#I don't get it in a show that's all about not being black and white y'all are trying to make it that way

[dreemurr-skelememer]

Hello :D

I have been following you for the last year or so (a few days after I got my Tumblr lmao) and I absolutely love your art!

I have been wanting to study your art style for a while but don't really know where to start,,,

Could you please show me a small portion of your art process, if it isn't too much trouble of course. Thank you and have a nice day!

hello. oh my god. this took forever to find. im sorry it took 2 WHOLE FUCKING MONTHS for me to respond to this but i wanted to put it off until i felt happy with my art process again, so here it is

my fall 2024 rendering tutorial! (this will be very very long)

FLATS AND WHATEVER YOU WANNA DO WITH LINES GIRL. then make sure to recolor the lineart to better match your base. trust me it helps, bold dark lines are Not your best friend when rendering. wait for that post-rendering

i start off with a doodle or a sketch, and then filling it in with flats and other details such as blush

FIGURE OUT YOUR LIGHT SOURCE. FIGURE IT OUT GIRL YOU CAN DO IT you can make it as simple as possible, make it as big as possible, dont even THINK about the details.........just make it really fucking big so you at least know where the shadows and the light goes THEN add smaller shading details LISTEN TO ME. LISTEN TO ME OKAY!!!!!!!!

my key point with this is for you to learn lighting fundamentals. it's SOOO ANNOYING but alas......they are all correct. it helps a lot.

one thing i also really want to point out is that i like creating a big shadow shape first before fixing up the little details (such as folds and whatever) because it helps me focus on the way the lighting actually works instead of tunnel vision-ing into making the shading make sense on the clothing.

contact shadows (i dont remember if thats what theyre called okay) theyre fucking ugly because im not actually thinking sorry 💔

okay so basically: contact shadows (if that's what they're called) are the spots in shading and lighting where light will NEVER hit.

shadows are still influenced by the colors and lights around it (it's why a blue shadow and a yellow shadow feel completely different, despite both being shadows) so it's not always COMPLETELY dark. BUT! there are small points in shadows where light never hits, and they're almost always super dark or pitch black.

it's hard to explain shadow and light so briefly for a tutorial, but you'll notice it when watching fundamental studies and when trying it out for yourself

YES i unclipped the multiply layer YES its ugly and terrifying but it makes coloring the multiply layer easier okay the colors merged w multiply so now it looks cool and has depth overlaying colors that actually make sense

so basically what i did was color the multiply layer that i used to shade the overall drawing

adding a band of red/orange/yellow around where the light hits, and blue where the shadows get big and wide, gives it a fake ambient occlusion effect in the way that a person would get if they stood under the sun with a clear blue sky

the colors don't have to make sense, especially because i never draw backgrounds, but coloring the shadows really help it give a sense of depth and extra subtle detail and effect that just helps make the painting look nicer

around the end, i also put in colors (in an overlay layer with a low opacity brush) that actually make sense in context of the drawing, which is the lit cigarette and the yellow eyelights mostly because none of the colors were making sense and i needed to actually make use of the lighting that DOES exist in the drawing lol

adding a muddy golden yellow pin light layer (opacity turned down to like 40-50%) to make the light colors less ugly lol

i SWEAR by the fucking pin light layer style. it's so useful and so so underrated.

i used an almost brown-ish gold color on stop of all the layers, and with the pin light layer, it helped make the bright (almost blue-ish) white colors more warm and more yellow. it just helps make things more warm (something i prefer)

i could probably show what it looks like without adjusting the layer opacity to truly show off what i mean (like in the coming section) but i sadly forgot to do that lol

make a layer on top of your drawing with this color in these ranges YES the drawing is fully merged NO don't be afraid, the base was fucking ugly anyway 💔 make this layer into an exclude/exclusion layer style TRUST turn down your exclusion layer opacity from a range of 10% to 40% literally until you're happy with the contrast and the way the color over the drawing. use your eyeballs. i know you can do it im so proud of you

this is pretty self-explanatory instruction-wise, so i'll go into why i do this instead

i really like art that seems like it has low contrast, with almost mid-gray shading and lines. i don't personally use dark and bold lines and shading, unless i find it necessary for the tone of the piece, so using this method helps lower the contrast of the art and make it look "pleasantly muddy" in the way that it's easier and softer on the eyes.

the inverted blue color also helps makes things warmer! the exclusion layer style is still a bit of a mystery to me but i really like the effect it gives, even if i don't completely get how it works lol

if you want an alternative method to this, and if you have access to it (because i primarily use sai and sai only), i absolutely encourage you to play around and experiment with gradient maps. there are so many out there you can make yourself or even get from others that just give the painting an extra amount of depth and color variation. they're SO fun.

personally, if sai2 gets a gradient map update, it's over for y'all it will literally be so over no one will be able to stop me

then i merged everything and actually adjusted the contrast back up because it was looking too muddy for me 💔 but the color adjustments are still there so all hope is not lost here's a comparison of the adjusted contrast in black and white (adjusted on the left) (newly merged layer without adjusting the contrast on the right)

as you can see, i actually turned the contrast back up (despite talking all about how i liked things with less contrast lol)

i wanted to demonstrate that doing adjustments should be done in moderation, and is why i adjust layer opacity often when making color effects you are free to play around with colors to help your style, but don't lose your initial idea and colors along the way. you still need to trust your own colors and intuition!

along with that, i just want to say that it's completely okay to change your mind mid-painting, and it's okay to make somewhat drastic changes. don't be afraid to change things you don't like or change your mind about certain aspects way later on that's basically the whole thing of this!!! don't be scared!!!

now im gonna hold your hand when i say this..........but you need to learn how to render by yourself. it seems like i can teach you but i literally can't, because rendering is different on every piece and depending on how clean your base is. i have to render A LOT because of how fucking ugly my sketches are LMAO to simplify it, think of it as obsessively cleaning up every detail you can see, but with a color picker and a clean, hard edged brush. if you have shit lineart, you don't have to redraw it cleanly over and over, just paint over it. that's basically what rendering is

THIS especially is where you need to be brave and stop being scared. like i said, i can't teach you how to render, and it's something you have to discover yourself because rendering is something that will always be personal to every single piece you make. the way you render on every piece is different. on one piece, you will barely need to render, and on another, rendering is more than half of your ENTIRE process.

don't be afraid to paint over your old art. rendering is a process that's both very perfectionist yet also very careless. find your balance and just go for it.

and then that's it……..u did it………..now yuo know how to paint and render. it's literally just layering shading and lighting knowledge until you think it makes sense and looks okay lol additional note: since i render in only one layer (you don't HAVE to do this, but it'll be harder for you…), i also made slight adjustments with the transform (and liquify, if you have it) tool to make things more proportionate. (i drew the head too big lol)

if you compare the finished piece to the final unrendered base, you can see that a LOT changed, including a bit of subtle proportion adjustment. particularly, the sleeves changed A LOT (because i really didn't like them) but it's also over all cleaner and more coherent, instead of having haphazard colors and shading just thrown about.

rendering is when you finally use all 100% of your brain to finalize and figure out where the shading should go, where to clean up your lines, where to ERASE or ADD BACK in lines, and make sure all your colors look coherent.

it's not as intimidating as it seems, i only use a hard edged brush with a little bit of color mixing and my color picker. it's like dragging and dropping colors to cover up mistakes, it's really quite fun when you get used to it i wish i could explain it clearer but it's hard to describe without visuals!

i hope this helped, and i hope all my yapping isn't annoying (art as a special interest beloved)

have fun studying and trying to render in my art style!

[chiisana-sukima]

Hey so this post just came up on my dash and its an interesting perspective for sure. I was wondering if youd feel inclined to share your thoughts on it but no pressure ofc feel free to ignore.

https://www.tumblr.com/zudilio/648738136098275328/the-thing-is-that-i-miss-the-early-seasons?source=share

Yeah, I saw it on my dash too and considered reblogging with comments, but it's three years old and the OP has said in other posts that they're a "Sam ignorer", so I figured they wouldn't be appreciative. Also, to a certain extent, "they should've given the plot points I don't like to the character I don't care about" is just a matter of taste, so there's not a ton to say about that part anyways.

As far as the "Sam is like John because at the start of the show he's driven by anger and his need for revenge" part, my thoughts on it are here, and @ardentpoop and @aliusfrater have excellent meta here as well.

Leaving aside the piece where I think the OP is wrong about Sam though, I do agree with them that Dean's character arc was mismanaged, and I sympathize with them and all the other Dean girls (gn) who got stuck with *waves vaguely at spn in general*. I agree with OP that Dean isn't an inherently angry person. I don't believe inherently angry people exist, but even beyond that, I don't think the intended reading of spn is that Dean's story is about anger. Gamble said at some point very early on that on the inside Dean is a frightened little boy who never had the chance to grow up, and I do think spn carries that thread through the seasons pretty well all the way to s15, where it attempts (with not-great success imo) to resolve it.

Unfortunately, I also think that spn's failure to resolve Dean's character arc satisfactorily was inevitable, and that the things that attract many fans like OP, who identify with Dean, are the same things that made resolving his issues impossible given the set-up. Just as Sam has a realistic case of poorly-controlled, chronic dissociative/classic PTSD (with psychosis during s7 and some CPTSD-like features) and doesn't have the resources to manage it beyond bare-bones survival, Dean has pretty realistic untreated, chronic CPTSD/BPD without the resources to even begin to manage it in a way that doesn't destroy his own life and the lives of the people around him. Dean's violence stems ultimately from his childhood environment, sure, but the person he is by the time we meet him in s1 has severe attachment issues, difficulty regulating his emotions, poor distress tolerance, black and white thinking in a job where black and white thinking results in victimizing people based on factors they have no control over, and most of all, no real concept of boundaries whatsoever. The cause was for sure his childhood, but the present of spn is just a very symptomatic adult. His mental health issues--and Sam's too--are the kinds of chronic illnesses that never go away and that people struggle with over their entire lifespans.

I don't want to be overly negative; many people with mental illnesses this severe do learn to manage them well and live full and happy lives (I am, within reasonable limits, one of them). But it's hard. And longstanding, deeply-rooted patterns of thoughts, beliefs, and behavior don't change without community resources, considerable effort, and for most people, years of trial and error. Spn's main premise is, for some wild reason, that the problems Sam and Dean encounter are metaphorically equivalent to real life problems normal people encounter all the time, but that in the spn world, all of the resources real world people have available to help them are impossible to access, except guns and torture. It's s13 before spn manages to get Sam and Dean into ONE SESSION of therapy with someone they can tell the truth to, and by then, we get this:

Dean is being a lot less unrealistic here than one might think, and yes, this picture will end badly in real life too.

Since the finale, a lot of fans have said things like "Dean deserved to go to therapy and get better" or "spn thinks if you have trauma, you should kill yourself about it", but deserving is fake. We in the real world live in a The Good Place universe. There's no fair calculus for who "deserves" anything. Everyone both deserves health and happiness and love and a comfortable life and also deserves nothing because there are other people who have nothing.

And unlike ours, the spn universe is not a The Good Place universe. It's worse. The writers of spn are and always have been profoundly ungenerous. The whole universe is built on victim-blaming and bullshit calculi of what crimes deserve what punishments and who should or shouldn't mete them out. In the spn universe, Dean is lucky. He had not one, but two BPD favorite persons, and he treated them both like shit, and they still both loved him and wanted to be with him and will be with him in the afterlife, presumably continuing to have the same intense, volatile relationships they've always semi-tolerated.

I like to pretend that maybe Sam, Dean and Cas can all read The Dialectical Behavior Therapy Skills Workbook on Heaven's version of archive.org and take it to heart, or that maybe Sam grew some boundaries in the years he lived without Dean that he can insist on hard enough and long enough for Dean to get a reparative relationship out of, and they can all after-live happily ever after. But the Dean that was alive during the 15 years of spn hadn't done that work yet, and the outcome he got was--if one subscribes to "deserving" as a concept--better than what he "deserved". If you hit your partner, you deserve to be left. If you hold a gun on them, you deserve for it to go off and kill them by mistake and you never see them again (although of course they don't deserve to die). It doesn't matter who the "angry" partner in the relationship is. Any sane person in this universe or the spn one should be angry a lot of the time, because both universes suck. Not to beat a dead horse with a flowchart but:

image source

The violence is the bastard. The emotions are not.

[cultofdarkwood]

*grandma voice* In my day there was a video of a man coming out of anaesthesia being filmed by his wife and had no idea who she was so he started hitting on her, only to choke up when she tells him she's his wife.

That but Narilamb (or dealer's choice)

hold on thats hilarious, one sec. hope u don't mind i changed it a little bit :3

-> rules to request a ficlet here!!!

-

When Narinder opened his eyes, all he could see was red. Sharp red light illuminated the dark shadows, giving shape to dark wooden ceiling arches high above. The blinding light faded, and something pulled from his throat, gurgling and churning.

A dark liquid flowed from his lips, the harsh tugging leaving his throat sore and mouth dry. He coughed, turning over onto his side as the chanting within the darkness began to cease.

"Narinder!" A voice called. There was a clop of hooves on wood, approaching, loud, before a cold rush of air flowed over him and the face of a beautiful stranger leaned over him. White wool curled over their soft, grey cheeks, a pitch black crown nestled between two dark, tall horns. Their eyes were red, a deep color that reminded him of spilled wine.

They were speaking to him, he realized. This gorgeous stranger with soft clouds of wool, dressed in a striking red robe that complimented both their wool and dark grey fur, was speaking to him.

"Narinder," they said, worrying their bottom lip between sharp teeth, and oh, what another beautiful detail about them. "Narinder, are you okay?"

"I must have died," he said in a hazy voice, "for there is no living creature that can compare to the beauty of one such as yours."

Somewhere insignificant, there was a snort, and a hastily covered giggle. The beautiful stranger looked surprised.

"Narinder," they said, unable to tamp down a smile of their own, despite their worry. "You did die."

"Oh," he said. "Does that make it impossible for me to court you?"

There was another hastily covered laugh from somewhere else. He cared not from who or where, focused entirely on the beautiful stranger holding him in their arms. Since when had they drawn so close and touched him?

"I- I mean, I suppose you could," the stranger said, laughing to themself as well. "But, Narinder, we are already married."

"Oh," he said again, looking at the stranger, then down at their hands.

"Nari- Narinder!" the stranger laughed as he struggled to look, sitting up on his own and grabbing their left hand. He stared at the metal band upon their finger, his face twisting up.

"Oh," he said once more, his voice choked with tears, "I have no chance at all."

Unable to help themself, the stranger with white wool burst out laughing. Their laugh was one of fondness, laughter so full of love that Narinder couldn't stop his devastation from spilling down his cheeks.

"Kallamar," the stranger called, beautiful, loving delight in their voice. They took their hand from him, gently cupping his face and wiping away his tears. "Kallamar, help me get him to the healing hut please. Disciples of mine, send everyone back to their duties."

"Who is that?" Narinder asked, sniffling pathetically, paying no attention to the soft, gentle hands helping him up. Instead he clung to the stranger, leaning on them as they led the way from the dark building. "Is that your spouse?"

"Hah! Absolutely not," a voice beside him spoke. It was watery and high and soft despite its nasal tone. It didn't belong to the beautiful stranger, so he ignored it.

"No," the lamb said, gently grabbing his hand as they ducked inside another building. They lifted his hand and showed it to him, sitting him down on the bed and smiling. He wore a metal band on his finger, one that matched the band on the lamb's hand. "Narinder, you're my husband, my darling."

"That resurrection ritual did a number on him," the other voice, supposedly Kallamar, said, and there was a rustling of baskets and the clinking of glass bottles. "I've never seen him so... so... well, like me."

Narinder looked up at the lamb, and found they were no longer a stranger to him. The wetness on his cheeks, instead of devastating, now left him feeling mortified. The lamb smiled, their free hand cupping his face.

"Ah, there you are, my love," they said, attuned to his recognition. They kissed the top of his head, between his ears, and despite his embarrassment, he couldn't help but melt into the affection.

"What happened?" he asked, wincing at the way his voice cracked with previously shed sorrow. "Resurrection? Why do I find it difficult to recall..."

"A new side effect," the lamb muttered with a sigh, kissing the top of his head again. "You died, my love, and I brought you back. Kallamar?"

"I'll figure it out," the other voice grumbled, and Narinder finally tore his eyes away from the lamb to glance across the hut. A pale blue squid was pulling down several bottles from a high shelf with his tentacles, reading the labels and setting them aside in a growing pile-up. "I've not failed yet."

"Who is he?" Narinder asked, and Kallamar fumbled the bottle he was holding, glancing over his shoulder to stare at Narinder. A second later, the hand on his cheek gently turned him away, and he was face to face with the lamb again, that beautiful lamb.

"He's your brother," they said patiently, their thumb gently stroking the fur of his cheek. "He's going to help you get your memory back. Right, Kallamar?"

"I already agreed," Kallamar grumbled, and there was another clink of glass.

The lamb smiled, gentle and sweet, nuzzling their nose to Narinder's. He melted into the affection, his tail curling as a purr started up in his chest.

"Don't," Narinder started, unsure of what he wanted to say but saying it anyways. "Don't leave me alone."

"I won't," the lamb agreed. "I'll stay with you."

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[daisy-mooon]

"I want Annabeth to be blonde :(" then pick up a PJO book and read it you dumb fuck

[maddy-ferguson]

using intersectionality to discredit feminism and downplay its reach and essentially weaponizing it when it was coined to describe black women's experience of racism and sexism is nasty work...

[invaderhogtwopointohno]

Andor and Luthen:

Look, I think people are misunderstanding Luthen’s laughing at the end of the episode- they think that he is cruel and callous and that’s not true at all. Luthen is a member of the Rebel Alliance- the only rebellion that is able to sustain itself through twenty years of oppression. His entire purpose is to be a spy, grow his network and help the Rebellion in any way he can. And what does any good rebellion need besides people who are dedicated to the cause? Money. Stealing 80 million credits (that’s only half of what was even in the vault too!) is a huge deal for the rebellion. It’s a huge shock to the Empire and it’s a major victory for their cause because money buys you recruits, weapons, and the biggest thing it does- shows everyone that you’re trying to work with that you are able to pull off some serious missions.

Luthen laughing at the end of the episode was out of relief. This was a mission that took five months to plan and they still were ready to pull the plug even up to the last moment because it was so dangerous. He had made it clear to Vel that he had been worried that they would all die. And unfortunately, people die in war, that’s just something you have to look past to look at the bigger outcome. If you truly believe in the Rebellion- sacrificing your life is nothing in the grand scheme of stopping the Empire. No war is won without sacrifice but being given the freedom to decide when and where you take a stand is the entire point of the Rebellion.

[happyk44]

It's kinda funny because w/ my Zeus kid OC (who I've been thinking about renaming as Araceli, 'cause it means altar of the sky, apparently, which I like 'cause sky-themed-ish but also like. A little bit I wanted something that meant cloud the way Coral's name means... Coral) the implication is that she takes after her father to an almost mirroring degree because I developed her and my other PJO OCs (who also all got retconned into an OG work) at the same time I was playing around with my ideas on the Big Six, and the gist at the time was supposed to show how the Big Six could've turned out if they weren't so weird.

So the dynamics of the friendship was supposed to be very similar to the dynamics of Big Six's relationship to each other (e.g. Mary having a major crush on Hera's "representative" but also being attracted to literally every other person that walked by, Nico being the soberminded big brother figure, etc). It's also one of the reasons Mary would get angry whenever someone would compare to her dad, because similarly I think Zeus would get angry if someone compared him to his dad.

And then eventually as I got older and the daydream moved around with whatever obsession I had at the time, the characters and general storyline began to change away from that in some ways but core features sort of stayed and so I ended up with a version of Zeus that ignores his daughter's pleas for help because he loves her but her pain hurts him because he can't do anything about it and it's his fault she's suffering.

She got this intensity from him, it's ingrained into the way it's ingrained in him. But he was able to rebuild the world according to his own needs and wants and beliefs. And she can't really do that. So he doesn't have any advice he can give her when she's on her knees begging for help with all the noise and pain in her head. He doesn't know what to do! It's like he can just go and rip it out of her.

But she's suffering because she's different and she's weird and she knows it and she knows it's his fault which is why she's asking but he just doesn't know and he can't handle watching her suffering and listening to her cry when there is no helpful answer to give her because "I don't know" isn't going to fix it.

He's supposed to fix things, he's supposed to have the answers. He's king of the world, by damn! He's a problem solver. He supposed to have a solution, and a million backup solutions. But he doesn't! There's nothing he can do to make the noise stop because truth be told, the noise never really stopped for him! It just got easier and quieter. So he turns away from her because he loves her and he's failing her and he can't handle that.

But also in the same breath, I think he recognizes similar aspects of himself in Jason, who isn't even asking for help, and fucking despises him for it, lol.

✨ Girl Dad ✨

[thedailydescent]

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[sylvies-kablooie]

i wasnt planning on watching agatha all along but you made me want to see the trailer at least to see if i was interested and like 20 seconds in i turned it off bc i hate watching trailers for things im excited for thank you show looks so fun

my influence... <3

[whileyoureinschoolidothisallday]

Wednesday: It takes a special kind of stupid to dedicate a theme park to zealots responsible for mass genocide

A whole ass black kid: My DAD owns Pilgrim World!

Me, now knowing Burton wrote this: -stares in tired black alt girl-

[capricornsicle]

something something the villain of the season (the one about how fear can give way to extremism if you're not careful and how easy it is for many, many people to become radicalized by one person's radical hate and how genocide is a bad thing actually regardless of whether individuals of the targeted group have themselves done terrible things) being a black woman who survived an incident of indiscriminate mass murder is perhaps. not the best idea considering the themes involved

[bombshellsandbluebells]

Posting this not to say don't support the strike, but more to remind people on Tumblr that saying "strikes are supposed to be disruptive" doesn't just mean fans are going to have to deal with not getting more of their favorite tv show or it being delayed, it also means that the rest of us who work in this industry are out of work right now and have no idea when it will return.

I think this sums my feelings up perfectly: "They should get the money they deserve for their work, but it's not going to affect us [below-the-line crew]. In the end they are going to get their deal. But we are going to be in probably about $20,000 to $30,000 debt," Bunch said. "I would love to feel a little bit like, you know, we care about you, and we know that you guys have gone through hell."

It's not that I don't support the writers 100% and want them to have full support (I do!), it's more that there has been a particular attitude on Tumblr surrounding the strike that forgets to consider below the line crew in the equation at all and has been increasingly getting on my nerves.

[tarraxahum]

One thing I have to thank having Speed Racer as my first fandom ever for

is that it's practically impossible to frustrate me with adaptations being different from source material. However drastically.

No shade to fans who get salty about character rewamps or loose story interpretations, but when your first ever exposure to Media You Care About was a franchise that NEVER had two interpretations consistent with each other (story, time period, setting, location, race, names, looks, character development, family dynamics, who is related to whom, fucking car design, future generations consistency, you name it - they flipped it AT LEAST once)... You just never develop the ability to give a fuck!

[upinyourcortex]

some of you really just want sydney to be carmy's emotional punching bag and get really mad when she gets to be her own person and isn’t at his beck and call everytime he has a problem. she told y'all she’s not his fucking babysitter give her a damn break

[sirfrogsworth]

Remember this joke?

Well, I am going to do something similar only with photography. This is a photo someone took for an Amazon review of their Clinique products.

Honestly, it is not a terrible photo. They did some staging. They have an interesting background. All of the labels are legible. It is properly exposed. This would be a perfectly acceptable product photo for an Etsy page.

I've been taking these advanced photography courses in preparation for whenever I am able to create a new studio in the house. And my teacher is a photography badass. I just watched a 6 hour class on how to recreate a professional Clinique ad. And at first glance it looks deceptively simple. It's just some skin care products being splashed with a little water.

Which is why I wanted you to see an average person for reference.

This is what Karl Taylor came up with.

And I don't think I've learned so much about photography in one tutorial before.

Product photography is just loads and loads of problem solving. You have to light the chrome caps with a gradient. Which requires giant diffusion scrims.

Those big white panels are literally only there for the two chrome caps.

You need a pure white background, but you can't let light spill all over the studio, so you put up giant black light blockers.

And you have to add another light just for the orange bottle on the right.

Oh, and if you want the bottles to glow, well, you have to hide a silver reflector behind them.

But you still want the edges of the bottles to be darker so they have some contrast. So you add some black tape to the sides.

And in order for the reflective labels to have bold black lettering, you have to reflect black cards into them.

Ack! Karl's beautiful bald head is showing up in the chrome caps! He must put on the naughty blanket.

And once you get every aspect of every bottle perfectly lit, you finally get to yeet some water at it all.

I don't love product photography because I have a weird obsession to help greedy corporations make their wares look more beautiful. I love it because it is a complicated and challenging new puzzle every time. Every product is a different shape and requires a different technique to make it look its best.

I don't know if I will be able to live up to Karl's standards.

This is about the level I was at in 2017 before I quit photography.

I have so much more knowledge in my brain now. I'm really hoping I can surpass that.