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Pedro Luis RAOTA, el gran fotógrafo argentino

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Una interesante disertación sobre la visón fotográfica y el concepto creativo.

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  • Soy de los que pensar que cada cual debe de actuar como libremente quiera o pueda. Tambien pensar que el expectador con experiecia sabe cuando el fotógrafo es consagrado y cuando es un busca "Me gusta", es cierto que las redes sociales están repletas de estas gentes. Y por sus actos los conoceremos, yo nunca entendí lo de poner todos días fotos como si fuera la vida en ello, el arte no es máquina de hacer espaguetti.

  • You have to stop looking at your navel so much, those who pursue glory can be seen coming from afar. What is unknown is that the glory here is a mirage.

  • Visualmente, toda fotografía es una cita fuera de contexto porque fotografiar es excluir, es descontextualizar y es fundamental aceptar ese hecho como un punto de partida.

    Oscar Colorado Nates

  • The staged, modified image has always been the subject of great controversy. Personally, these rules should never be skipped, that is to say, make physical modifications to the scenes, it is something that today would violate the standards of journalism, as we understand it today. The staging or modifications in any other photographic circumstance is a matter of taste and the personalization of each one, and as such one is very free to do and create what each one wants. I repeat, except in the cases of journalistic documentation. It is true that in other types of photographs, many photographers have been disqualified for reconfiguring scenes trying to pass for found what was actually created, such as that famous international nature contest where a wolf stalked a "dacha" in the middle of the night , then it turned out that the wolf was stuffed. Well, that goes in the conscience of each one, perhaps taking this type of photos to a contest is going out of line. But what has been said, everyone is free to create and obviously to assume their risks. You tell him to give "cat for a hare" I love that expression.

  • Very interesting everything that is being said in this video space. My personal vision is very similar to Svetlava s exhibition.

    Muy interesante todo lo que se esta diciendo en este espacio de videos. Mi visión personal se asemeja mucho a la exposición de Svetlava .

  • A very interesting video

  • I think everyone who knows me in Moldeando la luz knows exactly what I think about this topic.

  • Como bien dice Millen, esto resulta muy cansino seguir hablando de este tema, y por ver no veo ni mal el hacer ese tipo de fotos que denuncia José Antonio Machado, te crean un escenario pero quien no sepa manejar una cámara no sirven de nada los escenarios. Si Mark Knopfler me regalara una de sus Fender Stratocaster , con las partituras delante de mis ojos, pues es como si me llaman a parte y no me dicen nada. En que se diferencia eso de Vietnam con asistir a uno de esos másteres donde te enseñan a retratar la vía láctea, fotografía nocturna o de glamour. 

    Yo me apunto más a opinar con aquellos que piensan que lo de Instagram más que otras redes incluida su hermana el Facebook son la auténtica perversidad de la fotografía con sus filtros de belleza. Leí no hace mucho tiempo que la asociación de cirujanos plásticos reconocía que el 60% de sus pacientes acudía a sus clínicas porque querían parecerse al reflejo que los filtros de Instagram hacían de sus rostros.  Eso está mal y contra eso solo tenemos la educación  y la ética que pueden proporcionar el equilibrio mental para vencer esos espejismos que marcan el estándar de la belleza. Lo que para mi es mucho más grave es que haya fotógrafos a los que acuden las chicas y utilicen esas malas prácticas, fotógrafos que esconden   sus carentes conocimientos técnicos tras los filtros y pluguins; cada vez se están dando más casos de chicas que necesitan atención psicológica por profesionales. Para los profanos es normal que les cautive la idea de ver a “fotógrafos profesionales” pasando el dedo por la pantalla del móvil y como si se tratara de un mago, mezclar el banco y negro con el color, el dibujo con la imagen, cuando eso lo hacen los filtros de IA. Tras esta cortina cada día se conoce a más fotógrafos que confunden lo hallado con lo creado de lo que se habla en el video. Una cosa es crear, con el ejemplo de la fotografía de Pedro Luis Raota, o lo que Guendy cuenta de S.Kubrick y otra cosa es intentar colar como fotografía de bellas artes, lo que ahora está tan de moda como el Fine Art, y que no es más que lo que han hecho los ingenieros que diseñan la inteligencia artificial de los filtros y no la inteligencia del fotógrafo. Al igual que en la vida hay tontos, listos y pícaros, estos se asemejan más a estos últimos. El seguir en estas redes a 500 personas para que a la vez estos te sigan a ti, eso nunca lo he entendido, pero supongo que forma parte de esa vanidad humana que busca aparentar lo que no es, como decía mi abuela, dime de que presumes y te diré de que careces. Dicho esto, sin trampas, cada cual puede hacer lo que le venga en gana, foto hallada, creada…me da igual.

    Y dentro de las trampas prefiero ver en una foto a un burro volando que ha una chica normal convertida falsamente en una miss de belleza, porque el daño que se le hace es impensable.

    Con o sin arte solo hay un tipo de fotografía que no es justificable su manipulación, y es la fotografía documental. El resto, depende de la habilidad de cada cual para ser creativo; el querer ser un nuevo Picasso de la fotografía, eso ya va a depender del grado de credulidad de los que observen sus trabajos, y del nivel de técnicas ajenas que se hallan utilizado. Yo como soy un clásico me conformo con el instante que ha fijado la fotografía y para nada me considero un purista.

     

    As Millen says, this is very tiring to continue talking about this issue, and just to see, I don t see much harm in taking the kind of photos that José Antonio Machado denounces, they create a scenario for you, but whoever does not know how to handle a camera is useless. scenarios. If Mark Knopfler gave me one of his Fender Stratocasters, with the sheet music in front of my eyes, it is as if they called me aside and said nothing. How is Vietnam different from attending one of those masters where they teach you to portray the milky way, night or glamor photography. I am more interested in giving an opinion with those who think that Instagram more than other networks including its sister Facebook are the true perversity of photography with its beauty filters. I read not long ago that the association of plastic surgeons recognized that 60% of their patients went to their clinics because they wanted to look like the reflection that Instagram filters made of their faces. That is wrong and against that we only have the education and ethics that can provide the mental balance to overcome those mirages that set the standard of beauty. What is much more serious for me is that there are photographers that girls go to and use these bad practices, photographers who hide their technical knowledge behind filters and plug-ins, there are more and more cases of girls who need psychological attention for professionals. For the layman, it is normal to be captivated by the idea of seeing “professional photographers” passing their finger across the mobile screen and as if it were a magician, mixing the black and white with the color, the drawing with the image, when that s what the AI filters do. Behind this curtain, every day more photographers are known who confuse what has been found with what is created about what is talked about in the video. It is one thing to create, with the example of the photography of Pedro Luis Raota, or what Guendy tells of S. Kubrick and another thing is to try to strain as fine art photography, what is now as fashionable as Fine Art, and which is nothing more than what the engineers who design the artificial intelligence of the filters have done and not the intelligence of the photographer. As in life there are fools, clever and rogues, these are more like the latter. Following 500 people in these networks so that at the same time they follow you, I have never understood that, but I suppose it is part of that human vanity that seeks to pretend what it is not, as my grandmother said, tell me what you presume and I will tell you what you lack. That said, without cheating, everyone can do whatever they want, photo found, created ... I don t care. And within the traps I prefer to see a flying donkey in a photo that a normal girl has falsely turned into a beauty miss, because the damage done to her is unthinkable. With or without art, there is only one type of photography that cannot justify being manipulated, and that is documentary photography. The rest depends on the ability of each one to be creative; wanting to be a new Picasso of photography, that will already depend on the degree of credulity of those who observe his work, and the level of other people s techniques that are used. As I am a classic, I am satisfied with the moment that photography has fixed and I do not consider myself a purist at all.

  • It bores me a lot to discuss this topic again, I can t stand the apostles of photography who believe they are in the power of absolute truth. Let everyone have the freedom to do whatever they want, just as the rest of us have the freedom to admire or ignore their work, it is very tiring for me, really. We all know the damage that Instagram is doing to photography, the eagerness that some have to accumulate friends to see if they reciprocate, you give me a like, I give you another, or those who get up early to give likes to see if your photo increases. I feel repulsed towards these behaviors, but the same thing happens with photography that I don t like, I don t go in, period; that each one continue with their alienation. What seems contradictory to me is criticizing it and participating in it. It is true that there it is impossible to debate anything, in spaces like this if you can, but if it is to discuss the same, what I have said, what I am going to do, tires me a lot. For me the photographic machine is like for the painter his brushes, or for the writer his pencil or keyboard. Some can describe a scene with the words they want or paint it with the light and color they prefer, because we don t let everyone do whatever they want with their camera.

     

    Me aburre mucho discutir de nuevo sobre este tema, no soporto a los apóstoles de la fotografía que se creen en poder de la verdad absoluta.  Dejemos que cada cual tenga la libertad de hacer lo que quiera, lo mismo que los demás tenemos la libertad admirar o ignorar sus trabajos, me resulta muy cansino, la verdad.

    Todos sabemos el daño que Instagram está haciendo a la fotografía,  del afán que algunos tienen de acumular amigos para ver si les son reciprocos, tú me das un like, yo te doy otro a tí, o aquellos que madrugan a dar likes para ver si su foto aumenta. Siento repulsión hacia esos comportamientos, pero ocurre lo mismo que con la fotografía que no me gusta, no entro, y punto; que cada cual siga con su  enajenación. Lo que me parece contradictorio es criticarlo y participar de ello. Es cierto que allí es imposible debatir de nada, en espacios como este si se puede, pero si es para discutir de lo mismo, lo dicho,  que le voy a hacer, me fatiga mucho.  Para mí la máquina fotográfica es como para el pintor sus pinceles, o para el escritor  su lápiz o teclado. Unos pueden describir una escena con las palabras que quieran o pintarlo con la luz y el color que prefieran, porque no dejamos que cada cual haga con su cámara lo que le venga en gana

  • In the end it all comes down to the honesty of the author, as was well commented previously. If you incorporate a flying saucer in the sky, it is not necessary to deduce anything, it is understood that it is a montage. If, on the other hand, it is sunny and the day is clear, you darken it, dark clouds get and you create rain, it can be an interesting post-production, but if it is not said, you are trying to sneak in the hare. It is clear that everyone is free to act as they please, what happens is that when you try to pass what is found for what is manufactured and the author is discovered, at least for me it is touched. On the other hand, I completely agree on the creative freedom of each one, it would be missing more. The example that Guendy tells us of Kubrick is very classifying.

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