Re: Keynote Mac Os High Sierra
Oleta Blaylock
In the set of actions which may be executed via standard AppleScript upon Keynote, none is able to change the style of a chunk of text from standard to bold.
More, none is able to tell us if the contents of a cell is standard text or bold text.
Every day I get a keynote from my team which I share with my higher management. Keynote formatting is messy. I have to manually format it. Its taking lot of time. Hence I try to do it via AppleScript.
In my late message, I tried to explain that neither standard Applescript nor GUIScripting may achieve this task.
It seems that my explanations were not clear enough.
To be short, as far as I know, we have no way to change the content of a cell from standard to bold using AppleScript.
Dewitt Jones is one of America's top professional photographers with a career stretching over twenty years. As a motion picture director, he had two films nominated for Academy Awards (Climb - Best Live Action Short Film and John Muir's High Sierra - Best Short Subject Documentary) before he was thirty.
Gail Davis: Today's guest on GDA Podcast is Dewitt Jones. Dewitt is one of America's top professional photographers. 20 years as a freelancer for National Geographic shooting stories all over the globe has earned [00:01:00] him a reputation as world class photo journalist.
As a motion picture director, he had two documentary films nominated for Academy Awards before he was 30. His work is well known to the corporate world as well, in advertising campaigns for clients like Dewar's Scotch, Cannon, and United Airlines.
Gail Davis: You know, Dewitt, [00:02:00] I was thinking as I was preparing for this, I've had the privilege of being in your audience many times. And, you know, one of the powerful aspects when you speak to an audience are the images of your amazing photography and how they help tell the story. And I know today we don't have that visual component. So I thought I might take a moment as an audience member to share with the listeners what I've seen happen [00:02:30] in a typical presentation.
Dewitt has these incredible quality, high resolution, beautiful, beautiful photographs, and as he tells a story, he will advance and have just the perfect image that supports that point that he's making in the story. And I always notice these oohs and ahhs of folks that are sitting in the audience. And it's a shame we don't have that today so we'll have to really [00:03:00] use our imagination.
But one of the stories that I always remember, and Dewitt, it's been a few years so feel free to correct me if I've got it wrong, but I remember you talking about, I think you were in India, but I know you were going over a hill and you were looking at a valley of lilies. And you made the comment that you just- it was so vast and you wanted to take a picture of that. And you did and it was just this beautiful image, but then you thought to yourself, " [00:03:30] Gosh, what would happen if I laid down in the lilies and took a photograph?" And it's so different. And when that photo comes up, you know, again, you hear this audible sound from the audience.
So I just wanted to share that for people who may not have been in your audience that typically that's a big part of it and with that, I would just like to lead into how did you pull out these great messages that you deliver in your keynotes, [00:04:00] and at what point did you see, "Gosh, you know these photographs tell I story that I can share from the stage?"
Dewitt Jones: Well, you know, they tell a story that I could share from the stage, but they also tell a story that goes into people at a very different level than just hearing words. Um, they're much more expansive. They touch us in emotional ways. And I didn't have this [00:04:30] in the beginning, but I've come to understand or believe that a keynote speech tells people things they already know in a way they'll do them tomorrow.
If I said, "There's more than one right answer," or "Don't be afraid to make mistakes," you'd go, "Yeah. I know that. I got it." Would you do it tomorrow? No, because it would be flat and kind of boring and you've already heard it a thousand times.
But if I show that to you [00:05:00] in the lily field and I say that what perspective we have makes a huge difference in terms of what we see, and I show you a nice, but relatively uninteresting picture of the lily field, and then I show you one that there is that audible gasp and people will never forgot that image, I've just shown you what I'm talking about in a way that is way more powerful than if I [00:05:30] didn't have the visual, especially cause [crosstalk 00:05:34]. Go ahead.
Dewitt Jones: Right, and if you add the right words to the picture, then they're worth even more than that. So, if I just showed you the picture, you'd go, "Oh the guy's a good photographer." But If I'm drilling home a message that I want you to do and feel motivated enough to do tomorrow and the next day when you offer [00:06:00] your client more than one right answer or a different perspective, and you remember that because you remember the image.
Dewitt Jones: If I was preening you, I would be giving your brand new information that you've never heard of before. But I'm not. I'm motivating you to do things that you probably know how to do. You've probably heard them before, but if I can make it so you're on your feet at the end of my talk and motivated [00:06:30] to go out and celebrate what's right with the world and see the world with new eyes, then I've really done something.
That's my job as a keynoter. I give a much more inspirational speech than a motivational speech. I want you to be inspired from the inside, and I didn't know how powerful those visuals could be until I started doing this. I've had people come up to me, [00:07:00] and they'll say, "You know I saw you. No, I don't even remember where I was. I was in a room with no windows and I don't know who I was working for, and I don't even remember what state we were in, but you told the story of your daughter in the hammock," and-
Dewitt Jones: And they remember it and then they repeat the whole story. And it's ten years ago that they saw me. And it's really incredible how those images both lock into somebody's mind and how [00:07:30] powerful they are when they bring them back.
Dewitt Jones: Well, I was in a campground in Zion National Park. My daughter was all wound up in this little hammock. I grabbed a snapshot of her. It was poorly exposed. It was a lousy moment. It's really quite [00:08:00] an awful picture, but I stayed with it and I tried to say, "What am I falling in love with in this picture? What am I celebrating?" And laying out the concept that by celebrating what's right, we find the energy to fix what's wrong, I then moved to another picture that is really quite beautiful of my daughter lying in the hammock. And then I eventually say, "Like [00:08:30] Michelangelo, I saw an angel in the stone and carved to set it free." And at that point I go to just a shot of her face with the lines of the hammock in front of it, and there is an audible gasp in the room.
Dewitt Jones: You know? It's everybody's daughter and they know that moment where they have so brought out a vision by celebrating what's right with it rather than starting, as we so often do, by just griping about what's wrong with [00:09:00] it. And that image of my daughter gets really embedded deeply inside you.
Dewitt Jones: The other thing is, you know, if I walked into a predominately male corporation and I said, "You know what? We're going to turn off the lights and feel our feelings," I could clear the room in about three minutes, you know? They would dive for the exit.
Dewitt Jones: Okay, minute and a half, right? And [00:09:30] yet if I walk in there and say, "Hey guys, I'm going to show you some pictures, so I'm going to turn the lights down," and I've told the audiovisual group that I want every light out in there. I want it to be as dark as a theater. I don't want you to be able to see the person next to you because I want you and that image and my voice to be the only thing that you're listening to and dealing with.
And so, they're having a very private experience as you would have in a motion picture theater where you've [00:10:00] forgotten everybody that's around you and you're just in the movie. And that becomes very powerful. It's not something where you can, you know, you're also working on your laptop and there's lights on in the room. And if you get bored with the speaker, you can look at a lot of other things. I'm not giving you any of those choices. I'm giving you my voice and the still image.
And when people say, "Well, we'd like to put you up on I-Mag at the same time," I say, "no, don't do that." Then they'll watch me [00:10:30] moving around. I don't want them to watch me. I want them to watch this iconic image that they're going to remember for the next 20 years with a story that I plant. I didn't know how powerful that would be when I started doing it, but it turns out to be extremely powerful.
Gail Davis: I agree. I'd like to go back. How did you get into photography and then, as you share that, how did you get the gig with National Geographic because I'm sure many, many [00:11:00] photographers desire that that never have the opportunity?
Dewitt Jones: Well, when I was a junior in college, some friends of mine had this crazy idea that they would go behind the Iron Curtain and paddle in canoes from Germany all the way to the Black Sea through a lot of Eastern European countries. And they got permission to do it and they asked Geographic if they'd like to fund it and [00:11:30] Geographic said no. And they said, "Well we're going to do it anyways, so could you just send along a little film?" And the two guys that took the pictures, eventually that was a very successful article in the Geographic.
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