A Quote by Leonard Nimoy
Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
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Most of my images have been done in-studio, under very controlled lighting conditions. There have been a few that have been shot in nature, but even then they were shot almost exclusively at night, and again, under controlled lighting conditions.
The Harvard Law of Animal Behavior holds that under controlled experimental conditions of temperature, time, lighting, feeding, and training, the organism will behave as it damn well pleases.
There are several studies done of peasant uprisings where the first chapter might be 'conditions in that area' and so the conditions are bad, and then the second chapter is a kind of conjectural event, somebody's shot and then there's an uprising. But there's no consideration, no chapter on preparation.
Once I started working with the Polaroid, I would take a shot and if that shot was good, then I'd move the model and change the lighting or whatever... slowly sneaking up on what I wanted rather than having to predetermine what it was.
I knew exactly what I wanted out of my actors - the film stars Ranveer Singh and Sonakshi Sinha in lead roles - and how each shot should look. A large part of 'Lootera' has been shot under tough conditions.
Experimental economics is about conducting experiments: bringing economics into the laboratory or creating controlled conditions in the field that allow us to understand better what we are seeing in less controlled circumstances.
Confusion conditions activity, which conditions consciousness, which conditions embodied personality, which conditions sensory experiences, which conditions impact, which conditions mood, which conditions craving, which conditions clinging, which conditions becoming, which conditions birth, which conditions aging and death.
I always look for nature or natural lighting within buildings and within rooms that has been done by somebody else to suit their needs. I look at it very closely as a photographic thing, then enhance it.
There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
I think people underestimate the importance of lighting - layers of lighting, not just one light. I do a lighting seminar where I take a $300-a-yard fabric and a $3-a-yard fabric. I show what lighting can do to either one.
Sometimes it's a struggle to keep up with my own photos, where the lighting is perfect, the makeup is done, and the images have been retouched. That's not what I see when I look in the mirror!
With those people, I'm very far apart, because I believe that government access to communications and stored records is valuable when done under tightly controlled conditions which protect legitimate privacy interests.
You look at today, it's a different situation. You have a game that has been transformed into a game where almost every shot is either an outside shot - a three-point shot - or a dunk.
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
My new long anhyzer disc and controlled fairway driver. It gets the same beautiful flippy hyzer S shot as my Surge, I just don't have to throw it as hard. This makes it the most valuable to me on uncertain terrain where my footwork is compromised. A stand-still driver shot is now no longer a problem.
There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.
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