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2 de julio de 2010

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Carta de Disculpas del New York Times a Maradona

Ingles - Español

July 2, 2010

Maradona Deserves Respect and an Apology

By ROB HUGHES

JOHANNESBURG —

Dear Diego: It is high time that we critics said sorry, and thank you.

We misjudged your appointment as coach. We believed that Julio Grondona, the 78-year-old president of Argentina’s soccer federation, had lost all sense of reason in asking you, a fading icon without a coaching badge, to pick up a broken national team and lead it through this World Cup.

Well, so much for so-called expertise.

Whatever happens between Argentina and Germany in Cape Town on Saturday, your team has been the joy of this tournament.

You have breathed life into an overly cautious era in the sport. Your players — Lionel Messi, of course, and Carlos Tévez, Gonzalo Higuaín and others — have blown away inhibition.

The talents are obvious, even to us failed know-it-alls. The group of players that you inherited was clearly unbalanced. You have more forwards than you need, and too few defenders of real quality.

Even so, most certified coaches would set out to do what Brazil has done during the course of the tournament — defend in greater numbers and attack only sporadically.

Not so Maradona. You liberate the team, play to its strengths, attack, attack, attack.

And when you give license like you have to Messi, Tévez and company, you also liberate us. When your team rips apart the caution of opponents, we feel like children who all want to be attackers.

Your antics on the sideline personify this.

We are not fooled, Diego, by the gray suit and the polished shoes. We see through that formal attire to a man reliving his youth, a man of 49 who was the devil-may-care genius in 1986. A man who went to Germany for the last World Cup, dressed in a player’s jersey, cheerleading from the stands.

That enthusiasm reminds us how soccer is a simple game. Your team has superior attacking skills, so let it play to its nature.

It sounds, and looks, so obvious. Germany represents a real challenge, especially to your defense. Yet we’re not sure you care about any opposition. The further your team goes, the closer you get to stripping away the myth and mystique that team management is a science that can only succeed through years of study of the manual.

I don’t imagine you reading any books on how to be successful in your game. Having been on the streets of Villa Miseria Fiorito, the slum you grew up in outside Buenos Aires, I can understand that books are hogwash to you.

A manual for anything written by outsiders would not have taken you out of that impoverished, but in some ways happy, place. Your skills did that. And even Englishmen who cursed the Hand of God goal you fisted in during the 1986 World Cup had to acknowledge the genius with which you outwitted six men to score a second in that game.

Genius, playing to your own rules.

Still, when Grondona, the Argentina soccer president since before anyone even heard of Maradona, turned to you as coach, we all flipped.

How could this work? How could a player who burned himself out on drugs, drink and an apparent inability to cope with life beyond the final whistle be the guide and mentor to players who appeared lost and disillusioned by their own national federation?

Better-placed critics, men who had led Argentina to its two World Cups, feared for their country and for you.

Many agreed with Daniel Arcucci, a columnist for La Nación, who wrote last year, “Maybe Maradona is risking too much, as always in his life — even his status as a myth.”

Arcucci wasn’t alone in that fear. None of us imagined what we are seeing now.

History is against your team going all the way.

You know, but probably do not care, that only two men have won the World Cup as a player and a coach. Mário Zagallo played for Brazil when it triumphed in 1958, and was the coach in 1970. Franz Beckenbauer captained Germany to the title in 1974, and was manager in 1990.

What you are attempting is closer to Beckenbauer than Zagallo. Beckenbauer had no background on the sideline, no piece of paper verifying him as a tried and tested coach; he had, and has, the aura of being his country’s greatest living player.

Zagallo was the opposite. An industrious winger in his time, steeped in the coaching ethos, he stepped in when Brazil’s federation fired João Saldanha weeks before the World Cup.

Saldanha was your type of guy, Diego. He loved irreverence, he debunked the stereotypes of coaching. He let great players play. He shared with them a love of just being the best that a man could be.

You told us that your message to Messi was simply to say nobody ever told Maradona where to play, so you shouldn’t have to tell Messi where to play, either.

Interesting, because we thought there might be friction between the man who was Argentina’s most magical player and the only man since who might challenge that mantle.

If that is another misconception, it’s time to say mea culpa, and mean it.

NYTimes

http://www.nytimes.com/2010/07/03/sports/soccer/03maradona.html#

 

ESPAÑOL

JOHANNESBURGO -

Estimado Diego :

Es hora de que los críticos dijeron que lo siento, y gracias.

Evaluamos mal su nombramiento como entrenador. Creíamos que Julio Grondona , el presidente de 78 años de edad, de la federación de fútbol de Argentina, había perdido todo sentido de la razón en preguntarle a usted, un icono de la decoloración no lleva la insignia de entrenamiento, para recoger a un equipo nacional rotos y conducirla a través de esta Copa del Mundo .

Bueno, tanto por experiencia llamada .

Pase lo que pase entre Argentina y Alemania en Ciudad del Cabo el sábado , el equipo ha sido la alegría de este torneo .

Usted han dado vida a una era excesivamente prudentes en el deporte. Sus jugadores - Lionel Messi, Por supuesto, y Carlos Tevez, Gonzalo Higuaín y otros - han impresionado sin inhibiciones.

Los talentos son evidentes, incluso para nosotros no sabe-lo- todas ". El grupo de jugadores que usted heredó estaba desequilibrada con claridad. Tienes más hacia adelante que usted necesita, y muy pocos defensores de la calidad real.

Aun así, la mayoría de los entrenadores certificados se dispuso a hacer, lo que Brasil ha hecho, en el transcurso del torneo - defender en mayor número y atacar de manera esporádica.

No así Maradona. Usted libero al equipo, el juego con sus fortaleza, atacar, atacar y atacar.

Y cuando das licencia, como usted tiene que Messi, Tévez y compañía , también nos libera. Cuando su equipo destroza la cautela de los opositores , nos sentimos como los niños que todos quieren ser los atacantes .

Su payasadas en la línea lateral personificar esta .

No se deje engañar , Diego, por el traje gris y los zapatos lustrados . Vemos a través de ese traje formal  un hombre revivir su juventud, un hombre de 49 años que fue el genio diablo -poder-cuidado en el año 1986 . Un hombre que fue a Alemania para el último Mundial , vestido con camiseta de un jugador, alentando desde las gradas.

Ese entusiasmo nos recuerda cómo el fútbol es un juego simple. Su equipo tiene habilidades superiores de ataque, así que vamos a jugar a su naturaleza.

Suena y parece tan evidente. Alemania representa un verdadero desafío , especialmente para su defensa. Sin embargo, no estamos seguros de que le importe cualquier oposición. Cuanto más su equipo va , cuanto más cerca llegar a despojar el mito y la mística que la gestión del equipo es una ciencia que sólo puede tener éxito a través de años de estudio del manual.

No me imagino a usted leyendo libros sobre cómo ser exitoso en su juego. Después de haber estado en las calles de Villa Fiorito , el barrio donde creció en las afueras de Buenos Aires , puedo entender que los libros son ridiculos en su caso.

Un manual para cualquier cosa escrita por personas ajenas no te habría sacado de alli, y en cierto modo era su lugar feliz . Sus habilidades lo hicieron. Y aunque los ingleses que maldijeron la mano de Dios meta que en el puño durante la Copa del Mundo de 1986 tuvo que reconocer el genio con el que burló a seis hombres para anotar un segundo en ese juego.

Genius , jugando a sus propias reglas.

Sin embargo, cuando Grondona , el presidente del fútbol Argentina desde antes de que nadie ha oído hablar de Maradona, se dirigió a usted como entrenador , todos volteada.

¿Cómo funciona? ¿Cómo puede un jugador que se quemó a cabo en materia de drogas , la bebida y una aparente incapacidad para hacer frente a la vida más allá del pitido final sea el guía y mentor de los jugadores que parecían perdidos y desilusionados por su federación nacional?

- Mejor críticos colocados, los hombres que habían llevó a Argentina a sus dos Copas del Mundo , temía por su país y para usted.

Muchos estuvieron de acuerdo con Daniel Arcucci , un columnista de La Nación , que escribió el año pasado, "Tal vez Maradona está arriesgando demasiado, como siempre en su vida - incluso su condición de mito. "

Arcucci no estaba solo en ese temor. Ninguno de nosotros imaginaba lo que estamos viendo ahora.

La historia está en contra de su equipo que va todo el camino.

Usted sabe , pero probablemente no les importa, que sólo dos hombres han ganado la Copa del Mundo como jugador y como entrenador. Mário Zagallo jugó para Brasil cuando triunfó en 1958, y fue el entrenador en 1970. Franz Beckenbauer capitán de Alemania al título en 1974, y fue director en 1990.

Lo que está intentando es más cercana a Beckenbauer que Zagallo . Beckenbauer no tenía antecedentes en la banca , ninguna pieza de papel de la verificación de él como un entrenador de probada eficacia , que tenía, y tiene el aura de ser su país el jugador más grande de vida.

Zagallo fue el opuesto. Un extremo laborioso en su tiempo , impregnado de la filosofía como entrenador , él entró cuando la federación de Brasil disparó João Saldanha semanas antes de la Copa del Mundo.

Saldanha fue tu tipo de hombre , Diego. Le encantaba la irreverencia, que desmintió los estereotipos del coaching. Dejó que los grandes jugadores juegan . Compartió con ellos el amor de sólo ser el mejor que un hombre podría ser.

Usted nos dijo que su mensaje a Messi fue simplemente decir nunca nadie le dijo a Maradona para jugar, así que no debería decirle a Messi para jugar, tampoco.

Interesante, porque pensamos que puede haber fricción entre el hombre que fue el jugador más mágicos de la Argentina y el único hombre que podría desafiar ya que el manto.

Si ese es otro concepto erróneo , es hora de decir mea culpa, no sólo de palabra .

Traduccion Google Translator

 

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Carta de Disculpas del New York Times a Maradona

Ingles - Español

July 2, 2010

Maradona Deserves Respect and an Apology

By ROB HUGHES

JOHANNESBURG —

Dear Diego: It is high time that we critics said sorry, and thank you.

We misjudged your appointment as coach. We believed that Julio Grondona, the 78-year-old president of Argentina’s soccer federation, had lost all sense of reason in asking you, a fading icon without a coaching badge, to pick up a broken national team and lead it through this World Cup.

Well, so much for so-called expertise.

Whatever happens between Argentina and Germany in Cape Town on Saturday, your team has been the joy of this tournament.

You have breathed life into an overly cautious era in the sport. Your players — Lionel Messi, of course, and Carlos Tévez, Gonzalo Higuaín and others — have blown away inhibition.

The talents are obvious, even to us failed know-it-alls. The group of players that you inherited was clearly unbalanced. You have more forwards than you need, and too few defenders of real quality.

Even so, most certified coaches would set out to do what Brazil has done during the course of the tournament — defend in greater numbers and attack only sporadically.

Not so Maradona. You liberate the team, play to its strengths, attack, attack, attack.

And when you give license like you have to Messi, Tévez and company, you also liberate us. When your team rips apart the caution of opponents, we feel like children who all want to be attackers.

Your antics on the sideline personify this.

We are not fooled, Diego, by the gray suit and the polished shoes. We see through that formal attire to a man reliving his youth, a man of 49 who was the devil-may-care genius in 1986. A man who went to Germany for the last World Cup, dressed in a player’s jersey, cheerleading from the stands.

That enthusiasm reminds us how soccer is a simple game. Your team has superior attacking skills, so let it play to its nature.

It sounds, and looks, so obvious. Germany represents a real challenge, especially to your defense. Yet we’re not sure you care about any opposition. The further your team goes, the closer you get to stripping away the myth and mystique that team management is a science that can only succeed through years of study of the manual.

I don’t imagine you reading any books on how to be successful in your game. Having been on the streets of Villa Miseria Fiorito, the slum you grew up in outside Buenos Aires, I can understand that books are hogwash to you.

A manual for anything written by outsiders would not have taken you out of that impoverished, but in some ways happy, place. Your skills did that. And even Englishmen who cursed the Hand of God goal you fisted in during the 1986 World Cup had to acknowledge the genius with which you outwitted six men to score a second in that game.

Genius, playing to your own rules.

Still, when Grondona, the Argentina soccer president since before anyone even heard of Maradona, turned to you as coach, we all flipped.

How could this work? How could a player who burned himself out on drugs, drink and an apparent inability to cope with life beyond the final whistle be the guide and mentor to players who appeared lost and disillusioned by their own national federation?

Better-placed critics, men who had led Argentina to its two World Cups, feared for their country and for you.

Many agreed with Daniel Arcucci, a columnist for La Nación, who wrote last year, “Maybe Maradona is risking too much, as always in his life — even his status as a myth.”

Arcucci wasn’t alone in that fear. None of us imagined what we are seeing now.

History is against your team going all the way.

You know, but probably do not care, that only two men have won the World Cup as a player and a coach. Mário Zagallo played for Brazil when it triumphed in 1958, and was the coach in 1970. Franz Beckenbauer captained Germany to the title in 1974, and was manager in 1990.

What you are attempting is closer to Beckenbauer than Zagallo. Beckenbauer had no background on the sideline, no piece of paper verifying him as a tried and tested coach; he had, and has, the aura of being his country’s greatest living player.

Zagallo was the opposite. An industrious winger in his time, steeped in the coaching ethos, he stepped in when Brazil’s federation fired João Saldanha weeks before the World Cup.

Saldanha was your type of guy, Diego. He loved irreverence, he debunked the stereotypes of coaching. He let great players play. He shared with them a love of just being the best that a man could be.

You told us that your message to Messi was simply to say nobody ever told Maradona where to play, so you shouldn’t have to tell Messi where to play, either.

Interesting, because we thought there might be friction between the man who was Argentina’s most magical player and the only man since who might challenge that mantle.

If that is another misconception, it’s time to say mea culpa, and mean it.

NYTimes

http://www.nytimes.com/2010/07/03/sports/soccer/03maradona.html#

 

ESPAÑOL

JOHANNESBURGO -

Estimado Diego :

Es hora de que los críticos dijeron que lo siento, y gracias.

Evaluamos mal su nombramiento como entrenador. Creíamos que Julio Grondona , el presidente de 78 años de edad, de la federación de fútbol de Argentina, había perdido todo sentido de la razón en preguntarle a usted, un icono de la decoloración no lleva la insignia de entrenamiento, para recoger a un equipo nacional rotos y conducirla a través de esta Copa del Mundo .

Bueno, tanto por experiencia llamada .

Pase lo que pase entre Argentina y Alemania en Ciudad del Cabo el sábado , el equipo ha sido la alegría de este torneo .

Usted han dado vida a una era excesivamente prudentes en el deporte. Sus jugadores - Lionel Messi, Por supuesto, y Carlos Tevez, Gonzalo Higuaín y otros - han impresionado sin inhibiciones.

Los talentos son evidentes, incluso para nosotros no sabe-lo- todas ". El grupo de jugadores que usted heredó estaba desequilibrada con claridad. Tienes más hacia adelante que usted necesita, y muy pocos defensores de la calidad real.

Aun así, la mayoría de los entrenadores certificados se dispuso a hacer, lo que Brasil ha hecho, en el transcurso del torneo - defender en mayor número y atacar de manera esporádica.

No así Maradona. Usted libero al equipo, el juego con sus fortaleza, atacar, atacar y atacar.

Y cuando das licencia, como usted tiene que Messi, Tévez y compañía , también nos libera. Cuando su equipo destroza la cautela de los opositores , nos sentimos como los niños que todos quieren ser los atacantes .

Su payasadas en la línea lateral personificar esta .

No se deje engañar , Diego, por el traje gris y los zapatos lustrados . Vemos a través de ese traje formal  un hombre revivir su juventud, un hombre de 49 años que fue el genio diablo -poder-cuidado en el año 1986 . Un hombre que fue a Alemania para el último Mundial , vestido con camiseta de un jugador, alentando desde las gradas.

Ese entusiasmo nos recuerda cómo el fútbol es un juego simple. Su equipo tiene habilidades superiores de ataque, así que vamos a jugar a su naturaleza.

Suena y parece tan evidente. Alemania representa un verdadero desafío , especialmente para su defensa. Sin embargo, no estamos seguros de que le importe cualquier oposición. Cuanto más su equipo va , cuanto más cerca llegar a despojar el mito y la mística que la gestión del equipo es una ciencia que sólo puede tener éxito a través de años de estudio del manual.

No me imagino a usted leyendo libros sobre cómo ser exitoso en su juego. Después de haber estado en las calles de Villa Fiorito , el barrio donde creció en las afueras de Buenos Aires , puedo entender que los libros son ridiculos en su caso.

Un manual para cualquier cosa escrita por personas ajenas no te habría sacado de alli, y en cierto modo era su lugar feliz . Sus habilidades lo hicieron. Y aunque los ingleses que maldijeron la mano de Dios meta que en el puño durante la Copa del Mundo de 1986 tuvo que reconocer el genio con el que burló a seis hombres para anotar un segundo en ese juego.

Genius , jugando a sus propias reglas.

Sin embargo, cuando Grondona , el presidente del fútbol Argentina desde antes de que nadie ha oído hablar de Maradona, se dirigió a usted como entrenador , todos volteada.

¿Cómo funciona? ¿Cómo puede un jugador que se quemó a cabo en materia de drogas , la bebida y una aparente incapacidad para hacer frente a la vida más allá del pitido final sea el guía y mentor de los jugadores que parecían perdidos y desilusionados por su federación nacional?

- Mejor críticos colocados, los hombres que habían llevó a Argentina a sus dos Copas del Mundo , temía por su país y para usted.

Muchos estuvieron de acuerdo con Daniel Arcucci , un columnista de La Nación , que escribió el año pasado, "Tal vez Maradona está arriesgando demasiado, como siempre en su vida - incluso su condición de mito. "

Arcucci no estaba solo en ese temor. Ninguno de nosotros imaginaba lo que estamos viendo ahora.

La historia está en contra de su equipo que va todo el camino.

Usted sabe , pero probablemente no les importa, que sólo dos hombres han ganado la Copa del Mundo como jugador y como entrenador. Mário Zagallo jugó para Brasil cuando triunfó en 1958, y fue el entrenador en 1970. Franz Beckenbauer capitán de Alemania al título en 1974, y fue director en 1990.

Lo que está intentando es más cercana a Beckenbauer que Zagallo . Beckenbauer no tenía antecedentes en la banca , ninguna pieza de papel de la verificación de él como un entrenador de probada eficacia , que tenía, y tiene el aura de ser su país el jugador más grande de vida.

Zagallo fue el opuesto. Un extremo laborioso en su tiempo , impregnado de la filosofía como entrenador , él entró cuando la federación de Brasil disparó João Saldanha semanas antes de la Copa del Mundo.

Saldanha fue tu tipo de hombre , Diego. Le encantaba la irreverencia, que desmintió los estereotipos del coaching. Dejó que los grandes jugadores juegan . Compartió con ellos el amor de sólo ser el mejor que un hombre podría ser.

Usted nos dijo que su mensaje a Messi fue simplemente decir nunca nadie le dijo a Maradona para jugar, así que no debería decirle a Messi para jugar, tampoco.

Interesante, porque pensamos que puede haber fricción entre el hombre que fue el jugador más mágicos de la Argentina y el único hombre que podría desafiar ya que el manto.

Si ese es otro concepto erróneo , es hora de decir mea culpa, no sólo de palabra .

Traduccion Google Translator

 

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29 de mayo de 2010

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Google Wave 1ºaño y se abre para cualquier usuario

Ya no se requieren invitaciones

28/05/2010 12:00 PM - Carolina Ruiz Vega

Google Wave logo

Wave, el servicio de comunicación y colaboración simultánea e instantánea de Google , cumplió un año y decidió abrirse para que cualquier usuario pueda abrir una cuenta ahí y utilizarlo.

Hasta la fecha, solo podía accederse mediante invitación . Esta es la misma estrategia de mercadeo que el gigante utilizó con su servicio de correo, Gmail.

Para festejar el primer aniversario del producto, también anunció mejoras. “ Es más rápido y estable. Tenemos tutoriales que le ayudarán a empezar a usarlo”, dijeron en el blog .

“A diferencia de otros productos para los que también he trabajado, Wave no es un enfoque más avanzado de una aplicación ya existente. En realidad es una nueva categoría”, afirmó Anna-Christina Douglas, mercadóloga de Google Wave.

Fuente: ElFinanciero

 

Happy 1st birthday, Google Wave!

5/28/2010 09:08:00 AM

Last week, we opened sign-ups for Google Wave to everyone as part of Google Labs and made it available for all Google Apps domains. Here is the quick (seven minute) update on the state of the product from this year's Google IO conference:
Today, it's been a full year since the Wave team first got on stage at the Moscone Center and demoed a new vision for communication and collaboration to a crowd of developers. In a guest article on the Huffington Post last week, Lars described innovation and working on Google Wave as a rollercoaster—and this year has certainly been a fascinating ride. For the past year, I've had the pleasure and the challenge of explaining why this new technology is useful. Unlike some other products that I have also been lucky enough to work on, Wave is not a more advanced approach to a known application like webmail or the browser. It's actually a new category, which can be kind of hard to wrap your head around.

I work in Wave every day, and we have identified a number of clear use cases for getting things done in groups at businesses and at schools. But people also ask me how I use Wave outside of work to understand how they should start using it themselves. As it turns out, the ways I use Wave aren't revolutionary or groundbreaking—I communicate about everyday things, but it is these incredibly ordinary and important communications that are transformed in unexpected ways when you use Wave.

I wave with my family—with my mom, who is across the country, and with my sister who is a graduate student. We're all on different schedules and very rarely all online at the same time. In one wave, we decided what to wear for a friend's wedding—adding suggestions for each other with links and pictures, updating the wave as we had side conversations and made decisions. My mom and I chatted about my dress choice when we were both online, and then my sister was easily able to catch up later, adding her ideas. It kept all three of us up to speed in one place, rather than having several phone conversations, emails and chats. Sharing these small personal projects in a wave removes the little bits of friction to make the discussions more dynamic and productive.

From talking to other people who use Google Wave, I know I'm not alone. I've been struck by the really personal nature of communicating and working together in Wave, and the emotional response people have to their first uniquely wavey experience, what we call the "Wave a-ha moment." For many people it's the live typing that does it; for others it's the first time they create an in-line reply, embed a YouTube video or edit someone else's text.

You really do have to try it to believe it, though—so if you checked out Google Wave six months ago and found yourself at a bit of a loss, take another look. The product is much faster and more stable and we have templates and tutorials to help you get started. Next time you find yourself taking notes while you are on the phone, do it in a wave and add your colleagues, or pull a couple friends or family members onto a wave for a small project... like going to the movies.
So head to wave.google.com and sign in. You can get more updates on our blog and even share your stories (ordinary or otherwise) with wave.stories@googlewave.com.
Wave on!

Posted by Anna-Christina Douglas, Product Marketing, Google Wave

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Google Wave 1ºaño y se abre para cualquier usuario

Ya no se requieren invitaciones

28/05/2010 12:00 PM - Carolina Ruiz Vega

Google Wave logo

Wave, el servicio de comunicación y colaboración simultánea e instantánea de Google , cumplió un año y decidió abrirse para que cualquier usuario pueda abrir una cuenta ahí y utilizarlo.

Hasta la fecha, solo podía accederse mediante invitación . Esta es la misma estrategia de mercadeo que el gigante utilizó con su servicio de correo, Gmail.

Para festejar el primer aniversario del producto, también anunció mejoras. “ Es más rápido y estable. Tenemos tutoriales que le ayudarán a empezar a usarlo”, dijeron en el blog .

“A diferencia de otros productos para los que también he trabajado, Wave no es un enfoque más avanzado de una aplicación ya existente. En realidad es una nueva categoría”, afirmó Anna-Christina Douglas, mercadóloga de Google Wave.

Fuente: ElFinanciero

 

Happy 1st birthday, Google Wave!

5/28/2010 09:08:00 AM

Last week, we opened sign-ups for Google Wave to everyone as part of Google Labs and made it available for all Google Apps domains. Here is the quick (seven minute) update on the state of the product from this year's Google IO conference:
Today, it's been a full year since the Wave team first got on stage at the Moscone Center and demoed a new vision for communication and collaboration to a crowd of developers. In a guest article on the Huffington Post last week, Lars described innovation and working on Google Wave as a rollercoaster—and this year has certainly been a fascinating ride. For the past year, I've had the pleasure and the challenge of explaining why this new technology is useful. Unlike some other products that I have also been lucky enough to work on, Wave is not a more advanced approach to a known application like webmail or the browser. It's actually a new category, which can be kind of hard to wrap your head around.

I work in Wave every day, and we have identified a number of clear use cases for getting things done in groups at businesses and at schools. But people also ask me how I use Wave outside of work to understand how they should start using it themselves. As it turns out, the ways I use Wave aren't revolutionary or groundbreaking—I communicate about everyday things, but it is these incredibly ordinary and important communications that are transformed in unexpected ways when you use Wave.

I wave with my family—with my mom, who is across the country, and with my sister who is a graduate student. We're all on different schedules and very rarely all online at the same time. In one wave, we decided what to wear for a friend's wedding—adding suggestions for each other with links and pictures, updating the wave as we had side conversations and made decisions. My mom and I chatted about my dress choice when we were both online, and then my sister was easily able to catch up later, adding her ideas. It kept all three of us up to speed in one place, rather than having several phone conversations, emails and chats. Sharing these small personal projects in a wave removes the little bits of friction to make the discussions more dynamic and productive.

From talking to other people who use Google Wave, I know I'm not alone. I've been struck by the really personal nature of communicating and working together in Wave, and the emotional response people have to their first uniquely wavey experience, what we call the "Wave a-ha moment." For many people it's the live typing that does it; for others it's the first time they create an in-line reply, embed a YouTube video or edit someone else's text.

You really do have to try it to believe it, though—so if you checked out Google Wave six months ago and found yourself at a bit of a loss, take another look. The product is much faster and more stable and we have templates and tutorials to help you get started. Next time you find yourself taking notes while you are on the phone, do it in a wave and add your colleagues, or pull a couple friends or family members onto a wave for a small project... like going to the movies.
So head to wave.google.com and sign in. You can get more updates on our blog and even share your stories (ordinary or otherwise) with wave.stories@googlewave.com.
Wave on!

Posted by Anna-Christina Douglas, Product Marketing, Google Wave

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13 de abril de 2010

, , , , , , , , ,

House Season Finale Filmed Entirely with Canon 5D Mark II

by Michael Zhang on Apr 9, 2010

The season finale of the popular TV show House, which will air on May 17th, was filmed entirely with the Canon 5D Mark II. cinema5D overheard the plan last month and Greg Yaitanes, the director of the show, has confirmed it through a tweet in which we made himself open to questions.

We’ll republish some of the interesting questions and answers here, interview style:

@MVRamunno: What is the difference in how it looks on a TV screen compared to a regular camera?

Greg Yaitanes: richer. shallow focus pulls the actors faces to forground [sic]

 

@oamad0101: How many frames per second and why a Canon 5D Mark II?

GY: 24p and wanted it for ease of use in tight spaces.

 

@unikissa: Ok, seriously. Can you tell us something about the lenses you used?

GY: all the canon primes and the 24-70 and the 70-200 zoom.

 

@sarabury: Did you have to change any of your working practices to fit in with differences between the 5D and a typical setup?

GY: some. focus was hard with these lenses but more “cine-style” lenses are being made as we speak.

 

@marykir: were you using CF cards for storage or some sort of mass storage mod? seems like you would need a lot of cards :)

GY: some 18gb or something like that card. gave us 22 min of footage.

 

@Drdiagnostic: How was the quality as compared 2 the traditional camera used in shooting?

GY: i loved it and feel it’s the future. cameras that can give you these looks.

 

@klizma: How did you manage to stabilize the camera in tight spaces? Any special kind of brackets?

GY: no. mostly gave it a hand held feel. or on a small tripod

This is quite an endorsement for Canon, with a network giant entrusting the finale of one of its most popular shows to the 5D Mark II (which happens to be the first digital camera to take the Presidential portrait as well).

Here’s what Wikipedia has to say about the popularity of the show:

In 2008, House was distributed in a total of 66 countries. With an audience of over 81.8 million worldwide, it was the most watched television show on the globe and far surpassed the viewership figures of the leading TV dramas the previous two years

If you haven’t yet, check out the short film, The Last 3 Minutes, which we posted earlier today. It was filmed with the same camera.

(via Canon 5D tips)

Fuente: PetaPixel – Via: Caborian

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House Season Finale Filmed Entirely with Canon 5D Mark II

by Michael Zhang on Apr 9, 2010

The season finale of the popular TV show House, which will air on May 17th, was filmed entirely with the Canon 5D Mark II. cinema5D overheard the plan last month and Greg Yaitanes, the director of the show, has confirmed it through a tweet in which we made himself open to questions.

We’ll republish some of the interesting questions and answers here, interview style:

@MVRamunno: What is the difference in how it looks on a TV screen compared to a regular camera?

Greg Yaitanes: richer. shallow focus pulls the actors faces to forground [sic]

 

@oamad0101: How many frames per second and why a Canon 5D Mark II?

GY: 24p and wanted it for ease of use in tight spaces.

 

@unikissa: Ok, seriously. Can you tell us something about the lenses you used?

GY: all the canon primes and the 24-70 and the 70-200 zoom.

 

@sarabury: Did you have to change any of your working practices to fit in with differences between the 5D and a typical setup?

GY: some. focus was hard with these lenses but more “cine-style” lenses are being made as we speak.

 

@marykir: were you using CF cards for storage or some sort of mass storage mod? seems like you would need a lot of cards :)

GY: some 18gb or something like that card. gave us 22 min of footage.

 

@Drdiagnostic: How was the quality as compared 2 the traditional camera used in shooting?

GY: i loved it and feel it’s the future. cameras that can give you these looks.

 

@klizma: How did you manage to stabilize the camera in tight spaces? Any special kind of brackets?

GY: no. mostly gave it a hand held feel. or on a small tripod

This is quite an endorsement for Canon, with a network giant entrusting the finale of one of its most popular shows to the 5D Mark II (which happens to be the first digital camera to take the Presidential portrait as well).

Here’s what Wikipedia has to say about the popularity of the show:

In 2008, House was distributed in a total of 66 countries. With an audience of over 81.8 million worldwide, it was the most watched television show on the globe and far surpassed the viewership figures of the leading TV dramas the previous two years

If you haven’t yet, check out the short film, The Last 3 Minutes, which we posted earlier today. It was filmed with the same camera.

(via Canon 5D tips)

Fuente: PetaPixel – Via: Caborian

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5 de enero de 2010

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Singer Sandro, the 'Argentine Elvis,' Dies at 64

New York Times

BUENOS AIRES, Argentina (AP) -- Argentine singer Sandro, whose gyrating pelvis and romantic ballads brought comparisons to Elvis Presley and made him the first Latin American to sing in Madison Square Garden, died Monday of complications from heart and lung transplant surgery. He was 64.

Sandro, who recorded 52 albums

, acted in 16 movies and was awarded a Latin Grammy for career achievement in 2005, suffered from chronic lung disease that led to the Nov. 20 surgery. He died at the Italian Hospital in the Argentine city of Mendoza, said Dr. Claudio Burgos.

Born Roberto Sanchez in 1945 in Buenos Aires, he was the author of hits such as ''Asi'' (''Like That'') and ''Dame Fuego'' (''Give Me Fire''), and his rock and pop tunes won him fame across Latin America. In the 1970s he became the first Latin American singer to play New York's Madison Square Garden.

Last year, in one of his final interviews, the singer blamed his smoking habit for his long illness.

''I am debilitated because I cannot move. My life is my bed, my spot in the dining room where I read the newspaper, and from there I do not move,'' Sandro told Mitre radio of Buenos Aires. ''I am to blame for the condition that I am in. I deserve it; I sought it out. I picked up this damn cigarette.''

As a youth, Roberto Sanchez began playing guitar along with Enrique Irigoytia, another boy from his neighborhood. The two formed several rock bands that sang Spanish versions of Elvis, Jerry Lee Lewis and Paul Anka hits.

But it wasn't until he was lead guitarist for the band Los de Fuego that his fame took off.

During one performance, the lead singer lost his voice and another performer broke his guitar strings. Sanchez relinquished his guitar, took over singing duties and threw himself into dancing to the rock rhythm. The crowd went wild.

Sanchez became the group's front man and adopted the moniker Sandro -- a name his mother had wanted to give him at birth, but the Civil Registry refused.

Sandro y Los de Fuego made their TV debut in 1964 on ''Circular Saturdays,'' one of the nation's most popular shows.

Sandro's sensual, irreverent style, gyrating hips and black leather jacket sent young female fans into a frenzy; his ''babes,'' as they were known, would scream wildly, pull their hair and throw their undergarments onstage.

He soon earned the reputation as Argentina's Elvis Presley.

The band recorded two albums before Sandro went solo, turning to a more melodic repertoire and entering the ''romantic'' genre with classics such as ''Quiero Llenarme de Ti'' (''I Want to Fill Myself With You''). In 1969, he made his silver screen debut in a movie with the same title.

A later film, ''La Vida Continua'' (''Life Goes On''), was a hit not only in Argentina but in much of Latin America.

In 1982, Sandro signed with a Puerto Rican TV channel to star in the telenovela ''Fue sin querer'' (''I Didn't Mean to Do It''), which was popular among U.S. Latinos.

By 2001, he was forced to play a series of shows with the assistance of a tube attached to a microphone, to combat the effects of pulmonary emphysema.

Last year he went on a waiting list for a lung and heart transplant, which doctors said was the only way to save him from a disease that had already destroyed his vocal cords and restricted his movements.

He is survived by his wife, Olga Garaventa, whom he married in 2007. He had no children.

Fuente: http://www.nytimes.com/aponline/2010/01/04/arts/AP-LT-Argentina-Obit-Sandro.html?scp=1&sq=sandro%20roberto%20sanchez&st=cse

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Singer Sandro, the 'Argentine Elvis,' Dies at 64

New York Times

BUENOS AIRES, Argentina (AP) -- Argentine singer Sandro, whose gyrating pelvis and romantic ballads brought comparisons to Elvis Presley and made him the first Latin American to sing in Madison Square Garden, died Monday of complications from heart and lung transplant surgery. He was 64.

Sandro, who recorded 52 albums

, acted in 16 movies and was awarded a Latin Grammy for career achievement in 2005, suffered from chronic lung disease that led to the Nov. 20 surgery. He died at the Italian Hospital in the Argentine city of Mendoza, said Dr. Claudio Burgos.

Born Roberto Sanchez in 1945 in Buenos Aires, he was the author of hits such as ''Asi'' (''Like That'') and ''Dame Fuego'' (''Give Me Fire''), and his rock and pop tunes won him fame across Latin America. In the 1970s he became the first Latin American singer to play New York's Madison Square Garden.

Last year, in one of his final interviews, the singer blamed his smoking habit for his long illness.

''I am debilitated because I cannot move. My life is my bed, my spot in the dining room where I read the newspaper, and from there I do not move,'' Sandro told Mitre radio of Buenos Aires. ''I am to blame for the condition that I am in. I deserve it; I sought it out. I picked up this damn cigarette.''

As a youth, Roberto Sanchez began playing guitar along with Enrique Irigoytia, another boy from his neighborhood. The two formed several rock bands that sang Spanish versions of Elvis, Jerry Lee Lewis and Paul Anka hits.

But it wasn't until he was lead guitarist for the band Los de Fuego that his fame took off.

During one performance, the lead singer lost his voice and another performer broke his guitar strings. Sanchez relinquished his guitar, took over singing duties and threw himself into dancing to the rock rhythm. The crowd went wild.

Sanchez became the group's front man and adopted the moniker Sandro -- a name his mother had wanted to give him at birth, but the Civil Registry refused.

Sandro y Los de Fuego made their TV debut in 1964 on ''Circular Saturdays,'' one of the nation's most popular shows.

Sandro's sensual, irreverent style, gyrating hips and black leather jacket sent young female fans into a frenzy; his ''babes,'' as they were known, would scream wildly, pull their hair and throw their undergarments onstage.

He soon earned the reputation as Argentina's Elvis Presley.

The band recorded two albums before Sandro went solo, turning to a more melodic repertoire and entering the ''romantic'' genre with classics such as ''Quiero Llenarme de Ti'' (''I Want to Fill Myself With You''). In 1969, he made his silver screen debut in a movie with the same title.

A later film, ''La Vida Continua'' (''Life Goes On''), was a hit not only in Argentina but in much of Latin America.

In 1982, Sandro signed with a Puerto Rican TV channel to star in the telenovela ''Fue sin querer'' (''I Didn't Mean to Do It''), which was popular among U.S. Latinos.

By 2001, he was forced to play a series of shows with the assistance of a tube attached to a microphone, to combat the effects of pulmonary emphysema.

Last year he went on a waiting list for a lung and heart transplant, which doctors said was the only way to save him from a disease that had already destroyed his vocal cords and restricted his movements.

He is survived by his wife, Olga Garaventa, whom he married in 2007. He had no children.

Fuente: http://www.nytimes.com/aponline/2010/01/04/arts/AP-LT-Argentina-Obit-Sandro.html?scp=1&sq=sandro%20roberto%20sanchez&st=cse

COMO LO PUBLICO EL MUNDO

los 1.634 artículos informativos »

Sandro es velado en el Congreso argentino - Radio Universidad de Chile - ‎hace 1 hora‎

Los restos del popular cantautor argentino Sandro, Roberto Sánchez, quien murió ayer a los 64 años, son velados hoy en el Congreso trasandino. ...

Roberto Sánchez, la vida de un gran hombre LV7 Radio Tucumán

Murió Sandro: El 'Gitano' tenía 64 años Urgente 24

El Gitano dice adiós | Milenio.com Milenio

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Falleció Sandro: Roberto Sánchez murió en la noche de este lunes - Impulso Negocios - ‎hace 14 horas‎

... la Ciudad de Buenos Aires, falleció este lunes a las 20:40, el cantante argentino Roberto Sánchez, conocido internacionalmente como "Sandro de América". ...

Fallecio el mitico cantante argentino Sandro Aeronoticias

En 2006, el Congreso distinguió a Sandro por su trayectoria - Semanario Parlamentario - ‎hace 4 horas‎

Sin la mítica bata, Roberto Sánchez “Sandro” tuvo el 15 de agosto de 2006 un escenario más solemne que el de cualquier aparición pero la formalidad del ...

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"Sandro dejó un claro mensaje: el tabaquismo es muy perjudicial ...

InfoBAE.com - ‎hace 36 minutos‎ - ... afirmó El médico personal que estuvo durante los últimos cinco años al lado del cantante Roberto Sánchez habló en exclusiva con C5N sobre la tarea que ...

El cardiólogo de Sandro se quebró cuando hablaba de su relación con él Diario Uno

Wikipedia recuerda a Sandro como un "pionero del rock" - La Voz del Interior - ‎hace 3 horas‎.

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Roberto de fuego y rosas LU17.COM

La parábola del ídolo La Capital (Rosario)

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7 de agosto de 2009

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Digital Compact Camera Nikon COOLPIX S1000pj

The world's first compact camera to feature a built-in projector enhances the fun of sharing special moments anywhere.
Warm Silver
Black

TOKYO — Nikon Corporation is pleased to announce the introduction of the COOLPIX S1000pj. Packing the pleasure of a personal go-anywhere theater into a stylish compact enclosure, the COOLPIX S1000pj delivers a fun new way to share pictures with friends and family in most any location.

The COOLPIX S1000pj is the first compact digital camera* in the world to feature a built-in projector. With a simple touch of a button, the camera projects favorite photos or movies clips on any flat surface at up to 40 inches in size. Pictures can be projected individually, or as slide shows complete with music and added effects that enhance the experience. It's the fun new way to share pictures with family and friends in most any location.

nikon-projection-camera_500 

This capability to project still images or movie clips gives birth to an entirely new form of communication as all participants visually share the passion of special moments together. For example, the COOLPIX S1000pj can be used to capture photos on a family vacation, and then serve double-duty as a personal theater in the evening as everyone enjoys viewing the highlights of the day projected on a wall or a ceiling. Whenever and just about wherever friends gather, the COOLPIX S1000pj's projector can add whole new life to the party by displaying nostalgic pictures or freshly shot images for all to enjoy. Parents can even use the COOLPIX S1000pj to display photos of their own artworks or other images on the ceiling to complement bedtime stories they tell their children.

A handy projector stand is included, as is a remote control that can be used to operate the projector, release the shutter, and more.

Also featured are the precision optics of a 5x zoom NIKKOR lens that provides the compositional freedom of 28mm wide-angle coverage and macro shooting ability from as close as 3 cm (1.2 in.). This combines with the image quality and performance benefits of Nikon's innovative EXPEED digital image-processing concept to help ensure consistently beautiful results produced at the high resolution of 12.1 effective megapixels.

The COOLPIX S1000pj will be available in Black or Warm Silver. (Color name and color availability may vary according to region.)


*
Among digital cameras as of August 4, 2009 (according to research conducted by Nikon Corporation).

Note: Specifications, design, product name, standard accessories, and release schedule may differ by country or area.

Nikon COOLPIX S1000pj Feature Highlights

Sharper results with five advanced Nikon image stabilizing features*1

Nikon's Optical lens shift and Electronic VR image stabilization systems combine to help produce blur-free images. High ISO 6400*2 capability allows faster shutter speeds when shooting in low light or capturing fast-moving subjects. Motion Detection automatically controls shutter speed and the ISO setting to compensate for subject movement and camera shake. And, Nikon's original BSS (Best Shot Selector) function automatically shoots a series of sequential frames and saves the one with the sharpest focus.

*1 The camera selects and uses only the features required to optimize each image.
*2 ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.

Nikon's Smart Portrait System with Skin Softening

Face-priority AF helps produce more satisfying portraits by adjusting focus and exposure for as many as 12 faces in the framed shot. Skin Softening function detects and analyzes a framed subject's skin, and then adjusts smoothness to produce enhanced results. Smile Timer automatically releases the shutter when the subject smiles, while its Blink Proof function shoots two sequential frames, then saves the one in which the subject's eyes are widest open. Blink Warning presents an alert when it suspects that someone in the shot has blinked. In-Camera Red-Eye Fix automatically corrects any perceived red-eye effect before saving the image to memory.

Intelligent automated shooting modes that promote carefree shooting

Nikon's Scene Auto Selector makes it faster and easier to capture the moment by eliminating the need to manually select a scene mode to match the intended shot. This intelligent function determines the subject, analyzes the surrounding settings, and then automatically selects the appropriate scene mode for optimal results. Subject Tracking enhances the shooting experience by following the subject's movement to ensure clear focus and quick response when that special shutter opportunity presents itself. Subject Tracking even functions if the subject moves out of the frame for a second or two.

Quick Retouch

Quick Retouch automatically adjusts the contrast and saturation of selected photos to create an enhanced copy with the right finishing touch.

 

Nikon COOLPIX S1000pj Other Features

  • 2.7-in. high-resolution LCD monitor with anti-reflection coated cover
  • 16 handy scene modes for optimized shooting in various settings
  • D-Lighting
  • Active Zoom
  • Auto Sort and Favorite Pictures functions
  • Four movie modes with sound
  • Time zone function for easy setting of multiple locations
  • Approx. 36 MB of internal memory
  • Hi-Speed USB connectivity

 

Nikon Digital Camera COOLPIX S1000pj Specifications

Effective pixels 12.1 million
Image sensor 1/2.3-in. CCD; total pixels: approx. 12.39 million
Lens 5x zoom NIKKOR; 5.0-25.0mm (equivalent with 35mm [135] format picture angle: 28-140mm); f/3.9-5.8; Digital zoom: up to 4x (35mm [135] format picture angle: 560mm)
Focus range (from lens) 30cm (1 ft.) to infinity (∞), Macro mode: 3cm (1.2 in.) to infinity (∞)
Monitor 2.7-in., approx. 230k-dot, TFT LCD with anti-reflection coating
Storage media Internal memory (approx. 36 MB), SD/SDHC memory cards*1
Image size (pixels) 4000 x 3000 (High: 4000★/Normal: 4000), 3264 x 2448 (Normal: 3264), 2592 x 1944 (Normal: 2592), 2048 x 1536 (Normal: 2048), 1024 x 768 (PC: 1024), 640 x 480 (TV: 640), 3968 x 2232 (16:9: 3968)
Vibration Reduction (VR) Combination lens-shift and electronic VR
ISO sensitivity
ISO 80, 100, 200, 400, 800, 1600, 3200*2, 6400*2, Auto (auto gain ISO 80-800), Fixed range auto (ISO 80-200, 80-400)
Interface Hi-Speed USB
Power sources Rechargeable Li-ion Battery EN-EL12 (supplied), AC Adapter EH-62F (optional)
Battery life Approx. 220 shots with EN-EL12 battery
Dimensions (W x H x D) Approx. 99.5 x 62.5 x 23 mm (4 x 2.5 x 0.9 in.) excluding projections
Weight Approx. 155 g (5.5 oz.) without battery and SD/SDHC memory card
Supplied accessories*3 Rechargeable Li-ion Battery EN-EL12, Battery Charger MH-65, USB Cable UC-E6, Audio Video Cable EG-CP14, Strap AN-CP19, Projector Stand ET-2, Remote Control ML-L4, Software Suite CD-ROM
Optional accessory AC Adapter EH-62F
Projector Brightness*4: up to 10 lumens; Image size: 5 to 40 in.; Throw distance: approx. 26 cm to 2 m (10 in. to 6 ft. 6 in.); Endurance (battery life)*5: approx. 1 hour; Resolution (output): VGA equivalent

*1 Not compatible with Multi Media Cards (MMC).
*2  ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.
*3  Supplied accessories may differ by country or area.
*4  Measurement, measuring conditions and method of notation all comply with ISO 21118.
*5 Based on continuous use of a fully-charged EN-EL12 battery at 25°C/77°F.
System Requirements
OS Macintosh: Mac OS X (version 10.3.9, 10.4.11, 10.5.6, 10.5.7)
Windows: Preinstalled versions of Windows Vista Service Pack 1 (32-bit Home Basic/Home Premium/Business/Enterprise/Ultimate editions), Windows XP Service Pack 3 (Home Edition/Professional)
Note CD-ROM drive required for installation. Only built-in USB ports are supported.

Microsoft®, Windows® and Windows Vista™ are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries.
Macintosh®, Mac® OS and QuickTime® are either registered trademarks or trademarks of Apple Inc. in the United States and/or other countries.
The SDHC logo is a trademark. PictBridge is a trademark.
The FotoNation logo is a trademark.
CompactFlash® and Extreme® are registered trademarks of SanDisk Corporation.
Products and brand names are trademarks or registered trademarks of their respective companies.
Images on displays shown in this brochure are simulated.

Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer.

Fuente: Nikon News

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, , , , ,

Digital Compact Camera Nikon COOLPIX S1000pj

The world's first compact camera to feature a built-in projector enhances the fun of sharing special moments anywhere.
Warm Silver
Black

TOKYO — Nikon Corporation is pleased to announce the introduction of the COOLPIX S1000pj. Packing the pleasure of a personal go-anywhere theater into a stylish compact enclosure, the COOLPIX S1000pj delivers a fun new way to share pictures with friends and family in most any location.

The COOLPIX S1000pj is the first compact digital camera* in the world to feature a built-in projector. With a simple touch of a button, the camera projects favorite photos or movies clips on any flat surface at up to 40 inches in size. Pictures can be projected individually, or as slide shows complete with music and added effects that enhance the experience. It's the fun new way to share pictures with family and friends in most any location.

nikon-projection-camera_500 

This capability to project still images or movie clips gives birth to an entirely new form of communication as all participants visually share the passion of special moments together. For example, the COOLPIX S1000pj can be used to capture photos on a family vacation, and then serve double-duty as a personal theater in the evening as everyone enjoys viewing the highlights of the day projected on a wall or a ceiling. Whenever and just about wherever friends gather, the COOLPIX S1000pj's projector can add whole new life to the party by displaying nostalgic pictures or freshly shot images for all to enjoy. Parents can even use the COOLPIX S1000pj to display photos of their own artworks or other images on the ceiling to complement bedtime stories they tell their children.

A handy projector stand is included, as is a remote control that can be used to operate the projector, release the shutter, and more.

Also featured are the precision optics of a 5x zoom NIKKOR lens that provides the compositional freedom of 28mm wide-angle coverage and macro shooting ability from as close as 3 cm (1.2 in.). This combines with the image quality and performance benefits of Nikon's innovative EXPEED digital image-processing concept to help ensure consistently beautiful results produced at the high resolution of 12.1 effective megapixels.

The COOLPIX S1000pj will be available in Black or Warm Silver. (Color name and color availability may vary according to region.)


*
Among digital cameras as of August 4, 2009 (according to research conducted by Nikon Corporation).

Note: Specifications, design, product name, standard accessories, and release schedule may differ by country or area.

Nikon COOLPIX S1000pj Feature Highlights

Sharper results with five advanced Nikon image stabilizing features*1

Nikon's Optical lens shift and Electronic VR image stabilization systems combine to help produce blur-free images. High ISO 6400*2 capability allows faster shutter speeds when shooting in low light or capturing fast-moving subjects. Motion Detection automatically controls shutter speed and the ISO setting to compensate for subject movement and camera shake. And, Nikon's original BSS (Best Shot Selector) function automatically shoots a series of sequential frames and saves the one with the sharpest focus.

*1 The camera selects and uses only the features required to optimize each image.
*2 ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.

Nikon's Smart Portrait System with Skin Softening

Face-priority AF helps produce more satisfying portraits by adjusting focus and exposure for as many as 12 faces in the framed shot. Skin Softening function detects and analyzes a framed subject's skin, and then adjusts smoothness to produce enhanced results. Smile Timer automatically releases the shutter when the subject smiles, while its Blink Proof function shoots two sequential frames, then saves the one in which the subject's eyes are widest open. Blink Warning presents an alert when it suspects that someone in the shot has blinked. In-Camera Red-Eye Fix automatically corrects any perceived red-eye effect before saving the image to memory.

Intelligent automated shooting modes that promote carefree shooting

Nikon's Scene Auto Selector makes it faster and easier to capture the moment by eliminating the need to manually select a scene mode to match the intended shot. This intelligent function determines the subject, analyzes the surrounding settings, and then automatically selects the appropriate scene mode for optimal results. Subject Tracking enhances the shooting experience by following the subject's movement to ensure clear focus and quick response when that special shutter opportunity presents itself. Subject Tracking even functions if the subject moves out of the frame for a second or two.

Quick Retouch

Quick Retouch automatically adjusts the contrast and saturation of selected photos to create an enhanced copy with the right finishing touch.

 

Nikon COOLPIX S1000pj Other Features

  • 2.7-in. high-resolution LCD monitor with anti-reflection coated cover
  • 16 handy scene modes for optimized shooting in various settings
  • D-Lighting
  • Active Zoom
  • Auto Sort and Favorite Pictures functions
  • Four movie modes with sound
  • Time zone function for easy setting of multiple locations
  • Approx. 36 MB of internal memory
  • Hi-Speed USB connectivity

 

Nikon Digital Camera COOLPIX S1000pj Specifications

Effective pixels 12.1 million
Image sensor 1/2.3-in. CCD; total pixels: approx. 12.39 million
Lens 5x zoom NIKKOR; 5.0-25.0mm (equivalent with 35mm [135] format picture angle: 28-140mm); f/3.9-5.8; Digital zoom: up to 4x (35mm [135] format picture angle: 560mm)
Focus range (from lens) 30cm (1 ft.) to infinity (∞), Macro mode: 3cm (1.2 in.) to infinity (∞)
Monitor 2.7-in., approx. 230k-dot, TFT LCD with anti-reflection coating
Storage media Internal memory (approx. 36 MB), SD/SDHC memory cards*1
Image size (pixels) 4000 x 3000 (High: 4000★/Normal: 4000), 3264 x 2448 (Normal: 3264), 2592 x 1944 (Normal: 2592), 2048 x 1536 (Normal: 2048), 1024 x 768 (PC: 1024), 640 x 480 (TV: 640), 3968 x 2232 (16:9: 3968)
Vibration Reduction (VR) Combination lens-shift and electronic VR
ISO sensitivity
ISO 80, 100, 200, 400, 800, 1600, 3200*2, 6400*2, Auto (auto gain ISO 80-800), Fixed range auto (ISO 80-200, 80-400)
Interface Hi-Speed USB
Power sources Rechargeable Li-ion Battery EN-EL12 (supplied), AC Adapter EH-62F (optional)
Battery life Approx. 220 shots with EN-EL12 battery
Dimensions (W x H x D) Approx. 99.5 x 62.5 x 23 mm (4 x 2.5 x 0.9 in.) excluding projections
Weight Approx. 155 g (5.5 oz.) without battery and SD/SDHC memory card
Supplied accessories*3 Rechargeable Li-ion Battery EN-EL12, Battery Charger MH-65, USB Cable UC-E6, Audio Video Cable EG-CP14, Strap AN-CP19, Projector Stand ET-2, Remote Control ML-L4, Software Suite CD-ROM
Optional accessory AC Adapter EH-62F
Projector Brightness*4: up to 10 lumens; Image size: 5 to 40 in.; Throw distance: approx. 26 cm to 2 m (10 in. to 6 ft. 6 in.); Endurance (battery life)*5: approx. 1 hour; Resolution (output): VGA equivalent

*1 Not compatible with Multi Media Cards (MMC).
*2  ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.
*3  Supplied accessories may differ by country or area.
*4  Measurement, measuring conditions and method of notation all comply with ISO 21118.
*5 Based on continuous use of a fully-charged EN-EL12 battery at 25°C/77°F.
System Requirements
OS Macintosh: Mac OS X (version 10.3.9, 10.4.11, 10.5.6, 10.5.7)
Windows: Preinstalled versions of Windows Vista Service Pack 1 (32-bit Home Basic/Home Premium/Business/Enterprise/Ultimate editions), Windows XP Service Pack 3 (Home Edition/Professional)
Note CD-ROM drive required for installation. Only built-in USB ports are supported.

Microsoft®, Windows® and Windows Vista™ are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries.
Macintosh®, Mac® OS and QuickTime® are either registered trademarks or trademarks of Apple Inc. in the United States and/or other countries.
The SDHC logo is a trademark. PictBridge is a trademark.
The FotoNation logo is a trademark.
CompactFlash® and Extreme® are registered trademarks of SanDisk Corporation.
Products and brand names are trademarks or registered trademarks of their respective companies.
Images on displays shown in this brochure are simulated.

Specifications and equipment are subject to change without any notice or obligation on the part of the manufacturer.

Fuente: Nikon News

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6 de agosto de 2009

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Winners - Nikon Photo Contest International 2008-2009 Announcement of Winners

August 6, 2009 - Nikon Corporation (President: Michio Kariya) is pleased to announce the winners of the Nikon Photo Contest International 2008-2009 – one of the world's largest and most prestigious photo contests.

Held since 1969 and currently staged once every other year, the contest provides an opportunity for photographers around the world to communicate and to enrich photographic culture for professionals and amateurs alike.

For the 32nd staging of the contest, the Nikon Photo Contest International 2008-2009 ran with the theme "At the heart of the image," which is also the brand statement of Nikon Imaging Company. Attracting more than 51,000 photographs from 153 countries and regions, or 1.1 times the number of entries than the previous contest, the Nikon Photo Contest International 2008-2009 generated interest from the largest number of countries and regions in recent years.


Cave Of Hope

 

 

 

 

 

Grand Prize winner
"Cave Of Hope"
Maung Maung Gyi (Myanmar)

A total of 54 prize winners were selected from among the large number of entries, with Mr. Maung Maung Gyi from Myanmar selected as the winner of the Grand Prize for his work entitled "Cave Of Hope."

In commenting on the contest, the 10 international photography professionals who formed the international judging panel stated that there were a large number of unique entries with strong, individual views, reflecting the entrants' passion for photography. The judges learned new ways to view photography by experiencing firsthand how other judges in the panels interpreted the works.

The contest aims to attract an even greater number of participants, the end goal being to further develop a venue that allows people from around the world to share their vision, and to thereby actively contribute to the world's photographic culture.

The winners along with their works can be seen on the Nikon Photo Contest International website beginning August 6, 2009 (http://www.nikon-npci.com/).


Overview of the Nikon Photo Contest International 2008-2009

The theme for the 32nd contest was "At the heart of the image" – a theme which is both the brand statement of Nikon Imaging Company and an invitation for photographers to freely express their emotions.

Entries based on this theme were requested in two different categories, "Free subject" and "My Planet." They were accepted from September 1 to November 30, 2008 and were received from all over the world by conventional mail and via the Internet.

The "Free subject" category welcomed all entries that expressed the photographer's emotions in any manner the entrant pleased without restriction. The "My Planet" category called for works that expressed the photographer's feelings about their world, whether that involved the environment, scenes from their daily life, or people and other subjects that stirred their passions.


Summary of Entries

More than 18,000 entrants submitted in excess of 51,000 photographs, with works coming from a total of 153 countries and regions - the largest number of countries and regions from which the contest has attracted entries in recent years.
Beginning with the 29th contest (2002-2003), Internet entries were accepted in addition to those made via conventional mail. The growth of the Internet contributes strongly to the large increase in the number of entries noted for the Nikon Photo Contest International 2008-2009, as well as to the contest becoming a truly global event inviting an ever-greater number of participants from every corner of the world. At the same time, many of the judges expressed concerns regarding the addition of digital effects to photos, seen in a large number of Internet entries. This will undoubtedly become an issue to be examined in the future.


Judging, Awards and Prizes

A team of 10 acclaimed professionals working internationally in various photographic fields was appointed as judges. The judges from Japan were: Mr. Yoshitaka Nakatani, Mr. Kazuyoshi Nomachi, Mr. Kazuyoshi Miyoshi, Ms. Masako Imaoka, Mr. Manabu Miyazaki, Mr. Takashi Yamaguchi, and Ms. Sayaka Ikemoto. The judges from overseas were: Ms. Ami Vitale from the U.S.A., Mr. Alptekin Baloglu from Turkey, and Ms. Claudia Hinterseer from the Netherlands. The judges selected a total of 34 winners: one Grand Prize winner and one NIKKOR 75th Anniversary Award winner, in addition to the 1st, 2nd and 3rd Prize winners for each category.
Added to the 34 prizes above, four winners and 16 runners-up were selected to receive the Emerging Talent Award for outstanding entries from photographers under the age of 30 that exhibit a fresh perspective and convey the energy of youth. This award was created for the 30th contest to encourage young photographers to create and to participate. All in all, a total of 54 winners were selected: Grand Prize (1), NIKKOR 75th Anniversary Award (1), 1st, 2nd, 3rd prizes for the "Free subject" and " My Planet" categories (16 + 16), plus the Emerging Talent Award (4) and runners-up (16).


Winning works of the Nikon Photo Contest International 2008-2009
The Grand Prize

*This prize is awarded to the photograph chosen as the most outstanding among all the entries submitted, regardless of category.

Cave Of Hope

 

"Cave Of Hope" - Maung Maung Gyi (Myanmar)

The Grand Prize was awarded to Mr. Maung Maung Gyi of Myanmar for his work entitled "Cave Of Hope." The photo is a deeply impressive, dramatic entry that is reminiscent of a religious painting. Judges' comments include "there is a depth in this photo that never gets old. If one looks at this photo many years from now, they will still be moved by its quiet yet powerful nature," and "one will be overcome with pious thoughts just by looking at this photo.

 

NIKKOR 75th Anniversary Award
At the heart of the Kaszuby forest

"At the heart of the Kaszuby forest" - Kacper Kowalski (Poland)

* This prize was established to commemorate this year's 75th anniversary of the NIKKOR brand lenses, and is awarded to the outstanding work that places second after the Grand Prize winner.

The NIKKOR 75th Anniversary Award was presented to Mr. Kacper Kowalski of Poland for his work entitled "At the heart of the kaszuby forrest." This image is awe-inspiring thanks to its unique angle and its subject, a never-before-seen landscape.


1st Prize: Free subject category

* This prize is awarded to the most outstanding entry submitted in the "Free subject" category.

* Entries were judged by how well they expressed the photographer's emotions, in any manner and on any subject the entrant pleased.

Quarrel

"Quarrel"  -  Zsolt Kudich (Hungary)

1st Prize was awarded to Mr. Zsolt Kudich of Hungary for his work entitled " Quarrel." This shot captures the split-second expressions of two birds in a tensely set composition. The precise framing beautifully depicting the strength in life, and the strong impact this photo has are testaments to the solid techniques of the photographer.


 

1st. Prize : "My Planet" category

* This prize is awarded to the most outstanding entry submitted in the " My Planet" category.

* Entries were judged by how well they expressed the photographer's feelings about their world, whether that involved the environment, scenes from their daily life, or people and other subjects that stirred their passions.

Friends

 

 

"Friends"
Peter Allinson (U.S.A.)

1st. Prize was awarded to Mr. Peter Allinson of the U.S.A. for his work entitled "Friends." The superb angling of the shot makes the whale look as if it is smiling. This photo raises environmental awareness not by elaborate explanations but with its unstaged portrayal of nature. It shows the photography’s power to convey important messages regardless of generation.


Emerging Talent Awards

* Independent of the Grand, 1st, 2nd, or 3rd Prizes, this award is presented to four photographers under the age of 30 whose photographs show a fresh perspective, demonstrate high-level expressive power and convey the energy of youth.

Selected to receive the award were Ms. Elena Chernyshova of Russia for her work entitled "Flow of Life", Mr. Aydin Berk Bilgin of Turkey for "AMEN2", Mr. Danny Ghitis of the U.S.A. for "Ganges Bather", and Mr. Yuuta Kawai of Japan for "Let's think all." These four works were chosen as those showing power, freshness and a young perspective that indicates great future potential as a photographer.

Flow of Life

 

 

 

Flow of Life
Elena Chernyshova (Russia)

AMEN2

 

 

AMEN2
Aydin Berk Bilgin (Turkey)

Ganges Bathe

 

 

 

Ganges Bathe
Danny Ghitis (U.S.A.)

Let's think all

Let's think all
Yuuta Kawai (Japan)

 

Introductions of all the prize winners and their works can be viewed on the Nikon Photo Contest International website (http://www.nikon-npci.com/). Plans include posting a mini gallery that displays other works by about 20 entrants, including the Grand Prize winner and Emerging Talent Award winners and runners-up.

For further details, please access the official Nikon Photo Contest International Web site at: http://www.nikon-npci.com/

The copyright of award winning photographs of Nikon Photo Contest International 2008-2009 belongs to photographers and is protected by law.
The images can be viewed on your monitor for non-commercial and personal purpose, and should not be used otherwise.
The images are not allowed to be modified, used for commercial purpose, nor should they be publicly displayed.

Fuente: Nikon

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