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fantastica-daily · 6 years ago

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Super-Scares This HALLOWEEN!

Shout! Factory brings us two new blu-rays of classic horror just in time for Halloween, and Firebreathing Films offers up Valentine DayZ in October!

CREEPSHOW -- Masters of the macabre – writer Stephen King and director George A. Romero – conjure up five shocking yarns, each a virtuoso exercise in the ghouls-and-gags style of classic '50s horror comics. A murdered man emerges from the grave for Father's Day cake. A meteor's ooze makes everything ... grow. A professor selects his wife as a snack for a crated creature. A scheming husband plants two lovers up to their necks in terror. A malevolent millionaire with an insect phobia becomes the prey of a cockroach army. Add the spirited performances of an excellent cast (Hal Holbrook, Adrienne Barbeau, Leslie Nielsen, Ted Danson, E.G. Marshall and King himself) and the ghoulish makeup wizardry of Tom Savini, and you have a non-stop, thrilling ride that "plays like an anthology of human phobias" (Roger Ebert)! Includes 40-Page Booklet!

Bonus Features

NEW 4K Scan Of The Original Camera Negative – Color Correction Supervised And Approved By Director Of Photography Michael Gornick

Audio Commentary With Director George A. Romero And Special Make-Up Effects Creator Tom Savini

NEW Audio Commentary With Director Of Photography Michael Gornick

NEW Audio Commentary With Composer/First Assistant Director John Harrison And Construction Coordinator Ed Fountain

NEW Terror And The Three Rivers – A Round Table Discussion On The Making Of Creepshow With John Amplas, Tom Atkins, Tom Savini, And Marty Schiff

NEW The Comic Book Look – An Interview With Costume Designer Barbara Anderson

NEW Ripped From The Pages – An Interview With Animator Rick Catizone

NEW The Colors Of Creepshow – A Look At The Restoration of Creepshow With Director Of Photography Michael Gornick

NEW Into The Mix – An Interview With Sound Re-recordist Chris Jenkins

NEW Mondo Macabre – A Look At Mondo’s Various Creepshow Posters With Mondo Co-Founder Rob Jones And Mondo Gallery Events Planner Josh Curry

NEW Collecting Creepshow – A Look At Some Of The Original Props And Collectibles From The Film With Collector Dave Burian

Audio Interviews With Director Of Photography Michael Gornick, Actor John Amplas, Property Master Bruce Alan Miller, And Make-up Effects Assistant Darryl Ferrucci

Tom Savini’s Behind-The-Scenes Footage

Horror’s Hallowed Grounds – A Look At The Original Film Locations Hosted By Sean Clark

Deleted Scenes

Theatrical Trailers

TV Spot

Radio Spots

Still Galleries – Posters, Lobby Cards, And Movie Stills

Still Galleries – Behind The Scenes Photos

TRICK R TREAT - A creepy, darkly comic celebration of the scariest night of the year from writer-director Michael Dougherty (Krampus, Godzilla: King Of The Monsters), Trick 'r Treat takes the Creepshow/Tales From The Crypt approach to nefarious new depths with four interwoven tales set on Halloween night. A high school principal (Dylan Baker) moonlights as a vicious serial killer; the quest of a young virgin (Anna Paquin) for that special someone takes a gruesome turn; a group of teens carries out a cruel prank with disastrous consequences; and a cantankerous old man (Brian Cox) battles a mischievous trick-or-treating demon.

A whirlwind romance is interrupted by the zombie apocalypse when Sara (Carrie Keagan) is claimed by the virus, and Max (Dallas Valdez) is forced back into a life he thought he left behind.

Amazon

Google Play

iTunes

Steam

Vimeo

Vudu

Microsoft

XBOX

YouTube

#halloween #horror movies #valentinedayz #creepshow #trick-r-treat #shout factory

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yanvaldezphotography · 7 years ago

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Latifa- 2017

#photography #photographer #houstonphotographer #portrait #canon #tom ford #zara #lightroom #yanvaldez #Yan Valdez photography #photoshoot #canon photos #street style #fashion #houston #beauty #beautiful

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olivierdemangeon · 7 years ago

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Synopsis : L’histoire vraie de Barry Seal, un ancien pilote de la twa, arnaqueur dans l’âme, recruté de manière inattendue par la CIA afin de mener à bien l’une des plus grosses opérations secrètes de l’histoire des Etats-Unis. Il profitera de l’occasion pour diversifier ses activités en tant que passeur de drogue pour le cartel de Medellín et servira en même temps les intérêts de la DEA…

Origine du film : États-Unis Réalisateur : Doug Liman Scénariste : Gary Spinelli Acteurs : Tom Cruise, Sarah Wright, Domhnall Gleeson, Jayma Mays, Jesse Plemons, Lola Kirke, Jed Rees, Caleb Landry Jones, Connor Trinneer Musique : Christophe Beck Genre : Action, Biopic, Comédie, Crime Durée : 1 heure et 55 minutes Date de sortie : 13 septembre 2017 (France) Année de production : 2017 Sociétés de production : Cross Creek Pictures, Imagine Entertainment, Quadrant Pictures, Vendian Entertainment Distribué par : Universal Pictures Titre original : American Made Notre note : ★★★☆☆

Notre commentaire : “American Made” ou “Barry Seal: American Traffic” pour la distribution française, est un biopic américain datant de 2017, réalisé par Doug Liman, à qui l’on doit également le récent “The Wall” (2017). Les acteurs principaux sont Tom Cruise, qu’on a pu voir dans “La Momie” (2017), Domhnall Gleeson, qu’on a pu voir dans “The Revenant” (2015), Sarah Wright, qu’on a pu voir dans “Walk of Shame” (2014), Caleb Landry Jones, qu’on a pu voir dans “Get Out” (2017), et Jesse Plemons, qu’on a pu voir dans “Strictly Criminal” (2015).

Les années 1980, c’était le début de l’adolescence pour votre humble chroniqueur de films. Le disco battait le dance floor dans les boums du samedi après-midi. Mais les années 1980, c’est aussi la mort de John Lennon, l’explosion de la navette spatiale Challenger, le début de la prise de conscience du SIDA. Côté catastrophe ce sera Tchernobyl ou encore la marée noire en Alaska provoquée par le naufrage de l’Exxon Valdez. Aux États-Unis, c’est le début des années Ronald Reagan et le début de la fin de la guerre froide avec l’effritement du bloc soviétique. Les Américains se trouvent d’autres guerres, d’autres conflits, d’autres préoccupations. Les problèmes viennent désormais de l’Amérique du Sud. C’est dans ce climat que se concentre l’intrigue de “American Made” et plus précisément sur Barry Seal, un ancien pilote de la société TWA qui a effectué des missions pour la CIA et est devenu un trafiquant de drogue pour le Cartel de Medellín. Afin d’éviter la prison, Barry Seal est devenu un informateur pour la DEA.

Aujourd’hui, avec le recul sur ces années passées, on sait désormais que la CIA organisait des choses par très catholiques en Amérique centrale. De nombreux films traitent d’ailleurs du sujet, comme “Under Fire” (1983) de Roger Spottiswoode avec Nick Nolte, Gene Hackman, Ed Harris, et même un certain Jean-Louis Trintignant. Mais on peut également citer “Salvador” (1986) d’Oliver Stone avec James Woods, “Blow” (2001) de Ted Demme avec Johnny Deep. Plus près de nous, référons-nous à “Infiltrator” (2016) de Brad Furman avec l’excellent Bryan Cranston.

Tom Cruise incarne magnifiquement ce Barry Seal, représentant une nouvelle génération de protagonistes issus de la vraie vie, trop stupides pour se rendre compte qu’ils font n’importe quoi. Il sourit de travers, essayant de cacher ses intentions sous des lunettes d’aviateur, se retrouvant être le pion de la CIA, dont son gestionnaire, incarné par Domhnall Gleeson, s’amuse de sa stupidité. Barry Seal s’engage dans un jeu tronqué dès le départ, avec une mauvaise main. Ce personnage, bien qu’ayant réellement existé, est un composite des deux personnages principaux de “War Dogs” (2016), animé par l’inconscience de “Forrest Gump” (1994).

La question qu’on peut légitimement se poser, c’est : qu’est ce qui rend exactement un homme comme cela ? Mais malheureusement, “Américain Made” ne s’arrête pas vraiment sur cette question. En d’autres termes, le développement du personnage est relativement superficiel. La mise en scène propose des flashbacks permettant de découvrir certains points de vue du principal intéressé. Les scènes d’action sont très bien orchestrées et la bande originale du film est sympathique. Les reconstitutions de décors, les véhicules d’époque et les costumes permettent une bonne immersion dans l’époque.

Au 29 novembre 2017, “Barry Seal: American Traffic” a rapporté 51,2 millions de dollars aux États-Unis et au Canada et 82,2 millions de dollars dans les autres pays, pour un total de 133,4 millions de dollars, contre un budget de production de 50 millions de dollars. À ce jour, ce métrage a obtenu une nomination pour les Detroit Film Critic Society.

“Barry Seal : American Traffic” va faire l’objet d’une édition en DVD ainsi qu’en Blu-ray, à paraître le 16 janvier 2018 chez Universal Pictures Vidéo (France). Pour de plus amples renseignements, n’hésitez pas à consulter la fiche du film sur le site DVD.Fr.

En conclusion, “Barry Seal: American Traffic” est un biopic intéressant, mais sans réelle profondeur. L’histoire se contente de présenter une succession d’événements, leurs conséquences, les différentes répercussions, sans s’intéresser aux motivations profondes qui animent le personnage principal. Le rythme est plutôt rapide et les scènes d’action sont de bonne facture. La photographie offre quelques belles scènes d’aviation. L’intrigue apparaît cependant comme familière, sans réelles surprises. La distribution offre de bonnes prestations, même si le focus est principalement axé sur Tom Cruise. L’ensemble reste divertissant sans pour autant être mémorable.

Bande-annonce :

BARRY SEAL: AMERICAN TRAFFIC (2017) ★★★☆☆ Synopsis : L’histoire vraie de Barry Seal, un ancien pilote de la twa, arnaqueur dans l’âme, recruté de manière inattendue par la CIA afin de mener à bien l’une des plus grosses opérations secrètes de l’histoire des Etats-Unis.

#Caleb Landry Jones #Connor Trinneer #Domhnall Gleeson #Doug Liman #Jayma Mays #Jed Rees #Jesse Plemons #Lola Kirke #Sarah Wright #Tom Cruise

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gerrymotion · 7 years ago

Video

vimeo

CASIO G-SHOCK : NEVER GIVE UP from Autobahn on Vimeo.

ABOUT The time we’re given in our everyday lives is complex, there’s no handbook - the only certainty is the time before us and after us. The 'Never Give Up' campaign, for the Casio G-Shock G-Steel watch collection, explores the journey’s of four men, all on their own distinct paths, sharing how they’ve overcome failure while embracing the lessons within their struggles. We tell the stories of how these men find fulfilment in life, their craft and passions – embracing each day as a fresh canvas.

In the Manifesto film for the campaign, we hear a guiding voice over telling the viewer to not be afraid to fail, but to 'raise your head, look up, go again'. It's not a race against time, but what you do with the rare seconds you’re given. Do what you can’t, go where you aren’t allowed, Never Give Up.

CREDITS Client: Casio Head of Marketing: James Butterworth Brand Marketing Executive: Shani Reid Retail Marketing Manager: Poonam Modhvadia Agency: Autobahn Creative Creative: James Worsley and Pedro de la Fuente Director: James Worsley and Pedro de la Fuente Director of Photography: Pedro de la Fuente Production Company: Autobahn Productions Producer: Thais Altman Production Manager: Kate Brady Line Producers: Evy Bjorn, Hisanori Tamura Assistant Producers: Roberto Akio Yamakawa, Suszano Valdez Edit: Domenico Favata, Daniel Florencio Featuring: Gary Powell, Zac Wholman, Seiichirou Asuke, Ben Wood, Adam Willoughby Score: Studio Uno Mas Composer: Russ Chimes Post Production: The Mill Colourist: Mick Vincent Audio Post Production: Soundnode Sound Designer: Martin Schulz Sound Mix: Daniel Jaramillo, David Crane Voice Over: Richard Fleeshman UK Team 1st AC/Drone Tech: Ivan Wood 2nd AC: Horia Ionescu Gaffer : Drew Wright Spark: Daniel Ansell Production Sound Tech: Morgan Williams Location Manager: Taylan Rutherford Tracking Vehicle: Flyka TV - Jayne Marie Leponis, Wendy Lomas-Williams Make up Artists: Lulu Plews, Emma Borley Stills photographers: Woland Runners: Miles Lacey, Tom Jacobs, Cat Costello, Harry Sharp Behind the scenes videographer: Miguel Thome Oliari Drum Kit Tech: Benny Calvert Drivers: Roger Rose, Alex Loannou, Akbar Ali, Garry Abbot LA Team 1st AC: David Desio 2nd AC: Mike Nelson Ronin Tech: Kevin Burke Drone Operator: Robert Hogg Gaffer: Axel Johansson Spark: Heather Fannan Hair and Make Up: Eden Mills Production Sound Tech: Kenneth Bean Stills photographer: Stefan Wigans Behind the scenes videographer: Travis Blackwell, Tokyo Team 1st AC: Sho Fujii Camera Operator and Movi Tech: James Latimer Gaffer: Seiji Nakane Hair and Make Up: Sanae Mikami Production Sound Tech: H Media Group Stills photographer: Arisa Saki Behind the scenes videographer: Tsuzumi Lisa Takagi Drivers: Conor McCullaugh, Ronnie Hopkins, Dashan Boyce Special thanks to: Casio, The Mill London, Pixi Pixel, Camera Works, Leebra, Trinity Boxing

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andthewinneris23 · 8 years ago

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89 cérémonie des oscars

Meilleur film

Note : la catégorie du meilleur film récompense les producteurs.

Moonlight, produit par Dede Gardner, Jeremy Kleiner et Adele Romanski (en)

Comancheria (Hell or High Water), produit par Carla Hacken et Julie Yorn

Fences, produit par Todd Black (en), Scott Rudin et Denzel Washington

Les Figures de l'ombre (Hidden Figures), produit par Peter Chernin, Donna Gigliotti, Theodore Melfi, Jenno Topping (en) et Pharrell Williams

La La Land, produit par Fred Berger (en), Jordan Horowitz (en) et Marc Platt

Lion, produit par Iain Canning, Angie Fielder et Emile Sherman

Manchester by the Sea, produit par Lauren Beck, Matt Damon, Kimberly Steward (en), Chris Moore (film producer) (en) et Kevin J. Walsh

Premier Contact (Arrival), produit par Shawn Levy, Dan Levine, Aaron Ryder et David Linde

Tu ne tueras point (Hacksaw Ridge), produit par Bill Mechanic (en) et David Permut (en)

Meilleur réalisateur

Damien Chazelle pour La La Land

Denis Villeneuve pour Premier Contact (Arrival)

Mel Gibson pour Tu ne tueras point (Hacksaw Ridge)

Kenneth Lonergan pour Manchester by the Sea

Barry Jenkins pour Moonlight

Meilleur acteur

Casey Affleck pour le rôle de Lee Chandler dans Manchester by the Sea

Andrew Garfield pour le rôle de Desmond Doss dans Tu ne tueras point (Hacksaw Ridge)

Ryan Gosling pour le rôle de Sebastian Wilder dans La La Land

Viggo Mortensen pour le rôle de Ben Cash dans Captain Fantastic

Denzel Washington pour le rôle de Troy Maxson dans Fences

Meilleure actrice

Emma Stone pour le rôle de Mia Dolan dans La La Land

Isabelle Huppert pour le rôle de Michèle Leblanc dans Elle

Ruth Negga pour le rôle de Mildred Loving dans Loving

Natalie Portman pour le rôle de Jackie Kennedy dans Jackie

Meryl Streep pour le rôle de Florence Foster Jenkins dans Florence Foster Jenkins

Meilleur acteur dans un second rôle

Mahershala Ali pour le rôle de Juan dans Moonlight

Jeff Bridges pour le rôle de Marcus Hamilton dans Comancheria (Hell or High Water)

Lucas Hedges pour le rôle de Patrick Chandler dans Manchester by the Sea

Dev Patel pour le rôle de Saroo Brierley dans Lion

Michael Shannon pour le rôle de Bobby Andes dans Nocturnal Animals

Meilleure actrice dans un second rôle

Viola Davis pour le rôle de Rose Lee Maxson dans Fences

Naomie Harris pour le rôle de Paula dans Moonlight

Nicole Kidman pour le rôle de Sue Brierley dans Lion

Octavia Spencer pour le rôle de Dorothy Vaughan dans Les Figures de l'ombre

Michelle Williams pour le rôle de Randi dans Manchester by the Sea

Meilleur scénario original

Manchester by the Sea – Kenneth Lonergan

Comancheria (Hell or High Water) – Taylor Sheridan

La La Land – Damien Chazelle

The Lobster – Yórgos Lánthimos et Efthimis Fillippou

20th Century Women – Mike Mills

Meilleur scénario adapté

Moonlight – Barry Jenkins et Tarell Alvin McCraney, d'après la pièce Au clair de lune, les noirs paraissent bleus de Tarell Alvin McCraney

Premier Contact (Arrival) – Eric Heisserer (en), d'après le livre L'Histoire de ta vie de Ted Chiang

Fences – August Wilson, d'après sa propre pièce du même nom (en)

Les Figures de l'ombre (Hidden Figures) – Allison Schroeder et Theodore Melfi, d'après le roman du même nom de Margot Lee Shetterly

Lion – Luke Davis, d'après le livre Un long chemin de Saroo Brierley et Larry Buttrose

Meilleurs décors

La La Land – Sandy Reynolds-Wasco et David Wasco

Premier Contact (Arrival) – Patrice Vermette (en) et Paul Hotte

Les Animaux fantastiques (Fantastic Beasts and Where to Find Them) – Stuart Craig et Anna Pinnock

Ave, César ! (Hail, Caesar!) – Jess Gonchor (en) et Nancy Haigh

Passengers – Guy Hendrix Dyas et Gene Serdena (en)

Meilleurs costumes

Les Animaux fantastiques (Fantastic Beasts and Where to Find Them) – Colleen Atwood

Alliés – Joanna Johnston

Florence Foster Jenkins – Consolata Boyle (en)

Jackie – Madeline Fontaine

La La Land – Mary Zophres

Meilleurs maquillages et coiffures

Suicide Squad – Alessandro Bertolazzi, Giorgio Gregorini et Christopher Nelson

Mr. Ove (en) (En man som heter Ove) – Eva von Bahr (en) et Love Larson (en)

Star Trek : Sans limites (Star Trek Beyond) – Joel Harlow (en) et Richard Alonzo

Meilleure photographie

La La Land – Linus Sandgren

Premier Contact (Arrival) – Bradford Young (en)

Lion – Greig Fraser

Moonlight – James Laxton (en)

Silence – Rodrigo Prieto

Meilleur montage

Tu ne tueras point (Hacksaw Ridge) – John Gilbert

Premier Contact (Arrival) – Joe Walker

Comancheria (Hell or High Water) – Jake Roberts

La La Land – Tom Cross

Moonlight – Joi McMillon et Nat Sanders

Meilleur montage de son

Premier Contact (Arrival) – Sylvain Bellemare (en)

Deepwater (Deepwater Horizon) – Wylie Stateman (en) et Renée Tondelli

Tu ne tueras point (Hacksaw Ridge) – Robert McKenzie et Andy Wright (en)

La La Land – Ai-Ling Lee et Mildred Iatrou Morgan

Sully – Alan Robert Murray et Bub Asman

Meilleur mixage de son

Tu ne tueras point (Hacksaw Ridge) – Kevin O'Connell (en), Robert McKenzie, Andy Wright (en) et Peter Grace

Premier Contact (Arrival) – Bernard Gariépy Strobl et Claude La Haye

La La Land – Andy Nelson, Ai-Ling Lee et Steve A. Morrow

Rogue One: A Star Wars Story – David Parker, Christopher Scarabosio (en) et Stuart Wilson (en)

13 Hours (13 Hours: The Secret Soldiers of Benghazi) – Greg P. Russell (en), Gary Summers, Jeffrey J. Haboush (en) et Mac Ruth (en)

Meilleurs effets visuels

Le Livre de la jungle (The Jungle Book) – Robert Legato (en), Adam Valdez, Andrew R. Jones (en) et Dan Lemmon (en)

Deepwater (Deepwater Horizon) – Craig Hammeck, Jason Snell (en), Jason Billington, et Burt Dalton (en)

Doctor Strange – Stephane Ceretti (en), Richard Bluff, Vincent Cirelli et Paul Corbould (en)

Kubo et l'Armure magique (Kubo and the Two Strings) – Steve Emerson, Oliver Jones, Brian McLean et Brad Schiff

Rogue One: A Star Wars Story – John Knoll, Mohen Leo, Hal Hickel et Neil Corbould (en)

Meilleure chanson originale

City of Stars dans La La Land – Paroles et musique : Benj Pasek, Justin Paul et Justin Hurwitz

Audition (The Fools Who Dream) dans La La Land – Paroles et musique : Benj Pasek, Justin Paul et Justin Hurwitz

Can't Stop the Feeling! dans Les Trolls (Trolls) – Paroles et musique : Justin Timberlake, Max Martin et Karl Johan Schuster

The Empty Chair dans Jim: The James Foley Story – Paroles et musique : J. Ralph et Sting

How Far I'll Go dans Vaiana : La Légende du bout du monde (Moana) – Paroles et musique : Lin-Manuel Miranda

Meilleure musique de film

La La Land – Justin Hurwitz

Jackie – Mica Levi

Lion – Dustin O'Halloran et Hauschka

Moonlight – Nicholas Britell

Passengers – Thomas Newman

Meilleur film en langue étrangère

Le Client (فروشنده) – Asghar Farhadi Iran (en persan)

Mr. Ove (en) (En man som heter Ove) – Hannes Holm (en) Suède (en suédois)

Les Oubliés (Under sandet) – Martin Zandvliet Danemark (en danois)

Tanna – Martin Butler et Bentley Dean Australie (en nauvhal)

Toni Erdmann – Maren Ade Allemagne (en allemand)

Meilleur film d'animation

Zootopie (Zootopia) – Byron Howard, Rich Moore et Clark Spencer (en)

Kubo et l'Armure magique (Kubo and the Two Strings) – Travis Knight (en) et Arianne Sutner

Vaiana : La Légende du bout du monde] (Moana) – John Musker, Ron Clements et Osnat Shurer (en)

Ma vie de Courgette (My Life as a Zucchini) – Claude Barras et Max Karli

La Tortue rouge (The Red Turtle) – Michael Dudok de Wit et Toshio Suzuki (en)

Meilleur film documentaire

O.J.: Made in America (en) – Ezra Edelman (en) et Caroline Waterlow

Fuocoammare – Gianfranco Rosi et Donatella Palermo (it)

I Am Not Your Negro (en) – Raoul Peck, Rémi Grellety et Hébert Peck

Life, Animated (en) – Roger Ross Williams et Julie Goldman (en)

Le 13e (en) (13th) – Ava DuVernay, Spencer Averick et Howard Barish (en)

Meilleur court métrage de fiction

Sing – Kristóf Deák et Anna Udvardy

Ennemis intérieurs – Sélim Azzazi

La Femme et le TGV – Timo von Gunten et Giacun Caduff

Silent Nights (en) – Aske Bang (de) et Kim Magnusson (en)

Timecode – Juanjo Giménez

Meilleur court métrage d'animation

Piper – Alan Barillaro et Marc Sondheimer

Vaysha, l'aveugle (Blind Vaysha) – Theodore Ushev

Borrowed Time – Andrew Coats et Lou Hamou-Lhad

Pear Cider and Cigarettes (en) – Robert Valley et Cara Speller

Pearl – Patrick Osborne

Meilleur court métrage documentaire

Les Casques Blancs – Orlando von Einsiedel et Joanna Natasegara

Extremis (film) (en) – Dan Krauss

4.1 Miles (en) – Daphne Matziaraki

Joe's Violin (en) – Kahane Cooperman et Raphaela Neihausen

Watani: My Homeland (en) – Marcel Mettelsiefen (de) et Stephen Ellis

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eastcountytoday · 8 years ago

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On Saturday the Antioch Rotary Club hosted its 2nd Annual 5k Bunny Hop with 280 participants helping raise funds that go back into the local community.

Greg Hintz as he approaches the finish line

The race was held at the Dow wetlands which saw Greg Hintz of Portola Valley take top prize with a time of 21:51.42 followed by David Gatti of Antioch with a time of 23:05.93. Antioch City Manager Ron Bernal took third at 23:08.66.

State Superintendent of Public Instruction Tom Torlakson also participated and took third in his age group (60-69) with a time of 31:13.12. Nick Pardo won the division with a time of 28:29.89.

On the women’s side, Megan Faulkner of Brentwood took top prize with a time of 24:06.35 followed by Sage Wilcox of Antioch (24:31.05) and Sarah Feliz of Reno (25:19.17)

Antioch Rotary Club President Milanka Schneiderman thanked the community and local businesses for their support.

“We were very happy with the turnout in the 5k,” said Schneiderman. “We were very excited by the sponsorship of this event by community leadership in Antioch. This was a great family event that showed off the beauty of Antioch, but also will benefit school. We were honored to have State Superintendent of Schools Tom Torlakson and a representative from Assemblyman Jim Frazier at our event along with Mayor Sean Wright.”

Here are the top 10 Overall Men’s finishers

1 Greg Hintz M Portola Valley CA 21:51.42 2 david gatti M Antioch CA 23:05.93 3 Ron Bernal M Antioch CA 23:08.66 4 Sid Valdez M Antioch CA 23:59.35 6 Sam Schneiderman M Antioch CA 24:21.02 8 Nicholas Salas M Antioch CA 24:50.32 9 Tony Salinaro M Antioch CA 25:04.04 10 Jose Caballero III M Oakley CA 25:16.98 12 Lukas Rathjen M Elkhorn NE 25:42.9 17 Kelly Burch M Scotts Valley CA 27:00.29

Here is a look at the top 10 female finishers

5 Megan Faulkner F Brentwood CA 24:06.35 7 Sage Wilcox F Antioch CA 24:31.05 11 Sarah Feliz F Reno NV 25:19.17 13 Chandi Sexton F Antioch CA 26:26.93 14 Lauren Rathjen F Elkhorn NE 26:39.68 15 Stacey Duckett F Antioch CA 26:36.02 16 Brynn Faulkner F Brentwood CA 26:55.24 18 Stacie Daoust Burch F Scotts Valley CA 27:00.41 20 Maria Nguyen F Oakley CA 27:06.88 25 Rayna Cawley F Antioch CA 27:39.55

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For more on the Antioch Rotary Club, visit them at www.antiochrotaryclub.org while more photographs of the Bunny Hop can be viewed at their Facebook Page courtesy of Michael Pohl Photography.

Family Friendly Antioch Rotary 5K Bunny Hop Helps Raise Funds for Community On Saturday the Antioch Rotary Club hosted its 2nd Annual 5k Bunny Hop with 280 participants helping raise funds that go back into the local community.

#Antioch Rotary #City of Antioch #David Gatti #Greg Hintz #Jim Frazier #Megan Faulkner #Milanka Schneiderman #Ron Bernal #Rotary #Sage Wilcox #Sarah Feliz #Sean Wright #Tom Torlakson

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exfrenchdorsl4p0a1 · 8 years ago

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Blue Earth Alliance: Collaboration is key for photography that makes a difference

Natalie Fobes on assignment in Russia for National Geographic. Fobes is an award-winning photographer who founded the nonprofit Blue Earth Alliance in order to work with photographers to share their stories.

“You don’t have to travel overseas to make a difference with your photography. Your world starts outside your front door,” says Natalie Fobes, a Seattle-based photographer with a resume many photographers dream of. Assignments for major magazines including National Geographic, dozens of awards as well as being a finalist for a Pulitzer, a photography instructor with courses on Lynda.com, and now a successful wedding and commercial photography business in Seattle, Washington where she lives with her family.

It all might sound a little intimidating, but spend just a few minutes in conversation with Fobes and you'll come to understand not only her passion for the power of photography, but how much she wants to help other photographers succeed.

Almost 22 years ago Fobes formed the non-profit Blue Earth Alliance, along with fellow photographer Phil Borges and attorney Malcolm Edwards, who provided legal guidance. The philosophy behind Blue Earth Alliance is simple – photography and filmmaking can lead to positive change.

DPReview had the opportunity to talk with Fobes about Blue Earth Alliance, the impact of photography and the mission of Blue Earth Alliance.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

The opportunity to share her photographs and the difficulty in finding funding lead Fobes to collaborate and begin Blue Earth Alliance. Photo by Natalie Fobes.

Blue Earth Alliance was formed almost 22 years ago to help photographers. Why did you feel it was needed?

I had just had a book published, had spent 10 years traveling the Pacific Rim and was doing well and I was approached to put together a traveling exhibit. It was expensive to put on the exhibit and hard to find sponsors. I was told if I had been a 501(c)(3) sponsors could help, and I learned other photographers were having similar problems. We saw the media landscape was changing and it was going to get harder to do long documentary projects.

I think the underlying philosophy of Blue Earth Alliance is we feel an individual can make a difference in this world. There are so many things that need attention: the environment, disappearing cultures, social issues or a local situation. These are all things that matter in our lives, no matter if you live in a small town or in New York City or Seattle. By raising awareness of these issues, you can make a difference; you can make a change. It’s a very high level look, but I think that no matter who you are -- whether you’re a professional photographer or advanced amateur -- you recognize the power of photography.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Photojournalist Tom Reese spotlights the devastation of toxic waste in his project, “Choosing Hope: Reclaiming The Duwamish River.” Photo by Tom Reese.

Can you explain how Blue Earth Alliance works with photographers who become sponsored?

First, I need to be very clear: Blue Earth does not provide direct funding or grants. That is a common misconception about Blue Earth. The biggest service Blue Earth provides is fiscal sponsorship. This is a huge asset to individual photographers and filmmakers since when we accept a project for sponsorship we extend our 501(c)(3) status to it. The photographer/filmmaker can then apply for grants from organizations and foundations that only donate to a 501(c)(3). After 21 years, we have a great reputation with funders for sponsoring worthwhile projects. Blue Earth provides a vetted seal of approval for donors.

Sometimes photographers and filmmakers just need encouragement for their projects. More than one photographer has mentioned that when Blue Earth selected their project for sponsorship, it encouraged and inspired them to continue their work.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Daniel Beltra’s project has documented conservation around the planet. He has shot on all seven continents, many of his photographs are shot from the air. Photo by Daniel Beltra.

Blue Earth Alliance has sponsored more than 134 photography and filmmaking projects over the last two decades. Can you reflect on a few that have had an impact?

We have had had many, but a couple that stand out. These projects can start the conversation, even raise the visibility of some of these issues. One was a really long term project by the late Gary Braasch. He came on board in the late 90’s, early 2000 and was talking about global warming before it became popular. It was important work in that it elevated the conversation because of his photography and his dedication.

Another is Subhankar Banerjee and his story about the Arctic National Wildlife Refuge and how important it was to keep that area pristine. He had worked at Boeing and had no professional photography experience. He came to us and wanted to do this project and applied for sponsorship.

He spent a couple of years in the Arctic and showed how beautiful it was even when some senators were calling it a frozen wasteland. The Preserve is one of the last pristine areas of that particular environment and there was a lot of discussion about oil, a lot of senators wanted to open it out to oil exploration. He also contracted with a number of museums including the Smithsonian to exhibit his work from this project. In one of the Senate debates about drilling in the refuge Senator Boxer held up his book.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Katherine Jack’s project with Blue Earth Alliance is documenting life in the Palawan Sea, in the Philippines and how changes to our marine ecosystem is affecting the life of the Palawan residents.

What are the steps a photographer would need to take to get support from Blue Earth Alliance? What are the criteria that makes a project worthwhile?

Blue Earth accepts project proposals twice a year: January 20 and July 20. The submission requirements can be found on our website. In a proposal we look for a clear description of the project, a unique viewpoint or topic and clarity around how the project fits within the Blue Earth mission. Having a project with a 501c3 status does not mean that money magically appears. Finding funding can be difficult, and it takes time to thoughtfully research funders and write grants.

When we review our project proposals one of the first things I look at their budget to see if they know what they are doing financially.

We have a responsibility to make sure funds are used as they should be. One of the first things I look for is are the photographers paying themselves, through a stipend. We are too important not to pay ourselves.

Blue Earth wants our project photographer/filmmakers to succeed, and we scrutinize all proposals in order in ensure that likelihood.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Greg Constantine’s decade-long project, Nowhere People, focuses on the plight of people forced from their homes, without citizenship and looks at the challenges of their daily lives and their future. Photo by Greg Constantine.

What advice do you have to photographers who are looking for a way to use their photography to make a difference?

Photographers and filmmakers should try to form coalitions with other like-minded people and organizations. I believe in the strength of an individual. But I believe in the power that comes when individuals come together for a common goal.

Photographers and filmmakers also need to realize that one grant will seldom fund their entire project. They should apply for many: large, small and in-between. For my first long-term project I used my savings, a grant and assignments to fund it.

It’s imperative to create a coalition of funders. Funders like to see support from other organizations when considering an application. They see it as a third-party endorsement of the photographer/filmmaker and the project. It’s true that success leads to success.

Photographers and filmmakers often forget, or are afraid of, including friends and family in their fundraising efforts. People are often more likely to give a donation to someone they know. Crowd-sourcing websites make fundraising campaigns much easier than in the past.

If a photographer doesn’t believe they can make a difference then they won’t.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Natalie Fobe’s captured the extensive damage of the Exxon Valdez oil spill in Prince William Sound while on a three month assignment for National Geographic. Photo by Natalie Fobes.

Your photography has included extensive work around the Pacific Salmon, wildlife and landscapes. What are you most proud of?

I think probably the work that may have had the most impact on society was the Exxon Valdez oil spill in. That was also the hardest story I photographed because of the difficulty of the working conditions and getting access. And the chaos, the chaos of the spill and the emotional impact of the destruction of the environment. The horrible pain that the animals and birds suffered and the people too.

This happened in a beautiful pristine area that was home and sustenance for the native Alaskans but also the commercial fishermen and townspeople who lived there.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Annie Musselman's first project with Blue Earth Alliance focused on the delicate balance of human impact on wild animals. Her project Wolf Haven documents animals in sanctuaries. Photo by Annie Musselman.

What does the future hold for Blue Earth Alliance?

We are an organization with a passionate and dedicated board that donates thousands of hours each year to our mission.

We hold an annual conference “Collaborations for Cause.” This will be held in May 5-6, 2017, in Seattle. The goal of Collaborations for Cause is to put non-profits, educators, communications professionals and visual storytellers in the same room for education, inspiration and networking. Presentations and interviews of our past speakers can be viewed at photowings.org.

Our conference supports our mission to form a coalition of non-profits and visual storytellers. We hope that our photographers’ projects educate the public about important issues. Simply: we want our projects to change the world for the better.

Blue Earth Alliance: Collaboration is key for photography that makes a difference

Photographer Tim Matsui’s project focused on human trafficking and lead to the film, 'Leaving the Life' as well as working with King County Government in Washington State to create policy around human trafficking. Photo by Tim Matsui.

DPReview also spoke with Tim Matsui, a photographer who has worked on two projects in conjunction with Blue Earth Alliance. He explains how the organization helped him to make a difference with his photography.

I first went to Blue Earth because I was ‘just a photographer’ and unable to apply to many foundation grants or other funding opportunities. I was doing grassroots fundraisers, silent auctions, even burger-beer events with local businesses willing to support my work with their proceeds. Old school.

Leaving the Life is my second project with Blue Earth. My first one, over a decade ago, used documentary multimedia—when slide projectors and dissolve units were still a thing—to create dialog about the lasting effects of sexual violence on individuals and communities.

Being accepted at that time was not only validating of the social justice work I felt compelled to do, but it opened the door to foundation grants and private donations; something I knew very little about.

The learning curve was steep, but I was no longer ‘just a photographer.’ I was in the company of others who were much more accomplished than myself. I had access to their knowledge and this helped me understand how I could increase the impact and reach of my work.

Years later, when I realized Leaving the Life and The Long Night could create impact, I reapplied to Blue Earth. This allowed me to receive a grant from The Fledgling Fund. That grant lead to the policy work I’ve done with King County government.

In fact, it was a screening of The Long Night at Collaborations for Cause where I met a King County employee who became instrumental in my work with King County. Without her, I doubt that two-year journey would have come to fruition.

Blue Earth continues to support my work as I’m now looking for investors for a follow up film to The Long Night— these are people who see their return on investment not as financial renumeration, but policy change. And through Blue Earth I’ve had the opportunity to share what I’ve learned about using film to support social and policy change. Blue Earth is grassroots, created and run by photojournalists, and helping stories have impact is woven into the fabric of the organization. That matters to me.

Blue Earth Alliance's Collaborations for Cause takes place May 5th and 6th in Seattle. You can find the speaker schedule and registration information online at blueearth.org.

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