#blue butterfly iphone cases

[mollyinternational]

Buy Men's Jewelry Online with Ease

Welcome to Molly International, your one-stop destination to buy men's jewelry online with ease. We are committed to providing a unique and accessible shopping experience for everyone, ensuring that you find the perfect jewelry for him that expresses your individual style. From premium watches for men online to trendy men's sunglasses and Boho drop earrings, we have an extensive collection of accessories to suit your needs.

At Molly International, we understand the importance of finding the right jewelry to enhance your personal style. That's why we offer a wide variety of jewelry for him that is crafted with care and attention to detail. From sleek and sophisticated bracelets to stylish rings and necklaces, our collection features pieces that exude elegance and charm. Our jewelry for him is designed to make a statement and reflect your unique personality.

Explore our selection of watches for men online, where you'll find an array of styles to choose from. From classic and timeless designs to modern and trendy timepieces, our watches combine functionality and fashion effortlessly. Each watch is crafted with precision and reliability, ensuring that you not only keep track of time but also make a lasting impression.

Complete your ensemble with our trendy men's sunglasses, designed to add a touch of flair to your look while providing protection for your eyes. Our sunglasses collection encompasses various styles, ranging from classic aviators to trendy wayfarers. Find the perfect pair to suit your face shape and express your personal style.

For those seeking unique accessories, we offer Boho drop earrings that are sure to catch attention. Inspired by the enchanting world of Alice in Wonderland, our collection features designs such as rabbit earrings and tea party earrings. Our blue and white drop earrings add a touch of elegance, while our cute drop earrings bring a playful and youthful vibe to any outfit. Additionally, we have a selection of dangle earrings for women, designed to enhance their beauty and charm.

At Molly International, we believe in making your shopping experience delightful. From home goods to personalized gifts and accessories, we offer a wide range of products that inspire and bring joy. We even have a Pet Collection devoted to our furry friends, ensuring that every member of your family is included in the shopping experience.

Join us at Molly International for Men, Women, and Pets, and experience the joy of shopping for men's jewelry online. With our commitment to affordability, a wide variety of products, and a delightful shopping experience, we strive to make you feel good and find products that you will love.

Buy men's jewelry online with ease at Molly International, and express your unique style with our premium collection of accessories.

[likirahub99outfitstees]

It Takes A Lot Of Courage Unicorn Tank Tops, Baseball T-Shirts, Travel Mugs, Kids T-shirts, and Many More visit the shop now & grab the discounts.

Up to 35% off sitewide! $16 tees and more Buy Now

[womenofwrestlingfashion]

Charlotte is using the Blue Butterfly Shock iPhone Case from Skinny Dip ($42) and wearing the You Can Be Kind And Still Say No Sweatshirt in Light Blue from Self-Care is for Everyone ($39.88)

[spookygingerr]

Wednesday tag game <3

thanks for tagging me @heymacy (and for making it!), @creepkinginc, @gallapiech, @roryonic & @energievie . love my pocket pals big time 💖

Name: 🧊

When is your birthday: 34 days before nosho’s

Where do you call home? my house <3

How many pets do you have? 1 lola

What do you do for work? sales but i’m training for my dream job

Do you believe in aliens? yes

Do you believe in ghosts? i just ‘read last night at the verona grand’ so absolutely

Favorite subject in school? english lit

What are you currently reading? the launch party by lauren forry

What are you currently watching? i’m halfway through the movie about time if that counts? i’ll finish it later

What kind of laptop do you have (+ describe it to me): i have a macbook pro? air? idk. it has so many stickers.. at the bottom is a pic of my fave (by steven rhodes). i also have two broken work laptops and one working work laptop.

What kind of phone do you have (+ describe it to me): iphone 11? lilac. i have a clear case with holographic butterflies and my gym card in it

No-show socks, ankle socks, or crew socks? ankle socks!

What kind of headphones do you use? either my airpods or i have some jbl headphones for when i also need my loops on underneath bc sensory issues…

How do you consume caffeine? iced lattes, iced americanos, cups of tea, coke zero, monster energy drinks…

And finally, what are you wearing today? most of the day i was wearing pj bottoms and a t-shirt because i work at home. now i’m wearing white linen trousers, an off the shoulder striped top and docs sandals.

i’m tagging: @transmurderbug @transmickey @em-harlsnow @jademickian @ian-galagher

@crossmydna @lee-ow @doshiart @deathclassic @vintagelacerosette

@transsexual-dandelions @mickeym4ndy @jrooc @blue-disco-lights @mybrainismelted

@kandyzee @mickittotheman @sleepyheadgallavich @thepupperino @stocious

@burninface @sgtmickeyslaughter

[forever-tiffany]

[voltsco]

Butterfly Phone Case

Product information: Available products: iPhone 11,iPhone 8,iPhone 7,iPhone X,iPhone XS,iPhone XR,iPhone 7 Plus,iPhone 8 Plus,iPhone XS Max,iPhone 11 Pro,iPhone 11 Pro Max,iPhone ese 2020 Style: Back cover style Material: acrylic + soft edge Popular element: Animals Colors: pink, purple, light blue

[murdrscne]

new lock screen + home screen (that i slapped together myself 🤧)

[sheinxitems]

Butterfly Phone Case

[littlealienproducts]

Unique Pressed Flowers and Butterflies iPhone cases: dried blue hydrangea case and dried field flowers and plants case 

Handmade by Vapour Roses

[everyhowlmarksthedead]

“SHOULD I TRY?”

Gilly Lopez x Reader

Serie Index. Chapter 2.

Word Count: 3.6k

Author comments:  I hope you all enjoy. English isn’t my first language, I’m sorry if I have some mistakes with grammar. Gif isn’t mine. 

Tag list: @STARRYNITE7114 @CHIBSYTELFORD @DAZZLEDAMAZON @MARA-MPOU 💥 (if you wanna be tagged, send me a message!)

“She didn' called you, man?”, Angel falls down on the sofa, putting his legs on the table.

“Who are you talkin' about, uh?”, Traq asks interested.

“We met a girl last friday. She destroyed Angel's ego”. Coco laughs loudly having a seat at the left of Gilly. “Bonita y con carácter”. (Pretty and strong character)

“We all asked her for a drink, but she preferred our big guy”, EZ puts his hands on Gilly's shoulders to palm them, who doesn't look very delighted because he thinks you're not gonna call him. “I know her. Sometimes she buys at pops. Her name is (Y/N)”.

“She told me she works at a preschool. We can fin' her, if you wan', brother”. The proposition that Coco makes sounds crazy, 'cause he doesn't want to bother you and lost the least opportunity he can have.

Gilly sighs getting up refusing to do it. “Probably she only did it just to piss you off. I don't know why I have illusions”.

“C'mon, man! Don't treat yourself like that!”

“Yea', you're a good guy!”

“And pretty smart”.

“And you can fix everything. Literally. The man of the house!”

The guys try to cheer him up, but isn't enough. If he compares himself with them, he thinks that there's no game he can play. His insecurities and his poor self-confidence talk for him. ━━━━━━ ﹅ ━━━━━━ The ring above the door makes a soft sound announcing you, inside the shop. You're wearing a peaceful smile in your lips, waiting in the middle of the place to be attended. Felipe goes out of the warehouse, looking you through his glasses. He smiles too taking off the apron to hug you warmly.

“Que bueno verte, querida. ¿En qué puedo ayudarte?” (Good to see you, honey. How can I help you?)

“¿Crees que podrías darme el número de Ezequiel? Perdí mi teléfono hace unos días y necesito hablar con él”. (Could you give me Ezequiel's number? I lost my phone few days ago and I need to talk with him).

“Everything is ok?”, his voice turns worried, keeping his hands holding yours.

“Yes! Yes! We just... met last friday and I was talking with a friend of EZ. He gave me his number but... well, I'm a mess. What can I say?”

“Give me a second, sweetie”, he replies with a nod. He looks for a paper to write it, giving you once it's done.

“Me has salvado, muchas gracias”. (You saved me, thank you so much).

“Anything for you, mija”. ━━━━━━ ﹅ ━━━━━━ You feel ashamed. You have the phone in your hands and the chat with the Reyes opened. But you don't know how ask him for Gilly's number. They're gonna think you're dumb or something like. A heavy sigh goes off of your mouth, rubbing your eyes and laying the head on the sofa. Maybe it could be a good a idea go to the club. Well, everybody knows where it is. So, you're into it without overthinking.

You wear some comfy clothes; a jeans, crop-top and a pair of sport shoes. Light make up and the hair in a braid. With the headphones on, you walk out of home in your way to the MC. Walking helps you to think wich words you're gonna use to talk with him, now that you're sober and you feel a little shy. But arrive takes you less time than you expect. With a deep breath, you go to the junkyard's office because you know it's not allowed to follow the road to the clubhouse. A man with strange hands and a particular happy attitude receives you.

“Hi! Uhm... Is it possible to talk with... Gilly?”

“Oh, yes! You should be the pretty girl the guys talked about!” Your face turns with confussion while the man turns around to take the phone. “Pretty girl is here!” It's everything he says nodding energy. There's a small pause till he hangs up the call. “He's at the club. Come with me, I'll guide you, pretty girl”. (Meanwhile at the clubhouse).

“Yes, tell her to come”. Bishop hangs up the phone with a big smile in his face. “Man, this girl has two big balls”.

“Who is it, prez?”, Creeper asks.

“(Y/N)”.

Everybody at the room looks at Gilly, who is about to have a heartattack. The guys celebrate noisy palming his back, shoulders and nape. He's in some kind of shock, because can't believe you're there.

“I'll open the door, don't move”. Tranq laughs watching his facial expression, getting up of her couch.

“She is gonna freak out if she sees us all here”, Ez comments laying his back against the chair. You smile back with your hands inside the pockets of the jeans, following him downstairs. You can avoid to look everything around feeling a lot of curiosity about it. Only two minutes before findindg a metallic frontdoor with some mayans' symbols in it. It's opened by a man you didn't met before. More or less on his fifties, short hair and a lot of tattoos decorating his arms. His big. So big and tall he looks like one of those doormen of a nightclub. You're about to show him your identification to prove that you're an adult. But then, he smiles kindly.

“(Y/N), right? I'm Tranq. Welcome to the Mayans MC”. He's being courteus when he feels you're a little scared. Let's be honest. Nobody in their right mind would go to place where there are a lot of men, of whom you've heard that they traffic with drugs and kill people.

“Nice to... meet you”. This is everything you can reply, forcing a smile while he lets you some space to walk in.

There's a big yard with a boxing ring at the left and a sort of a parking where the motorbikes are parked. The house is in the middle. Blue walls and white fences, a little old. But you like it. Following the man, you decide to wait at the hall, outside, when he opens the door and you find the men in. Now you're more scared and start to think that you should have texted EZ. “Eh, Gilly, you have visit!” Tranq shouts, making you walk a step behind.

“My ego's still hurting!” Angel's voice appears in the middle of nowhere, causing everyone to laugh.

It wasn't a good idea to come. Maybe they were making jokes these days about you, like if you were able to be with one of them. Crazy thought. You sigh in silence, turning around to go downstairs, walking to the frontdoor. You wanna come home, feeling stupid like never before. You start to believe that maybe it was just a gamble to see who fucks with you first, and that's all.

“Hey!” Gilly calls you, trying to get your attention, but you keep walking. And he knows why. “Shit, Angel! I'm gonna fucking cut you into pieces!”

That sounds good, but you're not in the mood to stop, till he grabs you by an arm.

“Hey, wait! I'm sorry. He's an asshole”.

“It doesn't matter, seriously... I... I just... Forget it. I'm going home”. He stays on his feet looking at you incredulous, stopping you again.

“You came for a reason, don' you?”.

“Yes, before feeling like a clown to you all”.

“Wha-What?”

“I just... I just... lost my phone. And I went to the carnicería Reyes to ask for EZ's number, so he can give me yours. But then I thought ‘well, I could go and ask him, and maybe talk about something’, but... it was nonsense”. Your hands are gesturing more than normal, because you're upset and uncomfortable.

“To me has a lot of sense”. He purses the lips shrugging with the hands inside the vest' pockets. Has the same shy look he showed the night he asked you for a date. “Look, Angel has a big mouth, he doesn't thinks. But is a good guy. And you also impressed my boss. He thinks you're fucking crazy coming here”.

His last words make you doubt. Is it a compliment? The only thing is very cleat is that you want to hang out together, no matter the risks or the dangerous bullshit. And yes, maybe you're a little bit crazy, but that has its charm. You pull the long braid to your back without knowing what more you can say. “So... you still wanting my number?”

Of one of your pocket, you take the old iPhone you're using while have enough time to go and buy a new one. After type the pincode, you offer him with a softly smile. He holds it, moving his finger all over the small screen.

“Ready”. You listen, with your eyes in nowhere. Turning the attention to him you take it back. “What if... I pick you wednesday at seven?”

“Sounds good. I mean, yes, it's perfect”. The idea of having a date starts to be real and this gives you some nerves, like if you were a teen. “I live near of the bus station, we can meet there”.

“Great! I'll be at seven”. He repeats in case you didn't listen, before give you an unexpected hug. ━━━━━━ ﹅ ━━━━━━ You're not very convinced with the outfit, but seems like match the way he dresses. The long and vaporous black dress with white points, covering your knees and an opening to mid thigh and a neckline that highlights your clavicle. As shoes, one of those classic black Convers. Your hair is tie in a ponytail and the fringe perfectly blushed. Some light and natural make up finish it. You like it. You would use it to go out any night. And you hope he likes it too.

You're nervous feeling those butterflies people talk about, for first time since long time ago. With a small bag on your shoulder and a hand supported in, you walk with your eyes on your feet, taking your time till arrive to the bus station. It's almost seven and Gilly is there, when you're in the opposite sidewalk waiting for the green light to cross the road.

“Woah...” Is everything he says when you're finally together.

“What? Is it something wrong?” Your voice turn confused, looking your reflection on a big window some meters away.

“No, no! I mean... Woah, you look pretty”. He gets up from the hood of the car with a big and satisfied smile, before hugging you. He also kisses you loudly in the cheek, making you laugh.

“You smell really nice”. With a sigh, you confess.

“You like it?”

“Yes! A lot, actually”. Your cheeks turn into red ashamed, then he laughs back and it's a moment you would like to live forever.

“Ok, let's go. I thought could be funny go to the fair in Santa Madre. What do you think?”

“Yes! Sounds good! Never been there. At the fair, I mean”. You're talking too much, even your fingers are shaking softly. When you're about to take a seat, you find a medium wrapped box with a blue paper. “What's that?” You ask taking it, before get into the car.

“I don't know, take a look”. He shrugs innocently, taking his place next to you. The engine of the red Mustang roars with fury, starting to move at the same time you put the seat belt on your chest and waist. Leaving the bag on your foot, you unwrapped the present, finding one of the last iPhone they released. Your hands, holding it, fall on your lap.

“I can't accept it. It cost like... One thousand dollars, Gilly...”

“You can and you will. I want you can read my messages without gettin' blind”. He jokes on you, looking to your side for a while. You know there's nothing else you can say, so just simply hugs him and give a kiss on his cheek. “I didn’t know wich was your favourite color. I think you're more into green or purple, but I bought it white 'cause you look like heaven”.

“Dammit, Gilly!” You laughs again a little bit loudly.

“You didn't expected, uh?”

“No”. The laughter are matched inside the car, while you're opening to get the phone. It's really cool and you can't wait to change for yours.

“We can find a phone case in Santa Madre, if you want”.

“Yes! I don't wanna break it. And I'm also about to activate the findme! app. I didn't with my last one, but at least I have a backup of pictures and music”.

“I charged it for you, so you can configurate while where on the road”. ━━━━━━ ﹅ ━━━━━━ There is a lot of people in town. The night is falling on, the streets starts to fill with music, voices and laughs. It's beautiful than you could imagine. Everything seems so colorful with flowers of different types and size around the corners, decorating each lamppost in the main square. The fair gives you some melancholy about your life in Tijuana and his populars fairs in summer.

“You wanna eat somethin'?” You come out of your reverie when his voice claims your attention.

“Yeah, sure, uhm... What about that foodtruck?” You point it with a finger, some meters away. The smell of french fries with bacon and cheese is calling you. Your mouth waters.

“Pretty girl has decided”.

“Don't call me like that!” You laugh giving him a softly clap on his shoulder. “Who chose it, ah?”

“Actually, it was a thing between Coco and me. He called you ‘bonita’, I said ‘pretty’, and that's the story”.

“Good god, what a shame...”

“Oh, come! Si eres bonita, eres bonita”. He smiles at you, taking your hand to turning into your feet, while the skirt of the dress dance in the air for a moment. Unexpected, his arms ends on your shoulder, taking you closer to him. You don't wanna let him go and he doesn't seems either.

Waiting in line to order the dinner, Gilly's phone starts to ring. He takes out of the pocket rolling his eyes. You don't wanna see who is, but because of the reflection you read ‘Angel’. He makes you a sign with a finger, walkin away some steps to answer it praying for the MC doesn't need him this time. “¿Qué puedo servirle, señorita?” (What can I serve you, miss?)

“Oh, ahm... Dos cajas grandes de patatas con queso y bacon, por favor. Y... dos limonadas, gracias”. (Oh, ahm... Two large boxes of french fries with cheese and bacon. And... two lemonades, thank you).

Gilly walks next to you, holding the phone between his shoulder ans his ear twisting the neck slightly, to give you some money. You shake your head raising a hand, giving your credit card to the man who is attending you. “Is everything ok...?” You inquired low, waiting for the order.

“Just the guys wanting to know how is going”. He replies with the same low tone. Then, you point the phone asking him to take it. He looks at you with incredulity, turning his face into a gesture more funny. He gives it you without doubting.

“Hey, you asshole, if you keep botherin Gilly I'll destroy something more than your ego”. You've been so brave till you start to listen more than one laugh. The speaker in the other side is on. Shit. Your date is laughing too because your threat, taking the order and your credit card. “So... Now you... all know... Adiós! You hang up the call, putting the phone inside the pocket of his jacket with you lips pursed.

“They're gonna think I'm crazy”.

“Yep, but I like it”.

Finally you two seat on a bench, leaving the drinks between both. You're hangry, he's too, so eat in silence looking around you. But it isn't uncomfortable, you're having a good time.

“Where 'you from? 'Cause you don't sound like american”.

“Tijuana”.

“Really? So, you speak spanish”. You nod sipping of your lemonade, leaving away the empty box.

“Yeah, I came here two years ago for work. I teach spanish in a prescholar. It's kinda fun actually”.

“Bonita e inteligente”. He says proud of his accent and his words.

“What is your job supposed to be?”.

“I... I don't wanna... lie 'you, (Y/N)”.

“Then, make up the truth. You know, everybody talks in Santo Padre. Mayans MC makes the rules”. He sighs putting down his eyes, taking a time to choose the right words. He doesn't wants to scare you. His life isn't easy and maybe he hadn't cared before, until he met you.

“I'm a mechanic”, he says finally looking at you. “And... sometimes, I ship to other cities”.

“Like FedEx?” You joke, trying to ket him know it's ok. He laughs nodding.

“Yeah, but kinda... more dangerous”.

“So, you're the FedEx extreme, woah, sounds interesting”, you say resting one leg on the other, with the drink supported on your lap.

“I don't wanna scare you, (Y/N)”.

“I'm from Tijuana! How you could?”

“Ya' know... It's not actually the same...” Another sigh goes down. It feels like he thinks don't deserve something like you're about to create. “I would be okey if you don't wa...”

“But I want, Gilly”. You interrupt him, turning a few your body till you're face to face. “I want this”. Then, you point the small distance between both to highlight the reference. “And you don't have to tell me anything you want, or anything you can't. It's okey, Gilly. That doesn't count as ‘secrets’.”

“Okey, but if one day y...”

“I said no”. You take him with an arm on his shoulder to leave some kisses on his cheek. ━━━━━━ ﹅ ━━━━━━ The date was perfect. He also won you one of those big teddies of a dog; bigger than you. So you were walking to the car performing your best of Agnes with his unicorn (of Despicable me). He was laughing because it's one of his favourite movies.

The engine stops when you arrive to your house. Lights on. Your house-mates looks through the window with knowing looks. You lay against the seat asshamed, covering your face with both hands. You love Gilly's laugh, but there's nothing funny at this time.

“I would like to tell you to come, but... my own crew is waiting”. You say in a whisper with redded cheeks.

“Mine too, you know. So, uh... buenas noches”.

“Buenas noches”.

This is uncomfortable. The unknowing about kissing or not. You want. He wants. But it's the typical moment of two teenage with their first kiss. Gilly took the step of asking you out, so it's your time.

You press your lips against his and it takes just one second to make them fit in perfectly harmony, like two pieces of a puzzle. It tastes good, more than you can imagine. He leaves a hand on your waist pushing you softly next to him, while your hands travel to his nape. It feels better than expected, with your tongues fighting softly. And you only put yourself away when shortness of breath is too evident.

“Good night”. You say before giving him one last kiss and taking the huge teddie to walk back home.

[talkfastromance4]

sunset boulevard (c.h)

author’s note: yeah i don’t know what this is but this pic did me in. he looks so good and content and i--- ANYWHO here you go, a blurb that got a little too excited.

**reader insert**

________________________________

It’s two days after Christmas and you spent it lounging around in your new pj pants playing on the new iPhone 11 that Calum bought you. On Christmas morning you spent about a good five minutes trying to shove it back in his hands demanding he take it back to return it because he is not going to spend that much on you. 

The debate was won by him of course because he had the case engraved at the bottom saying “love you forever, sunshine” the use of your nickname made all your qualms disappear. 

Now, as you sat on the couch taking dozens of photos of Duke who was laying in the small patch of sun on the white carpet, you loved it. 

“Hey sunshine,” Calum greets coming from upstairs. He’d just taken a shower after working out downstairs, his blue hair a shade darker. His shampoo wafts over to you causing you to smile at the familiar scent of your boyfriend. 

“Hey you,” you greet letting your phone flop on your tummy. “No sweats?” you crinkle your nose at his dressed up yet also dressed down attire, his NIN black shirt, jeans and black converse wasn’t the typical outfit he’d choose after a workout.

“Nah, let’s go for a walk,” he shakes his head reaching for Duke’s leash on the hook by the front door. 

Duke bolts up at the sound of his leash jingling and darts as fast as his tiny legs will allow to Calum. He jumps up and down excitedly. 

“Okay, let me change quick!” you slide off the couch skipping to the stairs but his arm stops you. 

“No need, you’re perfect in this,” he smiles then kisses your cheek sweetly then picks up his thermos of iced coffee he left on the entryway table. 

Anytime he kisses you your face heats up and butterflies form in your stomach. Even after all this time he still puts your mind in a tizzy. 

“I look like a hot mess,” you pout. 

“Emphasis on the hot,” he smiles, eyes crinkling in unison with the upturn of his lips. “Just put on some shoes and let’s go, baby girl.”

“Fine,” you sigh dramatically slipping into your moccasins. 

The street is quiet as you and Calum walk hand in hand save for Duke’s quiet pants and the clinking of ice in his cup. The sun is warm as it begins to set and you keep sneaking glances at Calum. You can’t get over how good he looks right now.

His outfit, his hair, his skin glowing in the setting sun . . . it’s enough to make you catch your breath. 

“What’re you staring at?” he laughs nudging your shoulder. 

“Can I take a picture of you?” you blurt already pulling your new phone from your pocket. 

“Why?”

“Because,” you stop in your tracks next to a tree, “you look good, babe. Your shirt, your pants, the shoes . . . you’re a stunner.”

He rolls your eyes at the multiple compliments but the slight tint of pink in his cheeks proves he appreciates it none the less. 

“Please?!” you beg taking Duke’s leash from between his fingers. Duke runs to you excitedly and finds interest at a rock near the edge of the sidewalk. “Just lean against that tree and smile.”

“You’re ridiculous,” he shakes his head but does as you say.

You snap a few pictures of him smiling.

“Now look sexy,” you direct changing the setting on your camera. 

“I’m always sexy,” he grunts making a face then relaxes his mouth. 

He puts his hand behind his back, turns his head up just slightly and stares at you. You snap a few more then feel very self-conscious as he’s staring at you. You bite your lip.

“What’ssa matta baby?” he asks. 

“N-nothing,” you stutter. 

You catch a really good photo as he’s trying not to smile and that’s the one he later decides to post to Instagram. He tags you in it proving your photo credit, with your handle right over his heart.

[mollyinternational]

Blue Butterfly Iphone Cases - Protect Your Phone In Style

If you're looking for a stylish and protective case for your iPhone, look no further than Blue Butterfly iPhone Cases. These cases are designed to provide the necessary protection for your device while adding a touch of elegance to your phone. In this article, we will explore the unique features of Blue Butterfly iPhone Cases and why they are a must-have for anyone looking for a beautiful and durable phone case.

Designs that stand out

One of the most striking features of Blue Butterfly iPhone Cases is the intricate and beautiful butterfly design. The design is printed using advanced printing techniques that ensure high resolution and vibrant colors. Each case features a unique and carefully crafted butterfly pattern that is sure to catch the eye of anyone who sees it. The design is available in a variety of colors, so you can choose the one that best suits your style.

Protection that matters

In addition to their beautiful design, Blue Butterfly iPhone Cases are designed to provide superior protection for your phone. The cases are made with high-quality materials, such as hard polycarbonate or soft silicone, that can withstand everyday wear and tear. These materials provide a sturdy barrier against scratches, dents, and even drops, ensuring that your phone stays safe and protected.

Comfortable and functional

Blue Butterfly iPhone Cases are not only beautiful and protective but also comfortable and functional. The cases are designed to provide a comfortable grip, making it easy to hold and use your phone for extended periods of time. Additionally, the cases are designed with easy access to all buttons, ports, and cameras, so you don't have to remove the case to use your phone.

Affordable luxury

Despite their high-quality materials and beautiful designs, Blue Butterfly iPhone Cases are surprisingly affordable. You can enjoy the luxury of a beautiful and durable phone case without breaking the bank. The cases are available for a wide range of iPhone models, so you can find the perfect fit for your phone.

The perfect gift

If you're looking for a unique and thoughtful gift for someone special, Blue Butterfly iPhone Cases are the perfect choice. They are perfect for birthdays, holidays, or any occasion where you want to show someone you care. With a range of colors and designs to choose from, you can find the perfect case to suit their style and personality.

In conclusion, Blue Butterfly iPhone Cases are the perfect combination of style and protection. With their beautiful butterfly design, high-quality materials, and affordable price, they are a must-have for anyone who wants to protect their phone without sacrificing style. Whether you're looking for a new case for yourself or a gift for someone special, Blue Butterfly iPhone Cases are sure to impress.

[deafblindshorty]

So, I was looking for iPhone cases on Amazon...

And I saw a cute one with blue butterflies. I was considering buying it, but then I remembered that R3y10s made it a R3y10 symbol, and I do NOT want to be associated in any way with R3y10!

So, thanks, Star Wars. You have officially ruined blue butterflies for me!

[dimakatso4-blog]

Just launched the butterfly cases on redbubble

I'd really appreciate your support

Please go purchase on the link provided🥰

[hiraishinjutsu]

[[ modern au tobi aesthetic

lofi hip hop beats (ESPECIALLY melancholy rainy day type mixes, or late night study mixes)

dark wool coats with high collars, usually blue or black but occasionally he’ll delve into burgundy—on very rare occasions camel color or lighter

corded wool turtlenecks and scarves

unscented lip balm

white noise + rain sounds

neat, precise, yet cramped digital handwriting*

pointy black patent leather oxfords, or even chelsea boots if he feels like it (also patent leather)

voice cracking from lack of use

the sterile rubber smell of stethoscopes and gloves

*he’s gone paperless so all his notes and calendar things are stored on his devices. he’s deep into the apple ecosystem so he has the newest iphone (no case on it, he’s bold) and a butterfly keyboard mac and an apple watch and an ipad that’s more powerful than most gaming pcs. all of these are in black or space gray, of course

[hillonphotography]

On Landscape Interview 2019

By Paul Hill & Tim Parkin | Posted November 12, 2019 

For the Meeting of Minds conference last year, we printed off a picture for Paul Hill, but sadly it didn't arrive in time for the exhibition. Paul asked us to donate it to the Stills Gallery in Edinburgh. Whilst dropping it off, we had a quick chat with Paul and his partner, Maria Falconer, about art and contemporary photography and some of the subjects he's approaching in his rewrite of "Approaching Photography".

https://youtu.be/yt3_nmt-LfI

Tim Parkin (TP): I wanted to talk about this possible disparity between what could be called your typical ‘hobby’ practitioner of photography and the more academic/contemporary side of photography (pictorial, romantic vs ‘new’ ways of looking at photography). I was wondering if you still see this dichotomy in photography? Or do we get hobbyists transcending the pictorial or contemporary/fine art/academic photographers embracing a bit of beauty now and again?

Paul Hill (PH): There is definitely a cross over, and there always will be. It’s a personal problem for me, actually sticking to one subject matter. I think it just negates so many possibilities for making interesting pictures or stretching yourself as a photographer. You can end up essentially illustrating your hobby or your interests which makes it very difficult to change tack or make quantum leaps. In workshops, we come across a lot of people who you would say are mainstream hobbyists but they take on board and embrace the more challenging ideas that we talk about. I think they haven’t previously, largely because they haven’t had an art or photographic education, and so to be put in these situations is unique for them. It’s the first time and a lot of them really take to it. Because it’s new, it’s different.

TP: Is it essentially a lack of exposure and a lack of knowledge? So, are they essentially receiving mixed messages from the vernacular use of landscape?

PH: What I was trying to say in the talk at the Meeting of Minds conference was, why are you here, why are you doing it? Are you aware of all the possibilities that are there to explore? Express something that might be your own involvement rather than looking at templates and matrices. These templates have been provided by talented people who found their own way there and were innovative for their time or expressed something which was more than just the information that’s in front of them when they photograph. Photography appears very easy but the more you get into it is a lot more complicated, or at least it can be. Essentially, on a surface level, you can make a picture quite easily.

EXPRESS SOMETHING THAT MIGHT BE YOUR OWN INVOLVEMENT RATHER THAN LOOKING AT TEMPLATES AND MATRICES. THESE TEMPLATES HAVE BEEN PROVIDED BY TALENTED PEOPLE WHO FOUND THEIR OWN WAY THERE AND WERE INNOVATIVE FOR THEIR TIME OR EXPRESSED SOMETHING WHICH WAS MORE THAN JUST THE INFORMATION THAT’S IN FRONT OF THEM WHEN THEY PHOTOGRAPH.

I put the picture of a butterfly made by my iPhone on Facebook the other day. You may have seen it, Tim. I saw these butterflies which were tortoiseshells and painted ladies, down this footpath. So, I tried to get close with the iPhone and I did and I got them. The results are absolutely stunning. You would not even be able to get that quality if you used a macro and a flash. A normal lens would not be able to have done it because of the minimum focusing distance, so you wouldn’t be able to get close enough, and all the rest of it. I’m writing a new edition of my book “Approaching Photography” and I’m using this example of how photography has moved on since 1982 when the first edition came out.

TP: But the modern camera takes it all away doesn’t it?

PH: What I’m saying is, that is the difference between now and then. It’s become relatively easy to make an image nowadays and at the end of the day, that’s what it’s about. If we know we can do that, without too much hassle, we know how to drive the machine, then we can go on to try to explore ideas with that new skill that you have now acquired. These skills aren’t at a high level it has to be said. Nothing like comparing yourself with a concert pianist, for instance.

YOU’VE GOT THIS WONDERFUL MACHINE TO RECORD THAT AND TELL YOU THE STORY THAT YOU WANT TO, WHICH IS IMPORTANT AS AN INDIVIDUAL BECAUSE WE ARE ALL UNIQUE, AND WE ALL HAVE OUR OWN STORIES, AND HISTORIES.

However, that ease releases you to say anything you want and visually deal with any sort of subject matter, in all sorts of different places, and different areas - intellectually or physically - that you want to. You’ve got this wonderful machine to record that and tell you the story that you want to, which is important as an individual because we are all unique, and we all have our own stories, and histories. That's what I’m interested in - other people’s photographs and stories. I don’t want to see a style that may look great but is repeated and repeated. Whether it’s down in Lands End or John O’Groats, I’ve seen those pictures, everyone has seen those pictures, and that’s fine. There’s a market for people who want to buy those or use them as illustrations. But they are not very individual or original.

I’ve done quite a bit of writing for photographic magazines - and known quite a few editors over the years - and one should never forget that these are mostly all consumer magazines. They don’t exist unless they sell advertising and they also sell a lifestyle. And the market for cameras is now the amateur one. That’s why the emphasis is on the amateurs and on high spec gear, that’s what they are trying to sell. They wouldn’t be doing themselves any favours if they said “it isn’t about the camera gear, it’s about what you do with it,'' they would lose advertisers and go bust. It’s a perfect capitalist model at the end of the day. Persuade the readers that it’s the machine. ‘You’ve got a great camera there, it must take some great pictures’

TP: Do you think academic/contemporary photography avoids certain subjects, aesthetics and ideas? Because they have become mainstream? (i.e. beauty, popular composition memes)

PH: There’s one thing Martin Parr and I have in common that is that we’re populists and a bit suspicious of too much academisation in photography. I think that the problem is with a lot of conceptual work, to use that as an example, is that you have to have a certain sort of education not only to produce it but also to understand it. Many times, the idea may have been great, but the visual representation of that idea is not very engaging. It’s using photography and the camera in a different sort of way; you’re not trying to tell a story by using visual language.

Like other experiments, these movements come in like blue sky thinking in science. People are going to explore new concepts, and even I have pushed the boat out a few times with what I’ve done. I’ve done some more conceptual pieces that are more about ideas. But if the images are not visually interesting or stimulating then I think it’s a case of throwing the baby out with the bathwater.

TP: I’ve heard this said repeatedly by a few contemporary photographers, that they avoid the use of playing with aesthetic perspectives because the effect gets in the way of what they are trying to say.

PH: Absolutely, but there is a wonderfully wide range available to us of how we use and think about photography. That’s what I was trying to say at the conference, just think about photography. Don’t necessarily think about the landscape, seascape, or the adventure. That’s all part of it but more importantly, just be aware that there are other options open to you to engage with that may relate to that location or that space.

I can understand the satisfaction of producing these wonderful photographs of waterfalls and streams etc, but It’s a bit like painting by numbers. There’s nothing essentially wrong with that, but what you tend to get is another lot of the same pictures. What you really need, to use a cliched photographic word, is exposure to other ideas. That’s why we don’t compromise on the workshops we do. We know that it’s a niche area but there are people out there who want, and respond well to, that exposure to new ideas because what that does is bring photography back to them. They are in control and not being measured by what other people can do better with their new Canon XYZ or whatever it is. They can use whatever they want photographically but try to make something that is unique.

That’s what interests me, what’s new and different, and that goes through into my photography. I’m not saying that what I’ve produced is a unique photograph or history changing, of course, it isn’t! But all of the things I’ve tried to be involved with, I have always tried to look at how it can be done from a different perspective. Because it’s boring to follow what other people have done.

BUT ALL OF THE THINGS I’VE TRIED TO BE INVOLVED WITH, I HAVE ALWAYS TRIED TO LOOK AT HOW IT CAN BE DONE FROM A DIFFERENT PERSPECTIVE. BECAUSE IT’S BORING TO FOLLOW WHAT OTHER PEOPLE HAVE DONE.

Photo enthusiasts are always being told to be creative but most people seem to think that means photoshop. When we started the RPS Contemporary Group - I was the first group and panel chairman - there were these people that said: “How do you define contemporary?” This does sound very condescending, but if you have to explain what contemporary is, go and join another group. But you can’t be like that as there are people who are open to the ideas and at the end of the day, it’s just semantics.

Our first option was that it was about contemporary life and thought, but that doesn’t really work either. But since then they’ve tried to find all sorts of definitions. If you look at the RPS definition, it’s a bit of a dog's dinner. Distinction panels should really be defined as either applied, academic (history, research etc), scientific or art? If you try to slice it into too many compartments it confuses people. It means that the compartmentalisation is increased, rather than the idea that we’re all in the same pool but swimming with slightly different strokes.

TP: How do you present these ideas to your audience?

PH: If you’re bringing a fresh set of ideas to people who haven’t come across them before, you have to take on board the audience and take them on a journey. We talk about what we do and it’s obvious that some of them haven’t seen work like this and would not see, in some instances, the merit of it.

They might see some merit in my picture of Enoch Powell, and they get that and it’s funny, or Maria’s dance pictures, or something like that. But when we are dealing with that which is a bit more personal, they would say “I can’t see why you’d want to photograph that”, then you have to get over that it is not actually about that object, it’s about an idea. You can talk up a set of pictures and talk the talk, but sometimes you have to walk the walk. And if it needs a lot of explanation, I get worried. Personally, I give a way marker to my work, by way of a small written or verbal introduction to whatever piece I’m doing.

TP: A hint on how to read it?

PH: Yes, this is who I am, this is what I do, without a lot of detail. For someone who talks about photography and writes about photography, I think there is such a thing as a visual language. I want to give that language a chance.

I was talking at the conference about the “one picture tells everything” - why should we take that on board, why should we follow that particular route still? Like the landscape aesthetic that was set up in the 19th century - there are so many other opportunities. If people see more work by people like Robert Adams, Simon Norfolk, Jem Southam and John Blakemore, they are going to see why John is photographing dead tulips? Not 'aren’t these beautifully crafted prints'. The print becomes the experience and the vehicle for an idea.

FOR SOMEONE WHO TALKS ABOUT PHOTOGRAPHY AND WRITES ABOUT PHOTOGRAPHY, I THINK THERE IS SUCH A THING AS A VISUAL LANGUAGE. I WANT TO GIVE THAT LANGUAGE A CHANCE..

TP: I think people have a problem in seeing contemporary/project work as a group of single images when in fact they can’t really be separated and retain their meaning.

PH: This is the problem I’m having to face as I’m basically selecting single images to illustrate a point I’m making in my book. When I’m talking about photo essays and about projects, I’ll have a matrix of images to give the idea of a body of work. But it is difficult when you’ve got to be restricted to a certain size. You have to really say the work is the book, not this one picture. There are so few opportunities to fully explore an idea, with a narrative really; but more photography books are being published than ever and with the internet, we can present these ideas using multimedia tools.

TP: So, could one of the differences between a hobbyist photographer and a contemporary art photographer be the use of single image vs the collection of images?

PH: I think that’s true. When we get people on workshops that is the one thing that is the revelation to them - you are telling them that their idea can be expanded. You can say more with the sum of the parts as it were.

Maria Falconer (MF): The idea that we can deconstruct images and they might have never really come across that idea and then they realise that it’s layered. In the same way that a whole series of images brings meaning through the different parts. That can be revelatory to them. If they’ve done anything before, they have deconstructed in a formalistic way, for example by sharpness and saturation - but not meaning. It’s the meaning in a symbolic fashion.

PH: To get back to what we were saying about why people do landscape and approach it in a particularly repetitive way. Maria is a good example of this, having come from a background of mostly photographing people and dancers. The expression Maria uses is that it is very difficult to put a frame on a landscape.

TP: Landscape doesn’t essentially have any narrative associated with it directly so you can’t frame a narrative-less landscape.

MF: I know what you mean. It’s not that I’m looking for a narrative, I just can’t put a frame around any part of it. I’ve tried so many times and I’ve come to the conclusion that is just not how I see. I love looking, I love running about, I love climbing and hiking, I just cannot frame it.

PH: After moving to the Peak District in 1974 I used the landscape as a backdrop to human forms in a project I called "Prenotations". But I realised a few things when creating “White Peak, Dark Peak”. As a resident of the area, I would go out and photograph around where I lived - a 2 mile radius to start with (and later I expanded it further). I did this as an exercise. It was in black and white using mostly flat lighting. What I realised when I got into certain interesting situations was that for whatever reason (I had a 35mm lens on my Leica) it wasn’t conforming to what I wanted. So it forced me to think about the foreground more.

I was having to think about things which I would not necessarily normally put in the picture. I found that I was looking down at what you walk on and the landscape became not the conjunction of the horizon and the sky but about the marks on the land. I am fascinated by the two-dimensionality of a photograph and how the horizontal perspective can 'flip' and can become vertical and this became a noticeable feature of "White Peak Dark Peak".

TP: That’s a nice way to think about equipment isn’t it. Most people think about equipment as “I want it to do everything. I want a system that can do everything for me”. Instead of that, let the camera be a limiting factor.

PH: That's the discipline. We do an exercise about going out with a particular focal length. I remember working as a photojournalist and on a slow news day, a colleague and myself said next time we go out we’ll just use a 28mm or a 180mm and do the job with that and see it as a challenge!

It’s that’s sort of exposure to those ideas that we are talking about. Some people are going to think, “but I’m quite happy with doing this and it conforms to what I like and it gives me pleasure”.

There was this one guy on a workshop who had a high powered job intellectually, something scientific. We have these little exercises we make people do, and a lot of people took to them really well but this one guy just couldn’t do them. People who knew him said perhaps you should have a chat with him. He said, “I never take photographs I don’t like”. Intellectually he was programmed toward perfection and we were saying “throw all that out!”. In the end, he did get it and produced some great pictures.

So sometimes you get these people who are incredibly bright, but you’ve got to get them to loosen up; and that is more difficult for somebody who’s a really keen amateur but has been, say a lorry driver all their life.

I do a talk called Moments of Recognition, which is taken from a quote by Edward Weston. There’s that idea in Zen in the Art of Archery, where you’re actually seeing beyond the target. You need to hit the target, but not look at it. I think that there is an element of Zen at that moment where you are able to put a frame on things. If you release yourself to what you viscerally are responding to, and then take a picture. There’s no way you can analyse that process. To do that is what you should try and aim to do as it opens you to seeing photographs everywhere.

I don’t believe success comes with hard work but with persistence. Persistence is hanging around long enough to know that there’s something there. Hanging around long enough knowing when the window of opportunity comes along. The difficulty with the Zen thing is that people don’t recognise when the window of opportunity is there. If you’ve been a press photographer you know, it’s when someone slips on a banana skin.

People will snap, snap getting pictures which are boring but hoping something will happen. When you see that moment you have recognised and produced this unique piece of information, data, art, whatever you want to call it, it’s got to be something that no-one else has done. That moment of time will never be repeated and that is wonderful to be able to do that. That’s what I think is very important to do - be original - because photographers are seen very much to be down the pecking order. I’m sure you’ve found that.

THAT MOMENT OF TIME WILL NEVER BE REPEATED AND THAT IS WONDERFUL TO BE ABLE TO DO THAT. THAT’S WHAT I THINK IS VERY IMPORTANT TO DO - BE ORIGINAL - BECAUSE PHOTOGRAPHERS ARE SEEN VERY MUCH TO BE DOWN THE PECKING ORDER. I’M SURE YOU’VE FOUND THAT.

TP: I’ve got a friend who’s had a successful painting career in Germany and he decided he was going to be a photographer. Everybody told him he was committing suicide commercially and artistically. He agreed completely but still did it.

PH: When we began our pioneering work in photo education and the Arts Council etc. in the 70s, we started from different points of view, and were very different individuals trying to elevate the status of photography so that it was taken seriously. In terms of sales, photographs will never be in the same league as paintings.

TP: That’s my last question, which was if one of the photographers that we speak to for instance who’s a member at a camera club and says I don’t understand it, as I look at some of these high end valued pictures and I don’t understand why they are worth so much money such as the Gursky Rhine image.

PH: Well neither do we!

TP: Is this the curse of people trading/investing in art?

PH: As a professional photographer and having earned my living out of photography one way or another since 1965, I can say it puzzles me. It's not professional jealousy, as I don’t want to take pictures like him, but it's a bit of a mystery.

I’ve found going my own way has not necessarily made me much money but the pictures that I made that people thought were a bit odd 40 years ago are now in major collections. I’ve followed my nose and it’s worked!

I’ve made a reasonable living and despite the shite, you have to deal at times, it's been wonderful and extraordinary. I had a chat once with Geoff Crawley from BJP, who came from a science background, and he said, “you’re a freelance aren’t you?” and I said "yes". He said, “I’m always interested in people who freelance and you know I think freelancing is more a lifestyle choice”. He'd worked for Ilford and been a company man and he’d never been a freelancer. He said he didn’t know if he could make such a lifestyle choice. I thought he’s right you know. Life is about making those sort of choices and, for me, the decision about freelancing was about being free.