Kike Calvo Fotografía

martes, 31 de julio de 2012

GIZMON iCA BLACK for iPhone4/4S (iPhone case)




 The GIZMON iCA BLACK for iPhone4/4S (iPhone case) makes you seem carrying a real camera. You can shoot by pressing the volume button with your favorite strap!








Cameraman Smurf


Lego Studios Building Set Movie Cameraman

For us who just love anything related to photography, the Lego Studios Building Set Movie Cameraman (1357), a set that includes 20 Pieces total, including a Cameraman Minifig, Movie Camera, Boom is a different fun gift. 


LEGO 3MP Digital Camera

If you are considering buying a cool gift for a children, the LEGO 3MP Digital Camera seems like a fun gadget. According to digital camera lovers, these are not very powerful cameras, but if you are a Lego enthusiast, great add to your collection.




lunes, 30 de julio de 2012

10 fotógrafos famosos y sus lecciones



Durante mi carrera en el mundo de la fotografía, he tenido la suerte de conocer y de entrevistar a muchos de los grandes fotógrafos y editores de este negocio.  En esas entrevistas, muchas veces dentro de mi proyecto ¨The Photographic Chain: Five min with...¨, siempre he preguntado sobre cuál sería una de las grandes lecciones que han aprendido lección en el transcurso de su carrera. A continuación, una recopilación de 10 respuestas que en mi opinión, serán de gran utilidad para todos vosotros:

1. "Trabajar de manera ética importa más que cualquier cosa" -- James Estrin

2. "Toda historia y experiencia tienen una enseñanza" -- Kathy Moran

3. "Humildad" -- José Benito Ruiz

4. "El trabajo duro es más importante que el talento; la habilidad de generar ideas resulta más importante que el ojo" --Bob Krist

5. "Las herramientas más importantes son la mente y el alma" -- Gerd Ludwig

6. "No se debe dejar de mirar nunca; sin importar dónde se esté, en todo lugar hay buenas fotografías" -- Art Wolfe

7. "Aprender que la felicidad es la que trae éxito y no al contrario" -- Ami Vitale (Leer entrevista completa)

8. "Todos tienen algo con qué contribuir" -- Elizabeth Krist

9.  "No nos debemos acercar a nada en la vida que pre establezca ideas o estereotipos" -- Tino Soriano

10. Y la última, la añado yo: ¨Nunca dejeis de soñar¨-- Kike Calvo





The Photographic Chain: Bob Sacha

Five Minutes with Bob Sacha




My dream is… that we can figure out how to affect people with powerful photojournalism and effect real change in the world as a result

The biggest lesson in my career… is you're never too old to learn something new. I went back to graduate school at 49 years old, learned a ton and had the time of my life. It set me in a new, wonderful rewarding direction.

The biggest lesson in my life… if you do what you love, it never feels like work.

The moment I will never forget... happens every time someone helps me, which in some way or other, happens almost every day. Kindness is awesome.

Photography is... a joy, a responsibility, a pleasure, an honor.

The Time Machine



Back then
Now




So... Who is Bob?

More about Bob: www.bobsacha.com

Bob suggests me to talk to: Pamela Chen, Scott Anger, Chad Stevens, Eric Maierson, Bruce Strong or Melanie Burford.




sábado, 21 de julio de 2012

Click! Click! Click! Ashes on the sky



Como fotógrafos, siempre debemos estar atentos a cuanto acontece a nuestro alrededor. En una visita a Regla, en una reciente Expedición de National Geographic a Cuba, observé la tristeza de varias personas junto al mar. Muy discretamente, me quedé mirando el desarrollo de los hechos. Instantes después, el cabeza de familia sacaba una  pequeña tinaja, que contenía las cenizas de la abuela.

Al terminar, me acerqué a pedirles sus datos, para en mi próxima visita, poder entregar unas imágenes de recuerdo de un momento tan especial y triste a la vez.

martes, 17 de julio de 2012

lunes, 16 de julio de 2012

Click! Click! Click! In Memoriam of Martha, the dancer


Imágenes que nos impactan

En la red, diariamente, nos vemos invadidos por centenares de imágenes de todo tipo. Algunas nos hacen reir, otras nos invitan a soñar, mientras que otras nos cuentan la triste realidad de nuestro planeta. De una forma u otra, es por apasionados de la fotografía que se están creando estas comunidades interconectadas alrededor del planeta, en las que sin importar raza, religión u origen, nos unimos para compartir. 






viernes, 13 de julio de 2012

Lowepro Dryzone, a prueba de todo.






Desde hace un tiempo, mucha gente me escribe sobre mi opinión de ciertos equipos fotográficos o accesorios. En lugar de tratar de hacerlo, uno por uno, me pareció más práctico comenzar a realizar reviews de equipos o mostrar materiales y herramientas que pueden hacer nuestra vida como fotógrafos más cómoda, fácil, segura o eficiente. 


Lowepro cuenta con un prestigio de calidad que no es necesario remarcar. Una serie que particularmente captó mi atención desde su salida al mercado, es lo que la marca denomina ¨DryZone¨. Una bolsa que permite a los fotógrafos trabajar en ambientes extremos sin temor a perder el equipo.




La primera bolsa totalmente impermeable y que además, flota incluso cuando está completamente llena.



En algunos trabajos para clientes en la selva, tuve la oportunidad de trabajar con la Lowepro DryZone Rover Backpack. Cuenta con dos compartimientos uno para el almacenamiento de equipo personal y uno inferior que cuenta con una cremallera TIZIP patentada por la marca y que no deja filtrar el agua. También cuenta con un sistema incluido de hidratación con capacidad de hasta 1.5 litros, perfecto para mantenerse hidratado durante largas caminatas. Ya cuando se esté alejado del peligro, la bolsa permite asegurar el equipo con una cremallera y un pasador, de manera que el sistema TIZIP queda abierto y proporciona un acceso más rápido y más fácil a éste. 


Además cuenta con: -Un soporte de trípode extrapole -2 bolsillos de malla de vaciado automático -Arneses ergonómicos que ayudan a que se esté siempre cómodo. La marca cuenta también con el modelo Lowepro DryZone 200 Backpack. Adjunto un review con un video.


 






http://blog.leica-camera.com/photographers/interviews/kike-calvo-exploring-the-fine-art-of-ballet-photography/






An award-winning photographer, bilingual journalist and author, Kike (pronounced key-key) Calvo was born in Zaragoza, Spain. He studied economics in Spain, but it was his experience in earning a B.S. in Journalism and Mass Communication from the University of Idaho that ultimately shaped his passion for photography. During his illustrious career as a photographer over the past two decades, Calvo has traveled to 75 countries covering stories for National Geographic, and has also produced a highly regarded portfolio of editorial and commercial work for AP Images, The Associated Press, and countless advertising clients. Described by those who know him personally as “one of those rare people who is pure energy,” he recently transformed what had been a fairly routine advertising assignment promoting the National Ballet of Panama to younger audiences, into a transcendent fine art portfolio that merges the disciplines of photography and dance in profound ways to reveal their strong inner relationship. Here, in his well-chosen words, is the fascinating story of that ongoing, ever-evolving project.
Q. What were your goals in creating this series, and have they evolved from when you first started shooting ballet?
A. I feel that all projects evolve, and this one is no different. It began commercially and it turned into a personal passion. The ability to capture in a photograph the beauty, strength, passion and balance triggers my photographic imagination. The combination of the dancers’ skills with my own absolutely fascinates me.  My intention is to capture beauty in a simple manner, while creating timeless images that showcase Latin America and its culture.
Q. Where were these ballet photos taken?
A. They’ve been taken all around Latin America in places such as Colombia, Cuba and Panama. The locations are always chosen to represent the country I am in, whether by using a landmark or capturing a cultural feeling, so that anyone who knows the culture will relate to the image.
Q. How did you come to shoot ballet, and what draws you to shoot this particular subject?
A. It all started with an advertising campaign for the National Ballet of Panama. I got a phone call asking if I was interested in shooting a project for them. Their main goal was to create interest for ballet among younger generations and to those who are not familiar with it, which included me at the time. Their aim was to bring the ballet to the streets of Panama. Initially the approach was that the images were to be taken inside a theater. But as soon as I got into the project, I sought full creative freedom to really capture the essence of ballet and how I felt about it.
While doing this commercial photo assignment, I soon recognized that many elements of ballet had profound connections to my work. I felt that ballet dancers, like photographers, work very hard, with strong discipline and for long hours. Many times ballet viewers and audiences don’t really see all the hard work behind a performance, just as they don’t see all the hard work that goes into making powerful photographs. Both ballerinas and photographers make things look easy, but our respective audiences sometimes miss that there are thousands of repetitions on each technique needed to develop such perfection. Normally things that look beautiful and simple are the result of lots of very hard work.
Q. How do you think ballet photography fits into or complements the other genres of photography you shoot, such as nature, photojournalism, etc?
A. I believe that we, as photographers, develop our styles and interests in a parallel way to our development as human beings. These particular series of dancers, which are available to license through the National Geographic Image Collection, really caught the attention of the editors. I’m not quite sure how it fits or complements my other work, but I can say it’s among my favorite subjects at the moment. I also feel that in order to capture certain scenes, I need to incorporate what I have learned from my previous assignments within other specialties.
Q. How long have you been shooting ballerinas?
A. On a regular basis, it’s been almost three years. On every expedition I embark on I try to do research on the ballets myself, or by interacting with professional dancers who are willing to be part of this project. I have captured the great ballerinas of the Cuban National Ballet, young ballet students in ballet academies in old Cartagena in Colombia and at the school of Maria de Avila in my hometown Zaragoza (Spain). To see a video of this, please click here. Also, if there are any ballet groups or dancers interested in joining this project, I would love to hear from them.
Q. What equipment did you use for these projects?
A. Most of them were captured using a Leica M9 along with 28mm f/2.8 and 50mm f/1.4 lenses. My gear has become very simple when I travel around.
Q. You’ve mentioned before that these images and the approach you took have been considered controversial. Why?
A. It was controversial in the sense that my client initially was seeking more traditional ballet images confined to an indoor location. I felt that expanding the concept would bring the ballet closer to non-fans, so they could start appreciating its beauty. The inclusion of cultural elements within most of the shoots arose organically as a natural consequence of my specialization, knowledge and love of Latin America.
Q. In what form or medium do you intend to showcase these images?
A. The idea for this project is to create a coffee table book, which will be then included as part of a traveling show. The production of an iPad application is another option, and I am in the process of finishing a web search engine for dance photos with Smugmug.  I’m still harvesting images from all around Latin America, and I hope to put it out when I feel I have a good variety of unique moments.
Q. Most of the images in your ballet portfolio show dancers in architectural or natural settings. What do you think this conveys about the essential nature of dance and how it integrates into everyday life?
A. We are used to thinking of ballet as an indoor display of beauty and skills. When I got the assignment for the National Ballet of Panama to create images to bring ballet to younger generations, my mind wandered and I started exploring uncommon locations. Then, being a specialist in Latin America and taking advantage of my understanding of the culture, I looked for a deeper relationship between the dancers and their own countries.
Q. Your striking image of a young ballet dancer posed in the midst of ornately baroque Spanish architecture successfully violates the time-honored rule of avoiding distracting backgrounds that draw attention away from the main subject, but it works anyway! Why do you think this is so, and where was the picture taken?
A. Well, as I teach my students, rules should be learned and understood. Then, they should be broken to find our own style.
Q. Your minimalist images showing only a dancer’s legs standing on tiptoe in ballet slippers at the intersection  of two lines, and a ballerina doing a split in front of a blue window convey the essence of purity and precision that define the ballet experience. Do you agree, and can you tell us some more about these photographs?
A. Like in life, simple is normally best. Reducing a composition to its essence is not an easy task, but one that challenges me constantly. Being able to give the viewer a minimalist perspective, when my subjects merge with their surrounding in an almost magical way, is one of my primary goals. And as you say, ballet is all about purity, precision, discipline and beauty.
Q. The mirror image picture of a dancer in a ballet studio standing in a balletic pose and gazing out a window seems to show how ballet transforms a simple everyday act into a transcendent statement about movement and grace. How do you see this image, and what do you think it conveys to those who view it?
A. That photograph captures a daily moment – a moment which any Latin American dancer can relate to. It’s simply the start of the day and the return to the studio to practice more. It was taken in a dancing school in old Cartagena in Colombia. As in photography, ballet is not a race against others; it’s an internal race about self-improvement.
Q. The picture of a ballerina in a pink dress and wearing a gold tiara reclining on lush green grass resembles a flower in bloom, or a fairytale princess. What were you trying to convey or what was in your mind when you took this shot?
A. For many, ballet conveys a fairytale princess flying weightless over the theater stage. It was an effort to show tenderness and the person behind such hard work, dreaming about what the future might bring professionally. It shows the delicacy needed to understand and enjoy the beauty of ballet.
Q. There is almost a surreal quality to your amusing image of a ballerina in a light green tutu bending down to adjust her slipper in the midst of an array of slippers strewn over the floor and hanging on a railing behind her. It’s a masterful composition, but why does it make people smile?
A. This is one of my favorite photographs of all time. It’s timeless. Those slippers are all of the dancing shoes that she kept since she was a child. One photograph captures a career in a composition that resembles a painting.
Q. Another amusing picture shows a line of somewhat pudgy young girls – not the lithe and lissome creatures we usually associate with ballet – in tights and slippers standing in a line. They’re only visible from the waist down. Why did you crop the picture so radically, and do you see any irony in it?
A. It is not uncommon in my style to look at details, or even crop people while taking portraits. I feel it allows the viewers to use their imaginations beyond a normal approach – exploring with their minds the story and the setting captured on the picture. This particular shot was taken in a level zero ballet class, with the support of the parents from this dancing school in Colombia. It shows the beginning of life – the innocent approach of those who may one day become professional ballerinas.
Q. What are some of the unique characteristics of the Leica M9 that make it especially useful for capturing the unconventional and incisive fine art ballet photographs in your portfolio?
A. To begin with, it is a joy to work with. For those who try a Leica for the first time, it might feel strange, because it’s a completely different experience. That happened to me too. But, without realizing it, this piece of gear becomes an extension of your body and vision. Its simplicity makes it easy to fall in love with. Superb quality comes into place of course, plus the design, which allows my subjects to see my face constantly and in a non-obstructive way.
Q. You mentioned that you like to travel light, with only 28mm f/2.8 and 50mm f/1.4 lenses for your M9. Which of these do you use most often, and under what circumstances do you switch to the other lens?
A. On many occasions I find myself in remote places in the world, where carrying a large amount of gear might not be safe. Sometimes I arrive at a location to produce a particular type of image only to discover wonderful opportunities that drive my creativity in a different direction. After I was assaulted on arrival from one particular trip, I started to create beautiful images with simple gear. It would take too long to explain the use of each lens, but the 50mm becomes a superb tool for portrait photography and minimalist scenes and the 28mm opens up the views, allowing my subjects to interact with their environments.
Q. How do you see your ballet photography evolving over the next few years, and can you say something more about the things that unite the art of ballet and photography from your perspective?
A. Only destiny knows. What I hope is that in years to come, my passion for capturing our planet will remain intact. I just hope never to stop dreaming, as I always tell people. Regarding ballet and photography, for many, both are acts of love. Life has taught me that love, passion and persistence drive the arts much more than technique once you attain a certain level of knowledge.
A note from Kike:
This post is dedicated to professional ballet dancer Martha Duran, who died on Sunday, June 24, 2012 at 31 years old. I had the pleasure to photograph her while working with the National Ballet of Panama, and I was very sad to hear such bad news. She had been dancing since she was five years old, motivated by both her mother and grandmother who worked at the National School of Dances. As her colleagues called her, Marthita, I hope you will be dancing with the stars.