A Quote by Ansel Adams

The negative is comparable to the composer's score and the print to its performance. Each performance differs in subtle ways. — © Ansel Adams
The negative is comparable to the composer's score and the print to its performance. Each performance differs in subtle ways.
The negative is the equivalent of the composer's score, and the print the performance.
The negative is the score, and the print the performance.
The (photographic) negative is the equivalent of the composers score and the print is the equivalent of the conductors performance.
Traditional performance reviews have passed their sell-by date. Big time. There's research showing that roughly two-thirds of performance appraisals have either no effect - or a negative effect! - on employee performance.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
It is much more difficult to measure non-performance than performance. Performance stands out like a ton of diamonds. Non-performance can almost always be explained away
My take is that acting is acting. A performance is a performance. With performance capture, if you don't get the performance on the day, you can't enhance the performance.
Men are enforced into a kind of silence about their gender; they're supposed to not think of it as a performance. That's the definition of manliness - that it's not a performance; it's being yourself, authentic. Whereas women have understood gender as performance. Men have not yet made that quantum leap, or rather they're making it in many ways, they're not thinking about it.
The performance on the stage has its reasons in the performance induced in thousands of separate minds and this second performance is no less prodigious than the first.
I've done a lot of performance practice, Baroque playing, and some of the joy and the challenge of it is figuring out what the composer intended... You have music of the 17th century - it's all whole notes and half notes. But inside of that, there are so many things that one can do, at least according to what we know about performance practice.
It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!
No matter what you're doing, whether it's a makeup tutorial or an interview or a lip sync, performance is the essence of drag. It is gender performance. Being able to produce a performance is what a superstar has to do.
When we deal in generalities, we shall never succeed. When we deal in specifics, we shall rarely have a failure. When performance is measured, performance improves. When performance is measured and reported, the rate of performance accelerates.
I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.
I don't think I gave a good enough performance to be nominated for it. I thought I gave a fine performance, but those things are supposed to be about giving an extraordinary performance.
Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance.
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