3NE2NR Official Phototakerouter & Photography Thread...

[black start]

It is her...

[Fazeer]

Pic taken from when i had my S3...cool quick snap...

[sonygoup]

ImageUploadedByTriniTuner1392303588.245909.jpg

Pic taken from when i had my S3...cool quick snap...

Look mad good yo

[cornfused]

[cornfused]

[cornfused]

Elementary gear , Canon 60d with 400 mm 5.6.

Pro gear more than 200 contact teaching hours from the big names in the business

[trini mk5]

Elementary gear , Canon 60d with 400 mm 5.6.

Pro gear more than 200 contact teaching hours from the big names in the business

Local people? Or foreigners?

[javishm]

Anyone ever heard of or used Marumi Circular polarizing filter or Neutral density filters?

[javishm]

^^ was considering buying it...reviews seem good

[CHEEZE]

Looking for a 55-300mm nikon lens dx

[Conrad]

Looking for a 55-300mm nikon lens dx

New or used?

[Dragist]

Anyone ever heard of or used Marumi Circular polarizing filter or Neutral density filters?

They are good

[MG Man]

dropped my shock-proof Fuji point-and-shoot on the fibreglass deck of a boat and it died

[javishm]

Got some beginner lenses for sale

viewtopic.php?f=11&t=557685

[trini mk5]

Looking for a 70-200 2.8 for my nikon if anyone has to sell let me know..

Up for sale 85mm 1.8g and a sony NEX 55-210mm

Pm price for the 85 pls

[pugboy]

so what is the copyright position of trinituner wrt to posting carnival pics here ?

[Aaron 2NR]

We are all up in the air as to whats going on..I have permission from a band itself but still unsure if I would even go on the streets this year....

[cornfused]

Notes on accreditation for Carnival 2014
Mark Lyndersay
January 23, 2014.

The first thing that’s worth considering here is why there is accreditation at all.
The only sensible answer is that there is a limited amount of space available with good access to the performances of Carnival.
If that’s the reason, then there are several aspects of that which need to be interrogated.

First, why is the physical space so limited? In fact, after all this time, the access area for most Carnival events is growing smaller and more hostile to photographers and videographers, which is somewhat strange, since it ensures that our coverage of Carnival is becoming less interesting and more constrained.

It also pushes people keen to make better pictures into defying stage rules and authority.
Given the nature of the festival, there has always been more people who want to capture images of events than there will be space to accommodate them comfortably.

Since this will always be a small group who should be in it?
It stands to reason that working media should be first on the list. These are the people who are responsible for the public record of Carnival, and their efforts ensure that there is archival testimony of the work that Carnival’s creators invest every year.

Who else should be there?
It’s time that Carnival’s leadership should acknowledge that there is now more to effective communication of the festival’s virtues than just traditional media. There are bloggers, social media attractors and documentarians working aggressively on commenting on and recording the festival in a way that goes well beyond what we see in the coverage done by local media.

If someone is extending the public understanding of Carnival with good results and an impressive audience online, they are likely to be doing it on their own dime. Should they be punished for that by having daunting fees levied on them or rewarded for their educated engagement with the event?

The simple truth is that these fees have ruined the coverage of Carnival. Imposing hefty fees on people producing documents recording Carnival may seem to be a good idea for the people receiving the cash (no doubt a pittance to the bandleaders who have pressed for it), but it has created a lowest common denominator ethos among those who do produce such publications and broadcasts.

There is no room for careful thought, intellectual analysis or adventurous image creation in such documents. They must ensure a return on their investment, who we now have Carnival “magazines” with cover to cover images of half-naked women and little else. These documents must make their money back, inclusive of the fees harvested in the dubious name of copyright early in the dance, and the results have been putrid for more than a decade now.

Even if the fees were removed this year, it will take decades to get back to the pinnacle of such Carnival records, Roy Boyke’s Trinidad Carnival magazine, long forgotten now, and never since matched.

Time for some bullet points…
Loosen the restrictions of official access to Carnival in the interests of getting more of the record into the public domain. It can only improve the festival and bring more paying visitors to T&T.

Acknowledge the importance of documentarians and new media practitioners in bringing more attention to the festival, particularly those aspects of it which are dying through a lack of attention.

Improve the actual accommodations. Better line of sight angles and preplanning of the actual visual coverage of the event would satisfy more image makers and lead to better images emerging from Carnival 2014.

Enforce your own rules. Purge spaces of people who aren’t supposed to be there. Ensure that accredited image makers actually have a chance to do the work they have come to do. This isn’t a party for us. It’s long hard hours of work that demands sustained attention. Control your stages with clear rules or let madness reign.

Remove the fees for documentary publication in print and video for local producers. What’s happened since they were imposed has been far more costly than any money that’s been earned.

- Assign sensible people to oversee media personnel. I’m personally quite tired of dealing with thick headed people assigned to work media enclosures with no real authority, no information or an accompanying clue and a bad attitude.

[cornfused]

Zorce on accreditation
16/02/14 13:38 Filed in: BitDepth+
Narend Sooknarine of Zorce allowed me to reproduce his statement on the experience he had last week when he tried to be accredited to cover Carnival 2014. The statement is reproduced here as a reference for BitDepth 924.

For at least the last six years Zorce Publications Ltd. has successfully sought accreditation to shoot still photos for archive use on the internet. Prior to this we were not aware of the accreditation process.

On February 11th, around 2pm, we came to the NCC office to meet the usual pleasant and familiar people to apply once more for our accreditation. We filled out the NCC forms, indicating that we would like to shoot photos of Mas and Pan.

Since the NCBA representative was present, a lady that we are accustomed to seeing each year for our interview, we proceeded with reading through this year's NCBA application form. The NCBA lady recalled that Zorce was on a list of companies that were to be told this year that no internet-related permissions would be allowed. She clarified that this meant no social media (e.g. Facebook), no websites or no web-streaming of any photos or video. She conveyed that she was told to let everyone on the list, which was presumably every entity that was internet accredited last year was to be told the same except one company that bought the exclusive rights this year from the NCBA.

I asked her if she was sure and she mentioned that it was all discussed at a meeting earlier that morning, and that Zorce was on that list. She then called the NCBA office and verified that this was in fact so. So I told her that we had only planned to pay for internet accreditation since I knew that print options were far more expensive. She calmly said "Well, it looks like this is the end..."

I asked about the remaining options of private archiving and print media. At this point I invited my fellow photographer Mr. Devi Nath to hear the news. In the meantime, she asked a few questions about the magazine's distribution, checked her charts and calculated the print fees to be around TT$20,000, while the private archive option would cost TT$6,000.

I asked her if we would be allowed to place photos on our personal websites or on Facebook if we took the option of personal archive and was told that it would not be possible since the private archive option was simply for your private use. I used an example asking if we could show our pictures using our laptops or on a screen at home or a private viewing and she said yes.

I explained to her that to fund a print magazine project I would need to raise a minimum of TT$120,000-150,000 inclusive of their fees and that it would be unreasonable to do this in just three weeks. I also explained that it would be a challenge to make arrangements with a printer to work on the Carnival days to have such a book ready shortly after Carnival.

I added that this kind of project should have ideally been planned from the year before when companies are formulating their marketing budgets; and that there were already a number of printed Carnival Magazines on the market and we had no desire to directly compete with these.

Lastly I reminded her that being a car-related publication and website, we fundamentally thought that it would be a good idea to promote T&T by inviting our web users to view our online archives and subsequently our social media albums; with the hope of attracting a different sector of tourists along with our regular readers.

She indicated that while she understood our position clearly, and she knows us from processing our permissions each year, she could only abide by the instructions she was given and suggested that anyone who wished to take the issue further could speak with the CEO of the NCBA.

After this Mr. Rainier Lange of Trinistars.com also came over and was being filled in on the current NCBA position. Rainier and the NCBA representative began to discuss the issue and eventually another familiar lady from the NCC office joined the discussion in which tempers remained mild and occasionally some humour was shared.

Highlights included:
• The question of: Who is the mystery person or organisation who was the exclusive right to internet related Carnival 2014 Mas content through the NCBA?
• Clarification on what exactly is being paid for with respect to copyright fees with NCBA?
• More of the larger and more popular bands are registered with the NCDF and apparently the TTCO is taking responsibility for securing their copyright fees, according to usage of content etc.
• Clarification on exactly who the NCBA now represents/protects?
• What do the NCBA-protected gain?
• Can the NCBA assume control over an independently owned portal such as Facebook or the entire internet?
• What about tourists or simple amateur public photographers seeking to enjoy the event in their own non-commercial way?

So this year's question seems to be:
• If a photographer or media producer has the direct permission of (a) band/bands via a signed, stamped letter from their bandleader(s) to put their content in an approved location inclusive of any specified print medium, website or social media outlet and/or permission via the TTCO, where does the NCC stand on granting accreditation passes that indicate permission to shoot Mas?

Rainier also shared an experience form last year where he was publicly humiliated on the stage, cursed and told to remove himself from the stage by the boss at NCBA.

While we were certainly not aware of the dynamics of the relationship between the NCBA, the NCDF and their respective memberships, this year's experience is forcing us to find out. Quite frankly for most photographers who are seeking to "do the correct thing" this is proving to be unreasonable.

While no one has ever challenged the validity of our passes on the stage, Luis Hart indicated on the road to at least two of our Zorce photographers that we did not have permission to shoot his band, while at the same time letting two of our other photographers continue freely. While it was VERY confusing at the time since we all had proper NCC badges, this situation seems to explain what he was trying to say in the heat of the moment at Carnival 2013.

Indirectly, it seems the NCC accreditation badge does not fully cover all permissions for all venues at this time since the NCBA does not represent many of the large and popular bands that form the bulk of our Carnival content.

I recall going to the NCC offices years ago, along with Mr. Devi Nath and paying copyright fees to both the NCBA and the NCDF. Eventually one year they told us that the two now came under one umbrella, the NCBA and that we only needed to pay one set of fees. Since learning of the accreditation process, we have always followed instructions as per NCC guidelines.

I hope this sheds some light on the situation. We plan to be in touch with the TTCO as well and the respective bandleaders of the bands covered by the NCDF, then back to the NCC to examine our options.

best regards,
Narend Sooknarine
Director
Zorce Publications Ltd.

[cornfused]

See above

[cornfused]

See above

[cornfused]

We really like confusion . How much money can be made from carnival images ? Guess what Caribbean Beat which may be the premier publication for these images does not pay much for an image . Someone thinks there is a lot of money to be made here . Please show me on photographer that has done so with these images. Carnival is both and exciting and depressing time for amateur , semi pro and pro photographers locally .

[CL9_EURO]

Looking for a 70-200 2.8 for my nikon if anyone has to sell let me know..

Up for sale 85mm 1.8g and a sony NEX 55-210mm

I have a brand new Nikon 70-200 F2.8 VR2 Coming into the country in a few days.
Make me an offer brand new never used lens...

[pugboy]

actual images will earn very little money, overall not much either
the authorities just trying to hold on to something which makes no sense at all.

something which is nothing more than a group of people in bikinis, beads and short pants.

the bands should insist that since ncc assigned the photo rights to some singular entity,
their masqueraders should get royalities just like a music artiste who earns each time their song is played.

We really like confusion . How much money can be made from carnival images ? Guess what Caribbean Beat which may be the premier publication for these images does not pay much for an image . Someone thinks there is a lot of money to be made here . Please show me on photographer that has do so with these images. Carnival is both and exciting and depression time for amateur , semi pro and pro photographers locally .

[Conrad]

Camouflage on Flickr

[cornfused]

No issue there , I was helping my better half with a similar decision on Canon side . 70-200 f4 IS usm or 70-200 F2.58 IS USM . In the end just know the uses and limitations of the f stop you use . On a smaller scale I have a constant 2.8 lens . Sweet is not the word

[javishm]

looking for 67mm uv filter and polarizing filter locally

[CL9_EURO]

looking for 67mm uv filter and polarizing filter locally

May have an extra tiffen will let u know tomorrow..

[javishm]

looking for 67mm uv filter and polarizing filter locally

May have an extra tiffen will let u know tomorrow..

greatly appreciated

[grimer]

yongnuo yn 560 iii flash fell in a party...wasnt't coming on....opened it up and saw that some connectors broke apart (very small copper pics) and requires soldering to put back together.......

does anyone know anyone who does stuff like this ?