Acrylic photo frames are more than just picture frames, they are the epitome of elegance when we come to putting up pictures on the wall or just positioning them for a nice display. The fineness with these frames is that they come in a classy glass look yet they do not shatter or break like glass. They are light and superb to hold any picture size. In this article, we look at acrylic photo frame being more than just another photo frame in your house. The invention of these frames followed the desire to have a frame that resembles glass and does not easily break. These frames have gotten a wide preference in art gallery centers and museums due to their many merits that outdo any other type of frame.
Acrylic photo frames types and their merits The common types are three based on the finishing done on the frame. There is the clear type, the matte, and the UV, these frames differ on how they reflect light and how well they protect the photos in them from too much light and other damages. The other category is based on the design of the entire frame, for example, we have horizontal frames for single photos or multiple photos, and we have others that come in different shapes. Based on their different sizes, these acrylic frames can either be made to allow them to stand on their own or be suspended on a wall. Mostly the larger the size the more difficult it is to hang them. This, therefore, makes them the best choice for you when you variations in the frames.
Acrylic photo frames can be customized to carry all the fancy details that you may want to accompany the photo; these may be messages about the picture, or details like the photographer's name and any other information or decoration that adds up a meaning to the photo in the display. These frames are readily available and they are more environmentally friendly when compared with other types of photo frames like PVCs and wooden frames that have some environmental impact in one way or the other. They also last long before they lose their shape like wood and glass frames that can easily break when packaging or stacking them. Conclusion Acrylic photo frames are more than just frames, they offer great services that are incomparable to other types of frames. They are affordable and when purchased from the right stores they can prove their worth in every way.
Showing posts with label Photography. Show all posts
Showing posts with label Photography. Show all posts
A Strange Course of Photography
What do we mean when we say we have made an experience? How to photograph and photo-retouching of food images to follow the rules of its archetypes. The experiences in my life I have always held for me jealously. It was a bit 'my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience.
And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things.
You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it's the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.
Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And 'where the light passes through the mids that the colours become even more saturated.
As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy. Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced. There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours.
Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes. Infinitely complex or evolved?- Digital photography I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story. I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography. As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries. The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today's cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.
The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age. For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.
But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels.
Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.
But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. E 'can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E 'possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret... Of consciousness and colours Geometry But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little 'annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it's not something you eat, is not money, and above all is not science, and therefore, what is the use? I disapprove totally. As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond.
Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I've only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It 'a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity. You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today. Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. - natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience? The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience. It 'a little' how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history? Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit 'as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives.
It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness. It 's a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author's message, contains the meanings aware that the author himself wanted to impress in his work. We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that's it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning.
That is so simple and that's all. A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It 'very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a "conscience." If we can find our passion when we work we reload, rather than if we do something we do not like, we consume. One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is. This is referred to colours, colour geometry, resulting methods of viewing and printing and its translators who are the colour profiles (on this subject they have called so many that even today only a few have really understood the use of colour profiles and colour spaces using Photoshop with its render engine). Article Source: http://EzineArticles.com/9926959
And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things.
You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc... We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it's the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.
Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And 'where the light passes through the mids that the colours become even more saturated.
As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy. Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced. There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours.
Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes. Infinitely complex or evolved?- Digital photography I would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story. I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography. As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries. The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today's cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.
The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age. For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.
But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer's art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels.
Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching.
But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. E 'can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E 'possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret... Of consciousness and colours Geometry But what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little 'annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it's not something you eat, is not money, and above all is not science, and therefore, what is the use? I disapprove totally. As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond.
Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I've only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It 'a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity. You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today. Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. - natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience? The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience. It 'a little' how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history? Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit 'as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives.
It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness. It 's a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author's message, contains the meanings aware that the author himself wanted to impress in his work. We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that's it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning.
That is so simple and that's all. A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It 'very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a "conscience." If we can find our passion when we work we reload, rather than if we do something we do not like, we consume. One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is. This is referred to colours, colour geometry, resulting methods of viewing and printing and its translators who are the colour profiles (on this subject they have called so many that even today only a few have really understood the use of colour profiles and colour spaces using Photoshop with its render engine). Article Source: http://EzineArticles.com/9926959
Understanding the Rules of Composition in Photography
With the advent of the mobile phone and tablet, everyone seems to be taking photographs, and for many people all they want is a record of a holiday or family event or a special moment in their lives which they are happy to share with their friends and perhaps to look at some years later when it will bring back a fond memory of times past. Some of us however want to take their photography one step further and turn it into a hobby which we can develop and improve. So we dispense with our point and shoot camera and stop using our phones and invest in a reasonably decent camera. Personally, although I had been taking pictures for almost 50 years, I only took it up as a serious hobby in 2010 when I purchased a Panasonic DMC-FZ38 prior to visiting Kenya on my first Safari. To begin with, I looked at the 128 page manual, hardly understood a word, so set the camera to auto and went off on safari. I took some great photos but it was only after I joined a local camera club and started to learn about the art of composition that I began to actually look through the lens and think about what I was doing, instead of simply pointing the camera at an object and pressing the shutter.
Like me, I suspect that many new photographers get confused, or even totally put off, by such things as focal length, ISO, aperture, shutter speed, focusing, exposure, etc., etc., and while I believe that it is very useful to understand the more technical elements, I do believe that the most important element for a new photographer to get to grips with, is Composition. All digital camera manufacturers spend a large amount of time and money on software to help the user get the correct camera settings to capture that shot and, as I did initially, if you set your camera on auto, the vast majority of time you will get technically good results. However the one thing that no camera is able to do, no matter how much money you have spent buying it, is compose a photo that is attractive to the eye. So what do I mean by Composition? Putting it into its very basic form, composition can be said to be the way to create a photo that is aesthetically pleasing to the viewer.
Sounds simple doesn't it? Google "composition in photography" and you come up with such results as:- 20 Composition Techniques That Will Improve Your Photos: 10 Top Photography Composition Rules 9 Top Photography Composition Rules You Need To Know 18 Composition Rules For Photos That Shine 5 Elements of Composition in Photography 5 Easy Composition Guidelines The 10 rules of photo composition (and why they work) 12 Rules for Effective Composition in Photography: etc., etc.! While you will undoubtedly learn by reading all of those articles, (and I would suggest that you do in time), I will concentrate on a few simple rules that I follow. Before I go further, while some of these are called rules, remember rules are there to be broken.
What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:- The Rule of Thirds. Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one. Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground. Leading Lines These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river. Symmetry To demonstrate that the rules are no more than guidelines, the next one contradicts the Rule of Thirds. If your image is symmetrical, then it could benefit from being centred either on the horizontal, or vertical centre line.
This works particularly well for reflections Rule of Space This rule is talking about giving the subject in the photo, space to move into the frame. This particularly applies to animals and vehicles. The object should have the most space in front of it, and not be right up to the edge of frame, giving it nowhere to go. Rule of Odds Generally speaking, it is thought that photos with an odd number of subjects is more visually appealing and natural looking than those with an even number, where the viewers eyes may flick around the image, unsure of where to settle. I tend to use the rule of odds particularly if taking a close up of flowers or the like.
I hope that I have given you a brief insight into composition and that when you next look through your viewfinder you will at least stop and think for a few seconds at what you are looking at and how the shot may be improved. But just remember, these rules, and all the others you will come across, are simply guide lines to help you go in the right direction, they are not railway tracks that you have to stick to rigidly. Finally I will end with the words of Pablo Picasso - "Learn the rules like a pro, so you can break them like an artist." Tony Murtagh, took photography up as a serious hobby in 2010 prior to going on safari to Kenya in the February. He has had photographs published in the national and international press including the UK, France and Australia as well in the local press. In January 2013 his photo of a 'Three Headed Giraffe' was a finalist in the Wanderlust Travel Photo of the Year in the Wildlife section. In May 2014, his photo of a black-backed jackal was included in A Field Guide to the Larger Mammals of Tanzania (Princeton Field Guides).
Like me, I suspect that many new photographers get confused, or even totally put off, by such things as focal length, ISO, aperture, shutter speed, focusing, exposure, etc., etc., and while I believe that it is very useful to understand the more technical elements, I do believe that the most important element for a new photographer to get to grips with, is Composition. All digital camera manufacturers spend a large amount of time and money on software to help the user get the correct camera settings to capture that shot and, as I did initially, if you set your camera on auto, the vast majority of time you will get technically good results. However the one thing that no camera is able to do, no matter how much money you have spent buying it, is compose a photo that is attractive to the eye. So what do I mean by Composition? Putting it into its very basic form, composition can be said to be the way to create a photo that is aesthetically pleasing to the viewer.
Sounds simple doesn't it? Google "composition in photography" and you come up with such results as:- 20 Composition Techniques That Will Improve Your Photos: 10 Top Photography Composition Rules 9 Top Photography Composition Rules You Need To Know 18 Composition Rules For Photos That Shine 5 Elements of Composition in Photography 5 Easy Composition Guidelines The 10 rules of photo composition (and why they work) 12 Rules for Effective Composition in Photography: etc., etc.! While you will undoubtedly learn by reading all of those articles, (and I would suggest that you do in time), I will concentrate on a few simple rules that I follow. Before I go further, while some of these are called rules, remember rules are there to be broken.
What I am trying to do is to encourage you to think about what you are trying to achieve when looking through the viewfinder. I will start then with something that you have probably already come across:- The Rule of Thirds. Basically, if you imagine a photo divided into thirds, both horizontally and vertically, the main subject of the image should be where a vertical line cross a horizontal one. Many modern cameras allow you to place a grid in the viewfinder which can be used to place the object where two lines intersect. While we are talking about the Rule of Thirds, it is generally best to place the horizon on one of the thirds, rather than in the centre of the frame, dependent on whether the main points of interest are in the sky or on the ground. Leading Lines These lead the viewers eyes into the picture either to the main subject or on a journey through the whole of the picture. Examples of leading lines could be a path wandering through the image, a fence line, a meandering road or a stream or river. Symmetry To demonstrate that the rules are no more than guidelines, the next one contradicts the Rule of Thirds. If your image is symmetrical, then it could benefit from being centred either on the horizontal, or vertical centre line.
This works particularly well for reflections Rule of Space This rule is talking about giving the subject in the photo, space to move into the frame. This particularly applies to animals and vehicles. The object should have the most space in front of it, and not be right up to the edge of frame, giving it nowhere to go. Rule of Odds Generally speaking, it is thought that photos with an odd number of subjects is more visually appealing and natural looking than those with an even number, where the viewers eyes may flick around the image, unsure of where to settle. I tend to use the rule of odds particularly if taking a close up of flowers or the like.
I hope that I have given you a brief insight into composition and that when you next look through your viewfinder you will at least stop and think for a few seconds at what you are looking at and how the shot may be improved. But just remember, these rules, and all the others you will come across, are simply guide lines to help you go in the right direction, they are not railway tracks that you have to stick to rigidly. Finally I will end with the words of Pablo Picasso - "Learn the rules like a pro, so you can break them like an artist." Tony Murtagh, took photography up as a serious hobby in 2010 prior to going on safari to Kenya in the February. He has had photographs published in the national and international press including the UK, France and Australia as well in the local press. In January 2013 his photo of a 'Three Headed Giraffe' was a finalist in the Wanderlust Travel Photo of the Year in the Wildlife section. In May 2014, his photo of a black-backed jackal was included in A Field Guide to the Larger Mammals of Tanzania (Princeton Field Guides).
Mother's Day and Photography
Mother's Day and photography Moment we hear the word Mother we think of love, affection, care and what not. All this is true but this word mother is much beyond that. Mother is someone who is not comparable to anyone in this world and everyone should respect her no matter whose mother she is. When do you think a woman become a mother, when she gives birth or when she conceives first time? Not the both times, women or rather say a girl start behaving like a mother when she starts growing, when she is a cute little kid. She cares and scolds in her stutter voice. Sometimes she combs your hair or wipes your tear like a mother.
A girl is also a mother when she is a sibling, she fights she scolds but she also saves from parents,she hides secrets and do everything she can being an elder sibling. In India a girl is taught adjustment and sacrifice since beginning and in that process society is preparing a strong lady who will turn out to be a great mother someday. Of course when she gives birth she officially becomes mother and gives immense love to her kids. Not only this there are certain situations where a woman accepts someone else's child as her own and give the same love to them. This strength is only in super moms as we hardly see a man accepting other's child and raising them, in fact a man is incapable of raising their own child alone, if needed.
In today's world there is a lot importance given on celebration of Mother's Day. Schools arrange special functions for mother child bond. Special photo booths are made in schools and good schools even hire fashion photographers to capture the same Not only in schools even there are many best fashion photographers or kids photographers to arrange special camps for Mother's Day. They think of new ideas to capture the best photographs of their clients and show mother child bond to maximum. Sometimes grown up children arranges a special photo shoot of their mothers as a gift of Mother's Day. They hire the best photographers for the same. Photographers make them feel special and beautiful in that photo shoot and add colors to a mother's life. So we see every occasion is important these days and the best fashion photographers are helpful in making every golden moment special these days.
A girl is also a mother when she is a sibling, she fights she scolds but she also saves from parents,she hides secrets and do everything she can being an elder sibling. In India a girl is taught adjustment and sacrifice since beginning and in that process society is preparing a strong lady who will turn out to be a great mother someday. Of course when she gives birth she officially becomes mother and gives immense love to her kids. Not only this there are certain situations where a woman accepts someone else's child as her own and give the same love to them. This strength is only in super moms as we hardly see a man accepting other's child and raising them, in fact a man is incapable of raising their own child alone, if needed.
In today's world there is a lot importance given on celebration of Mother's Day. Schools arrange special functions for mother child bond. Special photo booths are made in schools and good schools even hire fashion photographers to capture the same Not only in schools even there are many best fashion photographers or kids photographers to arrange special camps for Mother's Day. They think of new ideas to capture the best photographs of their clients and show mother child bond to maximum. Sometimes grown up children arranges a special photo shoot of their mothers as a gift of Mother's Day. They hire the best photographers for the same. Photographers make them feel special and beautiful in that photo shoot and add colors to a mother's life. So we see every occasion is important these days and the best fashion photographers are helpful in making every golden moment special these days.
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