Anthony Bruno (Royal Holloway, University of London, UK) 8. The Parallactic Leap: Fichte, Apperception, and the Hard Problem of Consciousness, G. Temporal Paradox, Realism, and Subjectivity, Paul Livingston (Albuquerque University, USA) 7. Realism in Psychoanalysis,Alenka Zupancic (Slovenian Academy of Sciences and Arts, Slovenia) 6. Parallax in Hermeneutic Realism, Anton Friedrich Koch (University of Heidelberg, Germany) 5. Mental Realism after Nagel, Markus Gabriel (University of Bonn, Germany) 4. Žižek's Parallax, or The Inherent Stupidity of All Philosophical Positions, Graham Harman (SCI-Arc, Los Angeles, USA) 3. Parallactic Entanglement: On the Subject-Object-Relation in New Materialism and Adorno's Critical Ontology, Dirk Quadflieg (University of Leipzig, Germany) 2. Preface: Hegel and the Ethical Parallax, Slavoj Žižek Introduction Part 1: Parallax in Ontology 1. Spanning philosophy, parallax is then a rich and fruitful concept that can illuminate the studies of those working in epistemology, ontology, German Idealism, political philosophy and critical theory. With articles written by internationally renowned philosophers such as Frank Ruda, Graham Harman, Paul Livingston and Zizek himself, this book shows how modes of parallax remain in numerous modern theoretical disciplines, such as the Marxian parallax in the critique of political economy and politics and the Hegelian parallax in the concept of the work of art, while also being important to debates surrounding speculative realism and dialectical materialism. Building upon Slavoj Žižek's The Parallax View, this volume shows how parallax is used as a figure of thought that proves how the incompatibility between the physical and the theoretical touches not only upon the ontological, but also politics and aesthetics. Once fall comes I’ll should have better content, till then.Parallax, or the change in the position of an object viewed along two different lines of sight and more precisely, the assumption that this adjustment is not only due to a change of focus, but a change in that object's ontological status has been a key philosophical concept throughout history. I literally have 6 weddings in 15 days and a ton of edits for model shoots that are due. These next 2 and a half weeks are my busiest of the year. I wish I could post more but I’m literally drowning in work right now. Normally you follow where the hair parts and that is the persons good side, but Liz is very symmetrical so it didn’t matter. Liz’s hair is split in the middle so either side will work, and I wanted to see what the other side would look like. Liz changed outfits but I didn’t mess with the lighting too much, all I did was move the beauty dish from camera left to camera right. in any case the extra 1/3 stop exposure isn’t doing much.
I probably just hit the control dial early in the shoot and not noticed. It’s not a conscious decision, I just noticed now while looking at the exif data. I have no idea why I was on 7.1 I usually shoot f/8.
#PARALLAX FITNESS ISO#
I’m shooting at f/7.1 ISO 100 and 1/125 shutter. However, I wanted to go with something different and not blow out all the tones so set the 2 strobes about 1/2 stop higher than the dish. For the rim lights I’m using gridded softboxes, normally the power would be 1-2 stops above the keylight, in my case the beauty dish. Part two here: Fitness Photo Shoot Part 2įor the hoodie shot I put the dish camera left just above Liz’s head, you can see exact position by looking at the catch lights. We ended up doing two separate shoots about a month apart, one in studio and one on location in a gym that will be part two.
#PARALLAX FITNESS SERIES#
We’d been planning the shoot for a while and timed it to happen just after the nationals.Īnyway, this is part 1 of 2 tutorial series on fitness lighting. So a few weeks ago I got to do a photo shoot wit bikini competitor Liz HwangBo.
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