30 Quotes On Vision

November 30, 2012 | Leave a Comment |

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Here’s a collection of my favorite quotes on vision.

“America was established not to create wealth but to realize a vision, to realize an ideal – to discover and maintain liberty among men.” – Woodrow Wilson

“Just because a man lacks the use of his eyes doesn’t mean he lacks vision.” – Stevie Wonder

“The only thing worse than being blind is having sight but no vision.” – Helen Keller

“Every man takes the limits of his own field of vision for the limits of the world.” – Arthur Schopenhauer

“Vision is the art of seeing what is invisible to others.” – Jonathan Swift

“Only those who can see the invisible can accomplish the impossible!” – Patrick Snow

“The best vision is insight.” – Malcolm Forbes

“Where there is no vision, there is no hope.” – George Washington Carver

“The man don’t make the vision; the vision makes the man.” – Pastor Yonggi Cho

“A vision is not just a picture of what could be; it is an appeal to our better selves, a call to become something more.” – Rosabeth Moss Kanter

“It takes someone with a vision of the possibilities to attain new levels of experience. Someone with the courage to live his dreams.” – Les Brown

“Every age needs men who will redeem the time by living with a vision of the things that are to be.” – Adlai E. Stevenson

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” Julieanne Kost explains one of the great mysteries of Lightroom and Bridge – why Lightroom (or Bridge) displays a photograph one way and then changes the way it looks a moment later. It will all become clear with just a little information about how digital camera files are captured and displayed by different applications.”

View more Photoshop videos here.

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How deep would you like your depth of field? The choice is yours. Today, there are virtually no limits. You can extend depth of field beyond the physical limitations of any lens/camera system with multishot exposure practices and software that composites multiple exposures.

To do this, you first need to make a set of focus-bracketed exposures, optimizing focus in different image areas. How many exposures you’ll need will depend on how much depth of field a scene contains. At a minimum, make two exposures: one focused on the foreground and another focused on the background. Making three exposures is better, one each for foreground, middle ground and background. When dealing with extreme depth of field, like macro photography, you’ll want to make more exposures, at least three, probably six, possibly more. When in doubt, make more exposures than you think you’ll need; you don’t have to use them all when you stack the separate exposures, but they’ll be there if you need them. Unlike bracketing for HDR, it’s almost impossible to automate these types of bracketing sequences in-camera as focus needs to be adjusted for each frame. However, for tethered shooting, you can use software such as Helicon Remote to take control of your camera and automate this process and other bracketed sequences like HDR and time-lapse. Whenever possible, use a tripod to make focusing during exposure more precise and registration during postprocessing easier. While using a tripod always delivers more reliable results, don’t let this stop you from trying this technique handheld, especially with simpler sequences, like those used in landscape. You may notice that in cases involving extreme depth of field, the relative size of objects may change between individual exposures. These effects will be adjusted automatically during the merging process.

You can get highly technical with this technique, but I recommend keeping it as simple and practical as possible—so that you’ll use it more frequently. Develop this new habit, and you’ll quickly find many situations where focus stacking will help you make images of superior technical quality …

Read more on Digital Photo Pro.

Learn more in my digital photography and digital printing workshops.

Illumination II, Sossusvlei, Namibia 2012.

In 2010, during my third trip to one of the oldest desert’s in the world, Namibia’s Sossusvlei dune field, I enjoyed one of the most sublime hours of my life, from a helicopter. Moments of grace like this fill you with reverence for the miracle world we live in and a deep abiding gratitude to be a part of it all. I was prepared for it, but nonetheless surprised.

Before arriving, to plan where to go and how to maximize my time this magnificent dune field, I had done a considerable amount of virtual aerial research with Google Earth, zooming and panning images made from the combination of thousands of satellite images at various magnifications, to familiarize myself with where it started and stopped, how it changed in character, and the relative location of landmarks such as the dunes Big Mama and Big Daddy and the famous clay playa Deadvlei.

None of that could have prepared me for the changing angle of light, we were on the second flight of the day, an hour after sunrise, and the atmospheric conditions, all week long, the air was filled with dust from far off sandstorms that scattered the rays of the sun, permeating the sky with a white gold light. On site, I had to assess the impact of current conditions.

Even at an altitude about 3,000 feet, twice the height of the largest dunes, I found I couldn’t fit the vast dune field into my viewfinder. So I improvised and started making multi-shot exposures for panoramic stitches. It seemed like a bold move, if the two or three shots did not merge successfully then both would be lost, until one of my companions, Paul Tornaquindici, made an even bolder move and requested we do a 360 stationary rotation so that he could make a panoramic image of the entire dune field. To my delight, this method worked.

The images lay simmering in my unconscious for more than a year before I found my final solution, to render an effect of light as if it were originating from within the land to complement the light that showered down outside it. Often, a period of gestation is necessary to distill the essence of rich experiences to their essentials and connect them to others.

New image processing features informed the final realization of this image. The body metaphors, latent in these images, were intensified with creative perspective adjustments, using lens profile corrections, designed to remove mechanical optical distortions, now used expressively. Quite different than a change of angle of view, which reveals and obscures information, these distortions offered complementary but distinctly different visual effects, changing relative proportions and spatial relationships within the image. This solidified my previous experiments to compare and contrast the two and so learn to fully utilize them in tandem with one another intuitively.

Unexpectedly, the dynamic explorations made during the creation of this image suggested an entirely new alternate solution – one not fit for print. Animations of progressive distortions made the images appear to pulse and breathe, an effect that is perfectly in sync with my view of land as a living thing with a spirit of its own.

Making this image required pre-planning and then allowing that plan to evolve while responding to new input at each step in the creative process.

How can planning help strengthen your creative efforts?

At what stages and in how many ways can you encourage the evolution of those plans?

When is it better to abandon an old plan for a new one?

What are the positive and negative effects of having no plan at all?

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Read more The Stories Behind The Images here.

Use these 8 essential practices to achieve optimally focused exposures.

1         Focus

Set focus in an image intentionally; placing focus in an image unintentionally is usually a deal breaker. Switch autofocus mode to AI Servo only for subjects that are moving predictably. Use manual focus for times when auto focus is likely to fail you, typically scenes with low contrast, including but not limited to low light and night photography.

2         Eliminate Camera Blur

Use a tripod whenever practical. Lacking a tripod, use a nearby prop to stabilize the camera during exposure. When shooting hand, held brace your body in a stable position. Whenever appropriate use the minimum shutter speed you can hand hold without motion blur; for most people this is 1 second divided by the focal length – i.e. 50mm + 1/50th of a second. Shoot in bursts of three or more; nine times out of ten one exposure will be sharper than the others.

3         Use Sharp Lenses

         Higher quality lenses not only deliver sharper images, they do so from center to edge and with minimal chromatic aberration (caused by a lenses inability to focus all wavelengths of light on the same plane). Compare lens MTF charts to see how sharp a lens is and when it is sharpest.

4         Use The Sharpest Aperture

The sharpest aperture, generally f8 or f11, varies from lens to lens. Test your lens to find out which aperture is sharpest. The smallest aperture (f22 or equivalent) delivers the greatest depth of field (acceptable lack of focus) but slightly compromises sharpness in image areas that are perfectly focused. It’s a trade off; make it only when it’s beneficial.

5         Use Image Stabilization

Use image stabilization for hand-held exposures, especially for exposures with shutter speeds slower than 1 divided by the focal length of the lens. Don’t use image stabilization while shooting on a tripod; here it will compromise rather than improve sharpeness.

6         Use Lower ISOs

Keep noise low. It can compromise inherent sharpness.

7         Optimize Contrast

Higher contrast images look sharper.

8         Master Digital Sharpening

While they can’t make an out of focus look in focus, digital sharpening routines can make a perfectly focused original look even sharper.

Read more tips on exposure here.

Learn more in my digital photography and digital printing workshops.

“Julieanne Kost demonstrates two methods for one of the most common trouble shooting techniques: resetting the Photoshop Preferences.”

View more Photoshop videos here.

Learn more in my digital photography and digital printing workshops.


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