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Téma: Let's move!
Jak pomocí pohybu aktivovat svou mysl a tělo v průběhu pracovního dne.
Hlavním partnerem článku
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Proč nesedět jak pecka?
Tvoje mysl se vyvinula za pohybu v savaně. Tvůj mozek je pořád v běhu. Proto když se hýbeš, funguje jinak než když u práce sedíš.

«The baseline for what seems "normal" in lighting is the direction and character of natural and artificial sources and the context provided by other clues»
Steve Jobs
Apple CEO
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Proč nesedět?
Tvá nervová soustava se dělí nasympatetickou a parasympeteticko usoustavu.
Tvůj nejstartšíé mozek zná jedn dvě instiktivní reakce: Bojovat a utéct. No a všechny vstupy v nás nejprve vylovají tuto reakci.Každý email co ti přistane v tvé schránce ti alespoň nepatrně zvýší tepú (což potom takové emaily. u kterých se doslova na*ereš)

PAZnáš takový ten moment, kdy odsuneš židli od stolu s tím, že už na to kašleš? To je přesně ta reakce ktour to vyvolá - utéct. No tak od toho odejdi. Vydýchej to. Nenech na sebe valit hromadu stresoprů, pod kjejichž lavinou se zhroutíš. Prostě máš tu možnost odejít, bojovat až potom, co si v klidu rozmyšlíš. Je to jako by sis zavolal posily.


PPsychiký stress vypouštíme pohybem.
When a photographer puts the sun behind an object its role in the lighting strategy changes from modeling the front of the object to one of defining its outline and creating the impression of physical separation and 3D space a frontally illuminated scene lacks.
Steve Jobs
Apple CEO
1818 Magazine by Stephanie Toole
To differentiate that role from that of "key" modeling when a modeling source moves behind the object it is typically called a "rim" or "accent" light. In portrait lighting it also called a "hair" light because it is used to create the appearance of physical separation between the subject's head and background.
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Každodenní pohyb:
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Důslednost je víc než hrdinství
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When a photographer puts the sun behind an object its role in the lighting strategy changes from modeling the front of the object to one of defining its outline and creating the impression of physical separation and 3D space a frontally illuminated scene lacks.
Petr Růžička
Pohyb je život
A typical studio lighting configuration will consist of a fill source to control shadow tone, a single frontal key light to create the highlight modeling clues on the front of object facing the camera over the shadows the fill illuminates, one or more rim/accent lights to create separation between foreground and background, and one or more background lights to control the tone of the background and separation between it and the foreground.
There are two significant differences between natural lighting and artificial sources. One is the character of the fill and the other is more rapid fall-off in intensity. In nature skylight fill is omni-directional and usually brighter from above. That "wrap around" characteristic is difficult to duplicate with a directional artificial source.
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