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A abordagem do Guardian

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Firestorm: The story of the bushfire at Dunalley

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What happened to the family that hid in the water? The Holmes family speak exclusively to the Guardian in a multimedia journey exploring what happened the day fire devastated their town

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Are You Living an Insta Lie? Social Media Vs. Reality

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Contar histórias num livro digital é a proposta desta ferramenta. O resultado é cativante e a ferramenta é de simples utilização. Um exemplo: https://storybird.com/chapters/strings/1/

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Storybird - Read, write, discover, and share the books you'll always remember.

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Become a better writer with Storybird's creativity tools. Online courses, challenges, and reader feedback will help you improve your writing.

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Ferramenta para criar vídeos animados de forma simples e intuitiva. Permite ainda colocar som, o que pode permitir narrar uma história ou ter uma banda sonora de fundo.

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Powtoon | Create Awesome Videos Yourself

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Powtoon gives you everything you need to easily make professional videos and presentations that your clients, colleagues, and friends will love! No design or tech skills are necessary - it's free, easy, and awesome!

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Esta ferramenta é uma das mais completas para digital storytelling. É um pouco mais complexa de utilizar do que as restantes. O texto pode ter aqui um papel essencial, a partir do qual todos os elementos multimédia podem ser introduzidos. É uma ferramenta muito interessante para trabalhos de investigação dos/as estudantes.

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No code required

Say goodbye to developer bottlenecks and escalating costs with our human-friendly story editor.

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Create interactive stories for the web with Shorthand

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No code required Say goodbye to developer bottlenecks and escalating costs with our human-friendly story editor. Always responsive Shorthand stories are designed to render beautifully across mobile, tablets, and desktop. On brand Let our designers build a custom theme for your stories, with your brand fonts, colours, logos, and more.

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Ferramenta que permite introduzir elementos de interatividade em cima de uma imagem de fundo. Podemos ter galerias de imagens, vídeos, textos, ligações externas e até som. Pode permitir fazer trabalhos muito completos.

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ThingLink: Create unique experiences with interactive images, videos & 360° media

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Easily create interactive and immersive visual experiences for online communication and learning. Start a free trial!

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Esta ferramenta é similar ao Pixton, permitindo criar histórias digitais. Aqui está um exemplo de utilização em contexto de sala de aula: https://www.storyboardthat.com/pt/lesson-plans/romeu-e-julieta-por-william-shakespeare

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Software de Storyboard Grátis – Criador de Storyboard Online

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Storyboard That : Criação fácil de storyboards online! Perfeito para cineastas, professores e estudantes. Crie storyboards e quadrinhos com Storyboard That hoje mesmo!

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Criar histórias de banda desenhada é muito simples com o Pixton. É uma interessante e diferente abordagem para utilizar em sala de aula.

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Pixton Comic & Storyboard Builder for Education

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Educators! Learn how to use Pixton in the classroom. Set up your classroom and begin teaching any subject in minutes through the super-power of comics.

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Construir nuvens de palavras é a proposta desta ferramenta. O Wordle é muito simples de utilizar e permite configurar a nuvem de palavras e depois descarrega-la.

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wordle Is a website that combines vocabulary for all types of clouds in both Thai and Thai languages

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HOME - wordle Is a website that combines vocabulary for all types of clouds in both Thai and Thai languages

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Wordle is a wizard. "word cloud" from text as typed by the user The prominence of the cloud depends on the words that appear frequently in the original text. which can customize the characters according to the desired style, such as fonts, layout styles and font color Images created through Wordle can be used in...

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Esta é uma das mais interessantes ferramentas para criar gráficos e infografias com interatividade informativa, ou seja, o utilizador passa o rato por cima e tem mais informação sobre algo.

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Infogram is an intuitive visualization tool that empowers people and teams to create beautiful content.
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Design with ease

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Create Infographics, Reports and Maps - Infogram

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Infogram is an easy to use infographic and chart maker. Create and share beautiful infographics, online reports, and interactive maps. Make your own here.

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Esta ferramenta permite criar infografias e timelines de forma intuitiva, arrastando símbolos ou imagens, a partir de desenhos que já existem. Podemos adaptar e construir a nossa própria infografia ou timeline. Uma enorme vantagem é que podemos adicionar interatividade.

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easel.ly | create and share visual ideas using infographics

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Easel.ly is a simple web tool that empowers anyone to create and share powerful visuals (infographics, posters)... no design experience needed! We provide the canvas, you provide the creativity.

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É uma ferramenta similar ao Canva, também muito intuitiva e com inúmeras opções. Pode ser uma excelente solução para trabalhar digital storytelling.

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O que está incluso:

+100 mil modelos de design

Mais de 1 milhão de imagens, vídeos e vetores

Fontes, músicas, animações, fundos e objetos gratuitos

1 kit de marca para seu logotipo, cores e fontes

Recurso estilos

Agendador de redes sociais para Facebook, Instagram e Pinterest

Logomaker para criar logotipos personalizados

10 GB de armazenamento

O pacote completo do Starter, mais:

Mais de 70 milhões de imagens, vídeos e vetores

Conta de equipe

Kits de marca ilimitados

Armazenamento ilimitado

Recurso de remoção de fundo

Recurso de redimensionamento

Criador de adesivo

Histórico de versões

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VistaCreate - Software gratuito de design gráfico com mais de 100.000 modelos gratuitos

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O que está incluso: +100 mil modelos de design Mais de 1 milhão de imagens, vídeos e vetores Fontes, músicas, animações, fundos e objetos gratuitos 1 kit de marca para seu logotipo, cores e fontes Recurso estilos Agendador de redes sociais para Facebook, Instagram e Pinterest Logomaker para criar logotipos personalizados 10 GB de armazenamento O pacote completo do Starter, mais: Mais de 70 milhões de imagens, vídeos e vetores Conta de equipe Kits de marca ilimitados Armazenamento ilimitado Recurso de remoção de fundo Recurso de redimensionamento Criador de adesivo Histórico de versões

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Ferramenta para criar infográficos e posters. Os produtos podem ser interativos ou não. O Piktochart tem desenhos que podemos utilizar e adaptar.

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Infographic Maker Trusted By 11 Million Users - Piktochart

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With Piktochart AI, you can create stunning infographics, reports, presentations, and more in seconds. No design experience needed. Start for free.

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Ferramenta que permite criar produtos de desenho gráfico muito variados (como infografias ou posts específicos para redes sociais), disponibilizando inúmeros templates e formatos para diferentes utilizações. É muito intuitiva e simples de utilizar.

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Canva is a free-to-use online graphic design tool. Use it to create social media posts, presentations, posters, videos, logos and more.

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Para promover o brainstorming com os alunos há várias ferramentas interessantes. Um recurso que recomendamos é o Padlet. É simples de criar e permite que cada estudante possa aceder através do link e deixar "post its". Esta forma de promover o brainstorming pode ser realizada em dois momentos: brainstorming individual dos alunos no Padlet e posterior análise das ideias geradas e novo brainstorming no próprio Padlet com o/a professor/a a agregar as propostas.

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A storyline é a primeira apresentação da ideia. Sem detalhe, conta a história de forma sucinta, sintética e completa (Comparato, 1983). Uma ferramenta que pode ajudar a registar os vários momentos do guião e, por isso, também a storyline é o Google Drive.

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O guião pode ser estruturado de diferentes formas, consoante a ferramenta que se utiliza. Pode ser esquematizado de forma simples: quais os conteúdos, quais as ligações entre ele, quais as ligações externas, qual a ação necessária do utilizador para que algo aconteça (o que apenas se verifica em produtos que sejam interativos). O storyboard pode ser uma grande ajuda se estamos a trabalhar com vídeo, já que podemos desenhar o que se pretende em cada plano. Para construir o guião e o storyboard (sempre que se aplique), Uma folha em branco partilhada entre todos pode ajudar. Se a folha for digital, melhor! Por isso, também o Google Drive pode ser uma ajuda neste etapa do trabalho.

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A edição de produtos de digital storytelling é geralmente feita no próprio software que escolhemos para produzir o nosso trabalho. Eventualmente podemos utilizar softwares externos e simples para editar imagens (http://www.pixlr.com), som (Audacity) ou vídeo (Movie Maker). A publicação também quase sempre ocorre no software em que estamos a trabalhar. Mas temos outras ferramentas simples de utilizar como o Weebly (https://www.weebly.com/) ou o Wordpress (https://wordpress.com/), que nos permitem criar páginas web.
A partilha com a comunidade pode ser feita através de redes sociais, emails, fóruns...

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Educational Uses of Digital Storytelling

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Educational Uses of Digital Storytelling

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Exemplos de usos de digital storytelling na Educação

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Educational Uses of Digital Storytelling

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" One of the reasons that digital stories fit so well with today's students is that they incorporate the skills, tools, and practices that resonate with contemporary learners."

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Coleção no History Pin

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arquivo municipal de lisboa's collection

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Arquivo Municipal de Lisboa's Collection

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New: hardcover, 64-page book now available. Order here.

If all journeys are teachers, it may well be that a journey to India is the greatest teacher of all. As Kurt Vonnegut said, 'Bizarre travel plans are dancing lessons from God', and it was in search of a new dance that I purchased a one-way ticket on the longest train in India.

Timelapse video:

Indian Railways train #15906, the Dibrugarh-Kanyakumari Vivek Express, travels 4,273km as it winds its way from the north-eastern corner of Assam to the southernmost tip of mainland India, an 85-hour journey which gives it the prestigious title of the longest train in India, by both time and distance. It departs Dibrugarh at 10:45pm on Saturday and arrives in Kanyakumari at around 11am Wednesday, three days and 4 nights. The first part of the journey is in darkness, and making your bed and meeting your neighbours are the only activities. When the sun rises, the lovely hill station of Diphu, Assam slides by, shrouded in a light fog.

The train itself is 21 cars long, and fully loaded, carries over 1800 people, 3 or 4 times the capacity of a modern jetliner, or perhaps equal to the population of a small town. There are 4 classes of accommodation on the train: 2 and 3 tier AC (two or three levels of bunks), sleeper (also 3 tier, but no air conditioning) and unreserved (floor to ad hoc hammock... anything goes). There is also a pantry car with a kitchen, and various luggage and specialty cars, plus an electric locomotive.

Bathroom facilities are a bit grim, and you can forget about a proper shower. Tip: pack baby-wipes and hand sanitizer.

The conductor verifies my ticket, and I quiz him for trivia. He searches through the jumbled mass of loose paper in his lap, and it turns out I'm the only person doing the entire 4,273km trip, passengers or staff. I'm haunting #15906 on this run.

So, what is there to do for 85 hours on a train? No shortage of things, it turns out, especially shopping.

The train is plied by vendors and vagabonds of all kinds, at all hours. You can buy bracelets, batteries, or donate to a beggar, procure wristwatches, wicker-ware, a new wallet or mouthwash, invest in a cellphone, a bedsheet, a comb or a set of headphones, and purchase food ranging from bananas to biryani, eggs hardboiled or omelette-ized, idli, vada, tomato soup, water or chocolate, soft drinks (but no booze) and one hundred varieties of chaat...a cornucopia of snacks. The train is a rolling street market, complete with the odd acrobatic act tumbling deftly down the aisle, and occasionally punctuated by the two sharp claps of a hijra making her way through the coaches collecting alms.

But, most importantly, you can buy little cups of chai.

Tea is ritual in India, and doing garam garam chai shots on the train & platforms is a vital part of the experience. I was determined to track my chai consumption, but lost count in a caffeinated delirium about 48 hours in. Tip: a wallet full of 10 rupee notes is necessary preparation for adequate caffeination.

All that consumption produces a fair amount of garbage, and I was initially encouraged to discover that a cleaning crew swept through the train once a day. I wondered where all the collected refuse went, since there were no garbage receptacles, and sadly, the tracks are consistently and liberally littered with trash, for good reason:

Station stops are highlights, and increasingly familiar nods to fellow passengers waiting in the doorway as you pull into a new station herald conversation and new friends. If the train is a street market, train platforms are street markets on speed. Vendors have only minutes to sell as many cups of chai, samosas, idlies and vadas as possible, and the platforms are filled with as unique and varied a set of calls as any jungle.

Listen: Vendors at Vijayawada Junction, Andhra Pradesh

The romance of train travel is legendary, and while I think 85 hours might possibly be a tad long for a first date, the experience of Indian railways train #15906 definitely has its moments. I watched the three sunsets from the train door (where I spent an inordinate amount of time drinking tea and taking photos), and none failed to impress. Deep sleep eluded me for the duration in the cacophony of doppler horns, rattles and snores, so I was unfailingly at the door waiting for the sun to make her appearance each morning (the train travels so far south that the 3rd sunrise is 42 minutes later than the first).

It's not all tasty snacks, misty mornings and romance however. Stations can be dirty, rough places, frequented by the homeless, crippled and desperately poor.

The largest employer in India with 1.4 million employees, Indian Railways is one of the largest railways in the world with over 115,000km of track over a route of 65,808km and 7,112 stations, carrying a staggering 23 million passengers a day, with freight and passenger revenues of US$24 billion. Rolling stock includes 10,499 locomotives and 66,392 passenger coaches. The infrastructure is gargantuan, and at times beautiful.

Indian railways is so large it has its own police force, the R.P.F., or Railway Protection Force. I've rarely felt unsafe on my 10 trips to India, but three soldiers toting sub-machine guns suddenly whipping back the curtains and stepping into my coupe to chat did give me a moment, I have to admit. Likely they were only there to quell the growing unrest due to the late appearance of the morning chai-wallah. Tip: photographing the RPF is frowned upon.

The train winds her way west through Assam on the first day, then south overnight through the Siliguri Corridor, or "Chicken's Neck" , a thin strip of West Bengal at times only 20km wide between Nepal and Bangladesh that had my phone connecting to a Nepali cellular network for awhile. The second morning finds you in Dubrapur, West Bengal, crossing into Odisha after lunch, and passing through Srikakkulam in Andhra Pradesh as you prepare for bed.

Bustling Vijayawada Jn. in Andhra Pradesh, the 2nd busiest railway station in India (after Mumbai Central), greets you on the third morning, you lunch near Nellore, and pass into Tamil Nadu in time for afternoon tea, with the train angling west to cross into lush, coconut-laden Kerala overnight. The final sunrise of the trip arrives about 6:30am as you pass Thiruvananthapuram, and the almost empty train crosses back into Tamil Nadu about 8:15am for the final push south to Kanyakumari, finally gliding to a stop around 11am.

As far as dancing lessons go, it's an an epic gambol across India ending in an appropriate location, as Kanyakumari takes its name from the Hindu goddess Devi Kanya Kumari, who removes the rigidity of mind, and is also home to a 40m tall statue of Tamil poet/philospoher Thiruvalluvar, who reminds us:

It is compassion, the most gracious of virtues,

Which moves the world.

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New: hardcover, 64-page book now available. Order here. If all journeys are teachers, it may well be that a journey to India is the greatest teacher of all. As Kurt Vonnegut said, 'Bizarre travel plans are dancing lessons from God', and it was in search of a new dance that I purchased a one-way ticket on the longest train in India.

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After a few minutes, the small talk faded. Worries went unexpressed.

"When you're up on top of a peak like that, it's usually hang out for a second, and then it's momentum," Castillo said. "You just kind of feel it. Everyone's like: 'O.K., we're not here to hang out. Let's start going.' So I saw people starting to slide, get going, and I was like: 'Hey, Johnny, partner up. Buddy system. Let's go. Me and you.' And at that point, it clicked. Everyone's like, yeah, partners, partners, partners."

It is a tenet of avalanche safety, and the command snapped the group to attention.

"Someone said, 'Partner up - everyone should grab a partner,'" Carlsen said. "Immediately I thought, We're in a somewhat serious situation. It wasn't just grab a partner so you don't get lost. It was grab a partner so you. ...

"It just felt bigger all of a sudden."

Rudolph, the Stevens Pass marketing director, teamed with Saugstad, the professional skier.

"I was really excited about that," Saugstad said, "because he's just such a cool guy and I thought, wow, cool, he wants to be my partner. A very trustworthy guy that's an amazing skier."

Jack, on borrowed Salomon skis, paired with Joel Hammond, the Salomon representative. Carlson looked at Pankey, his childhood friend.

"Dude, you're coming with me," he said.

Wesley gave a little whistle to Carlson and Pankey and nodded downhill. He wanted to be first. The conditions were too good to waste time, and he did not want to be slowed by the huge pack.

With little warning, Wesley dropped straight through the large cluster of trees, using firs as a slalom course. Pankey and Carlson followed.

Rudolph, always up for competition, sped around the trees, not through them. He curved around a banked C-shape turn that dropped him a couple hundred feet into the broad meadow below.

He arrived just in time to see Wesley, Pankey and Carlson burst from the trees into the open powder. Rudolph pointed his ski poles and playfully shouted invectives as their tracks crossed.

Wesley laughed, and his two friends followed him left and over a small rise.

Rudolph headed straight down the mountain.

"I remember looking back at where he was going and being confused," Wesley said. "Like, 'Where is he going?'"

All the locals in the group presumed they knew what the others were thinking. They did not.

"When you know an avalanche is not very likely, that's a great way to go," Wesley said of Rudolph's choice to ski straight down farther. "It's three open glades of awesome powder."

Earlier that morning, Wesley and Carlson had skied the opposite side of Cowboy Mountain, in the ski area. It had been cleared of avalanches by the ski patrol at dawn, but the two still triggered several slough slides - small, shallow avalanches that washed at their feet and petered out before snagging victims.

"That's why, when they said we're doing Tunnel, I was like, 'Ooh, dicey,'" Wesley said.

Pankey and Carlson followed Wesley and looked back, too, wondering why Rudolph and the others were not following them toward relatively safer terrain. Within a minute, long enough to be well out of sight of the group they left behind, the three men found something that made them stop.

"We were right on top of a knoll, a little rollover, where we were about to make some really fun turns, and we saw that the face had already slid," Carlson said. "It was pretty large."

Alarmed, the three decided to go farther left. They crossed through trees and avoided big meadows and steep pitches. They soon found evidence of another avalanche, this one cutting through the forest.

"I'd really never seen anything slide in the trees like that," Carlson said. "And that was definitely like: 'Holy cow, we shouldn't be back here, Ron. Let's go left. Let's go hard left.'"

Wesley had disappeared in the pale light. He left nothing but a track through the deep snow that the others tried to follow.

"I just went, and didn't really stop," Wesley said. "I went all the way down. But I've never taken a run where I looked uphill more times in fear."

'I Got Eyes on You'

Rudolph stopped on the left edge of the upper meadow, above a cluster of trees. Others filed behind him, spilling down the mountain in plumes of spraying snow.

Erin Dessert did not follow. She was confused. She was once a Tunnel Creek regular, until a nonfatal avalanche captured five friends in 2002 and scared her away.

"Chris Rudolph's, like, totally all about safety protocol and mountain awareness and wisdom," she said. "That guy knows the conditions like an animal. He has instincts. It didn't register, even for a second, that he might be bringing this group to Tunnel Creek. It wasn't logical. I thought we were doing the front side."

She headed hard to the right, away from the others. The other snowboarders that she knew, Carlson and Wesley, were gone in the opposite direction. Some in the remaining group noticed Dessert heading away in the distance and dismissed her as an oblivious backcountry rookie. She dipped out of sight in a lonely panic.

"I've been riding Stevens Pass since I was 3 years old," Dessert said. "I can tell circumstances, and I just felt like something besides myself was in charge. They're all so professional and intelligent and driven and powerful and riding with athletic prowess, yet everything in my mind was going off, wanting to tell them to stop."

Rudolph and the others, now a group of 12, were focused downhill. It was 11:52 a.m. Rudolph did not wait for the back of the pack to arrive before continuing to demonstrate the way.

"So Chris Rudolph went first, and then he pulled into the trees and we waited for a sec," said Castillo, who was near the front of the group, wearing a helmet camera. "He goes out of sight and behind the trees. So I said, 'O.K., Megan, go ahead, spoon those tracks, and you'll see Chris on the left.'"

It was not Megan Michelson. It was Elyse Saugstad.

"I thought it was Megan," Castillo said. "I said, 'Are you Megan?' She said, 'No, no, I'm Elyse.' That's when I met Elyse. It was right there. And she made these turns that were like: 'Aah, I think I know who that is. I've seen her name. Those are pro turns.' She ripped the hell out of it."

Saugstad traced through the knee-deep snow just to the right of Rudolph's elongated S-shape tracks. She dipped through trees at a pinch in the meadow and disappeared out of sight. She crossed over Rudolph's tracks and giggled. After about 30 seconds, she was back at Rudolph's side, having cut left into a notch of the trees again.

"We skied to an area that was probably about 500 feet down or so from where we started," Saugstad said. "And where we skied to was an area of old-growth trees. You know, several-hundred-year-old trees. A very good indication that this is a safe place. Things don't happen here."

Castillo and Brenan teased each other about who would go next.

"Finally, he's like, 'Go ahead, I got eyes on you,'" Castillo said.

From where Rudolph and Saugstad stopped, they could not see the subsequent skiers approach. Castillo went past and cut left. His camera recorded Rudolph and Saugstad whooping their approval as he stopped in a shower of powder, about 40 feet below them.

But just before he stopped, Castillo was jolted by a weird sensation.

"A little pang, like, ooh, this is a pretty heavy day out here," Castillo said. "Thing's holding, but I remember having a feeling."

Castillo stopped above two trees. He nestled close and pushed his right ski tight against them.

"A lot of people think you should be below trees, but I stand above them," Castillo said. "I'm like, 'I'd rather get pinned against this than taken through.'"

His helmet camera showed that 14 seconds after Castillo stopped, Brenan appeared through the trees above Rudolph and Saugstad. Brenan had hugged the tree line on the left, avoiding the open meadow, then slalomed through the patch that the others used for protection. He stopped in a spray of snow a few feet from Rudolph and Saugstad.

"That was sick!" someone shouted.

Castillo silently took note of the terrain.

"I was downhill from them - skier's right from them," Castillo said. "But the trees that they were behind, I didn't think it was a bad spot to stop. They were huge. Giant old-growths that three of us probably can't put our hands around."

But he knew the direction of the slope did not follow the meadow. It dipped harder left into the trees, down toward a gully. And there were still a lot of skiers above them.

Saugstad was next to Rudolph. Brenan was a few feet away.

"We weren't straight across from each other, in a perfect horizontal line on the slope," Saugstad said. "We were peppered up and down, spread out."

Castillo kept his attention up the hill. Less than 30 seconds after Brenan stopped, he saw Tim Wangen cut through the trees above the earlier arrivals, gliding horizontally through the forest. Wangen had been taught how to navigate Tunnel Creek by his father. He knew that the farther down the mountain he went, the harder it would be to cut over the ridge and into the next big meadow. He crossed the shallow gully and rose up the other side.

"I could see the others when I cut over," Wangen said. "I thought: Oh yeah, that's a bad place to be. That's a bad place to be with that many people. But I didn't say anything. I didn't want to be the jerk."

Wangen had told Peikert to follow his tracks, and Peikert was close behind. Castillo watched where they went.

"Want to cut over?" Castillo shouted to those above him.

Sliding Snow

The start of an avalanche is unlike any other force of nature.

A hurricane is foretold by wind and lashing waves. A tornado often is spotted before it strikes. Lightning is usually presaged by black clouds and rumbling thunder.

Avalanches rarely provide such a warning. Unlike waves or wind, tremors or storms, they are usually triggered by their own victims, sometimes unaware of what has been unleashed.

"If you swim out in the ocean, the ocean's always alive," Saugstad said. "You can feel it. But the mountains feel like they're asleep."

Back up the mountain, Jack never seemed worried. That was his nature. Here he was, a rare weekend off, skiing with some of his best friends from Leavenworth and people from Powder and ESPN and all over the industry, on an epic run on a perfect powder day.

Carlsen, the Powder photographer, had never been to Tunnel Creek. The first few easy turns gave way to a slope that fell steeply away, out of sight. He sidled up to Jack.

"I grabbed him, and I said, 'What is the move here?'" Carlsen said. "It was basically like, 'This is getting real, how do we handle it?' He's like: 'Oh, no big deal. We go out here, swing out, make a few pow turns, and get back in the trees.' I looked at him and said, 'Have a great run.' Gave him a fist, a knuckle-to-knuckle high-five thing. And that was it. I watched him swing out, way out, skier's right, and then dive into his turn left."

Jack flowed through the thick powder with his typical ease. He skied the way other people walked down a sidewalk, a friend had said.

Jack disappeared over the knoll, gliding through the trees in the middle of the meadow. Behind him, the five remaining skiers watched in silence.

"He looked like he was having a great time, the run of his life, in fact," Michelson said. "And he actually made, I remember, a little 'woo' sound, as he dropped in on his first or second turn because the snow was really good. It was deep and light."

Then the snow changed without warning.

Across the meadow, above Jack, loose snow seemed to chase him down the hill and out of sight.

Not everyone saw it. A couple did. They caught it in their peripheral vision and were unsure what to make of it.

"That was sketchy," Hammond said.

The five others listened. Not a sound. They stared for clues through the flat light below a murky sky. Nothing.

Silent seconds ticked. Finally, Hammond spotted the first sign of evidence. It came from a tree, one among thousands, far down the hill, almost out of sight. Only the top of it was visible, and it was covered in snow.

"I saw it moving," Hammond said. "Like something had hit the tree, and it shook. And I could see the powder falling off the tree."

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Snow Fall: The Avalanche at Tunnel Creek

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After a few minutes, the small talk faded. Worries went unexpressed. "When you're up on top of a peak like that, it's usually hang out for a second, and then it's momentum," Castillo said. "You just kind of feel it. Everyone's like: 'O.K., we're not here to hang out.