#shot composition exquisite

[sapphiresaphics]

Arcane is an excellent litmus test for your media literacy. Not even joking.

Like I love Arcane, but it is NOT subtle. My favorite example of this is when Ambessa enters into Caitlyn’s room in Season 2 Episode 4. Maddie has been talking Caitlyn down and trying to convince her to call off the martial law and reestablish the council. Ambessa needs HexTech and she needs Caitlyn to get her someone who knows how to use HexTech. So she LITERALLY walks over to the fireplace and begins stoking the embers. She’s LITERALLY stoking Caitlyn’s rage and anger. It’s MASTERFUL storytelling and visual framing. Chefs kiss 🤌 10 outta 10!

You can call Arcane a lot of things… But SUTBLE? No… it is assuredly NOT subtle.

Which is why it’s hilarious to me when I see all these REALLY BAD TAKES from people who are confused or angry at the actions of characters or who really cannot comprehend why a character would do this or that. Which indicates to me that they are either not paying attention, or they’re really bad at understanding how shot composition, framing, dialogue, subtext, and everything else that goes into making media WORKS.

Vi is desperately trying to tell herself that Jinx is dead so that killing her wont hurt at much. You can tell this from the cracks in her voice acting, the way she can’t look people in the eyes when she says it, the way she can’t look at the bullet flying at Jinx, the way she IMMEDIATELY stops the second a kid gets in the way and doesn’t try to take the kid off. Like the framing, the line reads, her actions… it’s ALL telling you that when she says “my sister is dead” she is LYING TO HERSELF. It is NOT TRUE.

And then you’ve got people going on Twitter and Reddit and tumblr freaking out about “how could Vi forgive Jinx so easily? This writing is so inconsistent! Can’t they just stay focused? Why is it all so ham fisted? The plot makes no sense!”

And I’m just here like…. Are you fucking SERIOUS? Are we watching the same show? Are you guys really just this STUPID???

I love Arcane. The story is amazing. The characters are complex. The visual shorthand and framing is exquisite. The montages and animation are unparalleled. The story is nuanced and complex while being accessible to everyone, even people who’ve never played League of Legends before.

But subtle?

No. This show takes its message and beats you over the head with it like a BRICK.

How are people missing this stuff?

Are we that far gone as a people?

Are people today just not savvy at all when it comes to the media they consume?

Are people just this DENSE that they can’t read SUBTEXT?

[rosemary-rothlorein]

Victor Hugo: not relevant but there is an urgent need for a close-up shot of Enjolras.

Text was copied and pasted from wikisource.

3.4.1, introduction paragraph

Woe to the love-affair which should have risked itself beside him! If any grisette of the Place Cambrai or the Rue Saint-Jean-de-Beauvais, seeing that face of a youth escaped from college, that page's mien, those long, golden lashes, those blue eyes, that hair billowing in the wind, those rosy cheeks, those fresh lips, those exquisite teeth, had conceived an appetite for that complete aurora, and had tried her beauty on Enjolras…

Poor Enj, walks on the street and gets harassed by random passers-by.

Also Victor Hugo, next paragraph: now let’s talk about Combeferre, “He was less lofty, but broader. That’s all. Thank you.”

Enjolras, the believer, disdained this sceptic; and, a sober man himself, scorned this drunkard. He accorded him a little lofty pity. Grantaire was an unaccepted Pylades. Always harshly treated by Enjolras, roughly repulsed, rejected yet ever returning to the charge, he said of Enjolras: "What fine marble!"

Grantaire, are you sure you are there for Enjolras’s faith and (chaste, healthy, firm, upright, hard, candid) nature NOT FOR HIS FACE???

3.4.5, Combeferre’s être-libre big show

Enjolras, whose blue eye was not fixed on anyone, and who seemed to be gazing at space, replied, without glancing at Marius:

Thanks, Victor, for reminding us of something you said four chapters ago.

4.12.3, basically Grantaire’s love confession

Enjolras, who was standing on the crest of the barricade, gun in hand, raised his beautiful, austere face. Enjolras, as the reader knows, had something of the Spartan and of the Puritan in his composition.

Maybe the reader also knows Enjolras has a beautiful and austere face.

4.12.7, Javert’s identity is discovered.

"Spy," said the handsome Enjolras, "we are judges and not assassins."

Javert: …Why?

4.12.8, Le Cabuc’s execution

Enjolras, pale, with bare neck and dishevelled hair, and his woman's face, had about him at that moment something of the antique Themis…

Victor Hugo: I know one minute ago you were not doing anything intense, merely talking to Javert, but now I need you to cosplay Themis, so please get rid of your cravat and dishevel your (beautiful, golden, shining) hair.

Enjolras: …okay.

His dilated nostrils, his downcast eyes, gave to his implacable Greek profile that expression of wrath and that expression of Chastity which, as the ancient world viewed the matter, befit Justice.

Victor Hugo: Killing in the name of justice can easily get us into endless and heated ethical debates, and the issue is further complicated by the very situation, given it is a revolution, where a judicial system has not really been established. Let’s not get into deep water but make our life easier: this is divine justice.

Le Cabuc attempted to resist, but he seemed to have been seized by a superhuman hand.

Le Cabuc: I am armed, and I am evil and impetuous enough to murder someone without a second thought. Am I not supposed to fight this schoolboy?

Victor Hugo: No. You are supposed to be shocked by his beauty. And chastity.

Le Cabuc: Is that something I can tell by LOOKING AT HIM?

Enjolras ceased. His virgin lips closed; and he remained for some time standing on the spot where he had shed blood, in marble immobility.

Marble x2.

Jean Prouvaire and Combeferre pressed each other's hands silently, and, leaning against each other in an angle of the barricade, they watched with an admiration in which there was some compassion, that grave young man, executioner and priest, composed of light, like crystal, and also of rock.

5.1.3

Enjolras reappeared. He returned from his sombre eagle flight into outer darkness. He listened for a moment to all this joy with folded arms, and one hand on his mouth. Then, fresh and rosy in the growing whiteness of the dawn, he said:

…He literally says hey guys, we are going to die now.

Victor Hugo: Yeah I know. But light technician, light on Enjolras please!

5.1.5 barricade speech.

All at once he threw back his head, his blond locks fell back like those of an angel on the sombre quadriga made of stars, they were like the mane of a startled lion in the flaming of a halo, and Enjolras cried…

How can Victor Hugo forget to highlight his revolutionary gold boy’s beauty?

Enjolras paused rather than became silent; his lips continued to move silently, as though he were talking to himself, which caused them all to gaze attentively at him, in the endeavor to hear more. There was no applause; but they whispered together for a long time. Speech being a breath, the rustling of intelligences resembles the rustling of leaves.

No virgin lip this time. Good thing that Victor is learning self-restraint (but not for long, apparently).

5.1.8 the death of sergeant of artillery

And a tear trickled slowly down Enjolras' marble cheek.

Marble x3.

Victor you are using Grantaire’s vocabulary.

5.1.23 the martyrdom of Enjolras

The audacity of a fine death always affects men. As soon as Enjolras folded his arms and accepted his end, the din of strife ceased in the room, and this chaos suddenly stilled into a sort of sepulchral solemnity. The menacing majesty of Enjolras disarmed and motionless, appeared to oppress this tumult, and this young man, haughty, bloody, and charming, who alone had not a wound, who was as indifferent as an invulnerable being, seemed, by the authority of his tranquil glance, to constrain this sinister rabble to kill him respectfully. His beauty, at that moment augmented by his pride, was resplendent, and he was fresh and rosy after the fearful four and twenty hours which had just elapsed, as though he could no more be fatigued than wounded.

(The most obvious evidence that this guy is divine. Human biology DOES NOT work in this way.)

It was of him, possibly, that a witness spoke afterwards, before the council of war: "There was an insurgent whom I heard called Apollo."

Were you at the barricade for the revolution or for something (someone) else???

A National Guardsman who had taken aim at Enjolras, lowered his gun, saying: "It seems to me that I am about to shoot a flower."

Le Cabuc symptom: brain stops functioning properly at the sight of Enjolras’s beauty.

Noise does not rouse a drunken man; silence awakens him. The fall of everything around him only augmented Grantaire's prostration; the crumbling of all things was his lullaby. The sort of halt which the tumult underwent in the presence of Enjolras was a shock to this heavy slumber. It had the effect of a carriage going at full speed, which suddenly comes to a dead stop. The persons dozing within it wake up.

Now we have music fading into a suffocating silence, light focuses on Enjolras, twelve guns arranged in a way according to the rules of one-point perspective. Your turn Grantaire!

[ninadove]

Top 5 Miraculous Episodes?

I’m going to be supremely original with this one.

1. Emotion

Everything about it is perfect. The Diamonds’ Dance. The confirmation that Felix is a mythology nerd. How similar it is to Professor Layton and the Unwound Future, because I have not forgotten my roots. Red Moon. Amelie. Snap of my fingers. The colours and the composition of the shots. Felix being absolutely terrifying. Felix being just a child. Felix being the Lucky Charm’s solution. Felix being so lonely and scared yet so willing to break the cycle of abuse once he recognises it for what it is.

It’s the episode that A. made me insane about Feligami and B. made me insane about the cousins, so you could call it my origin story. If I could change one tiny detail, it would be to give Argos a full transformation sequence — but that’s just me being obsessed!

2. Strikeback & Representation

I really can’t choose between these two.

Strikeback is so!!! Everything!!! I liked Miraculous beforehand, otherwise I wouldn’t have watched four seasons of it, but this is where the insanity began (even though the creative drive only came later). Everything happened so fast and my boy was so smart and resilient and proud of himself! That was all I needed to fall in love. And the Ladynoir of it all! This episode alone made it my favourite side of the Love Square! What an absolute game changer in every way!

But oh, Representation… I’d never felt so much anticipation for an episode before, and it definitely lived up to the hype. Felix as a less innocent, sharper, self-preserving child abuse survivor is very close to my heart, and he gets treated with the utmost compassion by the plot. The play itself was brilliant, of course, the Feligami of it all exquisite, and the construction of the episode — with Felix’s successful quest for freedom contrasting Chat Noir’s defeat against Nightormentor — is free brainworm real estate.

3. Gabriel Agreste & Pretension

Strikeback may be the moment I became insane about Felix, but Gabriel Agreste is the moment I suspected I might eventually become insane about Felix. I came into the study scene having already accepted that he couldn’t figure out Shadow Moth’s identity, that Senti-Gabriel would successfully make him doubt himself and that his akumatised form would be a massive problem for the heroes. So imagine my surprise when he said “Fuck you, actually”, pulled the cleverest stunt on a literal super villain and came out of this little misadventure even more confident in his discovery!!! All while introducing the themes of rebellion and freedom that made me go “Oh??? You’re not afraid of his threats??? You don’t need his powers??? Now you’re speaking my language.”

And Pretension! It has my favourite scene ever — Felix returning Kagami’s amok in the movie theatre, Kagami immediately using her newfound freedom to choose him, you know the drill — and the little speech about how you really shouldn’t abuse your kids, people, which lives in my mind rent-free. I think if I were to get a PhD in one episode, it would be this one… At the end of the day, Pretension is all about unlearning unhealthy behaviours and loving your partner in the way they need to be loved. And isn’t it beautiful? ❤️💜

Thanks for the ask! 💜🦚

[wingedjewels]

Azure-crowned Hummingbird by Adam Rainoff Via Flickr: In the lush environment of Villa Verde, nestled in the city of Gracias, Lempira, Honduras, I had the unique opportunity to photograph the Azure-crowned Hummingbird (Saucerottia cyanocephala). This image encapsulates the essence of this stunning bird, set against the vibrant backdrop of its natural habitat. The hummingbird, known for its dynamic presence and exquisite coloring, is highlighted in a moment of serene beauty. The challenge of capturing such a rapidly moving subject was met with a combination of patience and technical precision, resulting in a composition that balances sharp focus on the bird with a softly blurred background, emphasizing its striking features. From a photographic standpoint, this shot required a keen eye for detail and an understanding of the bird's behavior. The interplay of natural light and shadow brings out the intricate patterns and colors of the bird’s plumage, while the subtle hint of pollen on its beak adds depth to the story behind the image. This photograph is not just a visual record; it’s a celebration of the unique wildlife found in Central America, and a testament to the art of bird photography. ©2022 Adam Rainoff

[aheathen-conceivably]

Hi! Your last post was exquisite (as are all your posts tbh). But I love the composition of your shots in this one, they’re so dreamy.

I vaguely remember you saying you made your own reshade I was just wondering what your dof settings are? No matter what I do I always seem to have the wrong parts in focus.

Ps. I would 400% buy a Team Val shirt 😉

Oh hello, my friend!! Thank you so, so much. I worked on this post for longer than literally any other one I ever have before so all the love is just warming my heart ♥️

And that’s right! I have previously discussed it, but I’ve added a few more shaders (including relite, my beloved) so here’s the new list as well as those DOF settings.

Now like I've mentioned before I am terribly computer illiterate. Someone helped me with these settings and I have honestly been too scared to touch them since. That said, I'm afraid I can't be of much more help in this regard, so I hope this sorts out the focus for you!

…and also, y’all heard that Team Val?! Another one joins your ranks! 🤣

[bitter69uk]

Born on this day: true Italian cinema royalty, the exquisite Alida Valli (née Alida Maria Laura Altenburger von Marckenstein-Frauenberg – she was a Baroness! -  31 May 1921 - 22 April 2006), who boasted a spectacular seven-decade career. (Her filmography stretches from 1936 until final role in 2002). Benito Mussolini once called Valli "the most beautiful woman in the world", but don’t hold that against her! At the height of her Continental fame, Hollywood imported her hoping she’d be a “new Garbo” or “new Ingrid Bergman”. Billed simply as “Valli” she featured in Alfred Hitchcock’s The Paradine Case (1947). More successfully, Valli made an intensely melancholic impression opposite Orson Welles in the British The Third Man (1949). Back in Italy, she collaborated with all the essential art cinema auteurs of the period: Luchino Visconti (Senso (1954)), Michelangelo Antonioni (Il Grido (1957)), Pier Paolo Pasolini (Oedipus Rex (1967)), Bernardo Bertolucci (The Spider's Strategem (1970)). Particularly noteworthy: in the eerie French thriller Les yeux sans visage (1959) (aka Eyes without a Face), she is icily inscrutable as the deranged scientist’s lesbianic assistant with the pearl choker and fetishistic wet-look PVC raincoat. But while Valli clearly excelled in the realm of high culture, she was gutsily unafraid to get down-and-dirty in horror and exploitation flicks in the seventies, like Lisa and the Devil (1973) by Mario Bava, Dario Argento’s Suspiria (1977) and nunsploitation shocker Killer Nun (1979) as the Mother Superior! She even cropped up in 1976 disaster movie The Cassandra Crossing, featuring the all-star cast of Sophia Loren, Richard Harris, Burt Lancaster, Ava Gardner – and OJ Simpson! If you seek out one Valli film, make it the swooning operatic melodrama Senso (pictured) about the doomed love story between an Italian countess (Valli) and an Austrian officer (Farley Granger). It’s impossibly beautiful - just look at the composition of this shot!

[petrichoraline]

the reveal, the soundtrack, the perfect compilation of flashback shots, all picked with intent and filmed with intent - no filler throwbacks; seeing asami's reaction to the door being literally slammed in his face; the perfect composition of this episode taking us through flashbacks from early childhood through asami's situation before the club, how and why he got into it, how shirasaki was important to him in that stage of his life, seeing his virtues through hayama's lens and getting to understand why exactly asami cherishes and admires him (and solidifying his character); showing us the small ways in which they did interact with one another back then, why and how they seperated and what that meant for asami, how he continued his path and the moment he realised his love was back in his life. AND THEN taking us through the moments we've already seen, this time through asami's point of view up until the very moment we left off at in the last episode so we know exactly how he's been feeling this WHOLE time, we are caught up on every thing that matters. and then to finish it off, we get the scene establishing what's ahead and how they feel about it. it is a perfect episode, beautifully shot, exquisitely executed, acted out as it deserves to be acted out and i'm just in awe

[joyburble]

The mourning suit. This is the costume that instantly made me go "WHAT? oh, no" Because look at it. It looks like it's made of wool. This is the moment it appears, half way through episode 33. What.

There's no embellishment, no shine of any kind, no transparency unless it's backlit. I can't tell what the material really is, but it looks like a fine dark grey wool with a subtle richness of shade in the weave, and a sort of crepe edging (which the sleeves also have).

That seam along the top of the shoulder is surprising: visible seams hardly happen in his other costumes, except when they're revealed by patterns, and specifically not there.

None of these high-necked, imperious undershirts. No glitter. No train. No storm-clouds of gauze, no explosions of gold, no river of velvet in five shades of honey, no roots of the forest, no flames, not even the black satin or the silver moonscapes he wore in the human realm. Just a leather belt on top and skin underneath. Not even a buckle.

The total effect of he way the sleeves hang, the textures, and the composition of the shot above, is to make him look tiny in relation to Shangque. Our eyes are invited to abandon the delusion that he is tall or imposing, and recognise the body of a dancer.

The headpiece points down more than up, and hardly even shines. It could be jet, and you can hardly see it from the front, it just makes absurd little antennae above the ears.

It's ankle-length, and there's no train at all; the shape is relatively practical, like the hunting dress, or like Shangque's outfit.

Of all the costumes, I think this has two other outstanding, and contradictory, properties:

it's the one that can only be created instantaneously out of the fabric of fantasy spacetime by the character's state of mind. In the previous scene, in the same location, he was still wearing the Fire Gown. What purpose or occasion could possibly explain this having ever been made for him? It's intentionally unclear how either clothes or bodies are supposed to work in-universe, but can you imagine this sitting in a sandalwood chest in Moon Palace waiting to be magically summoned? It's a nope from me.

It's the one that's most explicit about someone having made it. There's a visible shoulder seam, and another that joins the sleeve.

This outfit is an extreme contrast of visual texture with every other thing the character has worn, up to this moment.

And, to my Western eye, the colour and unadorned texture, not to mention the lapels, bring an association of ideas which I will call on the art historian Anne Hollander to explain. She's writing about the genesis of the modern Western suit, about 1810:

"Formerly the play of light on rich and glinting textures had seemed to endow the gentleman with the play of aristocratic sensibility, and made him an appropriate vessel for exquisite courtesy, schooled wit, and refined arrogance without having to reveal the true fibre and calibre of his individual soul any more than that of his body. ... ... Brocade and embroidery had once indicated the generic superiority even of quite inferior individuals, and had displayed the beauty of the costume, not the man. Careful fit witout adornment, on the other hand, emphasizes the unique grace of the individual body - indeed creates it, in the highest tailoring tradition. The man's rank, or even his deeds, are irrelevant to the fine cut of his plain coat; only his personal qualities are shown to matter. ... ... The perfect man, as conceived by English tailors, was part English country gentleman, part innocent natural Adam, and part naked Apollo the creator and destroyer ... expressed not in bronze or marble but in natural wool, linen, and leather, wearing an easy skin as perfect as the silky pelt of the ideal hound or horse, lion or panther."

Anne Hollander, Sex and Suits, pp 90-91

As a visual comparison, here are three actual suits being worn in masterly fashion by (l to r) Tony Leung, Wang Yibo, and Eric Wang in the trailer for Hidden Blade (2023), which happens to be on my dash:

You see Hollander's point about the panther, right?

I also think it's a great illustration of another point she makes: the similarity of these three different suits focuses your attention on how different these three men really look. But that's another story.

I should spell out here that it's possible, and likely, that my association of ideas here was mostly a coincidence based on the very first glimpse, and the mood they were really going for with this costume is nothing more than humility and grief. The concept of a suit is not just texture and colour and visual simplicity: the complicated, multi-layered inner construction that uses the unique structural properties of wool cloth to create that illusion of panther-like simplicity is important, and tailoring is not being used in that way for this costume, at least not visibly. Other costumes have more fit-and-cut going on than this one.

But, either way. The drastic visual contrast is telling us that we are down to business now, the setup is over, it's all unwind from here.

So, I called this the mourning suit, since that's what he's mostly doing in this series of scenes, and I can't resist the opportunity for a pun that goes with the colour scheme.

And I felt like I was being told: now we find out who he really is and what he does when the chips are down. I for one was delighted to see that "who he really is" still includes "hilarious bitch", among other things. Pour one out for Lady Chiedi. Changheng is right there. The grey underlayer has a subtle pattern.

He continues to wear this right through episodes 34 (this beautiful scene where he tries to be a dick and then silently concedes Shangque's point). The dark top layer is split at the sides, which creates this cute fanned-out tail, like a bird.

Shangque is such a good friend.

The breakdown in Ep 35. This was the nearest I could find to a full-length view of this outfit that's close enough to see anything.

It's still with us when a revelation triggers "RTFM: The Comeback" (see this):

In another visually shocking departure from everything we've seen before: there's no long under-sleeve covering the wrists. The big sleeves just fall back as the 'rescue' theme rises in the music.

The goodbye snog. This grey underlayer actually seems to be two layers, which brings this to the usual number of visible layers, it's just that the inner layer hasn't got the high neck we were seeing before, and the top layer goes under the belt rather than over.

The dramatic exit - and I was delighted to see that as well as "the bitchy part" and "the part that Reads The Fucking Manual and compares it with the data", we also still have "the dramatic flouncy part" of his personality.

Minus glitter, dramatic eyeliner, rivers of velvet or clouds of gauze, he's still backing himself to seize the situation by the throat, and I love that for him.

After this, it isn't worn again.

Anyway: the point of this costume is to pack an emotional punch by its contrast to everything else, and it does that very well.

The DFQC costumes master post is here.

[bigcatcues]

Navigating the Game: Best Intermediate Pool Cues for the Developing Player

Stepping into the intermediate level of pool play is akin to a seasoned chess player graduating to a more complex variation of their favorite game. The jumps and spins, the power controlled with finesse, and the strategic precision speak volumes about the transformation in a player's skill. In this intricate sport of billiards, the cue you wield is your most vital tool, and as one grows in the game, so too does the demand for a cue that matches their level and ambitions.

Understanding The Cue—Your Billiard Battle Companion

A cue isn't just a stick. In the world of pool, it's the wizard's wand or the knight's sword. An extension of yourself, it communicates your intentions to the ball, urging it to move with the alignment and energy of your shot. Beginners might be content with cues that offer basic movement and function, but as players develop their feel for the game and start to crave better control and finesse, the cue becomes a reflection of their growth and aspiration.

To understand what makes a pool cue "intermediate," it's crucial to dissect the characteristics that define the cue's quality and performance. Here are the fundamental factors:

Tip

The tip of the cue is what strikes the ball first and dictates the spin, power, and precision of your shot. An intermediate cue tip should be crafted from pressed leather, providing the right blend of grip and control.

Ferrule

This small, usually ivory or composite ring that sits just below the tip reinforces the cue's end, offering better energy transmission and reducing the likelihood of chipping or cracking.

Shaft

A good intermediate cue will have a smooth, straight grain for the shaft, leading to consistency in ball response. The shaft's taper will also be gradual, allowing for a natural follow-through in your shots.

Butt

The butt of the cue is where the weight and balance come into play. High-quality cues will have more intricate designs and materials, such as Irish linen wraps and wood splices, adding both beauty and function to the cue.

Joint

The joint where the butt and shaft meet can significantly affect the feel of the cue. Pool cue for Intermediate players will find cues with a metal-to-wood joint provide a good balance between stability and transfer of energy.

With these elements in mind, let's explore some of the best intermediate pool cues that combine craftsmanship, playability, and value.

The Players' Choice: Intermediate Cues That Make a Difference

Predator 314-3 Cue Shaft

Predator is a name synonymous with precision and technology in the billiards world. The 314-3 offers low deflection that minimizes the need for cue ball adjustment, resulting in more natural and consistent shots. Made from high-grade carbon composite material, it also boasts stiff flex and a thin white-diamond ferrule for powerful, explosive breaks.

McDermott Classic Pool Cue

The name McDermott resonates with craftsmanship and heritage. The Classic Pool Cue from McDermott is a testament to their quality, featuring a North American hard rock maple shaft, a unique and exquisite Zebrawood butt and a steel joint, ensuring a rock-solid feel with minimum vibration.

Lucasi Hybrid LHC97 Cue

The Lucasi Hybrid LHC97 is characterized by its slimline titanium white hybrid cue shaft, providing additional benefit of a patented Tenon Tip technology, significantly improving accuracy and consistency. The leather wrap and stainless steel joint compliments the cue's sleek design and ergonomic feel.

Meucci Original Gambler G-3 Pool Cue

Being a combination of both art and technology, the Gambler G-3 from Meucci Original is known for the spiral and marbled aesthetic but it's the Black Dot Bullseye shaft that provides the much-needed finesse to the shooting.

Players D-JS White with Jester on Pool Balls and Dripping Card Suits Cue

With a solid maple shaft for exceptional feel and hard rock shaft for warp resistance, this cue's unique jester and card suit design appeals to the player's personality while not compromising on performance. The stainless steel joint ensures a stable connection between shaft and butt.

Each of these cues embodies a commitment to quality, providing a crucial bridge for the player striving for that edge in their pool game. When selecting an intermediate cue, it’s not solely about the materials and craftsmanship. The choice should reflect the player's personal style, preferences, and the relationship they're building with the sport.

The Personal Touch: Why Your Cue Matters

Pool is a cerebral sport as much as it is physical. Your cue is the instrument through which your thoughts and tactics are channeled. It needs to feel right in your hands, convey your intention with every stroke, and hold its ground against the varying challenges of the game.

Beyond the material considerations, choosing a cue is also an exercise in personal expression. It might feature an ornate design that speaks to your aesthetic sensibilities, or you might find that a certain weight distribution just feels "right." The cue you choose is a direct reflection of the kind of player you are and the kind you aspire to be.

Conclusion: The Union of Skill and Gear

The best intermediate pool cues are more than tools; they're extensions of a developing player's personality and strategy on the table. They symbolize the step-up in dedication to the sport, acknowledging the union between skill and gear. As you step into the intermediate level of the game, the right cue can mean the difference between a smoothly executed combo shot and a rattle in the pocket.

Remember, the best cue for you isn't always the flashiest or the most expensive. It’s the one that aligns with your playing style, offers consistency, and feels like the partner you want to take on all the challenges that the green felt battlefield can throw at you. With the right cue in hand, the game is not just about winning; it's about the continuous evolution of your relationship with billiards, one calculated shot at a time.

@bigcatcues

[ogradyfilm]

Recently Viewed: Ken (The Sword)

[The following review contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]

Kenji Misumi’s Ken (or The Sword, if you prefer translated titles) opens with an exquisitely crafted montage depicting excruciating physical exertion. The sun blazes blindingly overhead, shining more brilliantly than it did in Akira Kurosawa’s Rashomon. Cold, steely eyes narrow with unwavering resolve. Beads of sweat glisten on the subject’s forehead, soaking the furrowed brow. Muscles tense with effort, so firm and taut that they threaten to tear the skin. And through it all, a bamboo sword slices the air, as rhythmic and relentless as the labored beating of a heart.

Such imagery recurs throughout the film. A later training sequence, for example, frequently cuts to disorienting POV shots as the characters do dozens, then scores, then hundreds of push-ups; the ground repeatedly rushes up to meet the camera, grit and pebbles blurring in and out of focus as perspiration drip-drip-drips onto the soil. Between sets, the exhausted athletes collapse, panting and thoroughly drenched; when they reluctantly rise to resume their monotonous, Sisyphean task, damp silhouettes of their bodies remain imprinted on the wooden planks of the dojo’s floor.

While they appear straightforward self-explanatory on the surface, these scenes are pregnant with deeper significance, elegantly conveying pretty much every one of writer Yukio Mishima’s thematic preoccupations via movement and action alone: his admiration of the human (masculine) physique, especially when it’s meticulously sculpted and/or strained to the absolute limits of fitness; his reverence for such “traditional Japanese values” as discipline, honor, and loyalty; his glorification of what I’ll charitably refer to as “youthful simple-mindedness” (a topic that he discusses in almost uncomfortably candid detail in Confessions of a Mask); and his obsession with the perverse, paradoxical overlap between violence and sex. Indeed, Misumi even addresses the subtextual—and sometimes blatantly, brazenly textual—homoeroticism that permeates the author’s work, staging an audacious bathhouse brawl that anticipates David Cronenberg’s Eastern Promises (albeit sans the graphic full-frontal nudity).

Of course, considering this is Mishima that we’re talking about—for further context, see Paul Schrader’s Mishima: A Life in Four Chapters, a sublime biopic that revolves around the controversial novelist’s very public seppuku—it’s hardly a spoiler to reveal that the movie also (somewhat regrettably) unapologetically romanticizes suicide. After the protagonist (played by Raizo Ichikawa, who personifies Mishima’s core philosophy with a cool, aloof, enigmatic stoicism) is duped into believing that he’s utterly failed in his duties as captain of his university’s kendo club, he chooses to end his life on his own terms, preserving his “purity” and “dignity” by leaving behind a corpse so angelic and radiantly beautiful that it causes spurned lovers, stern mentors, bitter rivals, and envious subordinates alike to weep tears of remorse.

Misumi’s visual style perfectly complements the melodramatic narrative. The stark black-and-white cinematography, with its deep, moody shadows, mirrors our hero’s rigid, inflexible worldview. The compositions are equally evocative: the cramped, claustrophobic framing and oppressively symmetrical blocking (which mimic the surrounding architecture) trap the characters both figuratively and literally, lending the tragic conflict a palpable atmosphere of inevitability. This bleak, somber tone distinguishes Ken as a major departure from the director’s usual fare—particularly his numerous contributions to the chanbara genre, including most of the Lone Wolf and Cub series and some of the best installments in the Zatoichi franchise—and it’s more compelling for it. Misumi was, after all, a lifelong workhorse for Daiei (alongside such esteemed contemporaries as Kazuo Mori and Kazuo Ikehiro); how delightful, then, to learn that he occasionally helmed the studio’s “prestige” projects in addition to churning out countless B-pictures.

I first discovered the existence of Ken over a decade ago, when I encountered a brief summary of its plot in the pages of critic Patrick Galloway’s essential Warring Clans, Flashing Blades, and I’ve been desperately searching for a (legal) copy ever since. I’m glad that I was able to finally experience it on the big screen—in borderline pristine 4K to boot, thanks to Janus Films’ gorgeous restoration—courtesy of MoMA. Hopefully, a home video release will follow in the near future; despite its obvious flaws, it is a story that demands multiple viewings and reevaluations.

[denimbex1986]

'Along with its spellbinding portrayal of a morally complex American figure and harrowing depiction of the meticulous creation of nuclear bombs, Oppenheimer is an exhilarating cinematic showcase that audiences have not experienced in years. The new film by Christopher Nolan is being celebrated for its dense cast of movie stars and sturdy character actors. There is plenty of justified acclaim for the likes of Cillian Murphy as the titular role, Emily Blunt as Kitty Oppenheimer, Robert Downey Jr. as Lewis Strauss, and even Jason Clarke as Roger Robb, but a cast this expansive and eclectic is prone to overshadow dynamic supporting performances, such as the brilliant performance by Dane DeHaan.

Dane DeHaan Is Part of a Hugely Talented Cast in 'Oppenheimer'

As news hit the public about the film's production, many were transfixed by the deep bench of its supporting cast. The extensive cast is a testament to Nolan's refraining from writing composite characters. It wasn't about who was starring in Oppenheimer, but who wasn't. Anticipation for Murphy receiving the promotion to leading status in a Nolan film and Downey finally emerging out of the post-Tony Stark shadow was paramount. He granted actors like Josh Hartnett and Alden Ehrenreich a revival after years of mainstream dormancy. Kids of the 2000s were baffled, but intrigued by the casting of Josh Peck and Devon Bostick in this austere historical biopic. On top of all this, Oppenheimer will also remind everyone why Dane DeHaan was one of the hottest assets in Hollywood not so long ago.

DeHaan, most known for his entrancing leading role in the Gore Verbinski film, A Cure for Wellness, Josh Trank's found footage superhero thriller Chronicle, and a handful of indie productions, had the makings of an off-kilter but captivating movie star. His appearances in films such as The Place Beyond the Pines, Lincoln, and Lawless equally shaped DeHaan as a reliable character actor. With his piercing blue eyes and gaze of inscrutability, the actor could undermine his boyish good looks with an internal sinister quality. A big break for DeHaan was unfortunately compromised by the unfavorable reception to Amazing Spider-Man 2, where he played Harry Osborn. The box-office bomb that was Luc Besson's Valerian and the City of a Thousand Planets in 2017 certainly didn't help matters either. His quick rise to fame in the 2010s appeared to have completely dissipated until he received the call from the master director of populist sentiments with ostentatious thematic structures, Christopher Nolan.

Who Does Dane DeHaan Play in 'Oppenheimer'?

In the new film about J. Robert Oppenheimer and his coordination of the creation of the atomic bomb under the Manhattan Project during World War II, DeHaan plays Major General Kenneth Nichols. He worked as a civil engineer on the Manhattan Project and subsequently joined the Atomic Energy Commission following the war as a military liaison. In 1953, Nichols was elevated to the general manager of the AEC, which was led by Lewis Strauss, who also spearheaded an investigation into Oppenheimer's loyalty to the United States as a result of his past ties to the Communist Party.

Like many of the roles played by recognizable faces, including Oscar-winning actors such as Casey Affleck, Gary Oldman, and Rami Malek, DeHaan doesn't have that much screen time. However, as is the case with the rest of the steep cast, it is not about what DeHaan brings to the plot but rather the presence he conveys. Captured in exquisite black-and-white photography, his reserved menace is tapped into throughout the film. From his first appearance, he is strikingly unmistakable with the glasses, slicked-back hair, and military officer uniform.

Oppenheimer is filled with countless mesmerizing shots under the eye of Nolan's cinematographer, Hoyte van Hoytema. In the same wavelength of under-the-radar magnitude, a scene involving a meeting between Oppenheimer, Strauss, and other AEC officials features a quick and subtle shot of a floral arrangement being moved aside, which reveals Nichols sitting in a seat previously blocked by the object. He is seen glaring into the soul of Oppenheimer, as the film has established to be following from the physicist's perspective. The reveal has the suddenness of a jump scare, and with this seemingly innocuous shot, Nolan shows that a minor character with nefarious intentions for our protagonist is lingering, waiting for his moment.

In the film's somewhat divisive third act, which intercuts between Oppenheimer's security hearing, a more-or-less character deconstruction covertly ordered by Strauss, and the confirmation hearing of Strauss' appointment as Secretary of Commerce by President Dwight D. Eisenhower, Nichols plays a subdued, yet crucial role. Strauss, who resents Oppenheimer for dismissing his concerns regarding the Soviet Union's progress in manufacturing atomic weapons, digs up the physicist's alleged ties to communism, notably surrounding his romantic relationship with Jean Tatlock (Florence Pugh), to effectively deny his influence in bureaucracy.

While in Los Alamos, New Mexico, the location of the Manhattan Project, Oppenheimer wants to hear the status of his government clearance and he asks Nichols, who was in charge of security parameters of the site. In choice words, he informs the soon-to-be father of the atomic bomb that he is overstepping his boundaries with this inquiry. The U.S. military-industrial complex, and by proxy, him, ultimately determines the fate of Oppenheimer and the entire project. The doctor triggers suspicion among his military superiors when a colleague of his is believed to have leaked intel to the Soviets regarding the Manhattan Project. At this moment, Nichols operates as a sobering reminder of Oppenheimer's obligation to serve under a master in the U.S. government. His virtuosic mind for quantum theory does not run the show here.

DeHaan Conveys a Quiet Menace in a Brief Amount of Screen Time

In the timeline presenting the legal face-off between Oppenheimer and Strauss, Nichols enlightens the latter on the former's questionable background. Taking place in the early 1950s, when the second Red Scare led by infamous Wisconsin senator Joseph McCarthy was rampant in the political climate, Nichols is dauntingly representative of the paranoia at the heart of the bureaucratic system, as he feeds Strauss with the indictable information of Oppenheimer's loose communist ties. DeHaan conveys a particular brand of government sleaze in his brief performance — a deplorable superior officer who uses power to maintain control at all costs. He precisely embodies the government's lack of integrity depicted in the film, the kind that expresses no remorse for deploying weapons of mass destruction, but aggressively upholds a moral panic over political alignment.

DeHaan's performance crystallizes an important overarching theme of the film. The collision of idealistic groundbreaking science colliding with the military-industrial complex amounts to Robert Oppenheimer being a helpless figure, contrary to Nolan's claim that he is the most important individual in the history of civilization. The power and influence that figures like Nichols possess is a rude awakening for hopeful pioneers like Oppenheimer, who is immensely conflicted with his ego and the monstrosity that he created, and Strauss, who fancies himself more as an advocate for science rather than an empty-suit bureaucrat. Both of them are expendable in the eyes of the suppressive system carried out by Nichols.

Despite his prowess and inclination towards spectacle-driven action and science fiction, Christopher Nolan allows Oppenheimer to excel as a chamber drama featuring dynamic performers talking in legal hearings. The film is the closest instance of Nolan directing an Aaron Sorkin script (many have cited The Social Network as a fitting companion piece to this film). Banding together this plethora of compelling screen presences to discuss nuclear physics and yell in suits over eyewitness testimony is an ingenious way of exploiting their respective untapped abilities. It is refreshing to see this volume of familiar and respected faces on screen, even in a limited amount of screen time such as Dane DeHaan, who brilliantly portrays a general conveying the overbearing power of the military-industrial complex, sometimes with just a glare.'

[productsreviewings]

Astrophotography (opens in new tab) is getting so standard and but its practitioners are so typically badly knowledgeable concerning the distinctive and exquisite occasions taking place within the evening skies above. So get your calendar out, seize one of many greatest cameras for astrophotography (opens in new tab) and/or among the best astrophotography telescopes (opens in new tab) and begin taking lengthy exposures and technical close-up pictures of deep-sky objects at evening. Right here’s what to level your digicam at within the subsequent 12 months: 1. Northern Lights on the rise(Picture credit score: Getty Photographs)For the reason that Solar is waxing in the direction of its once-in-11-years ‘photo voltaic most’ in 2024 or 2025 it’s theoretically true that the Northern Lights will in 2023 be extra frequent and stronger than they've been for the reason that mid-2010s. That doesn’t imply there’s a 100% probability of seeing them – clouds can thwart you at any time – however a visit to the Arctic Circle between 64º and 70º North latitudes in locations like Iceland, northern Norway, Sweden and Finland will maximize your probabilities. Learn: The place, when and shoot the Northern lights2. Venus and Jupiter in conjunction: 1 March 2023Venus and Jupiter in conjunction over Rocca Calascio in Italy, 2023. Shot with Nikon D850 with 500mm lens, 1.3 secs at f/4, ISO 4000 (Picture credit score: Lorenzo Di Cola/Getty Photographs)When two objects within the evening sky seem very shut collectively it’s known as a conjunction by astronomers. When it’s Venus and Jupiter – the brightest planets of all as seen from Earth – it’s an astrophotographer’s dream. This conjunction can be notably spectacular as a result of the 2 worlds will seem simply 0.3º aside. That’s shut sufficient to see them in the identical discipline of view of a small telescope. It’s a handy occasion, too, showing at its greatest within the southwestern sky simply after sundown. The nights on both aspect may also see the 2 planets properly positioned very shut to one another. Learn: The perfect digicam for astrophotography in 2023: instruments and lenses to shoot evening skies3. Milky Method Season: April-SeptemberStitched panoramic view shot with a Nikon D750 and Rokinon 12mm. 4 30-second exposures at f/28, ISO6400. (Picture credit score: VW Pics/Getty Photographs)As digicam sensors have improved lately the web has turn into saturated by Milky Method photographs. They’re starting to lose their uniqueness, however when you do fancy capturing the arc of our galaxy then get your self someplace darkish between April (for early morning views) and September (for post-sunset views) and line it up with an attention-grabbing foreground topic. Learn: The right way to shoot nightscapes: digicam gear and publicity settings4. A uncommon hybrid photo voltaic eclipse: 20 April 2023A composite of the August 21, 2017 complete photo voltaic eclipse exhibiting third contact – the top of totality. It is a composite of two photographs taken seconds aside: a 1/fifteenth second publicity for the corona and a 1/1000 sec publicity for the prominences and chromosphere. Taken with the 106mm Astro-Physics APO refractor telescope at f/5 and Canon EOS 6D II digicam at ISO 100, on a Mach One equatorial mount. (Picture credit score: Getty Photographs)Everybody is aware of that it’s a complete photo voltaic eclipse that’s one in every of nature’s nice experiences, so why journey to Western Australia, Timor Leste or distant West Papua to see a hybrid photo voltaic eclipse? Particularly one which lasts solely a minute! Occurring solely seven occasions this century, a hybrid eclipse happens as a result of the Moon is simply the proper distance from Earth in its elliptical orbit to trigger a complete photo voltaic eclipse solely from the center part of a path throughout Earth’s floor. From all viewing zones except for distant areas of the ocean, a short totality will end result, with the shortness

made up for by an extra-special show of beads of sunshine across the Moon each earlier than and after. Exmouth Peninsula in Western Australia is the place to move for the very best probability of clear skies – and a dramatic 62-second eclipse. 5. Venus, Mars and the Moon: 23 Might and 21 June 2023Crescent moon in alignment with the planets Jupiter and Venus over Beirut's Mohammed al-Amin mosque on December 1, 2008. (Picture credit score: Getty Photographs)Triangles attraction to the human mind. When the Moon passes shut to 2 planets and seems to type a triangle, in actuality, nothing is going on of any significance. Nevertheless it appears to be like nice! There are two probabilities in 2023 to catch the sight of the Moon passing Mars and Venus, with the occasions on 23 Ma and 21 June occurring within the west simply after sundown. Learn: When to photograph the moon (opens in new tab)6. Mars within the Beehive Cluster: 2 June 2023(Picture credit score: Stuart Heggie/Getty Photographs)Nestled within the easy Y-shaped constellation of a Most cancers is M44, additionally known as Praesepe or the Beehive Cluster. An space busy with blue stars, it’s a zodiacal constellation so one which each the Solar and planets cross by. This 12 months it’s the once-every-two-years obvious go to of Mars, which can be waning from its super-bright opposition in December 2023. You’ll want a protracted lens for this, however taking the shot is generally about timing. It will likely be above the western horizon after sundown on 2 June 2023. Venus will seem like shut by. Learn: Greatest good telescope in 2023 (opens in new tab)7. Perseid meteor bathe: 12-13 August 2023(Picture credit score: Getty Photographs)Everybody’s favourite annual meteor bathe has been a sufferer of lunar mild air pollution lately. Fortunately that’s not the case in 2023. With a waning crescent Moon simply 8%-lit and never rising till an hour earlier than daybreak, the evening sky can be darkish as Earth busts by the particles stream left within the interior photo voltaic system. Get your self below darkish, rural skies and set your digicam to take aseries of 30-second pictures, being positive to additionally take a while to gaze on the evening sky. The subsequent morning you may flick by your captures and see when you caught one – after which use your information to additionally create a beautiful multi-hour star path.Learn: The right way to photograph a capturing star (opens in new tab)8. Big planets at opposition: 27 August and three November 2023 (Picture credit score: Christophe Lehenaff, Getty Photographs)Ever captured the ringed planet up shut? Though it’s not a very vibrant planet, the fifth planet from the Solar has such an impressive ring sample that it calls for a close-up try when it’s at its greatest, brightest and greatest in 2023 on 27 August. Strive the stacking technique, which entails taking plenty of photographs and stacking them collectively to maximise each distinction and clear atmospheric situation – ditto for fellow big planet Jupiter, which reaches its annual opposition on 3 November. Learn: The right way to strive deep-space astrophotography (opens in new tab)9. A giant, vibrant ‘Blue Supermoon’ rising: 31 August 2023(Picture credit score: Dag Sundberg, Getty Photographs)Technically talking there are 4 so-called supermoons in 2023. On 3 July, 1 August, 31 August and 29 September. Nonetheless, it’s on 31 August that our pure satellite tv for pc in area can be at its absolute greatest, brightest and greatest throughout its full Moon part. It is going to seem to look its greatest because it rises within the east because the Solar units within the west. As with all rising full Moons, it can look a deep orange because it seems, altering to a vibrant yellow after which white because it climbs increased within the sky. It will likely be known as a ‘Blue Moon’ just because it is going to be August 2023’s second full Moon. For the reason that Moon takes 29 days to orbit Earth, that’s sure to occur from time to time.

 Learn: The right way to photograph the complete moon (opens in new tab)Ring of fireside eclipse, photographed in Indonesia in 2019. (Picture credit score: Getty Photographs)10. A ‘ring of fireside’ photo voltaic eclipse within the Americas: 14 October 2023An annular photo voltaic eclipse – a hoop of sunshine across the Moon – happens when the Moon is comparatively removed from Earth in its elliptical orbit, so can’t cowl the entire of the Solar as seen from Earth’s floor. It’s solely an attention-grabbing shot in close-up and your timing needs to be excellent, however this October there’s an ideal alternative to seize this comparatively uncommon occasion when an unlimited swathe of the American West (and plenty of U.S. Nationwide Parks) experiences as much as 5 minutes of annularity. Key websites to expertise the sunshine drop in mild and a ‘ring of fireside’ embody iconic areas together with Oregon’s Crater Lake Nationwide Park and Utah’s Bryce Canyon Nationwide Park – each Darkish Sky Parks perfect for wide-angle nightscape pictures within the nights surrounding the eclipse. The remainder of North America will expertise a giant partial photo voltaic eclipse. Learn: 10 nightscape pictures hacks: increase your set-up with these easy ideasLearn extra:• Astrophotography: How-to guides, ideas and movies (opens in new tab)• Astrophotography instruments: the very best digicam, lenses and equipment (opens in new tab)• The perfect lenses for astrophotography (opens in new tab)• The perfect star tracker digicam mounts (opens in new tab)• Greatest equatorial mounts (opens in new tab)• Greatest deep-space telescopes (opens in new tab)• The perfect mild air pollution filters (opens in new tab)• The perfect CCD cameras for astrophotography (opens in new tab)• The perfect recognizing scopes (opens in new tab)• The perfect binoculars (opens in new tab)• The perfect microscopes (opens in new tab) #key #occasions #astrophotographers

[dawso67]

Your Destination Wedding Photographer in Malta- Capturing Love in Paradise

Malta, with its stunning Mediterranean vistas, historic charm, and romantic atmosphere, is a dream destination for couples looking to tie the knot. Imagine saying "I do" surrounded by golden sandstone architecture, crystal-clear waters, and sunlit skies. To preserve every precious moment of your special day, you need a Destination Wedding photographer malta who understands the magic of love and the uniqueness of this enchanting island.

Why Choose Malta for Your Wedding?

Malta offers an exquisite blend of old-world charm and modern luxury. From its ancient cities like Valletta and Mdina to the breathtaking beaches of Gozo and Comino, Malta boasts diverse backdrops that make your wedding day truly unforgettable. The island’s picturesque scenery, warm climate, and rich history provide endless opportunities for stunning wedding photography that reflects the beauty of your love story.

The Art of Capturing Your Love

Your wedding day is one of the most significant moments of your life, and the photographs should tell a story that lasts forever. A skilled wedding photographer in Malta does more than just take pictures; they capture emotions, candid moments, and the essence of your unique bond.

From the nervous excitement as you prepare, to the joy of exchanging vows, to the laughter and tears of your reception, a destination wedding photographer ensures that every moment is immortalized. With Malta’s romantic landscapes as the backdrop, each photograph becomes a timeless work of art.

Personalized Photography Services

Every couple is different, and so is every wedding. Your destination wedding photographer in Malta will work closely with you to understand your vision. Whether you prefer traditional posed portraits, spontaneous candid shots, or a mix of both, a professional photographer tailors their approach to match your style.

Malta’s unique venues, from cliffside chapels to luxurious seaside resorts, offer endless creative possibilities. Your photographer will scout the perfect locations to capture breathtaking shots, incorporating the island’s natural beauty and cultural charm into every frame.

More Than Just a Photographer

Choosing a local wedding photographer in Malta comes with added benefits. Their familiarity with the island ensures that they know the best spots for sunrise, sunset, and everything in between. They can navigate Malta’s hidden gems and suggest ideal settings to make your wedding photos truly spectacular.

Additionally, a destination wedding photographer understands how to handle the unique challenges of shooting in outdoor and sometimes unpredictable environments. From bright sunlight to the golden glow of dusk, they’ll ensure perfect lighting and composition for every shot.

Creating Memories That Last a Lifetime

Your wedding day is fleeting, but the memories it creates are eternal. A skilled photographer ensures that every stolen glance, every joyful tear, and every heartfelt embrace is captured in vivid detail. With professional editing and a keen eye for storytelling, they transform your wedding album into a treasure you’ll cherish forever.

Book Your Destination Wedding photographer malta

Make your dream wedding in Malta even more memorable with a photographer who understands the importance of capturing your love story. Whether you’re planning an intimate ceremony or a grand celebration, having the right photographer ensures that the magic of your special day lives on.

Get in touch today to discuss your vision and let’s create beautiful memories together in the heart of the Mediterranean.

[ootyhoneymoonsblog]

Ooty: Your Romantic Canvas - How to Capture Breathtaking Honeymoon Photos

The rolling hills, the mist-kissed valleys, and the vibrant flora of Ooty make it an idyllic setting for a romantic getaway. And what better way to preserve the magic of your honeymoon than through stunning photographs? Forget the standard tourist snaps; Ooty offers a wealth of opportunities to capture truly breathtaking images that will transport you back to this special time for years to come.

Here’s your guide to capturing those picture-perfect honeymoon moments in the “Queen of Hill Stations”:

1. Embrace the Natural Beauty: Location, Location, Location!

Ooty's charm lies in its breathtaking natural landscapes. Here are some must-visit spots for stunning photos:

The Nilgiri Mountain Railway: This UNESCO World Heritage site is a photographer's dream. Capture the iconic blue train chugging through the lush green hills, or pose romantically against the vibrant backdrop of the carriages.

Ooty Botanical Garden: The vibrant collection of flowers, towering trees, and serene landscapes provide an exquisite backdrop. Experiment with close-ups of blooms and wide shots capturing the vastness of the garden.

Doddabetta Peak: The highest peak in the Nilgiris offers panoramic views of the surrounding valleys. The golden hour (sunrise & sunset) is magical here; capture the dramatic skies and hazy landscapes.

Pykara Lake & Falls: The serene waters of the lake and the cascading waterfalls are perfect for capturing tranquil and romantic photos. Consider renting a boat and capturing candid moments from the water.

Emerald Lake: Tucked away amidst the hills, Emerald Lake offers a peaceful and secluded setting for intimate photos. The reflection of the surrounding trees in the calm water creates a dreamy effect.

2. Mastering the Light: The Golden Hour is Your Best Friend

The quality of light can make or break a photograph. Take advantage of the golden hours – the first hour after sunrise and the last hour before sunset. The soft, warm light during these times casts a magical glow, creating flattering and romantic photos. Avoid harsh midday sun, which can lead to overexposed photos and unflattering shadows.

3. Candid Moments: Capture the Real You

While posed photos are important, cherish the candid moments that truly reflect your connection. Here are a few ideas:

Laughing Together: Capture genuine laughter and joy while exploring Ooty.

Holding Hands: Capture the simple gesture of holding hands while walking along a scenic trail.

Whispering Sweet Nothings: Capture the intimate moments of sharing secrets and affections.

Exploring Together: Capture each other in your natural element while discovering new places.

4. Props and Details: Add a Touch of Personalization

Small details can elevate your photos. Consider adding:

Matching Outfits: Coordinating outfits can enhance the visual appeal of your photos.

Flowers: Local wildflowers or a simple bouquet can add a touch of romance.

Hats and Scarves: These are not only practical in the Ooty weather but also add a stylish element to your photos.

Picnic Basket: A picnic basket filled with local goodies can make for a charming prop.

5. Don't Be Afraid to Experiment:

Don't be afraid to try different angles, perspectives, and compositions. Play with leading lines, reflections, and framing to create unique and memorable shots.

6. Essential Tips for Photographers (and Couples!)

Plan Ahead: Research locations and decide on the type of photos you want beforehand.

Charge Your Batteries: Ensure all your equipment is fully charged.

Use Natural Light: Prioritize natural light as much as possible, especially during the golden hour.

Edit with Care: Basic photo editing can enhance your images, but don’t overdo it.

Enjoy the Moment: Don’t let capturing photos become the only focus of your honeymoon. Remember to relax, connect, and enjoy the experience by booking Ooty honeymoon Packages .

Ooty: A Photographer's Paradise, A Couple's Dream

Ooty offers the perfect backdrop for creating timeless honeymoon memories. With a little planning, creativity, and by embracing the natural beauty around you, you can capture stunning photos that you’ll cherish for a lifetime.

[fluxweddings]

The Importance of Choosing the Right Edmonton Wedding Photographers and Videographers

Among the most significant and unique events of your stamina will be your wedding day. One must precisely and creatively capture each moment. Edmonton wedding photographers and videographers come in here for this. From your walk down the aisle to your first dance as a married couple, a professional crew guarantees that every priceless moment is caught. These talented videographers and photographers not only capture the emotions and ambiance of your wedding day using cinematic techniques, therefore preserving them for years to come, in addition to creating beautiful images. Professional services bring your memories to life by guaranteeing premium photographs and videos.

Why Hiring a Wedding Photographer in Edmonton is Essential for Your Big Day

Liking a wedding photographer in Edmonton is among the most critical selecting you create when organising your wedding. They will record your special day and build a visual narrative you will treasure always. Understanding the city's locations, lighting, and general look, a local wedding photographer makes sure every shot matches your concept. Their knowledge and experience enable them to predict the optimum times, thereby enabling you to relax and feel at ease front-of- camera. This has a big effect on the result, guaranteeing you have outstanding conceptions for years to come.

Creating Lasting Memories with Edmonton Wedding Photographers and Videographers

Your betrothal day is a once-in-a-lifetime; therefore, maintaining Edmonton wedding photographers and videographers assures that you will have first-rate videos to inspect the rememberings. They will record everything, from little events to large gatherings including private moments. Professional photographers and videographers know how to concentrate on the crucial elements, whether catching the tears in your partner's eyes during your vows or the vibrant reception with friends and family. Their skill will help you preserve these ephemeral events so you may treasure them for decades to come. The ideal approach to relive your wedding day is with pictures and videos.

The Benefits of Hiring a Professional Wedding Photographer in Edmonton

Choosing an Edmonton wedding photographer has various blessings, including their capability to capture and give the specific energy of your day. Local photographers provide a varied spectrum of gorgeous backgrounds since they know the greatest places in the city for wedding pictures. Their understanding of timing, composition, and lighting lets them capture the natural events that chronicle your wedding day and create the most pleasing images. Additionally, a professional photographer will supply you excellent, perfectly edited photographs so you may treasure amazing recollections for years.

Why You Should Trust Edmonton Wedding Photographers and Videographers for Your Big Day

Employing Edmonton videographers and wedding photographers is an investment in the lasting memories. These experts are committed to capturing every feeling, detail, and moment since they realize how significant your wedding day is. Their background enables them to operate under duress, therefore guaranteeing that nothing is overlooked—even at the most hectic times. You will be able to remember those memories always as they will guarantee that your wedding film and pictures capture the core of your event. Trusting professionals to record your daily events will help you to concentrate on savoring each moment free from concern about the specifics.

Conclusion 

Maintaining the memories of your unique day depends on selecting appropriate Edmonton wedding photographers and videographers. Hiring a gifted wedding photographer in Edmonton guarantees that every moment—from the most private to the grandest—is exquisitely recorded. These experts produce excellent results you will value for years to come using their knowledge of both photography and filmmaking. Visit fluxweddings.ca for outstanding service and gorgeous wedding memories. Their staff is committed to producing amazing pictures and movies that perfectly capture your love and wedding day.

[whileiamdying]

“Christmas Eve in Miller’s Point” Transcends the Holiday-Movie Genre

Tyler Thomas Taormina’s comedy drama about a Long Island family boasts some of the year’s sharpest characterizations and a strikingly original narrative form. By Richard Brody November 8, 2024

It wasn’t on my list of likely occurrences that a nostalgic and sentimental holiday movie would provide some of the year’s sharpest characterizations on film and also boast a strikingly original narrative form. But this paradoxical blend turns out to make perfect sense in “Christmas Eve in Miller’s Point,” a finely crafted and achingly romantic memory piece, directed by Tyler Thomas Taormina. It’s set sometime in the two-thousands in the fictional Long Island town of the title, where members of a large Italian American family, the Balsanos, come together to celebrate the holiday. Written by Taormina and Eric Berger, who both grew up on Long Island and have been friends since middle school, the movie checks the genre’s boxes—long-awaited reunions and poignant separations, hearty festivity and romantic intimacy—but it does so in a way that provokes bracingly complex emotions and frames them in the snow-globe-like quotation marks of reminiscence.

The clan’s matriarch, Antonia (Mary Reistetter), at whose house the Balsanos have gathered, is physically and mentally deteriorating, spending most of her time parked in an easy chair, offering wan greetings. The house teems with at least twenty family members—siblings, cousins, grandkids, other halves, and in-laws, ranging from toddlers to the elderly—plus some friends. Amid the revelry, fundamental relationships are drawn with a clarity that lays bare suppressed anguish, smothered disputes, and painful secrets. Antonia’s four grown children are gradually introduced. There is the poised and pensive Kathleen (Maria Dizzia), who’s there with her husband and two kids, one of whom, a teen named Emily (Matilda Fleming), biliously resents her. Kathleen’s sister, the energetic Elyse (Maria Carucci), is married to the flamboyantly domineering Ron (Steve Alleva), who cooks up the holiday feast while inveighing against the looming prospect of “chaos and insurrection.” Their brother Matt (John J. Trischetti, Jr.) is their mother’s caregiver, living in the house with his wife, Bev (Grege Morris). Matt instigates the film’s main conflict when he proposes selling the house and moving their mother into a nearby nursing home—a plan that surprises his sisters and enrages his brother, Ray (Tony Savino), a widowed blowhard with a hidden artistic streak.

It’s a mark of Taormina’s audacious way with narrative architecture that the scene in which this conflict bursts forth—which includes the piquant detail of Ray yelling at Matt while on an exercise bike—is the movie’s only traditional scene of overt exposition and constructed argument. Mostly, Taormina proceeds in fragments and snippets, with exquisitely rapid touches of dialogue and behavior which bring to life a house that is full of stories and long-standing tensions. “Christmas Eve in Miller’s Point” is a drama of the individual and the group; it’s a coming-of-age tale about many ages but also a reckoning with the frustrations of adolescence, the many varieties of loneliness in adulthood, and the struggle to define oneself against the identity assigned by a tight-knit family.

Taormina’s idiosyncratic artistry, which was evident in his first feature, “Ham on Rye” (2019), has now, in his third, developed into uninhibited cinematic self-assertion. “Christmas Eve in Miller’s Point” bolsters my belief that a great movie usually reveals itself quickly, in its first scenes and even in its first shots. The film’s distinctive combination of sharp, nuanced writing and enticingly original visual compositions grabs the viewer almost instantly. In moments seemingly caught on the fly, characters flit through the house and out of it, meeting and separating, sharing laughs and exchanging confidences, giving voice to dreams and troubles in casual remarks and offhand gestures. The cinematographer, Carson Lund, festively ornaments the screen with points and streaks of color and light, and his drifting camera conjures murmurs of the past, recalling shots in classic memory films by Max Ophüls and Alain Resnais.

Taormina punctuates the familial drama with several spectacular set pieces, such as a festive meal at which an elderly woman named Isabelle (JoJo Cincinnati) delivers a loving litany of the departed; a scene of teary-eyed melancholy in which the family turns off the lights and watches home movies; and a Christmas Eve tradition in which the family joins neighbors to watch the local fire department’s procession of fire engines festooned with Christmas decorations. Yet even such large-scale pageantry gives rise to brisk strokes of high drama, as when Emily unleashes adolescent hostility at the dinner table or when Kathleen becomes the bearer of a burdensome secret.

Meanwhile, at the edges of the action, the movie features micro-incidents of the sort that burrow deep in the mind, a whole box of madeleine moments in the making: a bunch of kids playing video games in the basement realize that the family iguana is missing, and one goes into a dark storage room to look for it; a waggish guest finds Isabelle asleep in a stair lift and presses a button to send her gliding downstairs unawares; Ray, on the patio, talks business into a landline with a very long cord; Ron declares that society is “survival of the fists,” a malapropism that he reinforces by putting up his dukes; Kathleen tries to cheer up an ailing boy with a little dance of uninhibited joy.

The overwhelming profusion of incidents and details, of sidelong glances in crowded frames and notable actions occurring in the background, is reminiscent of Wes Anderson’s films. Taormina’s ornamental sensibility is far less artificial—he adorns a largely realistic cinematic world with seemingly spontaneous touches and serendipitous observations—but, as with Anderson’s work, the movie should be viewed at least twice to be truly seen: the action moves fast, its connections are implicit, and the talk is brilliantly epigrammatic, leaving viewers to look back and catch up while risking missing out on new pleasures as they speed along.

Taormina, like Anderson, also encourages a distinctive mode of performance. Few of the actors in the Balsano clan have long résumés—Dizzia is the most prominent, and her attentive, eloquent performance deftly meshes with Fleming’s, as Emily—but Taormina’s perceptive direction grants everyone moments in the spotlight. The movie seems to create actors along with characters.

“Christmas Eve in Miller’s Point” pivots on a twist of sorts that’s too good to mention but also too good not to. Emily and a cousin, Michelle (Francesca Scorsese), who’s a little bit older and a little bit bolder, sneak out of the house to meet their friends and take a car ride that Kathleen has forbidden. With this leap into the unknown, the movie instantly becomes a story of teen-age discovery, by turns passionate, tender, and goofy. It begins with a comedic wink at a young driver’s inexperience, and includes the motormouth intellectualism of a local boy, Craig (Leo Hervey). In an extended sequence of late-night snacks and seductions at a bagel shop, featuring a memorable cameo by Elsie Fisher, Craig’s smarty-pants riffs take on an earnest weight as Emily deems Christmas gifts “capitalist propaganda” and ponders what to do with hers. As the night progresses from jollity to intimacy, Taormina discovers wondrously discreet and delicate visual correlates for teen lust, including at its most fumbling. (The end credits give a sense of the comedy of the teens’ tussles, listing such characters as Bubble Gum Gal and Kiss-Marked Dope.)

At this point, the story brings Emily and the other teens into contact with two other groups—three postadolescent slackers who hang out at a graveyard, sullenly smoking (the most voluble of whom is played by Sawyer Spielberg), and two police officers with the misfortune of working on Christmas Eve (played by Michael Cera and Gregg Turkington). They provide a sense of a wider world that may look absurd to the teens—they mock yet fear the slackers and hardly notice the sad-eyed officers—but which for Taormina, older and wiser, is full of pathos. (This is perhaps laid on a bit thick, these older characters’ identities subordinated to the meaning that Taormina assigns them.)

Those streaks of exaggerated melancholy in the grubby ordinariness of suburban life don’t detract from the exalted tone of Taormina’s suburban reveries. “Christmas Eve in Miller’s Point” is a drama of gimlet-eyed nostalgia. An image of Emily taking refuge in the woods at night connects her teen life with the grandeur of classic-era melodrama, and few movies ever tap the kind of intense emotion that Taormina stirs with a bag of dumpster-dived bagels. Without losing sight of what’s banal and petty in suburban life, he imbues it with a sense of grace that emerges both from personal relationships and from the aesthetic of daily life—transcendence despite itself. ♦

Published in the print edition of the November 18, 2024, issue, with the headline “Yule Rules.”