#i worked on the colors and a also a bit on the shadows!!!

[abysskeeper]

Trying to figure out some characterization on the latest Tav. Word vomited whatever this is. Idk.

------------------

“I wouldn’t, if I were you.”

Shit.

Astarion froze, the words brushing against the edges of his mind like the caress of a cool breeze against his face. His jaw clenched against the feeling of the bloody parasite wriggling behind his eye and he whipped around, searching for the woman who evaded his senses. He was so, damned sure everyone else had retired for the night, how had he missed her?

But sure enough, as his eyes scoured the camp in search of her, there she was, emerging from the shadows at the very edge of camp, small prayer book in hand. Blazing orange eyes met his, the color the leaves around them would turn in a few months, when the weather grew cooler still and winter approached. A fool would call them beautiful—the wizard had called them striking earlier that day—but Astarion knew better. Those eyes were the color of loss, the last warning before death inevitably claimed its rightful due.

Those eyes were as somber and bitterly determined as the God she prayed to.

Admittedly, Astarion wasn’t sure what to do in this situation. He hadn’t factored in for anyone discovering him before he claimed his victim, only what he would do when said victim inevitably awoke from his bite. She stood too far from him to be able to pivot and strike at her without giving her considerable time to react to him, and he couldn’t just delve for her sister trancing at his feet either. He had no desire to incite the holy magic of any cleric, let alone one devoted to the God who would take the most offense towards his existence.

His options were limited, and though he was loathe to concede to it, his best chance was to react instead of act. Perhaps he could talk some of his way out—no one knew what he was yet and, given his current stance, it would be just as easy to believe he was stealing from Rin as he was about to suck her dry. He could apologize for attempting and make up some excuse about how he needed the money, a sob story would probably work on Vira, and even if it didn’t, it was better than the alternative. And, if she did attack, then at least it would be easier to play the victim.

“Unless, of course, you wish to feel what it is like to have an electrified fist gripping your throat.”

She continued before he could say a word. Vira smiled—the smallest of upturns of the left side of her mouth—and tilted her head, strands of white hair slipping over her shoulder and neck with the movement. “I understand her being a sorcerer makes it seem she is an easy target, but I assure you her size is not an illusion. I can also assure you it is by no means a pleasant experience to startle her.”

Astarion frowned, eyes darting down to the other drow still trancing peacefully by his feet. He had considered Rin’s build when choosing her as his victim but, given everyone else in the camp and their specialties, she still wound up being the safest option in his mind. Perhaps he had misjudged. Perhaps Vira was merely toying with him. Perhaps it was both. He released a small sigh and returned his attention to Vira, realizing his misstep in ever taking his eyes from her in the first place.

Much to his surprise, she hadn’t moved from the edges of camp. It was a small mercy.

It also appeared to be in his best interest to attempt to talk himself out of this situation. He would downplay it considerably, and maybe grovel a bit. “I am quite good at what I do, you know. She wouldn’t have even felt me stealing—”

“Stealing?!” Vira’s eyes narrowed and she shook her head. “I suppose it is, in a sense, but I’ll stop you before you make a fool of yourself. Come, I can grant you what you need.” With that said, she motioned her head towards the woods she had just come from and turned around, receding back into them.

Astarion hesitated, watching as she disappeared into the tree line. Had she just implied…? And, surely if she had, she hadn’t just left her sister to him, right? If she had figured him out, then she wasn’t a fool, but if she had just turned her back on him and left Rin trancing peacefully at his feet then he couldn’t imagine her as anything else.

But no…no, she was still paying attention to him. He could still feel the parasitic connection faintly in his mind. She was watching him, waiting, likely wondering which option he would choose. He could still go for Rin, and Vira was far enough away now that he could likely get enough blood from the sorcerer to have a quick burst of energy to fend off any attacks. If Vira was bluffing and Dezerin didn’t immediately awaken and attempt to kill him for the intrusion, in any case. If Vira was speaking the truth, then the correct option was obvious.

Yet, the “correct” option did not feel much safer. If Vira had truly figured him out and what he needed, then she was either as much of a kind-hearted fool as he already believed, an over-confident idiot who thought she could handle herself alone against a starving spawn in the woods, or a woman with a plan. And what would it make him, exactly, if he followed the invitation of a cleric of Kelemvor into the woods actually expecting her to keep her word about offering him what he needed?

Desperate.

He would claim intrigue won out in the end. There were a lot of questions he held regarding her decisions, and if he followed her, perhaps she would even consider it appropriate to answer some. That was, assuming she did keep her word and did not immediately try to kill him, but it was a risk he was willing to take. He had no reason to believe she was lying about Rin, and if he were forced to consider that true, then he had no reason to believe she was lying about her word.

Still, Astarion stepped away from the resting party members quietly, and followed after Vira cautiously. He walked through the woods carefully, hand hovering over one of his daggers as his eyes darted around him, half-expecting the bladed end of a sword or a burst of holy magic to come flying at his head. When he moved further into the woods, he finally found her sitting calmly on the trunk of a fallen tree, flipping through her prayer book.

He was struck frozen again as her orange eyes turned from the pages to him, and her faint smile returned. “I see you chose the correct option,” Vira remarked.

“I had no idea there was an incorrect option.” The words came from him easily, even as his mind remained hypervigilant as ever. He watched her, waiting for even the slightest change in expression or twitch in her body to suggest she was on the verge of striking. “Are you testing me, Tav?”

Her smile fell at the use of her improper nickname. She had insisted half a dozen times not to be called by the first part of her given name already. He had figured correctly it was a decent way to throw her off, even if just slightly.

“It is not so much a test as a matter of your safety,” she answered, “Though I suppose my intent was not entirely without curious examination. I was interested to know who you chose; I am glad you chose properly.”

“Given the current atmosphere, you hardly feel like the proper choice, darling,” he quipped.

Her smile returned, both sides of her lips lifting as her eyes narrowed at him. He recognized that expression for what it was, he had worn it and smoothed it out a thousand times in the past two-hundred years.

Predator.

“Are you nervous, Astarion?” Vira asked simply.

“Nervous around you? You flatter yourself,” Astarion laughed. He knew better than to give an inch towards someone like her, which also meant he knew better than to concede the truth before she forced it from him. “Rightly cautious, however, would be accurate. You did just invite me into the woods alone after catching me attempting to steal from—”

“Ah yes. ‘Stealing,’” she cut him off again, just as she had with the tadpole. She tilted her head, “Is that how you refer to it?”

He frowned and placed a hand on his hip, indignant. “I haven’t the faintest what you’re otherwise trying to imply.”

“It’s just not the terminology I thought vampires used these days,” she shrugged easily. “I thought you still referred to it as feeding.”

She was bold to outright say it, he’d give her that. Still, his mouth went slack in well-practiced offense. “What in the Nine Hells—”

“Astarion,” she deadpanned, stopping him before he could even begin his rant. Her eyes all but verbally asked if they were really going to go down this road. “You aren’t exactly subtle. Between the red eyes, the pale skin, and the bite wounds on your neck you’ve done nothing to conceal, it is rather obvious,” Vira said, lifting a finger to point towards his neck. “To your credit, you are better with your fangs. You hide them well when speaking, but they’re not invisible.”

He deflated some, arms going slack at his sides while the remainder of his counterargument left him. He already determined he wouldn’t—couldn’t—deny it if she called him on it properly, and of course she did exactly that. The only thing he could get a read on and potentially control was how exactly she intended to respond to the revelation. She was surprisingly calm—far too calm about his predicament for him to trust her with the truth.

“That aside, everyone in the clergy has the innate ability to detect any undead in a certain radius around them,” she added and smirked, “It is, quite frankly, impossible for me to not notice you, and has been since we first met.”

“How charming that I’ve had your attention from the start, darling,” Astarion retorted. Slowly, his hand inched towards the dagger on his belt as he kept all of his senses focused on her. “And what, exactly, do you intend to do with that information?” he asked carefully.

Her eyes flickered to his hand and then back up to meet his gaze. “Probably less than I should, but also exactly as I said,” Vira answered. “You need blood, do you not?”

“As every vampire does,” Astarion said. He was certainly not letting her in on how dire his situation was. “And you are just…offering yourself?” he asked, unable to prevent the derisive snort he let out.

Vira shrugged again, looking down at herself and then back to him. “I suppose I am, yes,” she agreed.

He shook his head in disbelief. She was a bold one indeed. “Do you take me for a fool, Tavira?” he asked, nearly hissing. “Why would I trust you? A Kelemvorite cleric, of all things?”

“You shouldn’t,” she agreed again with a nod. “But I haven’t attacked you yet. And I am the best option for what you need now,” she shrugged. When he made no move towards her, she sighed and held out her arm towards him. “Consider it a peace offering,” she said with her small smile, “I have noticed how carefully you tread around me, and I’m sure you have noticed how on edge I am around you. This is a show of good faith, I won’t harm you. I am trusting you not to harm me, nor take anyone else from camp.”

Astarion eyed her outstretched arm. Her dusky skin glowed in the patches of moonlight filtering in through the trees, but he was barely able to focus on anything else other than the faint sound and miniscule flutter of her pulse in her wrist. She was absolutely correct in her observations, but he could still feel trepidation pumping in his veins. This was not a normal reaction towards his kind, especially not from someone of her clergy.

“Isn’t your church dedicated to hunting and eradicating my kind?” he asked, red eyes flicking back up to meet hers. “Is that not one of your core tenets?”

“It could be worse, I could be Lathanderian,” Vira joked, a wry smirk crossing her face. As quickly as it appeared, her smile fell, and she glanced away, staring out into the dark woods. “It is, I suppose, but in truth, I am not keen on waging wars with allies. I…have had enough of that for a lifetime.”

She said it softly, more as though she were talking to the darkness around them than she was to him. It felt as though that was an admittance he should not have heard, but when she returned her gaze to him, her orange eyes were momentarily weighted with a sort of melancholy. She blinked and it was gone, her gaze settling back into her usual, solemn calm.

“I made my decision a few nights ago,” Vira added, “Lord Death has not yet abandoned me for it, so I suspect that it is fine.”

She was being genuine about this. Astarion wasn’t sure why she was willing, but as his anxiety settled and he eyed her arm again, he decided it didn’t really matter. He was not one to turn his nose up at an opportunity, and he wouldn’t deny she was a kind-hearted fool for granting him this one. Perhaps that was all there was to it, and if it was truly as simple as that, perhaps he could push for more.

His eyes traveled from her wrist up her arm and to the exposed part of her collarbone. His gaze settled for a moment on her neck, watching the stronger pulse of her heartbeat with thinly veiled desire, before he met her eyes. “If that is what you decided, I would not decline. However, your neck would be far more suitable and far quicker for both of us. It would harm you less—”

Vira’s snort cut him off. “I am probably being far kinder than I should, but I am not a fool, Astarion,” she remarked.

His eyes narrowed. “I thought this was a sign of trust,” he retorted.

“It is, and I have reason to believe you would not take more than necessary if you are contained within the proper boundaries,” Vira explained, “But I have no reason to believe you would not drain me dry if I did not maintain those boundaries.”

She looked over him for a moment before sighing, her not outstretched hand moving to grip at the hem of her shirt. “Just as you have reason to believe I will hold up my end of the offer,” she continued and lifted her shirt some to reveal the wooden body of a stake tucked into the waistband of her pants, “But no reason to believe I would not stake you if you moved closer than I liked.”

Ah, mutual assurance, he understood that well enough and her point was well taken. He probably should have been concerned she was only now revealing she had a stake on her person, but if it weren’t for the fact she was denying him—and denying him correctly—Astarion would have smirked. Perhaps she had more guile than he initially credited her with. She was still offering at least, and he still needed to feed. These weren’t the worst terms he had operated under by far.

“Very well,” Astarion nodded in agreement.

He finally walked over to her and stopped in front of her outstretched hand. He took her wrist into his palm and raised it towards his mouth. Even without it being his preferred method, the clearer sound of her pulse pounding in her wrist and the faintest smell of her blood pumping beneath her skin had him salivating. To her credit, and to his surprise, her heartbeat remained steady, even as he lowered his mouth to her skin and pierced his fangs into her vein.

And if he happened to bite harder than necessary, if he happened to move his fangs to roll her vein and dig them deeper than he needed just to prove a point that the wrist hurt more than the neck, Vira made no movement to show any discomfort. Her gaze remained fixated on him, steady, calm orange eyes watching him with the slightest hint of curiosity. And in truth, any lingering pettiness he felt dissipated the moment the sweet tang of her blood hit his tongue.

[albaharu]

It was so nice to work on My Father’s Dragon, I hope you guys like the movie :D  

[what-the-fuck-khr]

what-the-fuck-khr’s most popular sky is tsunayoshi! he won with 38.6% out of 10 characters!

[unproduciblesmackdown]

getting gnc with it out & about at math meetup (or wherever)

[p2iimon]

drawing more furry fnaf art. yknow just to keep you posted. i love posting in the tags sorry these ones got away from me

[zigadoodle]

Here is a WIP sketch for my own project, "Colorful Shadows."

The background is a pain for me to get done, but so far, I'm pretty proud of how this is coming along!

This project is helping me learn how to draw new things, like cats for example.🐈‍⬛️

[pawtistictails]

I was in the shower thinking about @caffeine-clouds fic when the song popped into my head and put me in a chokehold; I couldn’t even read the next part until this was done. It’s even funnier because when I looked up the lyrics it turns out this is a One Direction song (relevant to the fic in terms of funnies).

(Sorry about the placement of words on that second part I didn’t realize where the tree was overlapping until it was too late)

[ID: Three panels of a lyric comic on a blank sketchbook page. The first panel is of Shadow the Hedgehog's reflection as he stares at the mirror, confused. He’s wearing a loose, long sleeved white shirt, a black corset, small gold earrings, and sparkly red eyeshadow. The lyrics are written in metallic purple: “Everything that you’ve ever dreamed of/ Disappearing when you wake up”

The next two panels are of a scene in a park, where Sonic and Shadow were dancing. There’s a shaded tree on the left, and in the upper-right a fountain. In the middle, a wide winding brown path. The first panel, where two tiny figures are dancing in the middle of the path, is shaded with red-violet and reads, “Does it ever drive you crazy,” while the second panel follows with “Just how fast the night changes?” and is shaded with a much more blue-violet as Shadow stalks away from Sonic. Sonic’s eyes are intentionally scribbled out and he stands with his hand behind his head as he looks away from Shadow. End ID]

[shiawasekai]

Some good progress today in redesigning Samel's clothes. I was utterly unconvinced with my previous work. I feel the current approach, even if still a WIP, is a lot more visually interesting.

[iraprince]

gonna show u guys a little opalescent highlight hack i threw together today

rainbow gradient above your main figure (i usually have all my main figure folders/layers in one big folder, so i can clip gradient maps + adjustments to it!). liquify tool to push the colors around a bit. STAY WITH ME I KNOW IT LOOKS STUPID RN I'M GOING SOMEWHERE WITH THIS

THEN: set it to add/glow (or the equivalent in ur drawing program), lower the opacity a bit, and apply a layer mask. then u can edit the mask with whatever tools you like to create rainbow highlights!!

in this case i'm mostly using the lasso fill tool to chip out little facets, but i've also done some soft airbrushing to bring in larger rainbow swirls in some areas. it's pretty subtle here, but you can see it better when i remove the gradient map that's above everything, since below i'm working in greyscale:

more granular rambling beneath the cut!

u could also just do this with a brush that has color jitter, but what i like about using layer masks for highlight/shading layers is how simple and reversible it makes everything. i can use whatever brushes i want, and erasing/redoing things is super low stakes, which is great when i often approach this stuff with a super trial-and-error approach.

example: have u ever thrown a gradient w multiple colors over an entire piece, set it to multiply etc, and then tried to erase it away to carve out shadows/highlights? it's super frustrating, bc it looks really good, but if u erase something and then change ur mind later, u basically would have to like. recreate the gradient in the area u want to cover up again. that's how i used to do things before figuring out layer masks!! but masking basically creates a version of this with INFINITE undo bc u can erase/re-place the base layer whenever u want.

anyway, back to rambling about this specific method:

i actually have TWO of these layers on this piece (one with the liquified swirls shown above, and another that's just a normal concentric circle gradient with much broader stripes) so i can vary the highlights easily as needed.

since i've basically hidden the rainbow pattern from myself, the colors in each brushstroke i make will kind of be a surprise, which isn't always great -- but easily fixable! for example, if i carve out a highlight and it turns out the rainbow pattern in that area is way too stripey, i can just switch from editing the mask to editing the main layer and blur that spot a bit.

also, this isn't a full explanation of the overall transparency effect in these screencaps! there's other layer stuff happening below the rainbow highlights, but the short version is i have all this character's body parts in different folders, each with their own lineart and background fill, and then the fill opacity is lowered and there's multiply layers clipped to that -- blah blah it's a whole thing. maybe i'll have a whole rundown on this on patreon later. uhhh i think that's it tho! i hope u get something useful out of this extremely specific thing i did lmao

[thatonebjp]

Finally got around to doing the white uncommons for my custom mtg Set.

[whispers-whump]

Some writing advice

that I like to use when I write. None of this is meant to be taken as hard and fast rules, they’re just things I like to do/keep in mind when I’m writing and I thought maybe other people would enjoy! <3

Never say what you mean

This is an offshoot of the very common “show don’t tell” advice, which I think can be confusing in application and unhelpful for scenes where telling is actually the right move. Instead, I keep the advice to never say exactly what I mean in stories.

By using a combination of showing and telling to hint at what you really mean, you force your reader to think and figure it out on their own, which makes for a more satisfying reading experience.

You might show a character getting angry and defensive in response to genuine care and concern. You could tell the audience that the character doesn’t see/talk to their parents often. But never outright give the real meaning that the character feels unlovable because of their strained relationship with their parents and as a result they don’t know how to react to being cared for.

Your readers are smart, you don’t need to spoon feed them.

Be sparse with the important things

You know how in a lot of movies there’s that tense scene where a character is hiding from something/someone and you can only just see this person/thing chasing them through a crack in the door? You get a very small glimpse of whatever’s after the character, sometimes only shadows being visible.

Do that in your writing. Obscure the important things in scenes by overdescribing the unimportant and underdescribing the important.

You might describe the smell of a space, the type of wood the floor is made of, the sound of work boots moving slowly across the room, a flashlight in the character’s hand. And there’s a dead body, laying in a pool of blood in the far corner of the room, red soaking into the rug. Then move on, what kind of rug is it? What is the color, patterns, and type of fabric of the rug?

Don’t linger on the details of the body, give your reader’s imagination some room to work while they digest the mundane you give them.

Dialogue is there to tell your story too

There’s a lot of advice out there about how to make dialogue more realistic, which is absolutely great: read aloud to yourself, put breaks where you feel yourself take a breath, reword if you’re stuttering over your written dialogue. But sometimes, in trying to make dialogue sound more realistic, a little bit of its function is lost.

Dialogue is more than just what your characters say, dialogue should serve a purpose. It’s a part of storytelling, and it can even be a bridging part of your narration.

If you have a scene with a lot of internal conflict that is very narration-heavy, breaking it up with some spoken dialogue can be a way to give some variety to those paragraphs without moving onto a new idea yet; people talk to themselves out loud all of the time.

Dialogue is also about what your characters don’t say. This can mean the character literally doesn’t say anything, they give half-truths, give an expected answer rather than the truth (“I’m fine”), omit important information, or outright lie.

Play with syntax and sentence structure

You’ve heard this advice before probably. Short, choppy sentences and a little onomatopoeia work great for fast-paced action scenes, and longer sentences with more description help slow your pacing back down.

That’s solid advice, but what else can you play with? Syntax and sentence structure are more than just the length of a sentence.

Think about things like: repetition of words or ideas, sentence fragments, stream of consciousness writing, breaking syntax conventions, and the like. Done well, breaking some of those rules we were taught about language can be a more compelling way to deliver an emotion, theme, or idea that words just can’t convey.

Would love to hear any other tips and tricks other people like to use, so feel free to share!!!

[appocalipse]

MAKE IT EASY : ̗̀➛ STEVE HARRINGTON

・❥・part 1・part 2 ❥・3.8k words

Summary: steve asks you to pretend to be his girlfriend for a family dinner. the problem is: after all is said and done, he gives you the cold shoulder. have you done something wrong?

requested by my beloved @stevebabey 🥺

a/n: this was supposed to be a drabble, and now, oh well...I had to split it into two parts. here we go.

・❥・

It was the epitome of a terrible idea.

And it had started that day. 

The very moment Steve walked into the diner your family owned, you knew something was wrong. Not that it was uncommon for Steve to visit you at work — not at all. In fact, it was almost a weekly occurrence, the highlight of it, in fact, for you; the odd part was that Steve never showed up alone, without at least a few of the kids. On that Wednesday night, he was not only alone but also strangely nervous.

You rarely saw Steve get nervous. His confidence was as much a part of him as his signature perfect hair. But tonight, his hands fidgeted with the edge of his jacket, eyes darting around the diner as if searching for an escape route. He looked like he was trying to convince himself to leave.

Weird.

"Steve," you greeted him with a warm smile, hoping to ease his obvious tension a little bit as he approached the counter. "You look like you've seen a Demogorgon."

It was supposed to be a joke. You only felt comfortable saying that now because — luckily — things had been quiet at Hawkins. It had been a long time since you and your friends had to deal with one. But something about Steve's demeanor really made you wonder if there was more to this visit than just a friendly catch-up.

He tried for a convincing chuckle, but it came out tinged with a hint of sadness instead. "I wish," he said, and then quickly shook his head, "Actually no, of course not. I kinda…There's something I wanted to-"

You furrowed your brows, concern knitting your features together. At this point, Steve's tension seemed to be rubbing off on you.

"Is everything okay?"

"Yeah, everything's fine, just…can we talk?"

"Of course."

He glanced around the diner, gaze briefly flitting over the empty tables and the neon glow of the jukebox. "Not here," he murmured, voice barely audible above the din of conversation and clinking dishes. It was a busy night, despite being Wednesday. "Can you, like, take a break?"

For Steve, of course you could.

Curiosity mingled with concern, and you followed his lead, stepping out into the cool night air. The streets were bathed in the soft glow of streetlights, casting elongated shadows that danced upon the pavement. You leaned against the side of the building, your eyes fixed on Steve, awaiting an explanation for his beyond unusual behavior.

He raked his fingers through his hair, a nervous habit that seemed magnified in this moment. "Look," he began, his voice tinged with a vulnerability you hadn't heard before, "I need a favor- a big one."

Oh, Jesus. "Steve," you placed a hand over your chest, breathing a sigh of relief. "For a moment there I thought you were going to say something terrible. A favor? C'mon, sure. What do you want me to do?"

Steve's eyes met yours, his gaze earnest and…vulnerable?

"I... I need you to pretend to be my girlfriend... Just for one night!" he quickly added, like he was afraid you might misinterpret his request, say no even before he could finish… but no, of course you wouldn't. Far from it. 

Who wouldn't want to date Steve Harrington?

"But why would you-"

"My parents," Steve interjected, tone deeply tinged with unease, "they're in town."

"Oh." Steve rarely ever spoke about his parents, and their mere presence seemed to have stirred a sense of apprehension within him. "Are they still... difficult?" 

You knew you were touching scars, deep scars. You made sure to be gentle.

Steve sighed, gaze fixed on the ground. 

"Yeah, you could say that," a hint of frustration colored his voice, as if he were carrying on his shoulders the weight of every little judgemental glare they had ever sent his way. "Nothing I do is ever enough for them. They've always been focused on money and success. To them, that's the measure of worth. And because I don't fit their mold of the perfect, ambitious son, they treat me like…well, you know how they treat me."

Indeed, you knew.

Steve looked like he didn't know you were unable to say no to him.

And that's how you put yourself into one hell of a mess.

+

It's Saturday night and you're standing in front of the mirror, desperately trying to zip up your stupid dress. Why anyone would put a zipper in the back of a dress, in the most difficult possible place for a person to reach on their own, is something you are unable to fathom.

But then again, maybe you're the stupid one in this story, you think bitterly, since it was you who chose the dress with the zipper in the back in the first place.   

Why are you trying so hard, though?

"I'm not," you tell yourself out loud, stubbornly.

There is a big pile of discarded clothes on your bed that says otherwise.  

With a feeling akin to fear bubbling in your stomach, you glance at the clock. It's almost seven. For fuck's sake. 

You're late. 

Steve will arrive soon, and you are apparently unable to close the damn zipper of your own dress, no matter in which awkward positions you try twisting yourself into…you just can't reach it.

The doorbell rings.

The world is truly a dark place, isn't it?      

You freeze. It can only be Steve. Shit, shit, shit! For a moment, you consider the idea of simply not opening the door, turning off the lights and pretending you never agreed to take part in this madness that is dining with the Harringtons.

HA! As if you'd really be able to turn your back on Steve. 

You take a deep breath, accepting the battle you just lost, and decide that your only and best option is to simply open the door and ask Steve for help — mortified or not. With no choice but to leave the dress with the zipper still open and your back somewhat exposed, you quickly walk to the door to open it.

"Sorry, I'm late," you say, a little out of breath. "I had a little problem with the dress and I... flowers?"   

Flowers, for sure. Steve holds a beautiful bouquet of red roses. He looks at you for a moment, then his eyes run over the partly open dress and your exposed skin for a couple of seconds too long to be accidental. You swallow thickly.

"Yeah I..." he shakes his head, a little uncomfortable standing there, and then his eyes meet yours. "The flowers are for you. Do you want me to...?" he mimics the motion of closing a zipper.

You feel your cheeks burn with embarrassment, but there is no choice but to accept. You look at him, a mix of gratitude and nervousness in your eyes.  

"Yeah, that would be great," you reply, stumbling over the words. 

If he notices, he doesn't say anything.  

Steve comes closer and hands you the bouquet, your fingers briefly touching his. You catch a whiff of his cologne — citrusy fruit and wood notes — as you turn around, brushing your hair away from your neck.    

For a moment, Steve does nothing, and you wonder if he is just figuring out the best way to close the zipper…or something else entirely. 

His touch ghosts down your bare back before his hand finally, finally finds the zipper. Slowly, he pulls it up, inch by inch, and you hold your breath for a moment, lost in a feeling your best friend is definitely not supposed to evoke in you. You feel the dress tighten, fabric adjusting to your body, his fingers inevitably brushing your skin and sending unexpected tingles up your spine. You try to ignore the trail of electricity left by the tip of his fingers as you turn to face him, eyes finding his.

"There you go", he murmurs, taking his hands off you and taking a small step back. "You look very... girlfriend."  

You laugh.   

"Thank you", you say softly, your heart beating faster. "You also look very boyfriend."

A small smile plays on Steve's lips, a flush creeping up his cheeks. Or maybe it's just the cold night breeze coming through the open door...   

Steve's gaze drifts to your lips and lingers there for way too long to be accidental. He is so close that he starts crushing the bouquet between the two of you…

Something clicks inside of you. Common sense, perhaps.

"Thank you... for the flowers."

The spell breaks; he moves away so fast that you almost drop the flowers on the floor.   

"Yeah, uh, no problem," he says quickly, regaining his composure. "Ready to go?"

Disappointment stabs at you, but you try to hide it. Maybe you imagined too much, read signs where there were none.  

"Sure. I'll just put the flowers in a vase."

It's an excuse to catch your breath. You walk to the kitchen, put water in the first clean container you find and put the flowers in it. Deep breaths, deep breaths.

Your heart is racing and yet nothing has happened. It's just dinner, you tell yourself, I've had dinner with Steve and the others before. It's just dinner.   

So why did you try so hard to look beautiful? insists the other voice in your mind. You decide it's best not to answer.

"You okay?"  

Steve is at the kitchen door, all concern and soft brown eyes.  You must have taken too long.

"Yes, I'm fine," you reply, forcing a smile to calm your own anxiety. "I was just taking care of the flowers. Ready to go?"

Steve nods. A gentleman, he opens the car door for you to get in. It's a short drive to the Harrington house, and you take the opportunity to try to calm your nerves. Looking out the window, you watch the city lights blinking as you approach your destination.

You look at him. You have the impression that Steve is driving slightly slower than necessary.

"Can I ask you something?" you say, unsure.

Steve briefly glances at you before returning his attention to the road, looking so stiff you're under the impression he might break his back at any moment.

"Sure, what's up?"

"Why did you ask me to pretend to be your girlfriend? I mean, I understand the part about your parents…but why didn't you bring someone you're actually dating or something?"

There's a brief moment of silence before Steve responds, his voice a bit softer.

"Actually, I'm not really dating anyone at the moment," he admits. "And when my parents mentioned the dinner, I kind of panicked. I didn't want to show up alone and face more questions about my life, you know?"

"I know," you respond, understandingly. "And why did you choose me specifically?"

He looks away for a moment before answering.

"Because you're perfect," he says, finally looking back at you. Then quickly, as if he only just realized the words slipped out on their own, he adds, nervously staring back at the road, "I mean, my parents, they... you're perfect for them. They're going to love you."

You feel a mix of surprise, satisfaction, and confusion with Steve's response. You try not to read any deeper meaning behind the words, telling yourself not to notice how he quickly tries to disguise them.

"I see," you reply, although you don't really understand anything. Steve seems to say one thing when he means another. "Well, I hope I can do well. I mean, I'm not very convincing when I lie."

Steve smiles briefly and nods.

"I'm sure you'll be great. Just... be yourself."

You appreciate Steve's vote of confidence and focus on staying calm as the car approaches the Harringtons' house. Although there's still a lingering questioning in your mind about Steve's earlier response, you decide to set it aside for now and focus on the immediate task.

Steve parks the car, and you both step out together. Nervousness returns as you approach the front door. You exchange a quick glance with Steve, seeking mutual encouragement.

As you walk toward the house's entrance, Steve's hand finds yours. He gently squeezes it, and you're not sure if he's trying to convey or seek comfort himself. You don't mind anyway.

The door opens, revealing Steve's parents, Mr. and Mrs. Harrington. As you prepare to enter their house, they cast evaluative glances your way, as you had expected. Mrs. Harrington's smile seems a bit forced, while Mr. Harrington maintains a serious expression you can't even begin to try to read.

It's not like you expected anything different.

"Mom," says Steve in lieu of a greeting. "Dad."

"Steve, you finally made it," says Mrs. Harrington, her tone somehow a mix of relief and disapproval. "And this must be your... girlfriend."

Steve maintains his composure as he introduces you, although you can sense a slight tension in his shoulders. It's only when he says your last name that Steve's parents' gazes turn into something completely different, almost a scientific interest.

Hawkins is a small place. Your parents' business is respected enough in town.

All eyes turn to you, and you try not to show the insecurity you feel inside. Mr. Harrington studies you for a moment, his penetrating gaze seeming to assess your suitability for his son.

"Nice to meet you. I'm Mr. Harrington," he finally says, extending an unusually large hand for a formal greeting.

You shake his hand firmly, trying to convey a confidence you're not quite sure you feel. "The pleasure is mine, Mr. Harrington. Thank you for the invitation."

Mrs. Harrington still seems a bit unsettled but composes herself as she invites you inside. You're making your way toward the dining room when you feel Steve's hand intertwine with yours again, and when your gaze meets his, he's smiling.

Thank you, he mouths.

You smile back.

During dinner, you make an effort to be as pleasant and interesting as you can possibly be in the eyes of Steve's parents, responding politely and trying to find points of common interest. In turn, Steve makes an effort to showcase his worth, defending his accomplishments, however small and sharing his plans for the future, painting an image of maturity that, you can tell by the look in his parents' eyes, they were not expecting.

Throughout the evening, you realize that although Steve's parents are demanding and neglectful in many aspects, they also seem to have their own insecurities and concerns. They want the best for Steve, even if their way of expressing it is at least…unusual.

As the night progresses, you find yourself navigating this strange family dynamic better and better, to the point where Steve's parents' attention is fully on you, and it doesn't even feel that uncomfortable anymore. You even laugh at one point.

By the end of the dinner, as you two prepare to leave, you notice a very similar expression of relief on the faces of Steve's parents. They seem to have found some kind of approval in the way you both behaved together during the evening.

As you say goodbye, Mr. Harrington extends his hand again, but this time, his handshake is warmer, less formal, and Mrs. Harrington's smile almost seems genuine. Almost.

"It was a pleasure having you here," she says. "You should bring her more often, Steve."

You and Steve exchange a look of surprise. Had you somehow managed to create a connection with his parents?

As you walk away from the Harringtons' house, Steve's hand finds yours for the third time that night, and an optimistic part of you registers the fact that there's no one else here to see. He gently squeezes it, his brown eyes filled with gratitude when they meet yours.

"You were amazing," he says, genuinely smiling.

In the car, during the ride back, you both talk animatedly about the night and his parents' reactions. The tension from dinner seems to have diminished, leaving you both more relaxed and confident.

When you arrive in front of your house, Steve turns off the car and gets out to accompany you to the front door, even after you— out of politeness, mind you — said it's really not necessary. 

"You know, I didn't expect everything to go so well tonight," says Steve, with a playful smile. "I can't believe I'm saying this about a dinner with my parents, but thanks to you, it was even fun."

You laugh. "I kinda had fun too. I think we did better than we thought possible."

"You're amazing," he says again, and this time his voice carries a softer, more intimate tone. His eyes meet yours, shining, and you see admiration there…maybe, you dare to think, something even deeper.

The silence grows tense. Your heart races. There's something special happening between you, you know there is; this goes beyond mere friendship or pretending to be a couple for one night…doesn't it?

Are you imagining this?

"Steve..."

You can't finish before he's leaning in slowly, and you're almost certain his eyes are fixed on your lips. For a feverish moment, you think Steve is going to kiss you.

He tilts his head last second. You feel the softness of his lips brushing against your cheek a moment later, a light and brief kiss, mouth almost uncertain against your warm skin….and then it's over.

Steve pulls back slowly. 

"Goodnight," he says, eyes soft, smile softer. "Thank you…for today."

"You're welcome."

It's only when you enter the house that the dress dilemma comes to mind. 

Well…shit.

The zipper at the back is still unreachable for you, and you can't undo it yourself unless you use scissors — which, considering the price you paid for it, you really don't want to do.

With few options and too much embarrassment, you decide to call Steve back while you still can.

"Steve?" you practically shout, your embarrassment immediately doubling. He's about to open the door of his trusted BMW when he turns to you, confused and unfairly handsome under the street light.

Suddenly using the scissors on the dress doesn't seem like such a bad idea anymore.

Well, too late.

"Could you, you know... " you ask, gesturing to the back of your dress, "help me with the zipper?"

His initial surprise quickly gives way to a nervous smile.

"Sure. What kind of fake boyfriend would I be if I didn't help?"

"I'm sure that's one of the many job duties."

"Definitely. And I strive to be a top-notch fake boyfriend."

He steps in. With the door closed behind the two of you, the atmosphere takes on a sense of intimacy and anticipation.

"I really can't reach the zipper," you feel the need to explain, even more flustered by his silence.

"No problem," Steve says with that gentle tone that makes your heart do funny things inside your chest. "Turn around."

You turn so that he can reach the dress' zipper, and now you're facing the large oval mirror in the hallway, with Steve standing right behind you.

He reaches out gently, his fingers lightly brushing the back of your dress.

Breathe in. 

The temperature around you seems to rise a few degrees.

Breath out. 

You feel the gentle pressure of his fingers as he starts to slide the zipper down. He touches your skin and you tell yourself that this is inevitable, that he didn't mean to…but he lingers. Lingers just enough for you to tense up and let out a breathless sigh you certainly didn't intend to.

"Are you okay?" Steve asks, his voice soft, filled with concern. You know he's looking at you through the mirror and that's precisely why you keep your gaze on the floor. "Are my fingers cold?"

"No, your fingers..." your voice sounds hoarse. You clear your throat. "...it's fine, I'm okay."

I'm great. I'm more than okay. Nothing out of the ordinary happening here.

However, when the zipper seems to momentarily get stuck — because of course  it had to — the two of you exchange equally panicked looks through the mirror, though perhaps for different reasons. An uncomfortable silence fills the air as Steve tries to fix the issue.

"I'm... it's just... sorry, it seems to be stuck."

There's a moment of awkward silence as he tries to figure out a way to open the zipper. You can feel the tension in the air as he struggles to handle the situation.

"Are you sure you know what you're doing?" you joke, desperately trying to ease the tension.

Steve lets out a low laugh, his warm breath gently caressing your neck.

"Absolutely," he replies, his voice slightly husky. Then, probably without so much as noticing, he adds, "I've taken off many dresses before."

Oh.

"Steve-"

Steve doesn't give up. With skilled fingers, he adjusts the position of the zipper and makes another attempt. It moves.

"We're almost there," he murmurs softly, his voice close to your ear.

Finally, with a smooth motion, the zipper gives way, sliding all the way down. A sigh of relief escapes your lips, and you turn around to face Steve, finding his eyes filled with excitement.

"I did it!"

His enthusiastic smile soon gives way to something else as he realizes how close — and technically partly undressed — you are.

And close you are, so very close. Close enough that you and Steve are somehow breathing the same air now.

Close enough, you realize, that a slight tilt of the head and...you'd be kissing.

Kissing.

Did he notice that too?

You hold your dress up over your chest to make sure it doesn't fall because, well…no matter how distracted you are, it's not enough that you'd risk a wardrobe malfunction that'll leave you standing there naked in front of Steve Harrington.

"...thanks," you manage a whisper, lips a hair's breadth away from his. You do know that Steve has no reason not to go now that dinner is over and everything went (surprisingly) well, but a part of you wonders if maybe…

Steve's hands hover around your waist as if unsure of what to do next. 

So close...

You hold still.

In that breathless silence, you're under the impression that Steve leans closer, even if just the slightest bit, maybe without even noticing. 

"Steve…" you slowly tilt your head to the side.

Steve's heart is pounding in his chest as he feels the warmth of your breath against his lips. Stop, he thinks. His eyes flutter closed, and Steve can't help but lean in just a little bit more. 

He raises his arm as if to touch you, wanting to touch you, to hold your face, to bring you closer…but he stops with one of his hands hovering near your cheek.

He pulls away with a gasp, his hands flying up to his face in shock. "I should-" he stammers. "I need to go."

Bam.

Door closed.

And just like that, he's out of the house before you can even open your eyes properly.

He just…pulled away. 

What the hell was that?

[fox-guardian]

[ID: An eight page digital comic featuring Sam, Celia, and Alice from The Magnus Protocol on a gray background. The characters are all colored with a single color each. Sam is red, Celia is green, and Alice is pink. Sam is a fat Arab man with short curly dark hair, a mustache, and a small goatee, and he is wearing small black earrings, a cardigan, a turtleneck, trousers and loafers. Celia is a taller Korean woman with short dark hair and she is wearing rectangular glasses, piercings including an industrial piercing, an x-shaped earring, and snakebites, a button-down shirt with the sleeves rolled up, a vest, trousers, and black wrist cuffs. Alice is an even taller white woman with long fluffy hair and crooked teeth, and she is wearing cat eye glasses, three pairs of earrings, snakebites, a flannel shirt, a hoodie tied around her waist, a patchwork skirt, bracelets, and a lanyard.

Sam and Celia are stood at a table covered in papers. Celia urgently turns to Sam. Celia: Alice is coming! She can't catch us researching, we need a diversion, QUICK! How can we make her think we're not doing what we're doing? Sam, shrugging really hard: UHHHH she thinks I have a crush on you?? Celia, sweating, turns back to where Alice is coming from, panicked, and turns back to Sam, shrugging and reaching for him. Celia smiling a bit manically: Yeah, that'll work, sure!

Sam, with Celia's hands grabbing his cardigan: Wait whaAAAA- He is pulled out of frame. Alice walks in: Hey Sam, working hard or hardly woOOOAA She leans on the doorframe as she holds a hand to her chest in shock.

The next panel is rendered with soft pink shadows and "shoujo sparkles" in the now pink background. Sam is sitting on the table holding onto Celia, whose face is buried in his neck as she wraps one arm around his back and the other holds up one of his legs under his knee. Neither of their faces are visible. The rest of the page fades back to gray from there. Sam and Celia look over at Alice, hair ruffled, Sam is now blushing. Sam: ALICE!! He pushes Celia away and they look at each other for a moment, panicked. Sam: It's- .... exactly what it looks like! Celia: Aw, you've caught us! He rests his hands on her shoulders and they both look in opposite directions as though embarrassed. Celia is also blushing lightly. There are red and green neon signs pointing to them reading "Totally Ham-Slammin'" and "GAY! (in an M/F way)" respectively.

Alice looks to be in shock with a vacant expression and a computer pop up over her forehead reading "Alice.exe has stopped responding". In the next panel she is fine again and back to smirking. Alice: WOW SAM, didn't know you had it in you! Now I'm no snitch, so I didn't see anything, BUT- you lovebirds should cut it out before Gwen catches you. Celia and Sam look at each other anxiously, cheeks pressed together as she speaks. Alice: You KNOW she'd tell Lena. Celia, pulling back and smoothing her hair out: Oh, for sure. Sam: Th-Thanks, Alice. Alice: Don't mention it! I'll give you crazy kids a minute to straighten up, TA-TA~ She waves as she leaves.

Sam and Celia listen to her steps fade before going "phew" and finally pulling away from each other, now holding hands at an arms distance. Celia: You alright? That was kinda sudden.... Sam: It's fine! Just a bit caught off guard. Celia: I can't believe she actually bought all of that! Sam: Me either! Works for me, though.

Celia: Did you want to get down- Sam, pulling away suddenly, blushing again: NO! He crosses his legs and looks away sheepishly, scratching his head. Sam: I wanna stay here another minute or so.... Celia, concerned: You sure you're alright? Sam: Yeah! Just, er.... Celia looks at him, confused. Sam, blushing increasingly harder: Ahem. (He folds his hands in his lap politely.) I am not immune to being thrown on a table. Celia, smiling and politely stepping away: AH! .... Noted~

She walks away casually, still smiling. Celia: I'll give you a minute to collect yourself. Sam, head down in his lap, embarrassed: Thanks.... He looks up after she leaves. Sam: Wait. He straightens up, slightly panicked, face entirely red. Sam: What do you mean by "NOTED"?!

end ID]

~~~~

i am SO glad this episode didn't entirely debunk the silly headcanon that birthed this comic. initially i wasn't convinced sam actually had a crush so i made this like "well if he didn't before, HE DOES NOW" so.... here's this silly comic thing <3 i just think they're neat <3

[autisticshadowthehedgehog]

predictions now that the trailer is out:

the intro makes it look like they go back to sonic's old cave for something. i wonder what it is

they jump out of a plane too. we NEED a "no food or movies" quip

when shadow says "you're a colorful bunch" he seems... confused? like he's not sure what's going on. makes me remember he probably hasnt seen another mobian before AND he has no context as to who these people who look like him are

sonic's getting lied to about what happened on the ark, or just straight-up not told until late in the movie

and dont worry guys we know they're pulling SOMETHING. we see a shot of shadow and gerald over maria's body while soldiers point guns at them so yeah i think the us military still killed her

the chao garden in tokyo seems like a cute ref to there being an actual irl chao garden in japan in sonic x

tom and/or maddie knocked out of commission, which causes sonic to go against GUN and get robotnik. in all the scenes with robotnik/stone there's NO implication that GUN let sonic do this and considering the robotnik family history with the ark....

iirc we saw "i found you faker" on a leaked merch package so let's get that entire scene pls

ivo "because i'm one of the idiots who lives in it" robotnik

as i said in another post, they have jessica mcfucking jones in this movie and her character got ZERO screentime in the trailer and only ONE promo image with her in it. which implies she may be doing something spoilery. like idk being an undercover nocturnal flying mammal

in relation: shadow's either working with GUN traitors or the "gerald" figure. we see missiles heading for team sonic's meeting with the commander, so it's not GUN sending the missiles and robotnik's out of commission soooo where else would shadow get those bombs

shadow: it's just me and my very real and alive grandpa gerald against the world

the totally real and alive grandpa gerald: hey grandson ivo push this button labelled "eclipse cannon" it'll be really funny i promise

also guys he's not robotnik's dad instead of grandpa in this. he calls him "pop pop" that's something people call their grandpas

IF gerald is alive and not an illusion/ai/whatever he's been alone for 50 years and is gonna be sooo sane about it. but we DO know there's a 50yr timeskip considering the last credits scene so it'd be very strange for him to uhhh still be kickin

that quill is becoming metal sonic and the midcredits scene will be a sonic heroes bit

[sirfrogsworth]

Hard & Soft: An Explanation of Light

I was watching a video from one of my favorite tech YouTubers, Mr. Whose the Boss. He was showing off some of his favorite tech and pulled out this tiny LED light.

And then he placed a diffuser on the front and said this...

"You can equip a softbox on the front which *massively* softens the light on your face."

Sorry, Arun.

No it doesn't.

I sometimes wish I could get a job as a YouTube lighting advisor. So many creators have to set up and use professional lighting but very few actually have an understanding of how their lighting works. And with just a little knowledge they could up their lighting game big time.

If nothing else, I could stop the plague of ring lights.

Ring lights are my nemesis.

*shakes fist at ring lights*

Arun repeated a classic myth. Diffusing a light does *not* make it softer. And despite the name, a softbox is fully capable of producing hard light. Especially if it is only the size of your granddad's wallet.

I'm afraid softboxes are a bit misnamed—much like how the tremolo system on a guitar is technically a vibrato mechanism. Tremolo is a fluctuation of volume, not pitch. Personally, I just stick to calling it a whammy bar because that is more fun anyway. And, like, what does "whammy" even mean in the context of a guitar? I'd rather call something by a nonsensical name than an inaccurate one, ya know?

What the hell was I saying?

SOFTBOXES!

They should probably be called "light homogenizers." Which is a mouthful, but more accurate.

Or, hear me out... WHAMMY BOXES.

Froggie Note: I am trying a color coding technique to help make the most important information stand out. Red means PAY ATTENTION and blue means "do your best to remember this." Let me know if this is helpful or annoying or if a different color combo is preferred.

Hard Light vs. Soft Light

Hard light is a less flattering light source that creates high contrast, sharp shadows, and accentuates texture.

Soft light is a more flattering light source that creates soft shadows and reduces texture like pores, blemishes, and wrinkles.

You can *only* get hard or soft light by changing the apparent size of a light source from the subject's point of view.

If you remember only three things about light, they should be...

Bright light = sharp photos, less noise Hard light = small light source Soft light = large light source

Now, it's important to remember that hard light is not *bad* and soft light is not *good*. In photography, the oft-used parlance "flattering" just refers to the rendering of facial features and blemishes. So you might use a more flattering lens to make sure faces do not distort or a more flattering light modifier to reduce wrinkles.

But there are situations where soft light can be very boring and hard light can be much more dynamic and interesting. But if you have someone who is insecure about their skin or has a lot of blemishes, you can mitigate that by making the light softer. But if you have someone with great skin and a lot of angular facial features, you might use a hard light to show that off.

Which of these do you prefer?

The one on the left was taken with a 7 foot diameter light source and is *very* soft. But the other had a 1 foot diameter and I think it is more dynamic and interesting.

You can also mix hard and soft light. And with something like a parabolic reflector or a beauty dish, you can even modify a light source to be hard and soft at the same time.

This technological terror of a light modifier is sort of like having 24 individual small lights around the edges but the entire surface of the reflector also acts as a single large light source.

And when it isn't atomizing Alderaan, it is taking photos like this...

This creates a falloff of light around the edges of her face, nose, and arms while also reducing the intensity of the shadows. Lenses with longer focal lengths prevent distortion of facial features but also flatten our faces. So a modifier like this can bring back dimensionality.

Neat!

Now I just need $8,000 to buy the Death Star light.

There are a ton of possibilities when it comes to modifying light sources, but most people typically want the main light on the subject to be in the realm of soft and use hard light sources as edge lights.

Also, everything is a spectrum and light is no different. There is a giant space in between hard and soft to play with. In fact, the hardest light possible would be cast on a subject floating in space.

And the softest light possible would be on a planet that has 100% cloud coverage that still allows sunlight to scatter through.

So, I have determined the surface of Venus to be the most flattering light in the universe.

Look at how dark and sharp that astronaut shadow is! And I'm sure Venusian photography would be quite popular if you wouldn't burst into flames.

On planet Earth, noon on a clear day would be the hardest light and a very overcast day would be the softest light.

How can the sun be both hard and soft light?

Well, the sun is quite large, but it is very small in the sky and very far away. It is the only thing humans can observe that is close to a "point" light source—the smallest light source possible that shines light equally in all directions.

But on an overcast day, sunlight scatters through all of the clouds and becomes a HUGE homogenous light source. The clouds become a singular giant light above us. And as you can see, the light is so soft the woman does not have a hint of shadow on her face. And shadows can draw attention to pores, wrinkles, blemishes, and other textures.

But wouldn't the smallest light source be a laser or something?

When photographers refer to a small light source we mean from the perspective of the subject being lit. This is referred to as apparent or angular size.

But you also have to account for the size of the area the light source can illuminate.

This is the area a laser can light up.

And this is the area the sun is able to cats cast light upon.

It doesn't matter if a laser is close or far away, it focuses light onto a very small area. But the sun lights up half the planet. So look at imagine the apparent size of the sun in the sky and compare its size to half of the Earth. In that relative circumstance, the sun is a super tiny light source.

And the sun becomes an even tinier light source on the moon because there is no atmosphere or clouds to scatter and enlarge it.

You can change the apparent size of a light source in two ways...

The physical dimensions of the light and the distance from the subject.

A light with small dimensions can be a large light source if it is close enough and if the subject is small enough. So a flashlight could be a large light source for an ant if that flashlight is directly next to said ant. But a flashlight could never be a large light source to a human.

However, we can enlarge small light sources with modifiers.

A modifier can be a softbox. It can be a piece of paper. A large poster board. A wall or a ceiling. Anything that changes the nature of a light source can be a modifier. But not all modifiers increase the size of a light source.

So, you can take that flashlight, shine it on a wall, and reflect the light to make a giant light source capable of producing softer light.

But what you cannot do is put diffusion material directly in front of a flashlight and make the light it produces softer.

When Arun put that diffuser on the front of that tiny light, he was not making the light any bigger. He was only making the light more diffused.

What does diffusion *actually* do?

Diffusion scatters light. It makes light bounce in all directions and keeps it from being focused. And while this is an important aspect to making a light source larger, it does not change the apparent size of a light source on its own.

Diffused light is homogenous.

A homogenous light source has the same intensity across its entire surface area. And that homogenization is the key to creating a better soft light source. It can *assist* in making a light source larger, but only if you know how to wield that diffusion properly.

When you shine a flashlight toward a wall, you increase the apparent size of the light source.

Fantastic! You now have a softer light. Mission accomplished.

But if you do not diffuse it, you will create a hotspot.

That bright hotspot will reflect more light than all of the other light reflecting off the wall. That reflected light has different intensities across its surface area and you end up creating TWO distinct light sources—one hard and one soft.

This can sometimes be desired if you want to create graduated light that falls off like I showed earlier. But if it is not controlled well with a specialized modifier a hotspot can cause more problems than benefits.

This can reveal unwanted texture, double shadows, cause harsh glare, and it may not achieve the desired amount of soft, flattering light you were hoping for.

However, if you diffuse the light from the flashlight before it hits the wall, the light will scatter and reflect off the wall more evenly. You will create a more *homogenous* light source that acts as a single entity of light.

Diffusion does reduce the overall intensity of the light, but that is usually a worthy trade off for the increased homogeny.

These pesky hotspots are actually a big problem with those cheap softboxes you can buy off Amazon.

Many of them do not have enough diffusion to create a single homogenous light source. So they end up with a hotspot that gives you that double light source effect.

I was able to fix this with my friend Katrina's softbox by adding a layer of tracing paper in front.

You can see the chip clip holding the tracing paper in place on the right side.

Photography is just problem solving all the way down.

A higher quality softbox will have a second layer of diffusion already built in to prevent this, so make sure the softbox has this feature before buying.

Or invest in a roll of tracing paper and some chip clips.

Softboxes are an ingenious light modifier when built properly. They take a small light, diffuse it, enlarge it, and then focus it toward your subject. It's essentially a paradox of scattered & focused light. And since all of the scattering only happens *inside* the softbox, it gives you great control over how that light hits your subject. And you can focus it even more by putting a grid on the front.

This keeps light from "spilling" off to the sides though it can reduce intensity a bit and create unusual looking catchlights in the eyes.

Whereas a cheap shoot-through umbrella kinda "shoots" scattered light all over the place and causes a ton of extra reflections off the walls and ceilings. That may end up giving you unwanted second, third, and fourth light sources contributing to your exposure.

You can see light hitting the left and right walls and the ceiling—those pesky photons are going everywhere! And while it is giving a soft, flattering result due to that umbrella being so freaking big, you have almost no control over the light and how it affects your background.

So, yes, a softbox can make a small light source bigger, but that doesn't always mean you will get "soft" light.

This softbox takes a 10 inch LED panel and creates a 12 inch light source. This is mostly a scam product.

The marketing says it makes the light softer.

And while that is *technically* true, I'm afraid people are going to be disappointed if they think this thing is going to dramatically soften their light. A small increase in surface area like that would only be dramatically different if you were lighting a little toy car or the hypothetical ant friend I mentioned earlier. Something the size of a person is not going to see a difference in softness. Not to mention you are going to decrease the power of your light by adding diffusion and have no softening benefits.

Photography gear companies love taking advantage of new photographers because the desire to buy more gear to improve the quality of photos is quite strong. This is jokingly referred to as G.A.S. or "Gear Acquisition Syndrome." And while there is absolutely gear you can buy to improve your photos (lights, lenses, tripods), knowledge trumps any piece of gear at any time.

So, no, this scam softbox will not make the light appreciably softer. The only way to make this light softer is to find a softbox that enlarges it more than 2 friggin' inches, bounce it off something larger, or bring it closer to the subject. Move your light as close as possible and you will enlarge its apparent size.

Or, conversely, you can move your light farther away to make it hard.

Meaning you can technically make a softbox a hardbox.

Seriously, can we just do the whammy box thing?

So, what have we learned?

Soft light is more flattering to skin and reduces texture and harsh shadows.

Hard light increases contrast, sharpens shadows, and highlights texture.

Neither is good or bad. Soft light can be boring. Hard light can be interesting. A mixture of the two often produces the best result.

The only way to make light softer is to enlarge the light source.

You can enlarge a light source by...

Increasing the physical dimensions with a modifier.

Moving the light closer.

Reflecting the light off a larger surface.

Diffusion alone does not make a light softer.

Diffusion makes a light source more homogenous by mitigating hotspots.

Softboxes create homogenous light that you can direct and focus.

A softbox can still produce hard light if it is really small or really far away.

We should call it a whammy box.

How can you use this knowledge?

Well, the first thing you can do is...

DON'T BUY A RING LIGHT.

YES, I AM RANTING ABOUT RING LIGHTS AGAIN!

That giant hole in the middle of your light is a great spot for extra light.

And as we just learned, a larger light source is softer. So unless you specifically need a ring light and know how to use it (facial close-ups, camera goes in the hole), you are better off getting the biggest light you can fit in your space.

Look at how much bigger this light is than if it were a ring light.

It's like all of these influencers are throwing perfectly good light into the garbage.

Sorry, let's try this again.

Once you avoid ring lights, how can you use this knowledge?

I know a lot of you reading this are not influencers or YouTubers or photographers. And you may be thinking all of this knowledge I just shoved in your dome is useless.

But here's the thing...

We all take photos.

And I think we all want our photos to look their best.

If you start thinking more about light when you take photos, I promise you will be able to improve their quality.

If you are taking a selfie, think about where you can go that has a larger light source. Perhaps you have a large window. Or you have a big overhead light or floor lamp that shines up into the ceiling.

I actually had this idea to create a mega light that could blend in with a house's decor, but secretly be a photography light for taking pictures of people and pets indoors at night.

Secret Photography Light Ingredients Cheap Floorlamp Dual Light Socket Adapter 9000 Lumen LED Bulbs

(Seriously, if you put that together, stick it in a corner, and turn it on when your kids or pets are playing, you will never have another blurry photo from inside your house unless they are going full zoomies.)

If you are outside on a sunny day, don't stand in direct sunlight.

Remember, THE SUN IS ACTUALLY SMALL, angularly speaking. Find a shady spot under a tree. Or put the sun behind you and face a big white wall so the reflected light smacks you in the face.

Walls are light sources!

The ground is a light source!

Remember that moon photo?

You were looking at the sharp shadow earlier because I drew your attention to the sun being a small light source.

But the surface of the moon... HUGE LIGHT SOURCE.

How do you think the front of that space suit is lit when the sun is behind him? Either Stanley Kubrick has a big reflector offscreen or the ground is a soft second light source.

If you can't make it to the moon, just wait to take that selfie on a cloudy day. I think overcast light is a little boring, but your skin will look buttery smooth without using those stupid Facetune apps.

You can also wait for good light. Sometimes sunset has some nice, soft directional light because it has more atmosphere to scatter, diffuse, and enlarge it.

If you are indoors, don't use direct flash on your phone. Never ever use direct flash if you can avoid it. But perhaps you are with friends and they all have phones too. Use one or more phones to bounce the flashlight off a nearby wall. Or open up a paper napkin and hold it just out of frame and shine light through it and diffuse it.

A piece of paper can even work!

Flashlight 3 feet away shining directly onto my face...

Flashlight shining through a piece of paper a few inches in front of it...

Flashlight shining through a piece of paper 2 feet away that is just out of frame...

I started with a small light source.

I then made the light source a little bigger with the paper, but the diffusion was too close and it created the dreaded hotspot of doom.

And then I made the light source as big as I could by moving the paper as close to my face as possible without being in the shot. This also gave the light more room to scatter and diffuse making it homogenous.

Froggie Tip: I was using a pretty powerful flashlight, so with a phone you might get better results *bouncing* the light off the paper rather than shining the light through the paper.

So, before you take a photo, just think about how you can make your light source bigger, brighter, and more homogenous and you might be surprised how much better you look.

ANYONE CAN DO THIS!

[seafoamsol]

The best years of my life...

... what I wouldn't give to have them back.

I had the great pleasure of working with @spiderscribe on a DeadCeptor work for the @tf-bigbang, which you can (and should!) read [ HERE ]!

Details and artist commentary under the cut!

Okay, first off, I just wanna say, thank you so much to @spiderscribe for picking up my very loose scribble and taking the jump. She's an absolute champ, and I IMPLORE you to read her writing. She did a knockout job on the fic, and guaranteed, these two pieces wouldn't have been so elaborate without her. If you're a fan of deadceptor, parallels, lovers to enemies to apocalyptic teammates to ???s, I'm sure you'll find that and more in there.

[ HERE ] is the link to that, if you missed it the first time around.

The background for the supermarket was a MASSIVE undertaking. I ended up blurring it in the final to keep the dream-like quality, but there is a lot happening there! Most of the time I spent on the background was (jokingly) complaining though.

Anyone who works retail will know the agony of customer-misplaced stock. The little canisters of energon additives seem like prime candidates to be placed willy-nilly.

The little warning sign... My favorite soda, apple sidra, has a carcinogen warning, so I'm familiar with it. It was slightly surprising to me that those warnings are not countrywide, despite the fact that they very clearly say "California Proposition 65", and well. Not something else, like "Federal" or whatever.

The bags of nuts and bolts below, I asked several people what flavor they would be, and I suppose I failed in my job, because I wanted the purple to be the "regular" flavor, and the green to be the "sour". But grape and lemon-lime work as well!

The tub is full of rust-sticks. I have no idea if that came across. My friends kept calling the individually wrapped ones slim jims, which I mean, I guess!

The car batteries... My idea was that they were similar to shots, in a way? So that's how I ended up with a battery with enough terminals to rival an international airport. It's also sunset-coloured, because, I don't know, that's what Party Flavor is to me.

Okay. The second illustration. This one was a headache, mostly due to my own lack of planning, and the fact that I lost the file for... basically everything I did, including the above illustration. So it was a bit of a rush job.

The background bots started off as these very vague silhouettes, which I'm a little proud of. Look at how nice and somewhat readable they are! Okay, now what if I ruined it? What? You don't like that? That's rather unfortunate, because that's what I proceeded to do. In fact, if I take off all.. 10 or something adjustment layers, they look like this:

My process went: Shadow block> Fill rest of form> Color randomiser> Copy and skew (to populate background)> Hue adjustment> Gradient map> Fill Light> Chromatic aberration> Vignette> Levels> Curves.

The.... Magenta cube is there because due to the nature of the color randomiser, the foot had a high value, and stuck out like nobody's business in the end.

Here's what it would look like without the cube. Begone, distracting white blob! (I didn't have to worry about the lava arm because Percy happened to cover it up. What a save! But if he didn't then... there would have been a second cube.)

Basically, it was a mess. But... at least it came out fine in the end! I hope!

I'd love to have speedpaints on hand, but I was switching between CSP and PS for a good majority of the work.

I'd say that's it for these two pieces! I actually have more, but those demand more time. I'm much slower at doing inks than I am at painting, but I hope you'll get to see them soon.