Re: Photoshop CS2 Keygen PaRaDoX
Emmanuelle Riker
In a talk I was watching recently, the speaker began discussing how often people coast when it comes to the working world. Many of us don't want to risk our current position in an effort to secure something better and that can lead to stagnation and many other woes. To explain the problem, the speaker brought up the Region-beta paradox, and from the moment it was explained to me, I realized that it had applied perfectly to my photography in periods, and it's likely I'm not alone.
What do these situations have in common? Sometimes the worse situation is better. It is, of course, paradoxical, but it makes so much sense. If something isn't bad enough to warrant action, it is likely more damaging than a worse situation that does effect change. I can think of many times in my life this has been the case, including in the working world. I had a low-average-paying job in my early twenties and while I didn't loathe the position, it wasn't what I wanted for myself. It took three-and-a-half years for the job to begin to impact my health with how unhappy it was making me and so I figured out how to leave and pursue something I wanted. Why? Because it wasn't quite uncomfortable enough before that point.
At first glance, this concept doesn't marry up all that well with photography; if photography is making you uncomfortable or unhappy, don't do it. However, this paradox also applies situations that aren't inherently negative. In fact, the example given in Daniel Gilbert's paper that introduced the paradox used the following: "...consider a commuter who has the habit of walking to destinations within a mile of their origin, and biking to more distant destinations. Since the bike is faster, the commuter will reach some distant locations more quickly than nearer destinations (region beta in their diagram), reversing the normal tendency to arrive later at more distant locations." The paradox was then applied to health and many other situations.
As for photography, it applies to how the photographer is progressing in their craft. When anyone starts photography, there is that typical, exciting state we all experience when finding something new and interesting. You know you're a complete amateur and you're learning an awful lot very quickly, which is rewarding. This tails off naturally and then you can stagnate without conscious effort to counteract it. It is around then that the first instance of the Region-beta paradox might rear its head. For example, you might have been trying lots of new techniques and learning because you felt as if you didn't know anything about the subject, but as your knowledge grows, you become more complacent with that, so you make less of an effort to learn. If you were trying to hit new and difficult heights with your skill level, you would push to improve, but if you're not uncomfortable enough with your lack of knowledge, you might not. Therefore, it would be better if you were less content with your work.
When I first heard of the phenomenon, I thought of two times in my own life it applied. The first was with the full-time job I wasn't happy in, and the second was as a professional photographer, but for a completely different reason. Some readers may be aware that I have photographed watches for adverts and magazines. I have always enjoyed macro photography, and so, one day, rather out of the blue, I had the idea to look for paid work photographing watches as horology is a passion of mine. My early work was fine, albeit dull and with lots of niche mistakes, but I wanted to produce great images of these timepieces.
I could not stop in this pursuit to create memorable images. I had someone fire a flamethrower at a watch while I photographed it (pictured above), I took a watch to the edge of a glacier in a blizzard in Iceland, and I created a macro stack of a watch's movement that consisted of over 100 images. I was desperate to show watches in a way that had rarely been done, whether that meant in a ridiculous and frankly dangerous setting, or pushing photographic techniques to see what was possible.
As a result, what would have been better is if either the work had dried up, leaving me stressed about replacing that income stream, or I had grown unhappy with the work I was producing. Either situation would have been worse in the short term, but ultimately better for my work. Instead, I coasted for a while until I reached the point where I was sick of the work I was creating and needed to push myself forward. Although I was eventually motivated enough to make a change, waiting for the breaking point is not the best outcome by a long chalk.
So, as photographers, we need to ask ourselves: is our photography in the Region-beta zone? Are you content with the photographs you are taking and, if you're being honest, are you pushing yourself to create great images? If you are, then rather than waiting until you get to the point of unhappiness with the craft (which could even lead to you quitting altogether), correct your course now and act.
Robert K Baggs is a professional portrait and commercial photographer, educator, and consultant from England. Robert has a First-Class degree in Philosophy and a Master's by Research. In 2015 Robert's work on plagiarism in photography was published as part of several universities' photography degree syllabuses.
A well-known phenomenon with a beautiful name - Region-Beta Paradox. Thank you for these lines, for this refresher, which once again forces me to question my personal situation. It's so easy to get stuck in a rut again, aimlessly, that you don't even notice that you're really moving forward. Yes, you should just stop from time to time and reflect on the path you have travelled. Sometimes you just have to change direction and a worthwhile destination comes into view. So simple the theory, so difficult the practical implementation. But isn't it better to try than to disappear into oblivion?
The one thing I was waiting for you to explain, that you never did, are the words used in the name of the phenomenon. Region-Beta. What do regions have to do with this? What does the concept of Beta have to do with this? It is obvious how Paradox is related to the phenomenon, but I can't figure out what Region and Beta have to do with it. Please explain!
..... I am really afraid I will have to read thru some other stuff before I find what I am looking for. If someone just answers my question here, then I do not have to do the super unpleasant task of visually scanning paragraphs of text in order to find the one thing that I want to find out.
I am going to quote Wikipedia here, so that others will have this explanation right here and not have to go looking for it. Wonder why the author didn't have this explanation right in the article itself?
"The name originates from the illustration in the paper by Daniel Gilbert, that introduced the paradox. They consider a commuter who has the habit of walking to destinations within a mile of their origin, and biking to more distant destinations. Since the bike is faster the commuter will reach some distant locations more quickly than nearer destinations (region beta in their diagram), reversing the normal tendency to arrive later at more distant locations."
I think I know what you mean. I moved to Mesa, AZ from the northern plains about 10 years ago & realized I'm an hour from some really scenic trailheads in Tonto National Forest. I immediately started taking photos of the Sonoran Desert landscape. After 8 years, I stalled. My desert photos looked like everyone else's on social media.
Having a camera you can position in 3-dimensional space seems like dream, but the reality is the right-side of your brain is flying the drone & the left-side is controlling the camera gimbal, exposure, and trying to find a pleasing or dynamic composition on the ground & where & what altitude to park the drone & where to point the camera.
Even at 104 flights & no crashes, it is still a risk. Will I crash it this time? Is this the flight it will blow away or be attacked by a hawk or curious raven? I want my viewers to know I took a very real risk taking these photos.
At the early design stages, we utilized the power of Artificial intelligence as an aid for inspiration and initial concepts generation. We started experimenting using neural style transfer as a tool to help us optimize an image between our site and a reference image that we chose.
Through this process of trial and error and elimination, we chose those six images, and after comparing the potentials and limits of each photo, we found that this image is the most successful one and had the potential to produce the most inspired results.
We saw that CERN represents a paradox of scale; to detect the most minute particle; it had to construct the largest machine humanity has ever built. This is why from the beginning; our goal was to create a library that was an integral part of CERN and FCC themselves. To create a library that would offer an immersive experience that attracts the public and takes them through a journey that tangibly represents CERN.
Therefore, we decided to sculpt and carve the library in the adjacent mountain, to immerse the user in a state of tension between the natural and the man-made. The result is a library that is so large yet so hidden.
Then we trained a style GAN model and generated hundreds of new sections. The majority of these sections were very realistic and similar to conventional buildings, but we were looking for unconventional sections with interesting features that would help us achieve our goals in the library.
We narrowed the results down to four sections and collaged them into one to create a single section. Then we ran the collaged section into style transfer with the same style image we used in the campus to unify the architectural language. We transformed this result into linework that we used as a basis for the design process.
There is a reason a camera exposure system gets exposure "wrong" most of the time, but it may not be apparent to someone starting in photography with a digital camera: many scenes exceed the range of the camera sensor. When the sensor range is too short to record everything our eyes see with detail the camera metering must try to guess, based on how the scene is framed in the viewfinder, whether the highlights, middle-tones, or shadows are most important. Since faces fall in the middle range the camera metering will try to get the middle right, even if it means blowing some highlights like the sky and losing detail in the darker shadows.A significant portion of the learning curve in photography involves developing situational awareness of lighting: where is the sun in the sky and how is it reflecting off the atmosphere and clouds to provide fill. Once a photographer becomes consciously aware that scenes can't be recorded accurately - as the eye sees them - they learn to develop strategies to deal with high contrast lighting. What looks "normal" in a photo is a perceptual judgement made in the brain by comparing way objects are rendered with memories of seeing them in person. The size of the content and the context of the background can change perception as the two photos below illustrate. The first photo was exposed visually
based on the detail on the highlights
in relatively flat ambient lighting:
I then moved the target and shot from the opposite direction
which put it in strong back-cross lighting, again exposing to
retain detail in the sunny parts of the white towel: