Join us live for behind-the-scenes action from five of the biggest ballet companies in the world. Featuring rehearsals, interviews and insight into one day in the life of a ballet company.
World Ballet Day is a global first and we want you to be part of it. Join the conversation #worldballetday
LIVESTREAM SCHEDULE (Times in PDT)
THE AUSTRALIAN BALLET, MELBOURNE
Swan Lake in rehearsal
Swan Lake in rehearsal (pas de deux)
Ostinato in rehearsal
La Bayadère in rehearsal
THE BOLSHOI BALLET, MOSCOW
Interview with Alexander Vetrov and Ludmila Semenyaka, Senior Ballet Teachers
Svetlana Zakharova and Denis Rodkin in rehearsal, Principal Dancer and Leading Soloist
Interview with Svetlana Zakharova and Denis Rodkin
“Hero of our time” in Bauprobe
Interview with Yuri Grigorovich, Resident choreographer
“A Legend of Love” in rehearsal (corps de ballet)
“La Sylphide” in rehearsal
Interview with Artem Ovcharenko and Anna Tikhomirova, Principal Dancer and First Soloist
Interview with Anton Getman, Deputy General Director
“Taming of the Shrew” in rehearsal
Interview with Jean-Christophe Maillot, Choreographer; Director - Choreographer of the Ballet de Monte-Carlo;
Interview with Ekaterina Krysanova and Vladislav Lantratov, Principal Dancers
Interview with Sergey Filin, Artistic Director of the Bolshoi Ballet
Interview with Vladimir Urin, General Director, The Bolshoi Theatre of Russia
THE ROYAL BALLET, LONDON
Age of Anxiety in rehearsal
Manon in rehearsal
Interview with Resident Choreographer Wayne McGregor
Cassandra in rehearsal
Interview with Kevin O’Hare. Director, The Royal Ballet
Don Quixote in rehearsal
Aeternum in rehearsal
Scène de ballet in rehearsal
THE NATIONAL BALLET OF CANADA, TORONTO
Manon Act 1 in rehearsal
Manon Act 2 in rehearsal
Nijinsky in rehearsal
SAN FRANCISCO BALLET
Interview with Helgi Tomasson
Don Quixote in rehearsal
RAkU in rehearsal
Concerto Grosso in rehearsal
The Vertiginous Thrill of Exactitude in rehearsal
Or, maybe it isn’t. It could also be a true story of how copyright infringement earns me thousands of dollars every year. I can’t be sure. Either way, this is definitely the story of how copyright infringement takes up more of my time than I wish to devote to it. Copyright infringement drains my productivity to the point where I create hundreds fewer images each year. And it’s why, in part, I am leaving professional photography for an academic position less prone to the frustrations of a floundering copyright system.
I have an unusual, and an unusually fun, job: I photograph insects for a living. I love what I do in no small part because the difference between my profession and getting paid to be an overgrown kid, is… not that much, really. I collect ants and beetles, I play with camera gadgets, I run around in the woods. Meanwhile, publishers, museums, and the pest control industry send me enough in licensing fees that I haven’t starved to death. By nature photographer standards, business is booming. I cover a modest mortgage in a working class neighborhood. I even afford a new lens or two every year.
I only have one complaint about photography as a career: copyright law is broken. This clichéd refrain should not be news to anyone reading Ars Technica, of course. Copyright met the Internet, and the Internet won.
If you’ve been following the story of this image and it’s attendant copyright issues, then you’ll probably enjoy this…
Monkey feel vindicated that U.S. Copyright Office rule Bad Man ineligible to claim Monkey Selfie as intellectual property. Monkey advised by counsel not to comment while issue being adjudicated, but now that ruling has been issued Monkey grateful to be able to speak out for first time, and perhaps provide valuable context.
When Monkey snatch camera from Bad Man and run hooting into tall grass, Monkey see it as liberating act of self-expression, and, yes, perhaps even blow against human cultural hegemony. The fact that Monkey not realize at first that camera was camera and try to eat it, irrelevant. Once Monkey recognize that device make clicky sound, Monkey become fascinated. In that moment, Monkey reborn as Artist.
One of the big reasons held up as the “why” behind smartphone dominance is portability. It’s not just that smartphones can do so much more than take pictures, it’s also that they’re is so much smaller than a prosumer grade cameras. Well, at least they used to be.
This graphic, created together by Stu Maschwitz of Prolost with some help from Ars Technica, shows just how much that portability gap has narrowed with the rise of the Phablet.
This piece was basically just to use up some scraps I had sitting around. I liked the way the frit lace turned out but I didn’t really have a use for it.
I’ve been on a jellyfish kick lately. This is the best-looking one so far, I think. Unfortunately due to improper annealing it cracked after about a week. The glue line is hardly visible from the top, more easily so if you flip it over.
This is Patrick, a/k/a The Red Menace. Cute, isn’t he? That cute little furball grew up to destroy a laptop computer, break crockery and artwork, and send me to the emergency room twice. He’s currently on Prozac which keeps him from going completely feral.
Here’s some more of my kilnformed glass pieces. If you hate this, blame Charles for making it so easy to create a page and post images to it.
A representational piece, capturing a view of Mauna Kea seen from offshore of the Big Island, near Kilauea’s active lava flow. Approximately 10 x 12 inches.
A mezuzah cover (Jewish ritual object). The Hebrew letter (shin) is made from hand-pulled stringers.
And this is Streak, my one-eyed Russian Blue, enjoying the radiant heat from the small kiln.
I’ve been teaching myself how to work in the medium of hot glass for about five years, working seriously at it for about the last two, and I’m finally getting the point where I have semi-reliable control over the outcomes (like with ceramics, you never know quite what you’re going to get until the firing is done and you open the kiln). So I have a few pieces now that don’t, in my own estimation, suck.
This is one of them.
I’ll post more if there’s interest. Or maybe even if there isn’t, just for the hell of it.
David Slater, the photographer who is currently embroiled in an argument (and quite possibly, soon to be embroiled in a lawsuit) with Wikimedia over the famous ‘monkey selfie’ images, recently spoke to ITN to clarify his position on the whole ‘who owns the copyright’ argument.
After receiving “a lot of free advice,” it looks like he’s leaning more and more towards taking Wikimedia to court over the controversy.
The argument is that the idea that the monkey pressed the shutter, so Slater — who claims in the video that he set up the camera and remote shutter release with this exact outcome in mind — doesn’t own the copyright hasn’t been tested in court, and it’s not Wikimedia’s place to decide what is and is not legal in this particular instance.
“They’re guessing, and they are ruining my income stream,” he says in the video. “They are acting as judge and jury in a law case and they are gonna be in big trouble if a judge eventually rules in my favor.”
There is a place where metal and heat and men of a certain quality come together to make the earths elements take shape. Ancient teachers of alchemy once told ancient day students there are spells and chants, ghosts of men and animal. That metal, air, wood and water all have a power their own. Some would chant and some would pray back in the day. Each would have his own way.
All so silly modern man had said. We are the power and the energy.
And then on a day when no men stood to bear the heat an olden spell found itself in a modern day in a modern place. And so a spell that once wrought the plow and the sword came to make old forces flare and sing.
It was after all just a ghost of a flame. But even a ghost of a flame leaves a shadow if one looks quick to see the olden day.
I highly recommend this Youtube series by Philippe Dame, whether you are a full professional or just a beginner. Philippe covers the basics in simple compelling language that not only communicates the knowledge but also deeper understanding of the science and art of photography. Even professionals who think they know DSLR’s in depth will be challenged to think about how Digital photos are created in new ways, and some of these basics cover depths that some pros do not understand (e.g. Philippe’s explanation of how shutter curtain one and two affect exposure and timing is awesome.)
EP01: Focal Length, Angle of View and Crop Factor - Back to Basics by Learning DSLR
In this tutorial, Philippe Dame explains three core DSLR concepts: Focal Length, Angle of View and Crop Factor.
Related blog post: learningdslr.com