Tips for Multifocal Contact Lens Patients: Seeing Well At Near into Your 40’s & Beyond

Hi everyone! I’ve been practicing optometry for almost 25 years, where there have been tremendous advances in technology with multifocal contact lenses. At
Professional Vision Timonium & Carney, we’ve had a lot of success in fitting multifocal contact lenses. There are many reasons for this, which include improved mutifocal contact lens technology, along with much more comfortable multifocal contact lens options. At our practice, I’ll explain to patients that we can really shine & help them when they start to have challenges at near, as they get into their 40’s. Another reason for our success with multifocal contact lens patients, is that we try to “hold patients hands” through the process, while going over what to expect when being fit for multifocal contact lenses. Just about all of these patients want 2 things: 1. To be able to see at distance and near without glasses for most things. 2. Wearing contact lenses that are comfortable. Below, I’ve listed some important points that we will discuss with patients that are being evaluated for multifocal contact lenses.

1. There’s nothing perfect about multifocal contact lenses: People expecting perfection, will likely be disappointed. If someone’s desire to see at distance & near without glasses for most tasks, then multifocal contacts may be for you.
2. It tends to be a process when fitting multifocal contact lenses: We’ll explain to patients that, with mulifocal contact lenses, the fitting tends to be a process, where we have a starting point, and then try to fine tune from there.
3. When you 1st put the lenses in, try not to over-analyze the vision right away, as it takes time for the lenses to settle, and for your eyes and brain to adapt: We’ll explain, that when first trying the initial multifocal contacts, the less you think about them the better.
4. For near tasks, generally try not to hold things to close. (Like your phone)

There’s a lot more to it than what’s listed below, but I thought this would be a good glance to get an idea of what to expect. Thanks & have a great day!

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Visuals/Lights/Music: 10 Questions w/ Pigeons Playing Ping Pong’s Lighting Designer, Manny Newman

mannyjaJordan August Photography

I had the honor of sitting down with Pigeons Playing Ping Pong’s Lighting Designer, Manny Newman, on Thanksgiving weekend. The “high-energy psychedelic funk” band from Baltimore has soared to new heights, selling out shows coast to coast at ~1,000-2,000 capacity venues. They’re getting excellent slots at major festivals like Bonnaroo, Peach, & Lockn, in addition to gigs at legendary venues like Red Rocks. Over the years, I’ve developed great friendships with the guys, which is extra special, being that they’re also my favorite band! I even wrote an article on them back in 2015, which also addresses their visuals during a live performance. (Visual Tips for Aspiring Musicians.) Most of us die hard Flock fans (Pigeons Playing Ping Pong’s Facebook Group Fan page) know that 2019 will be HUGE for them! Lighting Designer Manny Newman has been an integral part of Pigeons Playing Ping Pong since 2015. Anyone that’s ever been to a Pigeons show, knows how much Manny CRUSHES it on lights!!! Manny opens up on his experiences and influences as a lighting designer for one of the hottest bands out there! We love you Manny! Enjoy! Dr. Rich Barnstein Professional Vision

1. Where are you from? Staten Island, NY

2. Who are your favorite music influences? Definitely Phish! Phish is the 1st band that got me into the jam scene. They showed me what a live show’s really all about. So Phish is definitely my biggest one. The next one would probably be Rush. I love Rush. Progressive rock, & the canadian holy Trinity! They can make a lot of noise for 3 people, and obviously time signatures on Neal Pert are really badass. So, yes…Phish & Rush were definitely big when I was growing up.

3. How did you get started in Lighting Design? Originally I was working at the place B&H in the city. I was working in the Pro Audio department, selling recording equipment, and I decided to open up my own recording studio in Queens…and I found out a few months later that market was pretty flooded. That anyone with an audio interface could open up a recording studio. So I wasn’t getting too many clients. That year that I opened up the studio, I was going to see a lot of Phish shows, which was 2010-11. Phish inspired me to buy some lights and see what the lighting world was all about. I would say 2011 MSG New Year’s was the time where I pointed to Chris Kuroda, and was like, “I want that guy’s job!” I kind of went head first into the world of lighting design where eventually I ended up getting more phone calls for lights than I did for sound. So I sold my recording studio in Queens, and went all in for lighting. Then, my first festival I had to work, I actually had to pay to work. It was a festival at a hotel in upstate New York, and I was getting paid like 80 bucks to work the smallest stage. They were charging artists a discounted price on the hotel rooms, which wounded up costing like $160 which was more than I made to work the festival. But at that festival, I got scouted by my friend Evan Antel, who got me a bunch more festival gigs that summer. Basically I was the lighting guy in all of the east coast for all of the festivals pretty much, in the small jam scene world…and then that’s where I met Pigeons Playing Ping Pong.
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4. How did you cross paths with Pigeons Playing Ping Pong? The first festival I met them at was I think Wormtown or Strangecreek..one of those, because it’s the same location & hard to tell which one it was. They were doing a late night set and their previous LD Aaron Kovelman AKA Ronny RedRocks, came in with this console, and he was programming while I was running another show, & I was worried that he was going to get all of his work done on time, but he got it done, the show went, & I was like “Wow” he really knows how to run a show…and I went over to him after the show, & I was like “Wow you really know your shit! I’ve seen a lot of LDs and there’s not too many that actually get it” and he was definitely one that got it. And I was like “Yeah we should definitely be in touch” and we basically kept in touch…and I was seeing Pigeons shows anytime they were playing locally, like Brooklyn Bowl, or Garcia’s, which is part of the Capitol Theater. Then eventually, Ronny got the phone call to do Tritonal, & Cash Cash, & The Chainsmokers, and he asked me if I wanted to do Pigeons, and of course I was like “Yeah!” I love their shit & I would be honored. At that time I was also out of a job, because I was working with this band previously called FiKus. They’re from Nayack New Jersey, and they put out an album, and as soon as they put out the album they decided to part ways. So I was pretty much out of a job. Also I was working with Electron, but that was only part time so it was only like a couple of gigs here and there. It wasn’t filling up my space. Summer was the time I’d make the most money because of freelance festival gigs. So when I got the phone call to do Pigeons I was really excited. I was like this was going to take up all of my time and I actually believe that these guys can take it all the way, so I invested my full time in them.
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5. Who are your biggest lighting designer influences? ​Number one..Chris Kuroda..the wizard…jedi…he’s my biggest influence. A Phish show in 2011 MSG…was the 1st time I had a different view on the whole way of operating lights. I became more present in understanding actually what he’s doing and why he’s doing it as opposed to just flash and trash and just “oh things go wide and things go big and things change colors.” I actually understood why he’s doing it. So Chris Kuroda is definitely someone I study. I watch so many videos. In 2011 through 2012 I was studying all of those videos from that tour. So he’s actually a huge influence on my work. Number 2 probably Jefferson Waful with Umphrey’s McGee. His color theory is just on point. His execution…very precise, and he’s someone that knows how to hold back for a 2nd set and that taught me to not just blow your load on the 1st set, and like “here’s all of your tricks.” Save it for the 2nd set, because that’s when things get weird, and you gotta keep the show interesting. That evolution of the show, Jefferson taught me, just by watching his shows. Number 3 I would go with Saxton Waller who used to do lights for STS9. His programming was so clean. His operating was top notch. I wish he was still with STS9 because he hit a really nice peak, and kind of went off after that to do his own thing. Then I would say number 4 would probably be Candace Brightman of the Grateful Dead, which I only saw her work with the Fare Thee Well. Which was when Trey played with the Grateful Dead, which was awesome for me. I was like 10 feet in front of Trey every night, which was an awesome experience. She showed me the way to be a little more delicate with the way you run your show. It’s not just pop-pop. Try to get transitions. Also the same idea with evolution, where it leads into the set to get a little more intense. Luke Stratton of Dopapod…he was a pioneer in the midi lighting world. I remember seeing him at my 1st Catskill Chill. He was by front of house, and he had all of his APC setups, and I go over to him, and I’m like, “Are you using Ableton behind here?” And he’s like, “No.” And I just think for a second, & I’m like, “What is he doing? What could he possibly be doing?” and I’m like “Lights?” And he’s like, “Yeah!” and that kind of blew my mind. I’d never seen anyone operate lights, with midi controllers. It proved the concept of where you could actually afford to be a lighting designer without having to buy a $60,000 console, which was my biggest deal. I can’t afford a $60,000 console. Most people can’t. So, to find out that you could actually just buy the node, and then connect your midi controllers to a laptop…a little programming…you have the power of a $60,000 console. That opened the whole world for me, so Luke Stratton is a pioneer in that sense, and he is also my teacher for grand MA. I took 2 days of lessons at Eli Winderman’s parent’s house, and he taught me grand MA in 2 days. He’s a fantastic teacher. His lighting design work plays a huge part in the way I operate. All of those lighting designers, are a culmination of what I do right now. I try to take what I like from everyone, and that’s a Pigeons light show. (laughs)
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6. How do you approach each show strategically? (Some of the basics between venues, themes, & festivals) When we’re on tour, our light rig is broken up into 3 possible packages, depending on all of the lights and the structures we have. Called the “A”,”B” & “C” package. “C” being the smallest, “B” being medium, and “A” being the full large one where we have the space. Every venue we go to, as soon as we get there, we take a look at the ceiling height / the clearance…if we could fly a truss or do we need to stack things on the ground? So as soon as we get there, we know whether we need to do the “C”, “B”, or “A” package. “A” package is obviously the best package we could possibly do, and it’s always a treat to do it, but the C package is also a very powerful package. We have our spots, washes, and strobes. It’s pretty much what you need to run a show. With festivals, it’s a little different, because we don’t always have the time to set up light rigs. Sometimes we do, but the times we don’t, what they do is send us a light plot, which is what they’re going to have at the festival. I get this light plot, and usually a week before the festival, I go in my little programming room, and I build the stage in 3D…and I program and clone the Pigeons light show to the fixtures that the festival is going to have, and try to make it look as much as the current programming as possible. When I do it in 3D it usually takes about a day or 2 to get it really nice and tight. Then when I go to the festival and plug in my console, it takes a little updating here and there, and everything is pretty much up to looking good and I’m happy with it…most of the time. (laughs) I would say 98% of the time it works all the time. (laughs) Which doesn’t make any sense. So that’s how we build our rigs at festivals.
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7. Flock fans consider you to be one of the band. Did you ever envision Pigeons to be where they’re at, where they’ve come from, and to where many of us think they’re going? Yeah definitely! I think I came to a realization where this could be the future and the next generation of jam bands. I remember when one of my friends, Asaf Weiss, came over to me, where he was big into Phish at the time, and he was like, “Dude! You gotta see Pigeons!” and he had that face, the UFO meme guy, where it’s just like “UFO’s…Pigeons!” and I was like, “Okay, you seem like you’re tripping right now.” and he was completely sober…and something struck me as like maybe I should really go delve deeper into this band and see what they’re about. So when I started seeing shows I was like, “Okay! This is a lot of fun!” and I remember this one moment at the Chameleon Club when I was working with them. I had this flashback where it was this same feeling as when I was at a Phish show, and I was like, “Oh wow! I haven’t felt that in a while!” And that kind of also was like, “Okay this could be it! We have something here!” I know everyone has really good chemistry, and we have a really well oiled machine. So I definitely thought and believed that they could take it all the way. I had that vision, and that’s why I took the job, because I felt that they could do it. I don’t like to take jobs from bands that sound generic where they don’t have their own sound necessarily which okay sounds a little bad that I’m not going to be taking jobs for every band, but I really have to believe in what they’re doing. And the music that they’re putting out there instead of generic stuff, they have to have an original sound…2 guitars no keys..it’s unique. I remember when we did the Dead Phish set at Domefest, we played “Slave to the Traffic Light”, and there’s this one piano part that Page usually plays, and I’m wondering, “who’s gonna do this?” and Greg puts on his Flanger pedal, and just plays Page’s part perfectly, and I’m like, “Ahhh that’s how he does it!” They know how to adapt, and make it sound like Pigeons, because of that. That’s what give it their sounds. I love how unique they are, and the music they put out there. I definitely think they can that they can take it all the way, and that’s why I’m working with them. Rich: “Nice! We (The Flock) feel the same way!”
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8. And speaking of the Flock, did you ever think you would be part of a band with such loyal, obsessed passionate fans? Over 17,000 (*as of 11/23/18) on the Flock Facebook fan page and rising! No, I didn’t. I remember when I first joined Facebook in high school, groups weren’t big. (Laughs) Nobody cared about groups. Okay, you’re in a group for some funny memes every so often, and even when I joined the band, I was like, “What is this Flock thing? What’s this gonna be? Just people like saying dumb things?” and little did I know that it was going to turn into something more than that, a community. They developed a very loving community, that is just amazing, to see grow. I remember when there wasn’t that many fans of the Flock, and now I think there at 17,000 or something? A lot of active members, and it’s just beautiful to see the love out there that fans can provide to each other and the band. It’s really good to see that it grew to what it is, because I did not think (Facebook) Groups were a thing til I saw the Flock!
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9. As a Lighting Designer, what are some of your goals, tour to tour, year to year, with Pigeons? I’m gonna basically say that, Chris Kuroda had this interview. I listen to all of his interviews, and the biggest thing with the band is evolution, and I also feel the same way. I want the band to evolve musically obviously, and production. I don’t wanna gung ho it, where I’m gonna go like the best lights and the best everything I can right away, because if you do like the best all the way and give it all you got, you don’t leave room for improvement. Obviously you could improve from where you are, but you gotta leave that space you know how to spread out throughout the years, so you can see the evolution. I always try to, every couple seasons, make the rig a little better, a little more programming, and switch my operating, to where it becomes interesting to me, because I’ve been to the most Pigeons shows ever. The show has to be interesting to me. I always strive to entertain myself, which is probably the hardest thing, because I see the same thing all the time. Although no show is the same. I don’t have one song pre-programmed. There’s no play button on anything. I play everything. So if you see a mistake, it’s because it’s live. (laughs) But I tend to do a lot of the same things for certain parts of the music, but every so often I just feel like, “You know what? I’m going to try something different” to push this evolution, that I really believe in, and to make a different flow happen. Every so often I always draw out some designs and see what the future light rigs could possibly look like. We have a couple in the bag. I have a couple of ideas for future rigs. “A” packages, and I’m excited to bust them out eventually.
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10. From a visual lighting designer perspective in connecting with live music, what’s your advice to other bands and artists trying to make it in the live music scene? I would say you have to really want it, and you have to keep working, because as soon as you feel comfortable, that’s when I think you fail, honestly. You really have to always be hungry. Sometimes you gotta hustle, but usually if you have talent, people will notice. So, keep working, and always learn…constant education…never feel like you know everything…never plateau…leave room for evolution….to keep doing you…you do you! (Laughs) Rich: Thank you!
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Happy Holidays from the Professional Vision Timonium & Carney Team!

IMG_9058Photo by Craig Weiman

Our team at Professional Vision Timonium & Carney would like to wish you happy holidays and new year!

Professional Vision Timonium & Carney:

-Boutique Designer Eyewear
-Superior Family Eyecare
-In a Personable Environment
-With Better Lens Technology by ZEISS

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Photos: Dead Phish Allman Bros Tribute for the Foundation Fighting Blindness at the 8×10!

thumbnail_IMG_1827Photo by Jordan August Photography

Hello everyone! Our 2nd benefit concert is in the books, where we had a tremendous night at the “Dead Phish Allman Bros Tribute for the the Foundation Fighting Blindness!” I had the honor of organizing this event that took place on Saturday November 10th. What I learned as much as anything, is that the team of people involved was the key to making this such a special night! At the end of this, I once again list some of the people that we give thanks to for making this happen. As many of you know, I’ve always been passionate about live music. Over the course of my 24 years of service in eyecare, one of my dreams was to organize a benefit concert for a great cause within the field. We wound up raising almost $3,800 for the Foundation Fighting Blindness, breaking last year’s total of ~$3,000! The Dirty Grass Players started off the evening with a fantastic Grateful Dead / Allman Bros themed set! Then Phoam – A Tribute to Phish followed with a spectacular Phish set! We had the one and only Jack Thomas on lights for the 2nd year in a row! The Foundation Fighting Blindness’s national headquarters is based in Columbia Maryland. They were founded in 1971, with a mission to drive research providing preventions, treatments & cures for people affected by blinding retinal diseases. If you did or didn’t make this event, but want to support a great cause, please click here on our Professional Vision Timonium & Carney team donation page www.fightblindness.org/ProfessionalVisionTeam to contribute to the Foundation Fighting Blindness. We’d like to give a big thanks to: The 8×10, Phoam – A Tribute to Phish, the Dirty Grass Players, Missiontix, Depth Perception, Brad & Tricia Selko & Hot August Music Festival, Bausch & Lomb, ZEISS, WTMD, Maui Jim, Ed Early Printing, Kenny Liner & Believe in Music, Chip Watkins, Dave Rather & Mother’s Grille, Matsuri Restaurant, ABB Optical Group, Ben Greenwald, Dr. Sonny Goel & Lasikplus, Katzen Eye Group, Select Eye Care, National Retina Institute, Heller Kowitz Insurance Advisors, Maryland Optometric Association, Anne Arundel County Optometric Society, Specialized Eye Care, MacQuaid Eye Institute, Jellyfish/Digital Global Marketing Agency, Stuart Dahne, Chris Gamber, Jordan August, & Fairgrounds Discount Beverages! Dr. Rich Barnstein

**CLICK HERE FOR MORE PIX**

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Barnsteinsbenefit11102018 3Above: Photo by Chris Gamber Photography
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Dead Phish Allman Bros Tribute for the Foundation Fighting Blindness Sat Nov 10th at the 8×10 in Baltimore!

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Hello everyone! As many of you know, I’ve always been passionate about live music. Over the course of my 24 years of service in eyecare, one of my dreams was to organize a benefit concert for a great cause within the field. I’m very excited to announce that we’re having our second annual benefit concert! The “Dead Phish Allman Bros Tribute for the Foundation Fighting Blindness” kicks off on Sat Nov 10th at the 8×10 in Baltimore! Phoam – A Tribute to Phish (Jon Wood, Jon Brady, Paul Weinberg, & Ryan Porter) will play a Phish set from ~10:30-12:30. The Dirty Grass Players will perform a Grateful Dead / Allman Bros themed set from ~8-10pm! *Chance to Win a Free Pair of Non-Prescription Maui Jim Sunglasses When Ordering Tickets Ahead Online Through Missiontix.com! Winner Gets to Choose the Style!” Click here for tix while supplies last! **LAST YEAR’S EVENT SOLD OUT AHEAD!** The Foundation Fighting Blindness’s national headquarters is based in Columbia Maryland. They were founded in 1971, with a mission to drive research providing preventions, treatments & cures for people affected by blinding retinal diseases. If you can’t make the event, but want to support a great cause, please click here on our Professional Vision Timonium & Carney team donation page www.fightblindness.org/ProfessionalVisionTeam to contribute to the Foundation Fighting Blindness. We’d like to give a big thanks to: The 8×10, Phoam- A Tribute to Phish, The Dirty Grass Players, Missiontix, Depth Perception, Brad & Tricia Selko & Hot August Music Festival, Bausch & Lomb, WTMD, Ed Early Printing, Kenny Liner & Believe in Music, Chip Watkins, ZEISS, Dave Rather & Mother’s Grille, Matsuri Restaurant, ABB Optical Group, Ben Greenwald, Dr. Sonny Goel & Lasikplus, Heller Kowitz Insurance Advisors, Katzen Eye Group, Select Eye Care, Maryland Optometric Association, Anne Arundel County Optometric Society, Specialized Eye Care, MacQuaid Eye Institute, Jellyfish/Digital Global Marketing Agency, Charm City Bluegrass Festival, & Fairgrounds Discount Beverages! Dr. Rich Barnstein

CLICK HERE FOR PIX FROM LAST YEAR’S SOLD OUT EVENT!
Below: The Dirty Grass Players Perform “Blue Sky”

Photos by Willy Palmer, Shantel Breen, & Eye of the Storm Photography
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Below: The Dirty Grass Players: Photo by Willy Palmer
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Photos of the Professional Vision ZEISS Stage & More at Hot August Music Festival 2018!

Untitled design (10)(Above: The Revivalist’s David Shaw)

Hi everyone! We had a great day at Hot August Music Festival 2018 presented by Stages Music Arts! We’d once again like to thank Better Vision With ZEISS for sponsoring the Professional Vision Stage! Check out some amazing photos from the event! Enjoy!

Click here to view photos of the Professional Vision ZEISS Stage at Hot August Music Festival!

(Below: View of from the main stage during the Revivalist’s set)
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(Below: The Dirty Grass Players! Who also play our benefit concert on Nov 10th! Photo by Willy Palmer)
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(Below: Psycho Killers (Talking Heads Tribute) on the Professional Vision ZEISS Stage)
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(Below: Dr. Rich Barnstein Introducing Psycho Killers (Talking Heads Tribute) Photo by These Subtle Sounds)
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(Below: View of the Main Stage: Eye of the Storm Photo)
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Vinylize Eyewear, ZEISS, & Pigeons Playing Ping Pong’s Alex “Gator” Petropulos!

Below: Photo by Craig Weiman
_CWP5489-EditABOVE: Pigeons Playing Ping Pong’s Alex Petropulos, w/ Dr. Richard Barnstein (Proud member of the Flock!)

Hello everyone! Those who know me are well aware of how much I love Baltimore’s own funk masters, Pigeons Playing Ping Pong! (Check out my article from a few years ago: “Visual Tips for Aspiring Musicians“) They’re currently selling out ~1,000-1,500 capacity venues coast to coast, where it looks like they’re just getting started in terms of really turning people onto their music! They have a beast of a drummer in Alex “Gator” Petropulos! He also couldn’t be a nicer guy! At Professional Vision, we carry Vinylize eyewear, which is hand crafted eyewear made from vinyl records. (We’re currently the only optical in Maryland who carries them.) “Flock” fans know that Alex typically wears glasses when he performs. We were excited about setting up an endorsement for Alex, with Vinylize Eyewear & better lens technology by ZEISS! Here are the full details on Alex’s new eyewear!

FRAME: Alex wears the Vinylize Harris: The new Holly. Thinner and cleaner. Riveted 5 barrel hinges on sculpted temples last forever. This ultra durable frame is prescription ready and comes with a 2 year guarantee. No two Vinylize are ever alike. Handcrafted in Budapest.
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LENS TECHNOLOGY: Alex’s lens have the ZEISS DuraVision Platinum. These lenses have a more cosmetically pleasing, blue residual reflex color that reduces reflectance by over 20% compared to conventional green AR coated lenses. A lens surface that is three times tougher than the previous generation of ZEISS AR. No other AR coating offers better scratch protection. ZEISS I.Scription Technology: A more customized Hi-Def lens that tends to be better for colors, contrast, & night vision. ZEISS Single Vision Aspheric 1.67: An extremely thin single vision lens in the range of plastic lenses available from ZEISS. It is extremely light & a very special lens in many ways.

Be sure to catch Pigeons Playing Ping Pong at a show near you! Click here for tour dates!

Alex ABOVE: Photo by Craig Weiman
IMG_5524-1-2 ABOVE: Pigeons Playing Ping Pong’s Alex Petropulos Sportin’ Vinylize Eyewear! Photo by Xigency Media

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VISIT THE PROFESSIONAL VISION ZEISS STAGE AT HOT AUGUST MUSIC FESTIVAL SAT AUG 18TH! MAP OF HOT AUGUST MUSIC FESTIVAL!

2018 map hot august
Come on out to Hot August Music Festival Saturday August 18th at Oregon Ridge Park in Cockeysville, MD! (Right up the road from our Timonium office!) This map shows set times for bands and activities! Be sure to come by and visit the Professional Vision ZEISS Stage! (See attached map for location) We’re excited about this year’s spectacular lineup! The Revivalists headline the festival! **CLICK HERE FOR TIX** The main stage also features, Trampled by Turtles, the Marcus King Band, Cris Jacobs Band, & Omari Banks. We’re honored to have Karl Denson’s Tiny Universe headlining the Professional Vision ZEISS Stage! (Playing from 6:30-8pm) Our stage also features Psycho Killers (Talking Heads Tribute), Whiskey Shivers, & the Dirty Grass Players! The 3rd stage is devoted to the blues, with Nikki Hill, Selwyn Birchwood, & Hall Willams Band.

**Big thanks to ZEISS for being a part of this event! Have a great day!

Below: The Professional Vision ZEISS Stage: Photo by Marc Shapiro Media
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Details on Hot August Music Festival 2018 & the Professional Vision ZEISS Stage!

26850573_10156253146214293_5418004800627569544_oLive music fans are raving about this year’s lineup at Hot August Music Festival! This year’s headliner, The Revivalists, were recently nominated for “Best Rock Song” at the Billboard Music Awards. 22 year old Marcus King, is featured on the cover of this week’s Guitar World Magazine. After a 2 year hiatus, bluegrass indie folk artists, Trampled by Turtles, have come back on tour with a vengeance, selling out venues coast to coast. Hometown hero Cris Jacobs has graced the stage with music legends, Willie Nelson, Phil Lesh, & Steve Winwood. On Saturday August 18th, over 5,000 music lovers are expected to come out to Hot August Music Festival at Oregon Ridge Park in Cockeysville, Maryland. We’re honored to have Karl Denson’s Tiny Universe headlining the Professional Vision ZEISS Stage! Joining them are Pyscho Killers (Talking Heads Tribute), Whiskey Shivers, & the Dirty Grass Players. The 3rd stage is devoted to blues, & includes: Nikki Hill, Selwyn Birchhill, & Hall Williams. Click here for tix while supplies last! Sat Aug 18th Cockeysville, MD: Presented by Stages Music Arts: w/ The Revivalists, Trampled by Turtles, Karl Denson’s Tiny Universe, The Marcus King Band, Cris Jacobs Band, Psycho Killers (Talking Heads Tribute), Whiskey Shivers, Nikki Hill, The Dirty Grass Players, Omari Banks, Selwyn Birchwood, Hall Willams Band.

**Big thanks to ZEISS for being a part of this event!
**Be sure to stop by the Professional Vision ZEISS Stage! Have a great day!

BELOW: The Main Stage: Photo by Mark Shapiro Media
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BELOW: The Professional Vision ZEISS Stage: Photo by Mark Shapiro Media
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BELOW: Dr. Rich Barnstein: Photo by Mark Raker Photography
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New Release! Blue & Grey-Green Self Tinting Lenses! PhotoFusion by ZEISS! At Professional Vision Timonium & Carney!

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We’re excited to announce that Professional Vision Timonium & Carney is one of the first in Baltimore to offer PhotoFusion by ZEISS in Blue, Grey-Green (Pioneer), & Extra Grey! PhotoFusion by ZEISS is a self-tinting lens that darkens, & reacts fast to changing light. They’re also available in grey and brown, and turn clear faster.

Below: Dr. Barnstein with Blue PhotoFusion by ZEISS
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From ZEISS regarding the Benefits of Photofusion:

Durability
ZEISS PhotoFusion lenses retain their performance – for long-lasting satisfaction.
• Retention of strong self-tinting performance

Colour consistency
ZEISS PhotoFusion lenses demonstrate excellent colour consistency – for natural sight.
• They ensure an attractive appearance when going outside from indoors or vice versa

UV Protection
ZEISS PhotoFusion lenses provide full UV protection when exposed to UV.
• Full UV protection against solar UV rays up to 400nm when exposed to UV

Blue Light Protection
• Blocking at least 20% (31% for Extra Grey) of the potentially harmful blue light indoors, which is more than 2 times more than standard clear lenses, and they block close to 90%3 outdoors”

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New Release! First to Offer Sunglass Level UV Protection in a Clear Lens! ZEISS UVProtect! At Professional Vision Timonium & Carney!

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We’re excited to announce that Professional Vision Timonium & Carney is one of the first in Baltimore to offer ZEISS UVProtect: Sunglass Level UV Protection in a Clear Lens! This is the first of it’s kind, only available by ZEISS better lens technology. We will have this with all of our lenses made by ZEISS.

From ZEISS: “Today, we are elevating the standard of care by offering sunglass-level UV protection in all clear ZEISS lenses. That’s full UV protection up to 400nm, the level recommended by the World Health Organization (WHO) and provided in premium sunglasses. All clear ZEISS lenses now provide full protection against UV rays up to 400nm, going well beyond the current industry standard of 380nm. And while the “gap” between 380 and 400 nanometers may not sound like much, it does in fact account for 40% of total solar UV radiation that reaches our eyes and eyelids.”

Professional Vision Timonium & Carney
-Boutique Designer Eyewear
-Superior Family Eyecare
-In a Personable Environment
-With Better Lens Technology by ZEISS

Below: To the Left: Photograph taken with a normal camera. To the Right: Photograph taken with a UV camera, showing skin damage due to UV Exposure
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