The work of Carlos Eduardo Puche (Caracas 1923 - 1999), constitutes one of the most original legacies of Venezuelan photography and art, not only for its aesthetic values, for its discoveries and advances in the experimentation of photography techniques and possibilities, but for its validity. As art critic María Teresa Boulton says in her book Annotations on contemporary Venezuelan photography, Puche is the great renovator of photography, she knew how to introduce the motionless movement never seen before in the stillness of the image. He called these proposals of his Kinoptic photos. The image is ignited by a movement that by itself does not contain, causing these transformations from the fixed to the mobile, from the face of the motionless image to multiple facets that it never had before. In the existing historiography about Carlos Eduardo Puche, the beginnings of his career are located in 1959, when he enters to study photography and microphotography in the laboratory founded by the great master of Venezuelan photography Carlos Herrera (Caracas 1909 - 1988) in the Faculty of Sciences of the Central University of Venezuela.