Com imenso orgulho que realizei e fui director de fotografia do video da Lauren Pinto “Amar-te é felicidade”. Magnífico, o cenário.
10 horas de recolha de imagem, 9 de edição, mais uma meia dúzia para o argumento e script. Estamos orgulhosos do que produzimos. Lauren, todos sentimos que este é o início de algo grande.
Os sistemas profissionais contemporâneos ajudam-nos de forma decisiva – será que Ansel Adams ou Robert Frank teriam tirado proveito de todas as soluções que os sistemas actuais nos oferecem? Esta fotografia, produzida no âmbito dos 625 retratos que comemoram os 625 anos da Feira de São Mateus (Viseu Marca), reúne num só frame uma série de recursos técnicos excepcionais: flash TTL com sincronização lenta e à segunda cortina, em simultâneo com dois movimentos, um de panning a acompanhar o movimento da ação e zoom out no momento do disparo – com a câmara (quase 3 quilos…) segura à mão.
Não foi executada qualquer manipulação da imagem em Photoshop. Apenas níveis, contraste, saturação e nitidez foram ajustados a partir do RAW original.
Nikon D810, Nikon AF-S NIKKOR 24-70mm F2.8G ED @ 56mm (final), Nikon SB900
1/4 s @ f5.6, ISO 80
Esta foi a fotografia que doei para a iniciativa Uma imagem Solidária. Nos dias 14 e 15 de Setembro no Mira Forum no Porto mais uma iniciativa de louvar a que aderiram mais de 200 fotógrafos.
Nestas ocasiões sinto-me orgulhoso da profissão que escolhi.
A fotografia faz parte do ensaio Inferno, sobre a tragédia de Pedrogão Grande. Tem, por isso, um significado muito especial neste contexto de ajuda aos bombeiros de Castanheira de Pêra.
Manhã cedo, 16 Agosto de 2017 em Foz do Alge – fumo de incêndios próximos pintava o céu matinal sobre os montes já ardidos.
Olympus OM-D E-M1 Mark II, Olympus M Zuiko Digital 40-150 f2.8 Pro
1/640 s @ f5,6, 40mm (80mm equiv) ISO200
Há uma hipérbole muito interessante na perspectiva grande angular. Por razões óbvias convencionou-se que não se deve usar no retrato. Não posso concordar menos, especialmente na dimensão circunstancial de um retrato, em contexto. Sem desvirtuar o sujeito e quando a conjugação dos elementos permite, a grande angular dramatiza, por vezes enfatiza, o retrato de forma única – a desproporção da relação estabelecida entre os vários elementos da imagem manipula a interpretação que poderemos fazer do sujeito. Neste caso – num dos 625 retratos produzidos para a Viseu Marca na comemoração dos 625 anos da Feira de São Mateus – a grande angular aumenta o tamanho desproporcionado de umas botas técnicas, as maiores à venda neste expositor, um especialista em equipamento militar.
Nikon D810, Nikon AF-S NIKKOR 14-24mm f/2.8G ED @ 19mm, Nikon Speedlight SB900
1/200 @ f3,2, ISO1000
“One great thing about photography is that it kind of hovers between everything. It’s really easy to reach out to other mediums and have connections between things,” says Gregory Crewdson. In the American photographer’s series Cathedral of the Pines, currently on view at both the Paris and Brussels outposts of Galerie Templon, and heading to the Photographers’ Gallery in London in 2017, the evident overlap is with film: it was shot on an extensive production schedule over two summers and one winter in western Massachusetts. As with Crewdson’s previous series, such as Twilight or Beneath the Roses, his creative purview encompasses careful staging with a sizable crew, who attend to location scouting, set lighting, casting, makeup, props and storyboards.
Last year, Canon launched the fourth camera in its ever-popular EOS 5D line, the EOS 5D Mark IV. Not to be outdone, Nikon has just released its D850, a model likely to be seen a direct challenger.
Both of these cameras boast impressive spec sheets, but which is right for your photography?
The D850’s sensor is one of the camera’s biggest headlines, largely because the back-illuminated, FX-format unit contains a whopping 45.7MP – and no optical low-pass filter.
This is a significant step up from the 36.3MP sensor offered by the Nikon D810 it replaces, and it’s the highest-resolution sensor ever found inside a Nikon DSLR.
This sensor is paired with Nikon’s powerful EXPEED 5 image processor, which enables an ISO range of 64-25,600 (expandable to 32 to 102,400 equivalents). That pixel count means the D850 has the ability to produce huge prints, or allow the user to crop in tightly, without compromising on image quality.
Canon’s EOS 5D Mark IV can’t match the resolution of the Nikon, as it tops out at 30.4MP, but Canon does offer its ultra high-resolution EOS 5DS and 5DS R cameras, each sporting a 50MP sensor.
The EOS 5D Mark IV’s 30.4MP CMOS sensor sees a reasonable jump from the 22.3MP offered in its predecessor, the EOS 5D Mark III, and this is paired with the powerful DIGIC 6+ processor which enables a sensitivity span of ISO 100-32,000 (expandable to ISO 50-102,400 equivalents).
Just like its rival, the EOS 5D Mark IV can produce large prints with plenty of scope for cropping, but in the megapixels war, Nikon pulls ahead this time around.
Many photographers who will be looking to purchase either of these cameras are likely to be professionals who may shoot video as well as stills.
Canon’s EOS 5D Mark II was instrumental in converging stills and video for the enthusiast/professional market, and both of these cameras now offer tempting specs to videographers.
Both the D850 and EOS 5D Mark IV can record high-quality 4K footage, although the latter camera’s footage records at 4K DCI (4096×2160 pixels) vs the D850’s 4K UHD (3840×2160 pixels). The EO 5D Mark IV, however, can only do this with a crop factor of 1.64x, whereas the D850 does not.
The EOS 5D Mark IV also employs the fairly inefficient Motion JPEG format, although this is a better choice for extracting stills from video, as images stand to be higher in quality. Another point of difference is the EOS 5D Mark IV’s Dual Pixel CMOS AF system, which produces smooth focus during video (although we’ve yet to see what Nikon has done here).
Both cameras can also capture HD footage at 120fps, which can be used to create smooth slow-motion sequences, although only the D850 can do this in 1080p (the EOS 5D Mark IV uses 720p).
As you’d expect, the EOS 5D Mark IV and the D850 have headphone and external microphone ports, together with HDMI connections that allow you to hook up an external screen or record straight to an external device.
Both cameras shoot 4K time-lapse, but the Nikon can also create 8K time-lapse in post production. Overall, both cameras offer similar video specs and either would be useful additions to a videographer’s kitbag, but the D850 just edges ahead.
When it comes to continuous shooting, potential buyers need to dig a little deeper into the specifications to get the real story.
Both cameras can be set to capture at 7fps, but if you add a battery grip to the D850, this figure rises to 9fps.
This doesn’t sound like much, but it’s significant when you consider the high-resolution sensor, and would make a big difference when out in the field capturing sports of wildlife.
In terms of autofocus, the D850 pulls ahead. It features the same 153-point system found in Nikon’s speed king, the flagship D5, and the ability to focus down to -4 EV, which is useful in low light conditions.
By contrast, the EOS 5D Mark IV offers 61 AF points (41 of these being cross type), but all of them are f/8 rated, which means they can all be used if you added a teleconverter to your lens.
What’s more, the EOS 5D Mark IV includes the aforementioned Dual Pixel AF and Dual Pixel Raw technology. This is great for video, particularly as you can use the camera’s touchscreen to smoothly pull focus between different pats of the scene.
Apesar da dimensão inolvidável da tragédia de Pedrogão Grande, a Natureza consegue surpreender-nos apenas dois meses depois. Apesar da luz, da cor e da textura, a dimensão do desastre não se consegue esquecer.
