#and plus just speaking artistically when you film on any camera there is a specific look you get from it

[hanzajesthanza]

“i meannn you don’t need a camera to film if you already have iphone 16, or even 15”

who said anyone had iphone 16 🤨 wtf

[p1harmonyofficial]

[📰] 20 Questions With P1Harmony: K-Pop Rookies on the High Energy of 'Disharmony: Break Out' Mini-Album

By Heran Mamo

Plus: See a full, translated video interview with the sextet exclusively on Billboard.

P1Harmony explore a wide range of topics and genres on their high-intensity mini-album Disharmony: Break Out, which was released April 20 as the follow-up to their first EP, Disharmony: Stand Out.

Named one of the rookie K-pop groups to watch in 2021 by Time, members Keeho, Theo, Jiung, Intak, Soul and Jongseob had a unique experience stepping into the spotlight for the first time: The sextet debuted in the Korean film P1H: The Beginning of a New World on Oct. 8, 2020, before releasing their debut EP, Disharmony: Stand Out, on Oct. 28. Starring in a film prior to releasing their own music allowed P1Harmony to be more comfortable and confident enhancing their choreography (their Billie Eilish medley choreography has amassed more than 1 million YouTube views) and even coming up with their own music video concepts.

To commemorate the release of Disharmony: Break Out, the members of P1Harmony answered Billboard’s 20 questions about how Korea shaped who they are, how their evolving sound shines through on their latest mini-album, and the meanings they've taken away from this project as well as what they hope their fans will too.

1. What’s the first piece of music that you bought for yourself, and what was the medium?

Keeho: 5 Seconds of Summer, CD

Theo: BIGBANG’s MADE, CD

Jiung: Lee Moon Sae, cassette tape

Intak: Teen Top's "Miss Right," mp3

Soul: G-Dragon, CD

Jongseob: B.A.P’s "1004," CD

2. What was the first concert you saw?

Keeho: Ariana Grande’s The Listening Session

Theo: BIGBANG’s MADE Concert

Jiung: Lee Sun Hee’s Concert

Intak: Open Concert by KBS when I was 7!

Soul: Teen Top’s Japan Concert

Jongseob: B.A.P Concert

3. What did your parents do for a living when you were a kid?

Keeho: [My mom] used to do work related to music, she was a musician. My dad used to work at a university as a counselor.

Theo: My mom is a hairstylist.

Jiung: My mom used to be a banker and my dad used to work at National Tax Service.

Intak: My mom is a [yoga] trainer or coach and my dad is a businessman.

Soul: I’m not sure.

Jongseob: My mom used to be a jazz dancer as well as an instructor and my dad used to work at National Dance Company of Korea.

4. Who made you realize you could be an artist full-time?

Keeho: Myself and acquaintances

Theo: Myself

Jiung: My rap and my vocal coach

Intak: My parents. They gave me full support, as well as the confidence to be able to pursue my dream.

Soul: Teen Top

Jongseob: B.A.P and my parents

5. What’s at the top of your professional bucket list?

Keeho: The Grammys!

Theo: Our own world tour!

Jiung: To perform in front of a million people

Intak: To become a respected musician

Soul: To perform at a big music festival or a stadium, like Coachella

Jongseob: To perform until I can’t

6. How did your hometown/city shape who you are?

Keeho: It’s a place where I was able to gain my own confidence and learn the importance of being friendly [manners]. It’s also where I was able to experience a wide range of vocalists and their styles, which ultimately helped me shape and find my own vocal style.

Theo: It’s a place where I was able to live without any pressure or concerns.

Jiung: For me, my hometown is currently a place where I can find mental stability and state of relaxation. I reminiscence about my hometown quite frequently when I need to recoup and find mental stability.

Intak: I was raised in the rural part of Korea, so I was always close to nature and grew up playing in the valleys or riding gunny sacks in the mountains. I think that’s what helped me be at leisure.

Soul: It’s a place where I grew up without any hardships.

Jongseob: It was one of the most comfortable places in Korea with positive vibes and clean, refreshing air, which helped me find peace and ease.

7. What’s the last song you listened to?

Keeho: Ariana Grande’s "POV"

Theo: P1Harmony’s "End It"

Jiung: DPR IAN’s MITO

Soul: P1Harmony’s "Reset"

Jongseob: Penomeco’s Dry Flower

8. What’s your karaoke go-to?

Keeho: Alicia Keys, "If I Ain't Got You"

Theo: BIGBANG’s "BANG BANG BANG"

Intak: Bobby’s "YGGR"

Soul: I don’t go to karaoke haha

Jongseob: Beenzino’s "Dali, Van, Picasso"

9. If you could see any artist in concert, dead or alive, who would it be?

Keeho: Beyoncé

Theo: G-Dragon and Huh Gak

Jiung: Lee Sun Hee

Intak: Michael Jackson

Soul: Beyoncé

Jongseob: Post Malone

10. How has the pandemic affected your creative process?

Keeho: My source of inspiration has become very limited, as I don’t get to go to new places or meet new people.

Theo: I think because I couldn’t really go out, I was able to focus more on my craft.

Jiung: I was able to really dig deep into my work, writing lyrics and composing.

Intak: I didn't have a lot of ideas, but I also thought writing about COVID-19 could be a source of new ideas.

Soul: It was hard because I couldn’t really go to places that would usually help me get inspiration.

Jongseob: It was a bit difficult because I lacked having new experiences and meeting new people. My source of inspiration was also very limited, because I would just go to the same places.

11. How did starring in the film P1H: The Beginning of a New World prepare you for your debut as a K-pop boy band?

Keeho: I think it was a good opportunity for me to learn how to be more comfortable in front of the cameras.

Theo: I was able to gain confidence and felt a sense of pride knowing that we were the first ones to debut in a unique way with a full-length movie.

Jiung: I think it was a unique way of introducing us to the world and gave us the opportunity to learn how to be more focused and theatrical onstage.

Soul: It was a great experience, because it allowed me to learn the basic manners of the industry and the importance of staff members.

Jongseob: I think it helped us build a strong storyline and composition for our music. It will be easier to understand our music and its message if you watch the movie.

12. What do you want fans to take away from your mini-album Disharmony: Break Out?

Keeho: I believe it would depend and vary on how you interpret it, but we hope our listeners really enjoy our music.

Theo: I hope our fans and listeners gain confidence through our music, which is one of our strongest messages.

Jiung: I would like for our fans P1ece to really understand, take and gain everything from what we are trying to deliver in our message.

Intak: I would like for our fans to find the courage to speak up and have their own voice.

Soul: I just want our fans to be happy when they're listening to our music!

Jongseob: I think it depends on who is listening, but I hope our fans can take away anything and everything they can in a positive way and earn confidence as well.

13. Which song from Disharmony: Break Out is the most meaningful to you and why?

Keeho: I think it’s "If You Call Me" because it's a song that all six of us worked on together

Theo: I would like to pick "Reset," because I did so well in the studio while recording this song, so it means a lot to me.

Jiung: I’d say "Pyramid" because the lyrics "I’m on the top of the pyramid" helps me feel like I’m really the best and makes me want to live by that mindset. It definitely has become one of my favorite tracks.

Intak: I would pick "If You Call Me" for the same reason Keeho picked it. It’s a meaningful song to me because we all worked on it together as a team.

Soul: I think every single track on the album has a special meaning for me and because it’s all our songs, it’s a super difficult question to answer.

Jongseob: I think for me, our title track "Scared" is the most meaningful. The message of the song, which is not to be afraid to voice your own opinions and to live the life you want to live, is what I strongly believe in and that’s the kind of attitude I want to have.

14. Your debut EP Disharmony: Stand Out is much more hip-hop leaning, while your second features more R&B harmonies and EDM production while still refining the rap verses. What made you want to switch up your sound in only a manner of six months?

Keeho: I think we wanted to really make sure our message is being delivered clearly and strongly, so I think that’s why we picked tracks that were as strong with aggressive sounds.

Jiung: I don’t think we had a special moment or particular reason as to why we decided to do what. We just wanted to portray our feelings and thoughts that we felt at that moment while making music, and the time that we spent in between our albums, is what probably contributed to the change of sound as well.

Intak: As Keeho mentioned, I think we wanted to stand out a bit more with more clarity and distinct characteristics, which is what drove the aggressiveness and the slight change of sounds for this album.

15. Since you help choreograph and conceptualize your videos, what do you hope to convey in the accompanying visuals for Disharmony: Break Out?

Keeho: As you can see in our choreography for "Scared," we incorporated football into our routine. Football is a sport that is very aggressive and requires a lot of energy so we thought it was a good fit with our song. With these specific key points, we tried to really emphasize our message as well as our energy.

Jiung: I think our choreography, stage outfits, and concept all adds up and helps level up the intensity of the song as well as the message that we want to deliver. Our music video and choreography really turned out well, so I hope our fans appreciate and enjoy it!

16. Which artist is on your bucket list to collaborate with?

Keeho: Ariana Grande

Theo: BIGBANG, Taeyang, G.Soul, Dean

Jiung: Ty Dolla $ign

Intak: Justin Timberlake, A$AP Rocky

Soul: Les Twins

Jongseob: Penomeco, Smino

17. What’s one thing that even your most devoted fans don’t know about you?

Keeho: I really don’t like long nails. I just can’t stand it, so I tend to always keep my nails short.

Theo: I don’t really sweat. I don’t think I sweat at all.

Jiung: I have a habit of chewing the inside of my mouth, unintentionally.

Intak: My lips are naturally moisturized so I don’t need to use a lip balm to make them glossy!

Soul: I have dermographism, so even the slightest irritation like a scratch will leave a mark/scar for a while.

Jongseob: I have a slim waist and biggest feet of all members.

18. What movie, or song, always makes you cry?

Keeho: I don’t really cry, so I don’t think there’s a movie that ever made me cry.

Theo: The Korean movie Miracle in Cell No. 7 makes me cry every single time I watch it.

Jiung: Korean traditional children’s song "Daddy Cheer Up" makes me tear up.

Intak: I have a couple, but if I had to just pick one, it’d be the movie Forrest Gump.

Soul: I don’t cry like Keeho so I have never cried watching something and I just don’t like to watch sad movies.

Jongseob: "Falling Slowly"

19. What’s one piece of advice you would give to your pre-debut self?

Keeho: Don’t worry too much and work harder.

Theo: Think 100 times before acting on it.

Jiung: Are you truly sincere?

Intak: Enjoy life a bit more.

Soul: Be more emotionally stable.

Jongseob: It's never too late.

20. What does a successful 2021 look like for you?

Keeho: I hope to release as much music as we can!

Theo: I wish we can make at least 3 comebacks.

Jiung: I hope to gain more emotional peace and stability.

Intak: "Rookie of the Year" award!

Soul: There’s a necklace I really want to buy and I hope to buy it by the end of this year!

[onewfantaesy]

suggestion: an evil producer or something decides to out taemin's relationship while filming something/doing something live, and onew and minho come to the rescue (and since the fans already knew and didn't care, I bet they'd give the producer reasons to live in fear lol)

It was supposed to just be a documentary on various SM artists, and on the way the company runs in general. It was some sort of special anniversary thing, Taemin didn’t really know exactly. All he knew was that he had a small interview about his debut and his growth in the company and film a couple scenes learning some new choreography and recording songs and blah blah blah. Standard shit. Taemin wasn’t fazed.

Until months later when it was released and he was sitting at the premiere with so many labelmates and general employees and the press and even the damn CEO and there, on the big screen, is Kibum kissing his neck and tugging him close and Taemin himself giggling and trying to tug himself away, only to sneak a kiss on Kibum’s lips just moments later.

Apparently, secret relationships were a big part of this documentary. An unplanned addition. An unannounced plan that the director had as a way of exposing idol dating culture. Something that got no approval from those in charge of running this entire project, so pretty much everyone was shocked and confused and angry.

There were several other relationships outed as well, but Taemin felt frozen in his seat after his was finished playing out. So many people were looking at him, staring at him, whispering about him, and Kibum wasn’t even there that night and Taemin felt like he couldn’t breathe.

“Let’s go,” Jinki, his manager, whispers to him. And he pulls Taemin up and ushers him out of the theater, out of the building, and into a van all while shielding Taemin as best he can from various flashing cameras and nosy reporters who want to know why he (and several other idols) are leaving so soon.

Taemin is 24. He’s 24 and he’s been an idol for ten years and he’s been dating Kibum for five years but he has no idea what to do. This is his entire life that’s just been potentially ruined by a single director with an agenda of outing idol relationships. His whole life is about to be turned upside down, he could lose his job, his fans, everything because of one person.

“It will be okay,” Jinki tells him. “They’re already no doubt figuring out how to damage control. No one else will ever see that movie. Everything will be okay.”

“No it won’t,” he chokes, staring straight out the window and not moving. “Everyone’s gonna hate me.”

“No they won’t.”

“Yes they will!” Taemin screams, his head snapping abruptly to turn to Jinki. “I have to be perfect! And not being single makes me not perfect! Dating a dude makes me not perfect!”

“Life is not about obtaining perfection,” Jinki tells, his voice firm. “You work your body to the point of pure exhaustion, mentally and physically, trying to achieve something that’s impossible. Your fans love you because you’re you. Because they like your music and your personality and your dancing. Real fans won’t give a shit who you’re dating so long as they make you happy.”

Taemin doesn’t say anything for a while, instead going back to staring straight ahead. Jinki ends up walking Taemin up to his house, making even helping him over to the couch. Taemin is completely dazed, and it’s really worrying.

“I’ve worked so hard,” Taemin eventually says in a strangled voice. “For practically my whole life, I’ve worked so, so hard to be good at this. And it’s all ruined.”

He’s panicking and tears are spilling from his eyes and Jinki just sits next to him and holds him close. He’s been Taemin’s manager since he debuted, he knew exactly when Taemin started Kibum, he’s been there for everything Taemin’s ever had to go through. But this is by far hitting Taemin the hardest.

But of course it is. It’s a blatant invasion of privacy, and it really does have the potential to ruin Taemin’s career. Jinki won’t let it, of course, but that doesn’t mean the possibility can’t scare Taemin.

Jinki rarely sees Taemin cry, and this is by far the most he’s ever seen Taemin cry so desperately. Jinki sits with him for hours, consoling him, comforting him.

When Kibum comes home later that night from teaching a dance workshop, he freaks out over seeing a crying, distraught Taemin being held by his manager.

“What happened?” Kibum asks, rushing over. “Did someone get hurt? Are you hurt? What happened?”

Jinki has to tell him, because Taemin can’t quite form a coherent sentence.

Kibum is pissed. He’s angry and pissed off and he wants to do something about it, but he decides the best thing to do right now is just help Taemin calm down.

“I’m gonna go,” Jinki says after Taemin finally starts breathing normally again. “I’ll text you any updates on the situation. Just try to lay low for now.”

For the next three days, Taemin barely leaves the bed. He doesn’t answer calls, he doesn’t go online, he barely even looks at his phone. He just stays in bed either staring out the window, sleeping, or watching old kids movies.

Kibum stays with him as much as he can, tries to help him feel some sort of comfort. But they don’t really talk much. He’s never seen Taemin retreat into himself as much or as drastically as this.

“I’m gonna go get us something to eat,” Kibum says gently after a couple days. “Do you want anything specific.”

“Not hungry.”

He’s barely eaten anything if Kibum hasn’t practically forced him.

“I’ll be back in a little bit,” Kibum says. “Maybe try showering before I get back?”

“Kay.”

He probably won’t. Kibum knows he probably won’t.

While the incident has been in a few gossip columns, it’s been effectively buried by the company. It could have potentially ruined several of their most popular artists, it wasn’t something they were going to let get out there. Really, they said the documentary was highly fabricated by the director, that it was entirely unreliable and fictional, and that’s enough to appease the general public and fans alike.

Although many fans know the dating rumors are true. Most of them don’t care. Taemin’s fans in particular have known about Taemin and Kibum for years, but they’ve never been bothered by it. So long as Taemin is happy, that’s all they care about.

But Taemin is clearly unhappy during this time. The photos and videos of him leaving the original viewing very clearly show him upset and panicked. He’s been MIA for over a week since then, and even Kibum’s Instagram and online presence has severely declined in activity. He posted from the dance workshop that was held the same night, but nothing since then. It’s very worrying, especially since Kibum usually posts at least once a day, if not more.

It’s not until Minho, an actor and frequent variety show guest, finally speaks up about it that Taemin realizes maybe it won’t be the end of the world.

“We might be in the public eye, but we’re still people,” Minho says. “And to put these relationships on blast and just out all these relationships as what? A power move? Is just so reprehensible. It doesn’t matter if they’re true or not, you’re actively trying to ruin someone’s career because you think idols dating should be talked about more. But that just opens us up to more potential for hate by non-fans. And seeing so much hate does a lot more damage to a person’s health than you think it would.”

Minho, although not technically an idol, is an actor under SM. And his relationship with a stylist within the company was shown as well.

But seeing that Minho is okay, that he’s still out there doing his job and his life isn’t crumbling around him - that helps Taemin realize his career isn’t over because of one potential scandal.

Taemin is back to his usual self after a couple weeks. He’s still nervous and afraid of backlash, but he tries his best to just be happy in the moment. Plus, it helps that Kibum is so supportive.

After almost two weeks of complete silence from both of them, a fun video of Taemin learning new choreography is uploaded to Kibum’s Instagram. They’re in a company practice room, and Taemin comes out of a spin giggling, a little dizzy, and falling over to make funny faces at Kibum. Five minutes later, Taemin posts a mirror selfie in the same room with Kibum standing right next to him, an arm wrapped around his waist.

They’re so obviously together. They’ve never been super subtle about it. But they should be allowed to make the decision of when to officially announce it. And right now, neither of them are comfortable doing that. And that’s okay.

[yup-ng]

7 Richest Actresses in Nigeria (Photos)

That Nollywood money. For so many, becoming a Nollywood star is a dream. They look up to their favorite actors and actresses and say to themselves "I can do that" but when they get to those sets, they see that 1.) The act of acting itself especially in front of a camera and on a professional set is difficult, and 2.) Acting by itself especially for an up and coming actor or actress doesn't pay as much as they think. In fact, if you want to know what the realities of an up and coming actor in Nigeria looks like (and note: these actors are even moderately popular, talk less of the ones no one knows yet), then watch the documentary series Being in Nollywood available on IrokoTV. You'll see very quickly that Nollywood money isn't what you think AT ALL. So then, how did the actresses on this list get as rich and successful as they did? Well, stick around and I'm going to tell you about each one. This list is not ranked meaning that although the list will be numbered, it is not from top to bottom or bottom to top, there is no specific order because last last, none of us actually know how much any of these actresses actually have inside their bank accounts. Are you ready to jump into this list and find out who the richest Nollywood actresses are? Alright then, let's go! **Be sure to like and follow my Facebook page so you don't miss out on any new and interesting stories, lists, and articles that I post every single day. I run a really fun page. If you like it, you will have fun to. So what are you waiting for? Like this page and join in on the fun! 7. Omoni Oboli

Omoni Oboli is a hardworker. As we've already discussed, being only an actress won't give you the kind of money that Omoni Oboli has, you have to aspire for more. And that is what Omoni Oboli did. After spending some time in the earlier years having her first stint in acting, the actress actually went away for quite some time. In that time though, she wasn't idle. She worked hard. She went to the New York Film Academy and studied digital film-making. When she came back, she started out once acting easing her way back into Nollywood but once her feet were finally firmly on the ground, she took it up to where the real money is and started producing her own movies. Earlier in 2002, Omoni and her husband Nnamdi, created Dioni Visions Entertainment, a multifaceted company with entertainment at its core. A production company. This became pivotal to the success that Omoni has now because as soon as she got strong footing in Nollywood, she started making her own movies. In 2014, she produced and directed her first movie, Being Mrs Elliott. Following that she went on to produce blockbuster after blockbuster including The First Lady, Wives on Strike, Okafor's Law, and more. Because Omoni Oboli is the director AND producer of these movies, she collects majority share of the revenue the money makes, way more than she would ordinarily be collecting if she was only an actress. Thank God for her, her moveis also sell BIG. Her 2016 movie, Okafor's Law made N89,740,576 in the box office, Wives on Strike made N71,300,000 and 2018's Moms At War made N65,000,000. Remember, Omoni takes majority share on all of these movies so let your math tell you how much Omoni is raking in. In addition to all of this, Omoni is also a published author. She is is the owner and brand ambassador of ageless by Omoni 3D mink lashes. She is one of the brand ambassadors of Pedini Nigeria. Nunu Milk endorsed her as one of its brand ambassadors, and she is an ambassador of Royal Caribbean Nigeria. Omoni Oboli is GET-TI-NG PAID!

6. Chika Ike

Chika Ike is another actress who isn't just an actress alone. Like, Omoni Oboli, Chika made the smart decision to actually go into producing her own movies in order to earn majority share on them. However, although Chika's movies haven't reached the level of success that Omoni Oboli's have reached, it doesn't mean that she's still not making bank. In fact, her 2020 release through her production company Flip Script Entertainment, Small Chops made N24,924,700 and as of the time of writing this article is the 58th highest grossing Nigerian film. Through her production company, she has also been able to produce other movies including Miss Teacher, Happy Ending, and Stuck on You, all of which are now housed on IrokoTV (who of course paid Chika for these movies). She also had the African Diva Reality Show which was free to view on Youtube. The videos were monetized and the channel has amassed 400,003 views as of the time of writing this article. According to this Youtube Views to Money calculator, it means that Chika made an estimated $$1,600 which isn't great, but isn't too bad also. That's almost N600,000. She is also a UN Ambassador, author, Bullet Energy Drink Ambassador, and CEO of Fancy Nancy Collections, a fashion store which deals in female clothes and accessories. Chika in her book also said that she's into real estate and this is one hustle she says that gives her a whole lot of money.

5. Mercy Johnson-Okojie

Mercy Johnson-Okojie's major thing in Nollywood is acting. She didn't delve into movie production until 2020 when under Wale Adenuga Productions, she produced her very first movie titled The Legend of Inikpi. The movie went on to make N29,955,335 and because Mercy is credit as a producer, got a higher share on this movie than she would normally get only acting. Yes, Mercy hasn't been as actively acting as she did in the early days of her career. No, it doesn't mean that she's still not on the scene. The actress is a host on her TV show, Mercy's Menu. She currently acts as an ambassador to Mr Chef Salt and Household manufacturing giant, Virony. She is also currently the appointed Senior Special Assistant (SSA) on entertainment, arts and culture to Governor Yahaya Bello of Kogi State. One of her major sources of income is Mercy Magic, a weight loss tea that sells a whole lot. At any given moment, the site is usually sold out and the teas are not cheap either, ranging from N10,000 to N30,000 per pack. One way or another, Mercy Johnson is getting paid.

**Don't forget to like my page. Never miss out on the fun. 4. Mary Njoku

Mary Njoku's major source of income is undoubtedly IrokoTV. Her husband, Jason Njoku founded the Nigerian streaming platform and since then, Mary has assumed the role of chief content officer of IROKO Partners. In addition, she is the director general of ROK Film Studios, a Nigerian film production company that makes a lot of the content that's on IrokoTV. In 2019, French television company Canal+ has acquired the ROK film studio from VOD company IROKOtv for an undisclosed amount. Canal+ Chief Content Officer Fabrice Faux speaking on the phone with TechCrunch said: We are acquiring the talent of Mary. We will provide administrative support, finance and equipment, but otherwise it is our intention to give Mary maximum autonomy and creative freedom. According to their report, Mary had produced more than 540 movies and 25 original TV series for ROK as of 2019. This is what her husband, Jason, had to say about the sale of IrokoTV and Mary now earning more than him: Whereas I can’t disclose the number due to sensibilities in France for Vivendi Canal Plus, it was, at least to my knowledge, easily the largest media transaction / deal in West Africa history and possibly Africa (outside of SA). Mrs Njoku didn’t sell her shares, Vivendi Canal Plus acquired IROKO Ltd shares in the ROK Group, so she retains her stake. This is a fantastic exit and considering ROK was only 6-years old and required Wow! Talk about a hardworker. Mary Njoku is doing IT.

3. Genevieve Nnaji

Genevieve Nnaji is now on a different path. When she first started out in the industry, she was just an actress with a simple wish and desire to do her passion: act. Now that dream is bigger and Genevieve is going for the whole pie. Around 2015, Genevieve quietly created her own production company, The Entertainment Network (TEN). Through this company, she has produced 2 movies: the first one, Road to Yesterday went on to gross N30,000,700 becoming the 53rd highest grossing movie in Nigeria, and Lionheart which made N21,319,102 in the local box office run. Lionheart was also acquired by Netflix on 7 September 2018, making it the first Netflix original film produced in Nigeria. What does this mean you ask? It means that Genevieve got PAID! But that's not all for the actress. Although movies are a huge money maker for her, she also launched a clothing line called St. Genevieve in 2014. It was later relaunched in collaboration with Jumia, a Nigerian online retail store in 2016. That's not all. Genevieve also has a sizable investment in real estate. The actress has property in prestigious areas in Lagos, Abuja, and reportedly, even Ghana. Genevieve is very much AL-RIGHT.

2. Omotola Jalade-Ekeinde

The summary of Omotola's achievements is listed to you by Omotola herself as soon as you open her Instagram. Her Instagram bio reads: Dr Omotola Jalade-Ekeinde, MFRActress,TEFFEST,Artistic Dir,Singer,UNwfp Amb,Amnesty Int activist,Oyep,Time100 Most Influential in the world,Academy Voting Member,Philanthropist Wow! Talk about a resume. This also very much sums it up but just to expand a little: Yes, Omotola is an Academy Voting Member meaning that she votes for the Oscars. In 2013, she was in fact honored in Time magazine as one of the 100 most influential people in the world alongside Michelle Obama, Beyoncé and Kate Middleton. She is an activist, ambassador, and everything she listed in her bio but her main source of income comes from 3 things: 1.) Acting. Omotola commands a high rate to act in her movies. She chooses what she acts in and she supplies her rate. If you can't afford it, good bye. 2.) Endorsements: Omotola is a brand ambassador for A LOT of companies including Scanfrost, Knorr, and Pampers. 3.) Real Estate: The actress if you follow her on social media is majorly now invested in property and real estate. This is a huge money maker so we're assuming that this is where Omotola is devoting a lot of her time right now. Yes we don't see Omotola on screen as much as we'd love to anymore, but rest assured that Omosexy is still very much getting her paper regardless.

1. Funke Akindele-Bello

A woman who makes the majority of her money simply from Nollywood which by the way is very very rare is none other than Jenifa herself, Funke Akindele-Bello. Why? Because she is a smart business woman. When Funke Akindele-Bello begun producing the Jenifa Diary's series specifically, it was a huge money maker for Nollywood streaming company, IrokoTV. Funke saw this and capitalized on the new streaming age. She created SceneOne TV, her own streaming network on which she still produces Jenifa's Diary amongst a host of other TV shows. You might not know this but Jenifa's Diary is a HUGE money maker for Funke Akindele, so is SceneOne TV. The subscription price is N600/month or N7,000/yr for individuals and N2,000/month and N20,000/yr for families. According to metrics, SceneOne.tv gets an average 113,630 visits per month. When you realize that SceneOne isn't a free website meaning that these visits are usually made by paying customers, then you can let the math start happening and you can understand why Funke Akindele doesn't plan on ending Jenifa's Diary anytime soon, and you can get an estimate of how much money she's making. It's a lot. Plus when you tie in her endorsement deals and partnerships with Lagos State Inland Revenue Service, Iroko TV, Vitafoam, Western Lotto, 1960 Bet, Keystone Bank, Amen Estate, and more, you can understand how Funke Akindele is actually a real life gbo gbo big girl!

Read the full article

[clarencenicholsonata]

12 Amazing Social Media Apps for Photographers to Increase Followers

They say that a picture is worth a thousand words. In today's world, it can be worth a thousand likes. After all, when it comes to social media, your content speaks before you do.

As a photographer, you produce content daily, but the rules of Instagram still apply to you. It needs to look Insta-worthy! But between clients, work, and significant projects outside of your studio. So, you don't always have the time to sit down and edit all your photos for social media.

As a marketer myself, I know a thing or two about having the right apps on my phone to get the job done.

Next to editing content, you'll also need some apps to help you manage this crazy world called social media; managing and engaging without feeling like social media is a second job.

So whether you're looking for an app that you can use on the go or something to help you increase followers, here are 12 amazing social media apps for photographers to increase followers.

1. Later

Later is a social media management tool that allows you to plan, schedule visually, and analyze posts for Instagram, Facebook, Pinterest, and Twitter from your phone or desktop.

Whether you're a social media veteran or you're new to the game, Later is perfect for you because of their easy to use interface and tools. Not to mention Later is an Instagram Partner, so auto posting from the app is 100% safe when compared to other social media management tools.

As a creative, it's always nice to organize your social media post the way you like, plus have the app auto-post for you so you can merely check-in during the day and then get right back to work.

2. Canva

As a photographer, sometimes we need a bit of help with graphics. Instead of going into photoshop on your desktop, which seems like too much of a hassle, use Canva instead.

Canva is a great tool to create quick and stunning graphics in a short amount of time. It allows you to create graphics, gifs, and videos for Instagram stories, Facebook, LinkedIn, and more. Choose from several beautiful templates with an easy-to-use editor to drag, drop, filter, and design your social media story as you like, on your desktop or mobile phone.

3. Top Hashtag

Content is essential, but the hashtags you use in your post are just as relevant as well. If you want to increase engagement and get your content in front of as many eyes as possible, you'll need to use some popular hashtags in your next social media post.

Top Hashtag allows you to find and use the best hashtags online. You can find hashtags based on your niche or based on the type of content you'll be posting.

For more on hashtags, here are some of our best hashtag guides:

7 Surprising Ways YouTube Hashtags Can Increase Views

The Most Popular Hashtags: The Ultimate List

150 Best Hashtags to Get More Likes

How to Use Instagram Geotags & Hashtags to Grow Your Following

4. Camera+

Sometimes our phones don't have the best camera quality. That's where Camera+ comes in. This app is an app that comes with a feature to improve the camera on older phones.

So if your phone's original camera is outdated, then you can use this app to upgrade your next shot. Some of these handy features include a front-facing flash and camera grid.

5. Enlight Photofox

Enlight Photofox is another photo editing gem that you shouldn't overlook. It allows you to add layers, use brushes and has features that add graphic elements that add an artistic touch to your photo.

Enlight Photofox is a lightweight app that also doesn't take up much space on your phone, not to mention the easy to use interface allows you to edit your photos in under minutes quickly.

6.VSCO

When it comes to photo editing and filters, VSCO is listed in the top 3 ranking apps there is when it comes to social media editing apps. VSCO allows you to edit photos and videos all from the comfort of your phone.

VSCO also comes with a community of photographers and creative. All ready to share and engage with anyone within the app or associated with the hashtag #vsco.

7. Ingramer

Sometimes we need some inside help to increase followers on our social media profiles, Instagram especially. Ingramer allows you to see in-depth analytics about your Instagram page like the best time to post, top post, top caption words, and more. The best part of it all, this app is for free.

8.Foodie

If you dabble in food photography or you're a food influencer, then Foodie is the app for you. This app comes with 30+ filters and editing tools specifically made for food.

Use this app to edit food photos or videos. It does have a few limits on the editing-like aspect ratio, so make sure to upload the video or image in the desired rate you'd like to upload.

9. TouchRetouch

Have you ever taken a great photo only to discover that a telephone wire or some other unwanted object ended up in your shot?

I'm not too fond of that. Instead of taking it over again or calling it a loss. Why not use the app TouchRetouch. You can fix all those pesky little details in your photos and have them ready to post in no time.

10. Shutterstock Editor

Shutterstock editor allows you to step up your Instagram stories and content. They offer pre-made templates or create a design from scratch forever industry and holiday.

This is also a great alternative to Canva when it comes to photo editing and graphic designing. It's always good to have an extra editing app on your phone just in case.

11. Adobe Spark Post

As a photographer, you shouldn't be surprised to see an Adobe app on this list. Adobe Spark Post is made for creative looking for a more technical app that can provide them the right tools and features.

It allows you to add not just filters but effects, sizing, coloring, and editing tools on par with Photoshop and Lightroom. You can also convert photos into GIFs or videos ready to upload to your Instagram stories.

12. InShot

In video editing, which you may need from time to time, InShot should be your first choice. You can edit videos for Facebook, YouTube, and IGTV. Maybe you want to capture some BTS clips for your brand or a client. You can easily use this app to edit and render your film.

This app allows you to take your design further and use a colored background, built-in templates, or photo collages to make your video pop on Instagram.

Summary

"How to increase social media followers", is a common question we get at Wishpond. Well, we have the answer. It's a combination of a strategic and creative marketing strategy.

Social media is now a competitive place for any brand. As a photographer, you have an edge. You can create your own content, there's no middle man or prolong waiting period.

As a photographer, we understand that marketing might not be your thing, so we created some guides to help you along the way:

10 Expert Tips for Marketing Your Photography Business to Increase Bookings

The Painless Guide to Online Marketing for Photographers

5 Social Media Marketing Tips: Photography Studios and Services

Landing Pages Reviewed #3: Photographer Examples

To wrap up here's a quick recap of the 12 amazing social media apps for photographers to increase followers:

Later

Canva

Top Hashtags

Camera+

Enlight Photofox

VSCO

Ingramer

Foodie

TouchRetouch

Shutterstock Editor

Adobe Spark Post

InShot

from RSSMix.com Mix ID 8230801 https://ift.tt/370eA2M via IFTTT

[mathematicianadda]

Singing Euclid: the oral character of Greek geometry https://ift.tt/3erY1je

Greek geometry is written in a style adapted to oral teaching. Mathematicians memorised theorems the way bards memorised poems. Several oddities about how Euclid’s Elements is written can be explained this way.

Transcript

Greek geometry is oral geometry. Mathematicians memorised theorems the way bards memorised poems. Euclid’s Elements was almost like a song book or the script of a play: it was something the connoisseur was meant to memorise and internalise word for word. Actually we can see this most clearly in purely technical texts, believe it or not. It is the mathematical details of Euclid's proofs that testify to this cultural practice. That sounds almost paradoxical, but I’m sure I will convince you.

The surviving documentation about ancient Greek geometry consists almost entirely of formal treatises. Very stilted and dry texts. Definition, theorem, proof. Pedantically written. Highly standardised, formalised. Completely void of any kind of personality. Where is the flesh and blood, the hopes and dreams, the lived experience of the ancient geometer? It’s as if they were determined to erase any traces of all of those things, and leave only a logical skeleton.

But it’s not as hopeless as it seems. At first glance it looks as if these texts have been scrubbed of all humanity. But, in fact, if we read between the lines we can extract quite a bit of information. There are implicit clues in these texts that reveal more than the authors intended.

That’s our topic for today: How these seemingly purely logical texts actually say quite a lot about the social context in which they were produced.

One thing we learn this way is that we should think of the Greek geometrical tradition as spoken geometry, not written geometry. Today we think of written texts as the primary manifestation of mathematics. When mathematicians disseminate their ideas, the published article is the official, definitive, primary expression of those ideas. The mathematician crafts a written document with the expectation that reading the text on paper is going to be the primary way in which people will access this material.

Not so in antiquity. Oral transmission was considered the primary mode of explaining mathematics. Written documents were a last resort when personal contact was not possible. And the written document was not meant to be a primary exposition in its own right. Writing was merely the oral explanation put down on paper (or papyrus, rather).

At least it must have been like that in the early days. Many conventions of Greek mathematical writing only make sense from this point of view. They must have been formed in an oral mathematical culture. Probably in later antiquity the situation was not so clear cut. Writing probably gradually became more of a thing in its own right, rather than merely a record of oral exposition. But even then, the conventions of written mathematics remained largely fixed. Greek mathematics never liberated itself from these conventions that had been set in an oral culture. They lived on. Perhaps in part due to tradition and conservatism, but probably also because the oral element remained a significant part of mathematical culture, perhaps especially in teaching.

Here’s an example of this, which I have taken from Reviel Netz’s book The Shaping of Deduction in Greek Mathematics. Consider the equation A+B=C+D. Here’s how the Greeks expressed this in writing: THEAANDTHEBTAKENTOGETHERAREEQUALTOTHECANDTHED. This is written as one single string of all-caps letters. No punctuation, no spacing, no indication of where one word stops and the next one begins.

A Greek text is basically a tape recording. It records the sounds being spoken. There is a letter of the alphabet for each sound one makes when speaking. The scribe just stenographically puts them down one after the other. From this point of view there is no distinction between upper or lower case letters: a letter just stands for a sound and that’s it. And there is no punctuation or separation of words, because those are not spoken sounds. And of course no mathematical symbols such as plus or equal signs, because that also does not exist in spoken discourse.

The only way to understand a text like that is to read it out loud. You have to read it like a child who is just learning to read: you sound it out letter by letter, and then interpret the sounds, rather than interpret the writing directly.

So the Greeks had a very limited conception of writing. They thought of writing only as a way of recording speech. They completely missed the opportunities that writing provides when embraced as a primary medium in its own right. Writing is a better way of representing equations, for example, than speech. But the Greeks completely missed that opportunity because they were stuck with the limited notion of writing as merely recorded sounds.

I like to compare this with early movies. Think of those classic movies from, say, the 1950s or so. They are basically recorded stage plays. There are limitations inherent in the medium of theatre. The actors have to speak quite loudly, articulately, to be heard by the audience in the back of the theatre. And the scenery on stage cannot easily be changed or moved. In a play you better stick to one or two sets, such as the interior of a room. That you can set up carefully with furniture and all kind of stuff on the walls and so on. But because you can’t change it easily, you have to have to have large parts of the play take place in that single setting.

These technical limitations constrain the artistic freedom of the playwright. You have to come up with a story where all the various characters have some reason or other to come and go into a single room, and once there to have loud conversations that drive the plot. All emotional depth and so on must be conveyed in this particular form.

These things became second nature to writers. So when film came around they kept doing the same thing even though that was no longer necessary. Many treated film as simply a way of recording plays. So in early movies you still have a lot of these static scenes with a fixed camera at one end of a room, and characters coming and going, having loud conversations.

Film affords new artistic possibilities. You are no longer limited to a static camera showing a fixed set, the way the audience of a theatre would be looking through the “fourth wall” of a room. You have many more options to convey things visually, instead of being limited to strongly articulated stage dialogs as the only driver of the plot.

But many early movies didn’t take advantage of that. They just kept doing what they had always been doing at the theatre and just recorded that. They saw the new medium of film merely as a way of “bottling” existing practice. It’s just a storage medium. They didn’t consider that the new medium was in some ways better than the old one and enabled you to do completely new things.

It was the same with writing in antiquity. Writing was merely for storing speech. They failed to take advantage of the ways in which writing could not only preserve existing cognitive practice but in fact transform it and improve it. Such as working with equations symbolically.

Here is another consequence of this: the absence of cross-referencing. If a mathematical text is like a tape recording, you can’t easily access a particular place in the tape. The only way to make sense of the text is to “hit play,” so to speak, and translate it back into sounds. Only then can it be understood. You can “fast forward” and “rewind”—that is to say, start reading at any point in the manuscript. But you can’t turn to a particular place, such as Theorem 8.

Modern editions of Euclid’s Elements are full of cross-references. Each step of a proof is justified by a parenthetical reference to a previous theorem or definition or postulate. But that’s inserted by later editors.

There is no such thing in the original text. Because it’s a tape recording of a spoken explanation. Referring back to “Theorem 8” is only useful if the audience has a written document in front of them. If they are merely listening to a long lecture, or a tape recording of a lecture, then there is no use referring back to “Theorem 8”, because the audience has no way of going back specifically to that particular place in the exposition.

For this reason, oral mathematics involves committing a lot of material to memory. In the arts, people memorise poems and song lyrics. Actors memorise the dialogues of plays. Ancient mathematics was like that as well. You would learn to recite theorems the same way you learn to sing along to your favourite song.

This aspect of the oral culture thoroughly shaped the way ancient mathematical texts are written. Euclid’s Elements and many other texts follow a certain stylistic template that at first sight seems quite irrational, but which starts to make sense once we consider the oral context.

Consider for example Proposition 4 of Euclid’s Elements. This is the side-angle-side triangle congruence theorem. It’s completely typical, I’m just picking a theorem at random. Let’s look at the text of this proposition. First we have the statement of the theorem in purely verbal terms. It goes like this:

“If two triangles have two sides equal to two sides, respectively, and have the angle enclosed by the equal straight lines equal, then they will also have the base equal to the base, and the triangle will be equal to the triangle, and the remaining angles subtended by the equal sides will be equal to the corresponding remaining angles.”

Ok, so: two triangles have side-angle-side equal, the it follows that they also have all the other things equal. Namely the remaining side, the remaining angles, and the area. “The triangle will be equal to the triangle,” says Euclid: this is his way of saying that they have equal area.

After Euclid has stated this, he goes on to re-state the same thing, but now in terms the diagram. “Let ABC and DEF be two triangles having the two sides AB and AC equal to the two sides DE and DF, respectively. AB to DE, and AC to DF. And the angle BAC equal to the angle EDF. I say that the base BC is also equal to the base EF, and triangle ABC will be equal to triangle DEF, and the remaining angles subtended by the equal sides will be equal to the corresponding remaining angles. ABC to DEF, and ACB to DFE.”

This is exactly the same thing that he just said in words. But now he’s saying it with reference to the diagram. He always does this. He always has these two version of every proposition: the purely verbal one, and the one full of letters referring to the diagram.

For simple propositions you can understand the value of both formulations. But quite soon, when the material gets more technical, it often happens that the verbal version becomes so abstract that it’s quite impossible to follow. This happens quite soon already in Euclid. Ken Saito has a recent paper on this, “traces of oral teaching in Euclid’s Elements.” He takes as an example Proposition 37 from Book 3 of the Elements. I’ll read it to you just to convince you how convoluted and unnatural it is to state theorems in this purely verbal form. Here it is, Euclid’s statement of this proposition:

“If a point be taken outside a circle and from the point two straight lines fall on the circle, and if one of them cut the circle, and the other fall on it, and if further the rectangle contained by the whole of the straight line which cuts the circle and the straight line intercepted on it outside between the point and the convex circumference be equal to the square on the straight line which falls on the circle, the straight line which falls on it will touch the circle.”

That’s very difficult to follow. Of course, as always, Euclid immediately goes on to state the same thing, but in terms of the diagram. That part is much easier to follow, and it turns out to be a pretty straightforward claim. The theorem is a kind of formula for the length of a tangent; how far it is to the point of tangency from a given point outside the circle. But you would hardly know that by reading the verbal statement only.

For some reason the Greeks insisted that the verbal formulation should be one single, rambling sentence. No matter how complicated your theorem is, you have to cram all the conditions and all the consequences, everything you want to say, into one single sentence.

This is taken to absurd lengths in Apollonius for example. Let me read to you an example from the Conics of Apollonius. This is Proposition 15: one of the earliest. It only gets worse from there, but this is bad enough, I’m sure you will agree when I read it to you. The proposition is a kind of change-of-variables theorem for ellipses: it tells you the equation for an ellipse in a new coordinate system conjugate to the first. So it has to specify what the equation of the ellipse was in the first coordinate system and what the assumptions for that was, then how the change of coordinates is defined, and then what the equation of the ellipse is in the new coordinate system. And it has to do all of that purely verbally, and in one single sentence, one big “if ... then ...” statement. So you get this crazy monstrosity of a sentence, it goes like this:

“If in an ellipse a straight line, drawn ordinatewise from the midpoint of the diameter, is produced both ways to the section, and if it is contrived that as the produced straight line is to the diameter so is the diameter to some straight line, then any straight line which is drawn parallel to the diameter from the section to the produced straight line will equal in square the area which is applied to this third proportional and which has as breadth the produced straight line from the section to where the straight line drawn parallel to the diameter cuts it off, but such that this area is deficient by a figure similar to the rectangle contained by the produced straight line to which the straight lines are drawn and by the parameter.”

What’s going on with this crazy stuff? Were the Greeks some kind of aliens with brains that could understand that type of thing? No. When encountering a theorem like this, they surely did not try to parse a sentence like that in the abstract. Instead they would turn to the diagram explication for help. Just as Euclid always does, so also Apollonius always goes on to restate the theorem in terms of labelled point in a diagram. And this explanation is not one big crazy sentence, but nicely broken into small steps. Much easier to follow.

At a certain point you may ask yourself: Why even include the purely verbal formulation at all? It’s so abstract, so difficult to follow. Surely any reader or listener will be lost before you have even gotten halfway through a sentence like that. And since you’re going to restate the theorem immediately anyway, why bother? You might as well only do the diagram version of the theorem. That’s the one you are going to use for the proof anyway.

That’s something of a puzzle in itself, but here’s the real kicker though. Not only does Euclid insist on including the abstruse verbal formulation of every theorem, he actually includes it twice! This is because, at the end of the proof, his last sentence is always “therefore ...” and then he literally repeats the entire verbal statement of the theorem. It is literally the exact same statement, word for word, repeated verbatim. You say the exact same thing when you state the proposition and then again when you conclude the proof. Copy-paste. The exact same text just a few paragraphs apart.

Astonishing. What a waste of papyrus and scribal effort. This was an enormous cost back then. There were no printing presses. You had to copy all of this by hand. Writing materials were expensive, copying was expensive, preservation was expensive. They had every incentive to cut and keep things minimal, yet they included this massive redundancy of repeating the rambling verbal statement of every proposition twice in short succession.

You may recall that an important treatise by Archimedes was scrubbed off its parchment because the parchment itself was so valuable even when recycled. And medieval scribes were big on minimising writing. Think of “etc.”, “e.g.”, “i.e.”: we still use those shortened versions of Latin expressions. They were invented back when people were writing and copying manuscripts by hand. Very understandable.

Yet despite all of that, for some strange reason, including the entire verbal statement of the proposition twice was somehow found valuable enough to warrant the enormous cost.

In the case of the side-angle-side theorem for example, the verbal statement of the theorem takes up about 15% of the total text of the proposition and proof. And then another 15% for the redundant recapitulation. So that’s 30% of the total text that could simply be cut. The remaining 70% of the text would still contain the full statement of the theorem in its diagram form, and the complete proof.

You’d think the temptation would be great to cut at least those last 15% of pure recapitulation. Even the standard English edition of the Elements by Heath simply writes “therefore etc.” at the end of the proofs, instead of repeating the full statement like the original did.

So what was the value of this very expensive business of repeating the statement of the proposition? The oral tradition explains it. The verbal statement of the proposition is like the chorus of a song. It’s the key part, the key message, the most important part to memorise. It is repeated for the same reason the chorus of a song is repeated. It’s the sing-along part.

In a written culture you can refer back to propositions and expect the reader to have the text in front of them. Not so in an oral culture. You need to evoke the memory of the proposition to an audience who do not have a text in front of them but who have learned the propositions by heart, word by word, exactly as it was stated, the way you memorise a poem or song.

This is why, anytime Euclid uses a particular theorem at a particular point in a proof, he doesn’t says “this follows by Theorem 8” or anything like that. He doesn’t refer to earlier theorems by number or name. Instead he evokes the earlier theorem by mimicking its exact wording. Just as you just have to hear a few words of your favourite chorus and you can immediately fill in the rest. So also the reader, or listener, of a Euclidean proof would immediately recognise certain phrasings as corresponding word for word to particular earlier propositions. They would have memorised the earlier propositions not only in terms of content but in terms of the exact verbal phrasing, almost melodically, rhythmically. Just hearing the first few words of such a formula repeated would trigger the full memory to flow out naturally and unstoppably, like singing along to the chorus of a song you love.

You can see an example of this already in Euclid’s Proposition 5. We already discussed his Proposition 4, the side-angle-side triangle congruence theorem. Euclid applies this result twice in the course of the proof of Proposition 5. However, he really only needs part of the theorem. Remember that Proposition 4 concluded several things: that the remaining sides were equal, that the remaining angles were equal, and that the areas of the two triangles are equal. Areas are completely irrelevant to Proposition 5, which is a statement purely about angles. Yet each time Euclid applies the side-angle-side theorem he spells out the full conclusion. Including the needless remark that the areas are equal.

In one case it is even irrelevant that the remain sides are equal as well, but Euclid still needlessly remarks on this pointless information in the course of the proof of Proposition 5 even though it has no logical bearing on the proof. Go look up Euclid’s proof if you want to see this nonsense for yourself. Ask yourself why Euclid points out that “the base BC is common” to both triangles the second time he applies the side-angle-side theorem in the proof of Proposition 5. It’s completely redundant and worthless. He could have just omitted that remark, and it wouldn’t have affected the logic of the proof at all.

But from the oral point of view it makes sense. Applying a theorem is a kind of package deal. You get the whole thing whether you need it or not. Once you’ve triggered the memory of the previous theorem with the appropriate key phrases, then the whole conclusion comes blurting out. Once you’ve committed to singing the chorus there’s no going back. You can’t sing only the part of the chorus you need. The whole thing goes together. You have memorised it in one flow. Once you hit play on that memory you automatically run through the whole thing.

This is why Euclid is needlessly talking about areas in the proof of Proposition 5, even though that serves no logical function whatsoever. He is mimicking word for word the phrasing of the previous proposition, filling in the specifics of the case at hand as he goes along. You sing the “chorus” of the side-angle-side theorem and you “fill in the blanks” as it were. The purely verbal statement of the side-angle-side theorem spoke of sides and angles and so on in the abstract. To apply the theorem is to repeat that exact same phrasing, but inserting AB, BCF, and so on, into that formula to specify what the sides and angles are in the particular case at hand.

It’s like singing “happy birthday”: it has a fill-in-the-blank part. Just as you would go: “Happy birthday dear Euclid”, so also you would go: “If the side AB equals CD, then the angle is ...” and so on, something like that.

Here’s maybe another consequence of this: Euclid’s odd formulation of the side-side-side triangle congruence theorem. This is Euclid’s Proposition 8. As we saw, in the side-angle-side case, Euclid drew all the possible conclusion: about sides, about angles, about area. So the theorem became a mouthful, and led to the introduction of superfluous remarks any time the theorem is applied, because you have to repeat all the conclusions whether you need them or not.

To avoid this problem it might be tempting to state theorems in less general form. And this is exactly what Euclid does with the side-side-side theorem. He introduces an asymmetry in the statement of the theorem. Instead of three sides, he speaks of two sides and a base. And his statement of the conclusion is that one particular angle (the angle between the two “sides”) is equal in both triangles. Of course it is completely arbitrary which side you designate as the “base.” And of course you could just as well have concluded that the other angles too correspond to each other in these congruent triangles. Yet Euclid choses to arbitrarily limit the generality of his theorem, and introduce arbitrary specificity and asymmetry. You’d think that would be anathema to a mathematician.

But if we think of the downsides of the way he formulated the side-angle-side case, we can understand why he went with this non-general formulation in the side-side-side case. Any time you are going to apply the side-side-side theorem, you probably want to conclude something about a specific angle, not all three angles of a triangle. So if you formulated the theorem generally, then every time you applied it you couldn’t stop yourself of course from reciting the entire chorus and hence you would end up with one conclusion that you actually needed, about one angle, and then needless spelling out two other conclusions about the other two angles that you don’t want at all. So this way you will only clutter your proofs with needless and irrelevant remarks. So the strangely specific, non-general formulation of the side-side-side theorem is actually well chosen given this constraint that you have to repeat the full theorem verbatim any time you apply it.

It’s pretty fascinating, I think, how textual aspects that appear to be purely technical and mathematical, such as a few barely noticeable superfluous bits of information in the proof of Proposition 5, can open a window like this into an entire cultural practice. The oral tradition must have been there, and the best proof of this is hiding in the ABCDs of Euclid’s formal text. It’s the beauty of history that historical texts can be read on so many levels. They carry so much hidden information about the culture that produced them. You would think Euclid’s ultra-formalised proofs would be the last place to find such clues, but here they are. We’re just a few proposition into the Elements and from the smallest technical quirks we have already recreated a rich picture of the ancient singing geometers and the strange culture in which they worked.

from Intellectual Mathematics from Blogger https://ift.tt/2AWyWy3

[blschaos3000-blog]

Its 6:26 pm warm/muggy/writing

  Welcome to 8 Questions with……

I met our next guest,Allyn Morrison,about six weeks ago when I asked her if she would like to do a interview with me. She very graciously said “I would like that” and of course I sent her my questions. Now normally I have a 21 day turnaround period so I can these interviews coming but as we were entering May,I just lost track of what I was doing,meaning I was (and am) struggling to keep writing. May is not a fun month for me. So I reached out to Allyn to see about her interview and she wrote back saying how sorry she was,she wrote her mother had a dance with something I know all too well. I admit,reading Allyn’s response choked me up,imagine having to tell a stranger whom you just barely met that you are facing a potential life altering event. I know sometimes that “fearless” is a somewhat overused word but it Allyn,whether traveling to Belize to help children learn,deciding not to play it safe career wise and chase her dreams or even writing films reviews like the cheetah and I do (trust me,you need DO need to be brave to do that),I don’t think there is a mountain that Allyn wouldn’t be afraid to climb. After seeing this,how can you not like this hard working actress whose love of family is so strong,am I right? While this pandemic has stopped everything in its tracks,it hasn’t stopped us from introducing some amazing artists like Allyn who just want to create and entertain us. I really hope you enjoy getting to know a all around outstanding actress (and an amazing daughter) Allyn Morrison as she answers her 8 Questions……

  Please introduce yourself and tell us what your current project is at the moment. 

Hi there! My name is Allyn Morrison, and I am an actress based out of the Dallas- Fort worth area of Texas. I’m not working on a specific project right now what with Covid-19 happening, so I’m doing lots of research and getting ready for the future!

How are you coping with the Covid-19 pandemic? What are you doing to stay sane? 

Quarantine has definitely been hard. I live by myself, so I’ve had to get creative in order to stay cheerful. I’ve been going on walks everyday, and the fresh air and sunshine definitely help keep me sane. I’m keeping in touch with my family and friends and zooming with people pretty frequently. I’ve also made myself a to-do list, and that has given me some structure. 

What was growing up in your house like? What was your favorite vacation as a child? 

I’m originally from Arizona, land of the heat, and that was an experience let me tell you. I’m the youngest of three kids and was actually pretty shy as a child. When I discovered theater during junior high, I felt really alive for the first time. My family has been really blessed in that we’ve been able to travel quite a bit. I hate having to pick a favorite trip, but if I had to choose I’d say it had to be the trip to Scotland and England my family went on when I was around 10. My family’s Scottish, so we wanted to go see where our ancestors were from haha. Scotland is absolutely beautiful, and England has so much history. I’d go back again in a heart beat if I could. 

  What led you to become an actress? What steps did you take in realizing your goals? 

  Like I said earlier, I was very shy growing up as a kid. However, I distinctly remember watching movies at a very young age and thinking, “I could do that. I could get up in front of a camera and say lines.” Ironic, I know. I was cast in my first musical in seventh grade (I was Mrs. Paroo in The Music Man Jr.), and my parents were actually pretty concerned. They told me, “You know you have to get up in front of people and sing right? On a stage?” And I said, “Yeah I know.” They told me later that when they came to opening night they were both dumbfounded while watching me perform. “What happened to our Allyn?” They had absolutely no idea haha. I continued doing theater throughout junior high and high school and wanted to pursue it in college, but my parents and I realized that I wouldn’t make much money pursuing acting. So I decided to become a teacher instead. However, as soon as I started tutoring during college I realizing that a) I didn’t like tutoring and b) I wasn’t very good at it. Go figure. And I realized that I really loved acting. I graduated from college with an English degree and took a year off to do a leadership/discipleship program before I started working as an extra part time for two years. I’ve been pursuing acting full time now for a year and a half. 

Walk us through your first audition…..how did you handle that entire experience and what did you learn from it? 

   My first real audition for a speaking part went really well (or at least I thought it did). I made the people in the room laugh, and one casting director gave me a redirect. Now looking back, I realize that I made a few mistakes. First of all, I shook everyone’s hand both before and after my audition! I didn’t know that you’re not supposed to do that. Oops. Also, I wrote down on a form that I wasn’t very available during the shoot dates. I now realize that that was incredibly stupid. No one wants to hire someone who isn’t available! Needless to say, I didn’t get the part. 

How do you approach the roles you play? Do you do anything special or different before you hit the set? 

Each role is different. In college I took classes that centered on the Stanislavski method, which includes sense memory and dealing with the given circumstances of a role. That basically means that I try to take experiences from my past and incorporate those experiences into my current role. I won’t have experience to draw from for every role (example: I’ve never murdered anybody), so I have to envision how and why my character is the way she is. 

Recently you have started to move behind the camera, what led you to do this? Would you like to get into directing someday? 

   I actually started working as a production assistant so that I just could be on set. During my first year of pursuing acting full time I also did a program called Friends in Film. This program gives you the tools to get on set as a crew member and then work your way up into the niche that you ultimately want to get to. Learning how a crew works and how everyone’s job works together has given me a fuller understanding of what a set looks like. It’s not just about actors and people behind the camera. We each have a part to play (no pun intended), whether we’re crew or cast, and together we make something much bigger than ourselves. Plus working in production is a wonderful networking opportunity. I get to tell people that I am an actor, and hopefully they’ll remember me for future jobs. I’ve already gotten a few jobs from working as a PA! I used to want to be a director but I’ve since learned that I don’t have those particular skill sets. Big picture thinking isn’t my strong suit. However, I think I could be a pretty decent producer. Detail work and spreadsheets are my jam. 

What is the acting community like in Ft. Worth? How do you learn about upcoming films being shot around you? 

  The acting community in Fort Worth is definitely small, but we are a very tight knit community. I attend class at a wonderful actor’s studio every week (shout out to Fort Worth Actor’s Studio!), and classes are led by working actors. Our community is very supportive, which is amazing and invaluable as we try to make it in this business.       I have an agent in Dallas who submits me to projects in and around Texas, but I do a lot of research on my own. I participate in a lot of acting Facebook groups, and I keep up with new projects that way. If there’s a project that I definitely want to be considered for, I let my agent know. 

Who has given you the best advice/encouragement and what did they share with you? 

My acting teacher Nathan has told me and everyone in our class multiple times that the right project will come along. If I didn’t book after a particular audition, that means it wasn’t the right project. In an industry where there can be a lot of downtime between projects, it’s encouraging to be reminded that the right projects are out there; they’re just not here yet. 

What three roles do you enjoy playing the most and what three roles challenge you the most? 

I enjoy any type of role that makes people laugh. Whether that means being the side character whose sole purpose is comic relief or having a larger part, comedic parts are my favorite. I’ve been told that I’m particularly good at portraying people in high authority, such as a lawyer, cop, or doctor. I’m a very laid back person, so portraying someone who is more authoritative and bossy can be a bit of a challenge, but it’s a good one for sure! 

What do you like to do in between projects? 

   I love to read. Like, I LOVE to read books. I’ve been keeping book lists since high school, so I’m definitely a nerd. Historical fiction is my favorite genre, but I try to throw in Christian theology, nonfiction, and acting books. I also love to watch movies. Every week I try to watch at least one movie that I haven’t seen and write a review on it. They can be award winning movies, cult classics, or popular films I haven’t seen yet. I call it #movieresearchnight and you can find my reviews on Instagram! 

How important is it to promote yourself as an artist and how do you promote yourself? 

    As an actor, you are self-employed. The only way that you can grow any business is by promoting it. And when you’re an actor, you are your own business, so self promotion is extremely important. For me that includes being active on my acting social media pages, networking with other actors and casting directors, and working as a production assistant. 

The cheetah and I are flying over to watch your latest film but we are a day early and now you are playing tour guide, what are we doing?

If we’re in Fort Worth, we’re going to Heim BBQ and Melt Ice Cream for some quality Texas food, next on a tour of Sundance Square in downtown Fort Worth, and then an exploration of the Stockyards. If you’re lucky, I’ll take you to my favorite spot: the local library! Just kidding. Kind of.

I like to like Allyn for taking the time to chat with us in what was a stressful time.  Right before I posted this,her mother got a happy ending and thank heaven for that. I hope you enjoyed meeting Allyn and thank you for supporting her interview. 

Like everyone,Allyn has various social media outlets so you can follow her next steps in her career.

You can follow Allyn on her InstaGram page You can what Allyn’s next project will be on her IMDb page. You can also visit Allyn’s personal website here.

If you are new to the blog and the “8 Questions with” interview series,you can catch up by clicking here and read over 100 interviews with folks from all over the world.

8 Questions with……….actress Allyn Morrison Its 6:26 pm warm/muggy/writing Welcome to 8 Questions with...... I met our next guest,Allyn Morrison,about six weeks ago when I asked her if she would like to do a interview with me.

[filmpostproductionworkflowxeun87]

Ghost Busters Post Production Editing

#4: Upload the 16:9 Video to YouTube for Auto-Transcription

OpenDrives is the first to admit that expensive all-flash drive technology is not always the best solution for higher resolution, large capacity workflows. There are ways to ensure that a film’s sound is diligently handled, while working within a budget. This often comes from a transparent discussion at the onset of the project about a director’s expectations versus the reality of the budget/schedule.

What is pre and post production?

“That's a wrap!” When a movie director makes the call, cameras stop rolling, and a film is ready to move into its final phase: postproduction. This the final step in taking a story from script to screen, and the stage when a film comes to life.

Just uploading informational blog posts to your website and social media pages regularly is not enough. To boost your content reach and engagement, you must employ a solid video marketing strategy. OR use a project template that has standard bins already set up. These tutorials are most effective when used in conjunction with the editing software. Ideally, you should watch a tutorial then use the editing software to practice the techniques.

Collaborative editing: how should I work with the editor's draft and publish functions?

Editing suites such as Adobe Premiere now offer native features allowing for titles and 2D graphics to be correctly placed onto spherical video content. Stereoscopic content will require that titles or overlay graphics appear twice in the top and bottom (or left and right) channels of your video. In addition to creating a sequence project manager as you would for traditional video editing, with 360 you also have to keep the orientation of each scene in mind. Rough stitches don’t need to be perfect — you can take time to clean up shots later in the project, after you’ve determined which ones will make your final edit. At the time, the $199/month fee was a lot of money to my growing business, but looking back, that decision helped me to grow the business by taking the time to do the marketing that I wouldn’t have otherwise had the time to do.

Operations: Methods of Production (Overview)

Different production companies may have different definitions for what a “rough cut” really is. If it’s too rough around the edges, the viewer will have a hard time reading through the construction and won’t be able to make valuable comments. We’ve also found that if you’re working with clients, the rougher it is, the more they feel the need to add their own creative input. First, most clients and viewers aren’t trained to see through large holes in a film and it makes the quality of your work seem like much less than it is. Adding music as early as possible helps unify the look and feel of the piece as it is edited.

As soon as a draft is ready for review, the timeline is rendered and compressed, the file is uploaded, and the reviewers are notified automatically. Each reviewer (director, client, producer, etc) reviews the work-in-progress directly from a web browser or smartphone and sends timestamped comments back to the reviewer. Those comments can be downloaded into the NLE as markers so that the editor can respond with new changes. More and more productions of all sizes (from blockbuster films and TV shows to wedding videos) are using services like Frame.io to centralize all their creators, collaborators, and audience.

In addition to using a structure map similarly to how you would use a wall of index cards to track your story, you can also use it as a way to track your editorial progress through your first cut using colored labels.

Joined by our primary VFX supervisor Ben Kadie, we developed a plan to address the impact of VFX on 100-plus shots in our film.

Any number of workspaces can be created and can be assigned to individuals or entire teams.

But you will have the ability to leave time-stamped feedback, which makes it much easier for video professionals to interpret and implement requested changes.

As a production manager, you are now able to share a specific episode, scene or item for VFX, sound or subtitling. With a bitrate low enough to play out video over commercial internet product or mobile data, the visual quality of the images is still good enough for the director or the editor to prepare the edit. Solutions that are often limited in capacity or compromise visual quality or security.

Once you get over that 25-weddings-a-year mark, it makes a lot of sense for you to seriously look at outsourcing your jobs to a company that can guarantee you fast turnaround and consistent results. But until you reach that point, you have a good foundation above for getting to where you need to be from a time and efficiency standpoint. There are hundreds of YouTube videos out there reviewing computer parts, but suffice to say, you can build a decent PC for less than $2,000 that will take full advantage of Adobe’s suite of editing products. Partner with us to reach an enthusiastic audience of students, enthusiasts and professional videographers and filmmakers.

Project Manager, Architecture by

What are the 8 elements of film?

Post-Production is the stage after production when the filming is wrapped and the editing of the visual and audio materials begins. Post-Production refers to all of the tasks associated with cutting raw footage, assembling that footage, adding music, dubbing, sound effects, just to name a few.

I understand that I will pay an additional $1.00 per month for bank processing fees included in the dues amounts in this application. I can at any time resign from PPA and stop charges being made to my credit card. If PPA is unable to successfully process my monthly payment, my membership will be considered void, and I am required to pay the balance in full to reinstate my membership.

See what Revu can do for your project team

VEGAS Pro is non-linear, so you don’t have to edit your project in sequence from beginning to end. If you decide to work on scenes or sections separately, nested timelines make it simple to work on individual scenes and then bring your entire project together.

Click here to contact a sales representative and request a media kit. Videomaker is always looking for talented, qualified writers. For video editors, finding the perfect portable workstation is like catching a unicorn. The Videomaker Editors are dedicated to bringing you the information you need to produce and share better video. ✔ Perfect your video editing skills at any experience level.

Purchasers of the book can download Chapter 10:

Time Savers in the Title Tool. See page 2 of the book for details.

Can 7zip open BIN files?

Click the "Tools" button on the menu, and then select the "Convert Image File Format" option. The "convert" dialogue will be pop-up. Press the “Browse” then choose a BIN/CUE file you wish to convert and choose the “ISO files(*. iso)” option.

This allows your media to be consumed and comprehended by viewers who don’t speak the language spoken in your video. Many VOD outlets will request one or multiple translations to broaden your media’s reach.

Regardless of whether your mixing workflow utilizes outboard gear, you need to understand more than just the principles behind compression and equalization. Foley is intended to cover human (and sometimes non human) interactions with objects. It is created by a Foley Artist watching the picture and performing relevant actions with various objects. These elements cover unnatural/otherworldly sounds, musical sound design or audio that must be manipulated and heavily layered to get the desired result. The Post Production Sound Team will take a step back at this stage, allowing the Location Sound Team to take care of the sound recording on set.

[chromacomaphoto]

Dickens Meets Nikon (50 1.2 Ais / 50 1.4 Ais): A Tale of Two Fifties

It was the best of primes, it was the worst of primes, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of (low) Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair,

  I had everything before me, I had nothing before me, I was going to photographic heaven, I was going direct the other way and my bank balance was soon to follow. In short, that period in photography was so far like the present period, that some of its noisiest internet experts insisted on its being received, for good or for evil, in the superlative degree of photographic comparison only.

 There were a king of an ultra-fast lens with a large jaw in thy local camera dealers and a queen lens with a plain face, on the throne of my camera shelf. In both cases, they were clearer than crystal and to the Gods of photography, the local bank manager and preservers of State to film and developing chemicals, such things were settled for ever.

 It was the year of Our Lord two thousand and fifteen. Spiritual and optical revelations were conceded throughout England and the rest of the world at that favoured period such as this. The Nikkor 50mm 1.2 Ais was lauded as the fastest  ever to be made by said folk. For the poorer subjects of the kingdom whose unfortunate station in life had yet to surpass that of humble caretaker to the one point four, a terrible storm of doubt and confusion rained down for twenty seven long, hard years.

 Ok, enough of that prose, down to brass tacks. I never really feel comfortable in knowing that there’s a faster lens than the one I already have from the same manufacturer. This is the very making of the terrible ‘faster=better’ stupidity disease that affects many photographers without good reason.  This often defies logic as faster lenses can have not insignificant trade-offs across the full aperture range and are invariably much more dangerous to one’s financial health. Regular readers might recall that I have already touched upon the perils of illogical fast glass lust in another recent blog post. In the case of my Nikon lens collection over the years, I had eventually whittled it down from more than twenty-five F-Mount lenses in the past fifteen or so years to just three and all of them manual focus (Ais) older designs. In this mount last year, I only owned the 28mm f2, the 50mm f1.4 and the venerable 105mm 2.5. I had been lucky enough to get all three copies from late production runs in the early 2000’s with full boxes and papers in mint condition at good prices. It just took a little patience.  The first and the last usually receive high praise across the board and are generally recognized as belonging to what is perhaps best referred to as the ‘five-star legacy glass’ fold. I know some prefer the 2.8 in 28mm but I’ve had both and find that on black and white film at least, there’s just something ridiculously good about the f2. It’s a real star and packs some serious potential as a street and walkabout lens, that’s the one I kept. From the first time I saw portraits from the 105, I knew that I would never, ever sell this lens. It has to be one of the best deals in photography.  It’s worth owning a Nikon mount camera just to shoot this lens. I used to be madly in love with my creamtastic 85mm 1.4, it was part lens/part dairy product and all dream machine but for real world use, I actually prefer the 105. It’s as good as it gets optically, small and compact, easy to bring along as a second lens and has a built in hood. It’s also way cheaper. I wanted to write this without using the words ‘Afghan Girl’ but… oh well, I just did.

 So what of the middle sibling in my fold? The nifty-fifty-Nikon one plus three pennies. This seems to be a lens which is always rated as just being somehow ‘quite good’ to middling but never really seems to garner any more praise than that. I guess it doesn’t stack up against the more modern glass and that has further hurt its slightly lackluster rep in contemporaneous times. I think many people who have owned one feel like it’s perfectly serviceable yet never really anything special. Nice to have but not enough warm, fuzzy feeling is included with one in your stable. This is the first stage of the terrible disease, that slight sense that you might be somehow missing out on something. The blurring of the line between want and need typically starts somewhere around here, many of us have been there. Enter the 1.2, it’s got quite a cult following in certain circles and the extra bit of speed and unusual size and shape can lead you to think that you simply must trade up.  The higher price tag only seems to confirm your growing sense that it must somehow deserve its gravitas in the world of high priced goods, sometimes the price tag is part of the product itself.

 After many a year of doing this dance on and off every few months in my head, I finally caved in and picked a used one up from a local dealer. Where I live, they are nearly three times the price of the 1.4 if boxed and in mint condition. Depending on where you live and what dealer you talk to, you might still be able to buy one brand new in a box. I did something that I don’t normally do at this point, I didn’t trade in or sell of the old model at once, but kept it to one side. This is unusual for me as I normally feel that I have to move something out when I acquire a new arrival. At first, I was quite enthralled with the new charmer, it has the usual incredible Nikkor manual quality and feel, there’s a reassuring heft to it. I honestly think I like the way these lenses are built perhaps more than any other, certainly as much as the brass Leica stuff of the mid-twentieth century.

 It’s a seven element, six group older spherical design.  It has nine diaphragm blades which can assist it well in terms of pleasant out of focus background areas. Wide open and in lower light, its charms continued although the depth of field at this extreme is ultra thin and requires very deft deployment. Perhaps this is exactly what one would expect. I’ve seen some wonderfully artistic stuff done at this aperture with the 1.2 Ais all around the web by people who are better at handling and exploiting the DOF than I am. A lot of them seem to own this lens specifically for such an aim. Also, when wide open the effects exhibit something of what is referred to as a ‘glow’ by many, not unlike some of the older Leica lenses of the sixties and seventies when used at maximum aperture. I think from a technical standpoint, it’s more a result of spherical aberrations and a little coma but subjectively speaking, it can appear most pleasant. That’s something that is either loved or hated, you’ll have to decide if that’s something you are okay with. Stopped down a bit to around f2 I found it more useable and just about as sharp as I can imagine any lens in the world ever really being, I’m talking brand new surgeon’s scalpel kind of sharp. Very nice indeed, yes it’s surgical but not in an overly modern way.  However, for a lot of what I shoot, and in the very bright country in which I shoot it, I am often stopped way down anyway. Much as I hate to admit it, I don’t really need an ultra low-light weapon all that often. I liked how it does colour but I don’t shoot that much of it in all honesty, and call me a philistine but on black and white film it certainly didn’t look any better than the 1.4 to my eyes.  Additionally, when stopped down to f8 or f11 sort of ranges, I think I again prefer the 1.4. The 1.2 also felt a little heavier and less balanced on my smaller bodies (FM3A and FE2), not a massive weight or anything but compared to the 1.4 it was a more awkward package overall to carry and deploy. This was no great deal breaker per se but I think it warrants mentioning and was something that I hadn’t really expected.

 Then I compared negs and prints to a lot of the stuff I had shot last year on the same cameras and film but using the 1.4. Although it is often chastised for being soft wide open, I actually quite like the way that softness looks. It is a seven element, six-group lens also of an old design.  Its diaphragm is two blades less at seven in total, I like the later model ones for the newer coatings but this is entirely subjective opinion. I also like the way that when used on Tri-x, sunlight and backlit outlines around the edges of people take on a very nice older 60’s kind of look. Not unlike the older Leica glass that I shoot with. I think it’s important when reading around the web to take people’s input onboard but also to actually look at what your work looks like with the lens and make comparisons based on that for your own personal circumstance. The internet tells me that the 1.4 is a fairly good lens but I really think it’s a great lens and I like the way that a lot of its technical ‘shortcomings’ look on my film. After doing a lot of side by side work between the two lenses over the following month, I eventually decided to return the 1.2 to my dealer who was happy to take it back for a very small fee (check out my ‘Ultimate Photographer’s Guide to Bangkok by clicking on the banner at the top of the page for a suggestive list of friendly places to buy and sell camera gear in Thailand). I think it was  just a little bit too fussy and somehow overly ‘specialist’ for my tastes and application. I think a bigger part of the problem is that with a brand like Nikon, even the expensive glass is only typically a fraction of what you would pay for Leica optics and as a keen M shooter, it seems almost deceptively reasonable in comparison. This is not always a good thing though as it makes it too easy to act upon said lens lust. In comparison, for my M, I would never really dream of casually chopping in my ‘Cron for a faster version if I were perfectly happy with it just ‘to see what it’s like’. In Leicaland that would mean the suffix of ‘Lux and suffering mo’ bucks. And if I had a ‘Lux right now I would certainly never seriously entertain the idea of chopping it in for a huge and second mortgage facilitating Nocti either!

 My conclusion: Happiness in photography, as in life, might not be found in having what you want rather in simply wanting what you already have. This applies to lenses superbly and really needs writing down on a post-it note to be stuck on to either my computer monitor or my credit card, or perhaps both.

 What in the Dickens was I ever thinking? The 50mm 1.4 Ais, It is a far, far better lens that I shoot than I have ever said, the far, far better rest are better left unsaid.  

CCP