Dirigido a aficionados a la fotografiacute;a en general y a aquellos que quieren conocer mejor el proceso que se sigue en la produccioacute;n y manipulacioacute;n de fotografiacute;as digitales.Se explica secuencialmente todos los pasos que se deben seguir desde la captacioacute;n de la fotografiacute;a con caacute;mara digital; tanto compacta como reacute;flex; hasta la impresioacute;n; las caracteriacute;sticas de captacioacute;n y almacenamiento en una caacute;mara digital; diferenciaacute;ndola de la caacute;mara analoacute;gica; el almacenamiento en el ordenador; la clasificacioacute;n de las mismas; la correccioacute;n de la luz; color; tonos ... la preparacioacute;n para la web; y la impresioacute;n en cualquier impresora; son algunos de los temas que se van a tratar. Finalmente se proponen unos anexos como ampliacioacute;n de conceptos sobre composicioacute;n; color; iluminacioacute;n y una serie de ejercicios de creacioacute;n; que son la base para investigar sobre ese proceso creativo.
#1410386 in eBooks 2016-03-29 2016-03-01File Name: B01CESQNPG
Review
9 of 10 people found the following review helpful. FOLD ON FOLD TOWARDS COMPREHENSIONBy Roman PagetIn the introduction to his "Hamlet: Fold on Fold". Gabriel Josipovici offers a very attractive promise. Namely. the author states that "rather than rushing to conclusions or setting out a theory of what Hamlet is about. ... we should read and watch patiently and openly. allowing the play to unfold before us in its own time and trying to see each moment in the context of the whole." It is true that Shakespearersquo;s plays are based on an incredibly coherent whole; every episode and every scene of every play fits into a universal "objective correlative." But there is an entry price to be paid to access Shakespearersquo;s inner world. First. the readers have to identify and abandon the thinking patterns that are driving their intellectual and emotional reflexes. Then. they have to be willing to put aside their preconceived ideas. favourite views. preferred opinions. personal liking and disliking. Not an easy task. Therefore. I was curious to find out how Josipovici would attempt to deliver on his promise.The book is very well written and enjoyable to read. The author has managed to outline the nature of the difficulties related to understanding this most famous work of Shakespeare.According to Josipovici. Hamlet is utterly confused by the situation in which he finds himself. He assumes that Hamletrsquo;s choices have been limited to two roles. either to play together with Claudius and the Danish court or to follow the directions of the Ghost (ldquo;for these two are the only plays in townrdquo;). But. Josipovici observes. Hamlet does not seem able to be part of either of the plays that are on offer. The author. therefore. decides to get to the heart of the play by dividing it into 16 sequential folds and then he analyses each of them in greater detail. Josipovici identifies a number of situations in the play which are mutually exclusive. ldquo;Everything starts to seem meaningful and. at the same time. quite meaningless." Josipovicirsquo;s attempts at getting at "what Hamlet is really about" are going about things in the wrong way. Consistent appearances of inconsistent situations lead the author to his conclusion: "The play has so many mirrors. so many internal echoes. that it is difficult to get grip on what is going on and in precisely what order." This is Josipovicirsquo;s promised "whole". i.e.. Shakespeare meant to demonstrate that certain things are beyond our grasp. This conclusion nicely matches up with Harold Bloomrsquo;s ldquo;humankind never will stop catching up to himrdquo;. Such a conclusion is rather a reflection of the authorrsquo;s thinking pattern than Shakespearersquo;s.Josipovici. like every Shakespearean critic and scholar before him. intensely quotes from other philosophers. writes. and poets in order to justify his observations. With all due respect to those famous. admired. and great writers and thinkers. we should keep in mind that they were all also looking for answers. But Shakespeare belongs to quite a different league. Shakespeare knew the answers. And because of this. he also knew that the answers could not be expressed in words. The answers are hidden within the readersrsquo; and spectatorsrsquo; minds. But they are veiled by their conditioned thinking process. Therefore. he designed his plays in such a way as to help the audience identify the faults in their thinking. In his plays. he implanted traps for such conditioned reactions. By identifying their own intellectual and emotional reflexes. the audience may be able to do something about them. comprehend the inner dimension of the plays and get closer to Shakespearersquo;s narrative.Lets take. as an example. Claudiusrsquo; reaction to the playersrsquo; performance which. according to Josipovici and other commentators. is one of those inexplicable situations. Why does not Claudius react to the dumb-show? What is there that makes a substantial difference between the dumb-show and the following show-proper? Josipovici quotes a number of explanations which are manifestations of the working of reflexive responses. i.e.. ldquo;He was too busy setting into his placerdquo;. or ldquo;He did not recognise himselfrdquo;. or ldquo;He did see it but maintain a mask of ignorancerdquo;. or ldquo;He managed to hold back for one dramatization of the murder but not for twordquo;. or ldquo;He did not recognize the murder hellip; because it does not correspond to how he actually did it.rdquo; Josipovici adds his own explanation. i.e.. ldquo;Claudiusrsquo;s abrupt exit could just as well be due to his anger at Hamletrsquo;s continual imputation of his guilt as a sign of the guilt itself."Shakespeare used Claudiusrsquo; odd reaction as a trigger to force the ordinary mind to an extra effort. In this way the audience may discover that there is one thing which is not included in the show-proper. Namely. the audience does not know what happened after the murder in the garden. Hamlet does not allow the players to finish their performance. Instead. he interrupts the performance with his exclamation. ldquo;you shall see anon how the murderer gets the love of Gonzagos wife.rdquo; It is at this point that Claudius reacts; he rises and leaves the chamber.Every scholar and critic. including Josipovici. assumed that the show-proper illustrates the same event that is presented in the dumb-show. But this is not the function of dumb-shows. at least not in Shakespearersquo;s plays. Shakespeare used dumb-shows to fill-in time gaps between events which took place at different times and in different places (e.g.. see Pericles). The players performance is exactly that: the dumb-show and the show-proper illustrate two different events. One event took place in Elsinore in accordance with the Ghosts report. And the second event. which is of great importance to the current situation in Elsinore. took place earlier. Even though Hamlet did not allow the players to finish their performance. Shakespeare provided all the details in other "inexplicable scenes." In this way the audience and the readers are gradually led into an entirely different world of Shakespearersquo;s "whole". In order to enter into Shakespearersquo;s invisible world. however. one has to do his or her homework first. And this is the purpose of these seemingly unexplained situations in "Hamlet" and in Shakespearersquo;s other plays.The publication of "Hamlet: Fold on Fold" coincides with the 400 years anniversary of Shakespearersquo;s death. Lets hope that the public will not have to wait another 400 years before the critics and scholars are able to explain to them the "whole" of Shakespearersquo;s narrative.
