fotografía digital para arquitectura
TRANSCRIPT
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Tomado de Architectural Photography (Schulz A.,2010)http://my.safaribooksonline.com/book/photography/9781933952437
Walimai, 2011
Introducción a la
FotografíaArquitectónica
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Cámara fotográfica digital
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http://blogs.elcomercio.pe/vidayfuturo/fotodigital.jpg
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Tipos de cámaras digitalesCanon 450D
brigdecompacta réflex
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Partes de una cámara DSLRCanon 450D
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Sección de una cámara DSLROlympus E30
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Esquema de una cámara réflex digital (DSLR)http://www.freewebs.com/siintiia/reflex.gif
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Características de una buena foto de
arquitectura
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-Buena composición con lenguaje directo y contundente. El resto de los
componentes no deberían jugar un papel dominante.
- Si se trata de la relación entre edificios, su conexión debe representarse
claramente.
-Sí se pueden violar “las reglas”, pero debe ser obvia esa intención.
-Produce un sentimiento de familiaridad con el edificio.
- Destaca las cualidades de diseño de la edificación.
-Permite la interpretación personal dentro de ciertos límites: Cuenta una historia,
señala contradicciones o resalta detalles arquitectónicos que de otra manera no
serían percibidos
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El arquitecto y el fotógrafo
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ARQUITECTO FOTOGRAFO
Estructuras tridimensionales Superficies bidimensionales
El concepto y lo constructivo Luz, sombra y dimensionalidad
La arquitectura es una
constante.
Permanente y objetiva
La arquitectura de un
momento particular.
Transitorio ysubjetivo
Riqueza de información: Las
imágenes hacen al edificio
dimensionalmente inteligible
Reducción de la densidad de la
información.
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La arquitectura como tema
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Qué tipo de arquitectura
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El ojo para el tema
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La perspectivael papel del punto de fuga
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Distorsión de la perspectiva y convergencia de las líneas verticales
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Cómo evitar la convergenciade las líneas verticales
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Posición de la cámara
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14 mm
Distancia ideal
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24mm
Distancia ideal
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150mm
Distancia ideal
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200mm 100mm
Posición y perspectiva
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17mm
35mm
50mm
Posición y perspectiva
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58 mm
Posición y perspectiva
12 mm
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Posición y perspectiva
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Posición y entorno
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Posición y entorno
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Posición y entorno
24 mm 24 mm
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Posición y simetría
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Posición y simetría
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Percepción de la profundidad
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180 mm
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40 mm 14 mm
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100 mm
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Distancia focal
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Distancia focal larga
Figure 3-61. Long focal length and large distance producing a compacted view [focal length: 180 mm]
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Distancia focal larga
Focal length producing a visual relationship between buildings that are distant from each other [focal length: 150 mm]
Focal length and framing produce a composition dominated by shapes and surfaces [focal length: 120 mm]
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Distancia focal muy corta
Neighboring buildings make a more distant camera position impossible and necessitate the use of a short focal length [focal length: 14 mm]
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Distancia focal muy corta
An extreme wide angle lens, in combination with this special camera position, lead to a very dynamic look [focal length: 16 mm]
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Distancia focal muy corta
Slight camera tilt downwards combined with a very short focal length lead to strongly converging verticals [focal length: 14 mm]
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Distancia focal muy corta
Fisheye lenses produce extremely distorted representations of architectural reality
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Orientación
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Additional compositional element (airplane) determines the directional orientation of the image
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Vertical dimensions and building structure is contrasted by horizontal image format
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Encuadre y composición
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Calm, static composition as a result of center placement of the building
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Suspenseful, dynamic image composition by employing the “the golden ratio”
One-sided composition creating an unusual look
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Deliberately chosen viewing angle
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Limited perception as a result of an extremely restricted frame
Use of disembodied space
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Sección áurea y la regla de los tercios
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Composición y entorno
Objects in the building’s vicinity included in the image composition
Clearly structured image composition without distracting environmental elements leads to a utilitarian, impersonal look
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Composición y entorno
Placing an additional emphasis by incorporating a tree into the image composition
objetos estacionarios
Surrounding objects enliven the composition and convey information about the building’s spatial dimensions
The combination of stationary objects and a clearly structured façade adds suspense to the image
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Composición y entornoobjetos en movimiento
Pedestrians passing through the subject’s vicinity
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Composición y entornoobjetos en movimiento
Human figures deliberately included in the composition
Human figures deliberately kept out of the composition
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Composición y entornoobjetos en movimiento
Human figures enliven the image, but they also capture the viewer’s eyes
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Composición y entornoobjetos en movimiento
Deliberate inclusion of human figure to illustrate dimensions and spatial proportions
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Encuadre reducido
Reduced frame emphasizes shape and detail design of particular components [Focal length: 105 mm]
A reduced image frame emphasizes the special qualities of this building
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Encuadre reducido
Internal building structures are being emphasized by the reduced image frame
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Parámetros
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Velocidad de obturación
Classic night shot, architecture glowing from the inside [10 sec., f/6.7, ISO 100]
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Velocidad de obturaciónmovimiento
Velocidad rapida. Movimiento congelado. 24.6mm, 2s, f/6.3Velocidad rapida. Movimiento congelado. 24.6mm, 1/4s, f/3.3
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Apertura
Large aperture opening results in narrow depth of field; here, the viewer’s eyes are directed to gaps between the stones [focal length: 18 mm, 1/60 sec., f/2.8, ISO 100]
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Sensibilidad de la película (ISO)
By choosing a light sensitive film, grain is purposely used as a stylistic tool
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Exposición
Shooting against the sun leads to façades poor in contrast in the final image; the sky is overexposed [1/40 sec., f/11, ISO 100]
DRI-Image from a bracket sequence mitigates the problematic light situation when shooting against the sun [1/10 + 1/40 + 1/160 sec., f/11, ISO 100]
Figure 3-106. Using a graduated neutral density filter in a shot against the sun [1/40 sec., f/11, ISO 100)
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Exposiciónf-number
EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64−6 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m 4096 m−5 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m 2048 m−4 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m 1024 m−3 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m 512 m−2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m 256 m−1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m 128 m
0 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m 64 m1 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m 32 m2 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m 16 m3 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m 8 m4 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m 4 m5 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 60 2 m6 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 30 607 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 15 308 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8 159 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 4 8
10 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 2 411 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 1 212 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/2 113 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/4 1/214 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8 1/415 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/816 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/30 1/1517 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/60 1/3018 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/125 1/6019 1/8000 1/4000 1/2000 1/1000 1/500 1/250 1/12520 1/8000 1/4000 1/2000 1/1000 1/500 1/25021 1/8000 1/4000 v 1/1000 1/500EV 1 1.4 2 2.8 4 5.6 8 11 16 22 32 45 64
f-number
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ExposiciónLighting Condition EV100
DaylightLight sand or snow in full or slightly hazy sunlight (distinct shadows)a 16
Typical scene in full or slightly hazy sunlight (distinct shadows)a, b 15Typical scene in hazy sunlight (soft shadows) 14
Typical scene, cloudy bright (no shadows) 13Typical scene, heavy overcast 12
Areas in open shade, clear sunlight 12Outdoor, Natural light
RainbowsClear sky background 15
Cloudy sky background 14Sunsets and skylines
Just before sunset 12–14At sunset 12
Just after sunset 9–11The Moon,c altitude > 40°
Full 15Gibbous 14Quarter 13
Crescent 12Moonlight, Moon altitude > 40°
Full −3 to −2Gibbous −4Quarter −6
Aurora borealis and australisBright −4 to −3
Medium −6 to −5
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Exposición
Outdoor, Artificial Light
Neon and other bright signs 9–10
Night sports 9Fires and burning buildings 9
Bright street scenes 8
Night street scenes and window displays 7–8Night vehicle traffic 5
Fairs and amusement parks 7
Christmas tree lights 4–5Floodlit buildings, monuments, and fountains 3–5
Distant views of lighted buildings 2Indoor, Artificial Light
Galleries 8–11Sports events, stage shows, and the like 8–9
Circuses, floodlit 8Ice shows, floodlit 9
Offices and work areas 7–8
Home interiors 5–7Christmas tree lights 4–5
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Profundidad de campo
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Profundidad de campo
Poca profundidad. Gran apertura (f/5) Mayor profundidad. Menor apertura (f/32)
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Profundidad de campoApertura
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Profundidad de campoApertura
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Profundidad de campoDistancia al elemento fotografiado
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Profundidad de campoDistancia focal
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Condiciones exteriores y su influencia
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Sombras y reflejos
Harsh, cast shadow of an adjacent building makes the correct exposure of this façade very difficult
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Sombras y reflejos
A cast shadow enhances the image composition
Dynamically cast shadows enliven the architectural depiction.
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Sombras y reflejos
A cleverly chosen camera position neutralizes the shadow cast by the photographer
Comparison: façade in its own shadow (left) and directly lit (right)
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Sombras y reflejos
The structure and texture of façade materials in the foreground is creating another (reflected) image
Beams of light as a result of the specific materials used in a façade
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Clima
Cloud cover creates a flatter, less contrasted look with soft shadows
Direct sunlight creates a three-dimensional, colorful look with clearly visible cast shadows
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Clima
Snow leads to a surreal, suspenseful presentation of architecture
The weather situation allows a depiction of reflections in a rain puddle
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Hora
The light during “blue hour” can greatly enhance a picture’s mood [2 sec., f/11, ISO 100]
Effects of light and shadows depend on time of day
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Fotografía de interiores
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Tema
Interior shot showing unfurnished interior space
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Distancia focal
Extremely short focal length in combination with a short distance between camera and subject leads to extraordinary spatial width [focal length: 14 mm]
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Orientación
Orientation of image matches the dominant orientation of the subject and its space
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Encuadre y composición
Reduce frame of an interior shot emphasizing decorative objects
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Encuadre y composición
Creative integration of passageways, vistas, and connected spaces add suspense to this interior shot
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Encuadre y composición
Interior shot showing both interior and exterior spaces
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Parámetros
A flash was used to balance interior and exterior lighting
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Parámetros
To preserve the mood of the available light, no flash was used
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Parámetros
Interior shot with subtle use of the DRI technique
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Tips de creatividad
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Unusual frame selection emphasizes geometric structures [focal length: 200 mm]
A layered structure of several planes creates an abstract look [focal length: 88 mm]
Encuadre radical
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Encuadre radical
An image devoid of reference points leads to unclear proportions [focal length: 32 mm]
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Encuadre radical
Extremely cropped frame detaches the visual impact from the architecture; patterns and structures become the focal point [focal length: 40 mm]
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Ver hacia arriba
The unusual vertical view upwards creates a dynamic, yet strange depiction of the architecture [focal length: 17 mm]
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Ver hacia arriba
A large sky becomes the canvas for these strongly converging highrise buildings in this upward shot [focal length: 14 mm]
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Imágenes seriadas
A series of images works through the combination of different shots with a common theme
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Reflejos extremos
Reflections can have special symbolic qualities: here, wood forms part of the façade, in its original form (tree) but also inapplied form (building material)
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Reflejos extremos
Unclear spatial relationships caused by mirror effects
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Sobreexposición o subexposición
Special look produced by intentional underexposure Special look produced by intentional overexposure
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Antes y después
Before-and- after depiction catches the viewer’s interest
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Green Point Stadium, Sudafrica. Marcus Bredt, 2010
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Distancia focal 8mm, apertura f/7.1, velocidad de obturador 1/2s, sensibilidad ISO 400,
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Distancia focal 18mm, apertura f/8, velocidad de obturador 1/10s, sensibilidad ISO 1600,
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Distancia focal 36mm, apertura f/14, velocidad de obturador 1/8s, sensibilidad ISO 1600,