Morning in a Provencal village.
Category Archives: Photography
Dinner time?
Hydra
If you must have a house in Burgundy, make sure it’s like this
Next in line for obsolescence: sports photographers
From Wired.com.
At this year’s Olympic games, Reuters, in addition to its army of traditional photographers, will have 11 robots set up in places no shooter would otherwise be able to get. Photographers like Reblias are used to fixed remote-operated camera systems grabbing otherwise difficult shots. However, what Reuters will do is a whole new ball game: Their robotic camera system, armed with Canon’s newest body, the 1-DX, will have three-axis control and have a photographer at a computer operating its every movement with a joystick.
Developed by Fabrizio Bensch and Pawel Kopczynski, the 11 robo-cams at various venues will use a wide range of lenses: a 24-105mm, a 70-200mm and telephotos up to 400mm. In addition to three axes of movement, the cameras’ pilots control shutter speed, sensitivity and image size. Photos instantly stream into Reuters’ remote editing system, Paneikon, and are moved to clients just minutes after being captured.
Looking for a way to get dramatic shots at new angles, the Berlin-based photographers dreamed up the idea in 2009 and tested a two-axis prototype last year in the World Athletic Championships in Daegu, South Korea. The London Olympics will be the first showing of the three-axis control, and the first time using more than just one robotic camera.
“We are essentially able to put cameras and photographers where they’ve never been before, capturing images in ways they’ve never been captured,” Bensch said. “For example, I’ve installed a robotic camera unit on a truss, 30 meters high — in a position where no photographer has been in a previous Olympics.”
Oh well: sports photography was a nice job while it lasted.
After Vermeer
I like Vermeer’s work, for several reasons: it reminds me of the time I lived in Holland; I love his use of window lighting; and my former colleague Philip Steadman wrote a convincing book establishing that the ‘photographic’ feel of much of his work arose because Vermeer used a camera obscura. So whenever I see a window shedding interesting light on an interior, I go for it.
Interestingly, David Hockney, in an equally fascinating book went further than Phil, arguing that Vermeer and some other artists probably used lenses as well.