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Entrevista dibujada

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Cómics periodísticos en viñetas interactivas.

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Dan Archer ′09 has been hard at work on graphic journalism. Dan has focused on graphic journalism for the past 7 years, starting as the Knight Journalism Fellow at Stanford University in 2011. He continues a steady output of graphic journalism.

For the European Journalism Centre, he created five comics about garment factory workers in Dhaka, Bangladesh. These comics have been translated into Spanish, German, and Bangla.

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Tags: cartoonstudies, Dan Archer, graphic journalism, Olympics

It's that time of year when the ink and sweaters come out. Inktober! When artists take the month of October to create an ink drawing every day. There is an official prompt list from the instigator of this hallowed tradition, Jake Parker (Little Bot and Sparrow), but plenty of people make it their own. It is one of the best months for finding new artists to follow on Instagram.

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Tags: Alex Karr, Andi Santagata, Andy Christensen, Angela Boyle, Ben Wright-Heuman, Bonesteel, Bridget Comeau, Bryn Adams, cartoonstudies, Colleen Frakes, Dan Archer, Dan Rinylo, Erienne McCray, Holly Foltz, ian richardson, Inktober, Jake Parker, Jason Week, Jen Vaughn, Jesse Durona, John Carvajal, Jonathan Rotsztain, Josh Lees, JP Coovert, Kate Larson, Laura Terry, Lena Chandhok, Max Riffner, Moss Bastille, Rainer Kannenstine, Reilly Hadden, Sam Carbaugh, Sandy Bartholomew, Shashwat Mishra, Steve Thueson, Whiteley Foster

Guest curator and Professor of English, Craig Fischer as assembled an impressive The Center for Cartoon Studies ten year exhibit currently on exhibit at the Turchin Center for the Visual Arts at Appalachian State University in North Carolina.

Presentation by James Sturm
January 27, 2016, 7pm

At the Junction of Words & Pictures: The Tenth Anniversary of The Center for Cartoon Studies (CCS) exhibit will feature work by CCS faculty and co-founder James Sturm, Stephen R. Bissette and Jason Lutes as well as by CCS Fellows Chris Wright (2008-09), Julie Delporte (2011-12), Connor Willumsen (2012-13) and Sophie Yanow (2014-15). Also included are examples of art by CCS graduates Dan Archer ′08, Charles Forsman '08, Colleen Frakes '07, Sophie Goldstein '13, Luke Howard '13, Joseph Lambert '08, Melissa Mendes '10 and cartoonists who have collaborated with the school on various book projects.

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Tags: Charles Forsman, Colleen Frakes, Connor Willumsen, Craig Fischer, Dan Archer, James Sturm, Jason Lutes, Joseph Lambert, Julie Delporte, Luke Howard, Melissa Mendes, Michelle Ollie, Sophie Goldstein, Sophie Yanow, Stephen R. Bissette, Steve Bissette, Tenth Celebration, Torching Center

The Center for Cartoon Studies alum Dan Archer ′08 to speak on transmedia storytelling at the Woodstock Digital Media Festival, Friday October 16.

Dan Archer is a graphic journalist who uses comics and immersive storytelling to report on human rights issues in situations where video or photographic equipment is inappropriate or, at worst, traumatic for those involved.

Archer is a graduate of The Center for Cartoon Studies, was a 2014-2015 RJI Fellow and a 2011 Knight Journalism Fellow at Stanford University, where he also taught nonfiction graphic novel writing from 2008 to 2014. His current work explores the crossover of interactive comics with transmedia storytelling and virtual reality. Archer's work has been published by the BBC, CBC, Vice magazine, Fusion, San Francisco Public Press, American Public Media, Truthout and PBS.

Read more about Dan's work and the Woodstock Digital Media Festival in Seven Days!

http://goo.gl/4B6PHC

Tags: Applied Cartooning, cartoonist, comics journalism, Dan Archer, Digital Media, Graphic Novel, Storytelling, Transmedia, WDMF

Dan Archer creates non-fictional, journalistic comics to offer a new perspective on US foreign and domestic policy and give voice to stories that wouldn't otherwise be heard. His journalistic pieces have been published by the Huffington Post, Alternet, The Guardian UK, Presente, Operamundi (Brazil), Expressbuzz (India) and Independent World Report. He was recently awarded the John S. Knight Fellowship for Professional Journalists at Stanford University and received his MFA in cartooning from The Center for Cartoon Studies in Vermont and co-teaches the Stanford Graphic Novel Project through the Creative Writing Program.

Tags: comics journalism, Dan Archer, Graphic Novel Project, John S. Knight Fellowship, MFA in Cartooning, non-fictional

The Center for Cartoon Studies (CCS) Spring Visiting Artist lineup is here! Cartoonists and artists due to visit the school this semester include Jo Knowles, Jo Dery, Maurice Vellekoop, Jess Ruffilson, Craig Fischer, CCS Alum Dan Archer, Jen Sorensen, George Pratt, Ellen Forney, Allison Baker, Tom Kaczynski, Chris Pitzer, CCS Alum Jen Vaughn, and Danielle Corsetto.

Tags: Alison Baker, Cartoon Studies, CCS, Chris Pitzer, Craig Fischer, Dan Archer, Danielle Corsetto, Ellen Forney, George Pratt, Jen Sorensen, Jen Vaughn, Jess Ruffilson, Jo Dery, Jo Knowles, Maurice Vellekoop, Tom Kaczynski, Vermont

Telling [True] Stories Session
Woodstock Digital Media Festival 2012

Saturday, June 23, 11am

The ʺTelling [TRUE] stories strand of Festival programming brings some of the most innovative leaders of non-fiction narrative forms and platforms to Woodstock where they will share their work and explore the emerging possibilities of the form. For more information, visit: woodstockdigital.com

Visit Dan Archer's site: archcomix.com

Tags: Archcomix, comics journalism, Dan Archer, Vermont, Woodstock Digital

Telling [True] Stories Session
Woodstock Digital Media Festival 2012

Saturday, June 23, 11am

The ʺTelling [TRUE] stories strand of Festival programming brings some of the most innovative leaders of non-fiction narrative forms and platforms to Woodstock where they will share their work and explore the emerging possibilities of the form. For more information, visit: woodstockdigital.com

Visit Dan Archer's site: archcomix.com

Tags: comics journalism, Dan Archer, Vermont, Woodstock Digital Media

Virunga is the product of the Graphic Novel Project, a class at Stanford University. Graduate and undergraduate students collaborated to research, write and draw the story of a young artist growing up in Africa's oldest national park. Dan Archer (CCS ′09) art directed the project. Learn more on the Schulz Library Blog and read the complete comic online.

Tags: Cartoon Studies Alumni, Dan Archer, Stanford University, The Graphic Novel Project, Virunga

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Dan Archer Archives - The Center for Cartoon Studies

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Dan Archer ′09 has been hard at work on graphic journalism. Dan has focused on graphic journalism for the past 7 years, starting as the Knight Journalism Fellow at Stanford University in 2011. He continues a steady output of graphic journalism. For the European Journalism Centre, he created five comics about garment factory workers in Dhaka, Bangladesh.

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- La labor periodística se desvirtúa en materia de objetividad.
- El cómic solo puede ser ubicado por debajo de la literatura.

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Notas al pie de Gaza (2009)

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RAW, único cómic que ha ganado un premio Pulitzer.

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Padre de la caricatura política

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Periodistas y artistas gráficos suman esfuerzos para narrar conjuntamente, hibridando las técnicas del cómic y los recursos narrativos del reportaje o de la crónica de inmersión.

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Periodismo dibujado o Reporterismo en viñetas

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Periodismo dibujado o Reporterismo en viñetas

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Sociedad Profesional de Periodismo Dron / Professional Society of Drone Journalists

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Sociedad Profesional de Periodismo Dron / Professional Society of Drone Journalists

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By Casey Bukro

Not many codes of ethics urge journalists to "take all possible measures to mitigate the odds of a crash."

But the Professional Society of Drone Journalists code does that, and says its guidelines "should be viewed as a layer of additional ethical considerations atop the traditional professional and ethical expectations of a journalist in the 21st century."

Drones can provide images and data for "immersion journalism", according to a blog post that predicts virtual reality tools will allow audiences to experience the sights and sounds of news events as if actually there.

The door to this future is slowly opening as the Federal Aviation Administration works to strike a balance between assuring public safety and supporting the commercial drone industry.

The Killeen Daily Herald in Texas reports that the FAA has acted on more than 3,000 petitions seeking approval for U.S. drone operations.

Section 333 of the FAA Modernization and Reform Act of 2012 gives the FAA authority to grant certificates for the commercial use of small, unmanned aerial vehicles. Journalists already use drones to cover newsworthy events, the newspaper points out.

The FAA, meanwhile, is moving cautiously. Each month, it says, the FAA receives more than 100 reports from pilots and others who see what appear to be unmanned aircraft flying close to an airport or manned aircraft.

"It's become a serious safety concern for the agency, and a potential security issue for the Department of Homeland Security," the agency said in a statement. As a result, the FAA is working with other agencies to develop technology to detect and identify "rogue drones" and their operators.

A 2014 FAA report denies that the U.S. lags behind other countries in approving commercial drones, adding: "we want to strike the right balance of requirements for (unmanned aircraft systems) to help foster growth in an emerging industry with a wide range of potential uses, but also keep all airspace users and people on the ground safe."

The Professional Society of Drone Journalists claims members from the Boston Globe, ESPN and Reuters in its global ranks, along with freelancers and academics. "Established in 2011, PSDJ is the first international organization dedicated to establishing the ethical, educational and technological framework for the emerging field of drone journalism," its mission statement reads. "We develop small unmanned aerial systems (sUAS) for journalists, and explore best practices to deploy them for a variety of reporting needs, including investigative, disaster, weather, sports and environmental journalism."

Its membership roster includes individuals with an interest in drones, and companies that manufacture them. So what is it primarily, a group that represents drone manufacturers or a drone advocacy group?

"I am under the impression it is an advocacy group," said Mark LaBoyteaux, owner and operator of Hawkeye Media based in the Dallas-Forth Worth area. "But I haven't heard from them for two or three years," adding "I thought it evaporated."

It started, he recalled, when a group of journalists who wanted to use drones for news photography sought permission from the FAA. Instead, the agency sent cease and desist letters to them.

"I got a letter from the FAA," said LaBoyteaux. As a result, "they wanted to form a group that could work legally with the FAA and use photography for news gathering."

LaBoyteaux uses five "multi-copters" for aerial photography and video photography. He understands that the FAA is relaxing its rules on drones "to let them be used for commercial purposes."

On its website, the Professional Society of Drone Journalists espouses a "layered approach" to form its code of ethics, including traditional journalism ethics, privacy, sanctity of law and public spaces, safety and newsworthiness.

Drone operators must be adequately trained, according to the guidelines, and the equipment must be suitable for safe and controlled flight in adequate weather conditions.

Newsworthiness is the foundation of the group's "hierarchy of ethics." Drones should be used only after careful deliberation. "The investigation must be of sufficient journalistic importance to risk using a potentially harmful aerial vehicle," the statement says. "Do not use a drone if the information can be gathered by other, safer means."

The Poynter Institute notes that the FAA signed an agreement with CNN to test ways journalists can safely use drones in news gathering and reporting.

"Our aim is to get beyond hobby-grade equipment and to establish what options are available and workable to produce high quality video journalism using various types of (unmanned aerial vehicles) and camera setups," CNN Senior Vice President David Vigilante says in a statement.

FAA Administrator Michael Huerta adds: "Unmanned aircraft offer news organizations significant opportunities. We hope this agreement with CNN and the work we are doing with other news organizations and associations will help safely integrate unmanned news gathering technology and operating procedures into the National Airspace System."

With this kind of high-level cooperation, drone operators might declare they have liftoff.
Edited by Stephen Rynkiewicz.

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Professional Society of Drone Journalists - Ethics AdviceLine for Journalists

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By Casey Bukro Not many codes of ethics urge journalists to "take all possible measures to mitigate the odds of a crash." But the Professional Society of Drone Journalists code does that, and says its guidelines "should be viewed as a layer of additional ethical considerations atop the traditional professional and ethical expectations of a journalist in the 21st century."

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- La falta de una legislación sobre la materia.
- No exista aún licencia para pilotos de drones.

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- Captar imágenes allá donde la tecnología tradicional no alcanzaba a llegar.
- Bajo coste.

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Herramienta más útil a la hora de captar imágenes de ciudades devastadas por la guerra, de desastres naturales, de conflictos bélicos, atentados terroristas, de eventos deportivos como los estadios de fútbol, etc.

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Herramienta más útil a la hora de captar imágenes de ciudades devastadas por la guerra, de desastres naturales, de conflictos bélicos, atentados terroristas, de eventos deportivos como los estadios de fútbol, etc.

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Sinopsis | Synopsis

En el emblemático Edificio Ermita de la Ciudad de México, ocho jóvenes, quienes se autodenominan Ermitaños, abren las puertas de sus diminutas viviendas unipersonales para compartir sus experiencias de vida demarcadas por el espacio, en una época en que la precariedad parece definir nuestra manera de relacionarnos, amar y hasta sentir.

In the midst of the chaos of México City, a group of eight bachelor millennials who call themselves ´The Hermits´, open the doors to their tiny apartments in the historic Ermita Building, in the yet-to-be gentrified neighborhood of Tacubaya, and share their life experiences in a time when precarity changes the way in which we love, feel and relate to each other. As we explore the homes of these eight neighbors, we also witness their personalities intersect in a Whatsapp chat, a virtual space that functions as a supporting system that helps them face the adversities that living alone in this city brings.

Ermitaños fue seleccionado para participar en:

Workshop & Meetings

Colombia 2016

Pitch Mediamorphosis

México 2019

Colaboratorio | Ambulante

Ermitaños fue uno de los 10 proyectos seleccionados para ser parte del Colaboratorio organizado por Ambulante, Centro de Cultura Digital y SAE Institute. El Colaboratorio fue un espacio formativo para desarrollar, producir y difundir narrativas audiovisuales transmedia.

The Hermits was selected by Ambulante, CCD and SAE Institute to become part of "Colaboratorio", a formative space created to develop, produce and spread transmedia storytelling.

¿Qué es?/ What is ?

Ermitaños es un proyecto documental conformado por un largometraje documental + un webdoc + una cuenta de instagram . La narrativa del documental se desborda y se conecta, más no se replica. La película "Ermitaños" fue finalizada gracias al apoyo de Procine CDMX, y fue desarrollada como tesis fílmica de la maestría en cine documental del Centro Universitario de Estudios Cinematográficos - Posgrado en Artes y Diseño de la UNAM.

En 2016 fuimos uno de los 10 proyectos latinoamericanos seleccionados por Puerto Lab del FICCI (Colombia) para tomar el taller de cine documental expandido con Marta Andreu y Jorge Caballero.

Estrenamos el webdoc a inicios de 2020. Te invitamos a colaborar con nuestro proyecto donando aquí.

"The Hermits" is a transmedia documentary project conformed by a feature film + webdoc + instagram account. The storytelling is expanded but not duplicated nor repeated.

The film was awarded with the Fund for Postproduction of Procine CDMX and it was developed under the graduate program: MA in documentary film of CUEC - UNAM. The movie is going to be premiered very soon.

The webdoc is about to be produced. In 2016 we were selected among other 9 latin american projects to be part of the Expanded Documentary Workshop of Puerto Lab in FICCI (Colombia). Donate here.

¡ Colabora ! / Donate

El Equipo / Crew

Una producción de / Produced by

Folks Studio

Daniela Uribe.

Daniela Uribe, Fernando de la Rosa, Alfonso Duarte.

Fotografía / Cinematography:

Daniela Uribe, Fernando de la Rosa.

Daniela Uribe, Fernando de la Rosa, Priscila Sánchez.

Bernardo Chávez, Christopher Hofmann, Alfonso Duarte.

Diseño Sonoro / Sound Designer:

Matías Barberis, Gabriel Villegas.

Xareni Iizárraga, Fernando Burgos.

Ilustración / Illustration:

Héctor López.

Luis Daniel Trujillo.

Corrección de Color / Colorist:

Alexis Rodil.

Compañía Productora / Production Company

Folks Studio.

Protagonistas / Starring:

Adriana Sales, Genaro Díaz, Indira Vázquez, Diego

Cárdenas, Tania Hernández, Ismael Rojas, Lucía Soto, Carolina Ángeles.

Ventana de Proyección / Aspect Ratio: 1.85:1

Diseño y Tipografía:

Tonik Uvalle.

Largometraje documental realizado con el apoyo de:

Documental desarrollado en:

¡Colabora! / Donate

Este proyecto no ha terminado de construirse. Aún puedes colaborar de la siguiente manera:

* Instagram.

Comparte tus fotos a través de Instagram con el hashtag #EdificioErmita #ermitanosdocumental. Si quieres puedes escribir un comentario, una reseña, una nota o un sentimiento alrededor de esa foto.

* Colabora.

Si tienes algún material histórico que te gustaría que fuera incluido en la plataforma web puedes enviarla al correo: info@ermitadoc.com

* Dona.

Puedes donar a nuestra cuenta paypal, o a nuestra campaña de crowdfunding. El dinero recaudado servirá para pagar los gastos de producción del webdoc y para pagar la distribución de la película a través de festivales, algo que resulta costoso para un proyecto sin fin de lucro.

We haven't finished the project and you can still be part of it:

* Instagram.

Share your photos of the Ermita Building using the hashtag: #EdificioErmita and #ermitanosdocumental. It's better if you write a comment, a note, a feeling about it.

* Collaborate.

If you have some historical material that you want to include in our webdoc, please send it to: info@ermitadoc.com

* Donate.

You can donate to our paypal account, or contribute to our crowdfunding campaign. The money will be used for the production expenses of the web platform and the distribution of the film.

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Sinopsis | Synopsis En el emblemático Edificio Ermita de la Ciudad de México, ocho jóvenes, quienes se autodenominan Ermitaños, abren las puertas de sus diminutas viviendas unipersonales para compartir sus experiencias de vida demarcadas por el espacio, en una época en que la precariedad parece definir nuestra manera de relacionarnos, amar y hasta sentir.

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El periodismo inmersivo llevará al espectador al centro de la noticia, lo ubicará en mitad del conflicto elegido, le proporcionará una visión medida y exacta de los hechos e incluso podrá optar por conocer lugares y momentos que nunca hubiera soñado vivir, y todo gracias a su campo de visión de 360 grados.

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El periodismo inmersivo llevará al espectador al centro de la noticia, lo ubicará en mitad del conflicto elegido, le proporcionará una visión medida y exacta de los hechos e incluso podrá optar por conocer lugares y momentos que nunca hubiera soñado vivir, y todo gracias a su campo de visión de 360 grados.

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TVE, Cadena SER, Vocento y ABC, El País, La Sexta, Cuatro, El Mundo, Grupo Zeta y Diario Sport, Eldiario.es y Yorokobu.

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Immersive Journalism - Interviews with Immersive Journalists

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Researchers of the University of Applied Sciences Utrecht (the Netherlands), the University of Amsterdam and the University of Vienna are investigating immersive storytelling.

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Permiten la experimentación no solo visual, sino también sensorial de un entorno sintético tridimensional.

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Permiten la experimentación no solo visual, sino también sensorial de un entorno sintético tridimensional.

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Audio interactivo e inmersivo, vídeo y la fotografía en 360 grados, cámaras web y vídeo y fotografía en tres dimensiones

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Audio interactivo e inmersivo, vídeo y la fotografía en 360 grados, cámaras web y vídeo y fotografía en tres dimensiones

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El profesional se introduce en un ambiente, comunidad o situación durante un tiempo determinado para experimentar en su propia piel las vivencias que un día contará.

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El profesional se introduce en un ambiente, comunidad o situación durante un tiempo determinado para experimentar en su propia piel las vivencias que un día contará.

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Dar voz a diferentes actores de un hecho y no tratar de simplificar el acontecimiento. Hay que contar con los testimonios de otras personas que viven o sufren el hecho.

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Ayuda al usuario a conocer datos de fuentes primarias, lo que le permite tomar decisiones en su entorno social e incluso privado.

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El lector-jugador no solo conoce los datos, también los sonidos, y toda la experiencia la alcanza a vivir en primera persona.

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Participación de un lector-periodista (periodismo ciudadano) que ayuda a completar datos.

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Elaborar piezas con la colaboración de varios periodistas, también hace referencia a la coherencia y continuidad editorial.

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Permitir que el lector profundice a través de enlaces que le lleven a otras narraciones, datos o noticias y reportajes relacionados.

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El ciudadano comprende con mayor profundidad las motivaciones de las personas y puede participar de ellas.

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Todos los medios impresos albergan blogs y tienen cuentas en redes sociales.

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Principios del periodismo transmedia

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New York Times

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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.

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Televisión, Internet, Cómic, Videojuegos, Radio, Cine, Fotografía, etc.

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Televisión, Internet, Cómic, Videojuegos, Radio, Cine, Fotografía, etc.

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Participación activa del lector / espectador

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Participación activa del lector / espectador

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Transmisión y desarrollo de un contenido (historia) a través de múltiples medios

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Transmisión y desarrollo de un contenido (historia) a través de múltiples medios

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Antonio LÓPEZ HIDALGO