#canon camera software

[johnwilson88]

Guide to Cosmetic Product Registration in India | Expert Advice & Process Overview

Are you looking for comprehensive guidance on cosmetic product registration in India? Discover everything you need to know about the registration process, requirements, and legalities involved. Our expert advice simplifies the complexities, ensuring a smooth registration journey for your cosmetic products. Learn about key regulations, documentation, and timelines necessary for successful registration. Stay informed and compliant with the latest updates in the Indian cosmetic industry. Unlock the pathway to market your cosmetic products in India hassle-free with our valuable insights.

[zytes]

what camera do you use?

I learned on a Canon T3 and currently use a Canon T6, an inexpensive DSLR that’s several years out of date - it isn’t exactly professional gear and I usually avoid talking to self-labelled photographers about my equipment because it’s quite insufferable listening to 50 year-old hobbyists tell me that I *need* a mirrorless camera for the Nth time; they’re like $4000 tho, so even if I could afford that I’d be too scared to use it in the ways that I like to use mine.

I think the T7 or T7i is the more current model, and it runs around $500-700 brand new in a basic starter set with two lenses and a soft case. In addition to the lenses that came with the camera body, I also occasionally use a half-dozen different plastic lomography lenses that I bought in a set from a thrift store many years ago — they take sorta shit photos, and are a little inconvenient to use, but they’re really unique; plastic lenses are super underrated imo. The only other accessory I use is a $20 aftermarket battery pack that doubles the battery life and extends the body of the camera to make it fit more comfortably in my hands. Using inexpensive gear has allowed me to be much more adventurous while I’m shooting without fear for rain or snow or dirt - although I do occasionally have to digitally remove water spots and other small shadows that make it into photos whenever my lens is a little scuzzy.

^ the lomo lenses I mentioned, extremely cool vibe but literally held together with tape.

[sirfrogsworth]

Let's talk about vintage lenses.

Here is your cool samurai show with modern lenses.

Here is your cool samurai show with vintage lenses.

Hollywood is no stranger to fads.

We are currently in the middle of a "make everything too dark" fad. But that fad is starting to overlap with "let's use really old lenses on ridiculously high resolution cameras."

This is Zack Snyder with a Red Monstro 8K camera.

He is using a "rehoused" vintage 50mm f/0.95 Canon "Dream Lens" which was first manufactured in 1961.

This old lens is put inside a fancy new body that can fit onto modern cameras.

Which means Zack is getting nowhere near 8K worth of detail. These lenses are not even close to being sharp. Which is fine. I think the obsession with detail can get a bit silly and sometimes things can be "too sharp."

But it is a funny juxtaposition.

The dream lens is a cool lens. It has character. It has certain aberrations and defects that can actually be beneficial to making a cool photograph. It's a bit like vinyl records for photography.

[ Peter Thoeny ]

It has vignetting and distortion and a very strange swirly background blur.

[ Gabriel Binder ]

Optical engineers have been spending the last 60 years trying to eliminate these defects. And I sometimes wonder if they are confused by this fad.

"I WORKED 70 HOURS PER WEEK TO GET PERFECT CORNER SHARPNESS!"

And whether you prefer to work with a perfect optic or a vintage one... it is a valid aesthetic decision either way. I think vintage glass can really suit candid natural light photography. You can almost get abstract with these lenses.

[ Peter Theony ]

Personally I like to start with as close to perfect as possible and then add the character in later. That way I can dial in the effect and tweak how much of it I want. But even with modern image editing tools, some of these aberrations are difficult to recreate authentically.

That said, it can be very easy for the "character" of these lenses to become distracting. And just like when someone first finds the lens flares in Photoshop, it can be easy for people to overdo things.

Zack Snyder decided to be his own cameraman and used only vintage glass in his recent movies and it has led to some complaints about the imagery.

I mean, Zack Snyder overdoing something? I can't even imagine it.

Non camera people felt Army of the Dead was blurry and a bit weird but they couldn't quite explain why it felt that way.

The dream lens has a very wide aperture and it lets in a lot of light. But it also has a very very shallow depth of field. Which means it is very difficult to nail focus.

[ Peter Thoeny ]

Her near eye is in focus and her far eye is soft. You literally can't get an entire face in focus.

There is no reason you have to use the dream lens at f/0.95 at all times. But just like those irresistible lens flares, Zack couldn't help himself.

Here is a blueprint that you can't really see.

Extreme close ups of faces without autofocus at f/0.95 is nearly impossible to pull critical focus on.

Looks like Zack nailed the area just above the eyebrow here.

Let's try to find the point of focus in this one.

Ummmm... she is just... blurry. Missed focus completely.

But Zack isn't the only one going vintage. I've been seeing this a lot recently.

Shogun is a beautiful show. And for the most part, I really enjoyed the cinematography. But they went the vintage lens route and it kept going from gorgeous to "I can't not see it" distracting. And perhaps because I am familiar with these lens defects I am more prone to noticing. But I do think it hurt the imagery in a few spots.

Vingetting is a darkening of the corners of the frame.

Light rays in the corners are much harder to control. A lot of modern lenses still have this problem, but they create software corrections to eliminate the issue. Some cameras do it automatically as you are recording the image.

Vintage lenses were built before lens corrections where a thing—before software was a thing. So you either have to live with them, try to remove them with VFX, or crop into your image and lose some resolution.

It's possible this is the aesthetic they wanted. They felt the vignetting added something to the image. But I just found my eyes darting to the corners and not focusing on the composition.

And then you have distortion.

In this case, barrel distortion.

This is mostly prominent in wide angle lenses. In order to get that wider field of view the lens has to accept light from some very steep angles. And that can be quite difficult to correct. So you kind have to sacrifice any straight lines.

And sometimes this was a positive contribution to the image.

I thought the curved lines matched the way they were sitting here.

But most of the time I just felt like I was looking at feudal Japan through a fish's eye.

It's a bit more tolerable as a still, but when all of these verticals are bowing in motion, I start to feel like I am developing tunnel vision.

I love that this is a tool that is available. Rehousing lenses is a really neat process and I'm glad this old glass is getting new life.

This documentary shows how lens rehousing is done and is quite fascinating if you are in to that sort of thing.

But I think we are in a "too much of a good thing" phase when it comes to these lenses. I think a balance between old and new can be found.

And I also think maybe Zack should see what f/2.8 looks like. He might like having more than an eyebrow in focus.

[michaelnordeman]

Hello Michael,

I just wanted to say I’ve been reblogging so much from you and you take the most amazing photos. They’re very high definition and clear as day. You do such an amazing job!

What camera do you use? Do you ever have to edit them or are they naturally like that?

Thanks so much for all your photos, they really are astonishing :)

Hi,

Thank you so much for your kind words! It means a lot to know that the animals, birds, bugs, and plants I love so much are appreciated by people from all over.

For most of my nature photography, I use my Canon EOS 80D. I also have a Canon 6D Mark II. My go-to lenses are a 100mm macro lens and a 100-400mm zoom lens—though the zoom lens is a bit worn from years of use, it still gets the job done.

I do edit many of my photos, but never to exaggerate or "enhance" nature. My goal is always to make the image as true to the original scene as possible. I often carefully crop my photos to draw the viewer’s eye to the subject, and I may adjust shadows and contrast to bring out details. If I’ve captured a rare bird from a distance or in low light, I might work on reducing grain, but I prefer to handle all adjustments manually rather than relying on special software. I like to keep my editing process personal and hands-on.

So, that’s a bit about my process. Thanks again for your kindness and for reblogging! I hope you have a wonderful weekend!

[raelle-writing]

DFF Theory: It was Fluke's laptop that was used to post the KengNon video

So this theory is that it was Fluke's laptop that was used to post the video of Keng and Non, though Fluke himself likely wasn't the one who posted it. The theory rests on the assumption that while Jin recorded the video, he wasn't the one who posted it in the end. I talk about that more in detail in this post, but the short of it is this:

There's a discrepancy between what is shown on Jin's laptop and what is shown on the screen of the person who posted the video, which is highlighted with these two screenshots:

Along with what Fluke says in episode 4 when he points the finger at Tee for releasing the video when Jin isn't even around. Top corroborates that (though he is, admittedly, crazy/possessed/drugged at the time).

So with that established, the question is: why would Fluke even know who released the video if he wasn't involved? If he wasn't a part of the video being released, then he would naturally assume it was Jin who released it, considering he was right there when Jin filmed the video.

When we're shown the posting, here's what we see. I grabbed two screenshots of them clicking into the video itself, because it feels like they only showed it because the details are important.

So we see Canon and Epson software, then Adobe Suite. And in the second one we see an x-ray. The Canon and Epson as well as Adobe suite COULD point to it being Jin, since we know he's into photography. But it could also point to the person who was helping with the editing and effects of the movie, and who says they're working on the effects? Fluke.

Jin also isn't shown to do much photography so far in the past, except for handling Por's camera. Granted, I won't discount that it could be Jin's laptop given those softwares and the Adobe suite and his later interest in photography. But I think it's equally likely to be Fluke's, given what we know of the two of them so far.

That brings us to the x-ray. This one puzzled me, because it's a hip x-ray. We know Jin has a history of shoulder dislocations so why would he have a hip x-ray? And who would have an x-ray saved on his laptop? Maybe a future medical student?

Fluke isn't shown to talk much about medical school in the past (at least that I found) but he stresses about his portfolio, which implies that he already has his field selected and knows it'll be difficult to get into.

Jin and Fluke are the closest of the friend group, since they're repeatedly shown hanging out one-on-one together. They're always side by side, in almost every shot we see of them. The friend group has some mini-cliques within it, and it's clear that Jin and Fluke are one of them.

Jin also helps with the movie editing, just like Fluke.

I find it pretty easy to believe that Jin and Fluke would share a file storage location, so Fluke would have access to the video just like Jin. Whether just because they're close friends or because of the movie, I'm not sure.

Fluke has always been a bystander. He repeatedly says he doesn't know anything and isn't involved in anything.

I find it hard to believe he'd do the video posting himself, considering he doesn't seem to want any part of the bullying. But yet, he knows about it in the present. He also shushes Jin when Jin tries to say something about the video to him, which to me reads guilt more than it reads "leave me out of it."

I think it's likely that Fluke told the others that Jin recorded that video and what they'd seen, and that his laptop was then used to post the video, because whoever posted it knew Fluke would have access to the video Jin recorded. It was likely Top or Tee, since we see them catch Non and Keng together earlier that episode. And Top texted Tee right after Non gave him the money to ask for a favor, which was clearly to follow Non and found out where he'd gotten the money.

If it was Fluke's laptop that was used, it explains Fluke's panic at what Jin was about to say in the past. Jin started with "I didn't" and would likely continue to say he didn't post the video, which Fluke knew would implicate him if Jin carried that thought through, so he cut the conversation short.

It's also why Fluke is so paranoid of being implicated in the present, but also why he knows that it wasn't Jin who posted the video, and instead points the finger at Tee. Because if Fluke wasn't involved in the video posting, I doubt Tee would tell him about it. That would be messy, considering how tightly-lipped Tee has been about everything else that happened in the past.

Oh and before I end, in episode 8 Por's laptop is shown to also be a Mac that uses dark mode, so I compared screenshots of his Mac to what is shown in the video of whoever posted, and it doesn't look the same. Not to mention, in the present, Por seems to carry the least amount of guilt and panic at the thought of people finding out what happened to Non, so I doubt he was involved in that particular part of Non's undoing.

So in conclusion: I think it's highly likely that it was Fluke's laptop that was used to post the video of Keng and Non, which is why he knows enough in the present to point the finger at Tee.

All of these details feel very intentional and important, and it will likely come out in future episodes. This feels very right to the plot to me, considering what Fluke seems to know in the future, but we'll all see as the remaining episodes unfold!

ETA: I was wrong, it IS established that Fluke is planning to study medicine (episode 5).

[dr-spencer-reids-queen]

The Big Wheel: Part One

Pairing: Spencer Reid x Female!Reader

Word Count: ~2.6k

Summary: The case you’re on is dependent on a little boy who is blind who sees with more than just his eyes.

Warnings: canon violence, canon language, canon talk of death, methods of kill

Author’s Note: I do not own anything from Criminal Minds. All credit goes to their respective owners. If there are any warnings that exceed the normal death/kills from the show, I will list them. If you’ve seen the show, then it’s the same level of angst unless otherwise stated

x

"In order for the light to shine so brightly, the darkness must be present." - Francis Bacon

You carefully fold the piece of paper into a triangle and continue folding this piece of paper until you've created your very own cootie catcher. You open the four flaps and write two things on each so that each response is different. While JJ is getting the briefing room set up, you're having a bit of fun beforehand.

"What are you doing?" Spencer asks.

"Making a cootie catcher. Wanna play?"

"How? What do you do?"

You roll over to his desk with a smile and set up the game in front of him. On the front are different shades of color he can pick from.

"Pick a color."

"Green."

You move the cootie catcher five times and open it further to reveal the numbers you've written.

"Okay, pick a number."

"Seven."

You open that number flap and read what you've written there.

"You're going to get a gift from someone who loves you."

"Is that gift going to come from you?"

"If you're lucky," you smirk and kiss him quickly.

"Is that a cootie catcher?" Emily gasps and bounces her way over. "I haven't played that game since I was a child."

"Alright, pick a color," you smirk and start the game over.

"Blue!"

You move it four times.

"Now pick a number."

"Two."

You open the flap and reveal what's been written.

"There is a surprise waiting for you at home."

"Unless it's from my cat, I don't think there will be," she laughs.

"Briefing room, five minutes," Hotch calls from above.

"Sorry, Derek, you'll get your turn next time," you say and put away your toy.

"I don't think I want a turn," he chuckles.

The team moves the small party into the briefing room where Hotch, Rossi, and JJ already are. Once everyone is settled in, JJ puts a picture of a young woman on the screen.

"Her name's Michelle Watson who was a realtor murdered in Buffalo a week ago. Until yesterday, they didn't have any leads until they got this."

JJ plays a video of someone inside a bathroom. They must be holding the camera in front of them because you can't see who the person is, just what's in front of them. He turns the sink on and off and shows that the mirror is covered with duct tape. He leaves the bathroom and goes outside where there is an unsuspecting couple by their car who don't seem alarmed that they're being filmed.

"Buffalo PD received it from an unknown source yesterday."

"Were they able to trace it?"

"No. It was sent through an encrypted server from Ukraine."

"There's no sound."

"Yeah, at first glance, there doesn't seem to be a single frame to identify who shot it. He even covered up the mirror."

"I've seen some crazy things sitting at this table, but that... Why send that to the police?" Penelope asks.

"Maybe it's a taunt to show the police how smart he is. You know, catch me if you can sort of thing."

"The two people in the video look directly at the unsub, and neither one seems to register that they're being filmed. It could be a hidden camera."

"The witnesses were able to give us enough for a sketch." JJ passes around papers of what the unsub looks like. "He's a white male in his early thirties that wears glasses."

The video switches from the couple outside to a dark room with a bunch of editing software. There is a computer and some editing tech that the unsub uses to edit his murder videos. There is something playing on the computer screen, but you're unsure of what.

"It looks like an editing suite," you say. "Not only does he film the murder, he edits it. Do we know what's playing on the monitor?"

"Buffalo PD is concerned that it might be another filmed killing."

"If it is, then we're not looking at just one murder but two," Emily says.

"Buffalo is underfunded, undermanned, and they need our help."

"Buffalo's a big gang town. Over seven hundred people were murdered in the last year alone."

"Garcia, I need you to go through this frame by frame and put everything on disks."

"Yes, sir. I'm on it."

Penelope gets up to leave but Hotch stops her.

"Also, put together a go bag. If we get any more of these films, I want you on the ground taking point. Is that okay with you?"

"Yes, sir. Excellent." She walks away but you hear what she mutters to herself. "I don't have a go bag."

"Okay, fast forward. There's something I want everyone to see," Hotch says.

JJ forwards the video to a specific point where the unsub grabs a red marker to write something on the wall.

HELP ME.

He wants to be stopped but can't on his own.

"Wow, a serial killer asking for help. That's a new one for me."

"What if he's sincere?"

"Then he's deeply ambivalent."

"He wants to stop, but like an alcoholic, he simply can't. When we see him driving, his point of view is elevated. I'd say he's driving a van or an SUV. The film stops where it starts--at his home. We can use the film to trace back street by street from the crime scene, right?"

"It only lasts nine minutes. In this frame, he clearly looks at a clock, and it's 9:22 AM."

"Michelle's time of death was four-thirty in the afternoon. He edited out seven hours."

Penelope comes back into the room with her go-bag in hand and a laptop in the other.

"Garica, look for unsolved murders of women in their early thirties who were stabbed in Buffalo and surrounding cities. Go back ten years."

Penelope sits back down and starts typing on her computer.

"Wouldn't ViCAP have already picked up on that?"

"ViCAP only went web-based about a month ago, and Buffalo PD only recently uploaded the data. Without diving in too deep, I have twenty-two counts of murders from women in their early thirties."

"Okay, wheels up in thirty."

It only takes an hour to get there, and you're talking to the lead detective, Lynne Henderson, before you know it. She's shocked to hear how many cased Penelope found with one quick search.

"Twenty-two? We had six. Do you really think it could be that many?"

"We went back ten years and included surrounding cities. The unsub may be out of his comfort zone. Now, they may not all be connected, but they all match Michelle's type--blonde, white, and in their early thirties. The autopsy reports will help us determine which of these cases are connected."

"I'll get them here right away."

"We also need to take a look at the crime scenes."

"Y/N and I will stay and help Reid," Rossi offers.

"I'll take Prentiss and Morgan," Hotch says.

"Tell me, do you think this is a one-off or can I expect more films?" Lynne asks.

"It's not a one-off. The filming of his kills makes him a sexual psychopath. We'll find more, many more just like this one."

Derek, Emily, and Hotch leave to go to Michelle's crime scene while you, Rossi, and Spencer go back over the video that was sent to the police. It's weird to see someone write "help me" when they're considered a psychopath.

"It's weird because 'help me' is in direct conflict with the psychology of a psychopath, and it's something I've never seen before. Psychopaths don't have the capacity to feel empathy towards others. They can mimic it, but they can't feel it."

"Does that mean he didn't mean it?" Lynne asks.

"Could be or someone or something is showing him who he really is."

Penelope walks in with determination.

"Okay, friends, the video on this film is analog. It's since been digitized, but it is seriously degraded."

"Meaning what?" you ask.

"Meaning this kind of degradation only happens over at least a decade and thousands of repeated viewings."

"It's the only way he gets his release is if he watches it over and over again."

"Then you're right. He's been doing this for ten years."

"More like twenty," Penelope says. "That woman in this video is wearing a sweater I haven't seen since Flashdance."

Rossi looks over the evidence including Michelle's calendar book she used for everything since she was a real estate worker who needed to know when her appointments were.

"On the day of her death, Michelle entered the name Robert at four in the afternoon."

"We found no one connected to her with that name. We think it's an alias," Lynne says.

"Michelle's highly organized. She's left-handed because she's precise and light of hand. The hardest point is where she starts, the lightest point is where she tails off. In her case, she tails off to the right." Spencer looks deeper into what she wrote with confusion on his face. "This is weird."

"What is?" JJ asks.

"I'm not sure, but the number twenty-nine is circled twice in red ink and it tails off to the left. Whoever wrote that is right-handed."

JJ plays the video of the unsub right when he writes on the wall. He's writing with his right hand, and he's using red ink.

"The unsub is right-handed and he's using red ink. The unsub write this 'twenty-nine' and circled it."

"Guys, tomorrow's the 29th," Penelope says.

Whatever is going to happen, it's going to happen tomorrow. The camera keeps shaking as the unsub is recording this, and you take the remote from JJ to forward it to when the unsub encounters the two strangers by their car. They have no clue he is recording them because they don't notice a camera on him. If he's wearing glasses, he might not need a camera to hold.

"What if the unsub is recording through his glasses?" you say. "Maybe that's why no one ever saw it. If Michelle saw a camera, then she would have registered it in the video."

JJ's phone rings and she takes it off to the side. When she's done, she comes back into the room.

"Y/N's right. Derek and Em also think the unsub's camera is in the glasses. You need to get a sketch of the unsub out to every camera shop in Buffalo."

"If he hunts within a comfort zone, then whichever of these camera shops he visits the most will be the one he'll live closest to."

"I'll tell my guys," Lynne says and takes the picture of the unsub with her.

"Hotch also wants us to focus on victims found in controlled locations like secure areas with little chance of witnesses, and ones where he left the bodies where he killed them."

There are twenty-two files of women who were victims in the last ten or so years that you go through that fit secure locations with little to no witnesses.

"Based on that, I have Emily Flynn who was killed in June of 1998. She was found in her apartment and was stabbed twenty-three times. In March of 2000, Hilary Habner was stabbed eighteen times in her basement. Cindy Stagnal was stabbed multiple times in her office in April 2001. Finally, we have Vanessa Bright who was stabbed and found in her studio in May of 1999."

"1999 to 2001. Ladies and gentlemen, I think we have our timeline," you state. "It looks like our killer strikes almost exactly every twelve months."

"Oh, my god," Lynne gasps. "He got away with killing all these women."

"I think we need to inform the media. Buffalo has a serial killer," JJ warns.

You grab the remote and watch when the unsub talked to the older couple by their car. He keeps looking down at the ground several times. He takes two steps to the right, back, and to the left as if he's stepping over some kind of object that you can't see. He circled the 29th twice in red, and he turned the sink on and off twice previously.

This isn't a message. This is something he has to do. You rewind the video and play the interaction again when you see he's not stepping over invisible objects, it's the cracks in the sidewalk. He's stepping over them because he has to. He's obsessive-compulsive meaning no matter how hard he tries, he simply can't stop himself.

By writing "help me", he really means "stop me". This is only going to get worse before it gets better. Hotch gives JJ the okay to release this statement to the public, so Lynne is the face of the report to warn everyone about the dangers of the unsub. Not even twenty-four hours after that statement, another woman was killed, so you head over to where she was dumped. She was wrapped in a black trash bag and placed by the dumpsters, and the weird thing about her is that she doesn't fit the other victims at all.

"There is no purse, no jewelry, and nothing to ID her with," Detective Lynne says.

"She must have meant something to the unsub. He didn't care what was left behind on Michelle because he knew we wouldn't be able to trace her back to him."

"Why did he cover her up and fold her arms across her chest? She can't be more than twenty-four. This doesn't fit his victimology."

"Maybe she caught him in the act of something, so he killed her to keep his secret," you say. "The chest wounds match that of Michelle's. He probably knew her because of the way he wrapped her and the position he left her in."

"That's somewhat of a leap," Lynne says.

"Not when you consider this is the first time he dumped the body. Unlike the others, he brought her body here and dumped it."

"Someone will be missing her soon."

"Today's the 29th. He probably killed her last night. Whatever his plans are, he still has them. We're ready to give the profile."

Since there are so many officers on the scene, Lynne gathers them so you can give the profile out. Only you, Derek, Rossi, and Hotch are here. The rest are back at the station.

"We've confirmed eleven kills over a ten-year period. This makes twelve. All but one are blonde, white, and in their mid to late thirties. This unsub has extreme obsessive-compulsive disorder. This woman doesn't fit his victimology. He probably didn't target or even mean to kill her."

"Five camera shops in Buffalo were shown this sketch." Lynne holds up the sketch of the unsub. "The owner of Tarquinio's camera shop on Union Road recognized it. He knows him only as Vincent. He bought two three-millimeter mini wireless cameras and had them retrofitted to his glasses."

"He's well-versed in camera technology. He probably generates income from a related field, so stake out the shop but keep a low profile. He walks in off the street, politely waits his turn, and pays in cash. This is him." Hotch holds up the video shot of Vincent in the camera shop. "He's wearing a black overcoat and black baseball cap. You'll get more from your sketch."

"Now, this last kill shows the most remorse. This guy's mobile so he's most likely in a SUV that's low-profile and mute in color. He's beginning to devolve. His OCD will get worse and he'll have a hard time hiding it. He will take bigger and bigger risks to achieve his ultimate goal."

"In Michelle Watson's day planner, he circled the number twenty-nine. Today is the 29th. We believe he may have something planned for today. He sent us that film as his way of reaching out. He may be ambivalent, but his OCD won't let him stop. Now, if he sees a heavy police presence and he's not done, he'll run. The east side is his comfort zone. That is where he lives. However random, anything out of the ordinary, please let us know."

"Thank you very much." The group is disbanded and Hotch turns to Rossi. "Tell me again what the autopsy report said."

"He seems to be killing once a year. All of them but Michelle were overkill. He stabbed her just once. Plus, hers was the only one he sent footage of to the police. That's a definitive change."

"You're right. Call Reid and Prentiss. Tell them to go over the autopsy report again. We need to know why."

"I'm actually headed that way anyway. I'll catch them up," you say. "I'll call you if we find anything."

x

Follow my library blog @aqueenslibrary​​​​​​​​​​​ where I reblog all my stories, so you can put notifications on there without the extra stuff :)

[goldnhourwrites]

heartsteel headcanons 2: jobs

this was inspired by a post (and its comments) by @sils-current-hyperfixations about what jobs the heartsteel gang would have if they weren't making music together!

Yone

I feel like Yone could have gotten himself into some horrible desk job that he hated. I can envision Yone with a 9-to-5 and a closet full of button down shirts and dress pants. Something where you have to send a ton of emails.

I think if he had the patience for it, Yone would do well as a psychiatrist or therapist - a job where he could help people in a meaningful way.

Sett

Sett would enjoy something with physical activity - I think he'd like being a sports coach, athletic trainer, or something along those lines.

He could probably be a professional athlete if he was dedicated enough. His mom would worry about him getting injured, though, so he might settle for just being a coach.

K'Sante

There was a comment on the original post that suggested bartender for K'Sante and I have not been able to get that thought to leave my head.

I also think he'd make a great baker or chef - I think he'd enjoy a creative career, something where he gets to make things while also getting to interact with people.

I think K'Sante could have a little Etsy shop where he does woodworking or pottery or something and it would be cute.

Ezreal

Ezreal loves history. Ezreal loves museums. Ezreal would be some sort of historian, archaeologist, or archivist.

I could also see him as a librarian of some sort - I think he would like working with like classic literature or historical texts/maps/images.

Aphelios

I think Aphelios would enjoy a career in technology. He'd be good at computer science and software development and coding and things like that.

He could be a web developer of some kind, or maybe a game designer. I honestly don't know a whole lot about jobs in the computer science field, so my ideas here are kind of basic, haha.

Kayn

Kayn could be a good tattoo artist or professional piercer, I think. He'd like the creative freedom (and also he'd just think it was cool.)

I could also see him working at a nightclub? Managing the people, working with performers/bands playing shows, etc.

Alune (because I like her)

I don't know how much (if at all) Alune was canonically involved in the production of the Heartsteel music video, but I think Alune would like film production/editing.

I like the idea of Alune with a big professional camera just stealing the rest of the heartsteel gang and being like "OK POSE". I also think she could be interested in fashion and do like fashion photoshoots with everyone.

[matthewdwhite]

Cameron Parish, LA 5/06

Two photos taken a minute or so apart, standing in the middle of Louisiana route 82, between Holly Beach and Cameron, spring 2006. I was still primarily a film photographer, but I started making digital doubles with a first generation Canon Rebel. I was also still developing my film manually at a now defunct public darkroom that popped up in New Orleans in the new year after Hurricane Katrina, or sometimes at home in the bathtub. This was the first time I saw Cameron Parish, and I was mesmerized by the skies, the silence, and the solitude of the place. The Canon Rebel was pretty good for being an early digital camera; the problem was the software of the time wasn't good enough to "see" all the info in the digital files. Modern photo software is now able to see with much greater detail and subtlety, allowing a much better "print" to be rendered, as close as possible to what I remember seeing, as well as being a Louisianan long enough to know the tones of a spring morning sky here. There was a tendency in processing of early digital photography to make everything look hyper-real. Today, processing these older files with modern software allows for a more realistic and detailed look into a somewhat distant mirror.

The film used was Kodak Plus-X Pan 125 -- a film I sure do miss. Most of the negatives I made with this film and my Canon F1N just got the tones right in a way I was always happy with, using Kodak D-76 developer. The film has been discontinued for unknown reasons, and the now-standard Kodak TMax 100 looks dull to me in comparison.

[pinkyjulien]

🟨 Then n' Now - High Voltage edition ⚡

Yoinking @arcandoria's idea and making one of those before/after post focused on the babies💛 motivated by AND motivating @elvenbeard to do the same 😌🤏

This will be both a VP and Modding journey 👉

▶ December 2020

━ "No mods, we die VP like men!"

AKA open up PhotoMode and get as close as you can to your fav, playing with angles while getting the camera stucks in the surrounding 80% of the time and trying to make the characters look at each others in a "natural" way 👀

▶ early 2021

━ "I learned how to app swap and I cannot be stopped"

I got into modding because/thanks to Mitch 🤠 and the first thing I did was to .app swap him into all of the romance scenes 😩🤏 My BIG MODDER GOAL back then was to have Him and Valentin in the panzer scene, meaning I needed to find a way to:

Swap Valentin into Panam's place

Swap Mitch into V/Player's place

Unlock the camera / have a true free-roam experience

and also remove all of the HUD and green filter

I was just a tiny dude with Big Dreams 👀

▶ first half 2021

━ "I can change clothes now! AKA OOC-fest"

Ugh. JHGFHJGHFJ

Looking back at some of the stuff I did before legit gives me so much icks now 💀 the joy and freedom of being a simp with fresh modding power, you just Do Stuff because You Can! Who cares if the character turns extremly OOC, right? keeping them for the memories 🤭

▶ first half 2021

━ "ReShade? What's a ReShade"

My first month of playing around with Reshade! Everything was way too saturated, too bright or too dark- but it was new and exciting! Experimenting with more swapping, more photomode-posing 🤏

▶ July 2021

━ "the Modding High"

Camera unlocks, Player Replacer, FixSwaps, Bi River trick, Blur Remover, Facial expressions for V, Swap to Everyone... my peak as a modder still to this day ngl

I achieved all I ever wanted, did the mods I needed to be able to smooch Mitch and have my canon panzer scene 🧡 (cannot showcase it here on Tumblr for hornyjail reason)

The "bi river" trick was involving CyberCat, an old save editor software that allowed you to swap V presets! You had to launch the romance scene with River as a fem V, then save at the start of it using the "Save Anytime" mod, edit your save file by swapping in your Male V preset, and Voila~ you had a Masc V in the River scene :D

▶ August 2021

━ "Custom poses Fever"

...and the first true love kisses!

Searching and modding your first poses swaps, then spawning the blorbos in game, timing the expressions and animation correctly and... having them "kiss for real" for the first time 🥺😩 ouugghh IT HITS! It hits so good!

From there, the rest of 2021 was focused on playing around with custom poses and exploring my own canon; giving new canon-compliant appearances to Mitch and Valentin, doing VP comics... also exploring some AUs and doing special occasion outfits, like Halloween!

▶ 2022

━ "I can create my own story"

I focused a lot on my own canon in 2022, via comics and photoset exploring what happens to both Mitch and Valentin's respective past and shared future together

Modding was also a big part of the year! There wasn't any big breakthrough other than the scenerid extract for custom poses, which allowed me to finally use the amazing tender animations from the Judy scene in my boys tent 🤭

▶ 2023

━ "Still here"

There will always be new exciting way of exploring and creating content for my babes- the knowledge of custom made poses allowing us for even more angst, tenderness, passion!

and I'm looking forward to it all 🥺🧡

Those years's been a whole creative journey~ and it's thanks to those two, my blorbos, my beloved stinkies, that I'm the modder and photographer that I am now!

Who knows where they'll take me next 💛😊

[apatheticlexicographer]

all of the lighting in stranger things is intentional, please stop saying it isn’t ( -sincerely, somebody with industry experience)

i’m pretty sure that the people who shit on the byler light symbolism theories have never been near a film set before. the idea of any kind of light being “accidental” on one of the most expensive shows ever made isn’t remotely credible if you have any kind of experience with the film industry. that being said, i know that most people don’t have firsthand experience or even secondhand knowledge of how the industry functions on the ground. as somebody who has both of those things, i figure i can try to spread the knowledge around a bit!!!

so, here we go!!! lexi’s fun fact science corner about film lighting, from the experience and knowledge of somebody who’s been on and around film sets and surrounded by filmmakers since they were 6 years old.

first of all, all the light on your screen is a lie.

(well, not all of it all of it, but most of the fun stuff is Big Lightbulb’s doing)

you see huge lights like these:

pretty much anywhere you go on a film set. any film set. and yes, that includes outdoor scenes: the sun is a ball of fire and spite with a specific vendetta against filmmakers and the clouds are its loyal minions. natural light is a bitch and should not be trusted. 

all light in a scene, even seemingly ambient light, has been curated very intentionally. the angle, the intensity, the tone, how sharp or soft it is. part of this curation is done in postproduction using editing software, but a lot of it is done on set by moving and covering lights. the quality and angle of light is pivotal in changing how a scene comes across. 

let’s look at an example unrelated to byler, to prove there’s no conflict of interest here:

here’s max while she reads her letter to billy. she’s backlit, leaving her face in the shadow. this is a lighting technique commonly used to communicate dramatic effect, tension, and an ominous feeling. the shadow cast by the backlighting isn’t hugely intense as the outdoors light conditions are otherwise very flat and quite pale. this gives the whole shot an exposed feeling: there is nowhere for max to hide. in retrospect we know what’s about to happen to max, which now makes the accuracy of that emotional signaling very blatant. while watching it for the first time, however, this lighting motif is intended to make you subconsciously uneasy. even before you know exactly what’s coming, you’re set a little on edge. as you should be!!! there is no tension without foreshadowing, just as there is no tension with too much foreshadowing.

here’s a closeup on her face, to show it more clearly:

notice how no direct light at all is hitting the right side of her face.

now here’s max a few minutes later:

...sorry.

anyway, see that light hitting half her face, while the other half is shadowed??? the position of the light source hasn’t changed, it’s still hitting her left side, but because the camera has moved she’s now being sidelit. sidelighting usually communicates mystery and conflict. Of course max is conflicted here!!! she’s facing the physical manifestation of her trauma, right after forcing herself to verbally process her joint feelings of relief and bereavement over billy’s death. as for mystery, there’s the short-term uncertainty over whether max will live or die, and the long-term uncertainty pertaining to vecna and what exactly his deal is. These are mysteries to both the viewers and the characters.

also, briefly: the tone of the light has changed from slightly warm in the first picture (nostalgia, comfort) to slightly cold (fear, death). it’s a subtle shift, but very clear.

the whole sequence is actually a very neat piece of lighting work!!!

“but lexi, how do you know that was intentional??? are you sure the sun didn’t just happen to be shining that way while they were shooting???”

yes. 

see, the biggest bitch about natural light is that it doesn’t last. the entire scene with max in the graveyard takes place within a very short span of time canonically, but there are a lot of different shots involved. it’s also a highly important and emotionally charged scene, which means it needs to be acted perfectly, however many takes that requires. the sidelight would not remain consistent across the filming of the entire scene if it wasn’t artificial. it probably wouldn’t last a single take!!!

“oh, but lexi, you’re talking about a really important scene. the lighting here might be intentional, but that doesn’t mean it’s always so important!!!”

wrong!!!

well, you are right to an extent. the lighting isn’t always super pivotal, but it’s not an optional element of film production. you can’t film your important scenes with super thoughtful lighting and just rely on the sun and the ceiling lamps for the rest of the show. lighting definitely isn’t always inspired and meaningful but it does always have thought and intention behind it (and effort!!! lighting guys are criminally underappreciated).

also, the byler scenes that people analyze the lighting of??? they’re all important scenes too!!! they might not have much bearing on the main plot at the moment, but they’re keystone scenes in the joint arcs of two of the show’s main characters. the graveyard scene is important to the plot, obviously, but it’s huge in max’s character arc. and what do you know??? most of the lighting symbolism is tied to the character aspect of the scene, and not the plot aspect.

so, to recap: the sun is evil and mostly fake, lighting symbolism can be clearly mapped, and it’s typically used to communicate deeper insight about the character being lit, which will register subconsciously.

i’m very much not done here yet lol, i have a lot more to say about colour, the lighting work done in postproduction, and the way lights are physically manipulated on set. however it’s also 7am and i’m an idiot who stayed up all night reading scientific journals about mould. i’m gonna turn in, but i plan on making a part 2 in the not too distant future!!!

hopefully this has been at least mildly interesting or informative lmao. when i see people saying stuff about what they think of byler as people working in or studying film i always forget that i am... also that lmao. also though, those posts tend to come at things from the perspective of scripting and preproduction. since most of my experience is on the ground i hope i can provide a slightly different angle to that of other film people of the tag.

til next time <333

[king-carnivore-creations]

Did a little photoshoot with my latest sculptures

I call them mosslings. Each one measures about 2 x 2 inches and took roughly 4 hours to create, not including bake time

Likes are appreciated, but reblogs really help me out and bring people to my blog

(photography details below)

Camera: Canon EOS 80D

Lens: Canon Macro EF 100mm

Editing Software: ON1 Photo RAW 2023

[gyubby99]

@disneyanddisneyships why do I have a fixation for Emma out of all my ocs like what

Anyway since Emma isn’t a hellborn anymore here are some new head canons

Has never drank milk in her entire life I’m not even kidding

Cannot shit obviously

Eats twigs. You heard me.

I think she got suspended for defending herself against a bully and mal lost her shit. Context was the kid was trying to hit her but she stopped the hand and cracked the bones on their wrist. Mal pulled up defending her daughter as she should

Girlie eats metal

She doesn’t actually breathe

She doesn’t necessarily need sleep

I think while she and Theo were best friends in highschool they also had an academic rivalry

Emma, when she still doesn’t like Theo back, actually helped a girl friend of hers ask Theo out. She was very supportive of them and actually thought Theo would say yes bc she’s pretty

She has bodyguards everywhere, people at their own house serving her, millions of people worshipping her for some reason. She has not had a normal life. She’s a sheltered person, and she’s not going to understand that it’s hard surviving in hell at first.

Bad at driving but like..atleast it makes sense cause she’s been a passenger princess all her life unlike mal who’s just shit at it.

There are A LOT of people following her with their cameras every time she goes out. Literally. She could not go on a day without being photographed or asked questions

Swims with her dad’s sharks at the aquarium

iPad kid

Is actually very close with theo’s bandmates bc of the free pass on their concerts, Emma going straight to the backstage after it and meeting with Theo and his friends.. I think they’re all fond of her

Constant updates. Most of the time she’s in her dad’s lair getting her software upgrades or smth.

She’s a very busy woman. She’s a robot. Ofc she can handle multiple tasks at once.

There was a time where she was so busy with college that she didn’t show up to anyone.

She malfunctions when she has a big crush

[lensman-arms-race]

TV-unit serials in the setting for my fics

(Link to my fics is in my pinned post.) I'm not setting out to create an AU; my fics are meant to be canon-compliant in the sense that 'DFB never says it can't happen this way'. I'm just having fun making up extra details that probably won't be covered in canon.

Most TVs have 4-digit serials, which are procedurally-generated. Serials below 4 digits are manually assigned.

1-digit serials:

0001: The Imperator (the term I use for the Matriarchs in my fics)

0002: The Titan

These would be rendered verbally as 'triple-zero-one' and 'triple-zero-two'. These two units very rarely need to reference their serials because of their status; everyone already knows who they are.

Serials 0003 to 0009 are currently unused.

2-digit serials:

Currently Polycephaly has the only 2-digit serial: 0010, rendered verbally as 'double-zero-ten'. Again, Polycephaly rarely has cause to refer to themself by serial. Being the only large unit in their faction makes them pretty distinctive.

Serials 0011 to 0099 are currently unused.

3-digit serials:

Currently not in use. Serials 0100 to 0999 are available and will likely be allocated for research/experimental purposes.

4-digit serials:

As used by standard TV-units.

While it is physically possible to build a TV shell, load a new software brain into it and power it on, this is not recommended and not done. A unit built in such a way would likely be forever a stimulus-response machine rather than developing full self-awareness or much of a personality, would likely have poor control over its screen powers, and would not necessarily even be loyal to its own faction.

Instead, units are 'born' as software in server farms called 'creches', where they start off as simple programs and gradually bootstrap themselves into self-awareness, moving onto simulated training until they're ready to be uploaded into actual hardware bodies. In this way, you end up with a unit with a proper theory of mind and personality, that's loyal to its faction.

(I am assuming the above is also true for Cameras and Speakers, but I haven't explored this in my fics. I think the TVs must take longer to create given that there are comparatively few of them, perhaps because they have all their screen and teleport powers to master before they can be allowed to let loose with a real body.)

The 4 digits are allocated as follows:

Corresponds to the creche (server farm) number.

Random digit.

Corresponds to the day of the month of activation (placed into a hardware body).

Corresponds to the server number within the creche.

Cygnus, for example, has the serial 5022 (rendered verbally as Fifty-Twenty-Two). This tells us they were generated in server 2 within creche 5, and were activated on a day ending in 2 (the 02nd, 12th or 22nd). The zero is just a random identifier to distinguish them from any other TVs that happened to be generated on the same day from the exact same server. (This has yet to happen in practice. It's rare for more than 1 TV to come into existence on the same day. Plus, most of the nascent softwares will simply error out of existence rather than become sentient.)

The Titan's chief engineer has the serial 1668 (Sixteen-Sixty-Eight), and the Titan themself had the serial 1791 (Seventeen-Ninety-One) when they were a normal pre-Titan unit. This tells us that both the Titan and its main engineer were generated in the same server farm (1), but on different servers.

(I've no idea what system the Cameras and Speakers use. I'm inclined to think the Cameras just have sequential serials because they're squares like that.)

The Imperator's (TV Matriarch's) two bodyguards have the serials 1153 and 1566, but they are a rare exception, as these aren't their original serials. There were 16 candidates for being remade into the Titan, and the two bodyguards were 2 such candidates. All the candidates had their serials expunged and new ones allocated, so that no-one (besides the chief engineer and the Titan themself) would know which candidate had become the Titan. The two bodyguards have hypothetical serials (as do the other 13 candidates that were considered for Titanhood).

Feel free to steal any parts of this you like for your own OCs/fics; I don't own the concept of allocating numbers.

[theartindetails]

This Canon Powershot S100 is the digital camera I use to take all my photos. My grandpa used it throughout the 2000s and gifted it to me.

After receiving this camera, I throughly researched the camera’s technicalities to familiarize myself with this new tool. I began by familiarizing myself with its basic functions, specifically the shutter speed, ISO settings, and the menu settings. I experimented with the image stabilization to ensure well-focused and clear photos. I took advantage of the macro mode for close-up, detailed photography. Once I captured my photos, I reviewed them on the LCD screen to utilize the editing features, including the exposure, contrast, and color balance. Not only did I use the basic editing features, but I also transferred them to my phone for additional post- processing editing using Adobe Lightroom, an editing software.

[televangelist666]

hello!!! loving ur photos and ur edits!! what camera do u use and what editing process/software! i’m really trying to dive into photography again

Hi!! And thank you so much I’m so glad that you are loving them that makes me so happy <3 and I’m currently using a canon eos rebel t100 to shoot all my photos and I usually shoot in intense mode or vivid mode and I use manual focus so I can adjust the sharpness myself or either my sony cyber shot but mostly my canon, sometimes I do use my iPhone 13 Pro Max whenever I leave my camera at home! And for editing software I use an app called 8mm it’s on the AppStore! I’m unaware if it’s on the Google play store but those are all I use!! If you have any questions please feel free to message me and I would love to help you!! 🏹🫶🏻

[brickcentral]

🤩 ARTIST SPOTLIGHT: @mumubrix Hello everyone! It's time to direct the spotlight toward our community members, and today we will get to know better @mumubrix!

"Hi my name is Angel and I’ve been learning photography since January of 2021. Mumubrix is my social media name. Mumu is a Filipino (Tagalog) word for GHOST which is one of my favorite subjects.

I would say that my style is leaning more towards incorporating emotions to my photos. Different kinds of emotions. I also like to add mist, rain, water as much as I can. My favorite subject are animals and spooky minifigs though I am confident to say that I am versatile with my photography. It all depends on my mood.I have a journal where I write my ideas, because I can't draw, and have been building more recently. Building bricks have been such a stress reliever and is a great mental challenge for me. It is great to just build, break it apart and rebuild something else. I get a lot of new ideas from daily experiences, interesting conversations with strangers and just sheer imagination.I also enjoy harsh lights and shadows. I love the shadows, it's art in itself. Being able to learn photography and manipulating light is magic!

This is my basic gear. I cannot live without a tripod, I have the very basic tripod you can find from Amazon and the pocket size for low angle photos. I mainly use this lamp for main light and use a flash and a pocket mist for added "effects". I use a Canon EOS M50 mirrorless camera with a TT artisan macro lens. Everything here stays in my backpack except the tripod and the table lamp. If I want to make something float, I use the instant, the wire and the clamp to hold it, I also use the clamp to hold a piece of cardboard for bouncing the lights. I use the soldering hands if I need more floating pieces or if it’s a but windy outside. I have 2 more led lights that aren’t in this photo but I mainly use it if I take photos indoors.

My #1 challenge is my lack of knowledge about photography, light,compositions. All I have is my story and that's all I needed because I found this great community where people help and teach each other. I was using my phone to take photos before and I really thought they were great but thankfully, the constructive criticisms are there to steer me back to the correct path. Not knowing what looks good to begin with was the first challenge I had to break.

The #2 is my gear. I was learning through tips and tricks from Brickcentral and videos from Four Bricks Tall but there are just some things that a phone camera can't do like achieving that good Depth of field, catching those beautiful misty light and shadows without it looking flat. Or just being able to focus on one subject without having to blur everything in the background using an editing software. That's when I knew I had to upgrade and I'm so happy I did.

And #3 is my fear of getting ignored by the algorithm. I have always been someone to question rules and limitations and that makes me tend to experiment quite a lot. I enjoy creating photos that are not mainstream like Happy Happy photos or character photos. I enjoy creating mysterious ones or emotional ones where real people can relate. I enjoy self-expression. And yet social platforms made me wonder some time ago if I'm doing the right thing, or that maybe I should follow what everyone else is doing so people can like my photos more. In other words, I became a "photo people pleaser". I got burnt out after a month and stopped taking photos. Then I realized that my photography makes me happy, and it should make me happy. Not the other way around.

My goal is to help anyone who is wiling to learn about photography. I have been blessed to be taught so much by this community and would like to return it to the world. I believe that art is innate and it is in everything and that you just have to tap in the right kind of art, the right people to give you good direction and the patience to learn.

For the community: Many thanks for all the patience and the tips, tricks and advice that the mods and everyone else share. Remember that you don't need a lot of things to start, just the willingness to learn and the realization that you can do it too. You just have to keep on practicing, go out and take photos, just go and do it and ask for feedback. You need feedback."

Thank you for accepting our invitation and let the community knows you better!

If you want some insights on the exclusive picture and for a better view of the others, head to our blog at https://brickentral.net/.

- @theaphol, Community Outreach Manager