#Best Canon Lens For Photography

[coffeenuts]

[leicamoments]

On a Cold December Evening...

Hedingley United FC Devs 1-2 Harrogate Railway Devs

I arrived back at the Rachel Daly 3G pitch for the 5pm kick-off of the Harrogate Railway Devs v Headingley Devs game...late. A previous booking having run late.

It was very dark and the game was being played in the middle of the pitch - probably the most poorly lit area.

In running late, I'd managed to pick up the wrong 'big' lens for the conditions - so I can only apologies to both teams and players for the poor quality of the photos...but I wanted to put them up here anyway.

Anyway, it was a great game to watch and take photos of...with both teams creating a number of opportunities to score, but it was Railway who were to run out 2-1 victors on the day.

You can read the manager's match report here: -

[starfry]

[dreamdesignz7]

Exploring the World of CCTV Cameras: Features, Prices, and More

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[michaelnordeman]

Hi, my partner and I absolutely love all your pictures! We have an interest in photography and are wondering what gear you're using.

Much love from a fellow Värmlänning!

Hello there, fellow Värmlänning,

I’m glad you and your partner like my pictures!

My go-to camera, especially in the summer, is a Canon EOS 80D. I also own a Canon 6D Mark II, which I tend to use more during winter and on dark, cloudy, or rainy days. For lenses, I rely on the Canon EF 100-400mm f/4.5-5.6L IS II USM zoom lens for distant shots, and a 100mm f/2.8L Macro lens for capturing close-up details of flowers, plants, and insects. I’ve been using these cameras and lenses for years, and I know them as well as family. Sometimes we argue (“Focus!”, “No, it’s NOT too dark!”, “Why can’t you communicate like a normal camera?!” etc.), but I always love them, quirks and all.

I also have a wide-angle lens. Unfortunately, my zoom lens is beyond repair, and I’ll need to replace it eventually, but it’s just not affordable right now. I can still use it, though the quality isn’t what it used to be in every situation. I find myself arguing with it even more than before, but it won’t listen to reason. Still, I won’t give up on it—I never give up on old friends!

Canon has released a whole new line of cameras and lenses since I got my gear, and I know plenty of people who prefer other brands, but I’ve been very happy with my setup. Whatever you decide on, I recommend trying it out before buying if possible. Secondhand gear is also a great option. While the camera is important, a high-quality zoom lens can make just as much of a difference, depending on the kind of shots you’re after. Most importantly, have fun with it. Creative people can take amazing photos with any old camera they find!

All the best, Michael

[seabeck]

FAQ + About (for mobile)

About me: My name is Milli (she/her), 25yrs. I love taking photos of nature and my Subaru. I’m a huge nerd about mushrooms, plants, and skulls. I’ve been hiking ever since I was a little kid and at this point I feel at home in the woods.

I have a flock of chickens, a boyfriend, a dog, and waaay too many house plants

Did you take all the photos on this blog?

Yep, every photo posted here was taken by yours truly unless otherwise noted (very rare).

What camera/lenses do you use? 

My crop sensor/work kit is:

Nikon D7100

10-20mm f/4.5-5.6G VR

Dolica ZX600B103 Tripod

My full frame kit is:

Nikon D850

Sigma 150-600mm f5.6-6.3 

50mm f/1.8 G

60mm f/2.8 ED Macro

Nikon 105mm f/2.8 VR G

17-35mm f2.8 

20mm 1.8 ED sold

Sigma 150-500mm f5.6-6.3  sold

Kenko extension tubes

Raynox 250

Vanguard Alta Pro 263AB (works for macro + everything else)

Filters and other gear:

Hoya circular polarizers + Stop down/up kit

Nikon camera backpack (discontinued)/TARION Camera Backpack

Instax Mini 90

Other cameras I’ve owned:

D50

D200

D3000

D7000

Here’s my lens wish list, some are on there for fun and some I actually want.

What camera gear would you recommend for a beginner?

Before you worry too much about getting the best gear, make sure you learn how to use it first. You could go out and buy the fanciest camera and lenses and still not take good photos because you don’t know how to use your camera or how to “see”. There’s also a saying, “you marry your lenses and date your bodies”. Invest in good lenses, preferably full frame compatible ones in case you ever decide to upgrade to full frame, and get a cheaper body to start. With that out of the way…

If you’re just starting out, I’d recommend getting a refurbished or used camera from the D7100+ line. They’ve come down in price as of late and are pretty solid cameras. Just make sure to check the shutter count.

I’d skip anything from the D3000 & D5000 lines. They’re not bad cameras but they do not have built in autofocus meaning they rely on the lens itself having autofocus. This isn’t horrible but it does limit what lenses you can use (and some of the lenses that won’t autofocus with those cameras are good AND cheap) and that can be confusing for a beginner.

As for a lens, a 50mm f/1.8, or 35mm f/1.8 is a great lens. Both lenses are inexpensive, have good quality glass, and can used for nearly everything. The 18-55mm lens that comes with cameras isn’t bad either. 

I don’t shoot Canon/Sony/whatever else so I can’t give any advice there sorry!

How did you learn to take photos?

LOTS of practice, I first picked up a camera back in 2013. In high school and college I took photography classes but ultimately I didn’t really learn much from them, they started at too basic of a level.

I did learn a lot about photography from taking art classes however. They taught me framing, how to use shadows/light, and movement in a photo (where does your eye travel when you view an image/art piece). My mom is also a professional photojournalist so I picked up some knowledge from her and my grandfather who’s also a published photographer.

How can I take better photos?

Again, lots of practice. Learn what every setting and button on your camera does, try different shooting modes, take the same photo at several different apertures and shutter speeds to see what changes. You can learn a lot from reading articles too but the best way to learn, imo, is by doing. Don’t worry about getting the best gear and the best camera, learn how to take photos first.

Study other photographers photos, and even paintings, and see what you like. Pay attention to directional lines and where your eye travels. Learn how to use Photoshop/Lightroom (just pirate it). Take photos in different weather, lighting, and times of day. 

What programs do you use to edit? What presets/filters do you use?

I use Lightroom and Photoshop Classic along with custom presets that I’ve made for different situations (fog, snow, etc) to process most of my images and then I make minor tweaks. A lot of my presets started as VSCO presets and then I kept the things I liked and changed the things I didn’t.

What is your job?

I’m a real estate photographer specializing in short term rentals. I love it.

Are you related to Eddie Vedder?

Yep, we’re very distantly related. Something like 7th cousins twice removed but I’ve never met him.

Can you add a photo to your print shop?

Sure! Just tell me the name of the photo (or link it if possible, I reuse a lot of names) you want added and I’ll get it up there.

May I use one of your photos?

I’m 100% ok with people using my photos as a reference for drawing/painting, I’d even love to see the result. For anything else, just shoot me an ask beforehand and I’ll let you know. Please do not repost my photos on Tumblr or elsewhere without my permission.

[matsoono]

Chifuyu nearly lost his best friend at 13 years old.

They fought a lot. The neighborhood they grew up in wasn't the best - if he's honest with himself it was a slum. A dump. His mother, bless her heart, tried her best to steer her son on the right path but their circumstances weren't easily ignored. Without a father in the picture Chifuyu found himself in the company of little boys who were in similar predicaments to him, all susceptible to the same fates, and all banded together to face the world as one stronger entity rather than what they really were, a bunch of misguided little kids.

It was through this group that he met Keisuke. It was also through this group that he nearly lost Keisuke.

The day still demands occasional attention through his memories. Sometimes it's like he's living it over again, seeing Keisuke's body hunched over, blade of a rusty knife with a dirty handle lodged deep into his stomach. It was that day when he realized what he was, what they all were. Kids running around like makeshift Yakuza members. Kids way above their heads. Young, dumb, and in need of help.

His love for his friends grew that day.

It wasn't easy, but eventually, they decided unanimously to become better. To strive for different. Whilst Keisuke dropped out of school, Chifuyu pushed for his diploma and later encouraged his friend to do the same. In turn, when Keisuke enrolled at the local community college to pursue his aspirations of learning mechanics, he afforded Chifuyu the same encouragement.

"Why don't you study photography?"

It's not like the thought hadn't been in his mind for years. Chifuyu hoarded dozens of disposable cameras in an old Nike shoebox beneath his bed, film developed with the pictures neatly packed into envelopes. He's carried one with him ever since the incident, a camera tucked into the front of his bookbag with new rolls of film sat next to it. He's become the group photographer - eager to catch memories of everything. He's snapped pictures of Mikey trying and failing to ask girls out. Of the twins making ramen for the entire gang at once. Of Keisuke and Kazutora, engine oil smeared on their cheeks as they proudly display the first bike they've refurbished together. Of Draken when he finally got his first apartment. Of the day he found Peke J. Everything. Every moment is too precious of a memory after you've nearly watched everything slip away. By the time he was out of high school, with smart phones on the rise and digital media at his fingertips, Chifuyu still stubbornly carried around a disposable camera, fingers itching to capture a fleeting moment.

He, nineteen, with mousy dark hair and wide eyes, swallowed hard. "You think I should do it?"

Keisuke shrugs. "I don't see why not."

Keisuke gifted Chifuyu his first real camera that day. A Canon 6D, fresh and new on the market with a Sigma lens to match. The very camera that Chifuyu had been eyeing in secret for months.

Keisuke holds it awkwardly in an overgrown hand. "They say it's really good for capturing pictures in low light," he explains. "You do that a lot. We uh, we usually get together at night or at sunset or something and you would bring flashlights because you say your cameras don't do well at night. It took me a couple months to save up for this but then I did that job with Ken on that truck and it paid out really well so...managed to snag this early."

Chifuyu still remembers Keisuke's face that day. His long, curly black and blonde hair. His crooked smile and thrice dimpled cheeks. The way his nose tinged pink - a sign of uncharacteristic timidity. Amber eyes that looked at him in earnest.

"I think you should study photography."

Chifuyu, today, toys with the camera in his hands. He's since gotten equipment leagues better, and has since phased out of using that in favor of cameras with clearer qualities and specification designed for different scenarios. He's no longer confined to hunching over in his childhood bedroom with a doctored version of Photoshop on his broken down laptop. He's sat in his photography studio, decorated with lights and hoods, with custom backdrops and furniture all neatly arranged. He's sat in his dream.

He flips the camera on its underside. A sliver of paper is taped to it, a little dingy and torn in corners, though the scratchy ink is still readable.

Make more memories. - Keisuke.

[the-man-in-the-wind]

I’ve been asked to explain my kit and my workflow by @savage-daughter-of-nikitie.

I use either a Canon 80D, Canon 5D Mk IV or a Sony A7Riv with a sigma MC-11 mount converter. I also have a Canon 300D and a Canon 70D from both of which I have removed the internal infrared filter, so that I can shoot in the Infrared.

I have a number of tripods and LED light panels which I sometimes use, but for most general things I prefer to use natural light with perhaps a small reflector.

Lens-wise, my aviation photography is done using either a Sigma 60-600mm f/4.5-6.3 OS DG Sports or a Canon 100-400mm f/4.5-5.6L MkI.

For other general photography such as landscapes and when I do portraits, (which I don’t post here). I have a range of lenses but my favourites are:

* Canon EF 24-70mm f/2.8l USM

* Canon 50mm f/1.8

* Lensbaby Velvet 56mm f/1.6

* Canon EF-S 10-22mm f/3.5-4.5 (this won’t fit on the Sony / MC-11 combo)

For macro photography I generally use either a Sigma 105mm f/2.8 EX DG OS HSM macro or, very occasionally, a Canon MP-E 65mm 1-5x Macro with a lot of light and a macro rail.

I occasionally use a Newer variable ND e.g to slow flowing water and I have various intervalometers, and all of the Pluto Trigger and Dripper kit for water droplets or complex triggering.

I also use my phone camera more and more and then achieve effects in Lightroom, Photoshop or Topaz AI

My workflow varies depending upon the type of photography. By way of an example, for the flower studies my workflow is:

1. Photos were taken on a variety of kit, mainly my phone.

2. Import into Lightroom

3. Square crop the flower and rotate to get the best light/symmetry/arrangement.

4. Use Lightroom’s Subject Mask to initially mask the flower and refine using brush addition/subtraction

5. Duplicate and invert the mask to effectively mask the background

6. Set exposure, contrast, highlights, shadows, whites, blacks and saturation to zero. This removes the background allowing the flower to stand alone but gives me the option to recover the background should I wish to later.

7. At this point any issues with masking become very noticeable so I will often refine both flower and background masks once more.

8. Return to the flower mask and set the exposure, contrast, white balance, response curves, saturation and sharpness as required, to make the flower pop.

9. I often apply radial masks to even the exposure or highlight the inner or outer sections at this point.

10. Use the heal tools to remove pollen specs, imperfections or other issues. Lightroom’s content aware AI healing is extremely good these days.

11. I then catalogue, add metadata, and export to a number of private and public storage and distribution services.

I have two projects I want to start as we move into winter, life permitting.

Firstly, I want to try to do some star trails. Near where I live there is a park on an escarpment running east west, with a couple of stone crosses that can be photographed from the south with the Polaris (the North Star, which is the centre or rotation in the night sky) just above the top of one of them.

I also want to play more with my 70D and do some more IR photography. This makes warmer parts of the scene brighter and cooler darker and can lead to some eerie effects. I have a long standing desire to visit a certain chateau in France and photograph it in IR.

This is probably way more than you were asking for and I’m not sure is this is what you wanted to know, but I hope it helps.

[hannahssimblr]

Chapter Eleven (Part 2)

The thunderstorm is in full power outside by the time the party reaches its crescendo. Rain beats violently against the windows, and lightning forks across the sky. The sounds of Creedence Clearwater and The Zombies drown out the thunder, but still, I could swear that I can feel it vibrate through my bones. I’ve never been so close to a storm in my life, and as I gaze out of the window, blurry with rain to the flashes in the sky, I have a wild desire to be alone with it. I take a cursory glance around and hope nobody is watching me as I dash up the metal staircase to the next floor.

The lights are off on the upper floor, and as I wander into a room off the hallway, which happens to be a bathroom, I find myself pausing at the window to stare out at the sky. It is magnificent. It’s terrifying. I want to run from it as much as I want to stand beneath it and let the rain soak my clothes to my skin. I climb into the bath just so that I can sit on the rim and watch the sky, and lose all sense of how long I sit for. Long enough to hear the muffled chorus of “Zum Geburtstag Viel Glueck” through the floor. Long enough for the edge of the tub to dig uncomfortably into my legs. Long enough to get the urge to look for this fabled painting studio. I leave the bathroom and make my way back down the hallway, peering into darkened rooms as I pass them, feeling as though I’m doing something against the law. 

I crack open the door to Leon’s photography studio after trying several others, and walk inside. I glance around at the equipment, all of the cameras and their lenses. Tripods, different kinds of lighting, the large, white backdrop that’s hung against one wall. What a luxury it must be to have a space like this in your home. I hardly dare to touch any of it, only gently brushing my index finger over the cool metal of one lens, when a deep voice almost makes me rattle out of my skin. 

“I’d a feeling I’d find you snooping around somewhere.” Jude stands in the doorway, and my heart kicks into high gear. “Fuck sake.” I wheeze. “You snuck up on me.”

“Sorry.” He says, and steps inside to wander slowly around and look at all of the same things I was looking at. 

I brush invisible lint off my clothes, just to have something to do with my hands, and look him over briefly. “It’s very weird to see you in a suit like that.” I remark. “All cleaned up with your hair combed back.”

“Freaky, is it?”

“A bit.”

“Well, for what it’s worth, you look very nice. At least one of us has managed to.”

“I look absolutely mad, it’s alright to say it.”

“She did look a bit mad though, didn’t she? I think you pulled it off fairly well.” He approaches the shelf of cameras and pulls one off, and I say with alarm, “You shouldn’t touch the cameras.” 

“It’s fine.” He grins. “It’s my camera.”

“How’s it yours?”

“I come here to photograph my work. Leon has the best setup. I’ve been doing it for years.”

“Really?”

“Yes! I swear.” He laughs. “I feel like you don’t believe me.”

“Well, I do.” I say hesitantly. I nod towards the Canon in his hands. “Are you going to take a photograph of me or something?”

“Would you like me to?”

“If you’d like to.”

“Okay, I’d like to.” With his free hand he hauls a wooden bench into the centre of the backdrop and motions for me to sit on it. Then he fiddles with a few of the studio lights to make sure he’s got it set up the way he likes it. 

“What should I do?” I ask him. 

“You can just relax.” He suggests. “Maybe rest your foot against the bar of the stool, yep, like that, and your hands in your lap. Okay, yeah, just look at me.”

“I’m looking at you.”

“I know, good job.�� He snaps a series of photographs while I sit there, stiff as a board. I don’t really know how to relax in front of a camera, I never have. “Maybe a smile?” He proposes. 

“Like this?” I tug the corners of my mouth upwards, and feel twice as awkward in doing so. He nods. “Kind of. You don’t need to grimace like that.” 

“I’m not grimacing. This is my smile.”

“That’s not your smile, darling. You don’t smile like that.”

A giggle escapes my lips. “What did you just call me?”

He blinks. “I don’t know. What did I say?”

“Darling. As in, lil darlin’” I laugh again, mostly at my abysmal attempt at an American accent, and he rolls his eyes. “That’s not my accent.”

“It is! Ye Haw.”

“Get a grip.” He snickers from behind the lens. “I could easily do a horrible impression of you and see how you feel about it.”

“Do it then.”

His eyebrow quirks up and so does the corner of his mouth. “Jude!” He cries in an accent-perfect midlands soprano. “Did you eat all of the crisps? You’re so greedy. And get your horrible foot away from my back, you’re actually the most annoying person I’ve ever met.”

My mouth drops open and I insist that it sounds nothing like me, even though it absolutely does. 

“Yeah right.” He says. 

“You’ve been practising that in the mirror or something, you creep. You’re obsessed with me.”

“You’re obsessed with me.” He mimics and I almost take off my chunky sandal to toss it at him, but I’m startled by a sudden clap of lighting that slashes across the sky right outside the window, so close that it hits a rod on the building across the street. I snap to look. “Oh my God, wow!”

“Yeah, holy shit, wow.” He says, “I got a photo of that.”

“Of the lightning?”

“No of you looking at it.” He lifts the camera to look at the last batch. “I think these are good.”

“Are they?”

“Yeah, look.” He comes over to show me a series of photos from that quick moment, a flash of white over my face as my mouth falls open in a gasp, eyes wide with wonder. I look stunned, and thrilled, and kind of pretty. Then he scrolls back and shows me more of myself, of me smiling and laughing and pulling faces at him, and they must be the most relaxed photographs of myself that I’ve ever seen.

“Oh.” I whisper. “I like those a lot.I wish I looked like that all of the time.”

“Yeah, I like them too.” He says, “And actually, you do. That’s just how you look to me.” and in that small moment his gaze feels weighted, so much so that goosebumps erupt on my arms as though there’s an electrical current moving beneath my skin. I feel him watching my face, but meeting his eyes feels risky, it’s always felt a bit risky, because I want him so badly that sometimes it makes it hard to breathe. I fear that too much time spent looking at him might drive me to start doing the sorts of things I know I will spend time regretting.

I slide off the seat and wander out of the room. 

“Where are you going?” He wants to know. 

“To find the art studio.” I reply. 

“It’s the next room.” He follows close behind me, and it’s impossible not to feel his presence, even when I can’t see him in the dark hallway. He opens the studio door and I slip in under his arm. 

I don’t bother flipping the switch, because the light from outside is enough to allow a blue glow through the huge windows and over the floor. It’s so quiet that I can hear my heart in my neck and my ears. I walk over to the window and stare out over the place where his easel is facing, and through the wet and smears of the glass it’s difficult to see much but blurry lights, but still, I can make out the outline of a row of beautiful old buildings below. A cluster of trees, a castle, which I picture in the heat of summer sunshine, and a lump rises in my throat, because I want a place like more than almost anything. All my fantasies of my life and how it might turn out have included a studio just like this. With these canvases, these easels, these organised racks of paints, and brushes, halfway finished work, destined to be completed another day. I look at it all and I think I might start crying, because it feels like I’ve stepped into a fantasy that will never, never ever turn into reality. 

“What are you thinking about?” Jude says softly after several moments, and his footsteps tread lightly behind me. I don’t look around at him. My voice is thick. “About how much I like this studio.”

“It’s pretty spectacular. And the view.”

“Yes, the view is nice. Although, I’m sure it’s nicer when it isn’t raining so much.”

“I like it like this too.” He comes to a stop next to me, and I feel him there, almost touching me, but not. I pat the corner of my eye with the pad of my finger and continue to look out at the sky. “I think that you could have something like this someday.” He says to me, “I think that if you want something really badly you can find a way to have it.”

“You think so?”

“I do.”

“Hm.” 

He waits for me to look at him, and I am afraid to. “Evie,” He says, voice soft. 

“Yeah?”

“Can you-” 

I look. “What?”

He doesn’t tell me what. He leans into me and brushes his nose gently against mine before kissing me. Once, so lightly, as if testing that I want it. Twice. He draws back and our gazes mesh, and the third time he angles his head and takes my lower lip between his, and my body goes weak. I forgot what it was like to kiss him, in all of his wildness, abandon, and overconfidence, how the stroke of his lips over mine makes me lose all sense of myself and forget who I am. 

I wind my fingers into his hair and pull him closer to me, and he holds my head in his hands, and he is perfect and I am lucky, so lucky to be here with him now as the thunder rumbles and the rain pelts against the windows, and his body is warm and his mouth is hot and it feels somehow more dangerous to be in here with him than it would to stand in the path of lightning. 

He deepens the kiss, just as I clutch onto him tighter, and the feeling inside me turns desperate. I deserve this, I’ve loved him forever, and I can have this selfish moment if I want it. Maybe I don’t have to tell anyone about it, maybe we’re the only ones that need to know. I let him touch my body and make promises with his mouth and his hands that he can give me all of the things that I want the most, the things I’m too afraid to admit to wanting, the things I shouldn’t. I let myself feel the terror of him taking those things away from me as easily as he can give them to me, and I chase those feelings away with my lips and my tongue as I press into him and tug his lip between my teeth. 

He breaks away for a moment while his eyes travel over my face as if looking for a sign that he should stop but I’m not ready for him to. I’ve been waiting years for this, so when he draws my waiting mouth to his again I arch my body into him and encourage him with eager little sounds that seem to knock the air out of him. His hands are trembling yet insistent as they come to seize my hips tightly and pull me against his, hard, so that I can feel him wanting me, but then suddenly, as though I’ve remembered who I am again, my hands grab his wrists in a steel, reflexive grip, and I take a step away from him. He seems confused, and takes an instinctive step towards me as I move away, unable to compute that I have stopped kissing him. I place my hand on his chest to block him. 

“We can’t.” 

He looks hurt. “Why?”

I stare at him incredulously. “Because of Astrid, obviously.”

His eyes skate across my face, confusion turning to panic as he swallows convulsively. “But I’ve broken up with her now.” He says. “Didn’t you know that?”

“No, I didn’t know that. When?”

“After Christmas.”

My brain feels like it’s functioning at a fraction of its capacity. “So, like, six weeks ago.”

“Yes!”

“After you bled all over my house.”

“It’s the first thing I did when I got back, I thought-”

“And you didn’t think to mention it at any point?” I turn away from him and catch sight of myself in the black window, and I look wild, hair out of place, lipstick completely gone and a bright blush across my cheeks. How long were we kissing?

Jude’s reflection stares at mine. “We’ve been out of touch.” He says. “We could never find a moment to call one another, Evie, I wanted to tell you, but there just wasn’t the right time, you were always in a rush, or I was too busy, and then, I dunno, I suppose after a while I started assuming that you’d heard it through the grapevine.”

“The grapevine.” I repeat, glaring at him. “What’s the grapevine? Shane Healy’s mouth? What on earth would he tell me that for? He doesn’t even tell me how his mother is.”

He spears a hand into his hair. “I’m sorry, I should have tried harder to tell you about it, but I didn’t want to scare you off, or make you think that it was your fault or something. Maybe I was in my head too much, but sending a random text to you on a Tuesday being like ‘So I broke up with Astrid’ seemed a bit too purposeful, a bit like I expected something from you. I don’t know.”

Ripples of fear and longing travel over my skin. “Well, did you break up with her because of me?”

His expression is tortured. “We were doing badly for a long time. We broke up over a year ago, firstly, because I was being a shit, and I couldn’t give her what she needed, and then after a few months we got back together, but it was always rocky from there, it never felt right, we always fought, in the end it just felt inevitable, and, well…” He trails off. 

“And?” I prompt. 

“And I… yeah, I had feelings for someone else.”

“For me.” The words don’t come out, exactly. I end up just mouthing them. 

“Come on, Evie, I’ve always liked you. You know that. I always wondered about you when we were apart, I always thought about what would’ve happened if I’d never left. When I saw you again and I still felt all those things, well, honestly it felt a bit insane to be with someone else. Even last year, when we weren’t talking, I couldn’t stop thinking about you. All the time, like, there wasn’t a day that went by that I didn’t think about you. Every time I saw someone who reminded me of you, or something that I knew that you’d laugh at, I knew that the things I felt about Astrid weren’t the same, it wasn’t right, nor was it fair, so I ended things.”

“But then you got back together?” I glare at him. 

“Yeah, I had a bad year, stuff happened with Jen, I felt isolated, I felt like shit, and then I met Astrid again at a party and…” He shrugs. “She was familiar, and I still had feelings for her so it just felt like a normal thing to do. Our breakup seemed kind of stupid for a while. Honestly, I was wondering what had gotten into me when I did it, and then I saw you again, and…” he trails off. “Well, I thought that you felt the same way as I do.”

I take a deep breath, palms tingling. “This is a lot to take on.” I say. 

“I know.”

“I can’t help but think about how I’m just another one of your single friends, and now that you’re lonely-”

“It’s not like that at all.”

“But this is just what you do, you kiss your friends just because you can.” I don’t know why I’m saying these things, because every word appears to have the same effect on him as if I were slapping him in the face, but I can’t stop them from pouring out. Perhaps I just want him to disprove them or to validate me, or convince him that only foolish men like girls like me. He’s too clever for this. 

“That was when I was a teenager. I’m an adult man now and this isn’t just an experiment. I’m in love with you” He says. “and like, for some reason you think that nobody in their right mind could ever love you, but I do. I really do. I can’t ever get you out of my head, I just think about how much I want you every time I look at you, and how scared I am of what I feel about you, but I love you. Not in a friend way. In an ‘I want you to be my girlfriend’ kind of way, and I can’t imagine wanting that with another person, with, like, anybody but you, and it’s not because I’m single and I’m lonely or that you’re in some way convenient to me, I loved you when I had Astrid and when you had Dean, but the time was never right, and now I think that it could be, so why not just… see?”

He stands there, completely vulnerable, and waits for me to say something to him, but I can’t. My mind is swirling with ancient insecurities, ones buried deep in my psyche, the ones that I never let out of me because they batter my self-confidence, smash it to pieces and remind me that I’m not enough for him, even if he foolishly believes that I am. I will disappoint him. What happens if I tell him that I feel the same? Where do we go from there? How do I be his girlfriend, how do I do the things he wants me to do? What? Hold his hand in public and have all of his friends think about how he left a six foot tall goddess for someone like me, have them say amongst themselves that he really downgraded and wonder what it is that’s so special about Evie Kilbride when he could have anybody. They’ll all learn, as he will eventually, that I have nothing to offer but failed promises and unfulfilled expectations, and joke later about that big mistake he made once while he holds another beauty queen in his arms. I think of that summer day in Kelly’s mobile home, and how she stared at me with amused contempt, as though the idea of him ever wanting me was hilarious because I’ll never be able to impress him, or give him the things he wants and expects from a girl. I won’t know how to be. I will ruin this like I’ve ruined everything else, and I will be the biggest mistake he’s ever made. 

“My God, Evie, please say something.” He says desperately. 

“Did you tell Astrid that you broke up with her because of me?”

He stares at me like I’m crazed. “What?”

“Does she know about how you feel?”

“I don’t know, maybe.” He drags a trembling hand through his hair and it all tumbles forward, free of the hold of the styling gel. “I’m not sure why that’s important to you at this moment.”

“She doesn’t seem to like me.”

Beginning // Prev // Next

[libraford]

hi, i hope you don’t mind me asking you this.

i know you do photography and i was wondering if you’ve ever done astrophotography or know of anyone maybe who’s done it?

i would love to get into astrophotography specifically but i’m still kinda a novice with working with a camera. i can’t remember the exact details of my camera but it’s a nice canon that has a pretty decent lens an zoom. if that helps you any with how to work it aa.

if you don’t have any tips for astrophotography that’s completely ok, i have an alternate question do you know how to work with setting & stuff on a camera? i don’t know what some of the things on my camera does but i’m to scared to mess with it in fear of ruining it.

please & thank you c:

Best I've got is those pics I took of the eclipse, but I know how it works in theory. Tgeres too much light pollution where I am to do much.

Your friends here are going to be low shuutter speed and a tripod, and if you can swing it- a remote start.

That low shutter speed is going to let in a LOT of light, which means you will be able to see stars more clearly. But it also means that any bump is going to cause the whole image to blur.

So you wanna set up your remote clicker, clamp all your equipment down real tight, set the shutter speed real low, and use the remote. Even the motion from pressing the button on the camera itself can bump the lens, which is why I suggest the remote.

If it's too dark, try opening the aperature. If it's still too dark, try bumping up the ISO.

Light pollution is a real obstacle here. So you want to make sure you are far from any lights, and even the moon can cast ambient light, so be conscious of that when choosing your dates.

[sohushygrayness]

Upgrading My Camera Gear

A few days before the end of the year, I used AI for perhaps the final time to suggest me some equipment to purchase along with what I already have for my camera set up. To recap:

I have a Canon EOS 2000D body and I have 3 lenses to go with it:

Canon 18-55mm

Canon 40mm

Canon EF-S 55-250mm f/4-5.6 IS STM Black Lens

Now, I'd asked ChatGPT to generate me a list of things that I could get to go with it and here's where I got confused. 

It's all about lighting

One of the suggestions was to buy an external flash. However, one look at Amazon these days is enough to stress you out with information overload. Amazon once upon a time had a great App design, but now I see so many sponsored products that it's a struggle to know what's genuine. Almost immediately I stumble upon the brand Godox which (Seems to be) is considered the industry best in this respect. 

Then I go browsing for reflectors. Again, the suggestion from a few threads I've read seem to suggest the Neewer 5 in 1 which works well for my needs and Amazon sell a stand that would hold the reflectors which I think is a great idea. 

Further Confusion

A friend of mine then suggests to me about soft boxes. They weren’t on my list (which is another reason why speaking to a person is better than speaking to an AI). If I’ve understood it, then he’s explained it well.

A soft box helps to project the line, e.g, if you use an external flash, then the soft box projects the light in the shape of the box. A reflector then reflects the light based on the colour of the reflector and plus the angle. 

Obvious Conclusion

What I take from all of this is that there will never be a single correct answer here. Instead, it’s about what I want to shoot and what I want to achieve.

Outside Sources

I look to YouTube to try and get the concepts explained to me. The first one I watch highlights how working with a softbox helps to create different light environments.

However, this soft box has the lights built into the device which makes me wonder: why am I buying an external flash?

Then, YouTube recommends this video which is helpful for a myriad of reasons. The main one being that both use refractors, but both handle soft-box lighting in 2 separate ways.

Late night shopping

I have a general rule of thumb. If I don’t understand why I don’t need something, I don’t buy it and that’s the case today. I understand why you would need reflectors but the situation with flash/soft boxes still eludes me. So, with that in mind, I spend a bit of time looking at lenses.

Here is where I think I understand. They have 2 lenses which I like:

Canon EF 50mm

Canon EF-S 10-18mm

One is better for portrait photography, whereas the other is a wide angle lens. 

Am I wasting time and effort here?

It occurs to me that whilst I’m spending a lot of time thinking about the means of getting better quality photos into the camera, I should also give some consideration to the editing process of photos.

I go back to a process map that I created a while ago to review my editing stages during my process.

Signs from the universe

On Thursday morning, I load up YouTube and get 3 videos recommended to me which seem to be what I’m looking for:

Immediately after watching this, I realise I’ve been focusing too much on what I don’t have, rather than what I do have. I then move onto the next video

Almost immediately, the creator talks about using a wide shot. This aligns nicely with my intuition. My gut feeling was telling me that I needed to get a wide lens, but I was umming and arring. I also like this second creator, mind you, I like them both. So, I subscribe. Lastly, I get so inspired watching this 3rd video that I pause half way through as my mind is made up.

While I’m walking, I have a ponder about cinematic story telling. You often hear about the 3 acts and this seems to be a general rule of thumb for these videos structures. When I have an idea for a cinematic video, I'll need to practice on writing and building a 3 act structure to tell the story.

While I’m out shopping, the 2nd hand store near me sells the 50mm but not a wide angle lens. Onwards to another shop.

Plot twist

Eventually, I reach the shop I need, but plot twist, they don’t have any lenses whatsoever in stock. Disappointing but it forces me to recalculate. I could use the 18-55 for establishing shots, the 40 for medium shots and then use the 50mm for a close up. So, I head back to the 2nd hand store to buy the 50mm lens.

A Pleasant Surprise

While I’m in the store, I see the 50mm but then I also see a Canon EF-S 10-22mm! Okay now we’re cooking with gas. I’m able to pick up the 50mm and the 10-22mm. 

But Wait, there’s more

I notice on the shelf that there is an external flash! Is it compatible with my camera? It is! So, after heading to the supermarket and buying food for the family, I head back to pick it up. I have never used an external flash before so this is a first for me. All that remains now is to test the quality and see what I think.

[bestmytv]

Looking for the Best Camera for Video? These Are the Top Choices for 2025!

In 2025, the world of videography continues to evolve, with cameras becoming more powerful, portable, and capable of capturing breathtaking footage. Whether you're a professional filmmaker, a content creator, or an amateur enthusiast, choosing the right camera for video is essential. With so many options on the market, it can be overwhelming to determine which one is best suited to your needs.

This guide will walk you through the best cameras for video in 2025, from cutting-edge mirrorless models to professional-grade cinema cameras. We’ll explore the standout features, performance, and price points of each, so you can make an informed decision and start shooting high-quality videos.

1. Why Choosing the Right Camera Matters

When it comes to videography, not all cameras are created equal. The best camera for video needs to offer crisp image quality, smooth frame rates, and advanced video-centric features like high dynamic range, autofocus, and stability. It’s important to know what to look for, whether it’s 4K/8K resolution, fast autofocus, or professional-grade audio options.

Key factors to consider:

Resolution: The higher the resolution, the sharper the footage.

Frame Rate: Higher frame rates ensure smoother motion, especially for action shots.

Low-Light Performance: Cameras with great ISO performance will excel in darker environments.

Stabilization: In-body or lens stabilization can make or break handheld shots.

Lens Compatibility: Choosing a system with versatile lenses is crucial for different shooting needs.

2. Sony Alpha 1 – The All-in-One Powerhouse

Sony continues to dominate the camera market, and in 2025, the Sony Alpha 1 is still one of the best cameras for video enthusiasts and professionals alike. With 8K recording capabilities at 30 fps, this mirrorless camera is a beast in terms of video performance. Its Real-time Eye AF for video ensures that subjects stay sharp even in fast-moving environments.

Key features:

8K 30fps and 4K 120fps video recording.

15-stop dynamic range for rich details in highlights and shadows.

Full-frame sensor for superior low-light performance.

Dual CFexpress card slots for extended recording times.

3. Canon EOS R5C – The Hybrid Marvel

For those who want a camera that excels in both photography and video, the Canon EOS R5C is a top choice in 2025. It offers cinema-grade video performance with 8K RAW recording and comes with advanced cooling for extended video shoots. The R5C bridges the gap between Canon's cinema line and its mirrorless systems, making it perfect for hybrid shooters.

Key features:

8K RAW at 30fps and 4K 120fps.

Dual Pixel CMOS AF for incredibly fast autofocus.

C-Log 3 for extended dynamic range in post-production.

Compact and lightweight design ideal for on-the-go shoots.

4. Panasonic Lumix GH7 – The Best for Content Creators

For content creators who need a more budget-friendly option that doesn’t compromise on quality, the Panasonic Lumix GH7 is a go-to camera. Known for its Micro Four Thirds sensor, the GH7 offers excellent video performance in a compact form factor. It’s perfect for vloggers, YouTubers, and those who need a camera that can shoot high-quality video without the bulk of larger systems.

Key features:

6K video recording at 30fps.

5-axis in-body stabilization for smooth handheld shots.

10-bit 4:2:2 internal recording for professional-grade video quality.

Versatile, lightweight design ideal for travel and vlogging.

5. Blackmagic URSA Mini Pro 12K – The Cinema King

When it comes to professional cinema cameras, the Blackmagic URSA Mini Pro 12K is a game-changer in 2025. Offering 12K resolution, this camera provides an unmatched level of detail for film and high-end production work. With RAW recording and color science, it’s the ideal choice for filmmakers who need the best in image quality and post-production flexibility.

Key features:

12K Super 35 sensor with 14 stops of dynamic range.

Built-in ND filters for shooting in various lighting conditions.

Dual CFast and SD card slots for extended recording.

Blackmagic RAW format for ultimate flexibility in post.

6. Fujifilm X-H2 – The Stylish Performer

For videographers who love Fujifilm’s color science, the Fujifilm X-H2 is a standout model in 2025. It offers 8K video recording in a stylish and retro-inspired design, making it a great choice for videographers and photographers alike. With its APS-C sensor, the X-H2 delivers excellent detail while remaining compact.

Key features:

8K video recording at 30fps and 4K at 120fps.

F-Log2 for a higher dynamic range.

Film Simulation modes for unique color profiles straight out of the camera.

In-body stabilization for steady handheld footage.

[a-photo-every-other-day]

My Ancient History, 2024

I don't remember my first time using a "proper" camera, but I do know that I took photography class my senior year of high school, and I used the family cameras for it. That consisted of a Pentax K-10 (I think?) and a Pentax K-50 (seen here in red). I enjoyed that class a lot. it really taught me very little about taking pictures and was mostly about using photoshop - something I don't do. So, I had these cameras and used them for my beginnings with three lenses, an 18-55mm, a 28-80mm, and a 70-210mm zoom lens. And once I graduated high school and moved out, my dad kept them for a while, before giving to me. I actually recently looked through the old photos from them. They're almost all bad; out of focus or overexposed. Anyways, the 28-80mm lens stopped working, and the shutter solenoid on the K-50 died (a common issue I learned). I of course found this out the hard way, when I went home after a photoshoot, only to find I had no photos that had come out. So, I ended up buying my current camera in March, a Canon Rebel T7. My dad collects cameras, and since I had a new working camera, I gave them back to him. So here they all are, packed in a box in my car, on the way back to my dad's place. I may not have taken the best photos on these cameras, but they opened my eyes to the art of photography.

©2024. This work is licensed via CC BY-NC-SA 4.0

[coolpixdump]

do you edit your photos at all?

nope! i shoot on a nikon coolpix 3200 set to -1.7 exposure compensation. sometimes i go up to -1.3 at night, but rarely above that. i underexpose because the nikon is like many digital cameras in that its automatic settings are too bright, but underexposing makes the colors pop. since sometime in 2020 i have been experimenting with setting the white balance to the 'incandescent' preset - this emphasizes the blues and cooler tones in the scene.

i'm glad you asked this, actually, because it gives me an opportunity to talk about why i chose this specific camera.

i come from a background of shooting film - at the time of this writing i have a bag with 216 rolls left to process, shot between 2014ish to 2021. i was attracted to 35mm and 110 film because i was sick of computers and wanted something with that elusive x-quality, a warmth/intimacy that i saw was lacking in the images from my digital camera. i shot a cornucopia of film throughout high school, on a million different point and shoots. (the highlight of my life at that point was when i bought 5 olympus xa's for a dollar each at an estate sale - the deceased was a camera collector & there was a canon room, a nikon room, an olympus room...)

but i look at photography as a diary, and the detail with which i document things was adding up to an overstuffed carpetbag of film to develop. around 2018 i began to wonder if i could exploit the very thing about digital images that i was trying to avoid, the cold, clinical look. i began looking at product photography (the canned food isle in your grocery store is pure unadulterated inspiration if you pay attention to the label designs), kitchen disease and a whooooole lot of the new topographics photographers.

at the same time i was sifting through the local thrift stores searching for the perfect digital camera. i first found a sony dsc-s750 at a pawn shop in 2018, and liked the images it gave back a lot. (different looking results than the coolpix, and 7 megapixels, but equally compelling - i would totally shoot one again) but i wanted something i could run on rechargable aa batteries, and that was a tad less - for lack of a better term - modern. eventually a quick 'test' flash shot of the glass countertop revealed to me my new best friend and constant companion, the nikon coolpix 3200, which i took home for $6. folks, this is from that magical era of ccd digicams when they got everything right. i didn't have a computer for a couple years but i would take my coolpix and a littany of 1 gb sd cards to the local library and dump the .jpgs directly to tumblr/flickr. if you set the exposure compensation to -1.7, you won't need to do any editing. this camera manages to be digital and still cater to the part of me that doesn't want to deal with computers by giving natural looking, soulful colors right out of the gate.

a word of warning to anyone looking to follow in my footsteps: there was a later model coolpix that looks like the 3200 but is 4 megapixels. the noise reduction nikon used in this camera makes the jpgs look wayyyy too soft. if you're looking to get one of these cameras the 3200 is where it's at. it's served me well - i've ran through four of them so far. (it's a very tough camera, but it was also released in march of 2004 and sometimes they develop trouble extending the lens after being sat on, moshed into or otherwise mistreated.) also, be sure to set the quality of the jpgs to the highest setting in the menu and the (gorgeous, borderline 16mm-like) video setting to 640x480.

happy shooting! thanks for your message ~.~

[renellmedrano]

In the land of the blind the naked man (or woman) is king (or queen) and when said residents are also repulsive and moronic as fuck, their disgusting and nasty ass worship of Renell Medrano is by far problematic and obnoxious. Renell is simply a shitty, ignorant and shady photographer who's been laundering money while hiding behind the facade of a phantom studio owner together wither her hideous goblin faced looking partner in crime, Jess Moloney. If you've been wondering where the hell did these bozos come out all of a sudden, then why don't you search them on this fucking site or on Google. Yeah, that's a good Y/N. You're in to find a wide variety of raving mad, totally demented & completely unhinged dug up on dirt on them. And all of this is real. All rumors are indeed real. Are you doubting your reality yet? If you aren't, you should. What are you waiting for then? The answer is wholly, fully, aggressively and vigourously staring in your face. Stop praising and worshiping worthless celebrities. Are you so into this kind of fucked up degradation? You'd be way better off drinking from a public restroom. Just quit dragging your feet on rusty, broken nails already!

Renell's shots are redundant. And boring at best. She's got zero technique. They look as if they were totally taken by someone else or someone else had dialed before the settings on her camera making it easy for her just so that she just needs to press a simple button.

Yet. Still. Renell. Won. The ICP Award. And she's sharing it with Moloney as if it was some rich old fuck's STD ridden deflated penis. Oh wait. Maybe that's how they got all that fame. Nothing new. Move along, nothing to see here.

Why is she always keen on showing her underwear in the least sexual contexts that could possiby exist?

I'm not MAGA, a centrist edge or some type of conservative. But why would you sexualize yourself for the male gaze so much?

Didn't she know in the United States it is estimated that around 70% of photographers are male and 30% are female? Didn't she know this imbalance is also reflected in the gender breakdown of photographers featured in galleries, exhibitions, and publications. Why is she sabotaging ongoing efforts to promote gender equality in the field of photography?

When was the last time a man dressed up like that to an award show or during a photo session?

ICP Awards screenshot by https://jess-moloney.tumblr.com/ or https://jmoloney1.tumblr.com

FUUUUUUUCK those hideous hoes. With their phantom photo studios and all their stinking threesome shit. Fake ass ghetto hoes. I've never ever read about Renell discussing in detail about all the high end pro photo gear she's supposed to have used during her A list celebrity photo shoots. In her interviews for famous magazines are totally she gives cookie cutter instagram influencer answers to questions only somebody who was paid to interview her would ask her. She did not tag any camera, lens, brand, lighting equipment in any of her photos. She never even managed to get a camera brand sponsorship deal. She never spoke about what kind of backdrops, tripods, stands, props, accesories, reflectors, diffusers, blah blah blah she has been using in any of the Ice Studios sketchy physical locations that look like some junkies' rat infested derelict gathering dens. ffs. Her knowledge about photography lingo, history and styles is equal to fucking zero. There's photos of Renell with some analog cameras ( vintage medium format Mamiya RZ67 / unknown lens, vintage full frame Canon AE-1 with its famous f/1.8 50 mm prime lens, an unknown camera – which might be digital – with a Carl Zeiss Planar prime lens mounted on it, and probably a vintage Rolleiflex ) & 1 Canon full frame DSLR (not mirrorless) with an unknown lens. And that's about it. I'm not even going to mention her piss poor point and shoot that she was holding while wearing thong pants.......

Jess' bozo beauty ad interview is faker than a cheap Tijuana whore's feelings. It's been already debunked & you just have to search for it on Tumblr and Youtube.

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Renell's website is as lousy as the Lice, I mean the Ice Studios one. I don't know what the fuck that is, but that cannot be named a website. https://icestudios.shop/

It's infuriating how now this hypocritical bitch believes she's the illest shit in skincare regimens at the moment. When you have shit for brains and connections to various available erections you think everybody is falling for your shtick. Well guess what broke ass fake bitches? Y'all ain't gonna see what's coming and when it's gonna hit ya. When ya least expect it. I've had enough of you! All you've ever done will be de-fucking-bunked. Now go back to schmuck sucking. The next one that ya'll be feeling in the back of your throats will be the IRSchlong.

Nonetheless, their dumbass fans know that and are foaming at the mouth while banging their crap filled heads against shitloads of walls. Yet they still haven't been able to convince anyone otherwise. They have an obvious masochistic stupid wish of being proven wrong for the 100th time. Relenlessly. Poor delusional and empty brained halfwits. Yes, all this really is very stupid and tremendously dumb. But they should rest assured they're gonna have their asses kicked and will now be therefore permanently wrecked. It'd be better for them to stop screaming from their top of their lungs so much insane batshit stereotypical influencer crap. And listen to the ones who are indeed irrefutable authorities on this subject. Renell's fans make me throw up. They need a serious beating with an iron crowbar over their empty heads. How else are they going to wake up to reality then? How else will they stop bloody beating their minced up meat around a heavily thorned bush? The hands that feed her hide deadly and dangerous long, sharp claws.

Renell doesn't assume the slightest shit of responsability for what she is supposed to be doing. She's been thoroughly brainwashed to believe everybody is a mindless and unschooled hoodrat whose minuscule mind is less worthy than a recycled garbage bin. Guess what, bitch? With her opening the door to everything here and beyond, she should've been ready to expect the unexpected when they invited us in. Now we're flooding her worthless being with facts rabidly biting her face, chewing on her pieces & spitting them out. Poor Renell and Jess! Looks like their only option is letting us stay and brutally dismantle their convoluted but fickle web of lies. My advice for her is go whine and cry at another table! Her and Jess' work doesn't even amount to a shitstain, maybe they should've tried to get hired as prison garbage sorters. Go hide under a rock while you still can.

I've seen much more believable and intelligent triple x-rated casting videos than this shit.

No bitch, STFU, just because you're using a notoriously overpriced and overhyped gadget gimmick that got the worst reviews it could get (the Kodak Super8 flop) doesn't make you an intellectually and morally superior artsy fartsy 10/10 honest gram photographer or videographer influencer switch. Fuck, I hate switching swish swish bitches. Pull your head out of your ass already, wannabe fucker! You're one utterly sad incompetent mistress of fuckconnery. An impostor.

It's so vile and so offensive to think she is a high-profile photographer with craploads of top of the top A-list celebrity photo sessions as hallmarks of her portfolio. No photographer would ever dare say such unbelievably ridiculous shit. Ever!

“I always get a thrill [out] of showing new stuff on Instagram, or whatever social platform, just because I feel like the people that appreciate my work have been supporters since day one. I’m not scared to put out new work, I kind of get this high from it. If I don’t get that from a photo, then I’m doing something wrong.”

"So most of these photos were taken on this Canon A E1, um, that I stole from my dad in a yard sale when I was. like 12. Um, and it has a 50 millimeter lens on it. And I always shoot on portrait of 400 film by Kodak."

"Why," you might be asking yourself. 'Cause FUCK YOU! That's why! Fuck you, you brain rotting fanatics, you cangrenous tissue, necrotizing flesh, you mangled up cells . You'll forever be in debt to everyone right from toes till up your neck until you start explaining why you're selling fake and contrived dreams to young, naive and innocent people online, why you want them to munch on your butt while you're play pretending to be a manager, model, fashion designer, photographer, writer, therapist, why you're lying about your past and real abilities, why you're evading taxes, why you stole money from guillible individuals when they needed it most, why you gaslight and deceitfully manipulate your friends, why there's so much controversy around you, why your actions don't mach your words. Why you'll never tell the truth even if it were to lethally strangle you. Why having connections for better or for worse and bragging about them (as if she was the only one in the world with connections) to fuck knows who and what doesn't turn you into a no morals somebody from a nobody. Why you're covering for a bunch of nefarious repulsive death penalty worthy MOB asshats who deserve to be hammered, slammed, smashed and whacked, battered, pounded and pummeled to microscopic pieces untill not even the best coroner in the world can identify them by their contaminated DNA.

Even if they were to beg for attention crawling on the dirtiest carpet, even if they became the laughing stock of social media, even if they pleaded for forgiveness 24/7 7/7 28/28 29/29 30/30 31/31 365/365 366/366 till they kicked the bucket, what Jess, Renell and the others have done will not be erased from history.

Equal give and take my ass. STFU. Why are they even allowed to have a say in basically everything right now? They shouldn't. Nobody asked for their opinions. Nobody wants to hear them talk. Nobody gives two shits about them. Their ramblings are as useful as a torn apart leaking urinal. If I wanted to hear Renell and Jess talk I'd not waste my time in them, I'd go listen on Youtube how clogged toilets sound. But I don't. I'm not interested in hearing anything remorely similar to those two wet farts. I don't want to stoop at their level. They can go fuck themselves with a splinter full wooden toilet plunger. And then film their deed with the lousiest, fakest, pro camera Chinese counterfeit knock off.

Just because she's holding some random ass cameras doesn't fucking mean she knows anything about photography. Who the fuck holds their cameras in such a careless way as if they were a cheap model who were told to play pretend they're this greatly awewome celebrity photographer? A camera should be firmly held while tightly strapped so it doesn't fall on the fucking ground and makes a mess out of itself while permanently damaging the sensor, its lens + its external flash. Most cameras do weigh a lot, so why would she be dangling it around like a pair of thongs?

She admitted she's doing for the gram. And doesn't know how to tell the difference between niche photography and her pseudo commercial and editorial bullshit. What is so special about her that celebrities flock like silly, stupid geese to her in order to have their photo taken with this thing when other photographers in the game spend thousands of dollars on their gear?

They're roughly 150-200 bucks per piece(camera + lens). Dirt cheap. About the same price a celebrity pays for their designer underwear.

The estimate for a comprehensive professional camera setup in a situation like this ranges from $10,000 to $30,000 or more. Additional expenses could raise the total cost to $50,000 or more.

Who the heck even post-processes her photos? Oh wait, it's the infamous non-existent legally dubious Ice Studios. She'd have been more credible if she at least wore that "I shoot RAW" tshirt all wannabe photographers wear to impress people left and right lol. And to think she's never been seen wearing her shop's clothes.....

Compare how scam photographer Renell is carelessly holding her expensive gear vs how real photographers actually do it.

Who the fuck gets paid to shoot spoiled ass rich clients without having a legally registered business? Why exactly her? Who' been paying for her to be featured in magazine interviews? What makes her so frikkin' special than the tons of others so similar to her? How did she earn all that fame and appreciation? Who the fuck even allowed Renell to speak when she's doing nothing but excellenting at wasting precious seconds away from the listeners' attention span. Who the fuck uses such a small bag for carrying around their camera when a decent looking photographer's bag must contain at least 3 or 4 of the following: additional batteries & charger, additional bodies and lenses & straps and harnesses, lens caps, lens hoods, lens filters, lens pouches, external flash or speedlight, portable ssd drive, portable light source, protective waterproof cover, remote shutter release, additional sd cards, ultrabook, lens cleaning kits or wipes. She and Jess are pretending to do whatever they're clearly failing to pretend at. Fucking lousy decrepit wankers.

No serious photographer crams any of the following in such a way their bag is indististinguishable from a sack of potatoes.

I can't believe their work is so terribly uninteresting and so unoriginal. If it hadn't been for their. They need to be thrown ASAP in a huge giant shipping container with this label on it:"Don't open till Rapture comes. Destination: Timbuktu or bust." The earlier, the better. Do they expect people won't take a harsh stand against this incredibly scheming waste of time duo? Do they think they can go on and on living their miserable life with their series of snake oil salesmen tactics? Do they think nobody's going to take a stand and put an end to their con?

And what about Jamie Campbell Bower's role in this? Is he a voluntary participant in this fraud or is he being coerced?

They who dig a pit will fall into it.

moRoney & mudranoOB as cars vs a car cruSher

[miksunko]

Sure you answered before but what’s your camera setup? Your photos are amazing!

You're the first one to ask! All of the photos I've posted so far (save for my last photography post) were taken on my Canon EOS 550D with a 18-135mm lens. I only started using it in May and have gone out to used it in June and July now that I'm working a job, so most of my best photos are among the thousands I've taken on my Samsung Galaxy A52s. I'll start posting them in due time. I use Lightroom and Darktable for editing the pictures taken on my Canon.