A Strange Course of Photography

What do we mean when we say we have made an experience?
How to photograph and photo-retouching of food images to follow the rules of its archetypes.
The experiences in my life I have always held for me jealously. It was a bit ‘my system to make a barrier between me and the other because there is always someone who wants to be your own business and to tell everything they have heard from you, so my experiences were as a result, it became insignificant. So I learned to lie about what I was doing it my mood about all my experience. In fact, it is very hard to describe their own experience and make it clear to your listeners exactly as you saw you because it is something that touches some of our internal emotional strings. Ropes that are unique in all of us. An experience to remember because it is accompanied it our emotions experienced at the very moment in which we have had that experience. And tell our experienced it downgrades to a simple image that others have of you. But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc… But you can do an analysis of what and experience to understand how it binds to our ability to live, to love, to communicate and to understand things. You always have to start from knowing what you want to understand, know what they do not teach in school not because it does not exist as knowledge, but it seems that it is not important to know what we should know all, for example on key natural laws of our universe, on his geometry, on his lack of perfect symmetry, the symbology on the archetypes, what makes us sensitive and allows us to understand things, etc. etc…We must always start from the origin of what you want to understand and then try to necessarily start from the archetypes of all things. What is an archetype? Basically, it’s the idea of something. It still has a meaning, not yet, but it has the idea of how to that particular thing. All we know of this universe we live in is recorded in our mind in the form of an idea how to be everything and these primordial ideas we have just called archetypes (a definition that is found abundantly on the Internet and on any dictionary). To explain their meaning and to understand why is there all this talk with photography I can give an example. We can use the food. What are the ideas of edible food, qualitatively good and palatable? To put it directly, we see what are the archetypes regarding food photography.Well, first of all, I must be very saturated. Any other non-vivid colour would correspond to the exact opposite of what constitutes an idea of palatable food. Then it must have a lot of glitter on the surface, because this means that the food was freshly cooked and then, in addition to having the right degree of humidity, especially fresh. And finally the last archetype concerning the palatable food: is very good light to pass through the mid-tones. What does it mean? It means that if the light passes through the mid-tones (light has a spectrum, a range of frequencies, the mids are simply the frequencies that are in the middle), the food is soft, it is still young. But what exactly determines that it is a qualitatively good food to eat? And ‘where the light passes through the mids that the colours become even more saturated. As the light cannot make it cross the colours are switched off or become much less saturated. If you want proof, take a slice of butter and look at it through the light of a bulb. Or a hand, a part of your body. The saturated colour of our archetypes is the life, is all that is natural is healthy.Anyone who faces food photography or photo-retouching of food unless it takes into account these simple archetypes does a poor job. You might even talk of meanings in photography because in this case, we would not have exceeded even the basics that are accessed by the inexperienced.There is another aspect to consider. A photograph is processed using the RGB colour space that has the quality to contain many more variations for each colour of the CMYK colour space instead is used for printing. In practice, it means that the RGB picture can contain very highly saturated colours even fluorescent colours. Be careful because once you convert photos to print, fluorescent colours disappear and then the food to our eyes, instead of switching on freshness archetypes, we turn on the stale food archetypes.Infinitely complex or evolved?- Digital photographyI would like at this point to clarify the difference between complex and evolved. In the chapter on I introduced the archetypes but even if I went in that direction I would complicate my story.I would immediately arrive to discover that photography is geometry, a geometry that embodies archetypal meanings, symbolic, conceptual and especially emotional, but I risk to get into complicated for me as I already wrote it. But what I want to realize with these items, it is a constructive talk, always in that direction, but always constructive and without complications within the theme doing photography.As an example of complication or evolution can be used in the advent of digital photography. Do you think the fact that the art of photography has gone digital is a complication or an evolution? The same comparison you could also do to the human race when you look at the West compared to African countries.The photographic art actually always respects the same rules, a photographer artist never based his art on the knowledge of the computer or camera, but his art he uses the moment they look into the camera viewfinder and shoot! This is its art, namely being able to take at the moment, in the position and perfect brightness. So the evolution of photography in the digital is not an evolution in photography, but a complication because all the photographers have had to learn new technologies. If anything, one can speak of an evolution of the cameras. Nor does the fact that today’s cameras can take thousands of times instead of one is an evolution because the real artist photographer knows when to shoot and do it once. All other digital shots, they go down the drain.The art has remained so since she was born, are the techniques, it is technology that has evolved. As evidence of this, I resurrected an old problem that had been at the beginning of the digital age.For any analogue photographer was a humiliating moment the digital switchover. Once, before the digital, development occurred through chemicals and various processes on an exposed film from the light, that was, in the sense if they could not change a single part in the colours created by the original light. It was completely altered with the products. Today the same photographers who initially developed the colors or black and white in the darkroom, some of them not all, claimed that the computer does not use it and do not even want to learn to use it because at this point the people in front of a beautiful photography would have said that was also photo-retouched. Today I think we are all adapted to computer use, it can not do without if only for the size of the files, but at the beginning of the digital era as well. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. That is their fear that it could be diminished the photographer’s art urged them not to learn the use. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. Today the files of the images come from the camera just as numeric values, then the computer with a mathematical calculation turns them into as many numbers that the computer reads them this time as three light channels. Red, green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from the analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong. green and blue. And this product at this point can be called the true original photograph, similar to the one that came out on film from analogue camera. So there is a process that does the calculation computer to translate the sequence numbers (8, 16 or 36 bit), in bright channels and anything that can be done after this time with a computer becomes photo-retouching. But there is nothing more wrong.E ‘can still perform a development of the photo without changing the numerical values of the same, that is, without performing editing. E ‘possible with a Photoshop technique to perform a second development changing what has been achieved in the first. This is not photo-retouching because they are not altered the colour information contained in the three channels. A real shame because maintaining this confusion, that is not addressing this complication at the time, has only contributed to downgrade the category. This method I learned from the man who is internationally regarded as the father of colour correction, Dan Margulis. Dan Margulis has always used Photoshop and knows every secret…Of consciousness and colours GeometryBut what it does that have to do the technology (and science) with human consciousness and (therefore spirituality)? What has to do primarily a photography course with human consciousness? When we hear that word, they were taught to think of religion to Catholicism if we are Italian, which means being bigots and even a little ‘annoying, because if we are, we are also moralists in the sense that we preach well but we scratch about very bad and there have inculcated that speak of consciousness is a big waste of time as well as much of a hassle. It is not marketing, it’s not something you eat, is not money, and above all is not science, and therefore, what is the use?I disapprove totally.As I mentioned earlier, we live with no one teaches us that between religion, or spirituality (I prefer the latter term because with religion we enter more specifically and complicated) and science there is a deep bond. Deepening these arguments one can not see a relationship difficult to ignore. I began to introduce the archetypes, talking about food, but I’ve only talked about archetypes thousandth class. The basic archetypes are little more than twenty, beginning with those who speak the sacred geometry of our universe. Leonardo certainly knew them as the Golden Spiral, the Vitruvian Man, he drew them precisely describing our geometry. A unique geometry throughout the universe. The number Phi, the Vitruvian Man, the Golden Spiral, the Mandala, the Fibonacci sequence, the Mandelbrot set and consequently the fractals, the Julia sets that show us how the Golden Spiral can draw all things in the world we know, everything coincides and describes only one geometry, our. Among all these archetypes, which basically are few, there is the first that could be precisely the idea of ​​geometric existence (because geometrical described by geometric archetypes) of our consciousness. After Consciousness is energy, modern scientists say it also, and it is energy occupies a space that must necessarily have a geometry. I say that could be the description of what in essence is consciousness because no one has ever tried this, but I would get with simple observations. Only Dr Malanga to my knowledge, scientist and chemist and physicist genius, I met many years ago during a conference on the Super Spin, went on to explain consciousness through the archetypes. I will not pretend to do the same thing now I mean, I would not have either the skills. It ‘a process that may be able to make a longer because of very complicated time. So instead of wallow in an attempt to show that the face of consciousness than simply Matches between archetypes, I step back and I look again all over again trying not to stare any complexity.You could also consider the quantum physics that states that only by taking into account the existence of the observer consciousness, you can explain certain laboratory experiments. But in addition to being very complicated, I find it rather boring and I do not have a laboratory capable of using photons for today.Instead, we offer our observation skills that not even centuries of Inquisition and other wars of all kinds have been able to take off. Our common sense and Treccani says common sense (or bonsènso; most com. COMMON SENSE) sm [expression cast fr. bon sens]. – natural Capacity, instinctive, judging uprightly, especially in view of practical needs. Now tell me if our common sense, it should not be an option for anyone, it is not really our conscience?The word consciousness, according to Jung, accurately defines what remains as a result of having had a positive and constructive experience. Any experience long as it is positive. There are many dictionaries from which I extract this meaning, but Jung, who knew something about the human psyche, defined the word conscience in this way. Technically it is what allows us to be different from others because everyone does their own experiences. What makes us different from the others that are in the first analysis, the consciousness born of the experiences we have with our parents when we are born, then the experience of the school, then for the experiences at work, with friends, with colleagues etc. etc. Where education is knowledge, and experiences are the conscience.It ‘a little’ how to join the Spirituality and Science. We are made of these two components, why this nonsense of enemy makes in our history?Yes, if we think about it, we are more aware of the areas where we have developed more experience, we are not where we have not developed, but it is also what others recognize us without this happening with a logical reasoning. We are a bit ‘as the works of art, if we are beautiful works we are nice people, if we are not it means that we have gained little conscience in our lives. It can also be inborn, of course, he inherited from the life of grandparents, great-grandparents and transferred to us as a form of memories and energy within us when we are born, but already born with two parents who know what love is, and grow with them, creates in us a certain (very specific and character) generous consciousness.It ‘s a bit like photosynthesis, if you are born when you come nourished by light, grow up healthy and strong if you get nourished by you will be able to play the same love, and you will have a strong vitality, normal, but not so much in common our society. The consciousness is the thing that distinguishes a work of art by an artisan work done as it should. What on earth will the work of art that stands out from everything else done as it should? It contains aware of the meanings that arouse in us emotions can make us feel an experience observing the work itself. The work itself will watch and we look at it through the emotions that she always did well for us. In practice an artwork contains the author’s message, contains the meanings aware that the author himself wanted to impress in his work.We all have a conscience, but we are losing the idea that consciousness is for us the most important thing in our lives. And it is true that every person, every animal, everything has its own consciousness. Although it may be little awareness of an object, as it expresses its use and that’s it, but it is always consciousness. Have you ever used a tool of another for the first time without knowing its true and proper use? beginning do not understand it, then when you see it used by the owner who has understood rather well the meaning, we understand well the meaning us. Seeing it used properly, it makes you recognize something about the object that only with our eyes do not see, of course, his conscious meaning. That is so simple and that’s all.A particular person who has made it his unique technique a real art, he always said: it is foolish not to teach because the person who comes to us the same, that we can not even if unable to explain it. What did he mean by that, he meant that those who acknowledge that manages to get close to his art learn it, those who do not have it he cannot even if he explains. It ‘very important to observe this in us when we approach to photography, in its development and in the eventual editing. One has to understand well what we are led to be able to do a job with passion, love and perhaps with a “conscience.” If we can find our passion when we work we reload, rather than if we do something we do not like, we consume.One thing that no one wants to learn, for example, in photography or in the photo processing is the use of colour spaces, ie the use of the colour geometry. But there is, it is a complication which required digital photography and does photography with a passion we have to understand what it is.This is referred to colours, colour geometry, resulting methods of viewing and printing and its translators who are the colour profiles (on this subject they have called so many that even today only a few have really understood the use of colour profiles and colour spaces using Photoshop with its render engine).

With Counterfeiting on the Rise, Brand Security Plays a Vital Role to Both Large and Small Brands

According to the Counterfeiting Intelligence Bureau of the International Chamber of Commerce®, counterfeiting is one of the fastest growing economic crimes of modern time. Once a cottage industry, counterfeiting has become a sophisticated network of organized crime, accounting for 5 to 7 percent of world trade, worth an estimated $600 billion a year.

Until relatively recently, the black and grey market economies did not pose a significant threat to brand owners. The black market operates illegally outside government-sanctioned channels with the buying and selling of goods and services, while commodities in the grey market are distributed legally, but through channels that are unauthorized by the original manufacturer-commonly referred to as diversion. Customers who would frequently shop in one of these two markets now have the ability to browse the Internet for the same products, posing an even deeper threat to a brand’s reputation and integrity, impacting the world’s biggest brands and smaller brands alike.

With the growth of global brands and the Internet, brand owners face threats from counterfeiters and brand pirates who are attempting to generate large profits by illegally producing credible look-a-like products to sell at deeply discounted prices. Brand owners are being forced to take a closer look at their supply chains and police the whereabouts and authenticity of their products at all times.

In the past, such luxury and high-end goods as designer clothes and accessories, spirits and perfumes, were most likely to be counterfeited. However, times have changed with technological advancements in digital imaging, cameras, scanners, artwork software, color and inkjet printers, aiding counterfeiters and brand pirates to generate a profit from any branded item-pharmaceuticals, electronics, software, cigarettes, hardware and food items like baby formula. Even automobile and aircraft parts are being counterfeited. It has been reported that the majority of counterfeited goods are coming from China, North Korea, Taiwan, India, Russia and parts of Africa.

Pharmaceutical counterfeiting has led to extreme outcomes, including consumer fatalities, which illustrates the importance of brand security. The Food and Drug Administration saw an 800 percent increase in the number of new pharmaceutical counterfeit cases between 2000 and 2006. According to The Lancet*, the world’s leading general medical journal, counterfeit pharmaceuticals will generate $75 billion in revenues in 2011, a 92-percent increase from 2005.

Taking a Defensive Stand
Diversion, pirating and counterfeiting not only have a negative impact on the revenues and profitability of legitimate companies, but they also impact the credibility and reputation of a brand. Counter measures against these practices must be taken throughout the supply chain-from the brand owner, supplier and distributor to the wholesaler, retailer and ultimately, the consumer.

It’s crucial that brand owners stay attuned to brand security in today’s market and become familiar with the array of available anti-counterfeiting solutions. Ignoring the importance of brand security is not an option, because once the damage is done, the cost to repair it can be far in excess of what it would have cost to prevent it from happening in the first place.

To ensure their customers only receive the highest quality and safest products, brand owners have a broad range of anti-counterfeiting solutions at their disposal to protect their brand positioning and brand promise.

It’s recommended that brand owners ask themselves the following questions before implementing a brand protection strategy:

1. What level of security-low, medium or high-do we want to build into our packaging design?
2. Do we want to check for counterfeiting at the shelf or at the warehouse? Do we want our customers to be able to check for counterfeiting at the point-of-purchase by using a visible authentication feature?
3. How much do we want to invest in brand security?
4. How are we going to ensure consistency of our brand security on a global level?

Pressure-sensitive technology is versatile. It enables intricate designs and complex die-cuts, creating labels that jump from the shelf. But even more so, the array of materials, when combined with special printing techniques, can become a metaphor for the product itself.

Layered Protection
With threats to brand security rapidly growing, the need to differentiate fake products from genuine ones is increasing, as well as the need for more advanced authentication technologies that thwart counterfeiters. However, it’s important that brand owners understand that even the most sophisticated anti-counterfeiting solutions on their own cannot prevent counterfeiting 100 percent, but can signal an alert when a threat exists and thereby encourage action to be taken.

In recent years, anti-counterfeiting measures have become increasingly complex and bolstered by the installment of different layers of security. Many of today’s technologies are used in conjunction with other security features that work in concert to heighten the overall level of protection. For example, a low-level of anti-counterfeit technology that is visible to the consumer is combined with a high-level security feature containing a covert or forensic technology. The more layers of security a brand owner applies, the more difficult it becomes for their brand to fall victim to counterfeiting, pirating or diversion.

The most common anti-counterfeiting technologies employed by brand owners include:

1. Overt technology: This level of protection is visible to the naked eye, and allows the brand to be authenticated without the need of a special inspection tool. Overt technology offers only basic protection against counterfeiting, whereby:

a. Devices can include, but are not limited to:

i. Customized security papers-watermarks, paper color or visible fibers embedded in the paper.
ii. Security threads-threads are embedded in the paper and are made of a film, making a label hard to copy.
iii. Two- or three-dimensional holograms-standard holograms are used mainly for decorative purposes, but customized holograms can be powerful tools in security applications.
iv. Tamper-evident films, paper and voids-destructible/frangible films, papers and void materials show destruction upon tampering. Void labels leave a customized “VOID” alpha numeric or geometrical-shape message on the substrate when the label is removed.

2. Covert technology: The security device is not visible to the naked eye, but can be detected by a low-cost inspection tool, such as an UV light, magnifying glass or plastic film overlay. The type of tool depends on the specific protection technology used. Covert technology is an advanced level of protection with hard-to-copy security features and some level of personalization:

a. Devices can include, but are not limited to:

i. Customized security papers-UV luminescent fibers embedded in the paper, chemical protection or verification with a special reactant pen.
ii. Non-visible security threads. Customized security threads can contain ultraviolet (UV) reflection and microprints.
iii. UV prints-various colors and designs can be printed in the laminate of a facestock or liner. Standard and customized UV prints are available.
iv. Infrared (IR) taggants-can be applied randomly in the paper, a self-adhesive laminate or in a custom spectrum that works as a unique signature. IR readers can be tailored to match the custom spectrum, giving off a signal when the right taggant percentages are detected. Uniquely encoded, IR taggants are virtually impossible to duplicate.
v. Inorganic taggants-can be added to inks, coatings, varnishes, adhesives, plastics, etc. Authenticity is confirmed using a special reader that gives off signals when a particular taggant is detected.

3. Forensic technology: These security devices are not visible to the naked eye, are hidden within the product and require laboratory analysis for authentication. Forensic technology is the highest level of protection from unique and personalized security features:

a. Devices can include, but are not limited to:

i. DNA taggants-microscopic or nano materials that are uniquely encoded for a brand. Provides a forensic chain of evidence that is trusted by police and recognized by courts globally. Large botanical DNA is acquired and then segmented, shuffled and reassembled to form a unique secure signature DNA marker that becomes patented technology. DNA taggants cannot be counterfeited, digitally copied, scanned or re-engineered.

To effectively deploy one of these technologies requires close collaboration between the brand owner and technology supplier.

Brand security is an investment that directly impacts the bottom-line for a consumer packaged goods company. It does this by protecting the brand from counterfeiting and diversion. And it also protects the brand owner from potential liabilities should a counterfeit product result in a consumer injury. Due diligence to protect your brand is a vital strategy that cannot be overlooked.

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