#manual camera settings

[techdriveplay]

Star Photo Settings for DSLR Cameras

[thatgoddamngingerundercut]

Agust D 'Amygdala' MV & Jacket Shoot Sketch

[konrul]

Agfa Compact

turned on and with the flash removed

[gendzl]

okay, so it turns out that my insurmountable problem with sewing machines translates directly to fancy DSLR cameras. I have returned it to the camera shop.

[b-blushes]

super did not get a good picture but still. it's da moon

[cookiescr]

People who have cameras what's ur first camera and also do u still use it? :o

[entropys]

:-) things are getting better september truly is a month of new beginnings

[starmacnc]

STARMA cnc setting manual CCD camera of co2 laser cutting machine

[studyhelianthus]

[doornkamp-blog]

NEW TO PHOTOGRAPHY? - USE THE MANUAL SETTINGS

The only way to be comfortable with your camera is to use it. And the best way to learn how it works is to explore the manual settings. I know it is easy to just use the Auto settings, but you will never become creative that way. You must practice .. practice … and practice … with the manual settings. Take them one at a time. See what the aperture settings do to your images. Experiment with…

[korattata]

[ms-demeanor]

So you know absolutely positively nothing about photography

Cellphone cameras are fucking great. I love them. I love the ability to take photos whenever and wherever at basically zero cost.

Point-and-shoot cameras have always been awesome and accessible devices.

This is not a post shit-talking "basic" cameras. This is a post for people who have only ever used basic cameras who want to know at least slightly more about photography.

Because, the thing is, a remarkable amount of photography is math. And if you don't know it's math, it looks like a mystery. And you may be standing there snapping a photo with your phone that looks pretty good, but your friend with a DSLR looked at the sky, twisted a dial, and took three steps to the left and they took a photo of the same subject that looks like it belongs on a magazine cover.

How did they do that?

Probably math.

If you've come into possession of a DSLR camera and are disappointed that the photos you're taking aren't looking like the photos you thought came from DSLRs, I'm here to tell you about the math you may not know about.

What is a photograph?

At its most basic, a photograph is the result of light on a sensor. Let's consider a pinhole camera for a moment. A pinhole camera is a lightproof box with a piece of photographic paper on one side and a tiny hole in the other.

When you create a photo with a pinhole camera, you're using pretty much all of the math you would in a big fancy camera, just in a cruder form they are:

The sensitivity of the paper, film, or camera sensor to light (this is your "ISO" if you're using a digital camera or film). Light sensitivity can be easily changed on a digital camera, but on chemical-treated paper or film the sensitivity is predetermined and cannot be changed. If you want to change the ISO on an analog camera, you need to change the medium that's being exposed.

An opening to let light in - your F-stop, or aperture. The F-stop of a photo is how wide open the lens is to let light onto your film or sensor. In a pinhole camera, you have something that is theoretically a very very large F-stop because you have a very, very tiny opening to let light through (F-stops run in reverse - the bigger the number, the smaller the opening).

Exposure - your exposure is the amount of time you leave your sensor open to the light. The majority of photos you see in the world have exposure times that are measured in tiny fractions of a second, sometimes in thousandths of a second. If you're using photo paper in your pinhole camera, you may have an exposure time of minutes rather than tiny portions of a second, but your photo exposure will still depend on how long you want to leave your "lens" open.

Focal length - your focal length is a description of the relationship of the distance between the light source and the light sensor. You can manipulate this in a pinhole camera by making the camera longer or shorter. A larger focal length means a narrower field of view - it zooms in on the subject.

A pinhole camera is the simplest camera that lets you, the photographer, control all of the elements of a photo. This is, functionally, fully manual photography.

So what's the difference between all that and a cellphone camera?

Point-and-shoot cameras like those on cellphones give the user more limited control over these settings. For instance, think of a disposable camera. On a disposable camera, the photographer has control over one setting - the ISO of the film, which they can select at purchase. They can't control how wide the lens opens or how long it stays open, and the only way they can compensate for lighting that is a poor match to the ISO is flash.

Cellphone cameras are very much like a standard point-and-shoot. By default, users point their cameras, then shoot a photo. Many cellphones have a "pro" mode that will allow the user to emulate different ISOs or f-stops, but the sensors in cellphone cameras aren't as good as the ones in camera-cameras, and the lenses are very limited as well. Some cellphone cameras and point-and-shoot digital cameras WILL allow users to set longer exposures, and many cellphone cameras have multiple lenses which does allow for some lens effects, but they don't give a huge amount of control to the user.

Okay so let's say I've got my new shiny camera, what do I need to know?

For best results, you want your ISO to match the light you're shooting in. Low ISO is for bright light, high ISO is for low light. If you wanted to take snapshots of your family outdoors at disneyland in the summer, you'd buy 100 ISO film. When I used to shoot football games at night in oddly lit stadiums, I'd use 1600 ISO film. If you have a DSLR camera, there's a setting somewhere in there that tells you how to set the ISO. If you are shooting in relatively low light and the photos are turning out darker than you'd like *but* things are moving too quickly to use a longer exposure, you can bump up your ISO for brighter, sharper images but they will be more noisy and grainy than ones shot at a lower ISO. If you want clean, smooth, crisp images, your goal should be to shoot with the lowest ISO possible.

The Aperture of your camera lens determines your F-Stop. This acts like the pupils of your eyes. When it's really really bright out, your pupils shrink down to let in less light. When it's darker out, your pupils get bigger to let in more light. If you are shooting in low light, you want a low F-Stop, which means that your camera's lens is open really wide. If you are shooting in a bright environment, you want a higher F-Stop, which will mean the opening is very small. Since your F-stop interacts with the focal length of your lens, you will find that zooming in with the lens often makes images darker. To shoot clear images from far away, you need to be very conscious of your F-stop, your ISO, and ambient lighting conditions.

Exposure describes the length of time you set the camera to leave the aperture open. In many DSLRs this can span from 1/3200th of a second to infinitely long (the "bulb" setting means "aperture is open until you close it.") If you want sharp images of frozen motion, you want the fastest speed that you can get. Sports photography and photography of things like insects or milk crowns often use extremely short exposures to get sharp images. If you want blurry images you want slower speeds. If you want to take a photo in a low-light environment and capture motion within that environment - for instance, taking photos of cars on a freeway at night - you want slower speeds (if you want to do this in a brighter environment, like taking photos of a stream in the daytime, you want slower speeds and a specific kind of lens filter called a neutral density filter). When exposures are set to be longer than about 1/60th of a second, images with motion start to look blurry.

Focal Length determines the field of view of your subject. If you have a lens with variable focal lengths, this is called a zoom lens. A longer focal length zooms you in and a shorter focal length zooms you out. Lenses with fixed focal lengths are called prime lenses, and can't zoom in or out.

Depth of Field - your depth of field is a combination of the interaction of your focal length, your distance from your subject, and your F-stop. The depth of field describes the relative amount of space in a photograph that is in focus. A long depth of field means that much of the image plane is in focus. A short depth of field means that a narrow portion of the image plane is in focus. A low F-stop produces a narrow depth of field. A long focal length produces a narrow depth of field.

You can think of your camera as a tool that measures time and space. Your ISO and Exposures are measurements of time (how quickly the sensor senses the light, how long the sensor is exposed to the light), the F-Stop and the focal length are measurements of space (how wide the aperture of the camera is, how far the lens is from the sensor).

The pre-set modes on your camera, the ones on the dial that show a person running, flower, or a cloud, or a lady with a hat - these are generic settings that combine an ISO, exposure time, and f-stop that are likely to work well for outdoor action shots, landscape photography, cloudy light, and portraits. When you're using those pre-set modes, you control the focal length and not much else.

When you understand that the running person/action mode means low-ish ISO combined with high shutter speeds, you can start just setting your own ISO and shutter speed when you're shooting sports. When you know that portrait mode sets you up for low-ish f-stops, relatively quick shutter speeds, and mid-range ISOs, you can just start setting those things on your own so you can have more control.

"What about light metering?"

Since your camera is a machine that records light, light metering is pretty important. The light meter of your camera will tell you if your settings are "correct" for the amount of that the light sensor senses. In most modern cameras there is a light metering display on the bottom edge of the viewfinder that goes from negative to positive; if the meter shows that you are in the negative it means that your photo will be under-exposed (too little light will get to the sensor and the image will appear dark), if the meter shows that you are in the positive it means that your photo will be over-exposed (too much light will get to the sensor and the image will appear too bright - "blown out"). The way to correct for under or over exposure is to change the length of the exposure, making it longer for underexposed images and shorter for overexposed images.

What the light meter is doing is thinking about all of your settings and the lighting for you. It looks at the ISO, focal length, f-stop, light hitting the sensor, and planned exposure time and tells you what that combination of settings is likely to produce - something too bright, or something too dark.

When you are more experienced with photography, you get good at juggling these things on the fly and messing around with them more, which is how you can do the magic of looking at the sky, twisting a dial, taking three steps to the left, and knocking it out of the park with a picture.

It only looks like magic because you're doing a ton of math under the hood that is extremely non-obvious to people who are new to photography.

Anyway, here is a good guide to depth of field and what goes into it.

Here is a basic photography textbook that explains the principles that I've gone over here in a lot more detail with a lot better explanations. It's a film photography textbook, but one of the cool things about photography is that a lot of stuff from the analog era is still relevant in the digital area, and the basics haven't changed.

However all of that is about the *technical* aspects of photography. Photography isn't just a record of exposure time and focal length, so here's a basic photo composition textbook that talks about the artistic principles of photography.

[marcmagus]

I already use OBS virtual camera when I'm on zoom calls for reasons, and I am suddenly very tempted to just start playing a game in the middle of my next boring meeting and do this.

During a work meeting today I switched my webcam off and set it to OBS virtual camera, pointed at DOSBox.

It was like "Okay, that sounds good Dave. Foone, what's your update?"

"Yeah I was working on foobar and I fixed the barbaz and made all the qux's quuxier. It'll be done by monday."

"Okay cool. Do you know you're a DOS game?"

"Yeah. That's on purpose"

"Okay! Alright: Samantha, what's your update?"

[xitsensunmoon]

My first ever comic con! And first cosplay too. Of course it's gonna be my boy :] Ramblings about the process are under the cut(Let me know if?? You would want me to elaborate with process images for any of the steps?)

The costume took me forever to make, as I've never done any machine sewing, sculpting, fabric dying or spray painting before but learning all of these was so fucking fun!! I never realised just how many different skills go into making a cosplay but it was so worth it!!!

Almost all of the clothes(except the hat) were purchased first as bases, but all of the detailing was added by me. All of the fabric used was originally just scraps that I was given for free so I needed to learn how to dye and dye all of the stars, they were originally white.

The sewing machine was its own beast that brought me tons of frustration from the lack of skill and knowledge (it was devastating to find out that 95% of fuck ups were my fault and not the machine's lmao). But as a result, a hat sewn from scratch, all of the fur trims, embroidery on the corset, stars and the collar(which is very hard to see on the pictures unfortunately) was all added manually. The stars and the stripes(on the back of the cape) were attached using heat-and-bond adhesive (I WISH I knew about such thing just when I started working on this. It would save me so much time and nerves.)

Then I found out about polymorph(mouldable plastic) and it has become the next thing I wanted to learn, to sculpt the claws and the fangs(yes, they're handmade jfksjs). The claws I then primed and painted in trillion coats because I wasn't satisfied with the colour of the spray paint. The fangs I moulded to my own teeth and then stained with tea to match the colour of my teeth :)c

As for makeup, I used Mehron Paradise water activated paints. At first I wanted to try to save money and bought myself Snazaroo instead, which unfortunately turned out to be a waste. Snazaroo didn't hold on my face for longer than 2 hours, cracking and peeling awfully. Mehron on the other hand survived 11 hours of me smiling, talking, emoting and such and didn't even crease at the smile lines(I'm actually shocked about that). It obviously works like any other makeup which means your skin texture and wrinkles won't go anywhere but Mehron's elasticity pleasantly surprised me. It did obviously smear from sweat and saliva(if you're eating and licking your lips) but if you don't touch the skin it just dries again, self setting. But if it's dry it's fully smear-proof. Highly recommend!

And last but not least, I've decided against painting my hands as it was very risky that I will stain everything I touch at the smallest hint of sweat. So instead I got myself gloves-tights(? Not sure how they're called but it's made from the same fabric as tights) and painted them with normal acrylic paint(did you know you could dye fabric with acrylic paint? I personally didn't), then heat set with an iron and voilà, they're reusable, my hands are not stained after an exhausting day and I don't stain everything I touch. It worked wonderfully which honestly was a surprise as I was really sceptical that acrylic paint will somehow stay in place.

I think this whole thing took me minimum of 6 months with big-big breaks for my school and life in general. But I'm really proud! This project taught me so many new skills and I couldn't have been happier about learning new knowledge, even if it sucked to fail in the meantime.

Everyone at the con was really nice and gave me a large confidence boost even tho it was my first time and I had no idea what I was doing. Taking photos with other people was really awkward/new for me as I hate cameras so I really had no idea how to pose/behave in front of one. But that's okay I think. This whole experience definitely made me want to do this again, so I think that will come with experience. Thank you for reading this far, hope you enjoyed this little summary :)

[delulujuls]

testcam.mp4 | ln4, op81

hi, im coming back with another f1 shot! as i said, i will still write for my fast bois, so here i am, making my words and serving another landoscar. it is, oh my, intense. so please, if you are a minor, do not interact!

summary: oscar decided to follow in lando's footsteps and also set up a video account on instagram. however, as we all know, practice makes perfect and luckily he had willing models nearby

warnings: smut! p in v, oral (male and female receiving), two boys kissing (im sorry), no protection (dont be like them, use that damn rubber)

pairing: fem!mclaren driver reader x oscar piastri x lando norris

"Y/N, look at me," the girl sighed and lifted her gaze from her phone, looking towards Oscar, who was sitting on the opposite side of the room. "The camera definitely caught that sigh, I'm sure."

"Is this another idea from the PR people?"

"No, actually, it's not," Oscar replied, still squinting through the camera, trying to manually focus it on his friend's face. "To be honest, it was Lando's idea."

"Lando's idea?" she furrowed her brow. "Since when you thought that Lando's ideas are worth following?"

"Since he started that Instagram account, where he posts photos and short videos," Oscar said, moving the camera away from his face and clicking a setting button. "People really liked it, so I thought I might give it a try too."

Y/N snorted and smiled, shaking her head. "Does he know about it?"

Oscar was about to answer when Lando walked into the room, as if he had been summoned.

"Know about what?" he asked, having caught the tail end of their conversation before entering.

"About how," "Your ego might not handle this," Y/N interrupted Piastri, who still held the camera, looking up at Lando. "About how I thought I might start doing some amateur photography and filming too."

Lando smiled. "Like 'lando.jpg' and 'lando.mov'?"

The Australian just nodded. "Except I don't know how I'll do yet, I just got the camera today."

Norris sat down next to him and immediately engaged in the conversation. Knowing she wouldn't get a chance to talk to them for the next hour, Y/N decided to go for lunch early, leaving the boys on their own.

"But I see you've already recorded something," Lando commented, quickly browsing the camera and looking at the saved files. "Can I?"

Oscar nodded. "It's just Y/N, the first footage right after unboxing."

Norris smiled, watching their friend's long eyelashes brush her cheeks before she looked up from her phone when called by Oscar. Piastri also glanced at the small screen, where the girl's face appeared for a few seconds.

"She's pretty," Lando stated, an idea forming in his mind. "You could practice using the camera on her."

Oscar furrowed his brow and looked at his friend's face. "I'm not sure what you mean."

The Brit smiled and bit his lip, giving him a meaningful look. It took Oscar a moment to connect the dots.

"Are you crazy? That's absurd!"

"If you don't want to, I can ask her," Lando replied, shrugging and handing the camera back to him. "I could use some more practice too."

When Y/N finished her lunch, she had media duties to attend to, joined shortly by Lando and Oscar. As dusk fell and all the necessary materials were recorded, the trio left McLaren's headquarters. Y/N and Lando were supposed to stay at a hotel, but Oscar invited them to stay at his place during their time in Woking.

"Shall we order something to eat?" Lando asked as Oscar drove into the underground parking after an hour-long drive.

"I'm all for it, I'm starving," the Aussie admitted, and Y/N, sitting in the front, nodded too. "I call dibs on the bathroom first, and you guys can order something in the meantime. I can eat anything."

She added, getting out of the car. When they were inside Oscar's apartment and Y/N had disappeared into the bathroom, Lando gave his friend a knowing look.

"What?" Piastri furrowed his brow, placing his backpack on the counter and unpacking it.

"You know what," Lando replied, smiling. The Aussie shook his head.

"You can ask her, but I doubt she'll agree," he said quietly, emptying his backpack. "We barely, you know, damn-" Piastri started to stammer, losing his train of thought. Thinking about Lando's suggestion made him blush. The older boy laughed, wrapping an arm around him and kissing his cheek. Oscar was adorable when he got embarrassed.

Piastri sighed and looked up at his friend. His amused gaze was captivating, his smile hidden by biting his lip.

"This isn't funny, Lan," Oscar muttered, though the corner of his mouth twitched upwards.

"It is, actually," Norris murmured, pulling him close and kissing him, before moving to sit on the couch. Soon, all three were on the couch, eating fried noodles with chicken and vegetables. They wore loose shirts, their hair still wet from their showers, and watched a lighthearted series they had chosen a few days ago.

When they finished eating and the episode ended, Lando stretched and glanced at Oscar.

"So, Osc, did you manage to record anything today?"

Y/N also looked at her friend, who just shook his head.

"Just a few seconds of Y/N, nothing more."

"I thought you deleted that," the girl said, standing to get a drink from the kitchen. She picked up the camera from the counter and, sitting back on the couch, opened it and turned it on. Lando leaned in, resting his chin on her shoulder, looking at the small screen, where a familiar figure soon appeared.

"You look nice," Lando said softly, smiling. "The camera likes you."

The girl smiled, hearing her own sigh in response to Oscar's request to look his way.

"It did catch it," she glanced at her friend, who was sitting nearby, finishing his food.

When the short recording ended, she absentmindedly pressed the red record button and, glancing at the display, pointed the lens at Oscar.

"The worst possible moment," he said with his mouth full, looking at his friends with mock exasperation.

"What a handsome guy, just look at him," Lando smiled as she focused on zooming in on the noodle box in his hands.

"How do you rate our dinner?" Y/N asked, smiling.

Oscar picked the remaining noodles from the box and shoved them into his mouth, nodding appreciatively.

"Much better than what you can get at the company," he replied, placing the empty box on the table and grabbing an open can of Sprite.

"And what about dessert?" she asked, looking up from the camera and into his eyes. Oscar nearly choked, and Lando, if he'd had something to drink, would likely have spat it out.

"Dessert?" The boys asked almost simultaneously, glancing at each other, then at their friend.

"Mhm," Y/N replied and looked at Lando, signaling with her head for him to sit next to Oscar. He obediently moved and sat beside him, placing his hand on the back of the couch. "Here they are, my lovely boys."

"Yes, that's us," Lando said, glancing at Oscar. "In the flesh," Piastri added, looking back at him. The friends exchanged looks. It went much smoother than they expected.

"A little show? The camera doesn't like boredom," Y/N encouraged, resting her legs on the table and moving the zoom out a bit.

"If you're okay with it, of course," she added, looking up from the camera and at them. Lando gave Oscar a questioning look, and he just shrugged. "I don't mind."

Norris smiled, weaving the hand that lay just behind his head into his hair and kissing him. Oscar immediately returned the kiss and touched his cheek. Y/N smiled, zooming in on their faces. She bit her lip, feeling the heat rise within her.

"Actually, it's my camera," Oscar said after a few minutes, as Lando's kisses trailed down his neck. "And I think I should practice with it too."

“Of course, it’s even recommended,” the girl smiled and stood up, handing him the camera. Lando also got up from the couch and easily lifted his friend, carrying her over his shoulder to the bedroom.

“You’re so cheeky!” the girl shouted, hitting him on the butt. “I hope you’re recording this violence,” Y/N made sure, lifting her head and glancing at Oscar walking behind them. “I’ve got it all, and in HD too.”

In the bedroom, Lando laid the girl on the bed, and she immediately pulled him towards her. He laughed, placing his hands on either side of her head and easily finding her lips. Piastri stood to the side, feeling hotter by the second. Just like the little red dot on the screen indicated the camera was working, his arousal was evident in his too-tight boxers. He couldn’t lie; he liked what he was seeing. When Lando moved aside to remove the girl’s shirt and his lips immediately attacked her breasts, she looked at Oscar and extended her hand towards him.

“Join the party, baby,” Piastri swallowed hard and obediently approached the edge of the bed. His friend’s hand moved along his thigh until it found the bulge in his pants. Y/N smiled and squeezed it, massaging for a moment. When Lando disappeared between her thighs, she propped herself on her elbow and easily slid Oscar’s sweatpants and boxers off. She looked straight into the camera lens and licked his entire length, sending shivers through his spine.

Piastri could barely stand when she took him into her mouth. He watched on the small camera screen as her lips moved up and down on him, leaving an increasingly wet trail. She moaned softly, glancing involuntarily towards Lando. When Oscar pointed the camera at him, the Brit smiled and winked. His tongue was still working between the girl’s thighs, and the finger he had added earlier was rhythmically moving inside her, eliciting soft, pleasant moans.

“Do you like what you see?” she asked, looking dreamily over the lens at her friend’s face. Oscar nodded and licked his lips. The whole situation was incredibly arousing for him. Not just for him; Y/N didn’t need much to come on Lando’s tongue shortly after.

“Give it to me, now it’s my turn,” Norris commanded, standing up and getting off the bed. “Lie down.”

Without stopping the recording, Oscar obediently handed him the camera. The girl smiled and grabbed the Aussies’s hand, pulling him towards her. Piastri fell onto the pillows and couldn’t even speak before his friend climbed onto his lap and kissed him tenderly. Oscar sighed into her mouth, squeezing her thighs with his hands.

Lando smiled at the sight before him, holding the camera in one hand and skillfully freeing himself from his sweatpants with the other. He spat on his hand and spread the saliva over his cock, starting to stroke it. Even if he wanted to, he couldn’t lie about not liking the whole situation.

The three friends were friends only in a technical sense. To the people they worked with daily, to the fans, and really to everyone around them, they were just three drivers who ended up at McLaren and became the faces of the brand, becoming friends in the process. That was all true, but they weren’t just friends. Friends don’t know how you taste. Right?

“That’s right, baby,” Lando smiled, hearing the girl choke as she tried to take all of Oscar's lenght into her mouth. “And again, take him all.”

Y/N sniffed, trying to catch her breath. Oscar raised his hand to gently brush her hair from her face, but Lando tightened his grip on it and forced the girl to take his cock back into her mouth. Oscar moaned deeply, his eyes rolling back involuntarily. He bit his lip, trying to hold back another moan, and looked up at his friends. He felt embarrassed when he noticed the camera in Lando’s hand, having momentarily forgotten about it.

“There’s nothing to be ashamed of,” the older boy assured, one hand still guiding the girl’s head and the other directing the camera at his friend’s face. “Fuck, you look so good right now.”

“Mm-hmm,” the girl nodded, smiling and looking up at him. “Pretty boy Piastri.”

“It’s a shame to cover such a face,” Lando admitted, slapping girl's ass cheek. “Come on, sit on his face.”

Oscar blushed at his boldness, causing the girl to giggle softly. Y/N pulled herself up and kissed his cheeks, finally kissing him deeply on the lips.

“Tell me if something’s wrong-” her sentence was interrupted by a sudden moan that escaped her lips. As soon as her pussy was above Oscar’s head, he grabbed her thighs and pulled her to him, immediately sucking on her clit. “Oh my God,”

The girl leaned against the wall and closed her eyes. Oscar’s hair fell messily over his forehead, his arms tightly embracing his friend’s thighs, his tongue tracing rhythmic figure-eights, and his brown, misty eyes looking up at her curves.

“He’s in love,” Lando smiled, climbing onto the bed and standing behind the girl, filming Oscar’s face from her point of view. “How does she taste, Osc?”

“Fucking delicious,” he murmured, running his tongue along her entire pussy, causing her to moan. When the girl threw her head back at the sudden sensation of pleasure, she looked straight into the camera. Lando stood next to his friend and smiled at the sight of her blissful face.

“Feels good, doesn’t it?” he bit his lip, touching her cheek and gently brushing it with his thumb. Y/N nodded and, seeing his painfully erect cock, immediately took it into her mouth.

Lando cursed softly under his breath, tucking her hair behind her shoulders.

“That’s right, just like that, baby,” he praised, glancing at her face this time from behind the camera. “Such a good girl.”

“You’re taking this way too seriously, Lan,” Oscar called out from between the girl’s thighs, causing her to giggle softly.

“Not funny,” the Brit murmured and moved away to the girl’s disappointment. He lay down next to Oscar and gestured for his friend to sit on him. Y/N carefully slid off Oscar’s face, which was now even redder than before. She took the designated spot and slowly slid his cock inside her, both of them reacting with a sigh. Lando held the camera in one hand, his other hand on the girl’s hip, guiding her movements. But his hand wasn’t the only one; a moment later, another pair of hands appeared on Y/N’s waist. Oscar knelt right behind his friend, gathering her hair over her shoulder and planting wet kisses on her neck. He held her hips, setting the right rhythm. The girl braced herself on Lando’s stomach with one hand, the other tangled in Oscar’s hair.

She almost completely forgot that Lando was holding a camera.

Norris also forgot about it and shortly after, when the camera started disturbing him, he placed it on the nightstand, focusing all his attention on the two most important people in his life.

“You are so good for him,” Oscar cooed right into her ear, one hand massaging her clit and the other guiding her movements. “Just look at him.”

“I can hear you, Osc,” the older boy noted, his eyes closed. His hands still guided the girl’s hips, his own movements setting the pace. He felt pleasure spreading through his entire body, warming it.

After a while, Lando, feeling he was close to orgasm, humbly withdrew from the girl’s hot, tight interior. Y/N lay on top of him, pressing him into the mattress and finding his lips again.

Oscar spat on his cock, spreading the saliva with his hand. He moved closer to the girl and grabbed her hip, slowly sliding into her.

Y/N moaned loudly into Lando’s mouth at the sudden sensation. He smiled, “Does he feel good, baby? Filling you up so well?”

“Mm-hmm, yes- oh my God,”

The girl clenched the sheets in her fists and involuntarily closed her eyes, throwing her head back. Oscar smiled and grabbed her hair, pulling her towards him and locking their lips in a kiss.

Their lips couldn’t keep up with the kisses, hungry hands grabbing at every piece of flesh. Moans mingled in a love cocktail that filled the stuffy bedroom walls.

After a while, the three of them collapsed exhausted on the pillows. Their breaths were quickened, cheeks flushed, and bodies covered in sweat. Oscar and Lando lay on the girl’s stomach, and she lazily ran her fingers through their tousled hair. She smiled at the sight before her and reached to turn off the night lamp when she saw that the camera on the nightstand was still pulsing with a red light.

“Of course, you didn’t turn it off,” the girl giggled, reaching for the camera.

“I completely forgot,” Lando admitted, looking at his friend. “Then we’ve got some really hot footage,” he chuckled.

“I’m not sure I want to watch it,” Oscar admitted, closing his eyes.

“The camera test was definitely successful,” she smiled, closing it and setting it aside.

[scealaiscoite]

⋆˚࿔ prompt sets of three 𝜗𝜚˚⋆

write a piece featuring - in any capacity you can think of - all three things depicted in the given prompt!

¹⁾ a polka-dot bikini, a throw blanket and a pint glass

²⁾ a sliotar, a flat tire and a thunderstorm

³⁾ a teakettle, a fresh bruise and rosewater

⁴⁾ a chipped enamel bathtub, a blue sweater and basil leaves

⁵⁾ howling gale winds, an inflatable paddling pool and an oil lamp

⁶⁾ a fresh buzzcut, pink bubblegum and rolling tobacco

⁷⁾ gas station bandaids, a cellophane-wrapped bouquet and muddy footprints

⁸⁾ a lipstick print, skinned knees and stained-glass windows

⁹⁾ a busted streetlight, green olives and a teak countertop

¹⁰⁾ gun oil, red lace and an old armchair

¹¹⁾ a fresh tattoo, a sacristy, and guilt

¹²⁾ a corner booth, sweet patchouli and a wallet

¹³⁾ donuts, orange juice and a jail cell

¹⁴⁾ a cold red bull, shaking hands and broken traffic lights

¹⁵⁾ new graves, a busted headlight and silver rings

¹⁶⁾ handcuffs, brightly coloured building blocks and fir trees

¹⁷⁾ a shortwave radio, takeout containers and a bare lightbulb

¹⁸⁾ broken windows, waist-high grasses and lit matches

¹⁹⁾ orange segments, divorce papers and a front porch

²⁰⁾ horror movies, steaming showers and cold bedsheets

²¹⁾ brazilian lemonade, a split lip and daisy chains

²²⁾ a red convertible, a priest’s collar and dogtags

²³⁾ a corner office, parking tickets and greyhound races

²⁴⁾ bitten lips, army fatigues, and coca-cola

²⁵⁾ old wives’ tales, creaky stairs and cherry lipgloss

²⁶⁾ smooth whiskey, greying hair and warm hands

²⁷⁾ hospital food, full moons and a reconciliation

²⁸⁾ exes, candy wrappers and a twin bed

²⁹⁾ a rural motel, a pocket knife and iodine

³⁰⁾ a dirty martini, a dressing gown and blood under fingernails

³¹⁾ slept-in braids, a lamplit office and an explosion

³²⁾ blueberry pancakes, a restraining order and the taste of rum off someone’s lips

³³⁾ farmers’ market peaches, burnt coffee and houseplants

³⁴⁾ a late text, faded jeans and lightning strikes

³⁶⁾ desert air, zinnias and chocolates

³⁷⁾ an old truck, freshly turned earth and a tv dinner

³⁸⁾ wedding rings, wildfire and wrought iron gates

³⁹⁾ a hostage situation, evergreen trees and a pierced tongue

⁴⁰⁾ unripe strawberries, bitter wine and a kitchen table

⁴¹⁾ a head laid down in a lap, green tea and a break news announcement

⁴²⁾ a fire alarm, a flower-patterened apron and an ajar kitchen window

⁴³⁾ a jar of jam, two shots of vodka and a stack of car manuals

⁴⁴⁾ techno music at 4am, knitted jumpers and a broken watch

⁴⁵⁾ a green silk scarf, a pan of burnt food and the trunk of a car

⁴⁶⁾ bound hands, a crescent moon and laughter

⁴⁷⁾ a winter coat, a heatwave and fresh mangos

⁴⁸⁾ a thrift store sofa, a highrise apartment building and creaking floorboards

⁴⁹⁾ missing teeth, a house half covered in ivy and cheap beer

⁵⁰⁾ undeveloped camera film, stomach kisses and cigarette smoke