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.

Both shots are correctly exposed in the TECHNICAL SENSE of retaining the detail in the brightest highlights. But in the PERCEPTUAL SENSE the first photo appears to be "normal" and well exposed while the second appears badly underexposed. Why? Because our brains expect the towel and card to look like they are rendered in the first shot. Perception of "normal" and "natural" in photos is based on expectations in the mind of the viewer. That simple example above illustrates the dilemma, challenge, and paradox of exposure and metering.The Dilemma - Scenes exceeding the range of the sensorWhen a scene does happen to fit the range of the sensor perfectly the resulting image winds up looking normal automatically because the process is engineered that way. Get the exposure "technically" correct on both ends of the tonal scale and everything in-between falls into place in a way that looks "normal"; as would be seen by eye, meeting the expectation of the viewer. That is why the first shot above seems normal. In flat lighting the range of a camera sensor is just barely able to record the same amount of detail which would be seen by eye.The difference in the second shot is: 1) the angle of the light, 2) the context of the background relative to the foreground. In the first shot because the card fills the frame the background isn't noticed much an the brain tunes it out almost immediately. But if you look critically at the photo you will notice there are areas in the background and shadows under the towel where detail is lost. But since most of the important familiar content in the photo is rendered "normally" our brains will ignore the loss of detail and consider it normal also. But in the second shot the relationship of the target and background changes, changing the context of the photo from a focus on the target to the overall background. The background is actually rendered very similarly to that in the first shot, and the front of the card is the same tone as the shaded parts in the first shot, but the change in context makes us expect the background to be "normally" exposed and it looks odd because it isn't in photo #2.The Challenge - Fitting the range of the scene to the sensorThe first part of the challenge is recognizing when the range of the scene exceeds the capabilities of the sensor. The second part of the challenge is finding ways to overcome that technical shortcoming.My approach for analyzing a scene in ambient light with a digital camera is to get the critical highlights exposed correctly first, using the over-exposure warning in the playback. Using the camera in Av mode I will set the aperture for the desired depth-of-field, set exposure compensation to "0" then take a shot. EC=0 is the camera meter "I think this is correct" baseline. I accept the fact the metering will rarely get the highlights correctly exposed because the metering algorithms aim for getting the middle of the tonal scale where skin tones are correct. In the second test shot in backlight it was necessary to adjust the camera's "zero baseline" by - 2 EC to get the sunny parts of the white towel below clipping.After adjusting exposure so the highlights are below clipping the left side of the histogram will reveal if the shadows are recorded with detail. The histogram in the second test shot is piled high running off the left side indicating a significant loss of shadow detail in the scene. Because the camera is shooting into the shadow side of the ambient light it is possible to lift the shadow side with a flash placed over the camera:

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Fewer options lead to more sales in grocery stores and higher participation in 401(k) plans, but does the same framework apply to digital experiences? The paradox of choice, paralysis analysis, and choice overload certainly influences how users navigate websites and apps.

I've been sent a pdf which contains text, vector shapes and rasterised images. I would like to take a small area of that pdf, which contains all of these, run that area though Photoshop so I can use a custom photoshop filter on it, and then take the resulting image and put it back in the original pdf.

For me, 'felt experience' (Gendlin,1962) is a springboard for the choreographic process. This process-oriented approach to creating movement material cannot be pre-determined. So, I held myself in a 'not-knowing' place, both in rehearsal and at times in front of the camera, allowing awareness of the strong gender theme in the foreground to unfold at a visceral level. This process may be seen as one where I 're-inhabited' my female body and as Tina Stromstead suggests this requires valuing an 'embodied sense of knowing' (2001, p40). So I followed sensory nuances a memory, a feeling, an impulse, a vocalisation, standing next to someone, and the paradox of 'knowing' and 'not-knowing' all of which became part of the dance. be457b7860

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