TIME Gadgets

Watch NASA’s Spectacular First GoPro Video Captured on a Spacewalk

"Video like this is the whole reason we built the camera"

GoPro’s community of thrill seekers might have been upstaged permanently by a NASA astronaut who captured stunning footage of a spacewalk using a high definition camera for the very first time.

NASA astronaut Terry Virts strapped on the point-of-view camera last February before venturing out of the International Space Station (ISS) to do some exterior housekeeping on the berthing docks. He and astronaut Barry Wilmore were reconfiguring the ports for the upcoming arrival of commercial crews.

Along the way, they captured two stunning videos, one showing the ISS’ incomparable views of earth and the other floating beneath the station’s underbelly, bristling with panels, cables and dishes.

“This was the first time an astronaut captured HD video of a spacewalk while outside,” NASA public affairs officer Dan Huot told TIME. The GoPro helmet camera used features much higher resolution than the astronauts’ current helmet-cams. “They are small, simple and have great quality,” he said.

The camera used during the space-walk works much like the kind of GoPro you can buy here on Earth, only with a one-touch power up and record function. “This makes it much easier to execute while wearing large gloves,” Huot added.

The footage is quieter and slower than the typical GoPro images of say, roof jumpers or a great white shark lunging toward the camera. But then it’s hard to top the hypnotic movement of a camera in zero gravity, where even a belt buckle, floating into the frame, can be fascinating to watch.

“Video like this is the whole reason we built the camera,” Rick Loughery, a spokesperson for GoPro, said. “To be able to share that perspective with the world.”

Read next: A Year in Space

TIME weather

‘Snow Squall’ Causes New Year’s Day Pileup on Canadian Highway

Dozens of vehicles were involved in a series of collisions on a highway in Ontario

This video, captured by Mark Jesley en route from Toronto to Montreal Thursday, shows the aftermath of several multi-vehicle accidents caused by slippery road conditions across Canada.

“Within two minutes we saw a transport hit another car that was in front of us,” Jesley told TIME. The Ontario Provincial Police confirmed to The Weather Channel that “dozens of vehicles” were involved in a series of collisions on Highway 401 near Odessa, Ontario, on New Year’s Day.

“A lot of the cars around us didn’t have their lights turned on,” Jesley said. “The fact that we had ours on was at least partially to play that we didn’t get rear ended.”

An Ontario Provincial Police spokesperson told time that officers were still on the road following the crash, which occurred around 12 p.m. ET.

A public weather alert had been issued Thursday for snow squalls in the area.

TIME space

A Satellite Took Pictures of Another Satellite and Now It’s a GIF

The launch of DigitalGlobe's WorldView-3 is seen from Vandenberg Air Force Base on Wednesday, Aug. 13, 2014.
DigitalGlobe The launch of DigitalGlobe's WorldView-3 is seen from Vandenberg Air Force Base on Aug. 13, 2014.

Well, this is pretty meta

A series of pictures provided to TIME by DigitalGlobe shows what kind of fun you can have when you own multiple satellites.

The images captured the launch of the company’s newest satellite launching into orbit this past Wednesday.

The new WorldView-3 satellite, worth roughly a half-billion dollars and about the size of a small RV, became the highest-resolution commercial satellite in space. DigitalGlobe, the company that funded its manufacture, said it will offer 31-centimeter resolution, much clearer than the current 50-cm aboard the WorldView-2.

Technology aboard the new satellite will, among other things, supply Google Maps with higher resolution photos for “satellite view.”

The satellite that shot the photos was flying at an altitude of over 300 miles, according to DigitalGlobe, and orbiting at a speed of 17,000 mph.

Video of the launch from Vandenberg Air Force Base in California can be seen below.

TIME space

Watch a High-Tech Satellite Get Launched Into Space

Updated 2:48 p.m. ET

A new satellite launched Wednesday is expected to provide imagery of Earth that is nearly 40% sharper than what’s currently available.

The new WorldView-3 satellite, worth a half-billion dollars and about the size of a small RV, will become the highest-resolution commercial satellite in space. DigitalGlobe, the company that funded its manufacture, said it will offer 31-centimeter resolution, much clearer than the current 50-cm aboard the WorldView-2.

That will give the satellite the ability to see through clouds and certain precipitation, the company added, potentially leading to shorter wait times for making and receiving images.

The U.S. government is DigitalGlobe’s No. 1 customer, but the general public is likely to benefit from its orbit. Technology aboard the satellite will, among other things, supply Google Maps with higher resolution photos for “satellite view” and should be able to help people like first-responders, who are trying to identify a wildfire’s origin or researchers who, using DigitalGlobe’s 10-year archive, are looking into crops at risk of disease or drought.

The launch took place at 2:30 p.m. E.T., from Vandenberg Air Force Base in California.

TIME celebrities

Here’s Footage From Lauren Bacall’s Wedding to Humphrey Bogart

That is one sexy cake cutting

This footage from Paramount pictures, shot on May 21, 1945, shows 20-year-old Lauren Bacall getting married to 45-year-old Humphrey Bogart, at a farmhouse in Lucas, Ohio. They look pretty darn in love.

TIME Music

See Coachella Through the Eyes of Google Glass

See the famed California music fest from a new angle

Jonathan D. Woods, TIME’s Senior Editor for Photo & Interactive, spent a weekend at Coachella. Here’s an intimate firsthand look at how he saw the music festival through a unique lens: Google Glass.

TIME Out There

Meet Douglas Holgate: Aerial Cinematographer for Rise

Aerial Cinematographer Douglas Holgate has worked on 75 major productions including Jack Ryan: Shadow Recruit and Thor, and was an obvious choice to work on Red Border Films' Rise.

When I decided we’d need to use a cinematographer to capture aerial shots of the World Trade Center as part of Rise — Red Border Films’ story of the men and women who built the tallest building in the western hemisphere — I knew I wanted to work with Douglas Holgate and his pilot, Rob Marshall. This duo’s reputation preceded them, with Holgate having worked on over 75 productions – which range from recent hit Jack Ryan: Shadow Recruit to TV show Lost, and from Thor to Fast and the Furious: Tokyo Drift.

Douglas Holgate
Douglas Holgate

Holgate and Marshall worked in unison with me to capture the footage we needed. We had them for just four hours, which I was concerned wouldn’t be enough time. On the day of filming, the two took off from Kearney, New Jersey, a few minutes by air away from One World Trade Center, and they circled the tower as we climbed. I had no idea what we were going to end up with, but when they showed us the end result, our biggest problem was figuring out which of their excellent shots to use.

But while his work is consistently of high quality, film wasn’t always Douglas Holgate’s calling. In fact, he began his working life as a plumber and, funnily enough, for the longest time wanted to avoid his father’s profession — aerial cinematography.

“I didn’t want anything to do with what my dad was doing,” 56 year old Holgate tells TIME. But in 1986, his dad convinced him to accompany him on a job — and Holgate’s attitude changed. He soon began assisting his father on shoots, something he would continue to do for 15 years until his father retired.

Holgate’s first job in film was on Iron Eagle, a 1986 action movie directed by Sidney J. Furie on which he worked as a camera assistant. In the decades since, he’s worked on major productions including movies, TV shows, commercials and air shows.

Douglas Holgate
Douglas Holgate

“It’s an interesting business because you get to meet a lot of great people, and great pilots,” Holgate says. “The fun part about going on location is you meet the local people, and really get the flavor of their lives.”

One of the most important parts of Holgate’s job is working closely with pilots. In fact, he sees the relationship between pilot and cinematographer as similar to that between different instruments in a symphony.

“You have to know your part, and he has to know his part,” Holgate says. “As any photographer knows, capturing fleeting moments [is hard enough], and if a pilot and cinematographer are not working in concert, the moment is gone forever.”

Douglas Holgate
Douglas Holgate

But when that relationship works, it really works — even if it means occasionally engaging in some hair-raising drama. For instance, in Southeast Asia filming Operation Dumbo Drop – a 1995 comedy directed by Simon Wincer – from a Huey helicopter painted with U.S. Army logos, a shot called for footage of a C-130, or large military transport aircraft flying by. The crew started landing on grassy hilltops in the Golden Triangle — because they were shooting from fixed locations with tripods — and wandered into the warlord and opium king Khun Sa’s territory between Burma and Thailand. Immediately after they landed the army and police took the pilot away and promised: “Next time you guys will be shot down.”

While this kind of adventure would likely strike terror into the hearts of most people, it only seems to make Holgate more thrilled about his job.

“[I get to] see the world and get paid for it,” he says. “That’s pretty incredible. I can’t think of doing anything else.”

Douglas Holgate and pilot Rob Marshall shot aerial footage of One World Trade Center for Red Border Film’s Rise. Both Holgate and Marshall work for NY on Air.

Jonathan Woods is Senior Editor of Photo & Interactive at TIME

TIME Profile

Riding the Surf with Lucia Griggi

LightBox presents Lucia Griggi's elusive, magical surf photography — images made while swimming in the strong currents, razor-sharp reefs and crashing waves of Hawaii and Fiji.

Serendipity in a photograph is found when light, composition and moment align. Capturing this elusive, magical photograph is a challenge when a photographer has two feet on dry ground. It’s infinitely more difficult to achieve the same outcome while swimming in strong currents above razor-sharp reefs amid crashing waves. And that’s precisely how Lucia Griggi makes her living.

Now in the midst of a career that turns the ocean into her office and spans the globe, the veteran surf photographer has beautifully photographed the world’s most renowned surfers.

Griggi was born with neither surfing nor photography in her DNA. She grew up a competitive swimmer, but her first encounter with surfing wasn’t at world-famous breaks like Pipeline, Waimea Bay or Cloudbreak. Rather, the first time she got on a surfboard was at the age of 21 in the icy waters of the British Isles.

In under a decade, Griggi has transformed herself from a novice hunting for the perfect wave to a respected professional surf photographer sought after in the industry. Just before speaking to TIME, Griggi, now 31, had just finished collaborating with a major manufacturer of waterproof camera enclosures, who sought her insight on how to evolve their next line of products.

Sarah Lee
Sarah Lee

Griggi makes it look easy, but in reality, it’s anything but.

“It’s a pain in the ass,” she told TIME when describing working in conditions so adverse that you’re lucky to come away with one strong image after hours in the water.

On a recent trip to Fiji to photograph at Cloudbreak, considered one of the best surf breaks, Griggi took an hour-and-a-half boat ride through choppy waters. They passed five boats chumming the water (to lure sharks) not too far from where she dove in for a lengthy swim across a channel. “That sort of alarmed me,” Griggi said. “Once we swam across the channel, which takes a while and is exhausting with equipment and fins – we get into position over a sharp coral reef in the midst of 8-10 foot waves. It’s exceptionally dangerous because you don’t have anywhere to go [when the waves crash]. You have to be very alert at all times.” Which begs the question: Why do it?

In the beginning, it was purely Griggi’s passion that propelled her. “No one ever commissioned me or told me to go anywhere. I just had to be there because I wanted to shoot the best surfers in the world, and I wanted to go to the best places.” Now she’s sent around the world to cover the competitions for major organizations, including Surfline and ASP – the dominant organizing body for surfing worldwide.

“Everything I do comes from my motivation and love of doing it.”

See more of Lucia Griggi’s work at LuciaGriggi.com.

Jonathan D. Woods is a senior editor at TIME.com, overseeing Photo & Interactive. Follow him on Twitter @jonwoods.

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