• Camino a Estepona de Sahndrah


    Sahndrah de Tellus Place nos envía un bello paisaje obtenido en la campiña andaluza, camino de Estepona (Málaga – España –) con su Nikon D70.

    Sahndrah from Tellus Place has sent us this nice landscape taken with a Nikon D70 of the Andalusian countryside on the road to Estepona (MálagaSpain).

    Nikon D70

    Los datos EXIF del disparo son:

    Abertura f11
    Velocidad 1/400sg
    Longitud focal 35mm
    ISO 200

    La imagen original es esta:

    This is the original image:

    Camino a Estepona - Sahndrah © 2006 -

    En este cuidado paisaje podemos comprobar como la autora ha respetado la ley del horizonte aportando un especial protagonismo al espectacular cielo.

    A simple vista podemos detectar una mancha debida a alguna mota de polvo u otro residuo en el sensor de la cámara o el objetivo.

    Tras clonar las manchas y aplicar un ajuste de curvas por zonas, un virado a sepia y un viñeteo la imagen podemos obtener este resultado:

    In the landscape we can see that the photographer has respected the rule of the horizon so giving prominence to the spectacular sky.

    We can immediately see a stain due to a speck of dust or some other substance on the sensor or lens of the camera.

    After cloning the stain and applying a curve fit by area, a sepia tone change and a vignette I achieved the following result:

    Camino a Estepona - Retocada por jgarcía 2006 -

  • El Cuarto Oscuro en la Revista Foto DNG


    La Revista Foto DNG (gaceta electrónica gratuita sobre fotografía en formato pdf) ha publicado en su número 2 (octubre-2006) un artículo de nuestras amigas argentinas Nina y Viviana bajo el título Arte Fotográfico.

    The magazine Foto DNG (a free electronic gazette about photography in PDF format) has published in issue number 2 (October 2006) an article about our Argentine friends Nina and Viviana under the title Photographic Art.

    Café con Cola - El Cuarto Oscuro © 2006 -

    Algunas de las reflexiones que plantean en su artículo:

    • Una fotografía puede llegar a considerarse una obra de arte, si se emplea una técnica depurada e impecable, y se le agrega contenido, sentimiento y mensaje.
    • Un gran equipo fotográfico no garantiza que el resultado sea una obra de arte. «Las fotografías las saca el fotógrafo, no la cámara».
    • La estética, la composición, el buen gusto, son conceptos que deben incluirse en una imagen, para enriquecerla.
    • Las proporciones, los elementos, los colores, que tanto experimentaron los pintores son cosas que no podemos desconocer, por eso conocer de pintura, de escultura, de historia, es algo que nos dará mas conocimiento a la hora de hacer una imagen.
    Some of the reflections raised en the article are:

    • A photograph can be considered a work of art if a refined and impeccable technique is employed, to which is added content, feeling and a message.
    • Great photographic equipment doesn’t guarantee that the result will be a work of art. “Photographs are taken by the photographer and not the camera”.
    • Aesthetics, composition and good taste are concepts which should be included in order to enrich an image.
    • Proportion, the elements and the colours involved, as experienced by painters, should not be overlooked. We should investigate painting, sculpture, history, to give us more knowledge to work with when it comes to taking a shot.

    Formas - El Cuarto Oscuro © 2006 -

    En junio de 2005 publicamos una reseña sobre Nina y su obra.

    In June 2005 we published an article about Nina and her work.
  • Jaimas


    Una jaima es una especie de tienda de campaña usada por los pueblos nómadas o del desierto. Las jaimas son utilizadas como tiendas itinerantes de un mercadillo de artesanía mundial en el Paseo de Córdoba (Córdoba – España -).

    Me pareció interesante registrar las cúpulas de las jaimas contrastando con ese cielo nuboso.

    A “jaima” is type of tent used by the nomadic tribes of the desert. Jaimas are used as travelling tents for the world handicraft market in the main avenue of Córdoba (Córdoba – Spain).

    I thought it would be interesting to photograph the tops of the jaimas in contrast with the overcast sky.

    Jaimas - jgarcía © 2006 -


    Cámara Nikon D200
    Abertura f5.6
    Velocidad 1/800sg
    Longitud focal 50mm
    ISO 100

  • Mírame


    Obtenida con la tenue luz de la tarde que se filtraba por una ventana y con el estupendo 50mm.

    Taken with the faint evening light which filtered through a window using the fantastic 50mm.

    Mírame a los Ojos - jgarcía © 2006 -

    Cámara Nikon D200
    Abertura f3.5
    Velocidad 1/6
    Longitud focal 50mm
    ISO 200

    Durante el postprocesado apliqué un ajuste de curvas por zonas, una máscara de enfoque y una desaturación selectiva.

    During post processing I applied a curve fit by area, an unsharp mask and a selective desaturation.

    Otra versión con los ojos azules (petición de Raluque)

    Another version with the blue eyes (request of Raluque)

    Mírame a los Ojos 2 - jgarcía © 2006 -

  • Desierto de Tabernas: El Spaguetti-Western


    Fueron los romanos quienes dieron nombre a este pueblo (THABERNAX, THABERNAE) por el gran número de ventas y mesones que se tuvieron que establecer para abastecer a la tropa, prestar ayuda a los carruajes y descanso de los caballos.

    En una franja desértica de casi 2.000 kilómetros cuadrados rodeados por las sierras de Filabres, Alhamilla y las estribaciones de la Alpujarra almeriense. Debido a las condiciones climatológicas de este desierto, en el año 1.954 se empezaron a realizar los primeros rodajes de películas coproducciones italo-españolas, llamadas SPAGUETTI-WESTERN.

    El director italiano, Sergio Leone, y el oscarizado Clint Eastwood rodaron innumerables películas en este desierto de Almería (España).

    Hoy en día, las mesetas y los cactus del Desierto de Tabernas, donde se rodaban las películas, se ha convertido en un área recreativa y turística.

    Algunas de las películas que fueron rodadas en este desierto son:

    • Por un puñado de dólares
    • La muerte tenía un precio
    • El bueno, el feo y el malo
    • El astronauta
    • Indiana Jones y la última cruzada (Indiana Jones and the Last Crusade)
    • Patton
    • Rey de Reyes
    • Hasta que llegó su hora
    • Los Cuatro del Apocalipsis
    It was the Romans who gave this village its name (THABERNAX, THABERNAE) because of the great number of inns and taverns which had to be established in order to supply the troops, take care of the carriages, and provide rest for the horses.

    This is a deserted strip of land, of nearly 2000 km2, surrounded by the Filabres and Alhamilla mountain ranges and the foothills of the Alpujarra of Almería. Due to the climatalogical conditions of this desert, in 1954 the first of the Italian-Spanish co-productions known as spaghetti westerns began shooting here.

    The Italian director, Sergio Leone and Oscar winner Clint Eastwood shot many films in this desert of Almería (Spain).

    Nowadays the mesetas and cactuses of the tavern desert have been converted into a recreational and tourist area.

    Some of the films which were shot in this desert are:

    • A fistful of dollars
    • For a few dollars more
    • The good, the bad and the ugly
    • El astronauta
    • Indiana Jones and the last crusade
    • Patton
    • King of kings
    • Once upon a time in the west
    • Four of the apocalypse

    Tabernas 1 - jgarcía © 2006 -

    Tabernas 2 - jgarcía © 2006 -

    Tabernas 3 - jgarcía © 2006 -

    Tabernas 4 - jgarcía © 2006 -

    Tabernas 5 - jgarcía © 2006 -

    Tabernas 6 - jgarcía © 2006 -

    Tabernas 7 - jgarcía © 2006 -

    Durante el postprocesado, a todas las fotografías les apliqué un virado a sepia y un leve viñeteado.

    During post processing I applied to all the photos a sepia tone change and a slight vignette.
  • Mausoleo de Manolete 2


    Esta imagen pertenece a la serie de Mausoleo de Manolete. Se trata de una composición de tres fotografías que uní gracias a la aplicación PhotoMerge de Adobe PhotoShop.

    This image belongs to the series Mausoleo de Manolete and in fact is three photographs which I merged into one thanks to the program PhotoMerge from Adobe PhotoShop.

    Mausoleo de Manolete 2 - jgarcía © 2006 -

    Apliqué un Ajuste de Curvas por Zonas y añadí la luna (las fotografías fueron tomadas al mediodía).

    I applied a curve fit by area and I added the moon (the photographs were taken at midday).

    Cámara Nikon D200
    Abertura f10
    Velocidad 1/400sg
    Longitud focal 18mm
    ISO 200

  • Joey Lawrence: Un Joven Talento Canadiense


    El joven canadiense Joey Lawrence, empezó con la fotografía hace tan sólo dos años y también disfruta haciendo cine.

    Ignore de Joey Lawrence
    Es autodidacta. La mayoría de las técnicas de retoque digital que usa son el fruto del ensayo-error o gracias a tutoriales online.

    Actualmente estudia el último año del instituto y piensa empezar a estudiar cinematografía y dirección de películas en la universidad el año que viene.

    Ha mostrado sus fotografías en el Edificio Microsoft Canadá, Toronto, Ontario.

    Sus modalidades fotográficas preferidas son la urbana, la emotiva y la narrativa visual.

    Su primera cámara fue una camara compacta de 1.3 megapíxeles, y después utilizó un Minolta Dimage para la mayoría de las fotos en la página web. Desde hace un mes dispone de su primera SLR, una Canon 5D, de la cual está muy contento. De momento solo tiene un objetivo, pero espera que crezca pronto su equipo.

    Sus fotógrafos favoritos son Gottfried Helnwein, Les Goodman, Rengim Mutevellioglu.

    El último descubierto: se puede conseguir los mejores resultados si usas las sensibilidades ISO como 100, 200, 400, 800, 1600 y no sensibilidades intermedias.

    Consejos para los principiantes: experimentarás periodos de bloqueo creativo y no querrás hacer ninguna foto. Esto nos pasa a todos y seguirá pasando, así que no te rindas ni vendas la camara porque después ascenderás a un nuevo nivel superior. Solo requiere tiempo.

    Detalles de la foto:

    Es de un vagabundo pidiendo calderilla en el centro de Toronto, Ontario, Canadá.

    Le vi allí de pie, muy nervioso, dando vueltas y moviéndose sin parar. Todo el mundo que pasaba a su lado trataba de no mirarlo, desviando la miraba hacia abajo o a otro lado.

    Hablé con él y le pregunté si podría hacerle una foto. Tartamudeando me respondió que no había problema y me dio las gracias. Después de tomar unas fotos a cierta distancia para captar la escena completa le di un poco de dinero y me despedí de él.

    Joey Lawrence said:
    «I started taking pictures 2 years ago and enjoy this next to filmmaking.
    Both are very related.

    I am self-taught in photoshop, most of my techniques are from trial and
    error or reading online tutorials.»

    • Full name: Joey Lawrence
    • Nationality: Canadian
    • Current place of residence: Lindsay, Ontario
    • Web Site: http://www.joeyL.com
    • Studies: I am in my last year of highschool and plan to persue film cinematography and direction in University next year.
    • Expositions: Microsoft Canada building, Toronto, Ontario.
    • Preferred photographic categories: Street candid, emotive, visual storytelling
    • Photo Equipment: I started off with a 1.3 mega pixel point and shoot, then used a Minolta Dimage for most of the stuff on my website. I recently (1 month ago) finally got an SLR, the Canon 5D. I am very happy with this. I
      have only one lense right now but hope to get another soon.
    • Favourite photographers: Gottfried Helnwein, Les Goodman, Rengim Mutevellioglu.
    • Latest trick you have discovered (photo technique or digital retouch): You can get the best results and compensation if you stick to using main jumps in ISO like 100, 200, 400, 800, 1600 and not the in-between numbers.
    • Some advice for those who are novices: You’ll get periods of artistic blocking where you will not want to take any pictures of all. We all get this and they pass, so don’t give up or sell your camera because after it you develop on a new, improved level. It just takes time.

    Photo details:

    This is a homeless man looking for some spare change downtown Toronto, Ontario, Canada.

    You just see him standing there, spinning around and twitching and everyone who walks by him looks down or turns their head.

    I talked to him and asked him if it was okay I took his picture. He said it was alright in a very stuttery voice and thanked me for it. After taking some photos from a distance to get the whole picture, I gave him some change from my pocket and said goodbye.

    Gracias por la entrevista, Joey.

    Thank you for the interview, Joey.
  • Mausoleo de Manolete


    Adrien Brody, ganador del Oscar por “El pianista“, se ha metido en la piel del mítico diestro cordobés para protagonizar la película Manolete. Penélope Cruz da vida a su gran amor, Lupe Sino, a las órdenes del holandés Menno Meyjes. El rodaje terminó en julio y su estreno está previsto para el año que viene.

    La decisión de la productora (Lolafilm) de no incluir ninguna escena grabada en la Judería de Córdoba, como se especulaba antes de comenzar el rodaje ha sido el motivo de una gran polémica.

    Manolete no sólo revolucionó el arte del toreo en la posguerra española, sino que su amor por la bella actriz Lupe Sino desafió a los estrictos convencionalismos de la época. Ambos vivieron un intenso amor dominado por la pasión y los celos, y que desembocaría en un trágico final en la plaza de toros de Linares (Jaén), hace 59 años.

    Los restos del IV Califa del Toreo (Los califas son: Lagartijo, Guerrita, Machaquito, Manolete y El Cordobés) junto a los de su madre Dña. Angustias en el panteón familiar del Cementerio de Nuestra Señora de la Salud de Córdoba (España).

    Adrien Brody, the winner of the Oscar for “The pianist” portrays the mythical bullfighter from Córdoba (Spain) in the film Manolete. Penelope Cruz is his great love, Lupe Sino. Shooting finished in July and it’s due to be released next year. It has been directed by Menno Meyjes.

    The production company’s decision (Lolafilm) to not include any scenes filmed in the Jewish quarter of Cordoba, as was speculated before shooting started, has been quite controversial.

    Manolete not only revolutionised the art of bullfighting in post war Spain, but also his love for the beautiful actress Lupe Sino challenged the strict conventions of the day. Both lived an intense love based on passion and jealousy, and which lead to a tragic ending in the bullring of Linares (JaénSpain) 59 years ago.

    The remains of the IV Caliph of Bullfighting (the caliphs are: Lagartijo, Guerrita, Machaquito, Manolete and El Cordobes) lie next to those of his mother, Dña Angustias, in the family mausoleum in the cemetery of Nuestra Señora de la Salud in Córdoba (Spain).

    Mausoleo de Manolete - jgarcía © 2006 -

    Cámara Nikon D200
    Abertura f9
    Velocidad 1/500
    Longitud focal 29mm
    ISO 200

    En marzo publiqué una fotografía del monumento que Córdoba levantó en su memoria junto a la Iglesia de Santa Marina.

    In March I published a photograph of the monument which Córdoba erected in his memory next to the Church of Santa Marina.
  • Estelas


    La estampa típica del final de un día de verano en la Costa del Sol (Málaga – España –). Esta fotografía fue tomada concretamente en la Playa de la Víbora (Marbella), como Correr sobre el Mar y Atardecer en la Playa de la Víbora.

    The typical appearance of the end of a summer day on the Costa del Sol (MálagaSpain). This photograph was taken on the Playa de la Víbora (Marbella – Spain), as was Correr sobre el Mar and Atardecer en la Playa de la Víbora.

    Estelas - jgarcía © 2006 -

    Para pasarla a blanco y negro utilicé la acción Ilford Delta 400 Pro & 3200 definida en el artículo Pasar a Blanco y Negro.

    In order to change it to black and white I used the Ilford Delta 400 Pro & 3200 action as described in the article Pasar a Blanco y Negro.

    Cámara – Camera: Nikon D200
    Velocidad – Exposure time: 1/640seg
    Abertura – F Number: f8,00
    Longitud focal – Focal length: 18mm
    ISO: 100

  • Photography Rules


    El artículo en español ha sido traducido al inglés por mi amigo Simon.

    According to the Royal Spanish Academy a Decalogue is a set of rules, not necessarily ten in number, or advice which is basic in order to carry out any activity.

    Photography  Rules

    These 50 points are maxims to follow which any photography lover should know, remember and put into practice.

    1.Study the camera’s instruction manual. We should master the functions of the instrument with which we are going to take photographs.
    2. Don’t use sunglasses while taking photos.
    3. Use the maximum resolution of the camera. If possible use RAW.
    4. Bear in mind the considerable limitations of the built in fill-in flash of the camera.
    5. With each download of photos (card-PC) make a back up copy
    6. Archive the photos by category and in chronological order.
    7. Never apply any post processing to the original photo; use a copy.
    8. Be careful how we hold the camera. Fingers should never cover the flash or auto focus assist lamp.
    9. Avoid the use of a compact camera’s digital zoom.
    10. To save battery power leave the LCD screen turned off.
    11. Before a photo session make sure the batteries are fully charged. A spare battery is recommended.
    12. Hold the camera firmly with both hands and with elbows held against the body. Sometimes it may be necessary to lean on something, kneel down or even lie down on the floor.
    13. Press the shutter button gently to avoid any loss in clarity of the image.
    14. Before beginning a photo session make sure the memory cards are empty.
    15. Take time to observe and select the frame. Avoid elements which do not provide information/beauty to the image.
    16. Take various shots from different angles when we find an interesting subject.
    17. With compact cameras be careful with the border details as what is seen on the screen is not the same as what will be taken through the lens (parallel error)
    18. Avoid inclined horizons. Hold the camera straight at the moment of shooting.
    19. Do not reject vertical format shots.
    20. The best light can be had at the early morning and late evening hours. Avoid the midday sun.
    21. Overcast/cloudy days provide a diffuse light which is ideal for portrait and landscape shots.
    22. Avoid the Bull’s-Eye Effect.
    23. Understand the Rule of Thirds and the Golden Ratio.
    24. Bear in mind the rule of sight.
    25. Consider the rule of movement.
    26. Apply in most shots the rule of the horizon.
    27. Use Vanishing Point as a photographic resource to improve our compositions.
    28. Make use of Patterns in our compositions.
    29. Assure that the photographer’s shadow does not enter the image.
    30. Use a tripod when using shutter speeds slower than 1/80 sec.
    31. In portraits:

    • Always focus the eyes of the model.
    • Get as near as possible in order to show all the facial details.
    • Try to obtain a pose or expression which is characteristic of the model.
    • Use balanced lighting (a light source each side of the model) to avoid shadows and so as to not emphasize facial wrinkles.
    • Don’t cut the image off at a joint (knee, ankle, waist)
    • Look for naturalness. Keep the models occupied.

    32. Child photography:

    • Try to have an assistant to prepare and chat with the child, to show him/her something of interest, to provide something which attracts the attention so as to distract the child while we shoot. The objective is to capture spontaneous expressions.
    • The camera should be at the height of the child
    • Get as near as possible to the child
    • Use fast shutter speeds (above 1/250 sec) to avoid blurred images.
    • Add toys or other brightly coloured objects to the scene.
    • Look for simple backgrounds.
    • Make use of the continuous shooting mode of the camera in order to take many photos in a short period of time.
    • Look for shots with the sun behind, diffuse lighting, and overcast days to capture the soft complexion of children.
    • Never place the child facing the sun.
    • A small lack of clarity of the hands or feet emphasizes the sensation of movement.

    33. In landscape shots include objects in the foreground to frame the landscape and to give the impression of perspective.
    34. In panoramic shots include people, which will serve as a reference and make the viewer feel part of the scene.
    35. In snowy landscapes we should open the diaphragm up to two points in order to achieve a brilliant, white snow. The excessive reflected light would mislead the photometer and so if not we would obtain dark photographs with grey snow.
    36. Bear in mind negative space as a photographic resource.
    37. Examine the background before shooting. We should look for neutral backgrounds and if possible, they should be out of focus in the image. The idea is to avoid confusing backgrounds which steal attention from the subject of the photo.
    38. The built-in flash is useful as a fill in light source in exterior shots for photos taken at midday and in general when the sun produces annoying shadows on the face of the model.
    39. For the majority of users who generally make copies of size 10×15, a camera of 3.2 megapixels is more than sufficient.
    40. Be careful on the beach. Salt water and sand are dangers for the camera.
    41. Make sure the main subject of the photo is precisely focussed.
    42. Try to take photos which attract our attention and show just one idea, without unnecessary details (to achieve this simplicity get close to the subject and choose a simple background).
    43. A cut exists as a photographic resource but this shouldn’t be confused with involuntary cuts. We should avoid cuts of the head and feet.
    44. Look after your equipment:

    • The lenses, filters, and the sensor (see sensor cleaning) should be clean and free from dust and fingerprints.
    • Avoid extreme temperatures. For example, don’t leave your equipment inside the car and in the sun.
    • Transport equipment in a rucksack or an appropriate bag (padded and isolated from humidity). LowePro are recommended.
    • On plane journeys use rigid cases for the equipment. With new security measures we cannot take our equipment on board as hand luggage in the rucksack).

    45. View and study the works of masters using internet, books, museums, expositions. Ask yourself: Why does this image captivate me?
    46. Take advantage of the non-contemporary look of black and white and sepia prints.
    47. During the photo session (be it interior or exterior) we should not feel rushed.
    48. Look for information in internet. Everything can be found there.
    49. Don’t be afraid to experiment with your photographic equipment.
    50. Practise, practise, practise.

    Contributions from the friends of jggweb:
    1. Check the ISO value before shooting.
    2. In order to achieve the correct exposure make use of exposure compensation.
    3. A tripod is essential when using long focal ranges or slow shutter speeds.
    4. When using a zoom select a minimum shutter speed of half the focal distance.
    5. When taking travel photographs of journeys we should get close to the subject; that is the traveller. The monument will appear as a frame, as the scene of the adventure. So we will avoid the typical photo with far off (miniscule) subjects and the monument as the background.


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