, she struck up a friendship with the superintendent of the construction project, and left her home to him. Instead of allowing it to be swallowed by the complex, he sold it to someone who turned it into an office. As of 2014, the house still stands.

Luo Baogen House

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Drivers cruising along a highway in Wenling, China, had to slow down and drive around one heck of an unusual roadblock: the five-story home of duck farmer Luo Baogen, the sole holdout from a neighborhood that was demolished to make way for the new thoroughfare. When Luo refused developers’ offers, they simply built around him, assuming that being in the middle of a construction zone and later, a highway would drive him out. In the end, it was all the media attention that did it. Despite having paid $ 95,000 to build it just a few years earlier, Luo accepted an offer of $ 41,000 and consented for the house to be razed.

Pinghe Crossroads House, Fujian Province, China

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What happens when multiple people own space in a single building, and some sell while others won’t? In some cases, builders literally tear down everything but the sliver of the structure belonging to the holdout. This jagged nail house at a crossroads in Pinghe, China is all that’s left of an entire apartment building.

Austin L. Spriggs House, Washington D.C.

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A tiny townhouse clung to its little plot of land in Washington D.C. even as a four-story-deep crater appeared around it, with just three feet of earth separating its walls from a 40-foot drop-off. Owner Austin L. Spriggs, who used the building as an office for his architecture firm, refused to even engage with the developers, who finally decided they would just build around it. It’s now a curiosity crammed between condos and commercial buildings. In 2011, it sold for $ 800,000 to someone who plans to turn it into a restaurant.

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Holdout Houses 10 Stubborn Structures That Wont Make Way

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