É com muito orgulho que deixo aqui a minha nova capa de uma revista nacional.
2008-06-23
2008-03-08
Links da Semana.
Sugestões para esta semana...
Tim Mckenna
Que dizer sobre ele, julgo que seu trabalho fala por si....Tim McKenna sem duvida um nome a gravar.
David LaChapelle
Lachapelle......é tão......que......apenas consiguo apreciar o seu trabalho.
Derek Frankowski
Derek é um fotografo muito conhecido no meio do BTT e como este também é o meu tema preferido não podia deixar de partilhar convosco este nome.
Esta é uma semana muito especial dado que todos estes fotógrafos fazem sem duvida parte da minha lista de referencias.
Tim Mckenna
Que dizer sobre ele, julgo que seu trabalho fala por si....Tim McKenna sem duvida um nome a gravar.
David LaChapelle
Lachapelle......é tão......que......apenas consiguo apreciar o seu trabalho.
Derek Frankowski
Derek é um fotografo muito conhecido no meio do BTT e como este também é o meu tema preferido não podia deixar de partilhar convosco este nome.
Esta é uma semana muito especial dado que todos estes fotógrafos fazem sem duvida parte da minha lista de referencias.
2008-03-07
DownHill Photos 2007
Com o inicio da nova época a chegar, deixo um cheirinho do que foi a anterior.
Um pouco do meu trabalho durante o nacional de DHI/DHU em 2007.
Um pouco do meu trabalho durante o nacional de DHI/DHU em 2007.
2008-03-02
Links da Semana.
Após algumas sugestões aqui fica a escolha.
Joe Curren
Joe Curren um dos fotógrafos de Surf mais consagrados de sempre, em Dezembro de 2007 lança o seu primeiro livro. Sem duvida uma referência para todos nós.
Kadir van Lohuizen
Kadir van Lohuizen, é difícil falar sobre este fotografo sua qualidade/curriculum é de tal modo impressionante que acompanhar o seu trabalho é uma obrigação permanente. Como tal o meu único conselho é que Kadir van Lohuizen passe de imediato para os vossos favoritos.
Guido Argentini
Com o o seu ultimo trabalho Guido Argentini deixou uma marca muito forte o que faz dele um dos grandes nomes da actualidade.
Por esta semana é tudo, por isso continuem a enviar as vossas sugestões...
Joe Curren
Joe Curren um dos fotógrafos de Surf mais consagrados de sempre, em Dezembro de 2007 lança o seu primeiro livro. Sem duvida uma referência para todos nós.
Kadir van Lohuizen
Kadir van Lohuizen, é difícil falar sobre este fotografo sua qualidade/curriculum é de tal modo impressionante que acompanhar o seu trabalho é uma obrigação permanente. Como tal o meu único conselho é que Kadir van Lohuizen passe de imediato para os vossos favoritos.
Guido Argentini
Com o o seu ultimo trabalho Guido Argentini deixou uma marca muito forte o que faz dele um dos grandes nomes da actualidade.
Por esta semana é tudo, por isso continuem a enviar as vossas sugestões...
The Moment it Clicks
Joe McNally's book, The Moment it Clicks, este é sem duvida um dos melhores livros de Fotografia/Luz que eu já vi e provavelmente ira ficar durante muito tempo como um dos melhores...Com este livro Joe McNally's abriu completamente a sua mente de fotografo para o mundo. As foto são absolutamente magnificas e as historias ainda melhores, por isso se alguém quiser comprar apenas um livro sinceramente este é o indicado.
Este trailer é apenas um aperitivo do que pode encontrar nesta magnífica obra.
Fotojornalismo Movie
War Photographer (DVD - nonfiction) Directed by Christian FreiEste filme esteve nomeado para os óscares em 2001 na categoria de documentários, com ele seguimos de perto um dos melhores fotojornalistas do mundo enquanto o mesmo trabalha. Todo o filme é gravado a uma distancia mínima e até é mesmo montada uma pequena câmera de filmar na sua própria câmera fotográfica para se conseguir perceber o seu ponto de vista.
Aconselho vivamente este filme a andar sempre na nossa mala do computador para assim podermos assistir a todo o momento porque ele é defacto magnifico e aquilo que consegues transmitir é verdadeiramente fabuloso.
Grandes Ideias / Pequenos custos...
Fotógrafos Joe Daylor and Joe Stern mostram como criar um painel de fundo com placas de plastico e latas de spray.
Honestamente sem uma boa luz, este fundo era bem capaz de se tornar pouco engraçado, mas com este set de luzes instalado, o ambiente ficou muito bom. O mais importante a reter desta ideia é que se formos capazes de controlar bem a nossa luz e os respectivos fundos em qualquer circunstancia, é sinal que estamos pronto para seguir em frente.
Todos os dias aprendemos algo novo. Obrigado pela ideia pessoal.
2008-03-01
O Fantástico Mundo da Sports Illustrated...(Part II)
The Ultimate Setup—Sports Illustrated and the Final Four(Part II)
By Mike Tedesco,
Saturday afternoon, the fans are buzzing at Centennial Olympic Park, and the four remaining teams are anxiously awaiting the start of the final run to the NCAA basketball title game. Inside the Georgia Dome, the photographers are laying out their floor gear and running through final composition and focus tests. Meanwhile, the technology team is running through connectivity tests to each of the laptops and remote cameras to ensure everything is set to go. Phil Jache uses a single laptop with Windows Virtual Server to connect to each remote laptop so he can run through the software processes. Each camera is connected to a Dell laptop via FireWire. Canon's Remote Capture is used to allow the camera to be controlled from the laptop and the laptop to be the storage mechanism for the captured images. "We have to put the wizards to sleep when connecting to the cameras with Remote Capture, otherwise the software thinks the camera is constantly being shot and won't connect" says Jache. After a few connectivity issues and a laptop battery that needed to be replaced, everything was ready to go for game time.
For each of the games, the photographers are positioned in the same location. At one end of the court are Bob Rosato and his assistant Adam Hunger, and at the other end are John McDonough and his assistant Nils Nilsen. These two photographers utilize the strobes and remote cameras as well as a couple of handheld, available light cameras.
When one of the photographers shoots an image from the tethered camera, all of the remote cameras for that photographer also fire, and with the precise setup of the flash wizards and Canon 1Ds bodies, all images are captured at the exact same time. "Anticipation and timing is key." says Rosato. "This is why a lot of people choose not to use the strobes, as you can only fire them off once every three seconds. If you miss the shot, by the time the lights recycle, the play is over.
The images from the tethered cameras are transferred to their respective laptop and are placed into a folder called Canon on the C:\ drive. All cameras are shooting RAW plus an M2 size JPEG with image rotation set to on. The RAW and JPEG images do not transfer simultaneously but rather one type comes in first and then the other. Time Inc.'s custom card reader software (written in Visual Studio .NET), called OPUS Card Reader, is installed on each laptop. As the images arrive in the Canon folder, this software renames the files and captions each image with basic information on the event, photographer, and so on, and then transfers the images to the server in the photo compound. The files are placed in three different folders: one folder contains all RAW files, and the other two folders house duplicate copies of the medium JPEGs. One folder is used for editing at the event, and the other is used to transfer back to New York for the editing staff to review. For the handheld images taken by Rosato and McDonough, those cards are run back to the photo compound by the assistants during timeouts, half-time, and post game, and they are offloaded using the same process. With multiple photographers' cards coming in, it is important to keep things in order. "We only download one photographer's cards at a time because no matter how efficient of a process you have, in crunch time it is very easy to mix photographer's cards up" says Sam Greenfield, Manager of Systems Development.
Standing up in the temporary stands are John Biever and his assistant Dave Heritsch. Biever is running solely on available light cameras. His assistant has a Dell laptop with a compact flash card reader attached so that he can download the images using the OPUS card reader software. Those images are sent back to the server in the same way that the remote camera laptops do.
During the first of the Final Four matchups, the photographers, editors, and IT staff are in full swing. As the images are coming into the server, Phil Jache is splitting the images into sets for Steve Fine, Director of Photography, and Porter Binks, Associate Picture Editor, to review. "The Saturday games aren't as big a deal for the magazine unless there's a huge upset. The news will be made on Monday" says Fine. "These games provide images for the web site, the commemorative issue, and also allow the photographers to test the system and adjust their camera angles before the championship game." The images for each editor are placed into a folder named Ready to Edit where both Fine and Binks use ACDSee 8 Photo Manager to review the images and mark the selects as needed. "Tonight, I'm looking for pictures that will fill up the web on a very tight deadline. We're trying to beat the wires at their own game and get our stuff on our web site. We're pulling action and emotion with an eye towards Monday night's matchup" says Fine. As the selects are made, those files are copied into the Selects folder. When each editor is done, they give Phil Jache a signal and he sends the images to the Done with Edit folder. Periodically, Jache takes the selects from both Binks and Fine and puts them into Fine's Selects folder for a final review. The selected images are copied to a Send to NYC folder where they are transferred to the servers in New York for the editors to begin reviewing and preparing images, and the web site team to get images on si.com
In fact, within 60 minutes of tipoff of the first Final Four game, the first Sports Illustrated (SI) image was placed on the homepage of the site. "This is a key reason why we go onsite and do this intricate setup" says Binks. Within the following hour, additional images from the SI photographers appear on the web and within 2 hours, a complete web gallery is created for the first game.
As the first game concludes, Bob Rosato, John McDonough, and John Biever come back to the photo compound to review some of their images and check-in to see if any adjustments need to be made. "I am picturing the stories in my mind as I watch the game" says Fine. "You have to be able to see what stories are developing and adjust as needed." The photographers are approaching things the same way. "What I'm trying to do is tell a story. One picture may or may not tell much, but it's often a compilation of images that come together to tell the story" says Rosato. It's during these breaks where the editors and photographers get together to validate their positions and setups to ensure they are capturing the angles they need to best portray the story they are looking to tell.
As game two starts, the minor adjustments to cameras and positions have been made, and the process is run through again. During this game, however, the system runs into its first issue. A number of images coming in to the servers are dark, and Steve Fine relays the issue to Phil Jache. Immediately, because of the captioning and file naming, Jache is able to identify which camera, laptop, and wizard is having an issue, and the problem is relayed via radio to the tech crew in the compound along with the crew on the court. "We have the best crew in the business" says Jache. "Our team is able to identify and resolve any of a number of issues very quickly so that we don't lose critical moments.
At the end of the Final Four, the group gets together to discuss additional remote cameras needed and final adjustments to be made to cameras already placed in the arena. The decision is made to change the lens Rosato is using on one of his floor cameras from a 14mm to a 24mm because the images captured during the Final Four weren't giving the desired view. In addition to that, two cameras are placed in the third level and at the opposite end of the Georgia Dome from the court. "We're looking to capture a sense of place at the tipoff, give the reader a wide view of the environment so they can pretend they were there. At the end of the game, we're looking for tears and cheers" says Fine.
As the game tipped off, the upper remotes were triggered, via Pocket Wizards, and the NCAA Championship was under way. It wasn't long into the first half when it became clear that Florida was the more dominant team, and everyone began focusing on the story lines of Florida becoming not only back-to-back National Basketball Champions, but also the champions in two sports (basketball and football). It was during the first half that soon-to-become MVP Corey Brewer would get a breakaway dunk right above John McDonough. As the images started coming up on Fine's and Bink's screens, they knew it was going to be a good night. "McDonough made that picture every which way" says Fine. "I love the wizard system because you can get one play from about seven different angles. It reduces the chance that you get blocked on any one. We have one solid cover try and it's still the first half! This could be a good night."
The transmission of the images to New York is done using Aspera's SCP client running a proprietary protocol called FASP. The protocol uses UDP to transmit the files, and is very fast. During the championship game, Jache ran a query of the system, and at that point there had been 3,400 images taken and the New York servers were only 7 images behind. "That's fast" says Jache. "The images we are transmitting during the game are medium size JPEGs, and the system is keeping up." After the game is over, the entire collection of RAW and JPEG files will be transmitted to New York.
As halftime arrived, Steve Fine decided he wanted to make a change to John Biever's position in the temporary stands. "I've got an idea for Biever. We know Florida is going to win this thing, so I want to forget the middle of the court, and have him stand in the opposite corner from the Florida team bench so that we capture the team erupting in celebration. If it works, great!" says Fine. As the game ended, the Florida bench cleared, the streamers came down, and Corey Brewer jumped onto the scorer's table in celebration. "Please tell me we got Brewer on the table!" says Fine. As the images came in, it was clear that no one was in the right position to catch the fleeting moment. As Fine circulated the photo compound to see who did get the shot, he wasn't able to find anyone who had it. "I'm sort of in shock. No one has a good, tight picture of Corey Brewer jumping on the table. And I want to kill myself for moving Biever. That's what happens when you think too much" says Fine.
While reviewing the rest of the images from the game, the Corey Brewer dunk looked more and more like it was going to be the cover, and it wasn't long after that they got the call from the Managing Editor. "Good call in New York for the cover. It held up from the first half. This is a key guy, doing the right thing, with a good face. That's what we need." says Fine.
It was only about 30 minutes after the game when Fine and Binks were done reviewing all of the images. "It was a good show…A very good effort" says Fine. "I have no real complaints. This was one of our better Final Fours in recent years. Not a great, dramatic game, no buzzer beaters, but a nice collection of solid images. We told the story." Of course, the work wasn't quite done. The photographers and assistants began breaking down the camera gear and lights while the technology team began packing up the computers, cables, and servers. "It's going to be a long night, and an even earlier morning, but we need to get it all cleaned up as quickly as possible" says Nils Nilsen.
Sitting in the bar, back at the hotel, having a drink and celebrating one of the finest games and shooting results in recent Final Four memory, what is still at the forefront of Steve Fine's mind are the missed opportunities. "Not only are we competing against the incredible photographers of today, but we also stand on the shoulders of those who came before us, and that is what makes Sports Illustrated what it is" says Fine. Over 10,700 images were taken in the championship game alone of which 812 were selected and eventually narrowed down to 253 images sent to New York for editing. Throughout the entire Final Four weekend, 26 cameras were used to capture over 30,000 images from the three SI photographers, and the one that is still nagging Steve Fine is the one that got away.
Esta é a ultima parte deste magnifico texto. É abismal os meios empregues por parte da comunicação social nos U.S.A. Simplesmente tenho muita pena que em Portugal nada disto aconteça, toda a comunicação social quer gastar pouco mas ao mesmo tempo exige resultados.....
By Mike Tedesco,
Saturday afternoon, the fans are buzzing at Centennial Olympic Park, and the four remaining teams are anxiously awaiting the start of the final run to the NCAA basketball title game. Inside the Georgia Dome, the photographers are laying out their floor gear and running through final composition and focus tests. Meanwhile, the technology team is running through connectivity tests to each of the laptops and remote cameras to ensure everything is set to go. Phil Jache uses a single laptop with Windows Virtual Server to connect to each remote laptop so he can run through the software processes. Each camera is connected to a Dell laptop via FireWire. Canon's Remote Capture is used to allow the camera to be controlled from the laptop and the laptop to be the storage mechanism for the captured images. "We have to put the wizards to sleep when connecting to the cameras with Remote Capture, otherwise the software thinks the camera is constantly being shot and won't connect" says Jache. After a few connectivity issues and a laptop battery that needed to be replaced, everything was ready to go for game time.
For each of the games, the photographers are positioned in the same location. At one end of the court are Bob Rosato and his assistant Adam Hunger, and at the other end are John McDonough and his assistant Nils Nilsen. These two photographers utilize the strobes and remote cameras as well as a couple of handheld, available light cameras.
Figure 1: John McDonough (blue shirt left) and Bob Rosato (right) are stationed at opposite corners of the court
When one of the photographers shoots an image from the tethered camera, all of the remote cameras for that photographer also fire, and with the precise setup of the flash wizards and Canon 1Ds bodies, all images are captured at the exact same time. "Anticipation and timing is key." says Rosato. "This is why a lot of people choose not to use the strobes, as you can only fire them off once every three seconds. If you miss the shot, by the time the lights recycle, the play is over.
The images from the tethered cameras are transferred to their respective laptop and are placed into a folder called Canon on the C:\ drive. All cameras are shooting RAW plus an M2 size JPEG with image rotation set to on. The RAW and JPEG images do not transfer simultaneously but rather one type comes in first and then the other. Time Inc.'s custom card reader software (written in Visual Studio .NET), called OPUS Card Reader, is installed on each laptop. As the images arrive in the Canon folder, this software renames the files and captions each image with basic information on the event, photographer, and so on, and then transfers the images to the server in the photo compound. The files are placed in three different folders: one folder contains all RAW files, and the other two folders house duplicate copies of the medium JPEGs. One folder is used for editing at the event, and the other is used to transfer back to New York for the editing staff to review. For the handheld images taken by Rosato and McDonough, those cards are run back to the photo compound by the assistants during timeouts, half-time, and post game, and they are offloaded using the same process. With multiple photographers' cards coming in, it is important to keep things in order. "We only download one photographer's cards at a time because no matter how efficient of a process you have, in crunch time it is very easy to mix photographer's cards up" says Sam Greenfield, Manager of Systems Development.
Standing up in the temporary stands are John Biever and his assistant Dave Heritsch. Biever is running solely on available light cameras. His assistant has a Dell laptop with a compact flash card reader attached so that he can download the images using the OPUS card reader software. Those images are sent back to the server in the same way that the remote camera laptops do.
During the first of the Final Four matchups, the photographers, editors, and IT staff are in full swing. As the images are coming into the server, Phil Jache is splitting the images into sets for Steve Fine, Director of Photography, and Porter Binks, Associate Picture Editor, to review. "The Saturday games aren't as big a deal for the magazine unless there's a huge upset. The news will be made on Monday" says Fine. "These games provide images for the web site, the commemorative issue, and also allow the photographers to test the system and adjust their camera angles before the championship game." The images for each editor are placed into a folder named Ready to Edit where both Fine and Binks use ACDSee 8 Photo Manager to review the images and mark the selects as needed. "Tonight, I'm looking for pictures that will fill up the web on a very tight deadline. We're trying to beat the wires at their own game and get our stuff on our web site. We're pulling action and emotion with an eye towards Monday night's matchup" says Fine. As the selects are made, those files are copied into the Selects folder. When each editor is done, they give Phil Jache a signal and he sends the images to the Done with Edit folder. Periodically, Jache takes the selects from both Binks and Fine and puts them into Fine's Selects folder for a final review. The selected images are copied to a Send to NYC folder where they are transferred to the servers in New York for the editors to begin reviewing and preparing images, and the web site team to get images on si.com
Figure 3: Steve Fine reviews images from the Final Four
In fact, within 60 minutes of tipoff of the first Final Four game, the first Sports Illustrated (SI) image was placed on the homepage of the site. "This is a key reason why we go onsite and do this intricate setup" says Binks. Within the following hour, additional images from the SI photographers appear on the web and within 2 hours, a complete web gallery is created for the first game.
As the first game concludes, Bob Rosato, John McDonough, and John Biever come back to the photo compound to review some of their images and check-in to see if any adjustments need to be made. "I am picturing the stories in my mind as I watch the game" says Fine. "You have to be able to see what stories are developing and adjust as needed." The photographers are approaching things the same way. "What I'm trying to do is tell a story. One picture may or may not tell much, but it's often a compilation of images that come together to tell the story" says Rosato. It's during these breaks where the editors and photographers get together to validate their positions and setups to ensure they are capturing the angles they need to best portray the story they are looking to tell.
As game two starts, the minor adjustments to cameras and positions have been made, and the process is run through again. During this game, however, the system runs into its first issue. A number of images coming in to the servers are dark, and Steve Fine relays the issue to Phil Jache. Immediately, because of the captioning and file naming, Jache is able to identify which camera, laptop, and wizard is having an issue, and the problem is relayed via radio to the tech crew in the compound along with the crew on the court. "We have the best crew in the business" says Jache. "Our team is able to identify and resolve any of a number of issues very quickly so that we don't lose critical moments.
Figure 6: From Left: Bryan Jennings, Brett Hansbauer, and Andrew Loehman relay and troubleshoot issues over the radio
At the end of the Final Four, the group gets together to discuss additional remote cameras needed and final adjustments to be made to cameras already placed in the arena. The decision is made to change the lens Rosato is using on one of his floor cameras from a 14mm to a 24mm because the images captured during the Final Four weren't giving the desired view. In addition to that, two cameras are placed in the third level and at the opposite end of the Georgia Dome from the court. "We're looking to capture a sense of place at the tipoff, give the reader a wide view of the environment so they can pretend they were there. At the end of the game, we're looking for tears and cheers" says Fine.
As the game tipped off, the upper remotes were triggered, via Pocket Wizards, and the NCAA Championship was under way. It wasn't long into the first half when it became clear that Florida was the more dominant team, and everyone began focusing on the story lines of Florida becoming not only back-to-back National Basketball Champions, but also the champions in two sports (basketball and football). It was during the first half that soon-to-become MVP Corey Brewer would get a breakaway dunk right above John McDonough. As the images started coming up on Fine's and Bink's screens, they knew it was going to be a good night. "McDonough made that picture every which way" says Fine. "I love the wizard system because you can get one play from about seven different angles. It reduces the chance that you get blocked on any one. We have one solid cover try and it's still the first half! This could be a good night."
The transmission of the images to New York is done using Aspera's SCP client running a proprietary protocol called FASP. The protocol uses UDP to transmit the files, and is very fast. During the championship game, Jache ran a query of the system, and at that point there had been 3,400 images taken and the New York servers were only 7 images behind. "That's fast" says Jache. "The images we are transmitting during the game are medium size JPEGs, and the system is keeping up." After the game is over, the entire collection of RAW and JPEG files will be transmitted to New York.
As halftime arrived, Steve Fine decided he wanted to make a change to John Biever's position in the temporary stands. "I've got an idea for Biever. We know Florida is going to win this thing, so I want to forget the middle of the court, and have him stand in the opposite corner from the Florida team bench so that we capture the team erupting in celebration. If it works, great!" says Fine. As the game ended, the Florida bench cleared, the streamers came down, and Corey Brewer jumped onto the scorer's table in celebration. "Please tell me we got Brewer on the table!" says Fine. As the images came in, it was clear that no one was in the right position to catch the fleeting moment. As Fine circulated the photo compound to see who did get the shot, he wasn't able to find anyone who had it. "I'm sort of in shock. No one has a good, tight picture of Corey Brewer jumping on the table. And I want to kill myself for moving Biever. That's what happens when you think too much" says Fine.
While reviewing the rest of the images from the game, the Corey Brewer dunk looked more and more like it was going to be the cover, and it wasn't long after that they got the call from the Managing Editor. "Good call in New York for the cover. It held up from the first half. This is a key guy, doing the right thing, with a good face. That's what we need." says Fine.
It was only about 30 minutes after the game when Fine and Binks were done reviewing all of the images. "It was a good show…A very good effort" says Fine. "I have no real complaints. This was one of our better Final Fours in recent years. Not a great, dramatic game, no buzzer beaters, but a nice collection of solid images. We told the story." Of course, the work wasn't quite done. The photographers and assistants began breaking down the camera gear and lights while the technology team began packing up the computers, cables, and servers. "It's going to be a long night, and an even earlier morning, but we need to get it all cleaned up as quickly as possible" says Nils Nilsen.
Figure 12: From left: McDonough, Nilsen, Loehman, and Rosato break down the camera gear
Sitting in the bar, back at the hotel, having a drink and celebrating one of the finest games and shooting results in recent Final Four memory, what is still at the forefront of Steve Fine's mind are the missed opportunities. "Not only are we competing against the incredible photographers of today, but we also stand on the shoulders of those who came before us, and that is what makes Sports Illustrated what it is" says Fine. Over 10,700 images were taken in the championship game alone of which 812 were selected and eventually narrowed down to 253 images sent to New York for editing. Throughout the entire Final Four weekend, 26 cameras were used to capture over 30,000 images from the three SI photographers, and the one that is still nagging Steve Fine is the one that got away.
Esta é a ultima parte deste magnifico texto. É abismal os meios empregues por parte da comunicação social nos U.S.A. Simplesmente tenho muita pena que em Portugal nada disto aconteça, toda a comunicação social quer gastar pouco mas ao mesmo tempo exige resultados.....
2008-02-27
Saca eliminado...
Foi com alguma tristeza que ontem a noite assisti a eliminação do nosso Tiago "Saca" Pires em Gold Coast, definitivamente este foi um heat onde tudo correu mal ao Tiago e com Leonardo Neves em grande o nosso atleta nunca consegui dar a volta a este heat. Mas este ano o ASP - Dream Tour continua, por isso não podemos baixar os braços força Tiago. Bells Beach está a chegar.......Entretanto o QuikSilver Pro continua e tu podes acompanhar tudo em directo.
2008-02-25
Trailer - An Equatorial Convergence
Ontem no artigo " links da semana " fiz referência este magnifico fotografo, mas como podem contestar alem de ser um dotado na arte de fotografar é um optimo realizador, como tal deixo este trailer para vossa apreciação.
An Equatorial Convergence - A Film by David Pu'u
A todos os que quiserem visitar o site do filme aqui fica o link.
An Equatorial Convergence - A Film by David Pu'u
A todos os que quiserem visitar o site do filme aqui fica o link.
2008-02-24
Links da Semana.
Todas as semanas irei deixar 3 links para vossa apreciação.
David Pu'u
David Pu'u é fotografo/cineasta, sua galeria é simplesmente genial.
Red Square Photography
Corey Weiner's detém um portfolio de fotografia de Arquitectura invejável, podemos ainda visitar o seu blog totalmente dedicado ao seu trabalho.
iCreate
Para ultimo deixo uma das melhores revistas nacionais, especialmente dedicada a todos os utilizadores MAC.
Se tiverem sugestões enviem, é com tudo o gosto que as publicaremos.
David Pu'u
David Pu'u é fotografo/cineasta, sua galeria é simplesmente genial.
Red Square Photography
Corey Weiner's detém um portfolio de fotografia de Arquitectura invejável, podemos ainda visitar o seu blog totalmente dedicado ao seu trabalho.
iCreate
Para ultimo deixo uma das melhores revistas nacionais, especialmente dedicada a todos os utilizadores MAC.
Se tiverem sugestões enviem, é com tudo o gosto que as publicaremos.
O Fantástico Mundo da Sports Illustrated...
The Ultimate Setup—Sports Illustrated and the Final Four(Part I)
March Madness...The Final Four. For many, the NCAA tournament is one of the most exciting times of the sporting year. Come March, even the most casual sports fans fill out their brackets and tune in to watch the top teams dominate∧ the Cinderella teams upset their opponents. For Sports Illustrated (SI), the Final Four represents the most extensive and technical setup of the publishing year.
Walking into the Georgia Dome six days prior to the Final Four, the only people in the building were security, facilities, and Sports Illustrated crew. SI was there so early for two reasons: network infrastructure and lighting. While most of the other media were simply running networked laptops, SI had three HP Proliant D380 servers (two for Windows Active Directory Services and one for storage and tools) stacked on top of three Isilon IQ clustered drives totaling six terabytes of available RAID 5 drive space. Add the 35 Dell Latitude and IBM/Lenovo T40/T41/T43 laptops that were either tethered to a camera or used to edit images or transmit back to New York and you have a setup unlike any other for an annual sporting event. Lastly, about 70 megabits of a dedicated 100-megabit network line to the Internet would soon be used to transmit over 50,000 images that were taken by three staff photographers throughout the weekend.
Over first two days of setup, over 5000 feet of CAT 5 and CAT 6 custom terminated network cabling was run between the servers and seven switches that were placed strategically to meet the requirements of the Georgia Dome and fall within the 300 foot maximum limit to any laptop. "We have this extensive setup because the Final Four is one of the biggest events of the year, and the magazine closes on Monday evening for print on Tuesday," said Phil Jache, manager of publishing solutions for Time Inc. "We need the most efficient editing system and fastest Internet connection available so that we can get the images in front of Steve [Fine] and Porter [Binks] so that they can find the best images, and then get those selects to the editing team in New York as quickly as possible as we are always going for the cover."
With the complexity of the setup and the need to react very quickly to any issues, Jache spent hours detailing and documenting the name and location of each network switch, camera, laptop, and wizard in Microsoft Office Visio charts and Microsoft Office Excel spreadsheets so that all members of the team knew exactly where everything was. "If something goes down during a game, we have to respond quickly or we may be missing 'the shot,'" said Jache.
While the technology team was busy with the networking and with the computers, the photo assistants were underway with the strobes and lighting cabling. Sports Illustrated were not only setting up their 12 lights (three for each corner of the court), but they were also contracted to install eight lights each for Associated Press and NCAA Photos. Speedotron Black Line 105 2-cable strobes were used for the lights, and they were powered by Speedotron 2401sx power supplies.
By Wednesday, the network infrastructure and lighting were in place, and it was time for the photographers to come in and scout their camera locations. "There are a few standard locations for camera placement such as the 600-mm lens above each basket, but nothing is totally standard. Every place has uniqueness, and the story we're trying to get also dictates things to some extent," said Bob Rosato, staff photographer and Microsoft Icon of Imaging, "but I'm always trying to find a new angle, something interesting. I try to think like the TV cameras and what is going to demonstrate the story best."
"In total, for the remote cameras, we have two overhead (mounted 255 feet above the court), three in the TV tower, two on the second level, two in the corners, four under the courtside table, and two under the basket," said Nils Nilsen, photo assistant to John McDonough. With so many remote cameras, the photo assistants ensure that each unit is secured from both a security and safety perspective. "We obviously need to secure everything since much of the gear is in the stands with the fans, but we also have an obligation to ensure that absolutely nothing can fall from above as we have gear over 250 feet above the court," said Nilsen. "Not only do we check over our gear, but when dealing with the overhead equipment, we also check everyone else's stuff to ensure nothing will come down." Multiple arm mounts, cables, and locks were used to secure the cameras, strobes, laptops, and switches; and hundreds of plastic tie wraps were used to secure all cabling.
The flash wizards that would be used to trigger the remote cameras and lighting were the LPA Design's Flash Wizard II units that allow multiple cameras to be synched with one set of strobes. "The benefit of the LPA wizards is that each unit can have the lag precisely customized with the shutter lag of the camera so that when they all fire, the timing is exact between the cameras," said Andrew Loehman, lead photo assistant. Each camera location is connected to a wizard; the strobes are configured the same way.
A plunger, or trigger, is used to engage the cameras for the photographer who is about to fire the strobes at either end of the court. "The tricky part is that two photographers, one at each end, are sharing the strobes so there is a timing factor involved between the pairs of photographers and assistants," said Loehman. "We are all in constant radio communication because not only do we have to deal with the limitations of strobe recycling, but also the photographers firing the strobes when it's not their turn." The way it is setup, there is a photographer at each end of the court who is connected to the strobes. As the action comes towards them, it is their turn to use the lighting. If both photographers are firing at the same time, the strobes are being overpowered, which can result in the blowout of a unit. When a photographer is not shooting their strobe units, they are shooting their available light cameras down court.
While the cameras and wizards were being installed, the technology team was staging all of the laptops that each camera would be connected to. The laptops used with the cameras were Dell Latitude D610's running Windows XP Professional. Each laptop was configured and checked for the following:
. Canon Remote Capture
. OPUS Card Reader (Custom SI Software)
. Oracle Client
. Firewire card
. Ability to connect to the domain via network cable
Wireless networking disabled (this is done to prevent anyone from connecting to the laptops to affect the setup)
By the end of Thursday, everything was in place, and it was time for Sports Illustrated, CBS, and the NCAA to perform a strobe test to ensure that the photo lighting wouldn't interfere with the high definition broadcasting from CBS. The CBS cameras filmed a practice session while the photo assistants triggered the flashes. With high definition video, there was even more sensitivity to the photo strobes. "We had to decrease the power on the lighting by one stop as they were slightly too powerful for the television broadcast," said Porter Binks, associate picture editor. After that, the lighting was perfect and everything was set to go for the official practices on Friday.
Friday...Practice and media day. The players are in the stadium for interviews and official practices. The city bustles with fans of the Final Four teams, the players are excited, and the media is in place to cover the event. For Sports Illustrated, Friday's practice sessions serve as an opportunity to run live tests on the cameras, strobes, network, and computers. "While it's a very casual environment from the photography perspective, this gives us a chance to test the connectivity, focus, positioning, etc. of our setup," said Rosato.
There were a few connectivity issues that needed to be worked out, along with some slight camera tweaks, but overall things were looking ready to go. "We're looking good...I'm happy. A few tweaks on focus and depth of field, and correcting the horizon on some remote cameras needs to happen, but other than that, I'm happy," said Binks. "We're ready for showtime."
By Mike Tedesco.
March Madness...The Final Four. For many, the NCAA tournament is one of the most exciting times of the sporting year. Come March, even the most casual sports fans fill out their brackets and tune in to watch the top teams dominate∧ the Cinderella teams upset their opponents. For Sports Illustrated (SI), the Final Four represents the most extensive and technical setup of the publishing year.
Walking into the Georgia Dome six days prior to the Final Four, the only people in the building were security, facilities, and Sports Illustrated crew. SI was there so early for two reasons: network infrastructure and lighting. While most of the other media were simply running networked laptops, SI had three HP Proliant D380 servers (two for Windows Active Directory Services and one for storage and tools) stacked on top of three Isilon IQ clustered drives totaling six terabytes of available RAID 5 drive space. Add the 35 Dell Latitude and IBM/Lenovo T40/T41/T43 laptops that were either tethered to a camera or used to edit images or transmit back to New York and you have a setup unlike any other for an annual sporting event. Lastly, about 70 megabits of a dedicated 100-megabit network line to the Internet would soon be used to transmit over 50,000 images that were taken by three staff photographers throughout the weekend.
Over first two days of setup, over 5000 feet of CAT 5 and CAT 6 custom terminated network cabling was run between the servers and seven switches that were placed strategically to meet the requirements of the Georgia Dome and fall within the 300 foot maximum limit to any laptop. "We have this extensive setup because the Final Four is one of the biggest events of the year, and the magazine closes on Monday evening for print on Tuesday," said Phil Jache, manager of publishing solutions for Time Inc. "We need the most efficient editing system and fastest Internet connection available so that we can get the images in front of Steve [Fine] and Porter [Binks] so that they can find the best images, and then get those selects to the editing team in New York as quickly as possible as we are always going for the cover."
Figure 1: Brett Hansbauer installs CAT 6 cabling and a switch under the temporary seating in the Georgia Dome
Figure 2: (From left) Phil Jache and Bryan Jennings work on the servers and laptops in the photo compound
With the complexity of the setup and the need to react very quickly to any issues, Jache spent hours detailing and documenting the name and location of each network switch, camera, laptop, and wizard in Microsoft Office Visio charts and Microsoft Office Excel spreadsheets so that all members of the team knew exactly where everything was. "If something goes down during a game, we have to respond quickly or we may be missing 'the shot,'" said Jache.
While the technology team was busy with the networking and with the computers, the photo assistants were underway with the strobes and lighting cabling. Sports Illustrated were not only setting up their 12 lights (three for each corner of the court), but they were also contracted to install eight lights each for Associated Press and NCAA Photos. Speedotron Black Line 105 2-cable strobes were used for the lights, and they were powered by Speedotron 2401sx power supplies.
Figure 3: Matthew Kutz assembles a strobe
Figure 4: One of seven Speedotron lights mounted above each corner of the court
Figure 5: (From Left) Photographers John Biever, Bob Rosato, and John McDonough discuss camera locations
Figure 6: (From left) John McDonough and Bob Rosato discuss their strategy
Figure 7: Bob Rosato sets up his cameras
Figure 8: One of the cameras mounted to a railing
The flash wizards that would be used to trigger the remote cameras and lighting were the LPA Design's Flash Wizard II units that allow multiple cameras to be synched with one set of strobes. "The benefit of the LPA wizards is that each unit can have the lag precisely customized with the shutter lag of the camera so that when they all fire, the timing is exact between the cameras," said Andrew Loehman, lead photo assistant. Each camera location is connected to a wizard; the strobes are configured the same way.
Figure 9: Andrew Loehman configures and mounts the wizards and then uses a single wizard to monitor and control the entire set
A plunger, or trigger, is used to engage the cameras for the photographer who is about to fire the strobes at either end of the court. "The tricky part is that two photographers, one at each end, are sharing the strobes so there is a timing factor involved between the pairs of photographers and assistants," said Loehman. "We are all in constant radio communication because not only do we have to deal with the limitations of strobe recycling, but also the photographers firing the strobes when it's not their turn." The way it is setup, there is a photographer at each end of the court who is connected to the strobes. As the action comes towards them, it is their turn to use the lighting. If both photographers are firing at the same time, the strobes are being overpowered, which can result in the blowout of a unit. When a photographer is not shooting their strobe units, they are shooting their available light cameras down court.
Figure 10: Bob Rosato's assistant, Adam Hunger, engages his remote cameras via 'the plunger'
While the cameras and wizards were being installed, the technology team was staging all of the laptops that each camera would be connected to. The laptops used with the cameras were Dell Latitude D610's running Windows XP Professional. Each laptop was configured and checked for the following:
. Canon Remote Capture
. OPUS Card Reader (Custom SI Software)
. Oracle Client
. Firewire card
. Ability to connect to the domain via network cable
Wireless networking disabled (this is done to prevent anyone from connecting to the laptops to affect the setup)
Figure 11: Brian Giaritelli stages the laptops
By the end of Thursday, everything was in place, and it was time for Sports Illustrated, CBS, and the NCAA to perform a strobe test to ensure that the photo lighting wouldn't interfere with the high definition broadcasting from CBS. The CBS cameras filmed a practice session while the photo assistants triggered the flashes. With high definition video, there was even more sensitivity to the photo strobes. "We had to decrease the power on the lighting by one stop as they were slightly too powerful for the television broadcast," said Porter Binks, associate picture editor. After that, the lighting was perfect and everything was set to go for the official practices on Friday.
Friday...Practice and media day. The players are in the stadium for interviews and official practices. The city bustles with fans of the Final Four teams, the players are excited, and the media is in place to cover the event. For Sports Illustrated, Friday's practice sessions serve as an opportunity to run live tests on the cameras, strobes, network, and computers. "While it's a very casual environment from the photography perspective, this gives us a chance to test the connectivity, focus, positioning, etc. of our setup," said Rosato.
Figure 12: Rosato tests his equipment during practice sessions
Julgo que este texto é fantástico para todos perceberem como trabalha a comunicação social nos USA, com estes meios ao dispor dos fotógrafos tudo se torna fácil e as grandes imagens aparecem mais vezes.
Continuarei a demonstrar este magnifico trabalho brevemente...
Microsoft Prophoto
A Microsoft produziu um site bastante atractivo ligado à fotografia profissional.O site da Microsoft Professional Photography contém uma série de artigos dedicados ao workflow de alguns profissionais, como os aplicados pela revista Sports Illustrated num jogo de basket (é extraordinário os meios empregues) e da National Geographic, artigos sobre questões técnicas de workflow, gestão de cor e backups, e galerias de profissionais seleccionados e biografias associadas.
Sinceramente acho que vale o tempo despendido dado a qualidade e a quantidade de informação útil apresentada.
Determinada o valor correcto do teu trabalho.......
Nine Factors to Consider.
Part guesswork, part experience, part number crunching - how ever you look at it, determining your price is a difficult task. Here are nine factors to take into consideration:
1. Your Costs If your rate doesn’t include enough just to break-even, you’re heading for trouble. The best thing to do is sum up all your costs and divide by the number of hours you think you can bill a year. Whatever you do, DON’T think you can bill every hour. You must account for sick days, holidays, hours working on the business, hours with no work and so on.
Also make sure you factor in all the hidden costs of your business like insurance, invoices that never get paid for one reason or another, and everyone’s favourite - taxes.
2. Your Profit Somewhat related to your costs, you should always consider how much money you are trying to make above breaking even. This is business after all.
3. Market Demand If what you do is in high demand, then you should be aiming to make your services more expensive. Conversely if there’s hardly any work around, you’ll need to cheapen up if you hope to compete.
Signs that demand is high include too much work coming in, other freelancers being overloaded and people telling you they’ve been struggling to find someone to do the job. Signs that demand is low include finding yourself competing to win jobs, a shortage of work and fellow freelancers reentering the workforce.
4. Industry Standards It’s hard to know what others are charging, but try asking around. Find out what larger businesses charge as well as other freelancers. The more you know about what others are charging and what services they provide for the money, the better you’ll know how you fit in to the market.
5. Skill level Not every freelancer delivers the same goods and one would expect to pay accordingly. When I was a freelancing newbie I charged a rate of $25 an hour for my design, when I stopped freelancing recently my rate was $125 an hour. Same person, but at different times I had a different skill level and hence was producing a different result. Whatever your rate, expect it to be commensurate with your skill.
6. Experience Although often bundled with skill, experience is a different factor altogether. You may have two very talented photographers, but one with more experience might have better client skills, be able to foresee problems (and thus save the client time and money), intuitively know what’s going to work for a certain audience and so on. Experience should affect how much you charge.
7. Your Business Strategy Your strategy or your angle will make a huge difference to how you price yourself. Think about the difference between Revlon and Chanel, the two could make the same perfume but you would never expect to pay the same for both. Figure out how you are pitching yourself and use that to help determine if you are cheap’n'cheerful, high end or somewhere in between.
8. Your Service What you provide for your clients will also make a big difference to your price tag. For example you might be a freelancer who will do whatever it takes to get a job just right, or perhaps you are on call 24-7, or perhaps you provide the minimum amount of communication to cut costs. Whatever the case, adjusting your pricing to the type and level of service you provide is a must.
9. Who is Your Client Your price will often vary for different clients. This happens for a few reasons. Some clients require more effort, some are riskier, some are repeat clients, some have jobs you are dying to do, some you wouldn’t want to go near with a stick. You should vary your price to account for these sorts of factors.
Give it lots of thought The more you think about your reasoning behind your price, the easier your quoting will become. Like all these things there is a large amount of trial and error and often you will find yourself constantly changing up your pricing and gauging the ratio of jobs lost to jobs won.
Part guesswork, part experience, part number crunching - how ever you look at it, determining your price is a difficult task. Here are nine factors to take into consideration:
1. Your Costs If your rate doesn’t include enough just to break-even, you’re heading for trouble. The best thing to do is sum up all your costs and divide by the number of hours you think you can bill a year. Whatever you do, DON’T think you can bill every hour. You must account for sick days, holidays, hours working on the business, hours with no work and so on.
Also make sure you factor in all the hidden costs of your business like insurance, invoices that never get paid for one reason or another, and everyone’s favourite - taxes.
2. Your Profit Somewhat related to your costs, you should always consider how much money you are trying to make above breaking even. This is business after all.
3. Market Demand If what you do is in high demand, then you should be aiming to make your services more expensive. Conversely if there’s hardly any work around, you’ll need to cheapen up if you hope to compete.
Signs that demand is high include too much work coming in, other freelancers being overloaded and people telling you they’ve been struggling to find someone to do the job. Signs that demand is low include finding yourself competing to win jobs, a shortage of work and fellow freelancers reentering the workforce.
4. Industry Standards It’s hard to know what others are charging, but try asking around. Find out what larger businesses charge as well as other freelancers. The more you know about what others are charging and what services they provide for the money, the better you’ll know how you fit in to the market.
5. Skill level Not every freelancer delivers the same goods and one would expect to pay accordingly. When I was a freelancing newbie I charged a rate of $25 an hour for my design, when I stopped freelancing recently my rate was $125 an hour. Same person, but at different times I had a different skill level and hence was producing a different result. Whatever your rate, expect it to be commensurate with your skill.
6. Experience Although often bundled with skill, experience is a different factor altogether. You may have two very talented photographers, but one with more experience might have better client skills, be able to foresee problems (and thus save the client time and money), intuitively know what’s going to work for a certain audience and so on. Experience should affect how much you charge.
7. Your Business Strategy Your strategy or your angle will make a huge difference to how you price yourself. Think about the difference between Revlon and Chanel, the two could make the same perfume but you would never expect to pay the same for both. Figure out how you are pitching yourself and use that to help determine if you are cheap’n'cheerful, high end or somewhere in between.
8. Your Service What you provide for your clients will also make a big difference to your price tag. For example you might be a freelancer who will do whatever it takes to get a job just right, or perhaps you are on call 24-7, or perhaps you provide the minimum amount of communication to cut costs. Whatever the case, adjusting your pricing to the type and level of service you provide is a must.
9. Who is Your Client Your price will often vary for different clients. This happens for a few reasons. Some clients require more effort, some are riskier, some are repeat clients, some have jobs you are dying to do, some you wouldn’t want to go near with a stick. You should vary your price to account for these sorts of factors.
Give it lots of thought The more you think about your reasoning behind your price, the easier your quoting will become. Like all these things there is a large amount of trial and error and often you will find yourself constantly changing up your pricing and gauging the ratio of jobs lost to jobs won.
Julgo que este artigo vai ajudar a determinar algo bastante difícil para todos os Freelancers.
2008-02-23
Primeira Capa......
Foi com muito prazer que consegui atingir um dos meus principais objectivos, fazer a capa de uma revista.
Para que tudo corra bem numa sessão fotografica é preciso chegar ao local escolhido 1 hora antes para preparar tudo.
Se o local ficar a 120 quilómetros de casa, então temos de acrescentar pelo menos uma hora de viagem. Nada de complicado quando vamos fotografar à tardinha, mas a coisa complica quando a melhor altura do dia é com a primeira luz da manhã.....Pouco passava das quatro da madrugada quando entrei na estação de serviço para tomar o café que me iria manter acordado até casa do Miguel, o rider "sacrificado" para fazer a capa. Após um primeiro reconhecimento, percebemos que a hora ideal para a sessão seria ao nascer do sol, por isso não podia haver atrasos. Como devem saber, o Sol nasce apenas uma vez por dia, pelo que uns minutos de demora poderiam significar um dia de trabalho perdido. Mas o sono acabou por ser o menor das nossas dificuldades, o enorme frio que se fazia sentir fez-nos tremer mas não quebrou, e muito menos impediu de atingirmos o objectivo final. Esperamos que gostem tanto de ver quanto nós congelamos....desculpem gostamos de fotografar.
Para que tudo corra bem numa sessão fotografica é preciso chegar ao local escolhido 1 hora antes para preparar tudo.Se o local ficar a 120 quilómetros de casa, então temos de acrescentar pelo menos uma hora de viagem. Nada de complicado quando vamos fotografar à tardinha, mas a coisa complica quando a melhor altura do dia é com a primeira luz da manhã.....Pouco passava das quatro da madrugada quando entrei na estação de serviço para tomar o café que me iria manter acordado até casa do Miguel, o rider "sacrificado" para fazer a capa. Após um primeiro reconhecimento, percebemos que a hora ideal para a sessão seria ao nascer do sol, por isso não podia haver atrasos. Como devem saber, o Sol nasce apenas uma vez por dia, pelo que uns minutos de demora poderiam significar um dia de trabalho perdido. Mas o sono acabou por ser o menor das nossas dificuldades, o enorme frio que se fazia sentir fez-nos tremer mas não quebrou, e muito menos impediu de atingirmos o objectivo final. Esperamos que gostem tanto de ver quanto nós congelamos....desculpem gostamos de fotografar.
Prémio de Fotojornalismo VISÃO/Banco Espírito Santo 2008
Já está em andamento mais uma grande edição do Prémio de Fotojornalismo VISÃO/Banco Espírito Santo - este ano com uma nova categoria.
O processo de entrega de candidaturas ao Prémio de Fotojornalismo VISÃO/BES 2008, a oitava edição desta iniciativa, já está aberto. Os fotógrafos que queiram participar no maior prémio nacional de jornalismo fotográfico devem entregar os seus trabalhos até 29 de Fevereiro, seguindo todas as indicações constantes do regulamento.
O processo de entrega de candidaturas ao Prémio de Fotojornalismo VISÃO/BES 2008, a oitava edição desta iniciativa, já está aberto. Os fotógrafos que queiram participar no maior prémio nacional de jornalismo fotográfico devem entregar os seus trabalhos até 29 de Fevereiro, seguindo todas as indicações constantes do regulamento.
World Press Photo 2008
Já não é novidade para ninguem no entanto deixo aqui a noticia, Tim Hetherington foi o grande vencedor desta edição.
Também de salientar o facto de pela primeira vez um fotografo nacional "Miguel Barreira" ser um dos condecorados ( 3º lugar na categoria Sports Action ) no mais importante prémio de fotojornalismo.
Slideshow do Jornal Publico
2008-02-22
The FOUR SEASONS...
Depois do enorme sucesso que foi o ROAM, esta magnifica equipa esta de volta com um novo filme.
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