#film+EXIF

[kinardpride]

*i've connected the dots meme*

crazy theory time: so we know the breakup was filmed sept 17, and lou said in the last interview that he found out about the break up 2 weeks before filming it, so early september, and his last scene was filmed late september, according to exif-data on promo-pics

so it's totally possible that he's been filming for swat since early october, and will only be there for some episodes, and will be back on 911 for 8b

makes sense for him to get other work now if he knows tommy won't be back until early/middle of 8b, right? let's be a little delusional until the show completely kills all hope

I haven’t watched SWAT yet but from what I’ve heard it’s that Lou is only there for a handful of episodes a season, the first season being the only exception of that. Plus 9-1-1 knows it has to share Lou with SWAT, so it makes sense to get Lou out of the door to let him film SWAT. 9-1-1 can give Oliver the “will they/won’t they” storyline while Lou is away.

I just find it so bizarre that a show would just throw away a relationship that has gotten them so much positive attention, especially with no foreshadowing. If they wanted a clean breakup they could have done that, but they purposely chose to have it be sudden and confusing.

[istandonsnowpiles]

what camera do you use? your photography is beautiful! <3

Heyo! Glad you enjoy my photography. I have... far too many cameras, so you'll see pics shot on many different cameras. I definitely have some favorites that I use far more than others.

My main camera is a Fujifilm X-T2 and most pics I post are from that camera. It's a great camera that I wish had IBIS. Recently I picked up an X-H1, which has the same sensor and IBIS but I don't like it as much. So, more recent stuff (that I don't think has even posted yet) is from the X-H1. There's also some stuff from a Sigma DP2 Quattro, which I love.

For infrared, I use a 590nm converted Panasonic GX85. I pretty much exclusively use the Panasonic 25mm f/1.7 on that camera. Truly a great little combo & the 25mm f/1.7 is one of my favorite lenses of all time. I also have a Panasonic GH3 that's 720nm converted, so if you see 720nm pics, they're probably taken on that camera instead.

For film, I'm still trying to find a truly great camera. My trustworthy camera right now is a Minolta Maxxum 5000. Most of my film shots on that, though I don't really love the controls. I've been testing out a Yashica Electro 35 GSN that I like the controls of way more, but I've gotta get my test rolls developed before I truly trust that camera.

If you're curious about the camera a photo is taken on feel free to check out my Flickr, which has EXIF data for all my photos.

[fridge-04]

if YOU 🫵 could've written the trilogy differently, how would you have developed haruo and metphies' relationship? like, what would you add/remove to make their relationship more compelling... asking because i want inspiration to write a fic, if that doesn't bother you

I certainly wouldn’t remove anything, I’d just wanna add to what we got. I think pretty much every scene they have together is electric and a very good basis to work from.

I think I would’ve liked to see more flashback type stuff of how they actually met. It’s implied that Metphies has been watching Haruo since the start but it’d be cool to see the actual interactions that made them friends and made Metphies essentially Haruo’s chief source of counsel.

I’d wanna see more scenes of Metphies talking to Endurph about Haruo, simply because the one scene we did get was so interesting with Endurph not seemingly able to grasp quite how important Haruo is to Metphies. Seeing the Exif talk amongst each other about Haruo would help show us more about Metphies’ unfiltered feelings about Haruo and maybe also show us that in an official sense he wasn’t meant to be feeling quite that much of an attachment towards Haruo. The whole thing maybe became a bit more personal than it ought to have been for Metphies. Was he doing everything by the book in terms of the hero sacrifice? Did he get too close? Is there a precedent for this in the Exif society? Why did he let Haruo poke his eye out (lol)?

Some conversations between Metphies and Haruo kinda involve Metphies asking questions and then letting Haruo talk about stuff he’s passionate about. Other times Metphies lays down his own philosophy. Would’ve been cool to see more instances of Haruo asking Metphies “personal” questions about his life/species/emotions etc. He shows a bit of curiosity about the Exif’s history in the convo they have regarding the living nanometal and it would’ve been cool to see him ask even more questions (maybe deeper questions would’ve made Metphies squirm more or maybe he would’ve kept that unflappable demeanour).

I think the trilogy’s general trajectory of their relationship in terms of the start and end point is totally fine as a basis. I think the cool aspect comes from how you can just add so many more details in what is up to a 20ish year long friendship. Seeing more reveals about emotions and true feelings and maybe some more private and quiet conversations aboard the Aratrum would've been nice. And you’ve also got the possibility of Haruo and Metphies talking about one another to other characters too, where they can maybe let some more details slip.

I would be way too indulgent a writer and would need to be reigned in but like, the sky is the limit lol. We saw like 15% of their total relationship in the movies I feel. The films introduced so many cool ideas and concepts that we can pretty much run wild with. The Exif in particular are the biggest one for me and it inherently relates to Haruo and Metphies’ relationship due to the whole hero sacrifice thing.

[filmes-online-facil]

Assistir Filme Godzilla: O Devorador de Planetas Online fácil

Assistir Filme Godzilla: O Devorador de Planetas Online Fácil é só aqui: https://filmesonlinefacil.com/filme/godzilla-o-devorador-de-planetas/

Godzilla: O Devorador de Planetas - Filmes Online Fácil

Com o enfraquecimento da aliança com a Terra, Haruo considera se aliar aos Exifs, praticantes de um culto mortal que pode destruir o mundo.

[roseinshadows]

The Long Shadow of Adobe

Posting some photos to the blur-from-the-north queue again. Decided to peek into the image metadata before I wipe it for publication. (I don't know if Tumblr does it automatically.)

Ah, we live in a civilized age. The metadata doesn't loudly say that the photo was made with Affinity Photo. There's a relatively inconspicuous entry in XMP metadata that says the file was produced by AP2. It's all very elegant.

ACDSee doesn't even bother to announce its presence. It's an asset manager, you see. Asset managers need to mess with the metadata frequently. If it announced every single modification to the metadata, that would render the whole history feature useless. (It only bothers to announce its presence when I use the image editing features.)

What does the legacy EXIF metadata say?

"THIS FILE WAS SOFTWARED BY ELEMENTS ORGANIZER 14.0. VERILY, CREATOR-TOOLED BY ELEMENTS ORGANIZER 14.0. THAT WAS WHAT DID IT. THAT WAS WHAT DOES IT FOREVER NOW."

...You may move away from Adobe software, but the tools cast a long shadow over you.

As you might have guessed, I haven't used Adobe Photoshop Elements Organizer for… a while now.

For film/positive scans, it'd be appropriate if the app that produced it would generate XMP history entries. Weirdly enough, Epson Scan doesn't add its name to metadata. SilverFast only uses legacy EXIF tags, which is weird.

[joshuawithers]

Apple Shortcut for recording photography metadata

I’m passionate about making photos, but I have a sub-passion in recording good metadata around those photos as they enter my iCloud Photo Library so the photos become more useful as they age. Whether they are used in Photo Memories, like “Paris 2023” and “Early Mornings with Luna”, or whether I want to search on the Photo’s “Places” function to find that photo I made ten years ago, the metadata is important to me.

When I shoot on my iPhone, the metadata is collected (normally), and if I have remembered to force quit and re-open the Canon Camera Connect app that day, when I shoot on my Canon EOS R5 the metadata is recorded, but if I shoot on Britt’s Fujifilm digital camera or my Leica film camera, no metadata is recorded by the camera.

In the before times people used notepads with pens, which is a lovely prospect, but I have an iPhone in my pocket and a Watch on my wrist. So I made an Apple Shortcut that will record the metadata in time and in place for later use, either with an EXIF editor or my personal go-to app, Metapho on the iPhone. (If you know of a Metapho competitor I’d be keen to hear it, I like Metapho but it feels forgotten by the developer and is sometimes buggy)

So these shortcuts will simply make a new Apple Note for the day if there isn’t one already and record time and place, or if you use the second shortcut that dictates a note, also that text note.

Record photography location Shortcut

Record photography location and notes Shortcut

I activate them either by tapping the home screen icon which is easy, or by asking Siri to “Record photography location”.

Feel free to use, edit, mix, re-make, and share as you find useful and beneficial for the art of making photography.

Much gratitude to Kyle Lines in the Automators Forum for helping me get the shortcuts over the line and useful for the greater population.

[fudeen-note]

drink up empty.

このページの Photograph はこちらをクリック (click here)

　

　

big sake barrel drink up empty after, cherry vase

　　　　Translated the Haiku made by MATSUO Basho.

　

呑み明けて花生にせん二升樽

　　　　　　　　　　　松尾 芭蕉

　

　

　

　

　

　

　

　

------------------------

　観桜会の一場面を切り取った風景です。この画から、松尾芭蕉���詠んだお祭り気分の句を連想しました。

　美味しい酒が二升樽に入って届けられました。これを皆で飲み干して、空いた樽を花入れ（花瓶）にしましょう。弾んだ心持が伝わってきます。 　松尾芭蕉が元禄4年、48歳のときに詠んだ句です。『蕉翁全伝』他によれば、尾張の門人から酒と木曽のウド、茶が送られてきましたので、門人一同に呼び掛けて句会を開いたとありますが、句会の記録は無いようです。 　観桜会の楽しげな喧騒から連想された芭蕉の心持ちを僅かながらでも写し撮るべく 1 EV の差で 6 枚現像して、high dynamic range image として仕上げました。

　

　

　

☆ Shooting Data ------------------------ ○ camera : OLYMPUS TG-4 ○ focal length : 14.4 mm ( compared to 35mm format : 80 mm ) ○ shooting mode : Program AE ○ Tv ( Shutter Speed ) : 1/400 sec. ○ Av ( Aperture Value ) : F5.6 ○ ISO speed rate : 200

　

　

☆ Preprocess ( RAW ) ------------------------ ○ preprocessor : DxO PureRAW 2 ver. 2.6.1.18 ○ method : Deep PRIME ○ DxO optical correction : 　whole lens sharpness : on 　lens distortion correction : on ○ output format : DNG

　

　

☆ Developing Data ( RAW ) ------------------------ ○ development : RAW image developed by SILKYPIX Developer Studio Pro 11.0.5.0 ○ taste : fudeen's special ○ exposure compensation ( by camera ) : -1/3 EV ○ exposure compensation ( by developer ) : -1/3 EV ○ total exposure compensation : -2/3 EV ○ white balance : setting by shooting [ 5,617 K ] ○ tone adjustment : strong contrast ○ saturation : manual [ 1.09 / 8.0 ] ○ color profile : V4 compatible ○ color representation : film color Velvia ○ sharpness : pure detail 　edge emphasis [ 20 / 100 ] 　detail emphasis [ 75/ 100 ] 　black spotted outline control [ 25 / 100 ] ○ noise reduction : fine detail 　false color control : [ 30 / 100 ] 　fringe removal : [ 0 / 100 ] 　noise aligned : [ 0 / 100 ] 　noise removal : [ 0 / 100 ] 　dark side noise reduction [ a little strong ] ○ highlights controller : initial value 　color / brightness emphasis [ 25 / 100 ] 　saturation / hue emphasis [ 70 / 100 ] 　bright portion compensation [ 75 / 100 ] 　dynamic range extension [ +5.5 / 6.0 EV ] ○ development setting : 　type of file : TIFF 　pixel size : original 　match the long side direction : on 　develop result settings : for reprocessing with silkypix ( 16 bits) 　record exif information : on

　

　

☆ Exposure Blending Data ( HDRI ) ------------------------ ○ exposure blending by Nik Collectuin HDR Efex Pro 2 ver.5.70 ○ preset library : warm deep ○ tone conpuression : 　tone compression [ +30.0 / ±100.0 ] 　strength of method [ 50 / 100 % ] ○ HDR method : 　depth ( 1 ) strong 　detail ( 4 ) real 　dramatic ( 3 ) dim ○ tone balance : 　exposure balance [ ±0.0 / ±100.0 % ] 　shadow [ ±0.0 / ±100.0 % ] 　highlight [ ±0.0 / ±100.0 % ] 　contrast [ ±0.0 / ±100.0 % ] 　black point [ +69.0 / 100.0 % ] 　white point [ +53.0 / 100.0 % ] 　structure [ ±0.0 / 100.0 % ] ○ color control : 　saturation [ +15.0 / ±100.0 % ] 　color temperature [ +6.0 / ±100.0 % ] 　color cast [ ±0.0 / ±100.0 % ] ○ final adjustment : 　vignette ( off ) 　quantity [ -6.0 / 100.0 % ] 　circle [ -80.0 / 100.0 % ] rectangle 　size [ +60.0 / 100.0 % ] ○ gradation : 　upper gradation [ -0.4 / 100.0 level ] 　lower gradation [ ±0.0 / 100.0 level ] 　blending [ 50 / 100 % ] 　move vertically [ 0 / 100 % ] 　rotation [ 0 / 180 ° ] 　tone curve [ neutral ][ RGB ]

　

　

☆ Location & Target ------------------------ ○ location : 高輪界隈 ○ target : スーザフォン ------------------------

[fastforwardmagazine]

[daemonhxckergrrl]

privacy and photos

a little reminder for folks: photo metadata (EXIF) can contain dates, locations, device info etc. use a metadata editor like this when sharing photos

but the photo itself can betray sensitive info

you've seen that geoguesser guy figure out locations, or people zoom in on reflective surfaces (this is mostly a tv/film trope just like "enhance" but some info can be gained from certain reflections). so, think before you take a picture you wanna share, but also use tools like cropping and censoring (black box, pixellation, blur) to cut out or obscure sensitive info like faces, calendars, uniquely identifiable objects (either to you or to a location), windows, keys, etc.

most photo tools provide at least a basic way to do this. if yours doesn't then pirate photoshop or use gimp (yes ik, they really named it that) which is a free and open source alternative with a similar interface to older photoshop versions

finally, posting the same picture (or similar pictures with a caption/text that could link them) to a place with your real name attached and a place w/ a fake name will also make those identities linkable. reverse image search is a thing

[eyetwist]

abandoned service station. mojave desert, ca. 2014. by eyetwist Via Flickr: 4x5 large format, fotoman 45PS + fujinon 150mm lens + kodak ektar 100. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.

[fridge-04]

what annoys me the most is that i read somewhere someone saying that SOMEONE working on the movies (director? producer? idk) said that what is shown in the movies of haruo & metphies' relationship is only "the tip of the iceberg" and i just wish they would make a full series about haruo's life aboard the aratrum and going more into the exif and bilusaludo lore and obviously haruo's relationship with metphies it sucks so much they're not exploiting that :( and ghidorah too like tell me more about the lovecraftian void deity???? anyway... RIP to us 5 fans we shall never know it seems

That’s so annoying of them. The teasing. Honestly I think the general premise of the trilogy is brilliant and they made a whole extended timeline and everything that detailed all the Kaiju attacks and plans and alien arrivals before the Aratrum left Earth. The potential is huge for prequel stuff.

As for Metphies there are so many interesting things that they could explore, such as how he was only a teenager when he actually arrived on Earth which may explain why he’s so intuitive around humans without even needing the psychic powers. I’ve also heard a few people say that supposedly he’s meant to be like an Exif prince? Some ppl on here and other sites have said it and I’m still looking myself for confirmation but that’d be interesting. Like how do the Exif even reproduce? Especially when their whole thing is based around dying?

And I think you’re right about the Exif and Bilusaludo lore potential. Both are super interesting spins on classic Godzilla aliens (Bilusaludo/Black Hole Planet Aliens and Exif/Xiliens)

Also romance plots have kinda low key always been a part of human stories in Godzilla films ever since the love triangle subplot in the original so like, it’s not rlly a stretch to say Haruo/Metphies was meant in that way. I mean there are some pretty unsubtle marriage metaphors on Metphies’ end.

I guess we’ll just have to carry on digging into official sources and making our own fun since Toho seem to wanna bury the trilogy as a bad memory. There were some amazing ideas (admittedly not executed the best) but damn that shit was compelling. We need some Good Samaritan bilingual person to help translate all those interviews lmao.

[bomberqueen17]

“crop factor”

I am going to link to a nerdy B&H article that explains this far more thoroughly than it really needs explained, but because of a conversation i just started infodumping into @sonnetsandswingouts‘s mentions (sorry), I was inspired to go look this up.

This is about digital photography. This is about when you’re shopping for lenses. The focal distance on the lens tells you whether it’s a wide-angle or telephoto lens or what, but the numbers are not absolute; lenses are designed for different cameras, and the effective focal distance on your camera is going to depend on some things. So people talk about “the crop factor”, and that article explains it, but to sum up--

A “full-frame” digital camera, or a 35mm film camera, both have imaging areas that are the same size. A “crop-sensor” camera, which for a long time was the default in digital but a few years back they realized they could make big bucks making normies pay extra for full-frame sensors (formerly the provenance exclusively of studio professionals), has a slightly smaller sensor. So your lens, if it is designed for a full-frame camera, will have a slightly different effective focal distance on a crop-sensor camera, and vice versa.

(Every manufacturer has a different way of denoting this, but an easy shorthand, if you’re in the biz, is to recognize that certain numbers only make sense for one or the other. Your 28mm lens is amost certainly full-frame. Your 18? That’s for a crop-sensor.)

(A further confusing factor: mirrorless or compact cameras with interchangeable lens systems, such as the Sony NEX, Nikon Z, uhhh, there are others, but I don’t care about them. Fortunately, usually they have much different mounts, so the lenses aren’t compatible, so it doesn’t cross over or matter, excepting adaptors, which are a whole thing I’m so disinterested in I can’t summon the energy to explain.)

Lenses that are in compatible mounts (Canon EOS, Nikon AF-S) will work on both kinds of cameras. I own a number of full-frame lenses, some of which date from the film era, which I use on my crop-sensor camera body.

A general rule of thumb is that crop-sensor lenses are shite on full-frame cameras. (You can’t use the whole sensor. so why have the whole sensor? don’t bother with this lens.) The converse rule of thumb is that often your full-frame lenses are a waste of money on your crop-sensor cameras, since you’re only using the middle of the lens.

Part of it is that you pay extra for wide-angle in a crop-sensor. So don’t. Your all-in-ones-- (28-75, 24-70, 28-135) are not going to be useful at their wider range, because they won’t look wide-angle with your wee sensor.

But your lovely prime lenses (those are the ones with one number-- a 28mm f/1.8, a 50mm f/1.8 [for many years the default, before they invented zoom lenses; they were called “nifty fifties”], a 105mm f/2.8-- those will still be lovely on your crop-sensor camera.

So don’t buy a 28-135 for your crop-sensor DSLR, because you’re paying for a wide angle you can’t use. Buy an 18-200. (I recommend image stabilization, or VR or IS or VC or whatever the manufacturer calls it.)

If you want example images, ha ha ha, well. Do I have recent ones? No. But my entire Flickr is example images, and a great thing about Flickr is that they include the EXIF data, so it tells you what camera took the photo with what lens and what flash, if applicable, and what the settings were.

Nikkor 10.5mm f/2.8 fisheye-- this is a crop-sensor lens, and it would vignette badly on a full-frame. (Oh this is probably my favorite photo I’ve ever taken with this lens, though.)

Tamron 18-270mm all-in-one-- a crop-sensor lens, which is notably not fantastic at its extreme telephoto end but is pretty fantastic up to about 200mm, and i bring it everywhere. That first photo is at 18, this one’s at about 220, and here, alas, is at 270, where it has kind of fallen down, but it was a big ask. (Honestly though that’s better than no photo!)

My usual low-light or indoor lens is a 17-50mm f/2.8 VC, which I think is a Sigma brand-- the VC is image stabilization, which is super helpful if you’re going to shoot at slow shutter speeds. I have used it to good effect for nighttime shots.

And I have a whole stable of fast glass-- prime lenses with huge apertures-- that were super essential back when I was shooting indoor sports with a slower camera body. But in 2013 or so they hit that point where camera sensors are fast now, and that glass isn’t necessary anymore, not in the same way. I hang onto it because they take beautiful pictures, but they need so much premeditation-- I joke that I always have the wrong lens on my camera, and more often than not that wrong lens is my beloved 85mm f/1.8, because I love that lens because it has gotten me some really beautiful shots in my day and everything looks beautiful through it, but if your subject comes closer well you’re shit out of luck. (It’s the shallow depth of field, it’s how you can pick a thing and isolate your subject, that’s what makes fast glass worth it. nowadays your phone does that with a filter but it fucks it up half the time.)

Anyway if anyone has questions about what the numbers on lenses mean it’s a while since I was on the sales floor but I very much do still work in a camera store, LOL.

[fudeen-note]

accidentally added red.

このページの Photograph はこちらをクリック (click here)

　

　

hall crabapple- accidentally added red to the white powder

　　　　Translated the Haiku made by YOSA Buson

　

海棠や白粉に紅をあやまてる 　　　　　　　　　　　与謝 蕪村

　

　

　

　

　

　

　

　

------------------------ 　玄宗皇帝が，ほろ酔い機嫌で寝ていた楊貴妃を起しに行ったところ，まだ眠そうな顔をした楊貴妃が現れた。 　それを見た玄宗皇帝は，「海棠（かいどう）の眠り未（いま）だ足らず」と言った。 　蕪村の眼に映った花海棠は、中国の故事を彷彿とさせたのでしょう。 　そんな印象を僅かながらでも写し撮るべく 1 EV の差で 5 枚現像して、high dynamic range image として仕上げました。

　

　

　

☆ Shooting Data ------------------------ ○ camera : OLYMPUS TG-4 ○ focal length : 11 mm ( compared to 35mm format : 61 mm ) ○ shooting mode : Program AE ○ Tv ( Shutter Speed ) : sec.1/125 ○ Av ( Aperture Value ) : F3.6 ○ ISO speed rate : 1,600

　

　

☆ Preprocess ( RAW ) ------------------------ ○ preprocessor : DxO PureRAW 2 ver. 2.6.1.18 ○ method : Deep PRIME ○ DxO optical correction : 　whole lens sharpness : on 　lens distortion correction : on ○ output format : DNG

　

　

☆ Developing Data ( RAW ) ------------------------ ○ development : RAW image developed by SILKYPIX Developer Studio Pro 11.0.5.0 ○ taste : fudeen's special ○ exposure compensation ( by camera ) : -1/3 EV ○ exposure compensation ( by developer ) : +1 EV ○ total exposure compensation : +2/3 EV ○ white balance : setting by shooting [ 4,841 K ] ○ tone adjustment : strong contrast ○ saturation : manual [ 1.09 / 8.0 ] ○ color profile : V4 compatible ○ color representation : film color Velvia ○ sharpness : pure detail 　edge emphasis [ 18 / 100 ] 　detail emphasis [ 75 / 100 ] 　black spotted outline control [ 25 / 100 ] ○ noise reduction : fine detail 　false color control : [ 30 / 100 ] 　fringe removal : [ 10 / 100 ] 　noise aligned : [ 20 / 100 ] 　noise removal : [ 75 / 100 ] 　dark side noise reduction [ a little strong ] ○ highlights controller : initial value 　color / brightness emphasis [ 25 / 100 ] 　saturation / hue emphasis [ 70 / 100 ] 　bright portion compensation [ 50 / 100 ] 　dynamic range extension [ +5.0 / 6.0 EV ] ○ development setting : 　type of file : TIFF 　pixel size : original 　match the long side direction : on 　develop result settings : for reprocessing with silkypix ( 16 bits) 　record exif information : on

　

　

☆ Exposure Blending Data ( HDRI ) ------------------------ ○ exposure blending by Photomatix Pro 6.3 ○ style : soft 4 ○ EV spacing : 5 images, -2, -1, ±0, +1, +2 ○ tone mapping method : exposure composition / natural ○ strength for tone mapping [ -5 / ±10 ] ○ exposure balance [ -3.5 / ±10.0 ] ○ shadow contrast [ 0.0 / 10.0 ] ○ local contrast [ 0.0 / 10.0 ] ○ white clip [ ±0.0 / ±10.0 ] ○ black clip [ ±0.0 / ±10.0 ] ○ color settings : image color ○ saturation [ +5.0 / ±10.0 ] ○ color temperature [ ±0.0 / ±10.0 ] ○ brightness [ +10.0 / ±10.0 ] ○ blending / opacity [ 0 / 100 ] ○ contrast : low contrast ○ sharpness : low

　

　

☆ Location & Target ------------------------ ○ location : 四ツ谷界隈 ○ target : 花海棠 ------------------------

[ultralowoxygen]

learning to fly. anza-borrego desert, ca. 2015. by eyetwist Via Flickr: the badlands view at sunset from font's point. lots of airborne dust in the distance from the offroaders down at ocotillo. recently processed film. 4x5 large format, fotoman 45PS + fujinon 150mm lens + kodak ektar 100. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.