#low-light shooting

[historyofguns]

Randall Chaney's article in The Armory Life reviews the SureFire Mini Scout Light Pro, a tactical flashlight ideal for mounting on defensive rifles such as the Springfield Armory SAINT Victor. Chaney's longstanding experience with SureFire's quality illumination tools encompasses this new model, which is designed for both close and long-range lighting scenarios, ensuring peripheral visibility. The flashlight, offered in black or tan, is exceptionally durable with its Mil-Spec aluminum construct and is designed to be user-friendly with a simple installation process onto M-Lok or MIL-STD-1913 rails. The light's 500-lumen Hybrid Beam Pattern is particularly suited for tactical environments, balancing brightness with situational awareness needs. Capable of running for an hour on a single 123A battery, the Mini Scout Pro is built for intermittent use to prevent detection, following the strategy of lighting and moving silently. Chaney appreciates its performance, deeming it a permanent addition to his duty rifle, while also highlighting SureFire's legacy of innovation in reliable illumination and tactical products.

[heartorbit]

figure skating set right now please. thanks

[artbyblastweave]

How do you think Worm (+ Ward) would change if Wildbow wrote it in the present day? Both in the sense of him having more writing experience and of him xeconstructing a different superhero landscape. (Also, him having even more planning/drafting time.)

Well, one answer is, "I don't think it would have been written-" Worm really got released in an incredible sweet spot where superhero stuff was ascendant in the mainstream but not yet culturally dominant, and written in reaction to a bunch of specific stylistic dysfunctions of early-2000s big-two comics that aren't necessarily gone but have certainly shifted their manifestations a bit. I don't think Worm would have taken off the way it did if he was trying to write it today, when we're like three layers deep into comic book movie ascendancy, backlash and re-ascendency.

But to engage in slightly better faith, my suspicion is that if written today the book would be, in every sense of the word, more online.

Movement-building by The Very Online is already of visible interest to Wildbow from, like, Twig onward (probably a consequence of the ways in which he, himself is Very Online). You see this to an extent in Ward as written, which in the Capricorn flashbacks in particular had interesting worldbuilding ideas about superheroic social media marketing that Worm didn't go into in the same way because it wasn't as big then. (This, incidentally, was one of several beats, in both the story and in the extraneous materials, where Wildbow backdated elements of the 2020s internet zeitgeist into a setting where the world ended in 2013, which is a very funny way to end up with an alternate history.) This would dovetail with the genre in the sense that whenever I stick my head back into what's going on with Big Two comics these days, I perceive the space to have gotten way, way more online in quite a few ways. Comics that feel written for people on twitter, by people on twitter, with an eye for incorporating whatever the hot-button activist issue is that week and the kind of panels and dialogue that blow up when cropped and reposted without context. Ecoterrorist Thor, inherently-thematically-confused ACAB street-levelers, Miles Morales trashing a landlord's car. You know what I'm gesturing at with this one if you follow Why-I-love-comics or any of the other excerpt aggregators.

This is more of a value-neutral judgement than I'm making it sound- When Al Ewing does this kind of thing, it's usually great, when Tom Taylor does it...I have less charitable thoughts on when Tom Taylor does it. But either way I often feel that there's a building tension between a need for these things to be socially conscious, progressive, left-leaning and so forth, and the inherent limits of how much a mass-market status-quo-bound serial publication can commit to being any of those things-the mealy-mouthedness of framing superheroes as change agents in a setting where nothing ever changes.

Given the extensive write-ups of activism-issue aligned capes in the Weaverdice docs, and given the direction his writing took with Pale and Claw in particular, I find it hard to imagine that Worm as written in 2025 wouldn't want to poke at those tensions. Very-online young-gun superheroes firebombing Walmarts and sticking their dicks in police actions, except there's no editorial reset button and that actually goes somewhere politically. Probably somewhere bad.

[girlies4mcgann]

This just in: Paul McGann photos you definitely haven't seen before...because they were taken by your very own Girlies for McGann! (By Katie at Gallifrey One 2017 & Maggie at Long Island Who 2018, respectively.)

Always love thinking of these as "our" Paul McGann, but what version of him do you love the most? Is it the Doctor? Is it Marwood? Did you see him in person like we did? Let us know in the tags/reblogs/replies!

[ceramicbeetle]

i know tim being patient zero for the operator is kind of super obvious but then sometimes i remember the entry where the operator shows up during alex's 5th birthday party or whatever and i bang on the walls like WHAT DOES IT MEANNNN WHY DID THEY ADD THAT

I LOVE that entry because I have my own little interpretation of that one :3 I think I’ve probably posted about it before but I like to talk SO

To me, that was definitely a video that TTA edited, not a video he found. Brian has been the one hammering in the “It’s all Alex’s fault” from the very beginning, but because he very rarely just outright Says things, the point of this video was to present that thesis statement, and not necessarily to provide proof/evidence of it.

Like, in every video the Operator actually appears in, it is a tangible, physical presence in the scene. Other characters can see and react to it, and it takes up space and is beholden to whatever lighting happens to be in the scene. Except for this video, when it appears as a presence only after the lights have gone out, in a space of the frame that is already occupied by people:

It’s not at the right height or distance in the frame to be actually present in the room, and the quality of the image doesn’t match the absence of light in the shot. Also none of the characters in the scene react to it, even though most people can see in the dark better than a camera can. So, to me, the Operator isn’t actually present with Alex at the party, it was edited in by Brian, specifically, to communicate his idea that Alex is the one to blame for everything that went wrong.

Brian doesn’t find out that Tim was the one with a tangible history with the Operator before the college years until around Entry #59/60. So at this point, it makes the most sense to him that Alex was the one who brought the Operator into the group to begin with. This video is the first time he actually presents that idea instead of just alluding to the idea that Alex was keeping secrets and hiding things. It’s basically just the nonverbal version of “DECAY” where Brian says “You caused this”, lol

(Your mileage on this interpretation may vary, of course, given that this birthday footage was donated to Marble Hornets, not shot by Troy and the gang, so if they wanted the Operator to be in the scene they would have had to edit it in no matter what. But I think they’re good enough editors that I think they could have framed it more consistently in the shot if they wanted it to seem like it was actually in the scene. So, to me, the fact that it does look so blatantly edited — especially since the staticky and stark black/white style is a very core totheark aesthetic — is a way to imply that it was a character editing the footage, and not anyone behind the scenes)

[jadecantcreate]

am i the only person who tends to think of pain in pitch?

as in, pain can be “high pitch” or “low pitch” — if its sharp, like a paper cut or heartburn or aching, its high pitch; if its like a stubbed toe or sore muscles or a headache, its low pitch

high pitch pain is when you hiss, low pitch pain is when you groan, etc etc

i dont know if this makes sense to anyone else?????

(because everytime im writing fanfiction i have to hold myself back from describing it that way — and im not even sure i could fully, effectively communicate that w/o breaking immersion — but me saying “sharp pain” has become. a problem. probably. i really need alternatives)

[brw]

No wonder Peter Parker has no money.

He's a photographer.

[liverpoollomo]

Nikon F65. Cinestill 800T (shot at 3200.)

I love to experiment with a films capabilities. As should also be obvious, I love taking shots in low light settings using either high iso, or fast films. I also like to push films and see what I results.

Earlier this year I managed to get hiold of some Cinestill 800T for a reasonable price. If an 800 iso film is pushed by two stops it can be shot as if it is 3200 iso! Not so long ago these capabilities would have been unheard of. I had quite a bit of fun experimenting and will be on the lookout for more such rolls.

[keeps-ache]

i don't wanna take over the world, it sounds like a lot. but you know, laying siege to a golf course sounds really nice sometimes

[rikkatori]

[thatgoddamngingerundercut]

he's underwater...

[diablo1776]

How I salute hardcore Liberals that keep trying me on my page 😆

[historyofguns]

The article "What Is an ACOG?" by Will Dabbs, MD, published on July 10, 2024, on The Armory Life, provides an in-depth overview of the Advanced Combat Optical Gunsight (ACOG) developed by Trijicon. Introduced in 1987, the ACOG revolutionized tactical optics with its prismatic telescopic design, initially created for the M16 and M4 rifles, featuring a fixed 4x32 magnification in its earliest TA01 model. The sight was designed to be nearly indestructible and included innovations like tritium illumination for low-light conditions, although these elements have a lifespan of about 10-15 years. The versatility of the ACOG, which includes variations such as bullet drop compensating reticles and models integrating micro red dots, has made it a favorite among military personnel in various combat situations. Dabbs shares personal reflections on the ACOG's performance, highlighting its precision and effectiveness at various ranges, exemplified by his experience using an early TA01 model. Despite its high cost—ranging from about $1,200 to $2,485—the quality and reliability of the ACOG continue to make it a sought-after device for tactical use.

[broodygaming]

Gods that scene where Catra, in S3 "Remember", holds onto Adora and says "stay with me" just breaks my heart. Her hesitation in asking Adora what she wants. Her full, complete buy in of this "perfect" reality. Not perfect because of that power she's always saying she wants, heck, Adora is succeeding in CATRAS perfect reality, in their shared perfect reality. It's perfect because... Adora stayed. She stayed. For once in her life she stayed. Except she doesn't. Even here... she leaves.

[steelycunt]

i hate you film & tv where all the low light scenes are too dark to tell what’s going on. and im barely sorry about it too

[iso3200net]

Golden Arches

Once a month I drive through Pensford, Somerset and always intend to stop and photograph the viaduct, but it never seems the right time. Last month the time, light and loaded film was right. —  📷: Pentax MZ-50 + 35-80mm  🎞: Portra 160 @ box  💡: Plustek 8200i + Silverfast 8  — 

Photo taken by Ben Hutchings/pixelated135

Sharing great photos taken on a film.