Eight hours after the race…

The Italian GP edition of GP+ will be with you in a few hours. This week’s e-magazine, direct from the paddock in Monza, features all the latest news, reports and columns from our team… Plus a look back at the drama at Monza in 1961… New circuits for Singapore and Interlagos?… The story of the very first Italian GP (do you even know where it was held?)… and an insight into what the new teams will be doing in 2012…

Plus fabulous photographic art from Peter Nygaard and Michael Stirnberg

This was much slower than normal because of uploading problems from Monza.

11 thoughts on “Eight hours after the race…

  1. I’ll put this here, if i may. Good friend not seen long while came to stay. He’s a bit streetwise, used to box to pay the bills. So he was looking out my window at the lads congregated around a fried chicken place just opposite, and reckons he’ll go say hello, me in tow. (not like i have a choice!) My pal is quite nuts about footy, but gives one for F1 too. So he thinks football might be the opener. Nope, the kids ’round our lot are more into F1! So i know now where to leave my old copies of GP+ and where that will have some nice effect. I was not entirely sure about my friend’s whole idea, i don’t think we were the usual customers at this place, but i had the extremely pleasant experience of this still teenage lot introducing themselves, shaking hands and generally being neighborly, engaging and utterly civil in every sense of that. Maybe i have not been trying anything, and should make effort, point noted i must, but that’s still a really nice result for a bit of London which can feel divided at times. This is why i just earlier joked i’d not like to be responsible for compiling a complete survey statistically who likes F1. Been a very nice boost to the weekend. They’re bloody everywhere, the F1 fans! And there’s more to come. Silly me was was rather amused at MSC’s day out, probably missed all the rest. But, oh Mark W, oh oh oh, what do you have to do to get the favor of the gods? all best – j

  2. “…if Sebastian hadn’t been there…”

    Fair enough I guess, but I though his pass on Alonso was very exciting and certainly was one of the moments that made for an exciting race!

  3. If Seb hadn’t been there? Joe, you and the GP+ team have been around long enough to know that there is more to a race than who won.

  4. I have never agreed more before with a subtitle! I’m not even sure the world feed even put that young man in the picture all afternoon . . exaggeration obviously, but i think it’s obvious what i mean, he was gone.

    anyhow, this is why Sky cannot spoil the event. I am sure i only really watched Schumi defending today, for all the reasons that got my number, and no doubt a few others’ attention, and yet now i can go find out what really happened. I’m not feeling like a second rate citizen when i can read a good report.

  5. I must say I love GP for many reasons but first among them right now (as a native of Kansas and veteran of a few barn dances myself) is your mastery of unexpected humor. You had me rolling on the floor on page 4. Keep up the good work and safe travels home.

  6. Joe, is that review of William Taylor’s book, McLaren, The Cars? I am just skim reading, and out of paper to print. EDIT it’s The Wins Book, different thing, but looks similarly styled. Led myself down wrong garden path.

    David Tremayne’s “The Lost Generation” is coming on my next Amazon delivery. Despite my little affair with the Kindle thing, paper still rules. Especially when you’re out of it, oops, not cool, if you want your machine to print smoothly you need to let the stuff sit a few days to acclimatise. I don’t think ever anyone is going to be cool with lending an expensive device, or tapping in a small paragraph to send anything to anyone. I was sent an invite by a musician chap to some online file storage thing, so i could download his tracks. It wanted me to sign to some very onerous terms. (the more strict terms, in line with the “freer” is the “service”) That’s not listening, or reading, convenience, to me.

    Here’s the guy i was originally turned on to, who might explain my moaning about the differences in typography and layout, and how they interact: http://en.wikipedia.org/wiki/Jan_Tschichold but any which way i am a fan of putting type opposite full picture pages for a book, so you can use nicer respective papers, if you get the bind right, and then you’re not forcing one aesthetic against the other. That McLaren book has too many columns for my taste. Lightweight paper is really hard to work with, but it can be done. I’ve been on a quest to get some made, and learned more this year than i ever really wanted to, but i know the idea is technically compatible with great color. I hate heavy volumes.

    Actually i do really want to rant about how these wonderful ten color presses exist, but so many coffee table outfits spare the horses, and so we get much less. It’s a painful thing with small runs, working out the financial maths, but (and not criticizing a book i’ve not seen) i am often amazed at the rarity of high end color repro, even for photography books. Ending my rant now, but this is common tech and kit, sure it takes some skill, but mostly you just ask the printer for the better thing, and they ask if you have good enough process to feed them quality files, and it goes from there . . so why do just a few houses do this right and get to add a zero on the end for an “art house ” book, which at least on the practical side is within the capability of so many printers?

    Avoiding a dissertation length rant, i think too many people fail to distinguish between copy and ad copy, and try to make what you are supposed to read look like cutouts or catch lines you would put in an advert. Which is all fine, unless you are trying to read it sequentially. I think designers imitate the wrong thing too often. I have met magazine publishers who deliberately blurred those lines, thinking falsely they would get more adverts, by confusing the reader in the admixed style. But what i think it is is that layout artists somehow think it’s more glamorous to mimic advertiser companies who spent fortunes to be that slick, and in so echoing, don’t quite get the point. You simply don’t compete heads up with companies who exist solely to present pretty things to you.

    This chap i think is too often cited by the design crowd: http://en.wikipedia.org/wiki/Edward_Tufte because the design crowd are not always understanding the maths why Tufte wants a certain thing to look a certain way. But if you worked in a finance house or broker, that is a guy who has done a lot to graphically show you more date in more useful ways. Lots of good info from that man, but it’s a bit like Stephen Hawkins for the illustrator crowd, everyone bought the book, substantially fewer read it, and less understood it. One the websites who deal with this, i just see very pretty messes which overload the senses, just the opposite thing what that man is on about.

    It is blinding to see great photos on a tuned up screen. The mono stills in this edition sing. * Takes a small army to get that good off a press. But i’d like to get one bit off my chest which has bugged me for a while, Joe: check out output sharpening. Reference below covers a lot of the area. When you have control all the way through the image chain, life is easier, but with archive pictures you’re mostly stuck with what you are given, and so knarly tweaks can help a lot. I should say, that usually when i read GP+ it is printed, so goes through a few stages more, mainly automatic, so i am splitting hairs here.

    *If the pictures in GP+ do not absolutely wow you, please please look up how to calibrate your screen. There are so many ways to do with and get much clearer picture without spending any money on kit. Actually, they likely wow you anyhow, but you may be missing a lot more, kind of way having a new stereo makes your records sound better and you want to listen to them all again, because they are clearer. (fortunately this pursuit is not as silly as audiophile setups)

    ** This is the best overview i could quickly find (not too many equations) about how a picture may or may not look crisp. Note very well that a publisher is constrained by the original quality especially when dealing with archive; as a world, we’ve only recently had this going right, and that was for film, just as digital photography got usable, so there are big gaps that no amount of obsession can fix: http://www.cambridgeincolour.com/tutorials/image-sharpening.htm

  7. Very good 2011 Monza issue.

    I really enjoyed the story about “The very first Italian GP” and “DT’s Monza 1961”. Very well done, very accurate and really interesting.

    But with only few words Mike Doodson get my first prize : “the Despot GPs”. Absolutely brilliant, I must say.

  8. Look forward to your thoughts on Luizzi – a 5 place penalty – should have been a ban from Singapore.

    And for your thoughts on Michael – let’s see if you agree with most of the other pundits – even Martin and Dc EVENTUALLy changed their tune after the race.

    1. RC,

      I don’t know why you feel the need to try to wind things up. These matters are not complicated at all.

      Liuzzi started the race well. His car was destabilised as he tried to find a gap, that is racing. He made a mistake put a wheel on the grass and the crash occurred. He got a penalty which makes no sense to me because racing drivers who try and make a mistake should not be penalised because it encourages them not to try. This has got nothing to do with the identity of the driver, but rather the philosophy (or lack of it) of the stewarding. This is not something than one can compare to what Maldonado did at Spa. As to Michael, if you look carefully you will see that he was warned by the FIA about his driving behaviour for some of his defensive moves. He did a decent job otherwise is a car that is not really in full contention. This doe snot detract from the fact that I think that an Alonso or a Hamilton would be doing a better job in that car. That is a subjective thing. There is no evidence that proves anything. If you do not wish to listen to my opinion, then you do not have to read it. It is really very simple.

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