Categories
Science Stanford

Bypassing the Leaf

For my entire life, I’ve understood the world through a simple, quiet equation: green plants take sunlight and air, and turn them into the stuff of life. It is a slow, terrestrial magic we all learn in grade school.

But lately, after listening to Professor Drew Endy at Stanford, I’ve been sitting with a curious yet exciting realization: that ancient equation is being rewritten.

Professor Endy champions a concept called electrobiosynthesis, or eBio. At its core, it represents the engineering of a parallel carbon cycle that operates independently of traditional photosynthesis.

The global industrial complex is approaching a transition point where our traditional reliance on extractive fossil fuels is being superseded by a regenerative, biological manufacturing paradigm.

For millennia, humanity has relied on the biological “middleman” of the plant to capture solar energy. But natural photosynthesis, for all its quiet beauty, is limited by severe biochemical constraints. Most commercial crops convert less than 1% of incident solar energy into usable biomass.

Electrobiosynthesis changes the math. By bypassing the plant entirely, we can utilize high-efficiency photovoltaics—which capture over 20% of the sun’s energy—to drive carbon fixation directly into the metabolic hubs of engineered microbes. This fixed carbon is transformed into organic molecules, serving as the feedstocks for high-value products like proteins and specialty chemicals.

In my own career, I’ve watched industries undergo profound, structural phase shifts. This really feels like another one of them. It seems that we are looking at a future where any molecule that can be encoded in DNA can be grown locally and on-demand. This fundamentally decouples manufacturing from centralized industrial nodes and fragile global supply chains.

The field appears to currently be in its “transistor moment,” moving from laboratory feasibility to industrial pilot plants. It signifies the ability to construct and sustain life-like processes without being restricted to the terrestrial lineage of photosynthesis.

Of course, with such foundational power comes the weight of unintended consequences. The ability to engineer life at this level brings severe biosecurity risks, and even the “Sputnik-like” strategic challenge of international competition in biotechnology. There are profound ethical dilemmas on the horizon, such as the creation of “mirror life”—organisms made from mirror-image biomolecules that might be invisible to natural ecosystems.

But the trajectory seems set. The vision described by Professor Endy—a world where we grow what we need, wherever we are, using only air and electricity—is no longer a distant science fiction. It is a nascent industrial reality. This future is being written not in sprawling factories, but in the microscopic architecture of the cell.

I’ve just now reading a deep research report on this whole area that I asked Google Gemini to create. It’s fascinating and I’ve discovered a whole new area (beyond AI) to explore further.

Categories
Black and White Friends History Monochrome Photography Photography Photography - Black & White

Special People: Robert Buelteman

A few days ago the Friends of the Atherton Library held a special speaker’s event with one of my favorite photographers, Robert Buelteman.

Robert Buelteman – May 2025

I first came across Rob’s work years ago when all of the a set of his beautiful black and white photographs were hanging in the Village Pub restaurant in Woodside. I always enjoyed seeing those photographs on the walls of the Pub – they helped set the mood of the place for me.

Those photographs hanging on the walls of the Pub came from a unique experience he had over the course of a decade when he had unusual private access to the lands of the Crystal Springs reservoir area – what he calls the Unseen Peninsula. Later he had similar access to the Jasper Ridge Reserve on the grounds of Stanford University. In other words, his images in this series aren’t of places you’ve seen before – because you’ve never been where he’s been!

(Unfortunately, a few years ago, in a change that perplexed me frankly, the Pub took down his work and switched to a more eclectic gallery group of photographs.)

Buelteman lives relatively close by over on the Pacific coast. One fall weekend I noticed he was holding an Open Studio event at his home so I headed over to meet him and learn more. He’s quite an originalist when it comes to sticking to film for his photography and eschewing any use of digital image enhancing tools. He prints his own black and white images in his home darkroom. He also has another whole separate body of work of very colorful and more abstract images based on an unusual technique he pioneered using high voltage to illuminate patterns in leaves and other natural materials.

During his recent talk at the Atherton Library, Rob told the backstory to his gaining access to Crystal Springs and of his many experiences exploring that otherwise off limits area. I very much enjoyed how he told that story!

Please be sure to checkout his work at his website where you can also add yourself to his mailing list to learn of future events.

Categories
AI Creativity Writing

Did You Really Program That?

The Fundamental Issue

I once found myself in a local restaurant filled with young professors and graduate students from a nearby university. They were clustered around a long table arguing about the nature of originality in a world where machines could now produce human-like text and code with a few keystrokes. I sat at a small table nearby, eavesdropping.

“I just don’t think it’s right,” said a woman with steel-rimmed glasses. “If you’re using AI to write your paper, you should be honest about it. It’s intellectually dishonest otherwise.”

Her companion, a man with unruly hair and a cardigan stretched at the elbows, shook his head vigorously. “But what about the code you’re writing? Aren’t you using GitHub Copilot? Isn’t that the same thing?”

The question hung in the air between them.

The Contested Border

The border between human creativity and machine assistance has always been contested territory. When the word processor replaced the typewriter, did writers suddenly become less authentic? When compilers made it unnecessary to understand assembly language, did programmers become less skilled? Each technological advancement seems to bring with it a fresh anxiety about the dilution of human agency, a sense that we are somehow cheating if we don’t do things the “hard way”.

I recently visited a friend who works at a technology startup in San Francisco. His office was a converted warehouse with exposed brick and polished concrete floors. The ceiling was high enough that you could fly a small drone inside without hitting anything. Software engineers clustered around monitors, wearing noise-canceling headphones and drinking coffee from biodegradable cups. My friend showed me a tool called Cursor, which allows programmers to describe what they want a program to do in plain English, and then generates the code automatically.

“It’s called ‘vibe coding,'” he explained, showing me the interface. “You sort of… gesture at what you want, and the AI figures out how to make it happen.”

I watched as he typed a simple instruction: “Create a function that calculates the Fibonacci sequence up to the nth term.” The AI responded with a dozen lines of code, neatly formatted and commented. My friend nodded approvingly and made a few small adjustments.

“Did you really program that?” I asked.

He laughed. “Define ‘program.’ I told it what I wanted. It wrote the code. I checked it and made a few tweaks. Is that programming? I don’t know. But I’m still responsible for the end result.”

Tools like Cursor and Windsurf are all the rage lately among software engineers as they provide truly dramatic productivity boosts to those writing code.

The Woodworker’s Tools

The discussion reminded me of a conversation years ago with a group of master woodworkers. They were craftsmen who built furniture by hand, using tools that hadn’t changed much in centuries. I asked one of them, a man with fingers gnarled by decades of work, what he thought about power tools.

“People think using hand tools makes you more authentic,” he said, running his palm along the grain of a maple board. “But the old masters would have used power tools if they’d had them. The point isn’t the tool. It’s what you’re trying to create, and whether you understand what you’re doing.”

He showed me a dovetail joint he’d cut with a table saw and jig. “Is this less authentic because I didn’t use a hand saw? The joint is still tight. The wood is still joined. I still had to understand the properties of the wood and how the joint works.”

Writers and programmers alike are wrestling with similar questions. When does technological assistance become a crutch? When does it become cheating? The novelist who uses a thesaurus is not accused of intellectual dishonesty. The programmer who uses a library of pre-written functions is not condemned for laziness. But something about AI assistance feels different to many people.

The Future of Creation?

Perhaps it’s the speed. A process that once took hours now takes seconds. Perhaps it’s the black-box nature of the technology. We cannot see how the AI arrived at its solution, cannot trace the path of its reasoning. We think they’re just dumb machines probabilistically predicting the next word. Or perhaps it’s simply that we are witnessing a fundamental shift in what it means to create.

My programmer friend has a different perspective. “The future of programming isn’t writing code,” he says. “It’s understanding problems and directing machines to solve them. The code is just an implementation detail.”

I wonder if writers will come to feel the same way. Will the future of writing be less about crafting individual sentences and more about directing AI to capture a particular voice or style? Will we come to see the arrangement of words as merely an implementation detail in the larger project of communication? How does this extend to other fields like film, movies and art?

The Disclosure Dilemma

The question of disclosure remains thorny. Should writers and programmers be required to disclose their use of AI assistance? Some argue that it’s essential for transparency and accountability. Others suggest that it’s no different from any other tool, and that the focus should be on the final product, not the process used to create it.

I think of the woodworker showing me his dovetail joint. “The wood doesn’t care how you cut it,” he said. “It only cares that the joint is tight.”

Perhaps the same is true of writing and programming. Many readers won’t care how the words were arranged, only that they resonate. The software user doesn’t care how the code was written, only that it works.

And yet, there is something deep within us that values the human touch, that finds meaning in the knowledge that another person’s mind and hands shaped the thing we’re experiencing. We want to know that somewhere in the process, a human being made choices, experienced frustration and triumph, poured their unique perspective into the creation.

As I left the restaurant I mentioned earlier the debate at the long table was still going strong. I caught a final snippet as I passed by: “It’s not about the tools,” someone was saying. “It’s about the intention.”

Perhaps that’s the heart of it. Not what tools we use, but how we use them, and why. Not whether we use AI, but whether we use it thoughtfully, with intention and understanding. Not whether we disclose its use, but whether we’re honest about our process, both with ourselves and with others.

There’s no question the AI tools are here and that they’re improving dramatically seemingly every day. They’re providing some powerful leverage to amplify our own skills – if we choose to use them wisely.

Note: this initial idea for this post was mine triggered by listening to a podcast interview with Dan Shipper of Every. I had help fleshing it out using Claude 3.7 from Anthropic. The post began with a couple of paragraphs I wrote. Then I used the following prompt: “You’re an expert writer and editor helping me with my personal blog. Write a 1000 word blog post in the style of John McPhee based on the following initial thoughts…” After that I rewrote portions of Claude’s response to add clarity and emphasis before sharing it here.

Note 2: all of this was done on my iPhone.

Categories
Photography Stanford

Now at Cantor: Outside Looking In

Last year The Capital Group Foundation gifted a remarkable collection of over a thousand 20th century American photographs to the Cantor Arts Center at Stanford. Cantor has been exhibiting from this collection – beginning with last fall’s display of Ansel Adams and Edward Weston photographs. Today the next exhibition is now up – with photographs from John Gutmann, Helen Levitt, and Wright Morris.

Each of these photographers has a distinctive style which this exhibition mixes beautifully. I was not familiar with Gutmann’s work – but really enjoyed discovering how he captured moments from unique perspectives. Levitt’s New York City photographs (in a mix of both black and white and color) are more familar. Morris’ photographs from the American midwest are uniquely different yet again.

Here’s one of Gutmann’s photographs on the cover of the brochure available at the exhibition which is sitting in my lap. Such a great image with that hand coming out of the broken window!

If you’re able, be sure to visit Cantor between now and April 26, 2020. Cantor doesn’t charge admission – making it a delight for me who lives about 10 minutes away enabling frequent visits! Parking can be challenging up until 4 PM during the week but very available on most weekends. Cantor is open six days each week – closing on Tuesdays.

Categories
Art and Artists Photography Photography - Black & White Stanford

Another Ansel

I recently visited Cantor Art Museum at Stanford to see a temporary small exhibition of Ansel Adams’ work: Surf Sequence. It’s an exhibition of five of his photographs taken in 1940 along the San Mateo county coastline looking down at the surf as the waves move in and out over the sand.

Surf Sequence

They’re beautiful images – as usual with his work. Even more interesting to me, however, were two other images on the opposite wall taken in the late 1920’s of a skier coming down a ski run on Mount Watkins in Yosemite (both images shown below taken with an iPhone 11 Pro Max).

Skiing on Mount Watkins, Yosemite High Sierra
Skiing on Mount Watkins, Yosemite High Sierra

These images remind me of one of Georgia O’Keeffe’s drawings – Winter Road – although I’m sure one didn’t directly influence the other!

Winter Road

Winter Road comes from one of O’Keeffe’s books of early drawings and we studied it along with some of her other work during a workshop I attended last summer in Santa Fe. The image above was taken with my iPhone at a wonderful exhibition of her work – Living Modern – that I saw last August at the Nevada Museum of Art in Reno.

I’ve seen a lot of Ansel Adams photographs over the years – but these were new to me. There so different from his usual Yosemite work but very “musical” in some sense. There’s a certain calligraphic look in all of these images – pen strokes that vary in width. Others might see other things – finger patterns in the frost on glass in the wintertime, etc.

Categories
Black and White Monochrome Photography Photography Photography - Black & White Stanford

Ansel Adams and Edward Weston at the Cantor

Weston by Ansel Adams -— Adams by Edward Weston

Currently there’s an exhibition of over thirty prints by Ansel Adams and Edward Weston at the Cantor Arts Center at Stanford. Yesterday I stopped in for a docent tour of the show and enjoyed seeing their prints with Carol’s accompanying commentary.

She started with the two images above. On the left is Edward Weston taken by Ansel Adams. On the right is Ansel Adams taken by Edward Weston. In the exhibition the Weston prints are smaller – 8×10 contact prints in white frames and unsigned on the front while the Adams prints are signed and framed in black. A nice contrast.

The current exhibition draws from the Capital Group Foundation’s gift of 1,000 photographs to the Cantor Arts Center at Stanford University that includes works by American photographic masters Ansel Adams, Edward Curtis, John Gutmann, Helen Levitt, Wright Morris, Gordon Parks, and Edward Weston.

Categories
Photography Photography - Canon PowerShot S95 Stanford

Breaking Away @ Stanford

Breaking Away - Trey Ratcliff @ Stanford - 2011

A couple of months ago HDR photographer Trey Ratcliff held a photo walk at Stanford University. It was a beautiful late afternoon – and some 200 photographers showed up to join Trey for his second photowalk around the Stanford Campus.

This shot was taken with my tiny Canon PowerShot S95 and post-processed in Photoshop using Nik Software’s Color Efex Pro 4 – in particular the Details Enhancer and Cross Processing Filters.

I titled it Breaking Away – with the bicyclist heading home…ignoring the crowd.

Categories
Black and White Photography Photography - Black & White Photography - Canon 5D Mark II Stanford

Moonrise Over Stanford – 2011

Moonrise - Stanford - 2011

Last night, I went over to Stanford to try to capture the full moon rising near Hoover Tower just as the sun was setting. I had figured out (using the great TPE application) that a good spot for trying to capture this might be the roof of the parking structure at the corner of Panama St. and Via Ortez.

Turns out that this particular parking structure isn’t an ideal location – because of the new buildings in the Science Quad that block the lower half of the tower from this vantage point – but it was good enough for tonight and, most importantly, properly aligned with the path the moon was going to take as it was rising. Unfortunately, the tower itself was in less than perfect form with the scaffolding still remaining up top! So, this was good practice but didn’t produce a perfect image!

The moon began to appear out of the haze around 7:10 PM and then slowly rose up and to the right. This particular shot was the last shot I took – about 7:30 PM – handheld as I was putting everything (tripod, etc.) back into the trunk of my car. It was far and away the best shot of the night! Post-processed in Photoshop using Nik’s Color Efex 3 and Silver Efex Pro 2.

Categories
Compact HDR HDR Photography Photography Photography - Black & White Photography - Canon PowerShot S95 Photomatix Pro Stanford

The Power of Black and White – Canon S95 HDR

Maybe it’s the visit to the Ansel Adams show with Chris on Saturday that has sent me over the edge, but I’m continually intrigued by how one can take a color photo and turn it into a much more powerful black and white image.

See the photo below – it’s #3 from my initial Canon S95 HDR post earlier this morning.

Rodin's Gates of Hell @ Stanford

Frankly, I didn’t spend much time on this photo – the point was to provide it (a traditional HDR post-processed shot) as a point of comparison with the new in-camera HDR feature built-in to the S95.

As I was looking at it, I wondered how a conversion to black and white might look – now that I’ve become acquainted and familiar with Lightroom 3’s excellent Black and White Mix controls.

So, I gave it a shot – here’s the result – after about 10 minutes of tweaking in Lightroom:

Rodin's Gates of Hell - Canon PowerShot S95 - HDR

Obviously, it’s the same subject as the original photo – Rodin’s Gates of Hell – but it’s been transformed into a more powerful photograph through the conversion to black and white.

I also experimented for the first time using the new Lens Correction features in Lightroom 3 – to remove the distortion in terms of angle, etc. that I had in the original image. It now looks very close to a direct, head-on shot at the scuplture.

Finally, I tweaked it in Flickr – using Picnik to add a museum frame around it – dressing it up a bit.

I like the result. What do you think?

You may also want to view my Flickr set of Canon S95 HDRs taken this morning at Stanford.

Categories
HDR Photography Photography Photography - Canon 5D Mark II Photomatix Pro Stanford

Shoot HDR on the Canon EOS 5D Mark II – Rodin’s Gates of Hell

IMG_0088_89_90_tonemappedHere’s my first attempt at handheld HDR photography using my new Canon EOS 5D Mark II.

The setting is Rodin’s Gates of Hell at the Cantor Arts Center on the Stanford University campus.

I love their description:

“The Rodin Sculpture Garden is open all hours, with lighting for nighttime viewing. Admission is free.”

I took three raw shots while seating on the ground, holding the camera as steady as I could, using Aperture Priority with three high-speed shots on the 5D Mark II.