Throughout the 80s and 90s, you couldn’t swing a stapler around any size office without hitting a fax machine. But what is it about the fax machine that makes it the subject of so much derision? Is it the beep-boops? The junk faxes? Or do they just seem horribly outdated in the world of cloud storage and thumb drives? Perhaps all of the above is true. While I may be Hackaday’s resident old school office worker et cetera, it may surprise you to learn that I don’t have a fax machine. In fact, the last time I had to fax something, I recall having to give my email address to some website in order to send a single fax for free.
Over across the pond, the UK government has decided to nix the requirement for fax services under something called the Universal Service Order (USO) legislation, which essentially ensures that residents all across the UK have access to phone services at a price they can afford. The UK’s Office of Communications, aka Ofcom, have announced recently that they are in agreement with the government. Since the industry is moving away from the public switched telephone network (PSTN) to IP telephony, the fax machine won’t work the same way.
As more and more electric vehicles penetrate the market, there’s going to have to be a proportional rise in the number of charging stations that are built into parking garages, apartment complexes, and even private homes. And the more that happens, the more chargers we’re going to start seeing where security is at best an afterthought in their design.
But as this EV charger teardown and reverse engineering shows, it doesn’t necessarily have to be that way. The charger is a Zaptec Pro station that can do up to 22 kW, and the analysis was done by [Harrison Sand] and [Andreas Claesson]. These are just the kinds of chargers that will likely be widely installed over the next decade, and there’s surprisingly little to them. [Harrison] and [Andreas] found a pair of PCBs, one for the power electronics and one for the control circuits. The latter supports a number of connectivity options, like 4G, WiFi, and Bluetooth, plus some RFID and powerline communications. There are two microcontrollers, a PIC and an ARM Cortex-A7.
Despite the ARM chip, the board seemed to lack an obvious JTAG port, and while some unpopulated pads did end up having a UART line, there was no shell access possible. An on-board micro SD card slot seemed an obvious target for attack, and some of the Linux images they tried yielded at least a partial boot-up, but without knowing the specific hardware configuration on the board, that’s just shooting in the dark. That’s when the NAND flash chip was popped off the board to dump the firmware, which allowed them to extract the devicetree and build a custom bootloader to finally own root.
The article has a lot of fascinating details on the exploit and what they discovered after getting in, like the fact that even if you had the factory-set Bluetooth PIN, you wouldn’t be able to get free charging. So overall, a pretty good security setup, even if they were able to get in by dumping the firmware. This all reminds us a little of the smart meter reverse engineering our friend [Hash] has been doing, in terms of both methodology and results.
We recently covered the removal of Pantone colour support from the Adobe cloud products, with the two companies now expecting artists and designers to pay an extra subscription for a Pantone plugin or face losing their Pantone-coloured work to a sea of black blocks. Our coverage focused on our community, and on how the absurdity of a commercial entity attempting to assert ownership over colours would have no effect on us with our triple-byte RGB values.
Interview With An Artist And Pigment Activist
The palette that could start a revolution.
It’s fair to say though that in our focus on hardware hackers and open source enthusiasts, we missed its effect on artists and designers. To rectify this omission we needed to step outside our field and talk to an artist, and in that context there’s an obvious person to interview.
Stuart Semple is probably one of the more famous contemporary British artists, but in relation to this story it’s his activism over the issue of colours and intellectual property that makes him an authority. He’s drawn attention to the issue by releasing his own art materials in colours that directly challenge those which companies have tried to claim for themselves, and is perhaps best known in our community for challenging Anish Kapoor’s exclusive licence for VantaBlack, the so-called “world’s blackest pigment”.
Most recently in response to the Adobe/Pantone controversy he’s released Freetone, a free plugin for the Adobe suite that in the words from its web page contains “1280 Liberated colours are extremely Pantoneish and reminiscent of those found in the most iconic colour book of all time. In fact it’s been argued that they are indistinguishable from those behind the Adobe paywall”. I had a phone conversation with him, in which he explained why Freetone had come into being.
Hackaday I understand Pantone is something used by designers, so I’ve worked for companies in the past where the designer would specify a Pantone index and it would appear on the screen, on the printed box, and on everything else identically. But why why do you as an artist use Pantone?
Art, activism, and a very red pigment.
Stuart Well, I use it in lots of ways. So I make a lot of screen prints as part of my art. So you know, if I’m working with a screen printer, I want to know that the print that they make of my work is the colour that I want it to be, so Pantone’s really useful for me for that.
But also, even with within the paints, so I just did a thing where I made some paints, which actually uses the blood of gay men. It was really important to me that the colour of the paint matched the colour of actual blood. So I was working with a lot of people, we’ve been collaborating, and I was working with some friends in New York on it, and we needed a common language.
The red I was talking about was the red they were talking about, and Pantone is super useful for that. In fact, it’s the go-to for that. I just did a record cover for Placebo, the band, that was produced for me by someone that prints, so I had to tell them what spot colours I wanted. So I had to tell them Pantone references, it’s the language they understand.
Hackaday So my next question relates to Freetone. Obviously, as as you’ve distributed it, it’s a Adobe plugin. How does it solve the problem? Because obviously, I can specify a Freetone colour, and anybody else with Freetone can tell yes, that’s that colour. But how do I then go to a printer who buys his inks with Pantone specifications and map one to the other?
The Pantone swatch book which you’ll see in the hands of artists and designers everywhere. Céréales Killer CC BY-SA 3.0.
Stuart How it works is, if you download Freetone, you’ll find colours in there, and one of them will be called Sempletone 648C. Well, it’s exactly the same as Pantone 648C. If you do your work on the screen, use the Freetones, and then when you send it to the printer, it’s actually blatantly obvious to anyone that 648C is clearly apparent. If you’ve got the Pantone fan book and you look at the colours, it’s the same. 846C in mine is the same as 846C in the fan, in the Pantone book. I’d like to see them try and argue that they own it, but I don’t think they do in the name or the Pantone trademark, but these are Sempletones with a number. So I think it’s gonna be hard.
Hackaday My next question is probably getting more into the technology of it all. Do you think it will be possible to replace Pantone’s service completely? So if you took every Sempletone colour and threw it at a spectrometer and published the spectrum, would you then be able to say to an ink manufacturer or similar, here are the full technical details rather than just a colour, and does your paint correspond to this spectrum? I’m curious how far you could push open source in this line.
The PySpectrometer project, something for anyone with an interest in colour.
Stuart That’s really cool. I love it. Like, if you could just give them that spectral data, and if they’ve got a spectrometer they could measure it a their end. But there’s nothing that advanced at the moment, a lot of action is done by eye still. My answer is, I don’t see why not if there was a cool enough device. I don’t know if the spectrometer would be good enough to match it. I don’t see why not, I don’t see why you couldn’t publish the data. But it would have to be the whole spectral information and not just like an RGB value.
(At this point the interview digressed for a moment into a discussion of open-source spectrometers such as the Raspberry Pi project we featured recently, as Stuart’s lament was that a spectrometer can be an extremely expensive instrument. It isn’t the job of an interviewer to lead their interviewee so we’re skipping this part of the transcript, however I think we can all look forward to whatever uses Stuart makes of an affordable spectrometer. We’ll pick up the interview at the next question.)
This widely shared screenshot represents the destruction of past work.
Hackaday One of the real problems with the whole Adobe suite, and this has happened in world as well with for instance the Autodesk CAD packages, is that they have gone into the cloud and become software as a subscription. So I understand completely, the frustration of artists at suddenly being told they have to pay an extra subscription to keep their Pantone support, and I’m particularly shocked to find that Photoshop isn’t just displaying black pixels over Pantone colours, I’m told it’s wiping out the Pantone information on saving. Do you think that anything in the open source software ecosystem comes close to replacing proprietary products like the Adobe suite for you as an artist?
Stuart Yes, 100%, there’s loads of stuff. I think open source is just the answer, I believe in freedom. And freedom means freedom to express yourself and freedom to own the thing and tweet the thing and change the thing and all the rest of it. So yeah, 100%. I think there’s actually better things than Photoshop, the problem we’ve got is that Adobe have the industry stranglehold. And if you want to work with someone, you have to be talking that language. And that’s still the problem. It’s like an operating system, but it’s got the monopoly.
So there are other things, for instance, on a Mac, there’s something called Pixelmator, which is as good as Photoshop in my opinion, I use it every day. It’s not free, but you buy it once, and that’s it, free updates. Like software used to be. And there are other things, like GIMP is amazing. It’s awesome, but it doesn’t really replace Photoshop.
We all like using GIMP, perhaps other people could learn to love it too. (gimp.org)
Hackaday Here at Hackaday we can make noises about how wouldn’t it be great if the developers of GIMP or other software could stick Freetone into their products, because they don’t have Pantone as it’s licensed?
Stuart Yeah, that’d be a dream, wouldn’t it? I mean, why not? I made it for everybody. As far as I’m concerned, it’s out there, use it, change it. incorporate it, the more people the better, I think.
A lot of people use GIMP, and it’s good. Really good open source stuff that always has been. We know the future is in the open source stuff, proprietary stuff just won’t last, it’s just not adaptable. It’s putting greed and profits above the user, it can’t work. There’s no freedom in it.
Hackaday To me the most egregious thing is that as I understand it they will delete the Pantone information from your PSD. This really shocked me.
Stuart They’re literally holding it hostage. It’s like 20 quid, or delete from your work, which is, wow. They’re not giving me anything, anyway. I’m renting the software, paying to use the software every month, it’s not free. And the licence fee is a lot. We’re already spending hundreds and hundreds a year on this software, probably about 800 quid a year. Another 20 quid, just to pen the work we make before. I mean, it’s our work! It’s pure corporate greed, isn’t it.
Hackaday Thank you very much for the interview.
As we wrapped up, I asked him about his Black 3.0 pigment, produced as a reaction to VantaBlack and Anish Kapoor. I was curious whether it might have a specially good infra-red response for headsinks or solar collectors, but sadly he informed me that it’s primarily a visual colour for artists. It’s very cool stuff, incredibly black, and I really want to get some to play with, but probably no better than a rattle can for heat purposes. Never mind, an engineer’s curiosity satisfied.
Following the interview, it’s worth looking at the Freetone project from our side of the table as well as his. If we as a community would like to ensure that colours do not become ever more proprietary, then it is probably on us to ensure that where appropriate it is supported within our sphere. GIMP support for instance would at a stroke make open source software an easier choice for millions of artists and designers, and could I think be done relatively easily through its existing palette support. There’s SwatchBooker which appears to perform the necessary interchange, and I found the ASE2GIMP project which imports Adobe palettes into GIMP, but sadly I couldn’t make it work here. If GIMP shipped with a Freetone palette built-in, would that be too much of a development task to contemplate?
From Stuart’s side, having sat down and played with Freetone, if there’s one thing I could ask him it would be to release it as more than just an Adobe plugin, and to give it an open source licence. As it stands it’s a binary available for no charge through his web shop, I think that releasing it as a straightforward list, perhaps even as simple as a CSV file, would make it so much more accessible to developers. And coupled with an open source licence that allowed them to include it within their software, I think it would be unstopable. We’re not open source licence nerds here at Hackaday, but I’m guessing something that does the same for a palette as a library licence such as the LGPL does for libraries would be appropriate.
In our world we’re wrapped up in electronics and code, and it’s sometimes easy to forget that the work we do reaches way beyond our workbenches. If you’ve spent enough time in a hackerspace you’ll know that art and engineering are almost the two sides of the same coin, so it’s pleasing to find such a moment of crossover. Let’s hope Freetone support can find its way into the open source movement, and together we can keep the tentacles of yet another IP land grab at bay.
The new hotness in mobile phones is it seems a hinge, and an ever-so-fragile flexible LCD display. There’s nothing new in a hinge of course, a couple of decades ago they were all the rage in feature phones, and of course Nintendo got in on the act with the ever-so-cute Game Boy Advance SP. This hinged design caught the attention of [Allison Parrish], who has brought it to an earlier generation of Game Boy with the Game Boy Pocket SP. It’s a late-1990s Game Boy Pocket whose PCB has been carefully cut in half, in a custom case that looks for all the world like the hinged case of the Advance SP.
The case is a neat bit of CAD work very nicely 3D printed and fitted with a set of Advance SP hinges, but perhaps the neatest part of this build is the se of a set of flexible PCBs to connect the two halves of the unit together. This looks for all the world as though it came this way from the factory, which is an achievement above many console mods.
The whole thing is a little lumpy compared to the SP to make space for the Pocket’s full-size cartridge, but not so much as to make it ugly. Any 1990s kid with one of these would have been the envy of all their classmates!
We imagine that if [Tech Minds] told us he was listening to the HF bands, we might ask him which one? His reply might just be “All of them.” That’s thanks to the RX-888 MKII SDR he reviewed which delivers a 64 MHz window on the radio spectrum. You can catch the video review, below.
These are not especially inexpensive, but with that bandwidth and 16-bit resolution, it is worth it if you need that kind of horsepower. There is a separate input for VHF signals 64-1700 MHz where the bandwidth is only 10 MHz, but still.
Of course, making a very wideband front end for something like this is non-trivial, so we wonder how the performance is compared to similar-priced units with less bandwidth. On the other hand, it does seem to work well enough in the video. The software used limited the test to a 32 MHz bandwidth, which is still plenty.
Speaking of software, we noticed that the developers of SatDump and SDR++ are not happy with the state of the software for the RX-888. We aren’t sure if this remains a problem, but the device seemed to work well on the video, at least.
There are many options now when it comes to higher-end SDRs. We like the Pluto for both transmitting and receiving. Of course, the RTL-SDR kind of started everything with hobby SDR, but you can’t expect that much bandwidth with one of those.
If you’re above a certain age, you probably remember the atmosphere of a pre-Powerpoint 35 mm slide show. The wobbly screen being unrolled, the darkened room, the soft hum of the projector’s fan, the slightly grainy picture on the screen and that unmistakable click-whoosh-clack sound as the projector loaded the next slide. Nowadays you’ll be hard pressed to find anyone willing to set up a screen and darken the room just to watch a few photos, so if you still have any slides lying around you’ll probably want to digitize them. If you’ve also kept your projector then this doesn’t even have to be that difficult, as [Scott Lawrence] shows in his latest project.
[Scott] made a setup to directly connect a DLSR, in this case a Nikon D70, to a Kodak 760 slide carousel. The attachment is made through a 3D-printed adapter that fits onto the Nikon’s macro lens on one side and slides snugly into the carousel’s lens slot on the other. The adapter also holds an IR transmitter which is aimed at the camera’s receiver, in order to trigger its remote shutter release function.
The carousel’s original light source was replaced with a compact LED studio light, which allows for precise brightness control and of course remains nice and cool compared to the original incandescent bulb. The light, camera and carousel motor are all controlled through a central user interface driven by an Arduino Leonardo which can automatically advance the carousel and instruct the camera to take a picture, thereby taking the hard work out of digitizing huge stacks of slides.
[Scott] plans to make the software and STL files available on GitHub soon, so anyone can go ahead and turn their projector into a digitizer. If you’ve misplaced your projector however, a simple 3D-printed slide adapter for your camera also works for small slide decks.
[RiverTechJess] is in the process of getting a PhD in environmental engineering and has devoted a chapter to creating a turbidity sensor for river network monitoring. Environmental sensing benefits from being able to measure accurately and frequently, so providing low cost devices helps get more data and excuse the occasional device loss that’s bound to happen when deploying electronics out in the wild. Towards this end, [RiverTechJess] has created a low cost turbidity sensor that rivals the more expensive alternatives in cost and accuracy.
The turbidity sensor is designed to be at least partially submerged allowing for the LED and light sensors to be be able to take measurements. [RiverTechJess] has made a 3D printed prototype to test the design, allowing for rapid experimentation and deployment of the sensors to work out issues. The 3D printed enclosure prototype uses rubber o-rings and “vacuum grease” to provide a watertight seal. An ESP32 microcontroller is used to store logged data on an SD card and drive the TSHG6200 850nm infrared LED and the two TSL237S-LF sensors.
The resulting paper on the turbidity sensor, in addition to the blogs of the process, provide a wealth of data that show what goes into developing and calibrating a device that is meant to be used for environmental monitoring. All source code is available on GitHub and development continues on a newer revision of the turbidity sensor with updated electronics and hardware.
