Don’t Be Afraid Of High ISO on Modern DSLR Cameras

Don’t Be Afraid Of High ISO on Modern DSLR Cameras

This article is written by Andrew S Gibson, author of Understanding Exposure – a guide to controlling your camera to achieve perfect light exposures.

As the internet grows and grows, photography tutorials are becoming more and more abundant. All that information can be a good thing, but it can also create problems as it sometimes has the magical effect of turning one’s opinion to fact over time. Read around about digital photography and you will come across the ‘stock’ advice that some people give. Over time, this gets repeated until it becomes part of the conventional wisdom about photography.

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One of these is in relation to ISO. The usual advice is to use the lowest ISO possible when you take a photo. There’s a good reason for this, as the image quality is always higher at lower ISOs than higher ones. But, what the authors don’t mention is that the quality at high ISOs on modern DSLR’s is now very good indeed.

dont-be-afraid-of-high-iso-2Given that high ISOs, especially if combined with prime lenses, enable you to take photos with a hand-held camera in low light conditions, when the quality of light can be amazing for subjects like portraiture, I think they are worth experimenting with. Embrace high ISO. Use it whenever the light is low. It depends on what camera you have, but you may be surprised how little noise there is at ISO settings like 1600, 3200 and 6400, especially if you follow the tips presented later on in this article.

ISO Improvements

There are several factors that make the high ISO settings more usable on recent digital cameras:

  • Sensor technology and noise reduction. For example, the latest EOS cameras use the DIGIC V processor. The DIGIC V is faster and more powerful than previous versions and one of the benefits of this is that it’s better at reducing noise when you use the JPEG format (if you use RAW, noise reduction is carried out by your RAW processing software instead).
  • Sensor size. If you have a full-frame camera it produces images with less noise at high ISO’s than cameras with APS-C sensors. (All of the photos in this article were taken with a full-frame EOS 5D Mark II).
  • Better software. The noise reduction algorithms in the latest versions of Lightroom and Adobe Photoshop work amazingly well. As RAW processing software gets better over the years, so does its noise reduction function. (The photos in this article are processed with Lightroom.)

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High ISO Techniques

There are a couple of things that you can do to help avoid excess noise at high ISOs. These apply no matter which ISO setting you are using, but the improvement in quality is more noticeable at high ISOs than low ones.

Expose to the right. This requires that you set an exposure that gives a histogram that leans all the way to the right without crossing the right hand side of the graph. In other words, there are no clipped highlights. This technique works well in low contrast conditions when the brightness range of the scene is less than the brightness range the camera’s sensor is capable of recording.

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Aim for your photographs to be exposed more the right side of the histogram, trying to avoid clipping.

In the above example, I was able to increase the exposure by two stops over that recommended by the camera without clipping any highlights. This was made possible by the low contrast of the scene.

Post Processing

Take care in post-processing. If you lighten an area of your photo that is dark, you increase noise levels. The higher the ISO used, the more noticeable this is. If you have dark areas in your image, it’s best to leave them that way. Incidentally, you can make light areas darker without increasing noise, and this is one of the reasons that the expose to the right technique works.

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Using Texture To Reduce Noise

Be aware that you will get noise in blue or black skies. Noise shows up most in areas without much texture, such as sky. It is also more pronounced in the blue channel. If you take a photo at high ISO and include blue sky or the night sky in the image, you will see a lot of noise in the sky. I don’t want to put you off taking photos that include sky (such as the one above) as you can create some beautiful images that way, but you should be aware that they will contain more noise than photos without sky.

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Alternatively, if you take photos of something that contains a lot of texture, such as the books in the photo above, the texture has the effect of obscuring noise. Using the noise masking capabilities that texture has on an image can effectively boost the quality of your high ISO photography when it is taken into consideration during the composition phase.

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Grain and digital noise can be used as a creative tool

A little critical thinking and you may be able to visualize new ways to frame your photograph so the texture is at its most beneficial position inside the image.

Use Noise Creatively

With early digital cameras noise was so pronounced, even at low ISOs, that most photographers wanted to reduce or eliminate it. But, now that high ISO performance has improved so dramatically, maybe it is time to start exploiting the aesthetic qualities of high ISO?

For example, photos taken at ISO 3200 and 6400 on my EOS 5D Mark II and processed in Lightroom 4, such as some of the images used in this article, have qualities similar to that of grain on fast films. Photographers like Sarah Moon and Robert Farber used high speed film and grain to create beautiful, evocative images in the seventies. Their subjects predominantly included portraits and the female nude. Maybe the day will come when a photographer makes their mark by using high ISO creatively the same way?

Get creative and start experimenting with whatever DSLR you have, you may discover new ways that you can use digital noise to add drama to and even enhance your photographs.

Understanding EOS

Understanding EOS: Andrew Gibson’s New Book

About the Author:
Andrew S Gibson is also the author of Understanding EOS: A Beginner’s Guide to Canon EOS Cameras, which takes a simple approach to using your DSLR by exploring only the controls that you need to learn (such as Aperture priority) to create beautiful photos.

Tomado de: http://www.picturecorrect.com/tips/dont-be-afraid-of-high-iso-on-modern-dslr-cameras/

A Photographic Tour of New York

A Photographic Tour of New York

by James Maher

Lego Girl, SoHo.New York is a diverse city with gorgeous old architecture and sleek new skyscrapers, iconic landmarks of all types, hidden surprises around every corner, and a diversity of residents and visitors that is unrivaled.  The energy, speed, and creativity that occurs on the streets every single day makes it a playground for all types of photographers.

While Manhattan is probably the most photographed place in the world, we’re not going to talk as much about photographing places like the Empire State Building, the Statue of Liberty, or the Flatiron Building.  No trip to New York is complete without visiting these landmarks, but there is so much more than that.  This article is about delving a little deeper, seeing its most beautiful corners, and capturing the true essence of the city.

And before we go any further, remember that there are so many camera equipment rental shops, such as Foto Care, Calumet, Adorama, or CSI.  So while you’re here, rent that lens or camera that you’ve always wanted for a week, rent a tripod, or even rent a Leica!

Best Buildings, Unknown Landmarks, and Best Views.

The oldest subway tunnel in the world.

The oldest subway tunnel in the world.

Running under Atlantic Avenue in Brooklyn is the oldest subway tunnel in the world, dating back to 1844.  The tunnel was sealed up in 1861 and forgotten about it until a 19-year-old engineering student named Bob Diamond found it in 1980 after a year of searching.  Diamond gave tours of the tunnel for 30 years through a manhole cover in the street, but they were unfortunately stopped recently by the Department of Transportation.  However, there is a legal fight to get them re-opened, so hopefully they will resume soon.  The tunnel has 17-foot ceilings and is a half-mile long and an old locomotive is even reported to be hidden behind the far, closed-off wall.  Check here for more information about the tunnel and tours.

The Unused City Hall Subway Station

The Unused City Hall Subway Station

Another underground tour, run by the New York Transit Museum, visits the old and gorgeous, unused City Hall subway station, once the crown jewel of the MTA.  Tours are infrequent and you must be a member of the Museum, however, there is an easy trick to see it on the 6-train.  At the end of the line, the 6-train still passes this station to change directions and you can see it through the windows of the subway cars.  Stay on the 6-train at its last stop (Brooklyn Bridge-City Hall) and look out the side of the train where the doors close.  Get in one of the middle cars and pay attention because it passes quickly.  You may want to do it twice since many people miss it the first time around.  And don’t worry about staying on the train past its last stop as it was recently made legal by the city to do this.

American Standard Building, Chrysler Building Lobby, NY Public Library, The Alwyn Court

American Standard Building, Chrysler Building Lobby, NY Public Library, Alwyn Court

Here are a few of my favorite buildings that you might not know about.  On 42nd Street, next to Bryant Park you can see both the New York Public Library and the American Standard (Radiator) Building, which is now a hotel but was originally built for the American Radiator and Standard Sanitary Company in 1924.  Nearby, you can do some street photography in Grand Central and a couple blocks away is the entrance to the Chrysler Building, which has the most magnificent art deco lobby in the city.  It is covered in murals and is a must see.  And the most ornate building in the city, a block south of Central Park on 7th avenue, is the Alwyn Court.

One of the views from the James Hotel rooftop bar.

One of the views from the James Hotel rooftop bar.

You also can’t travel to New York without seeing a few cityscapes and there are so many spots.  Of course there’s Top of the Rock and the Empire State Building but there are also a lot of rooftop bars with incredible views.  Two of my favorites are at The James Hotel and Ink48.  There’s nothing better than capturing a cityscape and having a drink at the same time.  In addition, if you visit the Metropolitan Museum of Art, then make sure to visit the rooftop during the warmer months, which has one of the best views of the Central Park.

The Brooklyn Bridge and Brooklyn Bridge Park have incredible views of lower Manhattan, especially at night.  And the Water Taxis will give you an great view as well if it’s warm enough to stand outside.  Walk the Brooklyn Bridge, explore the park, and then take the water taxi back.

And finally, a place that I love to walk, but is a little out of the way, is the Manhattan Bridge, which has incredible views of the Brooklyn Bridge.  Walk it and then walk back as there’s not much on the other side.

Best Areas for Street Photography

You can’t visit New York without trying some street photography.  The people are the most important, creative, and interesting aspect of the city.  Capture the life and fashion on the streets and you will photograph the true essence of the city.  Here are a few of my favorite spots.

Lady in Red, 5th Avenue.

Lady in Red, 5th Avenue.

The corner of 57th and 5th is one of the most iconic corners in Manhattan.  At any given moment you will have a mix of very fashionable New Yorkers, both the wealthy and the everyday people and workers, and the interesting tourists from all over the world.  This wide avenue also has incredible light throughout the day so use it to your advantage.  Walk south on 5th Avenue, stopping at interesting corners and people watching until you get to the 42nd street, Bryant Park area.  This stretch of Manhattan is one that is constantly captured by the famous New York Times fashion street photographer Bill Cunningham, so who knows, you might run into him as well.

Corner of Prince and Broadway

Corner of Prince and Broadway.

SoHo is probably my favorite area for capturing people.  You can venture anywhere and find interesting people and hidden corners, but the best corner is Prince and Broadway, right by the N R subway stop.  The stretch of Broadway between this corner and Canal Street is my favorite.  Also, for planning sake, remember that the Prince street corner is only 4 short blocks from Lombardi’s pizza.

The corner of Broadway and Canal (home of the fake purses) brings us to Chinatown, which is always bustling with people no matter the day or time.  Travel southeast and make sure to see Doyers Street, nicknamed the “Bloody Angle” and seen in many movies and tv shows.  Also nearby is Columbus Park, which is always filled with tables of old Chinese men and women gambling and playing music.  It is such a fun place to be and capture.  And while you are there, don’t forget to stop for some soup dumplings and fried dumplings at Joe’s Shanghai.

Cutting through the middle of Chinatown is the Bowery, one of the most amazing streets in the city and filled with so much diversity.  The Bowery, quickly becoming a fashionable place to be, was once one of the most down and out streets in Manhattan.  It was also the birthplace of Punk Rock and you can see the old CBGBs (now a John Varvatos store).  Visit the photographer Jay Maisel’s stunning bank building and graffiti mecca on Bowery and Spring and walk until you end up on my other favorite street, St. Marks (8th Street), a main thoroughfare of the East Village.

Finally, we can’t forget the mecca of street photography, which is the New York Subway system.  Set your camera on 1/200th of a second and ISO 3200 and make sure to take the subway everywhere.  Stations such as Times Square and Grand Central are filled with people at almost any time of day.  For some inspiration, check out the work of Bruce Davidson – and keep in mind that the subways are a lot less scary looking than when he did his work.

N-R Train, Polka Dots and Pink Shoes

N-R Subway Train, Polka Dots and Pink Shoes

A Photo Tour of Central Park South 

(To best follow this advice, download the “Central Park” app for your smartphone, which will provide you with a map with points of interest, along with your location.)

Poets Walk at Dusk.

Poets Walk at Dusk.

Enter the Park by the Plaza Hotel at 59th Street and 5th and walk and explore the area of the Pond and Gapstow Bridge.  The view of Gapstow Bridge with the Plaza behind it is an iconic view of the city.  Walk north until you come upon Literary Walk (Poets’ Walk).  There is nothing like the view here at dusk, so consider coming back when the sun is setting.  Walk north until you arrive at Bethesda Terrace, which has a beautiful view of the Lake.  To your right will be the boat rental area, so rent a rowboat, which is my favorite thing to do in the city.  Travel under Bow Bridge, bring some sandwiches for a picnic on the boat, and spend an hour exploring the lake and it’s many hidden areas.  You will most likely see a few couples getting engaged.

Rowboats and Bow Bridge.

Rowboats and Bow Bridge.

After you return the boat, walk west to Bow Bridge, cross it and head back east around the Lake to the “Central Park Point.”  Then walk all the way to the eastern edge of the park and head south to Dene Shelter, which has a stunning view of Central Park south.  If you have kids, nearby is also the zoo, home to the Penguins of Madagascar.

Favorite Photography Museums and Galleries

The Modern Museum of Art (MOMA) on 53rd street has an unrivaled photography section with hundreds and hundreds of diverse and classic works.  It is my favorite place to view photography in the city and it is constantly being updated and changed. 

Three of my other favorites are the ICP Museum on 43rd and 6th (http://www.icp.org/museum), the Leica Gallery on Broadway and Bond Street (http://us.leica-camera.com/culture/galleries/gallery_new_york/) and the Howard Greenberg Gallery (http://www.howardgreenberg.com/) on East 57th Street.  While the HG gallery has much more than photography, it has an amazing photography collection.

If you’re a fan of the photography of Jacob Riis, visit the Tenement Museum on the Lower East Side and transport yourself back in time to see what living in an old tenement was like.  After, visit the fantastic Tenement Museum Bookstore and then go for a walk and enjoy the gorgeous tenement exteriors and fire escapes in the neighborhood.  Stop at the nearby Katz’ Delicatessen or Russ & Daughters for lunch. 

And while this technically doesn’t count as a museum, it might as well be.  The Strand Bookstore on Broadway and 12th street is the best bookstore I’ve ever been to and it has by far the best photography book section that I’ve ever seen.  To say it has everything is an understatement.  I know time is often of the essence when visiting the city, but if you are a fan of photography, the Strand is a must see and has the same weight as any photo exhibit.

Brooklyn

This article is focused mostly on Manhattan, yet Brooklyn is a borough that needs to be seen and explored.  It deserves its own article and there are incredible locations for photography.

Quickly, a few things to see are the waterfront (with amazing views of Manhattan), the area of DUMBO, Get lost in Prospect Park and see the nearby Brooklyn Museum and Botanic Gardens, and visit Coney Island.  And if you are a fan of Brownstones, then Brooklyn is the place to be.  Go brownstone touring through the neighborhoods of Park Slope, Fort Greene, Brooklyn Heights, Prospect Heights, and Cobble Hill.

Photographing at Night

Central Park South.

Central Park South.

A final thought.  If ever there was a fact about photographing New York, it’s this – while the city may look beautiful during the day, there is nothing that comes close to capturing it at night.  When I meet people or give tours for visitors I try to stress this, but I feel like many people don’t take advantage of it.  I suggest that when you plan your trip, schedule one night of the trip to explore at night.  Do something easier on the legs during the day, grab a quick dinner from a hole in the wall pizza place, and go for a very long walk.  Central Park is generally very safe at night as long as you stick to the well travelled areas and stay south of Bow Bridge.  Even if you don’t you’ll be fine, but better to be somewhat careful.  You will be surprised with how crowded the park is at night during the warmer months.  Other areas that are amazing at night are anywhere in Midtown, the Brooklyn Bridge, anywhere along 5th Avenue, SoHo, Chinatown, and the East Village.

Hope to see you soon!

Read more: http://digital-photography-school.com/a-photographic-tour-of-new-york#ixzz2QgWwC9IL

Tomado de: http://digital-photography-school.com/a-photographic-tour-of-new-york

Lightroom 5 beta Now Available!

Lightroom 5 beta Now Available!

Posted by Sharad Mangalick on Apr 15, 2013

We’ve been working hard on the next version of Lightroom, and now we’re giving our customers a chance to try out some of the new technology available with the release of Lightroom 5 beta. Since the initial Lightroom public beta release in 2006, we’ve learned a tremendous amount through a collaborative dialogue with our customers, and I’m excited to continue that collaboration to receive feedback on the Lightroom 5 beta.

With this release, our goal was to add some highly-desired features that allow photographers to quickly process and enhance their images. We’ve added more robust healing options, the ability to create off-center vignettes, and a one-click auto perspective correction tool. We’ve also added the ability to edit photos when not connected to your original images. Each of these improvements is a result of feedback provided by the Lightroom community. Thank you.

There are a lot of new features in the Lightroom 5 beta. Here’s a brief description of some of our favorites:

    • Advanced Healing Brush: Enhancements to the Spot Removal tool allow you to heal or clone using brush strokes. A new “Visualize Spots” tool highlights sensor dust spots for easy removal.

 

    • Radial Filter: Apply any of Lightroom’s local adjustment attributes to a circular mask. The area of the mask can be resized, feathered or even inverted to give you maximum control over the focus of your images.
    • Upright: Automatically level horizons, straighten buildings, and correct other askew lines.
  • Smart Preview: Lightroom allows you to edit offline images by storing a smaller version of the original image, called a smart preview. Edits made to the smart preview will automatically apply to the original once reconnected to Lightroom.

Download the free Lightroom 5 beta here. To learn about more technical updates to this release, visit the Lightroom Journal blog. We’re always listening and we love to squash bugs, so please do not hesitate to submit your thoughts and ideas to our feedback page.

To be among the first to hear about Lightroom 5 news, follow us on FacebookTwitterGoogle Plus and YouTube.

Tomado de: http://blogs.adobe.com/photoshopdotcom/2013/04/lightroom-5-beta-now-available.html

Sponsored Tip: Developing A Personal Style: Delay

Sponsored Tip: Developing A Personal Style: Delay

I’m going to talk about one of the most important elements to creating enduring images…

By Brian Dilg, Courtesy Of New York Film Academy Photography School

This tip article by Brian Dilg comes to us courtesy of New York Film Academy Photography School, where he serves as the Chair of the New York Film Academy Photography Conservatory. Dilg is an internationally published and collected photographer and award-winning filmmaker with over 20 years of professional teaching experience around the world.

Continuing my series of tips to help you see the world through fresh eyes with the goal of developing a personal style, I’m going to talk about one of the most important elements to creating enduring images: delayed perception. The gist of this technique is to render elements of an image so that a viewer doesn’t notice everything immediately, therefore delaying perception of the full meaning of the picture until it has been studied more closely. Another word for this principle is “emergence.” You may already notice that this is the antithesis of the tendency of many modern photographers in the digital age to maximize the visual impact of everything they possibly can: more contrast, more saturation, everything sharply focused (especially prevalent in HDR imagery). When everything in a picture screams for the viewer’s attention, nothing wins; looking at the image is visually exhausting.

In order to build this element of time into the experience of looking at a picture, we need to understand how human beings read a photo – literally what we notice first. The image of the woman in profile with her eyes closed demonstrates many of these elements: in order to take in an entire image, we tend to step back (depending on the size of the image) so our field of vision can take in the entire frame at once. Our fovea, the part of our eyes that sees sharp detail, only really works with what we’re looking directly at in a very narrow field of vision, so we tend to notice the center of the frame first – the part we’re looking straight at. The further away from center, the longer it usually takes us to scan and notice it. There are no hidden or delayed elements in this portrait; this is a very straightforward image.

What else attracts our attention? In a nutshell, lumosity, bright colors, sharp focus, larger object sizes, human forms, and patterns (repeated visual motifs – see my previous post on this topic). Once we know this about the human visual experience, we can delay perception of certain elements in a photo by employing the opposite of these qualities: darkness, desaturation, blur (through de-focusing or motion blur), smaller sizes, etc.

In terms of color, the most luminous colors (particularly the warm yellow-orange-red family) “pop” or stand out. Less luminous colors such as some blues or purples tend to recede. A great principle to remember is that the size of an object can be in inverse proportion to the luminosity of its color. I.e., small spots of bright colors like yellow or red work well in a sea of blue, but the inverse of that, not so much.

In the image of the man running in the industrial landscape, the building and street dominate the use of space in the frame, yet the saturated, complementary red of the man’s shorts keep us coming back to him. (Red is a motif in this image, splashed across the street as well.)

Luminosity: in the “Alpha Dog” image of the woman with the three dalmations, most viewers notice the dogs first. They are bright, their spotted pattern is distinctive and contrasty, and their faces are turned at least in profile to camera, whereas the woman’s face is hidden from us. But despite the fact that she is centered in the frame, most viewers don’t notice the paw prints in her sweater until later (most likely because they are dark and low in contrast), and then have that “aha” experience of “catching up” to everything the photographer is up to.

The image of the tree under the Manhattan Bridge illustrates the same principle in reverse: the tree and bridge keep demanding our attention over the buildings in the background, because they are sharply rendered with high contrast, whereas the buildings live in a constrained, high-key end of the tonal palette (rendered that way by a blinding blizzard).

Focus: optical focus literally directs the viewer where to look. The smart photographer can exploit this understanding to create useful tension in a photograph by deliberately including out of focus elements. We can “read” expressions even on very blurry faces, for instance, but since blur is almost exclusively limited to photography (our eyes autofocus wherever we shift our gaze), rendering elements blurred introduces great visual tension. Are we supposed to look, or overlook? There may be many reasons to do this: to suggest that something should not be looked at, or cannot be seen clearly, or were an accidental intrusion into the frame (riffing on the snapshot aesthetic). But as human beings are meaning-contructing mechanisms, the viewer cannot help but examine every clue in an image, and if we trust the photographer’s craft, then we must assume that everything in the frame is there for a reason. I am also of the opinion that good art, the kind that stands up to repeated, long-term scrutiny, raises interesting questions; it does not provide simple answers.

Most viewers notice the woman in the mask first; the fact that she is the largest figure in the frame, carefully framed, well-lit, her attention obviously engaged with someone off-camera, and wearing a mask that seems unusual in context all contribute to this. But the fact that she is rendered out of focus is a clue that she is not truly the subject of the image; it is in fact the smaller face of the woman lurking behind her dressed as a cat, and making a rather catty expression. Hopefully the viewer “discovers” this smaller figure after a moment’s delay, and enjoys inferring why their expressions might be as they are.

Size: in the image of the house sinking into the slope of green grass, the dog is typically discovered a split second after the initial look; she is simply very small in the composition, nearly silhouetted, and off-center, but she also seems to be regarding us, and is the only living figure in the image. The diagonal shadows help lead our eye to where she is standing.

Keep in mind that the size of your print can be a major factor in the way viewers perceive the image. Thus, looking at tiny, low-resolution JPEGs online is far from an ideal demonstration of these principles.

To summarize, don’t put all your cards on the table at once. Reward those viewers who pay close attention. We are not delaying complete perception as a gimmick; a well-constructed image will exploit the way human beings read an image to create that rewarding experience of discovery no matter how many times they look at the image. Those are the kinds of images collectors like to hang on their walls, and are excited to show their friends. They endure; they don’t exhaust.

Cuatro pisos de puro arte en la Escuela Central de Artes Visuales

RaysaR.RodríguezGarcía04:INS-Foto-SantosHernández

Autorretrato Oleo por Raysa Raquel Rodríguez García

Todas las imágenes por Santos Hernández©

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Parte de la exposición Inmotal

Cuatro pisos de puro arte en la Escuela Central de Artes Visuales

Santos Hernández/INS. La Escuela Central de Artes Visuales, en Santurce anoche vistió sus muros con una gran exposición de arte titulada: Inmortal. Con esta Trigésimo Octava Exposición Anual de la Escuela Central de Artes Visuales los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura junto a estudiantes de otros grados, llenaron las paredes de los tres pisos más el sótano de la escuela con su legado infinito, el arte inmortal.

La Exposición Inmortal fue dedicada por su labor por la cultura puertorriqueña al fenecido arqueólogo y ex director del Instituto de cultura, don Ricardo Alegría quien estuvo representado por su hijo Ricardo Alegría Pons. Como parte de la actividad los estudiantes del Taller de Dibujo y Pintura realizaron frente a los presentes una obra dedicada a don Ricardo.

Una de las artista participante de esta exposición es la joven Raysa Raquel Rodríguez García que nos explicó su propuesta: Ataduras. “Trata sobre las ataduras del ser humano. Me inspiré en la vida diaria, en como los seres humanos nos atamos, tomamos adicciones, sentimos apego hacia diferentes cosas y pues tenemos ese lazo, ese nudo, esa tensión con ciertas cosas ya sean hacia una persona un objetos, actos o conductas. Son adicciones, son ataduras” dijo Raysa Raquel a INS.
La Artista Raysa Raquel Rodríguez García frente algunas de sus obras

La Artista Raysa Raquel Rodríguez García frente algunas de sus obras

Con el rostro alegre y evidentemente emocionada ante las felicitaciones de los visitantes Raysa Raquel nos comentó “No puedo explicar las emociones que ahora mismo estoy sintiendo.  Realmente es un logro y esperaba tanto a que llegara este día que no sentí la noción del tiempo”. Raysa Raquel tiene en sus metas inmediata estudiar en la Escuelas de Artes Plásticas y espera progresar como artista y representar a Puerto Rico.
La Artista Raysa Raquel Rodríguez García frente algunas de sus obras

La Artista Raysa Raquel Rodríguez García frente algunas de sus obras

La exposición fue una muy concurrida donde centenares de personas se dieron cita en el Teatro de la Escuela para la apertura. Inmortal es abierta al público en general y permanecerá abierta hasta el 20 de abril del 2013. La Escuela Central de Artes Visuales está localizada en la Ave. Ponce de León, Parada 22 en Santurce.
Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Parte de la exposición Inmortal

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

Los jóvenes artistas del Grado 12 del Taller de Dibujo y Pintura crean mural en honor a Ricardo Alegría

MENSAJE DEL EJÉRCITO POPULAR BORICUA – MACHETEROS

Comunicado de Los Macheteros 23 de septiembre 2012
por EPB-M Miércoles, Oct. 10, 2012 at 7:21 PM

Comunicado de Los Macheteros

MENSAJE DEL EJÉRCITO POPULAR BORICUA – MACHETEROS

Hermanas y hermanos puertorriqueños:

Cada 23 de septiembre el pueblo patriota conmemora el grito de Lares como hemos hecho desde que el maestro Pedro Albizu Campos rescato la fecha, no para su partido Nacionalista, sino para que todas las fuerzas independentistas reconocieran la gesta de los héroes de Lares. Año tras año vamos a Lares para rendirle tributo a los que en 1868, PREFIRIERON MORIR LUCHANDO QUE VIVIR ESCLAVO. Los combatientes de Lares, puertorriqueños y extranjeros, nos ensenaron esa patriótica lección de valor y sacrificio.

Hoy, 144 años después de aquel otro glorioso 23 de septiembre de 1868 venimos desde Lares a Plan Bonito de Hormigueros, a rendir tributo a un luchador, que al igual que aquellos valientes hombres y mujeres, prefirió morir luchando a vivir esclavo. Nos referimos al Secretario General del Ejército Popular Boricua – Los Macheteros, Comandante Filiberto Ojeda Ríos. El Comandante Ojeda sabía que para conseguir la libertad hay que dar pasos que transformen la confusión y el sentimiento de indecisión que embarga a muchos, antes las embestidas propagandísticas y represivas del enemigo común. Nuestro comandante jamás permitió que la confusión y la indecisión fueran determinantes en su vida. Sabía que la planificación, es importante. Sabía que haba que pensar como el enemigo para derrotarlo. Todo su accionar hasta el momento de su muerte, estuvo influido por esa necesidad de planificar los pasos. Por eso, entendimos perfectamente su última orden de “Pa’lante siempre, la lucha sigue”. Con esa orden nos dijo: “la lucha no termina con mi muerte. Mi muerte debe ser el comienzo de una etapa de resistencia a la represión y preparación para la próxima etapa que debe ser el combate final que nos llevara a la victoria.”

Filiberto fue testigo de cambios sociales en Puerto Rico y los EU. Se nutrió de la historia cultural y política de Latinoamérica, el Caribe y Puerto Rico. En este contexto, su sangre combativa, su mente revolucionaria, su serenidad ante la muerte y el amor a su pueblo, plasmo su concepción político-militar y rechazo las elecciones como vehículo para la independencia y la toma del poder. Citamos del manual de entrenamiento de nuestra organización del 21 de marzo del 1995: “En el pasado, los pueblos desarrollaban sus luchas en contra de las injusticias sin identificar el origen central de los males que se combatían: la naturaleza de la totalidad del sistema social. En la actualidad podemos identificar el origen y razón de tales injusticias gracias al marxismo, el cual aplicamos como metodología científica de análisis y guía viva para la acción.” Somos seguidores del socialismo científico y la dialéctica para estar a la par de los tiempos y las circunstancias cambiantes en el mundo y en la lucha de clases.

Como podemos ver, la lucha que lleva a cabo nuestra organización no se da en el vacío. Es, objetivamente, la síntesis, tanto de nuestra tradición y quehacer histórico revolucionario y de las propias experiencias de lucha contemporáneas, como de la utilización del marxismo como metodología científica de análisis y guía para la acción. Nuestro pueblo sabe que nuestras concepciones estructurales responden, no a factores subjetivos o “románticos” sino al análisis preciso y minucioso de todos los factores antes señalados y que son necesarios para el logro de nuestras proyecciones revolucionarias. Por eso no somos aventureros y mucho menos fundamentalistas. Somos revolucionarios que nos ubicamos en la época que nos ha tocado vivir.

El Comandante Filiberto Ojeda tenía muy claro que la libertad se alcanza transformando, educando, concienciando con la palabra y la acción. Entonces, ¿Por qué en esta colonia confundimos más y más al pueblo dándole falsas esperanzas de que al participar en las elecciones coloniales lograremos avances sustanciales? El mundo vive momentos de profundización de la crisis capitalista, de contradicciones y estas, a su vez, generan movilizaciones sociales, resistencias, piquetes. Pero aquí en Puerto Rico, burgueses, pequeño-burgueses y la clase media, se han unido para participar en las elecciones coloniales, sabiendo que nada lograran excepto, teóricamente, avanzar y vigorizarse como fuerza electoral para las elecciones del 2016. Los capitalistas del PNP y del PPD y algunos “realengos” y la burguesía extranjera varían y transforman sus formas de manipular al pueblo, a los obreros y a sectores independentistas que, huérfanos de una filosofía clara y precisa, optan por crear organizaciones electorales o prestarle sus votos a otras organizaciones no independentistas. Para nosotros el status político nunca ha estado en discusión porque el verdadero estado político en el cual se encuentra Puerto Rico es el de una nación intervenida por otra nación: los Estados Unidos. El caso de Puerto Rico es un caso de derecho internacional, como muy bien estableció Don Pedro Albizu Campos al contestarle a un grupo de periodistas que le cuestionaba porque Puerto Rico no debería aceptar el plebiscito y Don Pedro contesto: “Es que el plebiscito es una formula legislativa que se usa para consultar la voluntad de los habitantes que habitan una faja de terreno entre dos naciones soberanas, cuando la población de las dos soberanas se ha mezclado en tal forma que no es posible trazar un límite territorial que las divida. El plebiscito nunca se usa para consultar la voluntad nacional de una nación debidamente constituida, para preguntarle si quiere ser libre, pues esa consulta es una ofensa gratuita inferida a la nación y además, es una pauta insidiosa para dividirla. Pone en discusión nada menos que su existencia como nación libre y soberana.” Durante esa entrevista Albizu Campos les respondió a los periodistas que para Puerto Rico el Tratado de Paris es nulo, que todo acto del Congreso de los Estados Unidos en Puerto Rico es nulo, que por lo tanto ninguna ley de consulta plebiscitaria tiene valor alguno para Puerto Rico. Nosotros el Ejército Popular Boricua – Los Macheteros suscribimos totalmente los planteamientos albizuistas sobre el plebiscito y el Tratado de Paris. Por eso entendemos que el derecho a la independencia jamás se debe jugar en unas elecciones coloniales. El derecho a la independencia, como todo derecho, cuando se nos niega, lo arrancamos, a tiros si es necesario. Fue el Partido Nacionalista dirigido magistralmente por Don Pedro Albizu Campos y sus campañas y acciones revolucionarias a favor de la independencia nacional, lo que forzó a estados unidos a crear el estado Libre Asociado como medida reformista que apaciguara las ansias libertarias del pueblo. Actuemos nosotros para forzar a los estados unidos a entender que sus artimañas reformistas no lograrán nunca acabar con nuestros deseos y necesidad de libertad y que continuaremos luchando hasta lograr nuestra independencia.

Hacemos un llamado a que, luego del próximo evento electoral, nos reunamos para reflexionar. Esa reflexión deberá ser el primer paso para que configuremos un nuevo escenario político-estratégico. Para lograrlo, es importante diferenciar entre los verdaderos intereses de los trabajadores y los intereses de la burguesía explotadora, criolla y extranjera para poder desarrollar una estrategia en un lapso de tiempo que nos permita acumular fuerzas para combatir efectivamente a los explotadores. Debemos estar claros de que surgirán diferencias y contradicciones entre las fuerzas independentistas las cuales deben resolverse tomándose en consideración el bienestar del pueblo y la lucha por la independencia. En el transcurso, surgirán periodos de perturbación, movilizaciones, arrestos, agitación, los ayudaran a crear un nuevo escenario y, sobre todo, contribuirán a que el pueblo adquiera confianza sobre sí mismo y su capacidad de combate.

Mientras esto no suceda, los deseos de un Puerto Rico justo siguen siendo un punto de atracción para las masas trabajadoras, los estudiantes, los jubilados, las amas de casas, los desempleados en fin del pueblo. Como es de esperarse, todos albergamos la idea de salir de la crisis con las menores consecuencias posibles. Enseñar que eso solamente es posible si tenemos los poderes para decidir en nuestro país, debe ser la ruta de nuestras campañas orientadoras, de la educación popular que llevan a cabo algunas organizaciones sociales.

La historia latinoamericana y caribeña nos ha enseñado que las crisis pueden preceder cambios drásticos. Más aun cuando está de por medio la lucha por la independencia patria. Los llamados a la paz y a trabajar por otro Puerto Rico, pero sin explicar cómo puede construirse, movilizar sin permitir la espontaneidad de algunos sectores en las manifestaciones, solo consiguen apaciguar, desmovilizar y en nada contribuyen al desarrollo de una verdadera conciencia de clase y de la necesidad de luchar por lo que queremos. Este comportamiento puede entenderse en un pueblo que a propósito se le ha negado su historia verdadera y al que se le distrae con asuntos superficiales y propaganda que no recalca lo positivo de su cultura e idiosincrasia. A un pueblo sometido a ese sistema enajenante, se le dificulta asimilar la realidad histórica que atraviesa, sus triunfos, como el de la salida de la Marina de Vieques, la lucha contra el gasoducto y otros tantos triunfos. Son triunfos parciales, faltos de seguimiento y, sobre todo, no se enmarcan en la lucha por la independencia, pero son triunfos y deben servirnos de enseñanza para entender que podemos lograr la independencia si luchamos por conseguirlo.

Un paso importantísimo en esta etapa de nuestra lucha, es la unidad. Nadie puede negar el momento histórico que vivimos los trabajadores, los estudiantes, las amas de casas, los jubilados, los desempleados, los artesanos, los pequeños comerciantes, las comunidades. Todos y todas, hemos construido la nación puertorriqueña con el sudor de nuestras frentes y, asimismo, todos y todas estamos viviendo unos momentos de zozobra y abatimiento en esta crisis económica, social y política que nos arropa. Por un lado, el gobierno de corte fascista ha extremado las medidas represivas y ha extendido los privilegios a las clases pudientes del país. Por el otro lado, la oposición pusilánime del PPD manejado por los mismos intereses que el PNP. Luego, la profusión de partidos, algunos con excelentes compañeros como candidatos pero que, equivocadamente, han puesto la fe en el sistema electoral para lograr las transformaciones que necesitamos.

La unidad independentista aportaría una nueva perspectiva a este escenario político. Es hora ya de que nos levantemos puño en alto y, al unísono, sacudamos la conciencia del pueblo borinqueño. Nuestra patria se encuentra en peligro y es hora de mayor combatividad, de los mayores sacrificios, del heroísmo de conjugar las fuerzas del pueblo para transformar las condiciones de la realidad puertorriqueña. Lograr la unidad sería indicio de un reconocimiento expreso de la existencia de una verdadera voluntad patriótica que trasciende los propósitos de cada organización y adquiriría una importancia considerable para nuestra lucha. Tenemos que trabajar la unidad en todos los aspectos. Por ejemplo: la derrota o eliminación del sectarismo, el protagonismo y el dogmatismo que todavía persisten en las filas del movimiento patriótico. Las luchas pequeñas y mezquinas por el poder dentro de las organizaciones y entre organizaciones, deben terminar. Estas luchas solamente benefician al enemigo común que se aprovecha de las debilidades y manipula situaciones para profundizar las divisiones. No le hagamos más el juego. Ante la situación del momento, sugerimos una unidad en la acción. Ponernos de acuerdo en tareas muy específicas y claras. No discutir, de momento, los problemas estratégicos, sino ponernos de acuerdo en los problemas concretos y en desarrollar formas concretas de lucha.

El Ejército Popular Boricua-Macheteros convoca a todo el independentismo de todas las vertientes, para que hagamos el compromiso de continuar adelante olvidando viejas rencillas y poniendo nuestros recursos y conocimientos a disposición de la patria que nos necesita. Los convocamos a la unidad de la izquierda por la independencia de la patria. Unidad para construir una nueva patria sin miseria ni represión. Un nuevo país democrático con equidad y justicia social, libre y soberano, al servicio de las grandes mayorías. Nosotros no daremos un paso atrás. Nuestra meta final es la republica soberana y socialista de Puerto Rico o de lo contrario continuará la lucha clandestina y armada.

Inspirémonos en los ideales de libertad. Que no nos falta nunca la orientación del padre de la patria Ramón Emeterio Betances, que nos ilumine siempre el comportamiento y compromiso de Don Pedro Albizu Campos, el sentido de camaradería y análisis científico del Comandante Juan Antonio Corretjer y nos dirija la estrella libertadora de nuestro Comandante Filiberto Ojeda Ríos.

¡VIVA PUERTO RICO LIBRE!
¡VIVA LA LUCHA ARMADA!
¡VIVA EL EJÉRCITO POPULAR BORICUA-LOS MACHETEROS!

DESDE ALGÚN LUGAR EN EL CORAZÓN DE LA PATRIA,

Comandante Guasábara
Estado Mayor Nacional

Documental sobre La Masacre de Ponce

Documental sobre La Masacre de Ponce

“El 21 de marzo es una fecha de triste recoración para Puerto Rico. Ese día se rememora el suceso más trágico en la historía de la nación puertorriqueña: La masacre de Ponce. Ocurrida el domingo de ramos de 1937. En este suceso, la policía insular, bajo el mando del gobierno colonial de Estados Unidos en Puerto Rico, masacra a un grupo de personas desarmadas que ejercían sus derechos democráticos en una protesta política de carácter pacífico.

Hoy, más de [75] años después, [Puerto Rico] aún recuerda este sangriento acto de terrorismo estatal que ha impactado significativamente la historia, las artes, la literatura, el entendimiento de los derechos civiles y otras manifestaciones de la cultura puertorriqueñas.”

Producción y Guión:
Lic. Manuel E. Moraza Ortiz, M.A.
Jaime Hamilton Márquez, PhD

Reproducido con autorización del Lic. Manuel E. Moraza Ortiz.