#Digital image sensors

[swhn2yess]

https://www.futureelectronics.com/p/semiconductors--analog--sensors--time-off-flight-sensors/vl6180xv0nr-1-stmicroelectronics-5053972

What is a Time of Flight Sensor, Time-of-flight sensor vs ultrasonic,

VL6180X Series 3 V Proximity and Ambient Light Sensing (ALS) Module - LGA-12

[askshivanulegacy]

This is a great breakdown of phone cameras and worth a read if you do most of your photography with a phone.

Phone cameras are comparable to or better than many point-and-shoot digital cameras (especially older generation cameras, and this has been the case for several years now). But there is no such thing as a "pro" phone camera, just like there's no such thing as a "pro" point-and-shoot.

You can get really great photos and they can absolutely serve your needs. It's a fantastic solution if you're not in a position to carry extra gear with you.

But they are not "pro".

They can also be a perfectly acceptable tool for photography as an art form. You use the tools and explore and maximise their capabilities as you feel driven to. You certainly limit yourself in major ways with a camera phone, but that's part of the art. ALL photography is bound by the limits of your tool, and the entire point is to work within those and push your craft to see what you can do. So you can use the camera phone AS a pro (i.e. someone who understands the tool and principles of photography), but you have to understand the tool for that.

If you want a pro camera though, get a real camera.

Also, you need to identify the type of photography you like or want to do in order to choose the right camera.

I do a LOT of handheld, low-light photography w/o flash (museums, early or late hiking, etc.) so the sacrifice of low light quality in these cameras is the wrong decision, to me. But I also have a real camera which specifically caters to what I do. You just need to choose the tool or work within the bounds of what you have.

Smartphone cameras are NOT getting worse. (See below for phone photography tips)

I've now seen 3 pro photographers reviewing the iPhone 16 and complaining the cameras are "worse" and blaming Apple for not including revolutionary new camera technology.

And I suppose this is partly Apple's fault. Their marketing and hype machine always goes overboard. But also, that's just how marketing works. Samsung has a "200 megapixel" sensor and Sony has a "Zeiss" lens. And I think it is unrealistic to expect smartphone companies to say "This product has entered the iterative phase and each new model will only be marginally improved over the last one."

Smartphones (from any brand) have become an appliance. You don't buy a new model of microwave every year. And you don't expect every new model of microwave to have new revolutionary technology. And that is pretty much the expectation you should have with most computer hardware from here on out.

And in some ways, that is a good thing. That means the design of the phone has pretty much been perfected and it will last you a long time if you take care of it. You will not be left behind and your phone will be able to handle any new software for most of its lifespan.

So, is Apple getting lazy or is there a reason their hardware is stagnating?

It seems that neither money nor marketing can change the laws of physics.

They cannot make transistors much smaller. Phones and computers are about as fast as current hardware designs can make them (unless there is a shocking scientific breakthrough). From here on out, heavy compute tasks that are beyond your phone or computer will be done in the cloud on giant computer clusters. Thankfully computers and phones seem to be plenty fast for the majority of tasks we ask of them.

I remember Katrina telling me her new computer didn't seem any faster. And I explained the computing tasks she does regularly were not really affected by the increased power and speed of her new computer. If something took 0.1 seconds before and now it takes 0.05 seconds, that is twice as fast. An increase in speed that looks fantastic in advertisements. But it is hard for our brains to perceive. She just didn't do anything on her computer that took it long enough for her to notice. But having a faster and more powerful computer/phone will increase its lifespan and resale value, so it is still prudent to get the best things you can afford at time of purchase.

And I'm afraid smartphone cameras are hitting their own hardware limitations. They can't make the sensors much larger to get better depth of field and low light performance. And cramming in more megapixels doesn't actually add much more detail, if any.

It's physics.

Again.

You cannot get any more performance out of a small plastic lens. Why do you think pro photographers haul around 10 pound lenses still?

There is a formula for detail that never seems to be explained in any camera marketing.

Here is the simplified version...

Detail = Sensor x Lens

Let's say 1 is perfection. You have a sensor that performs at 0.5 and a lens that performs at 0.2.

The total detail will be 0.1.

But in the new model you increase the performance of the sensor to 0.8. WOW! That's so close to 1!

The total detail will be... 0.16.

Now let's imagine we've discovered a magic, physics-defying tiny plastic lens that performs at 0.8 as well.

The total detail jumps to 0.64!

But we all get sucked into a wormhole because we violated the laws of the universe.

Even if you were to design a near perfect (perfect is impossible) sensor that scores 0.99.

Without that magic plastic lens... 0.198

This is why I put Samsung's "200 megapixel" sensors in quotes. Because when paired with the same tiny plastic lens, there isn't much improvement. And that's why a 12 megapixel DSLR from 10 years ago with a giant honking lens can still capture more detail.

Most of the quality from smartphone cameras comes from the computational software processing. Phones actually take many photos at once and combine them to get you a decent image.

While that is still improving a little bit each generation, those improvements are stagnating as well. Until image processing can do a better job of inventing more detail realistically, smartphones are going to have to obey the laws of physics.

So... why are photographers saying the iPhone cameras are worse?

First, the ultra wide angle lens looks softer in low light.

And if you zoom between 1x and 5x, the images look less detailed.

But neither of those things make the cameras *worse*. In fact, the cameras are better for the most part. It's just that Apple decided to compromise on one aspect to improve another. Probably due to market research telling them most people prioritize certain things over others when taking photos.

They increased the resolution of the ultra wide angle sensor to match the detail of the main sensor, but that seems to have lowered the low light performance of the ultra wide. So in good light, you will see an improvement in sharpness. But they could not increase the sensor size to compensate and smaller pixels can have trouble with dim conditions. They probably discovered that people mostly use that lens in good light and they would appreciate the bump in detail more.

But pro photographers often photograph in more challenging lighting conditions because you can capture a more artistic shot. I don't think I could have gotten this shot on a smartphone.

But photo normies are just taking pics of their kids doing weird kid shit.

They aren't really trying to push the limits of their ultra wide angle lenses.

And they increased the zoom of the telephoto lens to 5x from 3x because most people never used the 3x. So images at 5x look great now, but unfortunately if you use anything between 1x and 5x, your image will be *digitally* zoomed. Which is never as good as optical zoom. They basically crop the photo, zoom in, and add sharpening.

So they prioritized people having longer reach and more zoom at the expense of that middle zoom range. Every camera system makes tradeoffs and compromises.

And I hate that I always feel like I am defending Apple, because they do have misleading and dishonest marketing regarding a lot of aspects of their tech. But hating on Apple gets more clicks so content creators also make misleading and dishonest claims.

And so we are just surrounded in a circle of hyperbole from all sides.

Now, if you know these limitations, you can change your approach to photographing stuff to keep them from being an issue. You can reap the benefits without dealing with the new compromises.

Here are some tips to help owners of the new iPhone, but also everyone else too.

Smartphone Photography Tips

Whenever possible, try to use the main 1x camera at only 1x zoom. This has the largest sensor with the most detail and works best in the lowest light. Only use the ultra wide or telephoto if you cannot get the photo otherwise. If you aren't sure you have enough light for ultra wide, take the photo, and then as a safety, take two photos with the main camera side by side and stitch them later with a pano app.

"Zoom with your feet" and don't use "in-between" zooms. Let's say your lenses do 0.5x, 1x, and 5x zoom. Even though you have the option to use other zooms, like 2x or 3x, that is going to compromise your picture quality. It is essentially going to crop your photo and enlarge it, which causes a loss of detail. If fact, if you use 4.5x instead of 5x, your picture will probably look like trash. You are always going to get better results if you can move closer or step back so that you are using the native focal length of your chosen lens. For example, let's say you are taking a photo and you judge the best framing to be at 4x. But you still have 10 feet of space behind you. If you back up and then zoom in to 5x, the phone will switch to that lens and you will get a much clearer picture.

Rule of thumb...

1 to 3x... try to move closer.

4 to 5x... try to move back.

If you hit a wall and end up at 4.5x, you might see if you have a panorama mode and try that instead. Switch to your 5x and do the pano. Or you can take two photos and then stitch them together with software later on. (Stitching panos with an app later will give better quality than pano mode, especially in low light.)

Low light needs stability. Get some sort of stabilizing device for low light photos. Either a phone case that lets you stand up the phone on its own or a mini tripod.

This thing folds to the size of a credit card.

Your phone will detect when it is stable and not being handheld. It will then automatically extend its shutter speed allowing it to drink in more light and give you a better picture.

Tripods are photography magic and will improve your low light photos quite a bit. Motion blur of moving subjects can still be an issue, but photos of a cityscape or landscape will look great.

For selfies, shoot a little bit wide and then crop in. This goes a little contrary to my earlier advice saying cropping lowers detail, but this is specifically for shooting a face. The 0.5x and 1x lenses on smartphone cameras are fairly wide angle. This can cause unflattering proportions with human faces. Wide angle lenses exaggerate distance. Near things look very near and far things look very far. To a wide angle lens, the tip of your nose looks like it is super close but your ears seem like they are a mile away. And that's why you may look a bit "alien" in your selfies.

People's natural instinct is to "fill the frame" with a face. The outer edges of a wide angle lens are more distorted than the very center. So try to keep faces away from the edges of the frame.

And one other trick you can do for selfies and pictures of faces is step back a few feet. Sometimes this is hard, especially with selfies, as your arm is only so long... but if you can take your face photos from just a little bit farther back, you will almost entirely eliminate unflattering distortion. In some cases, just stretching out your arm as far as it will go is enough.

Then you just crop the image with the framing you originally wanted, and your facial proportions will look great.

An example...

Here the distortion is bad because I am not in the center and the lens is too close to my face. The lens thinks my nose is really close and my ears are in Canada.

But when the lens is farther back the edge distortion is less prevalent and my nose and ears (relative to the lens) seem roughly the same distance away. So my proportions look great, but I don't quite have the framing I want.

But with a little cropping...

For social media there is still plenty of resolution to crop in. Cropping isn't bad, it's just always better to use it as a last resort or in a special circumstance like this. I get roughly the same framing as in my wide angle shot, but I don't look like I'm behind a door's peephole trying to sell you the Good News.

I wish they made a "mini" selfie stick that only extended a foot or so. With the main camera that is usually all people need to undo any wide angle issues. I have one of those mini tripods and that works well, but there is no activation button so I have to do a timer. Mirrors work great to help you get some selfie distance.

In any case, all cameras have limitations and compromises. Clickbait titles saying something is WORSE THAN THE OLD ONE are frustrating and wrong.

And people upgrading phones every year are silly. All current name brand smartphones have promised at least 5 years of software updates. I think Google and Samsung are offering 7 years on some models. And Apple has always just let you use your phone until it literally will not work with new software. Which has worked out to 8 years in some cases (with a battery swap).

Phones are now appliances. For now, hardware will improve 10 to 15% from generation to generation until physics breaks. So if you want a 50% improvement, wait 5 years and you'll think your new phone is awesome. If you upgrade every year, it is going to be difficult to see the change.

I hope to be starting a little course on smartphone photography in the near future. All modern phones are capable of taking amazing pictures. And as long as you understand their limitations you can mitigate or avoid them. And that is what I plan to teach.

[studioskiblog]

Why Regular Camera Sensor Cleaning and Pixel Mapping Are Essential

As a professional photographer and videographer based in Johannesburg, South Africa, maintaining your camera's sensor is just as important as mastering composition and lighting. Regular sensor cleaning and pixel mapping ensure every shot is free from unwanted artifacts, delivering the best possible image quality for your clients. This is one of the reasons I shoot with the Nikon system. Nikon has a free, professional camera sensor cleaning service so that you don’t accidentally damage your sensitive camera sensor.

The Importance of Sensor Cleaning

Your camera's sensor is the heart of image capture, and any dust or debris can lead to unwanted spots in your photos or videos. This is especially problematic for product photography, fashion photography, and corporate videography, where precision is key. Ever heard someone at a photoshoot say, "We'll fix it in post"? Well, Photoshopping elements you could have avoided will cost extra time and money (or even a good reputation) – especially if you’re on a tight deadline.

Why Regular Sensor Cleaning Matters:

Prevents Dust Spots: Tiny particles show up as dark spots, especially in skies or light backgrounds.

Improves Image Clarity: A clean sensor ensures sharper, more professional results.

Reduces Post-Processing Time: Fixing dust spots in editing is tedious and time-consuming.

Essential for High Resolution Shoots: Dust is more noticeable on high resolution cameras.

What is Pixel Mapping?

I only heard of this term a few years ago. Over time, camera sensors may develop stuck pixels, which appear as bright or dead spots. Pixel mapping is a process where the camera identifies and compensates for these faulty pixels, ensuring seamless, high quality images or footage.

Benefits of Pixel Mapping:

Removes Hot Pixels: Prevents bright or dead pixels from ruining perfect images.

Extends Sensor Lifespan: Helps maintain the integrity of your camera.

Ensures Uniform Image Quality: Ideal for food photography, hotel photography, and professional headshots.

Maintenance Schedule

Sensor Cleaning: Every few months, or whenever you notice spots.

Pixel Mapping: At least once a year, or if you start noticing stuck pixels.

Conclusion

Regular sensor cleaning and pixel mapping are essential for maintaining image quality. Whether you're shooting corporate videos, architectural photography, or high-end fashion photography, a clean and well-calibrated camera ensures your work remains professional and visually stunning. Need quality photography services? Give us a shout today!

[medickpidia]

Information 

The KODAK PIXPRO FZ55-BK is a compact yet powerful point-and-shoot digital camera designed for everyday photography and vlogging. With a 16-megapixel CMOS sensor, 5X optical zoom, and 28mm wide-angle lens, this camera delivers sharp and detailed images with ease. It also records 1080P Full HD videos, making it ideal for capturing precious moments on the go. Its lightweight design and intuitive controls make it perfect for beginners, travelers, and vloggers alike. 

>>>>---- Click To Know More About That Product  -----<<<<<

Blue Color Camera >>>>----- https://amzn.to/4jNMgFG -----<<<<<

Red Color Camera >>>>----- https://amzn.to/4hm6jcG -----<<<<<

Key Features

📸 High-Quality Images with 16MP CMOS Sensor

The 16-megapixel BSI (Back-Side Illuminated) CMOS sensor ensures crisp, clear, and vibrant images, even in low-light conditions.

Supports various scene modes for optimized photography, including portrait, landscape, night, and more.

🔍 5X Optical Zoom with 28mm Wide-Angle Lens

Get closer to the action with 5X optical zoom, allowing you to capture distant subjects without losing image quality.

The 28mm wide-angle lens is perfect for landscape shots, group photos, and vlogging.

🎥 Full HD 1080P Video Recording

Capture high-definition videos at 1080P resolution for smooth and detailed footage.

Perfect for vlogging, video journaling, and casual filmmaking.

🎞 Digital Image Stabilization

Reduces blur and shaky footage, ensuring stable photos and videos, even when shooting handheld.

📱 2.7" LCD Display

The bright 2.7-inch LCD screen provides a clear view for framing shots and reviewing images.

🔋 Rechargeable Lithium-Ion Battery

Includes a rechargeable Li-ion battery for extended shooting sessions without the need for disposable batteries.

🎭 Face Detection & Beauty Mode

Face detection helps focus on faces automatically for sharp portraits.

Beauty mode enhances skin tones and smoothens features for flattering selfies.

🌙 Low-Light & Night Mode

Capture bright and clear images even in dim lighting conditions with specialized low-light settings.

🏞 Multiple Scene Modes

Various preset scene modes optimize settings for different shooting environments, including portrait, landscape, night, sports, beach, and more.

📂 Expandable Storage

Supports microSD/micro SDHC cards (up to 32GB) for storing thousands of photos and videos.

Specifications

FeatureDetailsSensor16MP CMOS SensorZoom5X Optical ZoomLens28mm Wide-AngleDisplay2.7-inch LCDVideo Resolution1080P Full HDStabilizationDigital Image StabilizationBatteryRechargeable Li-ion BatteryStoragemicroSD/micro SDHC (up to 32GB)ConnectivityUSBWeightLightweight & Portable

Who Is It For?

✅ Beginners – Simple point-and-shoot functionality makes it easy to use. ✅ Vloggers – Full HD video recording and a compact design make it great for on-the-go content creation. ✅ Travelers – Lightweight and portable for easy carrying. ✅ Families & Casual Users – Ideal for capturing everyday moments and special occasions.

What’s in the Box?

✔ KODAK PIXPRO FZ55-BK Digital Camera (Black) ✔ Rechargeable Li-ion Battery ✔ USB Charging Cable ✔ Wrist Strap ✔ Quick Start Guide

[techdriveplay]

The 5 Best DSLR Cameras on the Market Currently

With photography, finding the right camera can make all the difference in capturing that perfect shot. With advancements in technology, DSLR cameras remain a top choice for both professionals and enthusiasts, offering versatility, image quality, and control. If you’re in the market for a new camera, it’s essential to understand the top options available today. In this article, we’ll dive into the…

[topurologist]

Introducing the Samsung Galaxy A54 5G: Experience Innovation and Connectivity

Are you ready to elevate your mobile experience to the next level? Look no further than the Samsung Galaxy A54 5G, the latest addition to the Samsung Galaxy A series. Packed with innovative features, stunning design, and blazing-fast 5G connectivity, the Galaxy A54 5G is the perfect companion for your digital lifestyle.

Discover the Power of 5G Connectivity:

Immersive Display and Sleek Design:

Feast your eyes on the immersive 6.5-inch Infinity-O Display of the Samsung Galaxy A54 5G. With FHD+ resolution and minimal bezels, every image and video comes to life with vibrant colors and crisp clarity. Plus, the sleek and stylish design of the Galaxy A54 5G makes a bold statement, with a slim profile and eye-catching colors to suit your personal style.

Capture Every Moment in Stunning Detail:

Capture life’s precious moments with the versatile quad-camera system of the Samsung Galaxy A54 5G. Featuring a 64MP main camera, 12MP ultra-wide lens, 5MP macro lens, and 5MP depth sensor, you can unleash your creativity and capture stunning photos and videos in any environment. Whether it’s sweeping landscapes, close-up shots, or portraits with beautiful bokeh effects, the Galaxy A54 5G delivers impressive results every time.

Long-Lasting Battery Life and Fast Charging:

Say goodbye to battery anxiety with the Samsung Galaxy A54 5G. Equipped with a powerful 5000mAh battery, you can enjoy all-day usage without having to constantly recharge. And when it’s time to power up, the 25W Super Fast Charging feature ensures that you can get back to what you love in no time.

Experience Enhanced Performance and Security:

Powered by the Qualcomm Snapdragon octa-core processor and featuring 6GB of RAM, the Samsung Galaxy A54 5G delivers smooth performance and seamless multitasking. Plus, with Samsung Knox security built-in, your personal data and information stay protected against threats and vulnerabilities, giving you peace of mind.

Unlock the Potential of the Samsung Galaxy Ecosystem:

Seamlessly integrate your Samsung Galaxy A54 5G with other devices in the Samsung Galaxy ecosystem for a truly connected experience. From smartwatches and earbuds to tablets and smart home devices, the possibilities are endless with the Galaxy A54 5G at the center of your digital world.

Don’t miss out on the opportunity to experience the Samsung Galaxy A54 5G for yourself. Visit Leo Dreams Mobiles Private Limited in Patna today and elevate your mobile experience to new heights with Samsung.

[nasa]

Hubble Space Telescope: Exploring the Cosmos and Making Life Better on Earth

In the 35 years since its launch aboard space shuttle Discovery, the Hubble Space Telescope has provided stunning views of galaxies millions of light years away. But the leaps in technology needed for its look into space has also provided benefits on the ground. Here are some of the technologies developed for Hubble that have improved life on Earth.

Image Sensors Find Cancer

Charge-coupled device (CCD) sensors have been used in digital photography for decades, but Hubble’s Space Telescope Imaging Spectrograph required a far more sensitive CCD. This development resulted in improved image sensors for mammogram machines, helping doctors find and treat breast cancer.

Laser Vision Gives Insights

In preparation for a repair mission to fix Hubble’s misshapen mirror, Goddard Space Flight Center required a way to accurately measure replacement parts. This resulted in a tool to detect mirror defects, which has since been used to develop a commercial 3D imaging system and a package detection device now used by all major shipping companies.

Optimized Hospital Scheduling

A computer scientist who helped design software for scheduling Hubble’s observations adapted it to assist with scheduling medical procedures. This software helps hospitals optimize constantly changing schedules for medical imaging and keep the high pace of emergency rooms going.

Optical Filters Match Wavelengths and Paint Swatches

For Hubble’s main cameras to capture high-quality images of stars and galaxies, each of its filters had to block all but a specific range of wavelengths of light. The filters needed to capture the best data possible but also fit on one optical element. A company contracted to construct these filters used its experience on this project to create filters used in paint-matching devices for hardware stores, with multiple wavelengths evaluated by a single lens.

Make sure to follow us on Tumblr for your regular dose of space!

[innonurse]

According to researchers, a new wearable sensor allows for continuous sweat analysis

- By InnoNurse Staff -

Penn State researchers created a new wearable sensor to track glucose levels over several weeks.

Read more at Penn State University

///

Other recent news and insights

Canada: Healthtech startup Medreddie wins the first Elevate Women+ Pitch Prize (Betakit)

To screen for autism, a tablet-based AI app examines several behavioral signs (Duke University/Medical Xpress)

DeepMB is a deep learning framework for real-time high-quality optoacoustic imaging (Helmholtz Association of German Research Centres/Medical Xpress)

[sincerefirst]

SincereFirst CMOS AR0144 Imaging Sensor 1MP Camera Module

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2022 — Greig Fraser, ACS, ASC Dune (2021) Directed by Denis Villeneuve Aspect Ratio: 2.39 : 1

Desert colors dominate throughout the movie, but Fraser, [production designer Patrice] Vermette and costume designer Jacqueline West went to great lengths to imbue that palette with subtle and organic variations of color. “We worked very hard to make sure the world of Dune was not monochromatic,” Fraser says. “For example, Patrice worked veins of reds and blues into the sand walls. He — and Jacqueline, who built these subtle gradations of color into the costumes — both did wonderfully subtle work, and I had to make sure we were capturing those subtleties."

“My approach was to pull as much color as possible out of non-colorful situations,” he continues. “It was all subtle differences, not necessarily bold color contrasts. Achieving bold color in film is super easy. Achieving depth [in the image while creating a natural-light look] when you’re working with a digital sensor and digital lights is harder than it might first appear.” — The American Society of Cinematographers, January 2022

[bnsni]

TO LIVE AND TO SERVE

part three

(sentinel.gn.miner.reader)warnings : mild nsfw!!

one, two, three

HE'S  a lot more quiet when he's alone.

You found him in the Thirteenth suite (where the Prime's statues were concocted in tribute to their deaths, as well as serving as the strategy room for military use).

He was by the round table, nursing a cup of energon while he stared blankly ahead, lost in the colorful blurs of the Iaconian lights that shone through the arched glass windows.Three bottles of engex littered the table. To your baffled confusion, you also counted around thirteen cups, possibly more, on the ground, scattered.

Ever since he gave you the proposition to serve him, you hadn't interacted with the Prime for a while, given he was busy with his 'responsibility' as Prime and the most you'd seen him was his figure pottering along the halls and in and out of rooms. At these times, you tucked yourself away into your room, reading a book or exploring the limited areas of the castle you were permitted to use. Any farther than that were gauranteed a violation. He'd take you back to the mines.

You didn't want that. 

But in regards to his behavior, this has gotten quite frequent, you notice. After every conference about his expeditions, or a trivial meeting for that matter, led him cooped up in the Thirteenth Suite.

He was different.

No grandiose gestures, no banter, no anything —none of that pretense you know holds up everytime a crowd cheers. Watching him change through the screen and in here,  disconcerting wasn't the word you'd exactly use to describe him. Unpredictable was better. There was nothing more dangerous than a mech with unpredictable motives. 

You didn't know which side you preferred.

" There you are." 

You blinked out of your stupor and found him swivelled towards you. He tipped his helm back with a smile, placing his cup down. "Where have you been?" 

You weren't sure whether to step into the room or not so you teetered by the doorway and tightened your servo into a fist. 

"Exploring, my liege." You say, cautious. 

"You're not hiding away from me, are you?" He mused. 

You glance to the exit. " No, sir. Not at all. Airachnid showed me around ...and lost my way.." 

" Happens all the time. You'll get used to it.." He chuckled and patted his thighs, which spreads out a little to expose his panel. You look away, digits digging deeper into your palm.

 He cocked a brow and leaned back with his elbows both on the handle. "Second thoughts?" 

You didn't meet his gaze as you neared, fixated on a particular spot on the statue of the Prime behind him. Megatronus's mask. The hollow optics peered down. As though watching.

"Not at all." You say.

He hunched forward and held your waist, servos engulfing the entirety of the width. His digits glides over the intricate lines on your stomach, pressing against sensitive regions before feeling up your shoulder with his palms.

With a push against your back, you fell deeper into his embrace, servos a tacl against his shouders. You thought back to the drone with the dent on his chassis, and the image of Sentinel plunging a servo through your abdomen, sparks igniting, energon spooling out, plagued your mind. 

A little, you shake. He was too busy pressing is face against the spot between your shoulder and neck to notice you froze. With every vent of his intake and every touch of his wet, sticky lips against your cheek, angex prickles your olfactory sensors. Down the shoulder, his servos glides over the curve of your aft then to your thighs and squeezes it.

"Get on my lap." He nudged your jaw with his nose, breathy and eager. 

You swallowed. "Yes, my liege." 

"Oh, call me sir." He scoffed and leaned back as you swung your legs over his thighs. "It's pretentious when you say that." 

You don't say ...

You kept quiet, opting to put your servos on his shoulder while he tucked you close against his chassis. The servo on your back cupped the nape of your neck before pulling you close and into a wet kiss. You tensed up. However, he wasn't detterd and eased your mouth open with his glossa, large and slick , prodding against your own. 

Megatronus was behind, peering down. Watching.

" Feels good, doesn't it?" He said between breaths, tilting forward to taste the back of your mouth, dentas grazing your lips and tongue. 

You didn't know what to say. There was nothing worth saying, only putting your focus to breathe and not wince at how deep his digits are digging into your sides at how forceful he was trying to pull your body close. You made a sound as he tipped you forward, knees pressing against his side as he chased your mouth. 

In the moment of reprieve when he let go of your lips, you said "It does, sir." 

And Sentinel was about to lean in when the words register. He paused, pulled away and stared at you for a moment before laughing incredulously and, unfortunately, very deeply. You've never seen him this amused by what you've said. You could only strain your jaw not to be bothered by his reaction and shook along the vibration of his chassis. 

He rubbed the bridge of his nose and optics, as though wiping off a tear. 

"You know I hate liars." Eventually, he says. " Especially when they go into detailed, detailed stories about how they're not..."

He leaned forward until his helm, through your viewpoint, was under Megatronus's and vividly vividly you had the feeling the surrounding statues were staring, hollow optics turned to one mech. 

Sentinel.

"Insanely ridiculous, don't you think?"

[hungwy]

a little essay on how i understand photography exposure to work because. like. itll force me to conceptualize more clearly. you get it

three stages: aperture, shutter, sensor

there is an order to how cameras experience light: aperture -> shutter -> sensor. in terms of clarity, each of these settings have settings.

aperture

the aperture controls the clarity of image by controlling the angle of how light enters the lens (measured in "f-stops": low f-stop = wide aperture and vice versa). light entering the lens indirectly (not going straight into the sensor) bounces around, producing what you see as depth of field. restricting the aperture makes the angle of entry for light more acute, and so light cannot enter as indirectly, thus sending more light straight to the sensor without any diffusion. this restriction however literally reduces the amount of light that can enter the lens, and so the tradeoff of full-image clarity is low luminosity.

shutter

the shutter determines the amount of light the sensor is exposed to over time (measured in fractions of a second). mechanical shutters block most of the sensor from light, only allowing a sliver of light between the blades in as the shutter scrolls across sensor; electronic shutters simply turn the sensor on for however long its supposed to. a fast shutter speed only lets a single moment in at the cost of a less light reaching the sensor (darker images), while a slow shutter speed lets many moments and thus much more light in at the potential cost of blurriness. the tradeoff is, again like the aperture, high clarity versus low luminosity.

sensor

sensor... sensitivity... is basically the gain applied to the light which hits the sensor, termed ISO. ISO originally comes from film [emulsion] speed, or how sensitive the camera film is to light (and it's measured in whole numbers from like 200-25600 or something like that, not sure why--definitely something to do with film). a highly sensitive film emulsion needs less time to fully develop, but without control can cause overexposure, and also emphasizes inconsistencies in the texture of the film itself, which is seen as noise or film grain. digital cameras sought to emulate film ISO by giving users control over the gain of the sensor. increasing gain boosts the total light levels of the image at the cost of also boosting the inherent digital noise present in the electronics of the sensor. ISO gives one some final control over the luminosity of the image (and in film the speed of development) at the expense of graininess. once again, in a manner of speaking, high clarity against low luminosity.

exposure triangle or trading off

since each stage of light modification (lens -> aperture -> sensor) controls luminosity for the next stage (as well as the final product), if one wants "clarity" in general, there is almost always a necessary tradeoff between the primary quality (luminosity) and secondary qualities (depth of field, blurriness, grain).

since each stage of photography modifies the total amount of light in the final picture, there is nearly always a tradeoff occurring in the process of photographing. the primary quality, luminosity, must be preserved in order to successfully take a photo (or else you won't have enough light to see it). if you don't have enough light to begin with, some sacrifices must be made at one, two, or all of those stages to have enough light. how you prioritize these settings moves you around the inside of the exposure triangle (google an image of it, you'll understand).

photographing motion clearly

so for photographing runners in an indoor track, for example, you probably don't want a low shutter speed. that makes it impossible to make out the individual forms of the runners. but since you're indoors, you likely don't have enough light to work with. so you give priority to a shutter speed that will give you clarity of the runner's movement. this reduces the total amount of light getting to the sensor, and you're in a relatively dark environment and need to brighten the image up. you can't choose an extremely shallow depth of field because you need to be far enough away to get their full body into the camera, and you can't boost the ISO too high because everyone thinks graininess is unprofessional. so you need to modify both, such that you maximize the depth of field without the runners themselves getting involved in the blurriness, and then kick up the ISO little by little until the image is properly (not underly or overly) exposed without being noticeably grainy. maybe you take a few steps closer to get a higher fstop, too.

photographing stillness clearly

let's say you want to do some nature photography, maybe some plains sitting at the foot of a mountain range at midday. you want everything from the foreground to the clouds in the sky to be clear. so we have to give priority to a high depth of field, which means setting our aperture to be as small as possible. this of course greatly lowers the amount of light making it to the shutter, so you must balance between shutter speed and ISO: if you know there's nothing really moving around, you can choose a lower shutter speed which makes up for the rest of the luminosity and keep our ISO still low. if the clouds are drifting somewhat fast and you have wind blowing across the grasses, however, you're going to need a slightly higher shutter speed so as not to blur these details and then compensate by boosting the ISO until it's either exposed properly or almost unbearably grainy. (it seems like basically every nature photographer is using denoising filters in photoshop anway...)

prioritizing two stages?

in the case you must prioritize two of these stages, there are basically only out-of-camera ways to save the photo. for low ISO + high fstop, you need both a low shutter speed and stillness of subject or tracking equipment (and probably extra lighting). for high shutter speed and low ISO, you'll want a low fstop, and so getting closer to the subject (and probably extra lighting). for a high fstop and high shutter speed, you'll need a very high ISO -- or really, extra lighting. it seems like in any case where you have to prioritize extreme settings for two stages you should really just look into finding better lighting.

conclusion

so in most cases you probably have to sacrifice at least a little clarity in two corners for gaining clarity in one. that's what the exposure triangle symbolizes. that's why it's important to know ahead of time what your subject will be and how you'll photograph it!

of course this is all just for the photographer's ideal of "clarity". there are beautiful photos which are overexposed, underexposed, blurry, grainy, smeared with motion, et cetera. but that doesn't mean you can't ignore the exposure triangle--there are very rarely photos anyone want to see that are just totally black or white. you have to adjust these stages so that you get actual, comprehensible lighting, both light and shadow

[squibsformers]

Silken Synapses

Jazz x Reader (NSFW)

AN: Happy Valentines Day. Reader has a dick but no pronouns are used.

The way the city lights filtered in through the blinds of your apartment window made Jazz stare up at you like you had to be the Allspark incarnate.

Streaks of vibrant blue danced over your skin with every bounce, your body leaving your silhouette cast across the wall. Violet caught the hard line of your jaw and optic ridge, and a rose highlights your aft as you rock and move. You looked like you were painted in neons and the midnight hour. And the noises you made? Felt like they were ripped from the stars themselves, bright and calling to his spark in the dark of the night.

Your hips rolled again, and the sound he made was all static and buzz, his vocoder struggling with how his sensors were running wild at the pleasure racing through him. One of your hands slid across his exposed panel, wires all on display for your discretion. And you made good use of such a treat, fingers skimming along rubber, dragging a nail lightly down one until the friction caught, and you opt to instead tug the flat cabling.

Jazz's intake dropped open in a drawn out groan.

“Frag, baby, you're filthy.”

His skittered, scrambled visual field was splintering, fracturing, his view of your form multiplying like a kaleidoscope of delight. Watching your other hand trail down your chest and slowly nearing your own spike- penis? Dick, cock, rod, too many words that made his currently overheated processor scramble to fit in one slot and overwhelm it.

…SPEAKING of fitting in slots, you began bounce on his spike more, slick and warm and- PRIMUS, that, that nasty little trick you kept doing, squeezing and tightening around him before relaxing again and moving quicker. It made Jazz grit his denta, throwing his helm back with a hiss each time.

“Tease…!”

The mass displaced mech was rewarded with a husky, silky chuckle that he swore, up and down, was weaving through his audials and caused lightning to zip down his backstruts. Jazz felt like he was going mad, ESPECIALLY as you looped a digit around a green wire in the upper left quadrant and unplugged it, dragging your tongue along the tip of the metal jack plug and sucking lewdly on it. He knew you wouldn't pull out anything important, he'd marked what could and couldn't be toyed with. But it didn't change the fact that when these were toyed with, they made his EM field buzz and flicker.

“Swear I can feel that. It's like my nerves are all tingling…”

You gasped, biting your lip and arching your back. Fist your member and begin stroking faster as you ride him harder, the sound of the flesh and skin clapping against the steel of his plating and the slick of lube and transfluid making for obscene noises ripped from Jazz's fantasies and sounding like a salacious symphony. His biolights flicker in patterns, that he can barely see through your skin every time he sinks deep into your aft- ass. Spike painfully pressurized and hitting deep within your depths, bullying your prostate pleasurably. Hellishly.

Grunting, he gripped your hips, and began helping you move quicker, venting in puffs and his cooling fans whirring louder.

“You close, my pretty little Porsche?”

“Mhm…!”

“Good.”

Bottom left quadrant had the most wires you could pull, and pull you did. In fact, you looped the whole mass around your hand, and yanked as you gasp and release into your condom. His systems went haywire briefly, optics locked onto the glitchy, iridescent image of you, and Jazz's overload crashed his systems like a powersurge, making the porsche unload into you.

[marlynnofmany]

Digital Billboards and Bumper Stickers

I handed another can of food to Eggskin, thinking idle thoughts about skin and scale color. Neither of us were what I considered kindergarten-crayon colors, though I was somewhere in the white-brown-pink area while they were a yellow-green-white. Someday I’d ask them if they knew their scales were the color of human boogers (no I wouldn’t).

Really I was thinking about that to avoid reading the labels of the food, since most of them had my alien crewmates in mind, and looked profoundly unappealing to me. This stack was mostly bug paste. Some cans were shelled, and some unshelled. Flavored with the highest quality algae. Bluh.

“That’s the last of these,” I said happily, handing it over.

Eggskin placed it on the shelf and looked thoughtfully down at the counter still strewn with shelf-stable food. “Let’s do the seed paste next. Leave the herb stalks out; I’ll want to use them sooner than the rest.”

Following their pointing claw, I located the jars of peanut-butter-adjacent food, and the narrow boxes that I’d thought were spaghetti. “Got it.” I shoved the boxes aside and started passing the jars to Eggskin for placement. Reorganizing the shelves was a lot of work. I could see why they’d asked for assistance. At the very least, it would have gotten boring after a while.

Eggskin asked, “So what was the captain grumbling about just now?”

I thought back to when Eggskin had recruited my help from outside the cockpit. I’d only been there to bring Wio the water bottle she’d left in the lounge, but it had been long enough to pick up the gist of the conversation. “All the ships in this area have extra information on their ID’s, and they keep popping up as images overlaying the map, making it hard to see where everything is.”

Eggskin turned with the speed of a striking snake. “What area? Where are we going? I knew I should have checked the schedule.”

“I didn’t catch the name,” I said, but Eggskin was already racing for the door.

“Put away the jars, please; I’ll get the rest later!”

I paused for a moment, then hurried to put all the seed paste jars next to the cans of bug paste, labels forward and in neat rows. Then I ran after Eggskin.

When I arrived at the cockpit, I found our ship’s cook/medic with a hand on Wio’s chair, pointing something out to the captain.

Captain Sunlight sat in the copilot’s seat, frowning at the screen. Many colors reflected off her bright yellow scales, glowing from the mishmash of light that was normally a dark starfield. “If we make that much of a detour, we won’t be able to make the delivery on time. We’ll just have to go dark on communications until we get there.”

Eggskin made a concerned noise as Wio tapped several buttons with her tentacles. The room was suddenly darker as all the company logos and custom images blinked out of sight. The screen now held the usual blackness of space, speckled with stars — one close enough to be called a sun — and a variety of ships mostly heading to or from a distant space station shaped like a tube. There were also far more asteroids hanging around than I was entirely comfortable with.

But before I could ask about that, the music started.

I think it was music. “What is that?” I asked at the jumble of sound. It sounded like several radio stations at once, some playing recognizable instruments, some talking, and others making what sounded like rude noises.

In a tone of defeat, Eggskin said, “The ads and taunts can detect visual sensors. Some ships target outsiders in exactly our position: no time or money to buy a blocker.”

Wio made a rude sound of her own and turned the volume down.

Captain Sunlight was still frowning. “I don’t want to speak ill of anyone else’s way of life, but this is terrible.”

Eggskin gripped both chairs, eyes trained on the screen. “It’s one of many reasons why I left. You’ll want to keep that big ship between us and the station for as long as you can.” They pointed briefly. “Or else we’ll have a Core on our tail wanting to fine us for flying blind.”

“Terrible,” the captain repeated. But she instructed Wio to do as they said, while aiming for one specific asteroid that hadn’t come onscreen yet.

This seemed like a good time to ask. “Why are there so many asteroids this close to the station?”

Captain Sunlight flicked a glance at me, possibly only now noticing I was there in the doorway.

Eggskin answered without turning. “It was meant to be a tourist attraction, but the company got bought out and the project abandoned. Now half of the gravity engines are failing, and reputable businesses are leaving the area.”

Wio said, “It still looks awfully busy.”

“That would be the disreputable sorts. If you see a triangle where the stars disappear for a moment, fly at max speed in the other direction, never mind the delivery time.”

Captain Sunlight turned her frown on Eggskin. “It’s that extreme of a danger?”

The hands on both chairs tightened. “Yes.”

I studied the screen for any sign of disappearing stars. Black ships in the blackness of space were uncommon back in familiar territory, for the simple reason that they risked having someone crash into them and atomize both ships. But it sounded like someone here considered that a risk worth taking so they could sneak up on others. I didn’t ask what they did when they succeeded.

We spent a tense few minutes flying in silence, with no sign of invisible ships and only a few pop-ups. Apparently even flying blind couldn’t block all of them out. At least these were mostly informational things on the asteroids themselves, defunct notifications about events and attractions that had never been finalized.

One ship that looked cobbled together from spare parts had a blank panel above the thrusters that drew my eyes with how bright white it was. Eggskin stared at it intently. “This could be nothing,” they said, “But it could be important. Use a tight-beam scan for that panel.”

Wio did. As if the ship was just waiting for someone to look, it accelerated away and produced an image that glowed on our screen after it was long gone. The stylized pair of shapes were vaguely familiar.

While Eggskin made a disappointed grumble, I asked, “What is that? I’ve seen that symbol on the back of a racing ship.”

“I believe,” said Captain Sunlight, “It is an insult. A view of the bottoms of the pilot’s feet as they swim or fly away from you.”

“Oh,” I said. “Huh. I guess it’s like mooning someone. Or an ‘Eat my dust’ bumper sticker.”

Before anyone could ask what human nonsense I was talking about, Wio spotted the meeting location. “This one, right?” she asked the captain. “The mid-sized flat one?”

Captain Sunlight consulted a smaller screen. “That is where they said to meet. But they also said they would be here before us, ready to rush off as soon as they got our delivery.”

Wio and Captain Sunlight inspected the surrounding area for other ships, which all seemed to have left. I kept watching the stars, sparing a glance for Eggskin, who looked more intense than ever.

“Scan the landing area,” they said suddenly.

The message that popped up this time was a simple text one, in a language I didn’t recognize.

But Eggskin did. “Thought so. Send a tight-beam message back to open the drop box. This message.” They rattled off a string of numbers that Wio dutifully copied down and sent. I saw the captain also copy it onto her notepad with an expression that suggested she had some questions for Eggskin later.

Lo and behold, the flat part of the asteroid rolled back into an empty space that could have fit a ship larger than ours. The light of the distant sun showed it to be empty.

Captain Sunlight sat back, exasperated. “Where did they go?”

Wio said, “There’s a ship over there. Is that them?” She turned our view to show a speedy little junker careening between the asteroids toward us.

“I don’t think so,” the captain said. “Unless they had to use a different ship.”

A patch of stars behind it winked out. I pointed. “Invisible ship!”

Before Wio could hit the thrusters, Eggskin commanded, “Get in the drop box!”

Wio threw a glance at Captain Sunlight, who nodded. Wio sent our little courier ship diving into the secret hidey-hole, folding the solar sails and transmitting the other message Eggskin gave her to close the hatch.

It was very dark inside that drop box. I thought briefly about the rest of the crew, who had no idea how much danger they were in. I didn’t even know how much danger we were in. But I suspected it was a lot.

Eggskin said, “We should be safe after a few minutes. Given their trajectory, they were chasing that other ship. Even if they saw us, they’ll be busy.”

Wio asked, “These aren’t the people who will fine us, are they?”

“No,” Eggskin said firmly. “The Core will fine you, because they’re what passes for a police force out here. Spherical ships, like a planet’s core. That,” they said, pointing emphatically, “Was a Lancer. They will dismantle your ship, sell it for scrap, and sell you to a work camp. No, the Core won’t stop them. Yes, it’s terrible.”

The captain nodded. “One of the many reasons why you left.”

“Yes.”

“Well, we very much appreciate your expertise today!”

“I’m just glad I realized where we are,” Eggskin said. “I’ll make a point of checking the schedule more regularly.”

“And I will make a point of not accepting deliveries for this part of space, no matter how much they pay,” the captain said wryly.

We sat there a little while longer, until Eggskin said it was safe to open the hatch. All the stars were in place as we ventured out. Nothing moved, not even any drifting bits of dismantled ship. Good news.

But also bad news, since we still didn’t know where our client was.

“I will be extremely disappointed if all this risk was for nothing,” Captain Sunlight said. “Eggskin, are there likely to be other drop boxes nearby that they could have hidden in?”

Eggskin let out a breath. “If there are, I won’t know the codes for them.”

The captain made another note to herself, and told Wio to search the area for other likely asteroids. I did my part by continuing to watch the stars, just in case.

Wio said, “Most of these have a flat enough area to land on.”

Eggskin put in, “By design.”

“Should I turn the communications back on, to look for markers?” Wio asked. “There are no other ships over here to jam our screen.”

Eggskin muttered, “Optimistic.”

Captain Sunlight said, “Do it.”

The drifting space rocks were suddenly festooned with logos. It wasn’t as bad as before, but it wasn’t great. They were all old and glitchy.

Wio turned the volume up slightly, just enough to hear that any audio messages had dissolved into static. “If anybody spots something promising, sing out.”

We all watched the screen as Wio slowly toured the area. A couple of asteroids had newer pop-ups, but these were clearly graffiti: messages about how somebody was the envy of this half of the galaxy, or how whoever was reading the message should go stick their tail in a thruster.

“What species made most of this?” Wio asked.

“The original owners were Frillians,” said Eggskin. “Though that graffiti clearly wasn’t.”

“And what species is our client?” Wio asked the captain. “Or is it a mixed ship?”

Captain Sunlight glanced down at her notes, then up at me. “Human.”

Oh. No pressure. “I haven’t seen anything yet that looks particularly human-ish,” I said. “But I’ll look.” I gave up on the stars for now, and stared at the asteroids. “Are those two just extra flat, or do they have panels like that one ship did?”

Wio dutifully moved closer and scanned the two that I pointed out. One was a political slogan about something Waterwill-related from several years ago.

The other one was music. The volume was still quiet, but I recognized it. As Wio turned up the sound of synthetic drumbeats, I grinned at the old Earth anthem.

This asteroid was equipped with a rickroll.

“That’s a human thing,” I said. “Check that one.”

Wio took us closer, then she sent a short-range communication ping, the equivalent of knocking on the door.

And lo and behold, something pinged back and the door opened. A ship floated out that was sleek and aerodynamic, and painted in a camouflage pattern that did absolutely nothing to disguise it against the rock. I burst out laughing as Captain Sunlight hailed them to confirm that they were indeed the people we’d come to meet. I tried to laugh quietly.

With the drop box closed again, there was space for both small ships to land side by side. Theirs even had an extendable airlock that matched up with ours, saving everyone the inconvenience of getting into exo suits and doing the handoff in whatever atmosphere still clung in the artificial gravity.

I got to do the honors, with Captain Sunlight at hand close behind. I suspect she would have preferred to do it herself, but her little lizardy arms weren’t up to carrying a box this size, and there wasn’t space in the airlock for a hover sled. Simpler to just let the tall human do it.

The airlock opened to show a guy who looked malnourished, stressed, and very relieved to see me. “So glad you found us,” he said in an unfamiliar accent, grabbing the payment tablet before I could offer it. “It’s just one thing after another these days.”

“I bet,” I said. “Have you considered leaving? I have it on good authority that life is terrible around here.”

He handed the tablet back. “Thought about it. Dunno what we’d do for a living.”

I gave him the box, which according to the manifest included fresh chicken eggs, kosher salt, and a selection of media from Earth. “Have you considered a career as a courier?”

He smiled. “I’ll mention it to the crew.”

As he stepped back onto his own ship, I called, “Feel free to follow us out! We probably won’t get caught by anybody horrible on the way!”

I heard a chuckle as the door closed.

Once the airlocks were sorted away and everybody was back in position, Wio took us up from the asteroid, and back toward civilized space. I watched from the doorway while Eggskin kept an eye out for dangers. We made it out of the asteroid zone safely.

And so did the other ship, following close behind us.

~~~

Thanks to everybody who joined in the discussion of spaceship bumper stickers and related things, particularly @lillyjen and @voodootortoise!

These are the ongoing backstory adventures of the main character from this book.

Shared early on Patreon! There’s even a free tier to get them on the same day as the rest of the world.

The sequel novel is in progress (and will include characters from these stories. I hadn’t thought all of them up when I wrote the first book, but they’re too much fun to leave out of the second).

[tinyshyteacup]

Tw: cussing, discussions on moving a captor

Part 7

Novel Attraction - Part 8

The air inside Templo was thick with smoke, sweat, and tension. Dim light from the hanging bulbs above threw long shadows across the room, catching the glint of rings tapping impatiently on the table.

They were all there—Bishop at the head, Taza silent at his side, Hank with his arms crossed, and Angel sitting lower in his chair than usual, eyes tired and lips set in a straight, unreadable line. His kutte hung open, his hands wrapped around a beer he hadn't touched.

Bishop was first to speak.

“Galindo wants her moved across the border. Multiple sites. Real careful shit—she’ll be tampering with both paper trails and digital ones.”

He leaned back in his chair.

“This isn’t a one-time job. Could be weeks. Months. Maybe more.” A heavy pause. “She ain’t a guest. But she’s not disposable either.”

“She ain’t trained for that kinda travel,” Taza said, arms folded. “That girl looks like she’s never even jaywalked.”

There was a low chuckle from Creeper—dry and without humor.

“She’s not the problem,” Bishop cut in. “It’s the cartel. They want her mobile. They want her working dirty. That means we’re her handlers.”

Angel’s knuckles flexed around the bottle, jaw tight. “She’s not property, either.”

Hank raised a brow. “You sure there, hermano? You already let her try to bolt once.”

Angel didn’t flinch. But the sting landed anyway.

Maps were rolled out onto the chapel table. Satellite images of desert scrublands, old cartel supply routes, half-buried sensor towers near the wall.

A line was drawn through the middle—the border.

Taza dragged his finger along a twisting side road. “We take her through here. Two nights off-grid. One by the dried arroyo. One through the tunnel.

He looked across the table. “We’ll need someone she trusts. To keep her from running again.”

Silence.

Bishop lit a cigarette, blew smoke toward the ceiling. As table in the Templo groaned beneath the weight of maps, burner phones, printed dossiers, and oil-stained coffee cups.

Bishop’s hand moved slowly across the map, dragging a finger over the dry jagged terrain.

“We’ll be using the old tunnel. And if she spooks out there, that desert’ll eat her alive.”

There was a pause. Then Bishop added, voice even but deliberate:

“Maybe EZ should ride point on her.”

The room stilled.

Angel’s head lifted, sharply.  “What?”

Bishop didn’t flinch. He met Angel’s eyes like he expected the protest.

"Think about it. She’s scared. She looks at EZ like he’s the one tether to all her nerd shit.”

A few nods circled the room. Taza gave a slow shrug.

"He is the cleaner one between you two.”

Angel stood, suddenly. His chair scraped back across the floor. “She don’t trust him. Not really. She’s just not scared of him yet.”

The room went quiet again. A heavy quiet.

“That ain’t the same thing.” Gilly mumbled.

Angel started pacing. One hand dragging through his hair, the other clenched by his side.

“She talks to me. She’d bolt if it was EZ takin’ her across.”

Bishop tilted his head, unconvinced. “Would she?”

Angel stepped forward, leaning on the edge of the table with both palms flat. Voice low, dangerous.

"I’m the one she runs to, not from.”

The room paused at that. Eyes darted between Angel and Bishop, reading the tension under the surface.

Coco exhaled a slow breath, nodding once toward Angel. “He ain’t wrong, Bish.”

Taza tapped his pencil against the map.  “EZ’s point on her. Angel’s lead on this.”

Bishop looked between them—then gave a single nod.

“Fine. But if she runs again out there—we don’t get another shot.”

His words echoed in the silence.

Angel nodded tightly. No fight left in him now. Just purpose.

“She won’t.”

“Camping,” Coco repeated with a low laugh, shaking his head. “This girl ain’t gonna last ten minutes in the open desert. The second she sees a scorpion or hears a rattler, she’ll bolt.”

He leaned forward on the table, toothpick twitching between his teeth. “You sure you don’t want me with her? I know how to track someone in that kinda terrain. I’ll keep her in line.”

Angel’s jaw tightened.

From across the room, Hank gave Coco a long look. “She’s terrified of you, man.”

Coco raised his hands in mock surrender. “I’m just sayin’ what nobody else wants to.”

Taza folded his arms across his chest, voice low and matter-of-fact.

“If she runs in the desert, we won’t find her ‘til there’s nothin’ left. We can’t risk that. Not with how valuable she is to Galindo.”

Silence swept through Templo. Everyone knew what came next, but no one wanted to say it.

Until Bishop did.

“Then we don’t let her out of reach.”

He flicked ash off his cigarette, eyes scanning the map, but his words hung like smoke in the air.

“Zip tie her to someone. At the wrist every night, til the job’s done.”

There was a pause—a heavy, shifting kind of silence, like the room itself was holding its breath.

Angel looked up sharply, mouth opening like he wanted to argue, but there was nothing to say. This was cartel business now. Galindo made the rules. The club just enforced them.

Taza glanced toward Angel, then over to the others. “Not Coco,” he said flatly. “She’s already scared of him. That’ll just make her more likely to do something desperate.”

Coco rolled his eyes, muttering something under his breath as he leaned back in his chair, folding his arms.

“A'ight. Let her be someone else’s problem.”

Angel’s fingers were curled into fists in his lap, his boot tapping rapidly under the table. You could see the conflict in him—he hated the idea. Of chaining you like an animal. But he also knew they were right.

She runs again, and it could get her killed.

Bishop stood, chair creaking beneath him.

"Move at dawn. One truck. One tunnel. Angel, you keep her quiet, cooperative, and calm. If she bolts again—you do what you gotta.”

He didn’t say what that meant.

He didn’t have to.

Angel gave a slow nod, though it looked like the weight of it added years to his face.

Later, outside the clubhouse, Angel leaned against his bike. Night had fallen. Crickets chirped, dogs barked in the distance, and inside the clubhouse the music had started up again. partying going on like the world hadn’t shifted.

He stayed outside.

Lit a cigarette. Let the silence press against his chest.

In the shadows near the trailer where you were kept, a dim light was on. He could just make out the shape of your silhouette, small and still behind the window, knees tucked to your chest like you were trying to disappear.

“Querida,” he muttered to himself, voice low and broken.

“What the hell did we drag you into?”

He flicked ash into the gravel, then looked toward the dark desert stretching out beyond the lot.

The inside of EZ’s trailer smelled like cheap pine cleaner and cologne, both trying to cover something more metallic underneath—like rust or old blood.

The place was neat, controlled—EZ’s nature in contrast to the chaos that constantly lived outside its thin aluminum walls.

You sat on the edge of the bed, shoulders tight, hands clenched in your lap. You wore one of EZ’s hoodies—your own clothes had started to smell like the warehouse, like fear. The fabric hung off you like armor too big for its soldier.

The door opened behind you with a soft creak.

EZ entered first, arms crossed, expression unreadable. Angel followed—slower, heavier. He looked at you immediately. You didn’t meet his eyes.

"We need to talk, querida,” Angel said gently.

His voice was soft—too soft. Like someone breaking bad news to a child.

You looked up at him, your eyes already glossed with the beginnings of panic.

EZ stayed standing near the small kitchenette. Angel moved to crouch in front of you, close enough to reach out—but he didn’t.

“Galindo wants the work started,” EZ said. “First site’s across the border.”

You blinked. “The border? As in... Mexico?”

EZ nodded once. “There’s an underground tunnel. It’s safe. Or—safer. That's where we're gonna take you.”

Your breath caught. You looked between the brothers, your heartbeat thudding loudly in your ears.

“Why can’t I just... do it here? Why do I have to go there?”

Angel leaned forward a little, hands resting on his knees.

“Because they don’t want just the data changed. They want the documents too. Originals. In places you can’t reach from a laptop, querida.”

Your voice dropped to a whisper. "Jesus fucking christ”

EZ’s expression softened for the first time. He walked over, crouched next to Angel.

“You’re not gonna be alone. You're safe.”

He said it like a promise. Like a man used to being believed.

Your breath eased just slightly.

Angel noticed.

He saw the way your shoulders dropped half an inch. The way your eyes settled on EZ’s face instead of his. His stomach twisted.

He wanted to reach for your hand—but it was folded into EZ’s hoodie sleeve.

After a moment, EZ stood up again, gave Angel a small nod, and stepped outside, giving the illusion of privacy without granting it.

The second the door shut, Angel sighed, quiet and long. He rested his elbows on his thighs, lacing his fingers together.

“I know you trust him,” he said, not bitter—just quiet. "Golden boy's always been good at makin’ people feel safe.”

Your eyes drifted to his and then back to a spot on the wall as you listened.

“You’re not cargo to me, querida,” he added. “I know it feels like you’re being passed around. Moved like product. But I swear... we ain’t gonna let anything happen to you. Not in that desert. Not in Mexico. Not ever.”

You nodded, but you didn't believe him.

After you fell asleep curled up on the bed, EZ re-entered the trailer, finding Angel in the kitchenette, nursing a beer.

He glanced once at your sleeping form, then back at his brother. “She’ll trust you more if you stop trying so hard.”

Angel scoffed softly, not turning around.

EZ leaned against the counter. “Why do you look like someone’s carving your ribs out every time she looks at me?”

Angel finally met his gaze. “Because it ain’t you dreaming of her crying, or her bein' put in that fucking pew bro."

The clock blinked 2:46 AM in faded numbers. Outside was still, blanketed in silence except for the distant howl of wind pushing sand across asphalt.

Inside EZ’s trailer, the shadows moved softly—your figure curled under a borrowed blanket on the bed, knees tucked into your chest, eyes wide open and red-rimmed in the dark.

Sleep hadn’t come. Fear had.

Didn’t know what the air would feel like south of the border. Didn’t know if you’d survive long enough to come back.

The door creaked open gently.

You flinched.

It was Angel.

He stepped inside quietly, boots thudding against the floor with practiced care. No kutte. Just a hoodie and jeans, his hair mussed, eyes tired—but alert. He closed the door behind him, locking it out of habit more than concern.

When he saw you still awake, he paused.

"Couldn’t sleep, huh?” His voice was low, not teasing this time.

You shook your head, slowly, from where you lay.

Angel crossed the trailer without needing the light. He moved like he’d memorized every inch of this place. Instead of sitting beside you, he dropped onto the floor with a groan, back against the bed, stretching his legs out and letting his head lean back.

He turned his head slightly, just enough to see your outline in the dark.

“You ever been to the desert before?”

“No,” you whispered. “I’ve never even... left the country. Never had a passport. I’ve never even camped. And I don’t... I don’t speak Spanish, Angel. What if I mess everything up?”

He let out a soft exhale, running a hand through his hair.

“Querida... messing up would be running into a rattlesnake or pissing off a border patrol agent. But you? You’re gonna be fine.”

He adjusted his position, turning a little so his shoulder brushed your knee through the blanket.

“Mexico’s not as scary as people think. Yeah, there’s cartel shit. But there’s also real people. Good food. Sunsets that make you feel like the sky’s on fire. And if you’re lucky—if you keep your mouth shut and your head down—you get to walk out of there with all your fingers still attached.”

You didn’t laugh. But your lip twitched. Just a little.

You finally spoke, voice barely audible.

“It’s not just Mexico. It’s... everything. I don’t know how to do this shit, Angel.”

He tilted his head up to look at you more clearly now. You weren’t crying, but the tension in your body was clear—shoulders tight, chin drawn in like you were trying to disappear inside yourself.

“You don’t have to know any of it,” he said gently. “You just have to get through it. One day at a time. That’s all we’re doin’,”

You blinked at that. The idea that even they—these rough, dangerous men—were surviving on borrowed time and pieced-together plans.

“I feel like a fucking lamb surrounded by wolves.”

Angel reached up, just resting his hand over your blanket-covered shin, grounding you.

“Maybe. But this wolf ain’t gonna bite you, querida.”

He looked down then, almost bashfully.

"Unless you decide to start snoring out in the damn dessert. Then we got a problem.”

You smiled. Just a little. A tremble of light through the fear.

Angel didn’t say anything. He just leaned back again, adjusted until his shoulder bumped yours gently through the fabric of the blanket, and let the silence fall between you.

Not cold. Not empty.

A silence that wrapped around the two of you like an understanding.

Angel was still on the floor beside the bed, hoodie sleeves pushed up to his forearms, arms resting casually over his knees. You were curled beneath the blanket, head sunk into the pillow, your breath slowing just slightly.

You weren’t asleep. Not yet. But your eyes blinked more slowly now. The panic had loosened its grip—still there, still coiled—but fading in the safety of his voice.

“It’ll be me, EZ, Coco and Gilly takin’ you. That’s the crew,” he said casually, like it was just a road trip. “EZ’ll keep his eye on you like he said. Coco’s got jokes… half of them ain’t funny, but he tries. And Gilly? Big guy. Quiet. But he’s solid.”

You tensed, just a flicker, when he said Coco. He noticed.

“I know,” he said gently. “Coco scared you. But he won’t hurt you, Querida. Not out there. We're be there to keep you safe.”

He paused, letting the silence settle, his words slow and easy like the wind outside.

“It’s not like it’ll be hotels and room service or anything,” he added, lips twitching faintly. “We’ll be camping a bit. Desert stretches for miles... so wide it makes you feel small in a way that’s kinda good. Cleans you out a little.”

You watched him from the edge of your blanket, your fingers curled lightly under your chin. He wasn’t trying to sell it to you. He was just talking, steady and grounded.

“There’s a place, couple miles past the boarder—nothing but red rock and these weird little wildflowers that bloom for like a week, maybe two, after it rains. You ever see a flower push through sand? Like it’s got no business surviving, but it does anyway.”

You breathed out slowly. "You make it sound pretty" The image stuck with you. A flower in the sand. That’s what you felt like.

Angel never reached for you. He just stayed. A constant warmth at the side of your world when everything else was foreign.

His voice dropped a little, like he knew you were starting to fade.

"It’s not all bad, y’know,” he murmured. “They tell dumb jokes. EZ makes coffee strong enough to kill a horse.”

You blinked sleepily, your cheek pressing further into the pillow.

“It's all bad when you don't get a choice Angel” you whispered, the words slipping out.

Angel looked at you then. Really looked. He leaned his head back against the bed then, sighing.

The hum of the fridge was the only sound that filled the small trailer, steady and low like a heartbeat. Moonlight spilled through the crack in the blinds, casting pale stripes across the floor and the couch where you lay, half-draped in that worn blanket EZ had handed you earlier.

Angel stayed on the floor beside you, back pressed to the bedframe, knees drawn up. One arm slung lazily over a bent knee, the other toyed with the frayed hem of his hoodie sleeve. He didn’t try to move closer. Didn’t reach for your hand or offer his touch. Just sat there—his presence quiet, grounding.

You were starting to relax. Your breathing had slowed. But he could see the way your fingers still twitched now and then under the blanket, your mind refusing to let go of its worry completely.

So he spoke, voice low, almost like he was telling a bedtime story.

“You know… the desert’s not just heat and dust. There’s somethin’ about it. The stillness. The way the stars hit the sky with no lights around for miles. Shit’s kinda… beautiful. Even when it shouldn’t be.”

He glanced back at you over his shoulder, saw your eyes were open—soft now, not so wide with fear, but not quite ready to sleep.

He paused, stretching out one leg, letting out a breath as he stared up at the ceiling like he could see through it.

“We know that route. Desert roads, old tunnels, back trails no one uses anymore. It’s not gonna be easy, but… we’ll get you through it.”

You mumbled something—a sleepy hum more than words—but he caught the way your lips curved ever so slightly.

“And when the sun goes down out there?” he continued. “It’s like someone lit the whole world on fire. Orange, pink, purple—all of it bleeds together. Makes you forget for a second that you’re even in danger.”

You let out a soft sigh, shifting under the blanket again, body turning just a bit more toward him—though your eyes remained half-lidded now, heavy.

“You shouldn't be doing this,” you whispered almost absentmindedly, like the tendrils of sleep had you already.

Angel looked at you for a few seconds, before his brows drew together.

“I'm not dumb Angel, I know what this is" you whispered "What happens when they tell you to put a bullet in me?”

Angel’s jaw locked. His eyes flickered with something—grief? Anger? Shame?

"You’re not goin’ out like that,” he said simply, his tone enough for you to drop the topic.

Your hand slipped from under the blanket and dangled off the edge of the bed, fingertips brushing air just a few inches from Angel’s shoulder. He didn’t touch it. Didn’t even move. Just turned his gaze toward your face—watching the way your breathing slowed, the way tension gradually bled from your small frame.

For all your fear, there was a strength in you he admired. Not loud, not stubborn like most people he knew—but quiet. Stubborn in your trust even when it was terrifying.

He leaned his head back against the bedframe, eyes never leaving you, the corners of his mouth tugging into something tired but warm.

“You know, when I was a kid? I used to think the desert was cursed,” he murmured, voice almost lost in the air. “Like it swallowed people whole. But now... I think it just strips everything down. Shows you who you really are.”

A beat passed. Another. Then a soft noise from you—a barely audible sigh—and he knew you were finally slipping under.

He didn’t move. Didn’t dare.

Just sat there.

Watching over you.

“Buenas noches, querida,” he whispered to the dark.

[sirfrogsworth]

A Scam... Tutorial?

I was watching Photoshop tutorials and YouTube recommended this video to me.

And I was already skeptical. Clarity is an extremely powerful and useful adjustment in Lightroom and Photoshop and I could not think of a reason why anyone would recommend *not* using it to the extent they were using ALL CAPS.

But I was curious if there was a new technique I was unaware of. It's impossible to know everything regarding Photoshop and I learn new stuff all the time.

So I gave the video a chance.

To quote my late father... what a crock of shit.

I have seen a few scam videos in my time, but I cannot think of ever seeing a digital art tutorial scam. I found myself angry and a strongly worded comment just flew out of my brain.

I continued...

"First, no one should use clarity and texture at 100%. And I think showing the effects at 100%, as if that is a normal workflow, is highly misleading. You are creating a problem that does not exist and then offering a solution to it. And then you are using a provocative title to attract clicks. Not to mention you may be convincing beginners to abandon clarity and texture altogether when it is one of Camera Raw/Lightroom's most powerful tools. People should absolutely use clarity and texture. That is a crazy thing to tell people.

Second, high pass sharpening is… old school. It works but it can create a lot of nasty artifacts if overdone. (Personally I find it too crunchy and prefer smart sharpen on a smart object so it is non destructive). Clarity and texture are much more modern approaches to help bring out detail and I find they actually produce *fewer* artifacts than typical sharpening filters/techniques. And if you have trouble with clarity or texture adjustments in the bokeh areas, then use a local adjustment that doesn't affect those areas. You can even do a separate clarity and texture layer and use the opacity slider and the blend if and masking just like you did with the high pass. Why are you acting like you can only make a global clarity adjustment?

Essentially you are giving a worst case scenario of a clarity/texture adjustment just so you can make your technique seem like it is orders of magnitude better.

And what is even more infuriating is that you can do clarity/texture AND you can do high pass sharpening *together*. Why are you acting like it is one or the other?

I'm so confused by your motivations. Did you invent this clarity problem just so you could make a click bait-y title so you can then sell your little panel thing? And then you used an old school sharpening technique that many have abandoned so it seems like you have secret knowledge that was lost? And I could argue it isn't even a better solution. It's just a different way to achieve similar, if not worse results.

This is like if you put a pound of sugar in lemonade and then said, "Wow, this is way too sweet! You should try my superior lemonade that has a normal amount of high fructose corn syrup."

Lastly, if clarity and texture (set at a reasonable amount) aren't enough to produce sharp, detailed results, then it might be worth considering your actual photography techniques. Modern photography with modern sensors and lenses should be able to produce extremely sharp results without having to juice the hell out of sharpening filters in software. 20% clarity and texture (if that) plus a little bit of smart sharpen is usually more than enough to bring out detail in almost all of my photos and I have never been accused of having soft images.

So, if you are getting soft results, you might need to adjust how you are capturing your images. Are you using a very small aperture like f/22 on that macro image? That could be a diffraction issue. Perhaps it would be better to use a larger aperture at the lens's sweet spot and then do a focus stack.

I mean, I can't think of any other reason a person would need to do 100% clarity and texture unless they completely bungled the actual photography or were still using a kit lens.

I'm sorry but this video is a mess."

Let's look a little closer at what he did to his example.

He started with this.

Then he applied clarity & texture to MAXIMUM. Which, again, is like adding a pound of sugar to lemonade.

And by golly, it looks pretty bad!

Then he used his secret ancient high pass technique to get this.

Which looks a hell of a lot like the unsharpened image to me. And the high pass sharpening is probably only visible when zoomed in to 100% on the full resolution image.

Which is one of the issues with this technique. It isn't even noticeable on social media—the place where the majority of photos are viewed these days.

And then after showing you this groundbreaking effect that does almost nothing, he tries to sell you his Photoshop panel.

Yes, that' looks intuitive. Just hit the blue checkmark to do... something?

And what is this green eyeball with a crescent moon inside?

Only $50!

And if you want to know what the purple X button does, you need to pay another $15 for the tutorial on how to use it.

Neat.

Just to prove this is all a scam I'd like to show you an example of my own.

Here is a picture of Otis with no clarity, texture, or sharpening applied.

And here is a reasonable amount of sugar. I set the clarity and texture to where I felt they looked best.

Wow, that looks better. Not only that, you can actually see the difference at social media resolutions!

Now let's add a pound of sugar. MAXIMUM CLARITY GO!

Yep, that looks a bit rough. Because no one does this ever.

And now let's see his high pass sharpening technique.

Barely a difference on social media.

Okay, let's try zooming in 200%. Maybe that will give the high pass sharpening the victory.

Normal...

Reasonable clarity & texture...

FULL BEANS CLARITY & TEXTURE!

High pass...

Just as I said, the high pass introduces crunchy sharpening artifacts.

I can't speak for anyone else, but I much prefer the subtle clarity and texture. Perhaps the details in the eyeballs aren't quite as crispy, but in the version that isn't zoomed in, I don't think you feel like the image is soft and the normal clarity and texture adjustment added contrast and actually noticeable detail to the image.

In the end, except for the pound of sugar, these are all subtle adjustments and other photographers might be the only ones who would ever notice. The original Otis picture was probably fine to most people. So disparaging the clarity slider was even more unnecessary.

Why does this matter?

Being a beginner at photography is frustrating. There are so many resources to choose from and it's very difficult to know who is competent and who you can trust. If someone just starting out was recommended this video they could be easily be convinced it is legit. And it could set them back in their progress because they think useful tools will actually make their photos worse. They will waste a lot of time doing a time consuming old school technique in Photoshop when they probably never needed to even leave Lightroom in the first place. They could move two sliders to get similar or better results and it would only take literal seconds.

Time is valuable to a lot of people. And he seems intent on wasting everyone's time. And what sucks is that I have no real way of exposing this dude on a scale that would do anything.

I also just really hate the idea that educational content is being used to scam people.

This is some PragerU shit right here.