What are our duties to the Demotix brand?

@Steve- I discussed some of the issues from your post in my post to Chris maybe it will be rescued on Monday by Tom.

No one is suggesting that we do not caption or tag, but a lot depends on the circumstances on the ground. Some stories are very time sensitive, for example photocalls, paparazzi work, or breaking news. Sometimes you only need to give basic info, the image should tell most of the story. For example images of a transport disaster.

And let us not forget many PJs are in contact by phone with their editor; at least in the majority of cases I have covered, eg. photocalls, fashion catwalks, major events etc. And with photocalls and the like maybe someone in the back office might recognise a personality that the PJ might not know: this is my case.

As for submitting to other agencies maybe after a week or two, but if you are filing real time then get an NUJ card and not a Demotix Card - I don't think that Reuters and the like allow their PJs to file real time with other agencies. If you're there because of Demotix then you should file with Demotix: PERIOD.

@Chris, yeas we are journalist, but our medium to convey a story is photography first, ideally the photo should still tell the story even if it gets separated from the caption. 

Best Lawrence

AND now that I'm here in my lost post I raised the issue of how does one deal with exclusive work at three o'clock in the morning such as paparazzi photos, disasters and the like with Demotix? Who do we call? And moreover  it is one thing to stay up late to get that paparazzi exclusive, but another not knowing whether your images are going to be pushed. There should be a system to deal with this kind of work.

Upgrade to FX Pro gear - is it worth it?

Barnie,

if you have loads of cash by all means go for the holy trinity; but if you have only money don't forget the other rule: invest in glass!

 A 2.8 lens means that you can get an image under certain lighting conditions which is beyond a slow lens. But I have also discovered that if you need a fast lens because the lighting is low, and the circumstances dictate you don't use a flash,  the chances are that it is also too low for the fast lens as well.  But a fast lens will always give that extra edge IMHO.  I have a 50mm 1.4 for my d300, and although the lens seem to be a bit slow to focus I do not get better pictures from my 18-200 3.5 zoom when the lighting conditions are zero: it still needs to focus, and modern cameras do not come prepared for manual focus (split screen). 

Yes there are advantages with having a D3s one of which is the high iso. But also these cameras are built for what they can do after the images is taken, or the ability to withstand high volume regular punishment. As far as the image is concerned probably the difference is not that much; certainly not worth the money for just this one feature. For the other features maybe. 

Whilst it is not all hype, and the advantages are real ones, it is also true that you need to learn how to get the best photos with the camera you have, whatever that camera is.

best

Lawrence

World Cup 2010: Celebrating the dream in Madrid

World Cup 2010: Celebrating the dream in Madrid

The return of the Spanish team after their victory in South Africa after winning the world cup. An emotional day, even for those like me are not too keen on sports. Everyone was on a high, everyone was a Spanish supporter!

Technically, it was a real challenge; a lot of lessons learnt!

Getting accreditation was the first hurdle. The organisers sort of prepared for a possible final win, but when it happened everyone was on a learning curve. I turned up at the accreditation point early in the morning, the first stills photographer actually, but the press card had not yet been finished by the printers. I was not about to leave my first in the queue place so spent a couple of hours waiting for the cards to turn up. Everyone was nice and apologetic about it. The press officer even supplied three of us with water. This was a rally hot day. All in all it was very nice talking to the press team.

Fast forward to the evening. I turn up early near Plaza España, between the Plaza and Gran Via. A few supporters, and traffic flowing. The long wait had started. My plan was take the shots of the Bus with the team here and then make my way to Prince Pio where the official event was being help: piece of cake!

When the Bus did arrive it was impossible to move a few inches in any direction. Got a few photos, but decided I should go forward of the bus (away from PP) because I felt it was safer. Got the ok from the Police Officer in charge of the police escort and went in front of the bus with a few other photographers. The plan was to get out at Gran Via metro; forget it!!

By the time Bus got to the end of Gran Via there only three photographers with the Bus. And the police sort of tolerated us as long as we did not get in the way and kept up with the bike escort!! Only one municipal police rider complained about our presence, but he could do nothing about it since the National Police had given us the OK. Anyway we really did not get in the way! (I have not seen the other two photographers since!!)

Getting to the concert venue and the final presentation was another ordeal in itself. Got on the Metro in P de Toledo and decided to go to Prince Pio . By this time I was really exhausted and full of bike fumes. The police use recycled oil fuel which smelled and tasted of friend fish, churros and chips (fries)!! This was like being in the middle of the ocean and not a drop of water to drink; we were in the middle of the city with all sorts of fast food smells around us and not a crumb to eat!!!

I eventually got to P.Pio after what seemed an eternity on the metro. In the morning I had checked out the area and from the metro station to the concert platform it was a three minutes walk down hill. When I got out of the station at night it was impossible to see what was where: people everywhere. And where I thought was the road to the platform it was now full of people. And the police were not going to let me go anywhere, press accreditation or not. Too dangerous, too many people!

By this time the Bus had arrived and the team were already meeting the VIP's. The platform was on the other side of the river and there were two ways to get to that side of the river: 1) the short way or 2) the long way. The long way was long enough (a km and so as a crazed crow might fly), but the problem was that I did not know there was a long way! I eventually discovered that there was a long way and eventually did get in front of the platform. As soon as I found a decent place and put camera to eye, the Spanish team lifted the cup!!

That day I lost a kilo which would have made my GP very happy!!

Technically, right from the start the light source, a setting sun, was in front of us, ie straight into the lens. By the time we got to the end of Gran Via, there was no light at all; at the time I did not have a flash but it would have been useless any way. I switched to my 50mm F1.4 but not terribly useful in the situation. The problem was the focusing, not enough light for the camera to focus!

Other lessons,

1) this story proved the rule, get there early and stay late!

2) never mind plan B, be prepared to function without a plan,

3) don't give up: the long way is also one way to a story.

Iranian ambassador heckled at the Ateneo, Madrid

 

Iranian ambassador heckled at the Ateneo, Madrid

From the technical point of view this was an awkward story to cover. The first problem was that I was the only journalist cover the story inside the Ateneo, although there were a couple of other photographers taking photos. So I stood out like a sore thumb. And even when I managed to "blend" in the walls the noise from the D300 made sure I attracted attention. But then it was the D300 that made it possible for me to take the photos in the first place; and there was no option of using flash here. 

As for the politics of the event, I'll always remember this event as a sad day in democracy.

World Refugee Day in Europe, Madrid

World Refugee Day in Europe, Madrid


On World Refugee Day the European Council on Refugees and Exiles wants protection of persecuted people in their country. The met in Callao under the theme “A march of the Umbrellas”. Madrid, Spain. 20/06/2010.

Indeed, very UNequal.




beautiful woman, Black, Callao, cear, child holding umbrella, children with umbrella, Comisión Española de Ayuda al Refugiado, Day the European Council on Refugees and Exiles, ECRE, editorial stock, ethnic people, exiles, Father, father and son, gathering, hand, hand of child, Madrid, man with umbrella, mother, Politics, portrait of woman, protest, refugees, sex and the city, Son, spain, umbrellas, white, white umbrellas, woman with umbrella, World Refugee Day,



schöne Frau, Schwarz, Callao, CEAR, Kind hält Regenschirm, Kinder mit Regenschirm, Comisión Española de Ayuda al Refugiado, Tag der Europäische Rat für Flüchtlinge und im Exil, ECRE, redaktionelle Lager, ethnische Menschen, Exilanten, Vater, Vater und Sohn, das Sammeln , Hand, Hand des Kindes, Madrid, Mann mit Regenschirm, Mutter, Politik, Porträt Frau, Protest, Flüchtlinge, Sex and the City, Son, Spanien, Schirme, weiße, weiße Schirme, die Frau mit Sonnenschirm, World Refugee Day,



mujer hermosa, Negro, Callao, CEAR, explotación infantil paraguas, los niños con paraguas, Comisión Española de Ayuda al refugiado, el día del Consejo Europeo sobre Refugiados y los Exiliados, ECRE, las acciones de redacción, las minorías étnicas, los exiliados, Padre, padre e hijo, la recolección , la mano, la mano del niño, Madrid, el hombre con el paraguas, madre, Política, retrato de mujer, la protesta, los refugiados, el sexo y la ciudad, Son, España, paraguas, blanco, paraguas blanco, mujer con sombrilla, Día Mundial del Refugiado,