There can be no question about the value of thoughtful and calculated preparation before pressing the shutter release or of having a clear vision of the print that will eventually result, but in the digital age it can often be only half the story. Adams' pre-visualization was as much a product of the technical nature of the medium 70 years ago as it was a philosophy. It was an age when control over print contrast was largely dictated by the film/development/paper combination available, when repeatable dodging and burning required a high level of craftsmanship and even then was never exact. Today the slow nudging of a slider or the tweaking of a curve provide control that would have had Adams wetting his pants. The minute Adams mounted a filter in front of his lens he was largely determining how a colored world would translate into a B/W rendering. Today's photographer can, long after the photo was made, try red, orange, yellow, green, etc. filters or better yet use the channel mixer to create a huge range of virtual filters in colors that were never found in real filters. Brushes are far better than sticking a piece of cardboard in the enlarger's light path and are not limited to lightness/darkness, also applying such parameters as sharpening, saturation, etc. locally. These are only a few of the means and assets readily available today and for photographers of the "classic age" either unheard of or involving inordinate amounts of work. All of which means that today previsualization is no less desirable, but sitting down at the computer and saying, "Now where can I take this," is no less viable.