A Quote by Pedro Meyer

The digital tools allow us to have control over what and how we can alter an image that was unimaginable in the era of analog photography. — © Pedro Meyer
The digital tools allow us to have control over what and how we can alter an image that was unimaginable in the era of analog photography.
Tactility was rejected in conceptual photography. I embrace the possibilities of my medium. Surface, texture, and tactility is something analog photography can do well, or it is something I can do well in analog photography. It can be hard to know what or who is in control.
I like to work with a combination of analog and Pro Tools. I love the sound of analog tape, but there's so many things you can do with Pro Tools that would be incredibly difficult and very time-consuming with analog.
When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.
The new nation called Nigeria should be an estate of our great-grandfather, Uthman Dan Fodio. We must ruthlessly prevent a change of power. We use the minorities of the North as willing tools and the South as a conquered territory and never allow them to rule over us, and never allow them to have control over their future.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
We believe that the next generation of powerful mobile companies have a deep understanding of the world as a unified whole, where digital and analog experiences affect each other rather than transporting analog experiences into the digital realm.
Love cannot be defined, caught, cast in stone, or archived. It's something we have no control over. Love is completely analog. Love can never be digital.
'Brace the Wave' is an acoustic-electric record recorded with electricity on analog-digital and digitally-analog equipment.
In '83, not only was there no such thing as performance motion capture technology, there was no such thing as digital animation. This was the analog era.
The increasing diversification of media ecosystems after decades of state control, along with new digital tools that allow for greater citizen engagement, have led to a dramatic reshaping of the dynamics between citizens, media, and government.
I'm a huge Boards Of Canada fan. They're my favorite contemporary band. The interesting thing about Boards Of Canada is, they use analog and digital recording techniques, and nobody really knows how they get their sound. But I think that very warm, enveloping analog sound.
I love music with real instruments. I'm not one of those guys that's a purist about analog vs. digital, but I love the analog approach. Sonically, I connect to that.
In fact, Clinton-era publications of the US Space Command describe control over space as a parallel to control over the oceans a century ago. Then, countries built navies to protect and enhance their power in commercial and strategic interests. Today, the militarization of space is intended to protect US investments and commercial interest and US hegemony around the world.
Analog was perfected over 70 years, though. Digital will one day be fantastic. I'm sure of it.
The digital image annihilates photography while solidifying, glorifying and immortalizing the photographic.
I like to think of Photography 1.0 as the invention of photography. Photography 2.0 is digital technology and the move from film and paper to everything on a chip. Photography 3.0 is the use of the camera, space, and color and to capture an object in the third dimension.
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