Technologies
‘Weather Whiplash’ Could Be a Disturbing New Normal in a Weird, Warming World
After praying for rain for weeks, the US state that saw some of the year’s biggest wildfires in 2022 found itself soon suffering a deadly deluge.
This story is part of CNET Zero, a series that chronicles the impact of climate change and explores what’s being done about the problem.
I’ve lived in the high desert of the southwestern US most of my life, primarily in New Mexico and Colorado. In those four decades, I’ve never seen it as dry here as in 2022. In all that time, I’ve also never seen it as wet as this year.
In northern New Mexico, the year began with months of unseasonal heat, dryness and extreme wind that fueled the largest wildfire of the year in the lower 48 states. It burned through 340,000 acres of the Sangre de Cristo mountains and destroyed or damaged over a thousand homes and other structures.
Then, in the middle of June, the annual monsoon rains thankfully arrived to douse the fires. But they stayed a couple months longer and dumped nearly twice as much moisture as the previous year (or the year before that). In fact, we were still seeing some monsoon pattern precipitation several weeks later than normal.
There’s a term for this remarkably rapid turnaround in weather patterns that an increasing number of scientists have begun to use, both in the mainstream media and academic publications: weather whiplash.
«The huge shift in weather you experienced in New Mexico this summer is a perfect example,» Jennifer Francis, acting deputy director at the Woodwell Climate Research Center in Massachusetts tells me.
Francis is lead author on a paper published in September in the Journal of Geophysical Research: Atmospheres on measuring weather whiplash events, which can be loosely defined as abrupt swings in weather conditions from one extreme to another.
At my home in the high desert this year, those swings translated into a Spring filled with smoke, heat, wind and the first emergency alert system notice I’d ever received warning me to get off the road immediately due to an approaching dust storm. By July the scene changed to one filled with rain, mud and more alerts, this time warning of flash flooding.
«Weather patterns are getting «stuck» in place more often, causing persistent heatwaves, drought, stormy periods, and even cold spells to happen more often,» Francis explained via email.
Her work shows all this stalled weather is connected to the rapid warming of the Arctic, which impacts the jet stream and in turn affects weather further south.
«These stuck weather patterns sometimes come to an abrupt end by changing abruptly to a very different pattern. This is weather whiplash.»
The phrase has been increasingly used in climate science circles for the past several years, but Francis points to a number of other instances of the phenomenon on full, sobering display in 2022 alone.
A July heatwave immediately followed exceptionally wet, cool weather in the Pacific Northwest and Northern Rockies in June. This turnaround was most dramatic in the Yellowstone region, where historic flooding in the first month of summer took many by surprise and claimed hundreds of homes but, somewhat miraculously, no lives. Shortly afterwards, temperatures soared several degrees above average and the region dried out.
Earlier in the year the inverse played out in Texas, where a spell of 67 consecutive dry, hot winter days in Dallas were followed by the city’s heaviest rains in 100 years, leading to flash flooding and a declaration of disaster by the state’s Governor.
Seasonal See-Saw
From late March until early June, much of northern New Mexico saw no measurable precipitation for a stretch of more than 70 days. Even for the current era, which many scientists suspect is the beginning of a megadrought in the southwestern US, that’s unusually dry.
This dryness, along with unseasonable heat and often extreme winds whipped up the embers of two controlled burns in the Santa Fe National Forest that had been secretly smoldering for months. Two wildfires sprang to life, eventually combining to form the 340,000-acre Calf Canyon-Hermit’s Peak fire complex.
The inferno burned homes, ranches, businesses and livestock, but didn’t claim any human lives – at least, not directly. Tens of thousands were evacuated from nearby cities and villages for weeks as fire devoured some of the state’s most rugged and beautiful terrain over the course of more than two months.
I visited some of the impacted communities to witness the total disruption and devastation while waiting to see if the flames would continue to push closer to my own community near Taos, less than 20 miles from the northwest edge of the fire.
For weeks it looked as though a nuclear bomb had been detonated just over the ridge of mountains near my home. A pyrocumulus mushroom cloud of smoke from the fire reached up into the atmosphere, a constant reminder of impending doom one valley over.
Sometimes the wind would shift and blow all that smoke our direction. It was possible to see this coming almost an hour in advance as a brown stream of smog would suddenly obscure the mountains. As it finally reached us, our eyes would water, our lungs would begin to burn and everything we wore or carried would take on the aroma of a barbecue. Minutes later, the sun would be blotted out on an otherwise sunny day. They were all sunny days back then.
My family would retreat inside every time the smoke came, of course. Then, in early June, another fire ignited on the opposite side of our community from where the megablaze was burning. We found ourselves surrounded. No matter which way the wind blew, there was a good chance it would blow smoke in our faces.
At this point our daughter was quarantined at home with COVID. We faced the very apocalyptic choice of keeping the windows open for better anti-viral ventilation or closing them to keep the smoke out. It wasn’t a particularly hard choice. We closed the windows. Inhaling smoke certainly isn’t great for getting over COVID, after all.
Then, in mid-June, both the weather and its impact took dramatic turns. The annual monsoon rains arrived right on time, and with an unusual intensity. Ironically, this is how New Mexico’s largest ever wildfire ended up claiming human lives after the flames had stopped spreading.
The burn scars left by wildfires absorb less moisture than healthy landscapes with plenty of vegetation, and that led to flash flooding. June and July in northern New Mexico saw repeated cycles of heavy rains, including a particularly heavy storm on July 21 that deluged the Calf Canyon-Hermit’s Peak burn scar. A flash flood tore through the Tecolote Canyon subdivision outside the city of Las Vegas, New Mexico, sweeping tons of mud, rocks, burned trees and even vehicles down the creek drainage. Tragically, three people were caught in the flood and died.
In the span of weeks, citizens in New Mexico went from fleeing fires to fleeing floods. Whiplash might describe the disjointed nature of this past summer, but it doesn’t begin to capture the anxiety brought on by this new realization that life in the 21st century might be about being ready for absolutely anything.
In June I was hauling water to my off-grid home in the back of a truck, 200 gallons at a time, and praying for the monsoon to arrive. The following month I was digging trenches to divert as much water as possible out of my driveway to lessen the persistent rain’s irritating habit of turning it into a muddy quagmire. This is to say nothing of the background anxiety created by nearby fires, floods and at least one epic wind event that took the roof off a neighbor’s house.
The Climate Connection
At least one group of researchers predicted this before it happened. Well, sort of.
On April 1, just five days before that massive fire in New Mexico sprang to life, a paper was published in the journal Science Advances titled «Climate change increases risk of extreme rainfall following wildfire in the western United States.»
The paper describes how scientists used climate models to predict that if global warming continues unabated, the western US will begin to see many more instances of extreme wildfires followed by extreme rainfall. They didn’t wait decades to see their predictions come true. It happened just weeks later.
«I would qualify what happened in New Mexico as extreme precipitation following extreme wildfires,» UCLA and National Center for Atmospheric Research climate scientist Daniel Swain, one of the authors of the study, told me. «Some of those fires were literally still burning pretty vigorously when the rain started. You really can’t get any whiplashier than that.»
Swain is one of a number of climate scientists digging into the data to determine what is creating this new, very 21st century sort of see-saw. One of the main factors, he says, is that the warming of the planet is accelerating the water, or hydrologic, cycle that moves moisture from surface water to the atmosphere and back again via precipitation.
«You actually get an exponential increase in the water-vapor-holding capacity of the atmosphere,» he explains.
Basically, for every degree centigrade of warming, the atmosphere can hold 7% more moisture. These increases compound over time, sort of like interest in a bank account, which provides the exponential acceleration of extreme rainfall events that are more frequent and more intense.
Swain describes our atmosphere as a sponge that grows ever larger as it warms, periodically soaking up potentially larger amounts of moisture and then dumping it all at once on some unfortunate locale. But this expanding sponge is also exacerbating dryness in places where it extracts an increasing amount of water out of the landscape.
This means drier dry periods and wetter precipitation events, sometimes back-to-back. Whiplash.
Swain cautions that it’s too soon to know how much of the weather whiplash experienced in northern New Mexico this year can truly be blamed on climate change versus just basic bad luck and the natural variation and randomness that we’d see in our weather patterns even without global warming.
Climate scientists have developed so-called «weather attribution» models that quantify the effects of climate change directly on specific weather events like what was experienced this year in New Mexico, but the process can take several months or longer.
Weirder than Warming
When I first started covering climate two decades ago, a climatologist told me the phrase «global warming» wouldn’t fully describe what was going to happen to our environment and that it would be more like «global weirding.»
That phrase never caught on, but I’m starting to think weather whiplash might be its appropriate successor.
For decades now, talk about the warming climate has focused on increasing temperatures, but usually these are increasing average temperatures. However, we don’t experience climate in the aggregate. We live it day-to-day as weather that is increasingly extreme.
«If you get 20 inches of rainfall distributed as half an inch a day for 40 days it’s a very different picture than getting 20 inches of rainfall because it rains 10 inches one day and 10 inches the next,» Swain suggests. «The average might be the same, but you’re living in a completely different world.»
In other words, our experience of climate change can’t be fully captured by talking about how much temperatures or sea levels or rainfall are rising. It’s the extremes and the weirdness and the chaotic swings from one state to another that tell the real story and inflict the most trauma.
At the point this summer when wildfires were burning on both sides of our community I had a weird flashback to my childhood. One of my favorite things to read as a kid in the previous century was Choose Your Own Adventure books. They had this intoxicating ability to provide both an escape and agency at the same time.
It feels like we could use a little more of both things right now. Life today has the feel of all the potential adventures in those books happening back-to-back and often simultaneously. The only choice is to be ready for anything.
Technologies
Today’s NYT Connections Hints, Answers and Help for Dec. 14, #917
Here are some hints and the answers for the NYT Connections puzzle for Dec. 14, #917.
Looking for the most recent Connections answers? Click here for today’s Connections hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle, Connections: Sports Edition and Strands puzzles.
Today’s NYT Connections puzzle is an odd one in that the purple category, usually the toughest, was the easiest — if you know a certain group of fictional animals. If you need help sorting them into groups, you’re in the right place. Read on for clues and today’s Connections answers.
The Times now has a Connections Bot, like the one for Wordle. Go there after you play to receive a numeric score and to have the program analyze your answers. Players who are registered with the Times Games section can now nerd out by following their progress, including the number of puzzles completed, win rate, number of times they nabbed a perfect score and their win streak.
Read more: Hints, Tips and Strategies to Help You Win at NYT Connections Every Time
Hints for today’s Connections groups
Here are four hints for the groupings in today’s Connections puzzle, ranked from the easiest yellow group to the tough (and sometimes bizarre) purple group.
Yellow group hint: Butter up.
Green group hint: Like The Little Match Girl.
Blue group hint: Letter that makes no sound.
Purple group hint: Oink!
Answers for today’s Connections groups
Yellow group: Lay it on thick.
Green group: Hans Christian Anderson figures.
Blue group: Silent «L.»
Purple group: Fictional pigs.
Read more: Wordle Cheat Sheet: Here Are the Most Popular Letters Used in English Words
What are today’s Connections answers?
The yellow words in today’s Connections
The theme is lay it on thick. The four answers are fawn, flatter, gush and praise.
The green words in today’s Connections
The theme is Hans Christian Anderson figures. The four answers are duckling, emperor, mermaid and princess.
The blue words in today’s Connections
The theme is silent «L.» The four answers are calf, chalk, colonel and would.
The purple words in today’s Connections
The theme is fictional pigs. The four answers are Babe, Napoleon, Piglet and Porky.
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Technologies
Today’s NYT Strands Hints, Answers and Help for Dec. 14 #651
Here are hints and answers for the NYT Strands puzzle for Dec. 14, No. 651.
Looking for the most recent Strands answer? Click here for our daily Strands hints, as well as our daily answers and hints for The New York Times Mini Crossword, Wordle, Connections and Connections: Sports Edition puzzles.
Today’s NYT Strands puzzle may leave you wanting to make a reservation at a fancy restaurant. Some of the answers are difficult to unscramble, so if you need hints and answers, read on.
I go into depth about the rules for Strands in this story.
If you’re looking for today’s Wordle, Connections and Mini Crossword answers, you can visit CNET’s NYT puzzle hints page.
Read more: NYT Connections Turns 1: These Are the 5 Toughest Puzzles So Far
Hint for today’s Strands puzzle
Today’s Strands theme is: Pricy pairing.
If that doesn’t help you, here’s a clue: May I see the menu?
Clue words to unlock in-game hints
Your goal is to find hidden words that fit the puzzle’s theme. If you’re stuck, find any words you can. Every time you find three words of four letters or more, Strands will reveal one of the theme words. These are the words I used to get those hints but any words of four or more letters that you find will work:
- FLOP, POLL, POLLS, RARE, CARE, HARE, SURE, SPAT, SPATS, PATS, CRUST, RUST
Answers for today’s Strands puzzle
These are the answers that tie into the theme. The goal of the puzzle is to find them all, including the spangram, a theme word that reaches from one side of the puzzle to the other. When you have all of them (I originally thought there were always eight but learned that the number can vary), every letter on the board will be used. Here are the nonspangram answers:
- CRAB, RIBEYE, SHRIMP, LOBSTER, SCALLOP, SIRLOIN
Today’s Strands spangram
Today’s Strands spangram is SURFANDTURF. To find it, start with the S that’s the far-left letter on the top row, and wind down.
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Technologies
Can My iPhone 17 Pro Match a 6K Cinema Camera? I Teamed Up With a Pro to Find Out
I put a video shoot together to see just how close an iPhone can get to a pro cinema setup.
The iPhone 17 Pro packs a powerful video setup with a trio of cameras, large image sensors (for a phone), ProRes raw codecs and Log color profiles for advanced editing. It makes the phone one of the most powerful and dependable video shooters among today’s smartphones.
Apple often boasts about famous directors using the iPhone to shoot films and music videos. The company even records its event videos for new products with the iPhone.
But is the iPhone really good enough at shooting video to replace a traditional cinema camera? To see how good the iPhone 17 Pro is for professional use, I gave it a proper test.
I put together a video shoot where I pitted the $1,000 iPhone against a full professional cinema camera rig, worth thousands of dollars, to see just how well Apple’s phone can hold its own. I planned a video production at my favorite coffee roaster in Edinburgh, called Santu, which is based in a stunning building that I knew would look amazing on camera.
To give both cameras the best chance, I worked with Director of Photography Cal Hallows, who has been responsible for production on major shoots around the world, working with brands including Aston Martin, the BBC, IBM and Hilton Hotels.
Here’s what happened.
Our filming equipment
We didn’t use any external lenses with the iPhone; instead, we relied on either the built-in main, ultrawide or telephoto options. I shot my footage using the BlackMagic Camera app. I had a Crucial X10 external SSD since I was recording in Apple’s ProRes raw codec, which creates large files.
I also had a variable neutral density filter to achieve a consistent shutter speed. For some shots, I used Moment’s SuperCage to help give me a better grip — and therefore smoother footage. But for other shots, I just used the phone by itself to make it easier to get into tight spaces. More on that later.
The iPhone’s competition was the $3,300 BlackMagic Pyxis 6K. It’s a professional cinema camera with a full-frame 6K resolution image sensor and raw video capabilities. I paired that with some stunning pro cine lenses, including a set of Arles Primes, the XTract Probe lens from DZO Film and a couple of choice cine primes from Sigma. It’s a formidable and pricey setup for any cinematographer.
The shoot day
We shot over the course of a single day. I’d already created a rough storyboard of the shots I wanted to get, which helped me plan my angles and lens choices. I wanted to try and replicate some angles directly with both cameras.
This shot of the store room being opened (above), for example — was a lovely scene, and I didn’t see much difference in quality between the iPhone’s video and the BlackMagic’s. This was the case with a few of the scenes we replicated. Apple’s ProRes raw codec on the iPhone provided a lot of scope for adjusting the color, allowing us to create beautiful color grades that looked every bit as striking as footage from the Blackmagic camera.
Sure, you could tell that they were different, but I couldn’t honestly say if one was better than the other.
Other shots were more difficult to replicate. I love this low-angle of the roastery owner, Washington, pulling his trolley through the scene. On the iPhone, the main lens wasn’t wide enough to capture everything we wanted but switching to the ultrawide was too much the other way and we ended up having spare gear and other people in the frame.
This made several shots a challenge to replicate as the fixed zoom ranges of the iPhone simply didn’t translate to the same fields of view offered by our lenses on the BlackMagic camera. As a result, getting the right framing for shots from the iPhone was trickier than I expected. But focal length wasn’t the only reason using «real» lenses was better.
The DZO Arles Primes are awesome cinema lenses that offer wide apertures that allowed us to shoot with gorgeous natural bokeh. We used this to our advantage on several shots where we really wanted the subject to be isolated against an out-of-focus background.
Secret weapons
That was especially the case when we used our secret weapon: the DZO Films Xtract probe lens. This bizarre-looking, long, thin lens gives both a wide-angle perspective coupled with a close focusing distance.
I loved using the probe lens for this shot, particularly where we’ve focused on exactly where Washington was using the bean grinder. I tried to replicate it on the iPhone using the close-focusing ultrawide lens and the shot looks good, but it lacks the visual sophistication that I can get from a big, professional camera. Especially because the lack of background blur makes it easier to see distracting background items stored under the counter that are otherwise «hidden» in the blur on the main camera.
But the iPhone has its own secret weapon, too. Its size. The tiny dimensions of the iPhone — even with a filter and the SSD crudely taped to it — is so small that we were able to get shots that we simply couldn’t have achieved with the big cinema camera.
In particular, this shot, where I rigged the iPhone to an arm inside the cooling machine so that it travelled around as the beans were churned. I love this shot — and a top-down view I shot of the arms turning beneath. Both angles give this incredible energy to the film and I think they are my favourite scenes of the whole production. It wasn’t easy to see the phone screen in these positions but SmallRig’s wireless iPhone monitor made it much easier to get my angles just right. Trying to rig up a large, heavy camera and lens to get the same shots was simply out of the question.
How well did the iPhone compare?
I’m really impressed with both cameras on this project, but my expert Director of Photography, Cal, had some thoughts, too.
«The thing I really found with the iPhone,» Cal explained, «was simply the creative freedom to get shots that I’d have never had time to set up. There’s only so long in a day and only so long you have access to filming locations or actors, so the fact that you can just grab your iPhone and get these shots is amazing.»
«I have used my iPhone on professional shoots before. One time in particular was when I was driving away from set and I saw this great sunset. If I’d have spent time rigging up my regular camera, I’d have missed the sunset. So I shot it on my phone and the client loved it — it ended up being the final shot of the film. At the end of the day, a good shot is a good shot and it doesn’t matter what you shot it with,» said Cal.
So was it all good for the iPhone?
«The depth of field and the overall look of the cinema lenses still come out on top — you’re just not going to get that on a phone,» explained Cal. «When it came to grading the footage, I had to use a lot of little workarounds to get the iPhones to match. The quality quickly started to fall apart in certain challenging scenes that just weren’t a problem with the BlackMagic.»
So it’s not a total win for the iPhone, but then, I never expected it to be. The iPhone was never going to replace the pro camera on this shoot, but it instead allowed us to augment our video with shots that we would otherwise never have gotten.
I love the creative angles we found using just the phone, and while Cal struggled to balance its colors as easily, the footage does fit in nicely with the rest of the video and makes it more dynamic and engaging as a result.
And that’s not to say the shots we didn’t use from it weren’t good. I’m actually impressed with how the iPhone handled most of the things we threw at it.
So don’t assume that if you want to get into filmmaking, you need to drop tens of thousands on a pro cinema camera and a set of cine primes. Your iPhone has everything you need to get started, and it’ll let you flex your creativity much more easily.
Our days of shooting, editing and grading have proven that the iPhone isn’t yet ready to be the only camera you need on a professional set. But mix its small size in with your other cameras, and then you’ve got yourself a truly powerful production setup.
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