#Stroboscope Studios

[madphantom]

Day one of shooting my vampire movie is through so here's a brief summary + a few anecdotes:

We shot most of it in a film studio on top of a hill. The original plan was that my beloved and I would be driven there by the sound technician and the others would take the bus and then be led to the studio from the bus stop by our production manager, however the lighting supervisor was at the studio early and the production manager got so invested in setting up the lighting with her that he straight up forgot about the actors. Luckily, among the others there were a handful who knew where the studio was and successfully led the rest there

The camera operator did NOT know where the studio was and spent fifteen minutes looking for it during which I almost had a nervous breakdown because I thought he'd forgotten about the shoot.

One of my friends, who is a biology student, hung out on set, and when I asked her what the realistic amount of blood for a cut on your hands would be she pulled up an actual photo of her bloodied hands after cutting herself.

My beloved, the lead actor, told our lighting supervisor that she looked like a mushroom because she'd tucked her hoodie into her leggings. She proceeded to ask my biology friend whether her outfit was really that bad and got really insecure before my beloved rushed to explain that it was a joke and he's just a bit of a cunt and also not used to people taking his opinion seriously

One of the extras was a girl who had given us tarot readings at a Halloween party two days earlier and she prophesied to my beloved that he would live to see the communist revolution. As a communist he was happy to hear that.

We shot two dialogue scenes in the studio bathroom and I think by the end of it everyone was a little insane. The bathroom was lit up purple and there was a stroboscopic party light in the corner of the room which drove specifically my beloved completely crazy. After a while he started putting his foot over it between takes.

My beloved stubbornly claimed that he's awful at memorizing dialogue but this was legitimately the fastest we've ever recorded any dialogue. The maximum we needed was four takes, for the entire scene in one piece. In the first movie by the Film Factory I've ever been in I once had to record a single line of dialogue 26 times.

This is the first Film Factory production since I joined the team which features legitimate onscreen kissing and heavily implies offscreen sex. One production before I joined had a sex scene, but the actress in it demanded to have it cut afterwards, and ever since the team has just kind of been careful, and besides we're all too awkward to start kissing the homies. We've had offscreen making out in one film, but that wasn't full on kissing.

We shot a scene in which the main character breaks a bottle, and my beloved brought along two identical bottles for it, one intact, the other in shards. Because they've been dusting away in his kitchen for ages he cleaned the mouthpiece of one so he could pretend to drink from it, then promptly smashed the wrong one and had to drink from the one he left dirty. He wasn't too pleased.

As soon as the shoot was over I started feeling ill, and on the train ride home my beloved also started feeling ill, so we immediately took an eleven hour fever nap when we got home and spent the entire next day taking ibuprofen together and binging season four of Peaky Blinders.

The next day of shooting is coming up on Saturday so stay tuned!

[nfr-reviews]

NFR Reviews #12: Newark Athlete

Released 1891 / Inducted 2010

Watch film here

Many early actuality films enticed viewers through increasingly varied imagery and notable people. Subjects of Thomas Edison’s film studio included a lineup of the era’s celebrities: boxers, dancers such as Carmencita, father of modern bodybuilding Eugen Sandow, and Buffalo Bill’s Wild West Show. Travelog films, sometimes funded by railways, shot footage of scenic locations across the US and into Mexico, Hawaii, Japan, China, and Hong Kong. Major news events such as reenactments of the Spanish-American war and the aftermath of the 1906 San Francisco earthquake were covered. There were even suggestive films of women for the appeal to horniness. But before all that, the National Film Registry’s oldest entry is comparatively ordinary: thirteen seconds of an athlete swinging clubs. Later films were oriented towards wide commercial appeal, but this one was an experiment with Edison’s new technology. 

Edison’s role in the invention of motion pictures has often been overstated. Centuries of inventors experimented with displaying a series of images at such a rapid-fire pace it gave the illusion of movement. 17th century magic lanterns functioned similarly to a slide projector backlit by kerosene lamps, while 1830s Stroboscopes made drawings appear to move when viewed through slits in a disc. The advent of photography in the mid-19th century opened further possibilities: Coleman Sellers’ 1860s Kinematoscope, which mounted photos on a wheel of paddles. Eadweard Muybridge’s 1870s Zoopraxiscope, an image projector inspired by a bet on whether a running horse takes all four hooves off the ground (they do, and Muybridge proved it by setting several cameras along a racetrack and using a string to set them off in quick succession as the horse ran past). Etienne-Jules Marey’s 1880s Chronophotographs, taken at a rate of 12 pictures per second by a camera he developed to better capture subjects in motion. William Friese-Greene, who designed a camera and widely displayed his films but struggled with film projection. Louis Aimé Le Prince, a contemporary of Edison’s who created the earliest motion picture footage on paper negatives in 1888. Both he and Edison experimented with celluloid film, but Prince disappeared in 1890 before he could complete his experiments. 

The earliest test films were the Monkeyshines trio from 1889-90, a failed attempt to film movies on cylinders similar to sound recordings of the time. Newark Athlete was a subsequent attempt at moviemaking with clearer image quality intended to be viewed on Edison’s Kinetoscope, a machine which was completed and previewed to audiences in 1891. A kinetoscope looks like a cabinet with an eyepiece mounted on top. After collecting a nickel from the viewer, the celluloid would pass between the lens and a lightbulb and roll by quickly enough to create a motion picture. While Edison received much of the credit, these inventions were primarily created by his staff, especially assistant William K. L. Dickson. Edison came up with the basic concept of a “kinetoscope” and provided employees with the pay and lab space, but Dickson was the one who designed and created the working machine. He and his team also invented the kinetograph, a camera which recorded the film through a mechanism that moved the celluloid quickly enough to produce exposures. 

Technological progress comes about through a mix of direct collaboration, like the employees who worked on the Kinetoscope, and similar ideas between unconnected people building off one another, like how Edison was influenced by Muybridge and Marey. The reality of patent law encourages people to instead pretend that progress comes through singular geniuses far ahead of anyone else. Patents on successful inventions can impact the livelihoods of inventors, not to mention their pride and sense of accomplishment. The law is supposed to prevent people from outright stealing someone’s invention and taking all the profit. Towards the end of William Dickson’s life, he mused that recently he’d been getting more credit for “my pioneer work at Edison’s–in producing the 1st film/present day cinema film…” He dated film samples sent to a relative several years earlier than their actual year of creation. It was speculated as an attempt to increase his importance to the origin of movies, as well as to establish when ideas were created in the eyes of patent law. Edison’s attempts to profit off his patents were more aggressive and had wider implications to the early film industry. He tried to patent the concept of a movie camera in itself, forcing competitors out of business. The Motion Picture Patents Company, in which Edison agreed to share patents amongst the nine largest film companies, was intended to be a solution to this. In practice, it smothered up-and-coming independent studios in copyright lawsuits and gave Edison more power than before. In 1915, the Sherman Antitrust Act put a stop to this through a court ruling that patents cannot be used “as a weapon to disable a rival contestant, or to drive him from the field.”

In the environment Newark Athlete was created in, it makes economic sense for inventors to cling to their ideas as unique. But this attitude harmed the medium as a whole when taken too far through Edison’s monopolistic strategies. In addition to the works that come out of them, the secondary value of smaller studios is to provide more competition and thus persuade the big players to do better. In comparison to later actuality films which depicted notable parts of history and culture, Newark Athlete is a simple test of what the Kinetoscope was capable of. It doesn’t represent the clear beginning of film, but it doesn’t have to. The National Film Registry doesn’t include non-American titles, including the work of people like Marey or Prince, so starting here makes some sense. However, its simplicity and debt to predecessors don’t prevent it from being a major innovation in its time with continued historical significance. 

Sources

https://www.moma.org/collection/terms/kinetoscope

https://www.pbs.org/wgbh/americanexperience/features/pickford-early-history-motion-pictures/

https://www.loc.gov/collections/edison-company-motion-pictures-and-sound-recordings/articles-and-essays/history-of-edison-motion-pictures/overview-of-the-edison-motion-pictures-by-genre/

https://blogs.unimelb.edu.au/librarycollections/2014/12/02/william-kennedy-laurie-dickson-a-legacy-of-the-moving-image/

https://www.lindahall.org/about/news/scientist-of-the-day/william-dickson/

https://www.saturdayeveningpost.com/2021/03/thomas-edison-the-unintentional-founder-of-hollywood/

https://www.bfi.org.uk/sight-and-sound/features/origins-cinema-early-inventors-pioneers

https://lkouniv.ac.in/site/writereaddata/siteContent/202004260643328777nishi_films.pdf 

https://web.archive.org/web/20110514180127/http://www.kino.com/edison/d1.html

[ianmcarthurphotography]

Photo Imaging - 10 Portraits Research

Ten portraits research

For my ten portraits I will be shooting a sport called Tricking, it’s a very athletic sport of flips and tricks that looks like a mix of gymnastics tumbling and martial arts. I will be shooting this at Hadouken Tricking academy in the north of Glasgow, the only dedicated gym in Scotland for this niche sport. 

Due to the indoor nature of this sport and the limited lighting at the location I will be using a location kit of studio strobes to function as my light source. 

Idea:

I want the images to reflect the dynamic movement of the sport and so I have found some images and styles of shooting that I think would add a visual representation of the movement I want.

Images by: Zach Ancell 

Zach created his images with a mix of light painting, long exposure and flash. This leaves a high detail still of his athlete but a trail of motion behind to show the movement, this would be a good option for me as it has all the core elements I want my images to have.

Method tutorial: https://www.digitalcameraworld.com/tutorials/sports-portraits-with-a-twist-use-slow-sync-flash-for-streaky-special-effects

Images by: Ted Kinsman

Kinsman created these images using a stroboscopic flash which matches the burst from his camera to get a series of freeze frames within his subject’s path of movement. These are then stitched together to create the final image. This methods is used a lot to study biomechanics and it would be good at demonstrating the different steps taken by my subject for their tricks.

Method tutorial: https://www.smugmug.com/development-lab/posts/strobe-light-photography-a-how-to-guide-and-tips#:~:text=This%20unique%20photography%20style%20uses%20strobe%20lighting%20combined,a%20single%20long%20exposure%20while%20your%20subject%20moves.

Images by: Kevin Winzeler

Kevin Winzeler takes a more traditional approach to his images, capturing the feeling of movement with dynamic poses and using dramatic strobe lighting to help give the image more punch, he also uses Photoshop to add in effects to these images which adds another element of interest to what would otherwise be a rather standard studio shot. This would be the easiest kind of image to pull off within the timeframe I have to shoot it but is not as interesting as the first two options.

[balyssatrofort]

#FitnessFriday: Kenny Selmon

“Hurdles will keep coming in your life. Solving these hurdles is the key of your next success.”

I had a great time photographing Spyder Korea athlete and professional 400m Hurdler Kenny Selmon. Another fun shoot in the books playing with long exposures and stroboscopic effect!

For these images I used a Profoto (D2 + D1) 3 light set up. For the key light I used the OCF Beauty Dishcamera…

[modernizor]

Stroboscopic Study of Rope Skipping Champion Gordon Hathaway in action by Gjon Mili, 1947 #gjonmili #stroboscopic #bnw #master #photographer #iconic #athlete #ropeskipping #1940s #inaction #multipleexposure #modernizor #inspiration #studio #champion #vintage #pioneer

[abystock]

Photography Image #264 – Photography A dream you dream alone is only a dream. A dream you dream together is reality. Yoko Ono

[letitrainathousandflames]

Imagine having at your disposal the amazing actors casted for the sequels, the legendary actors from the originals and prequels, a disney-level of unlimited budget for locations, effects, AND STILL managing to create the steaming pile of bantha SHIT that the sequels are. Imagine having Ewan McGregor in the studio already in obi-wan costume…

…and not using him!

Imagine having free creative power over the fate of beloved characters from everyone’s childhood AND the new, lovable characters being introduced and going with

“Somehow, Palpatine is alive”

Imagine having the perfect opportunity to set your brand as lgbtq+ friendly and just go with the flow of Boyega and Isaac’s INCREDIBLE chemistry and instead CHOOSING to shoehorn a female character out of nowhere whose only function is to say she was Poe’s ex and therefore he’s straight

(Btw Disney, bisexuals are a Thing. Having a girl ex doesn’t stop a bi man from falling in love with another man, you dumb shits)

Imagine having the best effects and infinite budget at hand and choosing to make the last fight a stroboscopic migraine-inducing nightmare in which you could barely tell what was happening.

(I HAD TO CLOSE MY EYES FOR QUITE A FEW MOMENTS BC I WAS GOING DIZZY IN THE THEATER FFS)

Imagine making a movie so bad that prequels haters realized they were just hating on nothing specific and concluding that “oh shit sorry for everything I said abt the prequels bc this- THIS, is a bad movie”

Like. Wow. What an effort. There should be an Oscar category for it, the “Garbage Despite All Resources Available” prize.

[cisneconcorbata]

Hi there! Today we’re taking a trip to 1997 and 2018 to see how far entertainment has come in everything, except accessibility.

This video has closed captions in english and spanish, but here's a transcription anyway (under the cut because is long):

In December 1997, around 700 people were hospitalized in Japan after the first and only airing of the episode Electric Soldier Porygon from Pokémon. According to publications in various newspapers from the time, the patients presented cases of seizures, conscience loss, bloody vomit, migraines, and even memory loss. All of this after twenty minutes from the beginning of the episode, concurring with a scene where the colors onscreen changed drastically fifty-four times in less than five seconds.

After this event, Japan’s health ministry suspended the airing of the show nearly during one year. At the same time, investigations were started under the suspicion of negligence on TV Tokyo’s part, as this company oversaw its diffusion.

Many doctors identified the symptoms as episodes of television epilepsy, best known as photosensitive epilepsy, which is triggered by diverse light effects, including stroboscopic lights, or strobes, like the ones used during the episode. This theory was confirmed when studying the medical history of those affected, reason why the broadcasting of the episode was globally forbidden while various Japanese animation studios established guidelines which should be abided by every animated show in hopes to avoid a repetition of the event.

This incident took place during the show’s first year of airing and, although its fame hadn’t reach the level that it possesses actually, it had already managed to become one of the most watched shows at the time, especially among kids and teenagers, whereby it is not surprising the majority of the victims where minors, even less once photosensitive epilepsy’s nature -and even epilepsy’s in general-, is taken into consideration, as this condition is often developed during childhood and, in many cases, there’s the possibility of being outgrown.

In general terms, epilepsy is a nervous system disorder in which the brain sends abnormal signals that result in the temporary loss of control over brain coordinated processes. These episodes are called seizures or epileptic crises.

Although the term “seizure” has been made popular in mass media as violent body shakes and conscience loss, this is only one way the condition can be presented. Other epileptic crises are: absence seizures, characterized by the momentary loss of consciousness; tonic seizures, which cause muscular stiffness; atonic, causing of falls due to loss of muscular tone; clonic, presenting repetitive and involuntary muscle movements; myoclonic, or sudden limb spasms; focal without memory loss (or simple partials), altering the senses and creating spontaneous movements; and, finally, focal with memory loss (or complex partials), which cause fainting spells and repetitive movements.

It is worth noting that the different seizure types are solely symptoms, and therefore the usage of strobes does not cause epilepsy, but trigger the symptoms and, even if these are not the disorder itself, they can be dangerous on their own account by exposing the affected to a bigger brain damage.

Not every person who suffers from epilepsy is also photosensitive but, since this condition affects the nervous system, they can present sensorial sensibility, which is also challenged by strobes. In addition to this, kids between one and fifteen years are the most prone to develop photosensitivity when they possess a genetic predisposition to epilepsy and are exposed to this kind of effects.

The available information about photosensitive epilepsy has done nothing but grow since the events elicited by the famously forbidden Pokémon episode, turning strobes as seizure triggers as a piece of general culture. At the same time, multiple guides about ways to avoid triggering seizures with audiovisual content have been developed.

Among the recommendations emitted by professionals on the area are:

· Flashing sequences must not last more than five seconds (includes sudden color changes, especially red and blue).

· Flashing sequences must not use more than three or four flashes per second when they cover more than 25% of the screen.

· The movement of contrasting color patterns or uniform text must be avoided when they cover more than 25% of the screen.

· Contrasting color patterns or uniform text must not be used in more than 40% of the screen.

These recommendations apply to television, movies, concerts, and web content.

Regardless of this, Pokémon was not the first nor the last piece of audiovisual content to trigger seizures on its public. On the contrary, the usage of strobe lights has been popularized in the last few years, including its prolonged application in movies and shows aimed to kids.

The Incredibles (2004) is a kid’s movie produced by Walt Disney Pictures and Pixar Animation Studios. This film not only represented a big box-office success, but it continued the trend of both studios to develop new technologies for every project. In this case, character skin effects were improved, and innovative hair and clothing simulations were created.

More than ten years later, this movie’s sequel came to theaters, attracting people of all ages, showing once more their ability to improve digital animation in a short amount of time, especially when Pixar is involved.

Despite this, the responsibility techniques from both production houses didn’t follow the same pattern, because the day of its premiere many audience members reported through social media the constant usage of strobes during the movie.

At least five scenes with flashing sequences, all with a duration between fifteen and ninety seconds, representing three and eighteen times more length than the recommended maximum, not mentioning that, according to the audience, said scenes were vital to comprehend the plot.

Before June 15th, 2018, day of the premiere, no warning about strobe lights was given through any medium; not in the trailer, not in box-office, not even a message prior to the showings. The warnings were started by audience members after the premiere and many cases of seizures inside of the theatres. After this, Disney emitted a notice inviting theaters to use a photosensitivity warning at box-office.

Beyond being different content from different studios, Pokémon and The Incredibles 2 have two clear differences: the available information, and the implemented measures.

It doesn’t have to be spelt out: 1997 and 2018 were very different years. Not only internet access was limited in 1997, the only instance of any popular audiovisual material causing seizures on its consumers prior to Pokémon was in 1981 with the videogame Space Invader, phenomenon registered in a medical journal of the time which, to this day, is hard to obtain. In addition to this, it seems like said case wasn’t as documented as the caused by Electric Soldier Porygon.

Despite being able to disassociate from any responsibility by being a little-known fact, TV Tokyo decided to maintain its integrity by forbidding the episode in question and cancelling the TV show during a year with the goal to focus that time into performing investigations to prevent the repetition of the event, in addition to joining forces with other Japanese studios to regulate content, helping perform more studies about photosensitive epilepsy, showing respect for their audience.

Coming to 2018, the knowledge about photosensitivity and ways to prevent seizures is higher, as it should be expected after twenty years of one of the most significative events for the epileptic community. At the same time, it’s rare to meet someone without an internet connection, yet the number of titles that employ stroboscopic lights, and the access to them, keeps increasing: Stranger things (2016), American Horror Story (2011), Sense8 (2015), Mad Max: Fury Road (2015), and Breaking Dawn part 1 (2011), are only a few of the audiovisual pieces that caused seizures in their public before the premiere of The Incredibles 2.

The damage caused by this movie not only could have been avoided through comparation and simple common sense, there are multiple guides on the best practices to avoid triggering seizures, as well as an automatized test through a Harding machine, and an online version of the same.

According to its website, the Harding test, developed by Cambridge’s research team, analyzes videos in search of specific seizure provoking patterns, generating a certificate that settles whether the film is safe or not.

The biggest problem related to this test is its elevated price, which is an impediment for independent productions, but certainly not for Disney; The Incredibles 2 has a 120 minutes length, films of this duration require a payment of 130 pounds sterling, around 162.04 US dollars. The budget for this movie was 200 million dollars.

Even if it was a case of economical restraint, the United Kingdom and Japan require to pass the Harding test before getting approval to distribute any audiovisual material. The Incredibles 2 premiered in both countries, but the movie that was shown was edited to decrease the stroboscopic effects without altering the plot.

Not only the test was performed before the premiere, but the original version was used in the rest of the world regardless of its failing grade, and without employing any warning before the seizure cases. Is it necessary to explain why this decision could be considered blatant negligence?

It’s incredible to notice that TV Tokyo took better measures in 1997, when there was virtually no information available. Way better than Disney and Pixar, multimillionaire enterprises, in 2018 and with access to hundreds of studies performed across twenty years.

According to law and bioethics doctor Eleonora Lamm, human dignity “Implies the necessity of every human being to be treated on a stance of equality and the opportunity to enjoy the fundamental rights that derive from them”. Isn’t health a fundamental right?

Many advocates of this and many other seizure inducing films argue that the creator’s artistic vision shouldn’t have to be sacrificed to accommodate a few people. This opinion not only shows a lack of empathy, but is also irresponsible, since it attempts against the life and safety of more than a million and a half persons in the world.

Artistic vision is important, but the line needs to be drawn where other people’s rights start. In other words, if the way you choose to express yourself ends up with someone at the hospital, your artistic vision should take a back seat.

Let’s also consider that exposition to stroboscopic lights can be so harmful, in 1997 Japan’s army tried to develop a weapon based on them. This is not about censorship. It is not even about banning strobe lights, but about its regulation; strobes have good uses within the deaf community, helping them to enjoy concerts, and employing them as smoke alarms or even alarm clocks.

However, there is a big difference between their employment for emergencies and/or domestic situations, where the users are conscious of their existence, and using them in front of people with no warning during recreative activities.

Creators should have all the freedom to develop their artistic vision as long as they follow the existing guidelines on the number and proportion of flashing scenes on screen, as well as giving a clear, timely, and accurate notice of its usage and nature, providing on site methods to mitigate any adverse effects that may arise on people who are not aware of their condition. It’s from those warnings that audiences can decide the content they consume, and demand safe versions of it.

Furthermore, these alternate versions should be the norm at public spaces, reserving the special effects for DVD and streaming services as a special feature of the same, but never being applied  to content marketed to minors, as this is the group with more risk of photosensitive epilepsy.

We are in a situation where we cannot afford to ignore recommendations for content creation, the events related to strobe lights in mass media should be motive enough to take action, since we forgot so quickly about what happened after Electric Soldier Porygon and allowed these effects to be used in an irresponsible manner and become a cinematographic trend.

It’s not only about avoiding seizures on those who already suffer epilepsy, it’s avoiding kids developing it and making sure adults who outgrew it won’t relapse due to constant exposition, losing their driver’s license and even their livelihood.

November is epilepsy awareness month, but the events and research are of no use if the community remains ignored. We have all the necessary resources to decrease the numbers, we could live in a world that’s safe from seizures, we only need to understand that artistic vision is not superior to health.

--

Tagging the squad: @haikyuupaladin @fuckepilepsy @brainbuffering @justepilepsy

[k00256666]

Photography, Film and Video Elective Task: Response to Lens Based Artists (Part 4)

-Gjon Mili Response

19/01/2021

“Ballerina Alicia Alonso doing a pas de bourree” (1944) photograph by Gjon Mili.

Image Source: https://www.theguardian.com/artanddesign/gallery/2014/dec/16/flash-forward-gjon-milis-amazing-stroboscopic-photographs-in-pictures

My response photograph.

I created this photograph using my Nikon D3300 DSLR camera (with self-timer), a tripod, LED light source and a portable home studio set-up.

I chose to respond to photographer Gjon Mili’s stroboscopic photograph “Ballerina Alicia Alonso doing a pas de bourree” (1944), as I was intrigued by his intelligent use of stroboscopic techniques to capture, not only the physical movement of the ballerina as she dances, but to also depict her emotional movement, as he depicts each individual stage of her changing facial expression.

I wanted to create a similar depiction of changing facial expressions within a still image in my photographic response to this image, to depict changes in my own emotions, and the experience of being “moved” by music. I created a motion blur effect to depict this in my photograph, as I felt that this effect portrayed the intuitive, or even spiritual, nature of emotional movement. I achieved this effect by using a slow shutter speed on my DSLR camera and a tripod to capture my changing facial expressions as I moved my head. However, I also briefly stopped moving my head at times, to ensure that the camera captured the most important stages of different facial expressions, and that the emotional change was visible.

I decided to wear earphones to visually communicate the fact that I was listening, and reacting, to music. I also wore dark-coloured clothes to correspond with the dark background and I placed the light source close to my face to place emphasis on my facial expressions.

I feel that I would like to further practice this technique, to make the individual emotions more clearly visible amid the blur effect.

Overall, from completing this task, I think that this was an interesting way to explore the possible ways in which I could visually depict and communicate emotional movement in relation to music through still images. I feel that I would like to further explore the idea of creating a sequence of photographs for my project, possibly by combining a number of the techniques that I used to create these images.

[caroline18mars]

A Man On Fire - Chapter 70

From: BJLCubbins

To: HCDeRobiano

Subject: Re: re: Silence is not golden

Harper,

This was never a game for me, never! I'm a little too old to be playing games, when will you finally believe me? I don't know how or if I'm ever gonna win your trust back, but I'm not giving up, no way!

Charles isn't exactly the right man to be talking to, you should be right here talking to me! I don't want to torment you, I somehow needed to put some distance between us, because in spite of what you're thinking, I too am grieving and suffering. I've lost the woman I love so much by my own doing and that is killing me. One part of me is thinking: Harper deserves better, but the other part is saying: no, I'm the right man for her and she is the right woman for me. Making sense? Probably not, I don't know anything anymore, all I know is that I'm as miserable as can be.

Scratch 'maybe' out of your sentence 'maybe I should keep in touch with you', you need to stay in touch with me, life is even harder without your e-mails, no matter how unfiltered and angry they are.

Your exhibition will be amazing, the torment has got nothing to do with that, you're the future of art and that's a fact! When is it?

About the trust issues, it's ripping my heart out that you put me on the same line as your father and Sean, I can understand about them as they always used you and never loved you, but I did..I've loved and still love you Harper. I'll always remember the day I actually met you..it was instant love..

This mail is not like me, it's not eloquent, it's got no rhythm..I'm just hurting so bad, sorry!

Jared

Woww, what? So you're the victim now? Classic! Just fucking classic!

From: HCDeRobiano

To: BJLCubbins

Subject: Re: re: re: Silence is not golden

Jared,

Really? You're gonna be the victim now? The great George Michael once sang: 'guilty feet have got no rhythm', it's the same with feet as with your e-mails then, I guess!

The day you met me? Another fine example to prove my point that you can't commit to one woman! Let me refresh your memory..at the moment we first met, I was flown in as your lightdesigner and I got so much attention from you at the time, while you were constantly flirting with the other me by e-mail. That's when I should have known that you can never be true to one woman, even though I was one and the same but you didn't know that at the time.

Tell me, Jared, who did you really fall in love with, Coco or Harper?

Just..whatever, Jay!

HC

No ‘Harper’, no ‘Coco’, just ‘HC’, just some initials like this was a goddamn business transaction, it's too late, it's too bloody late! I'm done with this arguing, close the chapter for good, lick your wounds and then move on. He swiped her mail away, he couldn't go on, a wave of infinite sadness overwhelmed him and he let himself fall back on the bed and unabashedly cried his eyes out. On the other side of the country, Harper nervously wiped a tear away, don't cry, not here anyway, besides you've done too much of that already, forget what you lost, just gather what you still have even if it's just your pride and walk away, enough fighting, enough damage done on both sides. She switched off her phone, there, the world will still keep turning without me for a few days and if Charles needs me, he knows where I live.

Days later and Jared was just about to go on stage when he got a call from Charles “Jay, have you heard from her?” his friend's worried voice had the hairs on the back of his neck stand up. “Heard from who?” he knew who he meant but couldn't bring himself to say her name, “Harper! I've been calling, texting, e-mailing her, I even drove to her apartment a couple of times and she seems to have vanished from the face of the earth, I needed the rest of her work yesterday” Charles sounded desperate. “No, I've got her last e-mail over a week ago and to be honest she's no longer my concern” Jared breathed into his phone while microphone wires were attached to him “I've gotta go Charles, I'm about to go on stage” he didn't wait for Charles' reply and handed the phone to Shayla who disconnected the call. Just like he said, not his concern anymore, so what if she was missing? He had banned her out of his thoughts and had gotten through the week more or less ok,  surrounding himself with friends and family, and being the center of every party of every day this week and no he had not slept in his own bed for one night but he was a free man right? He didn't need to explain anything to anyone, not anymore. He walked up the small steps of the stage, a wave of heat surrounded him, blinding stroboscopic lights, the box lifted with the pulsating, hypnotic beat of 'Monolith' and the familiar roar of the crowd tugged at every fibre of his body, his eyes connecting with a couple of blue eyes in the frontstage, the eyes of last night's nameless conquest he had fucked. Guilty feet have got no rhythm? Just fuck off De Robiano, you don't know anything about me, you were just a warm and soft cushion for the pushing, nothing more, go ahead and fuck that stupid, sissyboy Nathan, lock yourself up with him and pretend he's the chosen one, the one who understands how that lunatic mind of yours works because I don't give a fuck about you anymore.

There was an urgent knock on the door that pulled her out of her concentration, huh? She jumped off her scaffolding and walked to the door, ohhh her back ached from being in the same position for far too long. “Djeezes fuckin' Christ!” in front of her stood a swearing and cursing Charles “what do you have a fuckin' phone for? I was this close to report you missing! Do you still want that exhibition or do I give your spot to the next big thing I've been putting on hold for a long time now!” he pushed past her, she looked completely clueless, her big brown eyes had big dark circles underneath, she clearly hadn't slept in god knew how long. “Charles..I..” she nervously wiped her hands on her blouse and looked for her phone to tell her the date and the time, “don't you fucking dare to 'Charles' me, I should have had your last pieces two days ago! I've been blowing up your phone and I'm so sick of that voicemail of yours, I've even been round here and you never answer the door” he yelled at her. He stomped around the apartment, the steam was really coming out of his ears when he saw the cord of the door videophone unplugged “how much do you want this, Harper? How fucking much? Because if you're not interested in your future then you tell me right now and I walk! I've got much better things to do with my time and my money than to invest it in some careless, egotistical little wannabe artist”. Harper let herself sink down on a barstool completely gobsmacked, the last couple of days had been about painting day and night to get it all finished, without any distraction and now she had missed her window?

All the yelling he was doing hit her like a brick wall and only intensified her low self esteem of the last couple of days where she had constantly thought that she was a loser and every single one of her paintings was a joke. “I'm sorry..I am..really sorry..” she stuttered and nervously wrang her hands, biting on her lip she tried to keep the frustrated and exhausted tears at bay “I didn't mean to..”. Charles' eyes were still shooting daggers at her “are you actually going to form a coherent sentence? Oh forget it, I'm outta here” he spat and then spun on his heels and stomped over to the door. That's when she completely broke down, silent tears started rolling down her cheeks as she buried her face in her hands, he stopped when he opened the door and in the corner of his eye he saw how silent sobs ripped through her body and it broke his heart. Taking a deep breath, he turned around again and put his hand on her back “don't cry, I didn't mean all that, it was just the adrenalin talking after a crazy couple of days, but I guess the days have been as crazy for you as they were for me..I was so worried..I even called Jared thinking you were with him”. The mention of his name made her lift her head but she didn't say anything, “which was a ridiculous idea..you're obviously painting him out of your system” he whistled between his teeth as he looked around the studio and saw the paintings, one of them was a heartwrenching, hyperrealistic painting of a semi-naked Jared looking right at the spectator with an expression in his eyes that made your heart skip a beat. “And he's singing you out of his system..”.

Hours later in the middle of a sleepless night, Jared took his phone from the bedside table and started scrolling, the reflection of the light made the anonymous lover for the night stir, so he got up and tried to find his way around this girl's house, where was the frikkin' kitchen in this place?. “Charles, it's me..did you find her?” he breathed into his phone as he pulled open the fridge in search of a drink, “I did..” Charles' reply was short and stern, “is she ok?” he had to know, he had felt bad all through the show having cut him off like he had done. “I'm not trying to be rude or anything, Jared, but why do you want to know? you said yourself she is no longer your concern” he breathed into the phone, “I know what I said..I was trying to protect myself..of course I still..” he hesitated before the world 'love' fell from his lips “care..about her”. Charles heard him struggling and pinched the bridge of his nose “I'm gonna be honest here..I worry about her..it's not uncommon for an artist to lock himself away from the world and she needed the time alone to finish everything, but my god Jared, you should see what she has made..it's the strongest, yet most heartbreaking, gutwrenching series of paintings..you have to see it to believe it, it's impossible to describe. It's phenomenal and it's gonna shoot her to the top of the art world but..aside from all that she's just not ok, she's desperately trying to be but that's one damaged cookie”. Shivers ran up and down Jared's spine, Harper..god, Harper..you stupid, harsh, tough, wonderful, gorgeous, amazing creature, I am trying so desperately to forget you and push you away, but you're always there in the pit of my heart and right behind my eyes no matter how much I try to fuck you out of my system. “Can you put me on the guestlist?” he blurted it out before he could change his mind, “Jared, I don't think..” Charles bit his lip, was confrontation what she needed or even wanted? Hell no! “..ok, I'll tell them to add your name to the list even though I'm probably gonna regret this for the rest of my life, just for the love of everything that's dear to me, don't you dare start a frikking World War III down here, she'll hate me more than enough already knowing you're there”. Jared exhaled like he had been holding his breath for too long “I won't, I promise, I'm not coming down to confront her, besides she won't even have to know I'm there, I'll hide somewhere so she won't have to see me, I just want to see her work”.

[ringlightpliable]

Comment utiliser une lampe annulaire de photographie de manière non conventionnelle

L'éclairage annulaire constant de la photographie semble être partout aujourd'hui. L'utilisation la plus importante d'un éclairage annulaire est l'éclairage sur axe pour obtenir une vulnérabilité uniforme et légèrement plate.

Mais que pouvez-vous faire si vous n'aimez pas cet impact ou l'identification d'un éclairage annulaire pour cette question ? Comme ces lumières sont constantes, et en raison de leur taille, elles ont plus d'applications que les éclairages annulaires d'antan. Si vous n'aimez pas l'impact direct, alors vous n'avez pas besoin d'utiliser un éclairage annulaire de cette manière.

Ce rapport montre six applications d'un éclairage annulaire constant qui ne correspond pas à l'usage auquel il est destiné. Il vous montrera également (nous l'espérons) que ces éclairages relativement bon marché et productifs sont utiles pour tout photographe de studio.

Si vous ne les connaissez pas, un éclairage annulaire est un éclairage rond et annulaire utilisant une grande ouverture faite pour être placée juste devant un sujet.

Polyvalence

En plus des variations constantes de ces lumières, vous avez une abondance de choix quant à la façon d'utiliser un éclairage circulaire. Avec les nombreux choix disponibles sur le marché actuel, cela vous permet d'obtenir une lumière continue très visible, légère et flexible pour environ 100 euros.

Voici un bonus si vous n'avez jamais utilisé de lumières constantes auparavant. Comme la sortie est continue, les élèves de votre sujet de portrait deviennent restreints. En conséquence, vous verrez davantage cette couleur des yeux sur vos photos.

OPTIONS

Vous trouverez ci-dessous cinq exemples de façons d'utiliser un éclairage annulaire constant à bon escient sans l'utiliser comme un éclairage annulaire.

1. En tant qu'éclairage typique

Malgré leur forme ronde, les feux circulaires sont excellents s'ils sont utilisés comme éclairage standard. Augmentez l'éclairage et orientez-le vers votre sujet pour déformer l'impact de la forme de l'éclairage, et vous pouvez l'utiliser comme une petite boîte à lumière. Vous n'êtes pas limité à la façon dont vous pouvez éclairer votre sujet de cette manière, mais j'ai découvert que chacune des routines d'éclairage fondamentales fonctionne bien.

Si vous avez plus d'un éclairage en Anneau Lumière , vous pouvez les utiliser ensemble pour créer à peu près n'importe quelle installation à deux lumières qu'il est possible d'imaginer. Si celles dont vous disposez ont une sortie flexible, la manipulation de votre clé pour respecter les ratios devrait être assez simple.

 2.Comme PRO

Si vous utilisez un éclairage annulaire à LED, elles ne chauffent pas vraiment. N'hésitez pas à faire poser votre sujet avec le doux lui-même pour des images assez distinctes. Les résultats changeront avec des anneaux lumineux de différentes dimensions, et vous devrez vous préoccuper de la prise ainsi que des fils, mais c'est toujours une technique agréable. Vous ne l'utiliserez probablement pas très souvent en raison de sa tendance à l'éclairage vers le haut.

3. Comme remplissage ambiant

Il est possible de combiner n'importe quelle lumière constante avec des flashs de studio pour quelques résultats intéressants. En utilisant un stroboscope comme éclairage principal, vous pouvez ensuite faire entrer un anneau doux pour quelques remplissages.

 N'oubliez pas que vos stroboscopes sont probablement beaucoup plus puissants que votre éclairage circulaire, réglez donc la puissance en conséquence. En outre, vous souhaiterez probablement un éclairage circulaire avec une température de couleur flexible si vous êtes susceptible de mélanger les sources de lumière.

 Vous pouvez inverser cette tendance et utiliser l'éclairage annulaire doux comme crucial et le flash comme remplissage. Comme auparavant, assurez-vous que la puissance de vos stroboscopes est suffisante avant de vous engager dans cette voie.

4. En tant que dispositif de composition

Dans son utilisation habituelle, je suis fan de l'idée de développer un essai en utilisant le véritable éclairage annulaire pour encadrer le sujet. Mais vous n'êtes pas limité à cela. Il est possible de placer l'éclairage circulaire partout sur votre cadre pour obtenir des résultats intéressants. Vous pouvez en placer un derrière votre sujet pour obtenir un effet de halo, ou en placer un dans un angle uniquement à l'intérieur de votre cadre pour obtenir une bande de lumière incurvée sur tout le maquillage.

5. Faire glisser la caméra

Cela ressemble beaucoup à l'utilisation de l'anneau doux comme remplissage ambiant, mais si vous utilisez votre stroboscope en général, il est possible d'exposer pour le stroboscope de profil élevé ainsi que pour l'éclairage d'anneau de faible puissance en tirant sur l'appareil photo .

Juste un petit avertissement : si vous êtes un photographe à l'esprit technique, vous allez probablement détester cette technique particulière, car les résultats ont tendance à être un peu mous. Mais elle peut être utilisée pour obtenir des résultats remarquables. Si vous l'aimez vraiment, vous devez quand même faire attention à contrôler le mouvement de votre propre appareil photo.

 Comme l'énergie produite par votre propre flash n'est en aucun cas contrôlée par la vitesse d'obturation, vous pouvez régler votre vitesse d'obturation aussi vite que vous le souhaitez pour produire ce travail. Mais vous pouvez choisir d'utiliser un trépied pour les vitesses d'obturation très lentes.

C'est tout

Cela fait six techniques qui vous permettent d'utiliser un éclairage constant sans avoir à l'utiliser comme un éclairage d'anneau.

[igazikutya]

Zajok a nappaliból – Grand Traxelektor 2019 / 1. Main

Kétezertizenkilenc elektronikus zenei undergroundjának legtöbbet hallgatott és legérdekesebbnek ítélt művei hármas tematika szerint rendezve. (első rész)

Spotify playlist:

https://open.spotify.com/playlist/4Lsp3O65FaqHiTAv3tB7tP

808 State – Skylon [Transmission Suite, LP, Self-Released] 808 State - Spiral Arms [Transmission Suite, LP, Self-Released] 808 State - Tokyo Tokyo [Transmission Suite, LP, Self-Released] Acronym & Kali Malone - Legs of the Fly [The Torrid Eye, Stilla Ton] Anthony Rother - Research A [Mistress 12, EP, Mistress] Anthony Rother - The Message [We Are The Future, EP, Stranger In The Night] Anthony Rother - The World Needs You [Mistress 12.5, EP, Mistress] Antoine Kogut - Sphere Of Existence (Chateau Flight Mix) [Sphere Of Existence, LP, Versatile] Aril Brikha - Pattern Recognition [Pattern Recognition, EP, Mule Musiq] ASC - Magnetic Discharge [Chaos Theory, EP, Arts Transparent] ASC – Nocturne [Realm Of The Infinite, LP, Auxiliary] Betonkust & Innershades - Abandoned Chat Room [Benelux Connection, EP, Clone Jack For Daze] Betonkust & Palmbomen II - Bart Is Alone Again [Parallel B, EP, Dekmantel] Black Light Smoke - The Right Way [Nothing Makes Me Feel (Good Anymore), EP, Scissor and Thread] Black Lung - The Great Manipulator [The Great Manipulator, LP, Metropolis] Black Merlin - MM5 [Kode, EP, Die Orakel] Claro Intelecto – Sirens [Forgotten Wasteland, EP, Delsin] Clouds - Fantazia 2003 [Sharp Like A Razor, EP, Headstrong] Cooper Saver - Hidden Springs [Pacifico, EP, Biologic] Cooper Saver feat. Indra Dunis - The Search [Coastal Breeze, EP, Permanenet Vacation] Cosmo Vitelli - Groupe Surdose [Holiday In Panikstrasse Part 1, EP, Malka Tuti] Cosmo Vitelli feat. Sebastian Lee Philipp - Die Alraune  [Holiday In Panikstrasse Part 1, EP, Malka Tuti] Dadub – Nusuth [Nusuth, S, Holotone] Die Orangen - The Island (Back to Me)[Zwei Orangen, LP, Malka Tuti] Die Orangen - Yaranabe (Full Circle Goa Way Remix)[Saft 2, EP, Malka Tuti] Djedjotronic feat. Lokier - Are Friends Electric [Are Friends Electric, EP, Boysnoise] Download - check the Closet [Unknown Room, LP, Sub-Conscious Communications] Download – Gaslighter [Unknown Room, LP, Sub-Conscious Communications] Edit Select - In Range [Edit Select Presents Club Tracks Vol #1, EP, Edit Select] Edit Select - VSN-2 [EDIT SELECT 44, EP, Edit Select] Edit Select & Antonio Ruscito - Passing Glance [Prominence, EP, Edit Select] Front Line Assembly feat. Jimmy Urine - Rock Me Amadeus [Wake Up The Coma, LP, Metropolis] Function - Distant Paradise [Existenz, LP, Tresor] Function - Interdimensional Interferenc [Existenz, LP, Tresor] Funki Porcini - I Want My Brain Reversed [Studio 59, LP, Self-released] Gusgus feat. Sisely Treasure - Came Back to Life (Extended) [Remixes Are More Flexible, Pt. 1, EP, Oroom] Holly Herndon – Alienation [Proto, LP, 4AD] Ian Pooley - Puzzled (Original Mix) [Puzzled, S, Suol] Inigo Kennedy & Samuli Kemppi – 404 [Catalogue Of Errors, EP, Blacklabel Distillery] J Majik and Sense - Escape from Lando [Full Circle, LP, Infrared] Jay Glass Dubs – Reckless [Epitaph, LP, Bokeh Versions] Jeans - Aquatic Lifefrms Alien Hybrd Evolvd [SAFE, EP, Who's Susan] Jeff Mills - Stabilising The Spin [Moon (The Area Of Influence), LP, Axis] Jeff Mills - The Drive Home (Directors Cut, 2019) [Sight Sound And Space, LP, Axis] Jimi Tenor, Freestyle Man - Are We It?(Alone In The Universe) [Are We It?, EP, Studio Barnhus] Jimi Tenor, Freestyle Man - Jori's House (Original Mix) [Are We It?, EP, Studio Barnhus] John Talabot - Immediate Crash Alert [HVN C/D, S, Hivern Discs] Jonas Kopp - Solar Minimus [Solar Maximus, EP, Tremsix] Kangding Ray - 22 Halo [Azores, EP, Figure] Konx-Om-Pax feat Nightwave - Im For Real [Ways Of Seeing, LP, Planet Mu] Kris Baha - Life, Lust & Death (Original Mix) [Palais, LP, CockTail d'Amore Music] Krokakai - Ardu 1009 (Extended Mix) [Burning Pleasures, EP, Invisible Inc.] Lee Scratch Perry - Let It Rain [Rainford, LP, On-U-Sound] Legowelt - Prophet Vector Synth Dazzling In The Sun [Unconditional Contours, LP, Smem] Lucy - Dyscamupia (Forward) [Dyscamupia, EP, Stroboscopic Artefacts] Luke Slater - Love (Planetary Assault Systems Low Blow Remix) [Love Remixes, EP, Mote-Evolver] Luke Vibert -  Sharon's Tone [Valvable, LP, I Love Acid] Machine Woman - Carin & Dean [When A Machine Cries, You Get Petrol, EP, Take Away Jazz] Masalo feat. Doussou Koulibaly – Yera [Amandla: Music To The People, LP, Soundway] Meat Beat Manifesto – Bolinas [Opaque Couché, LP, Flexidisc] Move D – Cycles [Building Bridges, LP, Aus Music] Mr TC - Depth Gauge (Original Mix) [The Depths Of Haze, EP, Hard Fist] Mr TC - Gay Haze (Khidja Remix) [The Depths Of Haze, EP, Hard Fist] Mr TC - Gay Haze (Original Mix) [The Depths Of Haze, EP, Hard Fist] Mr TC - Zeuglodon (Original Mix) [Zeug, EP, Against Fascism Trax] Nautiluss - WiFi Oasis (Original Mix) [Angels & Daemons, EP, Seilscheibenpfeiler] Nocturnal Sunshine - U&ME [Full Circle, LP, I/AM/ME] Odd Nosdam - Flippy Rock 19 [Flippies Rock Tape, MC, Home Assembly] Off and Gone – Pax [Dali's Pillow Geiger's Toilet, LP, Map Music] Om Unit & Kid Drama - Untitled 2 [Untitled Works, EP, Apollo] Patricia - Too Many Takes [Heavy Merging, EP, Black Opal] Plaid – Ops [Polymer, LP, Warp] Planetary Assault Systems – Red [Plantae, EP, Ostgut Ton] Pye Corner Audio - Solar Waves [Dark Phase, EP, Analogical Force] Recondite – Pour [Silk, EP, Hotflush Recordings] Redshape – Shapes [RISE, EP, Running Back] Rod Modell – Jade [Captagon, LP, Tresor] Roisin Murphy – Incapable [Incapable, S, Skint] Soundwalk Collective feat. Patti Smith – Eternity [Mummer Love, LP, Bella Union] Subjective - Rift Valley [Act1: Music For Inanimate Objects, LP, Subjective] Tapan - Ghana (Front De Cadeaux Remix) [Ghana, EP, Malka Tuti] Tapan feat Jan Nemecek - The Beast [Ghana, EP, Malka Tuti] The Future Sound of London - Yage 2019 [Yage 2019, LP, fsoldigital.com] The Young Gods - Figure Sans Nom [Data Mirage Tangram, LP, Two Gentlemen] The Young Gods - Tear Up the Red Sky [Data Mirage Tangram, LP, Two Gentlemen] Thom Yorke - Impossible Knots [Anima, LP, XL Recordings] Tom Of England - In Your Town [Sex Monk Blues, LP, L.I.E.S.] UVB76 – Citizen [Session Extend, EP, Tabernacle]

[aluoka]

Tim Noble and Sue Webster's award-winning work, The Masterpiece, also operates in this space between substance and illusion. Here, a delicately detailed silhouette of each artist in profile, emerges from a solid-silver sculpture cast from an unexpected source. Like other artists in the exhibition, Mat Collishaw's work also blends 19th century ideas with 21st century methods. In Albion (model), Collishaw draws on the Victorian stage illusion, Pepper's Ghost, to bring his subject to life. Using a projected 3D scanned image, and an angled, reflective surface, the slowly rotating 'ghost-like' image of the Major Oak; (a centuries-old tree in Sherwood Forest) is brought into view. Albion (model), is shown alongside Mat Collishaw's, The Centrifugal Soul. A sculpture in the form of a zoetrope, The Centrifugal Soul uses stroboscopic lighting *, to animate scenes of 3D printed bowerbirds and birds of paradise as they perform elaborate mating. Rachel Goodyear's Dancing Devils concludes the exhibition. Combining hand-drawn, stop-frame animation and 2D d rawing processes, like the other works in this exhibition, Dancing Devils combines traditional practices alongside new media technologies and contemporary methods of production. Reminiscent of flipbook images, magic lantern slides and early cinema, these impish and sprite-like figures are doomed to dance forever in a never-ending loop until, as with the rest of the exhibition, the lights go out and the apparitions disappear. Providing historical context to some of the techniques and technologies represented in the exhibition, A Trick of the Light, will be accompanied by items on loan from The Bill Douglas Cinema Museum, at the University of Exeter. Here 19th Century Zoetrope, ombrascope and hand-cut silhouettes, sit alongside books on Shadow Play and Victorian stage illusions.

#Studio Culture

[uozlulu]

I’ve had epilepsy my whole life and I was born in the 80′s. This isn’t a new thing and studios were never strict about it, but with HD tech, it’s becoming not only more frequent but the intensity of the effects are higher than they used to be too.  

It really bums me out especially to see it become more frequent in children and family media because my heart breaks for the kids who have to miss out on stuff like super hero movies, Doctor Who, Pixar movies, etc...etc... that their friends love because their brains just can’t tolerate it. It also means if I ever have kids or nieces and nephews, I’ll never be able to watch these things with them either because they’ll be too dangerous for me even if I’m taking medication.

I can’t even watch modern 3D CGI that doesn’t have stroboscopic effects because the animation is so smooth it becomes too hypnotic for me. I miss the days when 3D CGI tech could produce a 2D version easily.

I just have to keep reminding myself I’m never the intended audience for a lot of stuff because of this.

I'm not epileptic, but between the Cyberpunk2077 and Avatar 2 stuff, is anyone else getting the feeling that studios are getting a bit more...lax with making sure their shit doesn't cause seizures in photosensitive people?

[jeremysaffer]

New casting call posted on my model casting IG: @jeremysafferfollowsyou ・・・ Casting Call: MODEL CALL: 6 projects. (photos censored because internet.) There are six projects I am casting for. two are on going, two are new as of last year, and two i'm announcing with this post. 1.(new project) Stroboscopic - a series of Stroboscopic photos - see examples in this post. 2.(new project) Color series - a series of photos taken using full saturated color lighting in various color set ups - see examples in this post. 3.(brand new project) The Death of Autumn - a series of portraits taken with full snow coverage on the ground. - looking for any models, must be able to withstand being outside in cold temps for a minute or two while shooting. 4.(brand new project) Hair and movement - a series of portraits where hair is flying across the background, being pulled across the subjects face, across subject etc. - seeking models with shoulder length or longer hair. 5.Fine Art Nude in studio (various set ups, backgrounds, lighting) - on going 6.Fine Art Nude on location/outdoors (various light/locations, nature locations) on going. Projects 1, 2, 3, and 6 will be shot exclusively in massachusetts at and around my studio. Projects 4 and 5 can be shot both east and west coast, however, while west coast I will only be doing one or two days of model shoots. All projects include tasteful nudity, so all models must be 18+, must be comfortable posing in photos similar to what you see in this post. The photos are to be used in an upcoming print project to be announced in the spring. - All models who shoot for any projects will get digital copies of the final images and can use them for whatever they would like. Female Models of all genres, alternative, non-alternative, are welcome to apply, and feel free to pass this along to anyone you think may fit the project or may be interested. booking now. Massachusetts Jan 18 - Feb 10th / March 15th - May 1st Los Angeles Feb 15 - March 10th If you are interested in shooting, send me a message or an email (jeremysaffer at gmail) models tagged. http://bit.ly/2CvypzW

[al-dutch]

Optoma UHD51ALV 4K UHD Projector With #Alexa & #Google Assistant Compatibility - - 3,000 ANSI lumens Up to 500,000:1 contrast ratio with Dynamic Black Features Single #Texas Instruments(R) .47" UHD DMD chip Full 3D HDR10 support for #brighter whites, deeper #black levels & vivid #colors 4K video playback with the integrated USB media player HDMI(R) 2.0 with HDCP 2.2 connectivity ensures compatibility with 4K UHD video sources - - #autohash #NewYork #UnitedStates #NYC #lens #sparkle #technology #tech #techie #geek #techy #classic #movie #compact #aperture #miniskirt #shutter #studio #zoom #plastic #portable #stroboscope #eBay - - eBay Store 👇👇👇👇👇👇👇👇👇 http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575378759&campid=5338273189&customid=&icep_item=163548947863&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg&toolid=11111 https://www.instagram.com/p/Bt_RzTNH_ZK/?utm_source=ig_tumblr_share&igshid=dayu62a0zz26