Wide Angle Lens Quotes

View life through a wide angle lens attitude and see your horizons broaden.

Our world, seemingly global, is in reality a planet of thousands of the most varied and never intersecting provinces. A trip around the world is a journey from backwater to backwater, each of which considers itself, in its isolation, a shining star. For most people, the real world ends on the threshold of their house, at the edge of their village, or, at the very most, on the border of their valley. That, which is beyond is unreal, unimportant, and even useless, whereas that which we have at our fingertips, in our field of vision, expands until it seems an entire universe, overshadowing all else. Often, the native and the newcomer have difficulty finding a common language, because each looks at the same place through a different lens. The newcomer has a wide-angle lens, which gives him a distant diminished view, although with a long horizon line, while the local always employs a telescopic lens that magnifies the slightest detail.

My lens is wide-angle. Hers is narrow, but clearer. I like the hyper-logic of it.

When we agglomerate events through the wide-angle lens of history, which sees only the acts of influential leaders, a causative verb will cut the chain at the link immediately connected to the outcome.

When we are awake we are looking through the wrong end of the telescope if transformational creativity is our goal. We take a myopic, hyperfocused, and narrow view that cannot capture the full informational cosmos on offer in the cerebrum. When awake, we see only a narrow set of all possible memory interrelationships. The opposite is true, however, when we enter the dream state and start looking through the other (correct) end of the memory-surveying telescope. Using that wide-angle dream lens, we can apprehend the full constellation of stored information and their diverse combinatorial possibilities, all in creative servitude.

Don’t cry, Evie.” He rubbed his broad hands on her back, gentling her. “Those things are not true. You aren’t a whore.” She choked. “I’m here aren’t I? At Ford’s?” John always knew exactly how to hurt her. Charley held her away from him, honest intensity in his chocolate eyes. He spoke deliberately, his tone serious. “I know you’re not a whore because I don’t often get denied. Nine out of ten people, man or woman, would have fucked me on the spot when I offered it the first time.” Her mouth dropped open and for a moment she forgot her emotions. He grinned and his eyes twinkled with mischief. Balling her fist, she cuffed him on the chest. Hard. “Ouch!” “You’re an asshole.” She was laughing through her tears. “That’s your whore test?” “No! God, of course not! That’s just my you-have-a-pulse test. My whore test is much more hard-core. I can give you that one if you want. But…” He made a show of looking around the room. “We’re going to need some lube. And possibly some plastic sheeting.” He got up and opened one of the dresser drawers. “Do you have a video recorder with a wide-angle lens? And a zucchini?

Under a Torremolinos Sky (Psalm 116)8 For Jim The first thing I notice is not the bed, oddly angled as all hospital beds are nor the pillowcase, covered in love notes. Not the table filled with pill bottles nor the sterile tools of a dozen indignities. I’ll notice these things later, on my way out perhaps. But first, my wide-angle lens pulls narrow, as eyes meet eyes and I am seen. How is it, before a word is spoken, you make me know I am known and welcome? What can I give back to God for the blessings he’s poured out on me? I’ll lift high the cup of salvation—a toast to God! You smile behind the plastic that keeps you alive, and as I rest my hand on your chest we conspire together to break the rules. The rhythm of your labored breathing will decide our seconds, our minutes, our hours. Tears to laughter and back again always in that order and rightly so. We bask under a Torremolinos sky and hear the tongues of angels sing of sins forgiven long before the world was made. I’ll pray in the name of God; I’ll complete what I promised God I’d do, and I’ll do it together with his people. Talk turns to motorcycles and mortuaries, to scotch and sons who wear their father’s charm like a crown, daughters who quicken the pulse with just a glance. Time flies and neither of us has time to waste. I’ll make a great looking corpse, you say because we of all people must speak of these things, because we of all people refuse to pretend. This doesn’t bring tears—not yet. Instead a giggle, a shared secret that life is and is not in the body. Soul, you’ve been rescued from death; Eye, you’ve been rescued from tears; And you, Foot, were kept from stumbling. Your chest still rises and falls but you grow weary, my hand tells me so. It’s too soon to ever say goodbye. When it’s my turn, brother, I will find you where the streets shimmer and tears herald only joy where we wear our true names and our true faces. Promise me, there, the dance we never had. When they arrive at the gates of death, God welcomes those who love him. Oh, God, here I am, your servant, your faithful servant: set me free for your service! I’m ready to offer the thanksgiving sacrifice and pray in the name of God. I’ll complete what I promised God I’d do, and I’ll do it in company with his people, In the place of worship, in God’s house, in Jerusalem, God’s city.

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

We’ve got too much of what they call spray and pray—put a wide-angle lens on a thing, blast everything in sight, and then pray to God that something is useable.

I’ll notice these things later, on my way out perhaps. But first, my wide-angle lens pulls narrow, as eyes meet eyes and I am seen. How is it, before a word is spoken, you make me know I am known and welcome?

Putting it in my own words, [Edwards] said that the infinite complexity of the divine mind is such that God has the capacity to look at the world through two lenses. He can look through a narrow lens or through a wide-angle lens. When God looks at a painful or wicked event through his narrow lens, he sees the tragedy or sin for what it is in itself and he is angered and grieved. "I have no pleasure in the death of anyone, says the LORD God" (Ezekiel 18:32). But when God looks at a painful or wicked event through his wide-angle lens, he sees the tragedy or the sin in relation to everything leading up to it and everything flowing out from it. He sees it in all the connections and effects that form a pattern or mosaic stretching into eternity. This mosaic- in all its parts- good and evil- brings him delight.

If, at the end of the Atlantic, Columbus had found only an absence of water, this English tourist would have been there to capture that void with a wide-angle lens. Here, the wind blows from nowhere to nowhere across a plain transformed by salt into a vision of light. Sometimes a word is found so right it trembles at the slightest explanation. You start out with one thing, end up with another, and nothing’s like it used to be, not even the future.

Using these kinds of guides, we can outline Genesis as follows: I. The primeval history 1.1–11.26 A. Creation and violence before the flood 1.1–6.4 B. Re‐ creation through flood and multiplication of humanity 6.5–11.9 II. Transitional genealogy bridging from Shem (the Primeval History) to Abraham (Ancestral History) 11.10–26 III. The ancestral history 11.27–50.26 A. Gift of the divine promise to Abraham and his descendants 11.27–25.11 B. The divergent destinies of the descendants of Ishmael and Isaac (Jacob/ Esau) 25.12–35.29 C. The divergent destinies of the descendants of Esau and Jacob/ Israel 36.1–50.26 By the end of the book, the lens of the narrative camera has moved from a wide‐ angle overview of all the peoples of the world to a narrow focus on one small group, the sons of Jacob (also named “Israel”).

Our problem is that we’re ticker watchers of our own lives. Happiness (however we individually define it) is not best measured by looking at the ticker, zooming in and magnifying moment-by-moment or day-by-day movements. We would be better off thinking about our happiness as a long-term stock holding. We would do well to view our happiness through a wide-angle lens, striving for a long, sustaining upward trend in our happiness stock, so it resembles the first Berkshire Hathaway chart.

With a wide-angle lens, this book traces the political, economic, racial, and sexual divisions in modern America, but also the cultural and technological changes that confronted and contorted the country along the way. Following these fault lines, in both senses of the term, we examine the history of our divided America.

Live life with the wide angle lens of time yet, live it one moment at a time.

God has the capacity to look at the world through two lenses. When God looks at a painful or wicked event through his narrow lens, he sees the tragedy or the sin for what it is in itself and he is angered and grieved. “I do not delight in the death of anyone, says the Lord God” (Ezek. 18:32). But when God looks at a painful or wicked event through his wide-angle lens, he sees the tragedy or the sin in relation to everything leading up to it and everything flowing out from it. He sees it in all the connections and effects that form a pattern or mosaic stretching into eternity. This mosaic, with all its (good and evil) parts he does delight in (Ps. 115:3).