Archivo fotográfico
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Mapa de tendencias en innovación educativa.

Mapa de tendencias en innovación educativa. | Archivo fotográfico | Scoop.it
Un taller muy completo sobre las tendencias en innovación educativa. Además de  describirlas,  aporta un soporte conceptual para ubicarlas y poder identificar cualquiera de ellas (presentes y futuras). Así mismo, se muestran ejemplos que permiten acercar dichas tendencias a su aplicación en el aula. Video correspondiente al taller “Tendencias en Innovación Educativa” impartido por Francisco…

Via Marta Torán
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Marta Torán's curator insight, April 11, 4:21 PM
Innovación educativa. Taller
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X-Pro2 - Vintage'd | Jonas Rask

X-Pro2  - Vintage'd | Jonas Rask | Archivo fotográfico | Scoop.it

Since joining the Fujifilm mirrorless eco-system, one of the things I’ve enjoyed most is using vintage manual focus lenses on the system. The amount of affordable, yet good performing, lenses out there is staggering. Not only are most of these old lenses cheap, but they also add a ton of character to the images that you simply can not get by using the newer optically perfected, ultra sharp lenses. Sharpness really isn’t all it’s cracked up to be in my book. I’d rather look at an image with soft gloomy highlights with aberrations all over the place, than a clinically perfect super shot. It’s the same with human beings. It’s our flaws that makes us unique. Its these flaws that enhance beauty by giving us immediate reference through presence of the less-than-perfect. You might not hold the same belief.......


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¡Advertencia! Esta guía sobre la profundidad de campo es capaz de volarte los sesos | PhotoPills

¡Advertencia! Esta guía sobre la profundidad de campo es capaz de volarte los sesos | PhotoPills | Archivo fotográfico | Scoop.it
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Fuji X-T10 ~ A mini marvel - My first 80 portraits | Damien Lovegrove

Fuji X-T10 ~ A mini marvel - My first 80 portraits | Damien Lovegrove | Archivo fotográfico | Scoop.it

My first workshops in France for over 10 years got off to an amazing start. The Fuji X-T10 arrived the day before we left and that gave me the time needed to set it up just how I wanted (or so I thought). I’d spent a couple of hours working out how I was going to set the ISO without a top plate dial and how I was going to trim my exposure to 1/3 stop increments. I thought I had it sussed then I started shooting for real in France. It was only when I had shot with the big zoom, the small primes, in the dark and with flash that I had gathered enough experience to make the final changes to my X-T10 set up. All will be revealed below. Every shot I took in France was with the X-T10 camera (in silver).......


Via Thomas Menk
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My New Favorite Lens: First Impression of the Fuji XF 35 | Rivals

My New Favorite Lens: First Impression of the Fuji XF 35 | Rivals | Archivo fotográfico | Scoop.it

The Fujifilm XF 35 wasn't a lens on my "to get list". It never made sense to own a 35, 50 and 85 (FF eqv.) focal lengths. It was just to close of a gap to me, but when my XF 56 went crashing down I was limited to only two options due to Fujifilm's limited selection of lenses, grab the XF 35, or pay an absurd amount to get the XF 56 repaired. When the XF 35 arrived, I wasn't impressed, it was slightly bigger than my XF 18, and it just didn't seem like a killer portrait lens. I literally let it sit for a few days before I even mounted it. When I went out on my daily photography walks I either took my XF 18, or Helios 44-2 and made those units work for me. The XF 35 just didn't get me excited, perhaps it was the horrid things I read about the slow AF, or maybe in my head it would never be my XF 56, either way I was bummed out and I started to question my purchase........


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Psicoanálisis de la fotografía

Psicoanálisis de la fotografía | Archivo fotográfico | Scoop.it
Psicoanálisis de la fotografía. La mítica serie Contactos, impulsada durante años por el Centro Nacional de la Fotografía de Francia y la cadena televisiva Arte, aparece ahora en el mercado español en una excelente edición íntegra de tres DVD. Entre 1989 y 2004 se realizaron los 33 episodios que componen la serie completa, cada uno de ellos de 13 minutos de duración y dedicado a un fotógrafo. La idea original partió de William Klein: cada fotógrafo elegido presentaría y comentaría personalmente sus hojas de contactos. Se trataba inicialmente de mostrar un material de uso interno desconocido para el público: las impresiones en papel de un rollo o de una secuencia de negativos que sirven al fotógrafo para revisar su trabajo y seleccionar las imágenes. El atractivo de la propuesta consistía en que estas hojas de contactos mostrarían tanto los aciertos como los errores, tanto las fotografías seleccionadas para ser mostradas como las desechadas, permitiendo a través de los comentarios del fotógrafo vislumbrar su método de trabajo y sobre todo el proceso de selección definitiva de las imágenes. Aunque algunos de los episodios siguen fielmente esta idea de partida, muy pronto el marco de análisis, o quizás sería más adecuado denominarlo autoanálisis, desbordó la idea original para convertirse en un exacto autorretrato, a través de su obra, de cada uno de los artistas seleccionados. La fórmula se mantiene inalterable a lo largo de los 33 episodios: el único motor de la narración es la voz en off del fotógrafo mientras vemos en pantalla sus obras, construyéndose un íntimo y fluido diálogo entre lo que vemos y lo que oímos. La efectividad y versatilidad de tan sencillo método se revela extraordinario teniendo en cuenta la extrema variedad de autores y estilos incluidos en la serie. De hecho el conjunto de los 33 autores prácticamente recorre el conjunto de concepciones, prácticas y sensibilidades que encontramos en el medio fotográfico durante las últimas décadas. La simple relación de fotógrafos ya lo pone de manifiesto: desde Cartier-Bresson a Jeff Wall, pasando por Nan Goldin, Araki, William Klein, Raymond Depardon, Doisneau, Elliot Erwitt, Giacomelli, Helmut Newton, Don McCullin, Sophie Calle, Andreas Gursky, Sugimoto, Lewis Baltz, Thomas Ruff, John Baldessari, Bernd y Hilla Becher, Boltanski, Roni Horn, Thomas Struth o Wolfgang Tillmans.
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Fujinon XF 16-55mm F/2.8 | Initial Thoughts | SLR Lounge

Fujinon XF 16-55mm F/2.8 | Initial Thoughts | SLR Lounge | Archivo fotográfico | Scoop.it

Fuji 16-55mm F/2.8 Quick Hits

  • Great Build Quality
  • Super Sharp
  • Love the weather sealing
  • Fits/Balances well on my X-T1
  • Zoom and Focus are smooth, Aperture Ring feels good, too (Nice and clicky!)

I am excited to give this lens a full run through here over the next couple of weeks. I have a big shoot planned for this upcoming Sunday, so hopefully I am able to use the lens there to get some great images. Stay tuned for that and the full review coming up! If you are interested, and want to get your hands on this lens ASAP.  Like I said at the beginning of the post, these are supposed to start shipping within the next week or two (I believe), so get your name on the list......


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10 maestros del blanco y negro

10 maestros del blanco y negro | Archivo fotográfico | Scoop.it
Color o blanco y negro, ésta es la cuestión. Y también es una de las primeras decisiones que han de tomar muchos fotógrafos antes de iniciar un ...
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Fujinon XF 10-24mm f/4 R OIS - Review / Test Report

Fujinon XF 10-24mm f/4 R OIS - Review / Test Report | Archivo fotográfico | Scoop.it
Fujifilm has done some miracles during the last few years. They were a late starter with their mirrorless system but when looking at their current system, you have to recognize that they can easily match "older" systems already and in many aspects they are actually ahead now. Currently they are busy releasing high performance zoom lenses to fill their remaining gaps. They just released the XF 50-140mm f/2.8 L RM OIS WR and announced the XF 16-55mm f/2.8 L RM WR. Later this year, a 140-400mm f/4.5-5.6 OIS (or so) will follow. However, they actually started their journey in this segment with the Fujinon XF 10-24mm f/4 R OIS which we'll cover in this review (yeah, we are a little late with this one). Obviously this is an ultra-wide zoom lens equivalent to a "15-36mm" full format lens.

Via Philippe Gassmann
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10 vidas convertidas en 10 lecciones de fotografía

10 vidas convertidas en 10 lecciones de fotografía | Archivo fotográfico | Scoop.it
Las historias personales pueden llegar a ser un auténtico filón para la fotografía documental y periodística. Tanto si se trata del presidente de ...
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13 claves del procesado de fotografías para una impresión de alta calidad

13 claves del procesado de fotografías para una impresión de alta calidad | Archivo fotográfico | Scoop.it
Antes, en la época de las cámaras analógicas y los carretes, imprimir nuestras fotografías era algo habitual, porque para poder verlas había...
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Como crear el efecto estela en tus timelapse | luiscaldevilla.com - Fotografía timelapse

Como crear el efecto estela en tus timelapse | luiscaldevilla.com - Fotografía timelapse | Archivo fotográfico | Scoop.it
Aprende a utilizar el efcto estela o "startrails" en tus vídeos timelapse utilizando el programa gratuito StarStax.
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Fuji's 16-55mm lens - a zoom lens that works like a a prime | Tom Grill

Fuji's 16-55mm lens - a zoom lens that works like a a prime | Tom Grill | Archivo fotográfico | Scoop.it

I tested Fuji's 16-55mm f/2.8 zoom when it first came out, and wrote a review of it where I praised the versatility of its design for myriad uses, and noted that it was one of the few zooms I know where the optics are as good as a prime lens. What I hadn't done was pick one up for myself, pretty much because I would use if for lifestyle and I already had most of the faster aperture Fuji primes and this zoom would be redundant. With the advent of the new Fuji X-Pro2, however, I see myself needing a zoom with superior optics to match the upgraded IQ of its new 24mp sensor. Fuji's latest rebate offers tempted me to pick up the zoom this week. A 16-55mm (24-83mm equivalent) focal length is a very versatile zoom lens that has been the staple of photographers ever since zooms became available.........


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El ojo acromático: Los retratos de Henri Cartier-Bresson. Un silencio interior.

El ojo acromático: Los retratos de Henri Cartier-Bresson. Un silencio interior. | Archivo fotográfico | Scoop.it
Los retratos de Henri Cartier-Bresson - Un silencio Interior - Henri Cartier-Bresson Foundation - El Ojo Acromático
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An Ode to the Fuji X100s | Sean Kelly Conway

An Ode to the Fuji X100s | Sean Kelly Conway | Archivo fotográfico | Scoop.it

My most influential  camera was surely the classic Leica M6 I bought mounted with a 35mm Voigtlander Color Skopar Lens (above), and kept loaded with Kodak Tri-X for nearly a year.  Inspired by my reading of "Leica as a Teacher" I wanted to give myself some parameters and develop a cohesive style of photography for the street material I was shooting in Korea at the time. I was also in love with the greats of Leica photography, who swore by the value of this simple machine. The camera served me well, and travelled across Asia, keeping pace without miss. I learned heaps from the constraints, and if photography is sometimes called the art of omission, I can't stress how much the constraints of a fixed lens and BW film taught me about the craft.  I loved it's intuitiveness and inconspicuous size- easy to pack, and pull out without alerting everyone to the fact. It opened up those quiet, quick moments, when everything is illuminated- and one needs to capture things with click of their eye. Upon returning from Asia I began doing more commercial photography and my workflow shifted much more in the digital direction. I would often keep my Leica around, but found myself using it less and less. I had tanks, but no scanner, and the couple labs doing color processing in the area where expensive and sub-par (still have about 30 rolls of film in my chest). It started to gather dust, and I was finding less and less time for my personal photography. Eventually I came to sell it, luckily the hold their value impeccably well. But I needed a replacement. I looked at the Leica M, but couldn't spend $6,000 for a mediocre digital sensor camera just because it was made in Germany. I opted for the Fuji X100s, and it became my new personal camera, that I could keep in my bag most of the time, and even take on jobs- usually just to capture an off kilter moment........


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Fuji XF 56mm f/1.2 R APD lens -- a hands on review | Tom Grill

Fuji XF 56mm f/1.2 R APD lens -- a hands on review | Tom Grill | Archivo fotográfico | Scoop.it

My favorite full frame lens for shooting lifestyle is an 85mm wide aperture. On a Fuji X camera this translates to the 56mm f/1.2.  A main reason for this choice is that I want to keep the background very soft so it doesn't interfere with the main subject, while at the same time retaining some story-telling detail in the out-of-focus area. I am often afraid of using full frame lenses at a full aperture of f/1.4, since it often means sacrificing some detail in the focused area. The Fuji 56mm lens is different. I find I can use it at f/1.2 with no loss in sharpness in my main subject. I have already posted a full hands-on review of the Fuji XF 56mm f/1.2 R lens. Since it is the same lens used to create the APD model, I will spend my time here in discussing the only difference between the two models, the effects of the apodization filter, and refer the reader to the other review for a fuller explanation of the similarities the two lenses share........


Via Thomas Menk
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Moving from DSLR to Fujifilm X-Series | John Colson

Moving from DSLR to Fujifilm X-Series | John Colson | Archivo fotográfico | Scoop.it

In August last year (after a good few months of thinking about it) I bought my first Fuji X-Series camera (an X-T1) with a view to supplementing my existing camera set up (Canon 5D3′s) and then, if things went well,  replacing them altogether. It wasn’t something I felt I could just go all in on straight away… I loved my Canon cameras and had just about got to the point where I felt vaguely competent in using them. However, the impact of using such a heavy camera system on my back and a desire to keep working for as long as I physically can meant I had to look for a less cumbersome camera system so I decided to give Fuji a go.......


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El Rango Dinámico. ¿Por Qué Nuestra Cámara No Capta Lo Que Ven Nuestros Ojos? [AHMF31 día12]

El Rango Dinámico. ¿Por Qué Nuestra Cámara No Capta Lo Que Ven Nuestros Ojos? [AHMF31 día12] | Archivo fotográfico | Scoop.it
Las cámaras han evolucionado muchísimo con el paso del tiempo. No estoy hablando sólo del ya conocido paso de la fotografía analógica (o química) a la digital, sino que me refiero a que cada semana, o incluso cada día, se producen nuevos avances que ...
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Fujifilm XF 50-140 mm f/2.8 R LM OIS WR | Douglas Fung

Fujifilm XF 50-140 mm f/2.8 R LM OIS WR | Douglas Fung | Archivo fotográfico | Scoop.it

One thing that doesn't seem to translate well between full frame and crop-frame shooting is the use of the classic 70-200mm f/2.8 workhorse zoom. This is a versatile focal length that does well for portraiture and event photography, but the equivalent crop-frame focal length of 50-140mm has never quite caught on. Crop users tend to be more casual in how they use their gear; as a collective group they tend to prefer longer focal lengths over mid-range quality. You often see DSLR users mounting those 70-200 f/2.8 onto crop-frame cameras, but that gives the effective field of view of 100-300mm on full-frame, which is somewhat awkward to use if you are moving in and out of a crowd during a social function. This comes back to the idea of the field of view for a classic working-zoom; it isn't so much about dealing with distance as it is with creating compression and isolation. To that end, the Fujifilm Fujinon XF 50-140 mm f/2.8 R LM OIS WR fits the bill......


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New York Times Photojournalism - Photography, Video and Visual Journalism Archives - Lens Blog - NYTimes.com

New York Times Photojournalism - Photography, Video and Visual Journalism Archives - Lens Blog - NYTimes.com | Archivo fotográfico | Scoop.it
Lens is the photojournalism blog of The New York Times, presenting the finest and most interesting visual and multimedia reporting — photographs, videos and slide shows. A showcase for Times photographers and the pictures of the day, the Times photo blog also seeks to highlight the best work of other newspapers, magazines and news and picture agencies; in print, in books, in galleries, in museums and on the Web.
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Street Photography - London

Street Photography - London | Archivo fotográfico | Scoop.it
Street photography can be a strange and intimidating experience. One technique you can try to make it easier and more focused is to set out with a specific subject in mind and then allow the shots ...
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Todos los Secretos Para Ver Nacer tu Propio Proyecto Fotográfico

Todos los Secretos Para Ver Nacer tu Propio Proyecto Fotográfico | Archivo fotográfico | Scoop.it
La mayoría de veces, cuando hablamos de empezar un proyecto fotográfico, pensamos en realizar uno de los muchos proyectos "ya definidos" que todos conocemos: el proyecto 365, por ejemplo, es uno de ellos. Pero realizar un proyecto fotográfico es much...
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camera-obscura

camera-obscura | Archivo fotográfico | Scoop.it

www.camera-obscura.org est une bibliothèque numérique sur l’histoire des techniques photographiques. A terme plusieurs milliers d’ouvrages du domaine public seront accessibles en ligne gratuitement avec la possibilité de recherches avancées et de recherches en texte intégral.

Née d’une coopération entre divers établissements, cette bibliothèque virtuelle est coordonnée par le Centre de Conservation du Livre.

Tout établissement ou particulier intéressé par la base de données peut rejoindre le projet et ajouter des documents relatifs au thème couvert par la bibliothèque virtuelle Camera Obscura.

 



Via Florence Trocmé
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Florence Trocmé's curator insight, September 29, 2014 4:55 AM

Merci à François Bon pour la découverte de ce site