#its a sepia filter over a black and white picture

[nofuckingbody]

ttdp is not black and white

[humandeposit471]

Imovie spin effect

Section 7.3. The iMovie Titles Catalog | iMovie 6 & iDVD: The.

Free VFX Results (1,907 Free) // Search HD & 4K Video Effects.

How to make a picture Translucent and spin in iMovie.

IMovie 3D Cube effect - Free download and software reviews.

Download Free Crowd Sound Effects | Mixkit.

How to Add Captions and Subtitles in iMovie in 2021 | Rev.

Bike Chain Spin Fast Multiple by Lynne Sound FX - AudioS.

What is iMovie - Everything You Want to Know about iMovie.

How To Make and Add a Watermark to Video in iMovie - iSkysoft.

How to rotate, turn and flip video in iMovie on Mac and iOS.

Mysterious background tasks in iMovie mak… - Apple Community.

Apple iMovie - Review 2022 - PCMag UK.

IMovie 2020 - Complete Tutorial for Mac - Meredith Marsh (VidProMom).

Slick Transitions & Effects for iMovie, Vol. 7, Universal Binary.

Section 7.3. The iMovie Titles Catalog | iMovie 6 & iDVD: The.

Mysterious background tasks in iMovie make program slow, unusable. I am using iMovie 10.0 on OS X 10.9 Mavericks build 13A603. The computer is a "late 2012" type iMac (2.7 GHz i5, 8 GB RAM). Even when I close all other tasks, iMovie runs so slowly as to be unusable. Specifically, it seems that every time I run iMovie, it starts some mysterious.

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MWSF 2003 - Apple Announces iLife: Boxed iPhoto, iMovie, iTunes, iDVD For US$49, Download First Three For Free. by , 5:00 PM EST, January 7th, 2003.

How to make a picture Translucent and spin in iMovie.

IMovie transition and effects plug-ins: Cube, Cylinder, Grip Flips, Accordian, Billboard, Spinning Cube, Text Blocks, Scorboards, DoublePlay, Reverso, Shatter, and 25 animated titles. From the Manufacturer. Slick Transitions and Effects are the premier plug-ins available for iMovie. Plasma effect created by thin lines of smoke moving on dark background in 4K. Abstract Light Overlay Transitions. Transparent particles goiing up with bokeh effect on dark background in 4K. Bright Panning Bokeh Lights 4K Stock Video. Artistic Brush Strokes 4K Slideshow After Effects Template. White Snow Overlay Loop. Falling Snow Overlay Loop.

IMovie 3D Cube effect - Free download and software reviews.

Transitions and Special Effects Over the years, the strength and diversity of effects offered in iMovie have been increasing. The effects come in varieties of fade in, fade out and cross-fade, which are the simplest of video effects available. In addition, it comes with film effects, for instance sepia tone along with black and white.

Download Free Crowd Sound Effects | Mixkit.

7. Split Edit to Make Videos Interesting. This effect is commonly used in the video industry as it helps to improve shots to a larger extent. The split edit effect serves producers with immense flexibility so that any audio content can be merged in any situation to make videos more effective.

How to Add Captions and Subtitles in iMovie in 2021 | Rev.

1) Select your clip in the Timeline at the bottom. 2) Click the Clip filter and audio effect button in the Browser toolbar above the Viewer. 3) When the Choose Clip Filter window opens, pick Flipped. Rotate or flip video in iMovie on iOS You can rotate a clip left or right as well as flip it vertically on iPhone or iPad. A roll of adhesive tape is dropped on the floor, it falls on its side and rolls round coming to a slow stop with a traditional increase in rotation speed. The sample sounds like a coin falling on a table coming to a suspense full halt. Ideal for foley effect or cartoon SFX. Foley, Rolling. Type.

Bike Chain Spin Fast Multiple by Lynne Sound FX - AudioS.

All My iMovie Tutorials: video shows you how to rotate a vid. Creators can easily put their own spin on a Magic Movie by rearranging or deleting clips in the simplified Magic Movie shot list, or by editing the project further. Styles can be added to change up the look and feel of the entire video. Like Storyboard videos, Magic Movies can be shared from iMovie via Messages, Mail, and on social media. Gary Rosenzweig. 11 years ago. Making it translucent (semi-transparent) is just a matter of exporting a 32-bit image with no background. If you have never created a semi-transparent 32-bit background then you may want to get the help of a friend who is a graphic artist. Photoshop is usually the tool they would use.

What is iMovie - Everything You Want to Know about iMovie.

03 Split, Trim, Rearrange & Apply Themes With iMovie Editing. 1.Apply A Preset Theme. This movie maker Mac offers a variety of attractive themes to give your video a professional look without much effort. Just tap on Settings in the upper right corner of the timeline and click on Change Theme window.. Choose a theme and click Change to apply.. Select the No Theme option and click Change to apply. In the iMovie app on your Mac, select a split-screen clip in the timeline. If the split-screen controls aren’t shown, click the Video Overlay Settings button. Set where the connected clip appears in the frame: Click the Position pop-up menu and choose an option. Add a slide-in transition and set its duration: Drag the Slide slider. MacMost Now 341: Beyond the Ken Burns Effect. The Ken Burns Effect in iMovie 09 is the default setting for photos inserted into an iMovie project. But you can use it for more than just adding a little motion. You can pan and zoom to focus on objects or move along an image. You can even zoom in and then back out and other similar effects. YouTube.

How To Make and Add a Watermark to Video in iMovie - iSkysoft.

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How to rotate, turn and flip video in iMovie on Mac and iOS.

7.3. The iMovie Titles Catalog. This discussion describes and illustrates each of the title effects available in iMovie. Along the way, you'll find out several useful pieces of information about each title: How the Speed slider affects the effect, which directions you can make the text move, if any, and when you might find each effect useful. All of our sound effects are free to download and ready to use in your next video or audio project, under the Mixkit License. Discover more royalty-free sound effects Enjoy unlimited downloads of over 400,000 premium audio tracks with an Envato Elements subscription.

Mysterious background tasks in iMovie mak… - Apple Community.

In the iMovie app on your Mac, choose iMovie > Preferences. Double-click the number in the Transitions field and type a number of seconds. Note: If your default transition duration is longer than is allowed by the available media in adjacent clips in your movie, the longest possible duration is used instead. Copy a line from TextEdit and paste it into the title block. 4. Align and trim the title to the dialogue in the audio. Drag and drop your title to the frame that begins the dialogue snippet you’re focusing on. Then, trim the end of the title to match with the end of your dialogue snippet. Get Captions for iMovie.

Apple iMovie - Review 2022 - PCMag UK.

Create a Hollywood-style trailer. Choose from a range of Apple-designed templates in almost any genre, then add your own photos and videos to the storyboard. Create a trailer. To explore the iMovie User Guide, click Table of Contents at the top of the page, or enter a word or phrase in the search field. Helpful?. WARSAW, Ind., March 1, 2022 /PRNewswire/ -- Zimmer Biomet Holdings, Inc. (NYSE and SIX: ZBH), a global medical technology leader, today announced that the Company has completed its spinoff of ZimVie, Zimmer Biomet's former Dental and Spine business. ZimVie shares will begin "regular way" trading on the Nasdaq today under the symbol "ZIMV.&quot. Start by selecting the clip you want to rotate in the Browser or Timeline. Rotating the clip in the Timeline will only rotate the part of the footage used in the project, so click the crop button to bring up more options. Click the rotate buttons to rotate clockwise or counterclockwise. It’s important to note that you cannot change the aspect.

IMovie 2020 - Complete Tutorial for Mac - Meredith Marsh (VidProMom).

How to make a timelapse with iMovie Open iMovie and create a new project. Select Movie (not trailer). Go to preferences and set Photo Duration to 0,1 second. This means that iMovie will see every photo as a video clip that is 0,1 seconds long. Also in preferences set Photo Placement to ' Crop to fill '. 57 Free Swoosh Sound Effects. Feel the rush of air or water whiz past with these free whoosh sound effects. Add sweeping and swooshing sound effects from this collection of commonly used filmmaker sounds to elevate your next project. Choose between slow or fast swooshes or magical and cinematic swooshes. All of our sound effects are free to. Free Movie Sound Effects 58 Free Movie Sound Effects. All of our sound effects are free to download and ready to use in your next video or audio project, under the Mixkit License. Discover more royalty-free sound effects Enjoy unlimited downloads of over 400,000 premium audio tracks with an Envato Elements subscription.

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Free Seamless Transitions Pack Download. 23. Free Transition Pack. This pack of dynamically animated transitioning effects for Davinci Resolve are perfect to use endlessly in all your projects. Add these stunning combination of effects to reveal and enhance your videos. Free Transition Pack Download. 24. SUALVI Mixed Transitions. If you are.

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[exosmuttytalk]

Exo’s DO MV hairstyle rating: a comprehensive list

What is Love, 2012. 

Probably the longuest DO’s hair ever been. Surprisingly, I don’t mind it. For some reason, the demarcation between the super long and super short hairs isn’t that stark. I like that. It looks super dated, tho. 

Final rating: 5/10 KS

History, 2012. 

A different version of the previous hairstyle but leaving the waves aside. I like it because it seems more achievable in his (probably) pin straight hair. Looks soft and fluffy :D

Final rating: 6/10 KS

Mama, 2012

Eh, no. He looks like a fluffy rhyno. What are those spikes on the sideburns? I bet all that fringe hair without gel to hold it flings straight into his eyes. 

Final rating: 2/10 KS

Wolf, 2013

Let’s agree that everybody looked horrendous in Wolf. Like ma boy here who could be strutting the best catwalks in Syberia but the moment he stopped walking he’d freeze to death because he’s not wearing a coat. He looks like a fluffy mushroom and I wouldn’t eat one of those.

Final rating: 0/10 KS (Shame)

Growl, 2013

This must have been the “wildest” color KS’s ever wore, right? I don’t really know about this one. I can appreciate the attempt to change the color, as it’s very obvious he’s not one to experiment much with that sort of stuff. So A for effort. Now, that fringe is all messed up. When his hair falls down naturally without being gelled up he probably has strands sticking out in different directions and all different lengths. 

Also, the more I stare at this picture, the more I can sense Uncanny Valley creeping from my toes up and I don’t like that. 

Final rating: 3/10 KS

Miracles in December, 2013

Here KS has what in my language is called a bowl cut. I don’t even know if that’s the term in English and I don’t really feel like looking it up. 

Either way, from what I’ve seen in the Korean media I’ve had access to is that this hairstyle seems to be super common among teens and young adults. That surprised me because where I am it’s a hairstyle reserved to little kids. 

I understand the appeal, tho. He looks soft and cuddly despite having been ghosted. He’s not menacing (because you can’t see his brows). Makes you want to give him hot cocoa and bundle him up inside a big, soft, fluffy white blanket.

Final Rating: 8/10 KS

Overdose, 2014

So baaaad... I mean so gooooooooood. 

I really like this one. It’s longer, but it’s longer in an unniform manner. Also, this looks like he’s woken up in the morning with each strand of hair in a different possition. He’s then washed his face and making sure he’s wetting his hair as well. He’s us’ed a comb to make a very precise parting but then hasn’t combed through the rest of the hair, so now that’s getting dry, all the strands are starting to stick up again. 

That’s very relatable.

Final rating: 8/10 KS

Call me Baby, 2015

This is one of KS’s best looks and I will die on this hill. 

It’s rather short. Blunt. Structured. Has a little flair but the flair is not too long that it sticks into his eyes. The color is natural and dark but has subtle golden and redish highlights. Looks very effortless. NOICE.

Also, filled in, strong eyebrows.

Final rating: 9.5/10 KS (Because there’s always room for improvement)

Love me Right, 2015

Ohh, yes. This is the second main contender to the first position, Again, to me this looks effortless, which is exactly the type of lifestyle I can see KS having. Chill, easy, no fuss, manageable. I woke up like this and I think I last brushed my hair two days ago. A natural man.

I love the styling too.

Bonus Chanyeol happily vibing in the brackground.

Final rating: 9,5/10 KS 

Sing for you, 2015

KS is barely visible in this MV. You know he’s there; you can feel him looming ominously around the borders of every scene. You can hear his voice. But you can’t really see him. The natural darkness of a B&W video shot in a supposed snowstorm grants a shadow for him to disguise himself into. 

That’s the reason why I’ve had to take those screenshots directly on the mv and why we can barely see his hair. But we can imagine. Looks shot and functional. Not so short and functional as it’s military counterpart. Seems like it would be nice to stroke it. It’s not flashy or attention grabbing. Discreet, but with a little room to play, represented as the spikiness of the fringe area. 

Imma give this one a lower rating because I feel there’s another hairstyle that unites all those characteristics and that both KS and I like better.

Final rating: 8/10 KS

Lucky one, 2016

This is just a shorter version of the Sing for you supposed hairstyle. It’s alright. Although it’s a little bit lazy, I feel it fits the aesthetic of the video quite well. Clean and neat. I like how his perplexed expression during the beginning of this mirrors my own façade so well every time I rewatch this MV.

Final rating: 7/10 KS

Monster, 2016

The styling of the hair may be the exact same as in Lucky One, but I don’t really care. My eyes dart directly to the bruise on his cheeks and the scar on his eyebrow. The holes and burns on his clothes. There’s something really special in a rugged man for me. 

Final rating: 8.5/10 KS

Lotto, 2016

This is a problem, because there’s two main stylings of which I hate the first one and really like the second one. In the first one, they obviously wanted him to look like he actually jumps into the cages with the roosters and physically trains them on fight. The second one looks pretty standard, soft and floofy. It’s shiny too and it looks healthy. Also I like the pirate like clothes styling here.

I’m conflicted.

Final rating: 4/10 KS

Dancing King, 2016

He doesn’t have a lot of screen time in this MV. Most of the time, he’s either on rehearsals or performing. He wears a lot of caps. I never really understand the purpose of a cap if you’re not out in the sun (or scaping fans and papparazzi). Seems easy to knock off accidentally, a gust of wind could suddenly come by and snatch it off your head. You are going to make it all sweaty because all that dancing and then you’re gonna have to stick it into the washing machine. Can you put a cap on the washing machine? Does it lose its shape or smth?

I digress. The cap is, despite all the previous reticence, one of the few accessories he seems to wear irl. So Imma going to give him a good rating for realism and for giving us a little more BTS content. 

Final rating: 7/10 KS

Coming over, 2016

It was impossible to find still of the video but he wore the same styling as in this card, We have to set things straight. 2016 was a hell of a year. They released six different MVs, one of them a collaboration and one of them in japanese. There’s just not enough time for drastic hair changes. Hair doesn’t grow that fast. And it’s easier to leave the more lowkey members in a simple style so you have more time for the not that lowkey members. I get it. Imma a bit bored but I get it.

Final rating: 6.5/10 KS

Kokobop, 2017

Yeeeeees, the change we’d all been waiting for. Aaaaand I hate it. I dislike that his hair matches his jacket. I dislike the fact that even his eyebrows look color coordinated. If it wasn’t for the blue shirt, he’d look as if he had been passed through a sepia filter. Not into it.

Final rating: 3.5/10 KS.

Power, 2017

I love this whole look. Almost everybody’s looks, in fact. It seems like it was a very fun video shooting. We hadn’t seen a KS smile since love me right. He looks so young and playful, so boyish. 

There’s not much to say about the hair. It’s all carelessly hidden under a crownless cap? and some other accessories, but we can appreciate he’s gone back to his natural color. Praise the stylist noonas. 

Final rating: 7.5/10

Universe, 2017

Ahhh, my white whale in the shape of a head. You were short and fleeting, but at least there’s a MV and a whole film to remember you. 

I love bald KS. I definitely don’t appreciate Eggsoo, but what’s not to love about a shaved head? Especially, his bald head. He’s extremelly symmetric and looks so uniform all around. It probably feels like a stroking a very dense but soft brush. He’s said himself he like this hairstyle. It’s strong. Durable. Reliable. Pragmatic. Still, soft, aesthetically pleasing. All KS really is. 

I also love the lighting and the clothe styling in this MV, it’s like a honey and caramel wet dream.

Final rating: 9,5/10 KS

Electric Kiss, 2018

There’s not much to say about this either because it’s not easily visible. Looke like he has his sides shaven. The top is definitely longer but not a lot. Unceremoniously passes.

Final rating: 6/10 KS

Tempo, 2018

I think he looks specially good in tempo. Boyish but not too much. Longer hair, which is a change. The worst part is that he doesn’t have a lot of parts and even less screen time. I love how his lipstick matches the background.

Final rating: 7.5/10 KS

Love Shot, 2018

I love this. Men driving are a kink for me. Black hair, yes. Aviator jacket, yes. Strands of hair loosely framing your face, yes. You usual stoic expression, yes.

Final rating: 7.5/10

His final MV pre-enlistment was a success. Let’s hope for more good looks when he returns.

[everlarkficexchange]

Long Exposure

Prompt 130: Katniss works as a park ranger. Peeta is a photographer/artist coming to said park to find inspiration. [submitted by @wingletblackbird​]

  Rated: Mostly General.

  Tags: Modern AU; Blink-and-you-miss-it humor; Fluffy ending. Under 5K words One Shot. Unbetead. All mistakes are mine.

  Author’s note: I wrote this piece to show my appreciation to @wingletblackbird for her hard work in my first two stories, she did a magnificent job as beta, and her story A Father Figure, it’s amazing— go read it in in the @everlarkficexchange page if you haven’t yet— also Thank you Everlark Fic Exchange for letting me take this prompt so late in the game. You guys rock and I appreciate your work greatly!

KPKPKPKPKPKPKPKP

  Peeta pulled out his leather bound booklet and smiled toothily at the cashier in the Visitors Center gift shop. “Do you have one of those seal stamp things, with the name of the park and the date?”

  The woman glanced at the small book that obviously already housed in its pages any number of those stamps from other national parks.

  She rolled her eyes like she was being inconvenienced by the question and waved a hand carelessly to the front door. “Right over there, by the free maps, same place as always. There’s a stack of slips of paper in case you need them. Some people don’t think about the seals until they’re here.”

  “I got it cover!” Peeta announced tapping the booklet against his open hand, smiling broadly at the woman. “Thanks!” Peeta waved enthusiastically, headed to the seal stamps.

  The clerk shrugged, “Good luck.” She muttered flatly, going back to looking bored and ready to turn into a stone gargoyle from not moving.

  It took him a while to visit The Great Smoky Mountains as a grown up, despite living so close the ancient mountains were practically his backyard. Maybe being so close was the reason it took him so long to come back? He had to see the rest of America first, explore the vastness of the country, learning about the amazing sights out there before he was ready to return home to the Appalachian ridges he grew up in.

  Either way, he was glad he was finally here and he had all kinds of photography equipment with him to immortalize the park in this special day; Peeta was a purist, and saw photography as an inspirational art form. He mostly worked with film and natural light, long lenses with attachment filters if needed. He could do color, sepia or black and white and that only meant multiple cameras with the appropriate film and attachment per picture, so he had on him at least three cameras ready to snap at any given time, without counting the three or four back-ups— each in its own bag— and the numerous rolls of film packed in each available crevice in his pack.

  It was lucky every single one of his numerous camera bags and pouches fit nicely into one comfy backpack, otherwise Peeta would’ve looked like a cargo mule wearing a multi pocket vest, cargo pants and hiking boots.

  While he was bent over putting his booklet with the brand new imprint of the park seal inside his pack, a Park Ranger strolled into the Visitor Center ready for a long day in the wilderness.

  The ranger’s gray eyes scanned the room, even standing on the tip of her boots so she could look between the shelves separating the big space in aisles of knick knacks and memorabilia lining the center. She finally rested her eyes on the cashier at the counter.

  “Mornin’ Ms. Ripper, do you know if my eight o’clock is here yet?” The Ranger asked in a raspy voice that somehow fit the Smokies with her heavy Appalachian accent. “Photographer fellow? I’m s’pposed to take him ‘round the park today.”

  Peeta’s head shot up as soon as he heard the ranger speak, and saw how after a moment of dead silence the clerk being as animated and helpful to the ranger as she had been to him, gave a halfhearted grunt at the back of her throat, pointing apathetically at him crouched behind the counter with the seals. The ranger sighed in aggravation and scowled at the mute gesture.

  “Thank you, Ms. Ripper.” She said to the woman, but when she turned away she muttered something like, “Is it too hard to keep things professional?”

  The ranger was petite and thin, if it wasn’t for the scowl and the no nonsense attitude she exuded, Peeta would’ve mistaken her for a teenager dressed up for Halloween in a very authentic Park Ranger outfit. That said, Peeta couldn’t help thinking the ranger was incredibly beautiful— scowl and all— more radiant than the sun, despite not being very big. She was plenty intimidating for such a lithe person.

  “Mr. Mellark,” She called expectantly, staring him directly in the eye.

  Ignoring the excited little jolt he felt go through him, he smiled politely. “Actually, could we stick with Peeta? Mr. Mellark is my Pops and it just sounds weird when you refer to me like that.” he offered jovially, extending his hand to hers, while lifting his pack with the other one. When the ranger didn’t crack a measly smile, he added the word, “Ma’am?” Like an unruly child that had just been chided for not minding his manners.

  The ranger took his proffered hand with a firm grasp and pulled him to his feet, “Ranger Everdeen.” She said, “I have a small list of items I need to go over with you before we can hit the trails.”

  “Alright, lets get on with it, then!” Peeta said smiling.

——————

  The mountain air was crisp and clean, a slight fog still clung to the peaks, but nothing too muggy. The sounds of the wild in perfect harmony with the landscape.

  Peeta had reloaded all his cameras at least once already and it wasn’t even noon yet. He had taken pictures of timid blooms dotting the trails and green lawns; majestic trees towering above his head; wildlife so unafraid of his presence, they’ve crossed the path carelessly and stopped a few seconds to ‘pose’ for him.

  His favorite moment was when a black bear cub wandered up to him while he laid behind a bush, shooting picture after picture of this family of skunks he found particularly endearing and had to captured in film. The ranger had gone ballistic when instead of moving away from the cub and let it be, he started goofing around with the curious bear, letting him play with his equipment and roughhousing with it on the mossy ground.

  After a moment, a second cub joined in the games, and the first one found a cheese bun tucked into the outside pocket of Peeta’s backpack.

  “Are you serious?” Exclaimed Ranger Everdeen exasperated, yanking Peeta up from the ground and forcing him to get away from the bears as fast as was advisable to move. “I can’t believe you just fed the bears! Have you ever heard the phrase ‘Do not feed the animals’? It’s an universal rule, not a suggestion! That’s great, just great, P— er, Mr. Mellark! Feed the bears in front of the park ranger!”

  “Uh, excuse me? To begin with, those babies stole my food without my expressed consent. They fed themselves and didn’t know better. Second I’m having flashbacks to my childhood just now… Yogi Bear would be very disappointed on you miss Everdeen.”

  “Yogi Bear was a cartoon scoundrel that knew no limits, and quite possibly gave Ranger Smith stomach ulcers, or at the very least, anxiety. Those bears back there are very real, and I promise their mama is not far. You really don’t wanna meet her if she thinks her cubs are in danger. Now let’s put some mileage between us and those black bears right now!”

  “What do I care? I have you to defend me!” Said Peeta nonchalantly, “That bio of you I read online while booking the tour says you’re an excellent markswoman with a bow and arrow.” Peeta arched one eyebrow at the ranger.

  She blushed and went momentarily stunned. “You read my bio?”

  “Of course! I was curious to see what the internet had to say about the rangers. Yours was the most impressive by far.” Peeta winked.

  Ranger Everdeen turned crimson, “I’m okay I guess.” She stuttered.

  “You’re better than okay! You’re pretty awesome!”

  The ranger shook her head, causing her braid swing widely. Then she bowed her face, so it was cover by the rim of her hat. “Did I mentioned there are wild turkeys in the park?” The ranger rasped trying to change the subject. “Can’t hunt ‘em though.” She shifted on her feet.

  “You’re pretty when you’re flustered, has anyone ever tell you?” Peeta hadn’t plan on saying that; it just bursted out of him like Mentos dropped in a bottle of Coke.

  Ranger Everdeen glared at him for a moment, pursing her lips tightly. She looked away in an effort to keep her tongue to herself, and started to search intently for signs of a mother bear chasing them.

  A moment later she responded, “Yeah. My boyfriend’s said something to that effect a few times, bless his heart. I think the poor thing is just biased.”

  Peeta frowned. “Hmm… Beauty is the eye of the beholder, but I’m siding with your… um, boyfriend on this. He sounds like a smart person.”

  The ranger smiled fondly to herself. “He’s the smartest, but sometimes his head just swells up ‘til is bigger than a house.”

  “Ouch!” Peeta chuckled, “Don’t hold back ma’am, your boyfriend won’t mind. Although I have to admit, a man that can boast of having a girl that can shoot things full of arrows, is a lucky guy in my opinion.”

  The ranger smirked. “I don’t know about that, but thank you for sayin’ so. It’s mighty nice of you.”

  Peeta nodded politely.

  The walked in silence for a bit, Peeta stopped a few times to snap a picture of a blossom here, a bird in flight there, or just freezing in time the way the sun hit the mountain tops at a certain angle; the ranger and the photographer arrived to a lake teeming with life and flora.

  A few bumblebees zoomed past the two hikers; a butterfly or two fluttered around a bush in bloom; and over the lazy water surface, a dozen dragonflies mingled and frolicked, avoiding the hungry frogs that looked at them with longing. A trio of white tailed deer— a mother and two fawns— drank from the lake at the opposite shore.

  After capturing the pristine scene in film, Peeta crouched on the grass and closed his eyes for a minute, enjoying nature through his other senses. The sound of the rustling canopy in the breeze above, the birds calling mixed with the zooming of different bugs and the croaking frogs, made Peeta want to lay down on the edge of the water and take a nap, but he had some place to be, and a pretty ranger to gawk at while she wasn’t looking.

  The woman was truly breathtaking in the wilderness. She seemed at home and she knew her park like the back of her hand. She explained everything about tracking animals, particularly bears and deer, she pointed out interesting sights to him and had quite a few suggestions of where to put his tripod for the perfect stills.

  Even the lake was her idea, and he was grateful he had let her lead him there.

  “This is truly something else.” Peeta exhaled.

  “It is. Is one of my favorite places to visit. My father used to bring me here on weekends to fish and release, and on really hot days, we even took a dip in the water to cool off.” Said the ranger with a far away look as her eyes traveled over the lake and its surroundings.

  “Those are beautiful memories. Thank you for sharing them with me.” Peeta said humbly.

  The ranger smiled at him, “the very best memories of my life are attached to this mountains. To this park.” She said wistfully.

  Peeta smiled back. “I bet you’ll have a hundred more to add to the collection soon enough.”

  Ranger Everdeen gave him a quizzical look, but before she could voice any questions, Peeta shoot up from his spot like lightning and dove to the very edge of the water, where a green, leafy plant caught his attention.

  “Hey! I know this one, although I’ve never actually seen it in person!” His smile was wide and his camera kept clicking and winding in quick succession.

  The ranger just stood there motionless, watching the man drop on his stomach— huge pack crushing his back and all— to get the angle just right. Her eyes, wide in surprise, simply followed the enthusiastic photographer, wondering if he was for real? How could someone be so exuberantly happy, just about anything they saw? It was refreshing in a way, and intimidating in another. This man with his lopsided smile, sky blue eyes and mop of wavy blonde hair, disconcerted her for sure.

  Peeta suddenly looked up startling the ranger, who turned her eyes away quickly, blushing, having been caught staring, but Peeta didn’t seem to care and simply knelt up, gesturing at the plant.

  “So, this one is Sagittaria Latifolia, the Arrowhead. Also known as—“

  “Katniss,” said the ranger giving the photographer a suspicious look. Her eyes dipped to the name tag on her shirt opposite her Park Ranger badge, with ‘Katniss Everdeen’ boldly engraved in the smooth metal. She narrowed her eyes at Peeta when his smile widened smugly.

  “No, I was going to say Duck Potato, but I guess Katniss is okay too.”

  Katniss, the park ranger, spoke softly, fidgeting with the end of her long, dark braid between her fingers. “My father had this joke, ‘as long as you find yourself, you’ll never go hungry.’”

  “Wise words. Arrowhead tubers I’ve heard are pretty delicious with garlic butter, plus ‘Katniss’ is a great name, especially for a fearless park ranger with he best survivalist skills I’ve heard off.” Quipped Peeta.

  “You’re reaching, sir.” The ranger muttered under her, breath rolling her eyes for good measure, while suppressing a smirk.

  Ignoring her remark, Peeta leaned down to pluck a three petal bloom, from the Arrowhead plant, and offered it to the ranger with a lopsided smile.

  “For you ma’am. Thank you for being such a sport so far. I know I’m not the easiest person to put up with. My mother would tell you if you asked. But you have been a perfect angel, full of patience and good will.”

  Katniss shook her head smiling sadly. “Is my job, to be patient. And you sell yourself short, mister. You’re very nice and considerate when it counts. I hope you know that about yourself.”

  She took the small flower and pinned it behind the slim name tag. The tiny white blossom popped nicely against the sage color of the ranger’s uniform shirt.

  Peeta looked at his watch and frowned. “Miss Everdeen, can we head back to the Visitor Center? I want to take pictures of some of the sights on the way, I think will make this trip exceptional.”

  “Sure. We can take a lunch break there too by the picnic area… If you’re done feeding the bears, that is.”

  Katniss gave Peeta a glare that he responded to with a wry smile.

  “Please, lead the way, ma’am.”

  As they walked, Ranger Everdeen gave Peeta this long spiel about Cades Cove history, located on the Tennessee side of the Park, and some fun facts about some of the old buildings there. A bird flew around the ranger at moment where she was just standing still pointing at some berry bush while lecturing Peeta on the dangers of eating from plants one doesn’t recognize, the little bird landed on her hat, and hopped around the rim for a second or so before taking flight again.

  The ranger let out a small melodic laugh, while Peeta kept snapping photo after photo. They were both smiling and animatedly commenting on the bird’s timing. And then, something started to bother Peeta in the back of his mind.

  He had taken quite a few pictures of the ranger in different instances during the tour, but suddenly, he felt guilty about it. Most of the pictures had been candid and without her knowledge. He thought about the fact she’d mentioned her boyfriend offhandedly earlier in the day, but he was sure the boyfriend wasn’t a common topic to discuss with tourists, which lead him to wondered how would he feel if some random guy was taking a bunch of pictures of the girl he loved without her consent? How would those pictures be used later?

  “Um, just so you know. You will be featured in a few of my takes.” He said glancing at her in the middle of her speech.

  She cocked her head to give him a better look, tipping her hat almost off her head in the process.

  “I know,” she said simply. “Thanks for letting me know, anyways. But it’s kinda hard to ignore all them little clicks while I’m trying to talk.” She gave him a pointed look.

  “Fair enough. I just don’t wanna come across as creepy.”

  The ranger laughed a bit. “I don’t think you’re creepy, but you have to admit you’re a terrible flirt, sir! Are you this suggestive with every female you meet?”

  “N-no!” He rushed to answer, his ears turning as red as beets.

  But when then ranger was smiling devilishly, “I’m just joking with ya!” She winked then.

  Peeta arched one surprised eyebrow, “Are you making a joke, Miss Everdeen?” When the ranger only gave a tight lip smile, Peeta shook his head vehemently, “I’ve travel the country from coast to coast, I’ve noticed every woman I’ve encountered… none of them have made a lasting impression, except for one,” his blue eyes glanced at the ranger meaningfully, but the woman was stubbornly staring at her boots, trying to hide an rising blush.

  “You sure know how to make things feel…” She flounder for a word.

  “Awkward?” He provided.

  Suddenly the two were sharing a laugh.

  “Alright, mister Mellark. I think we should get back to the Visitor Center for a short break.” Said Katniss taking back her Ranger mantle as she guided the photographer to a path she considered picture worthy.

  “I’ll follow your lead, ma’am, always.”

  ——————-

Exactly at 12:32 pm, the Visitor Center building loomed in the distance. The sun was high and warm, the breeze sweet and mild, the noon hour conducive to an impromptu picnic on the inviting lawns like the ranger had suggested, but Peeta kept looking at his watch, tapping the palm of his hand softly into his thigh in a spastic pattern.

  “… so although there isn’t any archeological indication that the Cherokees lived in the mountains, you can certainly find clues of their passage through them. It’s very interesting if you think about it—“

  Peeta turned his wrist up again to check the time, and the ranger frowned, pursing her lips. “But what’s most impressive about the park, is the crop circles left at the very top of the mountain by the alien invasion of 2026. You should hike up there and take pictures of it. You may win a Pulitzer or somethin’!”

  Peeta started nodding his head absentmindedly, the same way he’d been doing the last ten minutes, but then a deep frown took his face; his blue eyes cut to the ranger who gave him an innocent stare.

  “2026? That’s seven years in the future.” He accused.

  Ranger Everdeen gave him a dull ‘don’t-you-say’ glare, “Out of the whole string of ridiculous nonsense I just recited, the date is what registers with you?” She shook her head. “You know what, Mister Mellark? If I’m boring you with all the knowledge I’m trying to share with you, just please come out and say it. That way I won’t feel like I’m wasting my vocal cords on somethin’ you’re not interested in, and you can stop being so rude.”

  “I— I’m sorry. I… look, I didn’t mean to ignore you or make you feel like your time is not valuable to me; it is, really! It’s just… well, there’s something I’m kind of preoccupied about, and I really hope you don’t take this badly… but… um… there’s an ulterior reason I insisted on booking this tour with you.”

  The ranger’s gray eyes widened in alarm at the photographer’s words. Peeta flapped his arms around pathetically for a few seconds while Ranger Everdeen stared suspiciously.

  “What did you, mister?” She asked in a dangerous tone.

  Finally, Peeta pulled his cell phone out if his pocket and send a quick text while throwing nervous glances at the woman seething at him quietly a foot away from him.

  “Why don’t we go this way?” Peeta stammered gesturing to a path just shy of the Visitor Center, his hand ventured to the small of the ranger’s back and while she initially started at the touch, she didn’t move away.

  He guided the very confused woman around a bend, and there, in the green wildflower dotted meadow, sat the most elaborate picnic party Katniss Everdeen had ever seen, complete with her sister, mother, drunk uncle Haymitch, and a group of blonde, blue eyed Mellarks, all beaming at the startled ranger.

  “Peeta Mellark, what’s going on?” She turned to face him with that ferocity she always had when angry.

  But Peeta had stopped walking ten paces earlier, and by the time she had stopped and wheeled around to rim into him, he had dropped to one knee. A small white box in the middle of his palm stared her in the face.

  “Peeta Mellark… you didn’t!” Katniss Everdeen’s voice wobbled, her hand covered her mouth right as her lip started trembling and hot, fat tears started to gather in her eyes.

  A group of Park personal, including Ripper the gift shop cashier, moseyed up to the group, many of them grinning and others exchanging small roll-ups of money. Katniss’ sister, Primrose, jogged to Peeta and took two of the cameras from him.

  “Hi, Katniss… you’re doing great!” Whispered Primrose excitedly, before jogging back to the party and handing one camera over to one of Peeta’s brother’s.

  “She was involved in this, wasn’t she?” Katniss spat.

  Peeta gave her a nonchalant shrug, “Maybe? Depends on how mad you’re right now. Then it was all her idea, 100%.”

  Katniss gave a disbelieving, wet chuckle. “I swear you both are in so much trouble! You better start explaining yourself right this second!”

  Peeta’s lips wouldn’t cooperate, he wanted to

smile, but he actually winced. He tried again and again until his lips curled around the edges.

  “So… here’s the thing,” he started. “I had this awesome speech prepared, but honestly, I can’t feel my legs and my arms are tingling; I think I’m having a mini heart attack right now, so I doubt I’ll be able to remember anything I wanted to say when time came. So, first of all, I’m sorry about the speech.”

  The ranger just shook her head slowly, closing her eyes, so Peeta moved on.

  “Katniss Everdeen, I’ve been in love with you since the first day of kindergarten, the fact that it took me almost eleven years to work up the courage to come talk to you is no secret.” Peeta’s brothers elbowed each other snickering, Katniss threw them a dirty glare that shut them up instantly.

  Peeta swallowed, “You have no idea how relieved I was you didn’t punch me in the face the day I asked you to the Homecoming dance in eleventh grade, and instead accepted the invitation. I was even happier when I blundered my way into asking you out on our first official date, and you agreed to go out with me, under the condition that we came here for a hike.

  “You got me started on the magic of National Parks, and for a while there, you were the only one who didn’t think I was completely crazy for wanting a career as a photojournalist, specializing in nature and tourism. I have to thank you for encouraging my professional ambitions, despite the strain the long distance put on our relationship at times… by the way, you’re an admirable person for making this work without complaining. You’re my rock, my number supporter and fan, and I just wanted to let you know I’m here for you too. I think you’re amazing at what you do, and I’m extremely happy you get to do what you love… so, on the spirit if disclosing important information, I’ve taken a position in a magazine in Charlotte, that will allow me to stay home in Panem most of the year, and I get all kinds of travel benefits, that I can share with my courtesy spouse… but I’m getting ahead of myself here…”

  “Oh dear Lord!” Katniss covered her face with both hands for a second, and get her hands fell away, she was grinning at Peeta still kneeling in front of her.

  “Anyway. I booked a tour with you today because I wanted to ask you a very important question, and all these wonderful people gawking at us right now, are my support team.”

  Everybody laughed and cheered in the background.

  “It’s been a long time coming, Boy!” Called Katniss’ uncle Haymitch from a folding chair under a cedar tree. “Get on with it, the champagne is getting warm!”

  “Hey! No alcoholic drinks in the park!” Katniss yelled back at her uncle, who waved her off.

  “It’s sparkling apple juice, I swear.” Said Peeta to Katniss, then moved an inch to say it again to Katniss’ colleagues in the group, “I swear!” He lifted his hand in a Scouts Honor gesture.

  Again, scattered laughter met the two.

  “Haymitch is right though, keep going.” Said Katniss eyeing the box in Peeta’s hand while biting her lower lip curiously.

  “Right. So, this is the place we had our first date at back in high school, and our first kiss was right by that tree over there… I got poison ivy then, and I swear I still itch thinking about it, but I would do it all over again without hesitation, because the thing is, Miss Everdeen, you’re my whole life, and I want to grow old with you, here, in this little slice of heaven, if you’ll allow it.” Peeta scooted closer, and took Katniss’ hand in his free one while their siblings kept jamming buttons on Peeta’s cameras simultaneously. “So, Katniss Everdeen, I ask you now in your favorite place on Earth, please, will you do me the honor of becoming my wife?”

  A tear rolled down Katniss’ face, she was chewing on the inside of her lips, but she nodded with conviction. “You gotta promise me something though.” She said in a shaky breath.

  “Anything, Sweetheart.” He answered earnestly.

  “The wedding will be here, but you’re not allowed to feed the animals,”

  They both bursted out laughing.

  “Deal. What do you say? Will you marry me?”

  “Okay.”

  “Okay?”

  At her nod, Peeta scrambled to his feet, rushing to place the simple pearl ring in his new fiancée’s finger, and then he turned to their families and friends that looked on expectantly a few yards away. “She’ll allow it!!” He yelled waving her pearl clad hand in the air with his.

  Everyone cheered and whooped in the background, Peeta Mellark, the Photographer, kissed the pretty Park Ranger, Miss Everdeen on the lips and then when she was snuggly wrapped in his arms he whispered into her ear, “I wonder how much was the jackpot in that betting pool your coworkers had on?”

  “Me too? Did you bet?” She gave him a narrowed eye look.

  “Always on you, Miss Everdeen.” He kissed the tip of her nose. “Always on us.”

[housingforrent123-blog1]

The three best video editing programs for Mac

Various codec and format support is also on board. At the same time, however, this is at the expense of user friendliness. He offers video editing and video editing almost at a professional level, but some only for money. The functionality of the video software includes 3D animations, curve-based camera movements, various transitions and the mixing of audio tracks. There are up to five video and audio tracks available for video editing, which can be linked together in numerous transitions and effects. Download OpenShot for Linux, OS X, and Windows, including the daily builds. Now it is available on Linux, Mac and Windows. User-defined special effects and filters allow users who are keen to experiment to use a wide range of creative options. Preset 3D effects can also be seamlessly inserted and modified with HitFilm 4 Express. The compositing function also makes it possible to flexibly combine separately recorded 2D and 3D elements. The order of the individual tools is alphabetical and therefore does not correspond to a rating. You can edit your videos with the "OpenShot Video Editor". For example, you can cut away some areas or add color effects such as black and white or sepia. You can also set transitions between two scenes, create 3D animations or add curve-based camera movements afterwards. It is also possible to mix several audio tracks. Video editing, effects and transitions - with OpenShot it's finally easy, professional, free and under Windows, Mac and Linux. DaVinci Resolve Lite is a powerful video editor for amateurs. However, it is very versatile for performing simple tasks.

"OpenShot Video Editor" is a good video editing program that is equipped with the most important functions and supports many formats.

We have the OpenShot Video Editor with the Goal designed to create an easy-to-use, easy-to-learn, and amazingly powerful video editing program.

Probably the most popular video editing program for Mac is Apple's iMovie.

is a racing simulation game and offers many additional cars and routes for download, there are more than 45 routes and 39 cars available.

is a real-time 3D space simulation in which you can move freely and explore space and so on for scientific purposes.

They also support different codecs and file formats with FFmpeg.

2. Blender

The app is fairly intuitive and friendly, but maybe not as nifty as Apple's latest software. It supports almost all video types including MP4, AVI, MOV, AVCHD and has all the basic tools like crop, trim, cut, split and combine with just a few clicks. Then take a look at our articles on the 10 best free video editing programs for Windows or the 10 best free video editing programs for Linux. VideoPadAndroid, iOS, Mac, Windows Smaller scope than the previous versions. This also makes the video editing and editing software less complex. Finally, here is a brief overview of which video formats the individual programs support and which operating systems they run on. The open source editing software Shotcut also offers users an extensive free package with practical functions. Just as easy to use as the VSDC editor, the program allows you to drag and drop video clips into the timeline and edit them. Via the clear, tidy user interface, users can design, format and stabilize their own videos. Various preset filter functions, for example for image transitions, make processing even easier. The video editor takes into account the requirements of both professional and entry-video bloggers. Videos can be edited with over 200 fonts, and overlays like pretty filters allow numerous design options. ShotcutLinux, Mac, WindowsFree open source video editor that includes powerful effects, filters and editing features. In addition, the numerous features 4K and HD. The open source editor Shotcut is primarily known for its outstanding filters and effects. This app is a free, open source 3D content creation suite. It has a long list of essential animation features such as modeling, rigging, animation, shading, UV unwrapping, real time 3D game creation, etc. With its high-end interface, this app is a jewel in every video editing collection. You can find a short overview of the programs here - I have put together a small comparison including details, pros and cons for each program in our picture gallery. Video editing at a professional level no longer requires large investments. I looked at and compared the best freeware for editing and editing videos for you.

[metinthehallway]

2 beaches

You already know it’s sad bitch hours! I wrote this a few weeks ago after seeing this pic of harry. It’s a lil bit of Dunkirk harry and idk how over everyone is of that but here I am loving every bit of it! It’s 3.5k words of mostly dialogue telling a story and it’s a bit flowery. Hope you guys like it!

Elise sits on the splinting wicker chair, pinpricks of flecked white wood scratching along her thighs. She’s come from her present home in the city all the way to her childhood one, 2 hours south into the countryside. The late afternoon is filled with an intense orange, sunlight washes over the fields of wheat before meeting the horizon. The sun stretches as far as it can before it ducks below the earth. With a light grimace and rubbing at her legs, she turns to look at the woman next to her, wearing a near identical pair of eyes only more worn, more misted. Elise’s face instantly melts into one of comfort.

Her grandmother, Sarah, is a familiar presence, having raised Elise for the better part of her life. On this little strip of land containing rolling hills and bushels upon bushels of poison ivy, coupled with a rocky stream winding through the woods and the largest weeping willow you’d ever see, Elise found herself. She found herself throwing her body down the hills with her friends, seeing who could reach the bottom the fastest. The sleepless nights spent itching at her skin, waking up her grandmother to have her rub the special homemade salve she always had onto the agitated hives, gently singing her to sleep. The rocks she collected that were slowly weathered down by the quick moving stream, hurrying on its way to get to the seaside. The weeping willow where she learned to climb, weaving herself in and out of its large body and hiding between the curtains of greenery when life seemed too much to handle.

The day they had to cut it down, Elise cried.

Sarah cried even harder. Elise could hear it that night throughout the house, accompanied by the wind whistling and the rain hitting the roof.

Sarah kept only a piece of wood from the graveyard of branches. A jagged piece, about 6 inches wide, with the initials, “H.S. + S.J.”, lay towards the back of her dresser. It lives next to a book, a book that’s never been moved from its spot for as long as Elise had been there, collected so much dust it’s turned gray. Elise had never asked. The memory of it seemed too painful.

The two have been chatting here and there on the rickety front porch, allowing the sounds of the country side to fill the pauses and smooth out their words. The glass jug next to them clinks with fresh ice as Sarah pours her second glass of lemonade with shaky hands. Elise reminds her of her health, to take it easy on the sugary drinks as her body isn’t the best filter for her sweet tooth anymore. Sarah just scoffs, one that turns into a harsh cough, says, “This body carried 4 children, it can carry another glass of lemonade.”

Elise smiles, although it’s a tight one. All she does is care but her grandmother has always been indifferent about the inevitability of aging, staring into the future with a mask of almost boredom while her body deteriorates. Sarah’s mind, on the other hand, is as sharp as ever.

Gazing up to the empty sky where Elise used to watch strings of willow leaves swing in the breeze, she’s reminded of the carved, rotting wood sitting atop a dark cherry dresser. As the sun sets and streaks of pink and red are thrown across the sky, Elise feels an overwhelming urge to ask about it. She’s getting older and with that, the fear of going to sleep one night and waking up to a world without her grandmother in it.

She asks about the piece of bark from the willow because if not now, she never will.

“Who’s H.S.? I know who S.J. is. That’s you. But who do the other initials stand for?” Sarah pauses and blinks once, shock written on her face and glass of lemonade stuck halfway to her open mouth.

Cicadas move in the tall grass, calling out for another in the suspended air. Elise gauges the reaction as Sarah moves to put the cup down on the porch, shutting her mouth with pursed lips. She’s almost positive she won’t get an answer, until Sarah moves to get up from her cushioned rocking chair. Elise jumps up to help her, thinking that she’s just going to leave the question hanging and turn in for the night. Sarah quickly waves her off, grunting a bit as she hobbles into the house.

A little deflated, Elise sits back down as the sun disappears almost completely. If she unfocuses her eyes, she can see the faint lights of the fireflies nipping about the grass and woods surrounding her.

A few minutes pass and the screen door creaks open, causing Elise to startle and kick her drink, causing it to spill all over the worn wooden planks. She hadn’t expected her grandmother to come back. Swearing lightly, she picks up the glass and raises her head to see Sarah turning on the porch light, an unfamiliar object tucked in the crook of her elbows, folded over like she could keep it safe. Like it needed to be kept safe.

As her grandmother steps further into the yellow light cast by the dingy bulb, Elise’s eyebrows shoot up into her hairline. She recognizes the black leather book only without all the dust piled on it, the same book she’s never seen moved from the spot next to the jagged piece of willow.

Sarah shuffles over to her designated chair, rocking back slightly and she puts all her weight onto the paisley cushion. Clearing her throat, she opens the book. The splitting sound of the leather spine indicates it hasn’t been opened in years. With unsteady hands, she pulls out a frayed piece of paper from somewhere in the middle, small and rectangular. It’s the color of sand with black ink on the side facing Elise, who is unable to read what it says.

Sarah closes her eyes, sparse eyelashes fluttering onto her gaunt cheeks. “You know when people ask you if your house was on fire, what would be the only thing you’d run through the smoke and flames for? This photograph is that thing.” Opening her eyes and meeting Elise’s, she hands over the fragile piece of paper.

Turning it over carefully, as if the soft night breeze could snatch it out of her grasp, Elise first glosses over the ink on the back. The date reads out, “25th of April, 1939. H on the beach.” Turning it over, she finds herself looking into the sepia toned eyes of a young man, no older than 20, handsome as can be with curled hair flying about his face, surely from the sea breeze in the background. The look in his eyes bore into Elise’s, holding a serious yet mischievous glare. The rest of his face is in a relaxed state while he squints head on into the lens of a grainy camera. The tall grass behind him caught in mid sway has her thinking she can hear the ocean waves if she tries hard enough. Tearing her eyes away, she carefully watches her grandmothers expressions change. She’s never seen such an open book.

On Sarah’s face, multitudes of emotions come and go, passing over like clouds in the sky, the most prominent of them; anguish, nostalgia, happiness. Love. Unparalleled love. Whole heart love, the kind that seeps from your skin and onto everything you touch, spreading like the sea in that old picture.

In awe of this beautiful photograph and part confusion from the sudden openness her grandmother is showing, Elise asks an important question, the only question: “Who’s H?” Sarah’s mouth quirks up in the smallest of smiles.

“Harry,” she says, the syllables of his name cracking, like she hasn’t voiced it in decades. It sounds bittersweet on her tongue, like lemonade, though more on the sugary side. “Harry Styles. A man I loved for a very short time, and a man who left for a very long time, the bastard,” she laughs but the sound isn’t very humorous. “Just had to go and be the first to enlist. Had to leave me here on this side of the war.”

Before Elise can say anything, protest that she really doesn’t need to hear this story because of how hurt the older woman sounds, Sarah shakes her head. “I’m going to tell you about Harry. I’m going to tell you about the willow tree, the beaches. I can’t believe I’m doing this. I never even told your grandfather. How could I? I would have ended up comparing the two and that would be unfair to everyone. Fantasizing about Harry while in the arms of my husband. It was easier to try and just...forget. At least until they had to cut down my tree.

“When I met Harry, it was September of 1938. It had turned out to be an Indian summer, not cooling down until mid October. I sat underneath the shade of the willow tree, fanning myself with some paperback I’d stolen from my fathers collection. I saw Harry riding his bike, basket full of plucked berries. As he rode by we made eye contact and even from the safety of my tree trunk, I could see the green of them, greener than the curtain of leaves draping down my arms. He didn’t look away and neither did I, until he hit a rock and flew off his bike, berries flying everywhere and splattering red and black on the ground like a crime scene. He tumbled a bit onto the grass not too far away from me.

“I remember gasping and it turning into laughter. Whole belly laughter. I remember him looking up from his skinned knees, sea soaked eyes opened as far as they could in surprise. I remember his smile growing wider and wider until I thought his face was going to break in half. I’d never seen such pretty teeth in my life. I know it’s a weird thing to say. It was even weirder to think. They were neat, white little blocks that shone with his happiness. I fell in love with that smile right then and there. It was the first time I made him laugh and I told myself that it certainly was not going to be the last. I got up and introduced myself. I held out a hand for him to take, to help him up. I think I miss his hands the most.

“He said his name was Harry and he was out and about getting some berries for his mothers pie, said he got a bit lost and didn’t quite know where he was. I remember that single brown curl sticking to his forehead in the immense heat. I offered him some refuge, leading him inside this house.” Sarah waves an arm, countless bracelets jingling as she gestures to the familiar structure around them. She continues.

“This house has stood here forever, you know. It’s been in our family since it was built. If I concentrate really hard, I can still hear the weight of his steps on the floorboards behind me. I led him to the kitchen and helped him clean his bloody knees. His pants were absolutely ruined, ripped and stained with dirt. He wanted to act like a strong man, like it didn’t hurt and that he didn’t need any tending to because he could handle a little pain. But once I laid a washcloth on the broken skin, he whimpered. He was sweet and soft inside, like a pastry.”

At the sound of a sharp coughing fit, Elise is torn out of her storybook haze. Rushing inside to grab a glass of water, she hands it to her grandmother, who gratefully takes it and gulps half of it down in one sip. Sarah takes a breath, regains her composure and closes her eyes, launching herself back into the nostalgia.

“He left that afternoon with no berries and a promise that he would be back, that Friday, for a proper picnic underneath the willow. My parents came home that night to my giddiness. They kept asking what had made me so restless but I didn’t tell them, couldn’t tell them. Wanted to keep Harry a secret to myself for the time being. He seemed like a mirage, something I had conjured up in my head short circuiting from the head. I Just excused myself up to my room. That night, I took out my last sheet of canvas paper and sketched the outline of his eyes to what I could remember. I remembered thinking if I never saw his eyes again, I would at least have this.

“That Friday, he came to my house with a bouquet of wildflowers. Knocked on the door and introduced himself to my parents. Said he was a friend of Sarah’s. I loved the way he said my name. We sat in the privacy of the draped leaves and talked for hours. Ate so many blackberries I thought my stomach would turn into one. We took turns throwing the sweets into each other’s mouths and, of course, he was much better at it. They stained his two front teeth. It was the most endearing thing I’d ever seen. After that there were many more days spent together, at the base of the willow. It was smaller then. Younger.

“One day, before the first snowfall in November on a particularly cold day, he took out a pocketknife in his right hand and put his other cupped to the tree to hide what he was carving. I was laughing, tugging at his hands trying to see what he was doing. When he finally pulled his hand away, I stopped in my tracks. He kissed me then and time unfroze. That winter was full of them. The kisses. Full of more than kisses. Full of love and tenderness and nights by the fireplace under heavy blankets and the weight of his hands on my body. His hands were beautiful. Wide and blunt, a single rose ring adorned his middle finger. I used to kiss it when he got sad or frustrated, trailing my mouth up his arm, to his shoulder, dragging my lips across his neck and finally landing on his mouth. They were very pink, bowed like a dolls. I thanked the heavens everyday I got the chance to taste them.

“Winter faded into spring. The leaves of the weeping willow grew back and it became our spot again. The photograph in your hands was taken on the beach near his grandparents house that spring. They were well off and could afford a camera and, well, a private beach. He looked so beautiful pressed up against the endless ocean, I had to capture it. I wish it could’ve showed how green his eyes were, especially next to the tall grass.”

Sarah stopped for a second, opening her eyes and contemplating her next words. Elise was completely enticed, soaking in every single word down to her bones. She didn’t want to forget this vulnerable moment. All around them, the night came alive. Above them, the stars shone silver and circled their heads like halos. In the light of the moon, as well as the dim yellow one on the porch, Elise watches her grandmothers eyes well up.

“Isn’t it funny how he loved me on this beach, but died on another, miles away, a year away?” She sniffled once and that’s all she allows herself. She continues on.

“Harry took it upon himself to immediately join the war. He was one of the first waves. Sure, they were drafting everyone but he really wanted to fight. Said he was getting nowhere in his fathers small textile business. He wanted do something right, he said. When he told me, I didn’t speak to him for a week. He would come by, sit under the willow while I sat on my bed. As it was getting closer to his departure I knew I had to suck it up. This was bigger than us, as much as I didn’t want it to be. I wanted to forget about it all and stay here until the war was over. I climbed up the tree and showed him my favorite branch that was perfect to lay on, the same branch I used to sit on all the time just thinking about life in its entirety. We spent those whole two weeks before he left together, never leaving each other’s sides.

“It was the first time I’d seen him cry. It was in my arms, in his bed, the night before he was supposed to leave. He said he loved me so much it hurt him. He said he would write to me every goddamn day. He said he needed me to wait for him. I’ll never forget the shine of the ring in the moonlight. He proposed to me, tears in his eyes. I said yes. What else would I say? No? Of course not. No matter how much I hated his choice to leave, it would have never been greater than the amount of love there was in me, for him. All throughout the night the only words said were, ‘I love you’. In between kisses, in between sighs, roaming into the air and disappearing out the window. I ran my hands through his hair, I licked his two front teeth, I kissed his ring, his fingers, I stared into his eyes and found myself wanting to dive into them for the millionth time. I was hoping, hoping so hard that it wouldn’t be the last time his hands held me.

“He left the next morning. I never saw him again. We didn’t even have a body to bury. He sank somewhere off the coast of a beach in France. Dunkirk. I felt my heart shatter, the pieces floating up my throat, stabbing my lungs, cutting up the inside of me. The pain was just too great. I cried for what seemed like a lifetime. I slept with this picture in my hands every night. I started to forget how green his eyes were. Whenever I looked at the ring on my finger, I wanted to throw it in the stream and have it be carried into the ocean and the currents would bring the ring to him, somewhere in the deep. But the ocean is far too large. I wore it, for years after, telling men I was married, that I was so, so lucky. The war ended in 1945 and whoever was left, beaten and battered as they were, came home. I was bitter. How come they all survived, how come all of those troops on Dunkirk survived, but not my Harry ?”

Elise’s breath shudders. The intensity of her grandmothers words were too much. “Grandma..” she trails off. She doesn’t know what to say. How could she? “I’m so sorry. I couldn’t imagine. I don’t want to imagine.”

The older woman nods her head, a small and tired smile slipping onto her face. “These are the memories I would try to forget. I look back on them many ways,” she admits. “In anger, in sadness, in all-consuming love. Don’t get me wrong. Time lessened the hurt. If only microscopically. I took off the ring eventually and found your grandfather and created what would soon lead to you. I loved Harry so much. I still do. It’s unfair that he stays in my mind as a young, vibrant man so full of life. While that will never be what happened. While I grew old. If I didn’t have this photograph, I wouldn’t even remember clearly what he looked like. It would be watery, whittled down to only the basics; curly hair, sharp jaw, face-splitting grin. I just wish I could remember the color of his eyes. I never painted in that sketch I made. Not that I could ever do the green of them justice. I know how much those eyes loved me. I just wish I could look into them one more time, you know?” She trails off.

Elise didn’t know. She hoped she never did.

Sarah shakes her head as if to rid herself of the indulgent thought. “I’m going to go to sleep. It’s getting late and I have to run into town tomorrow morning,” she announces while slowly standing up, her body cracking under the weight. She stops and turns to face her granddaughter. “Thank you for asking about the tree. About the initials. Nobody’s ever asked. I would have never told anyone. I would have carried him to my grave.”

Elise goes to place the picture of a young man, who existed a very long time before her, into her grandmothers hands. Sarah shakes her head again. “I want you to keep it for now,” she says. “The memories are fresh enough.” She turns around and walks through the same front door she walked through with Harry trailing behind, all those years ago. It seemed like it happened in a different universe.

So much love, Elise couldn’t even dream of it. She was drained from just listening to the story. The moon rose higher and higher in the sky and the wind was starting to rattle through the house in a familiar sound. Harry existed once in this house. He knew the nooks and crannies of it intimately, just as Elise does. The childhood home took on a new form, more solemn and full of shadows. As she tip toes behind her grandmother, whose arms are slung around the little black book, she ensures she climbs the stairs safely. As her grandmothers bedroom door closes, ever so softly, Elise wanders into her old room.

Falling into bed, she puts the picture of Harry standing up against her bedside lamp, bright pink just as young Elise liked it, the sepia colored rectangle a strange contrast to the loud color. As she slept that night, fragments of green, adorned by thick eyelashes, float in and out of her dreams. And she thinks she can almost hear the ocean.

[natashafoley]

《 S O M B R E 》

Ever been really alone and bored during your holidays?

Ever been tired of meeting the same or people or not meeting people at all?

Ever got the holiday blues?

I hate getting blues, they’re torturous. All that melancholy gets addictive and it just consumes you. All you feel like is as if you’re in a Lana Del Rey music video. 

Here’s what I’ve been picturing whenever I’m listening to Lana’s ‘ Blackest Day ‘ on a loop :

A girl in a white bohemian dress with her hair done up like a hippie . She’s sitting in a small, yet very exquisite backyard garden with wrought iron furniture covered in white enamel. She’s drinking pink lemonade with sparkling champagne as the base. She’s wearing a large hat with a black ribbon tied just above its brim. Let’s say that the filter of the scene is a faded sepia with a lime green undertone. The girl, she’s strawberry blonde. her hair looks like thin threads of peach colored silk. She’s pale and has a tiny mole just below her left elbow. Slowly sipping on her lemonade, she’s thinking about those days when she’d run free and wild with her high school sweetheart. The way they’d go around places and explore them. They’d stargaze for hours every weekend and listen to the wild. Everyday after school, they would get into her new car and go for drives with the radio on and just spend time together. This is where she wishes she had talked about his future,their future. Had she asked even once what he was going to do with his life, she would’ve received much more time to accept the new beginning coming her way.

Reminiscing all this, her pink lemonade finishes and she pulls out her box of cigarettes and her 70′s lighter. She lights her cigarette with tears rolling down her face just like the drizzle that fell on the day he told her that he has to leave for he’d be joining the Navy. He told her that he doesn’t want to see her again because henceforth, her wild love will only be a distraction for him. Her baby went away. Ever since then, she has seen her blackest days. She did get over him but couldn’t get over the kind of love and bond they had. She still believes that it really was “Love”. She dug deep and searched in the darkest of corners for what she called “Love”. These dark corners drove her to an experience she hadn’t expected. The Strawberry Blonde chokes on the smoke of her cigarette every time she thinks of it. When she found out that Navy was actually his newfound girl. A girl with dark hair, slender figure, eyelashes layered with mascara and a smile that could charm anyone. A girl who enticed her Baby into a love so deep that it changed him. This is where she fell. Strawberry Blonde fell on her knees begging Sweetheart to tell her what Navy had done to him, what Navy was doing to him, what Navy was going to do to him. He never really answered her questions. All he did was quote Billie Holiday. he said “ A kiss that is never tasted is forever and ever wasted “. 

Strawberry Blonde still sits in her garden trying to accept life and people. The ways of youth. The ways of curiosity. Listening to Billie Holiday, going deeper, harder and getting darker looking for what love really is. 

[romancandlemagazine]

An Interview with Gaylord Herron

INTERVIEW ORIGINALLY PUBLISHED IN ROMAN CANDLE ISSUE 1 - AVAILABLE HERE AND HERE.

No one ever admits it, but a lot of ‘photobooks’ are pretty dull. £40 for page-after-page of po-faced portraits? What a swizz. And how about those supposedly intellectual photos which just show the corner of a hedge or something... school textbooks were more fun.

One photobook which most certainly IS NOT DULL is a seldom-spoken-of gem called Vagabond by a chap from Tulsa named Gaylord Herron. Released back in 1975, this is a bizarre ride way beyond the far side, showing such amazing sights as a pair of overweight wrestlers, a proud man’s hat collection and a teacher sat by the roadside scoffing a slice of cake.

There’s paintings too. And words about Cain and Abel and Tulsa and trips to Japan and countless other things. The whole thing is a thick and hearty soup worthy of wading through, and repeat servings are advised.

Gaylord, or G.Oscar, as he’s sometimes known, now runs a bike shop which sells affordable vintage bikes. I called up the shop phone one morning to pester him about Vagabond and anything else I could think of...

I can’t say I know too much about your home city of Tulsa. What’s it like there?

Tulsa is kind of becoming more of a cosmopolitan city than before. There’s a family foundation called Kaiser, which covers the whole country, and they built a park here, which is the most incredible thing in the world. It’s a huge, huge park, which has won the award for the most outstanding park, worldwide. He hired people from Holland to design a lot of it.

Sounds nice. How big is Tulsa? What’s the population?

With the surrounding towns around it, it’d be a million I guess. It’s not that big.

What was it like growing up there? Was it the typical America you’d imagine from films and books in the 50s?

Well, it was more of that rural kind of feel. It was an oil town—it grew out of oil. I think it became an incorporated city in 1907, so it’s only just over a hundred years old. It was built on the curve of the Arkansas River at a place where Washington Irvine and those guys used to hang out. It’s a really historic area.

So that’s kind of the hook—the river—which has been developed and exploited in all kinds of ways over the years. But now it’s kind of taking on the feel of a larger city.

When I was a kid, we grew up near downtown, and we’d ride the bus into town, because we just didn’t have the money for all kinds of things that other people had. And I remember seeing the skyline in the distance on the bus, and thinking how neatly it was done—it was good math—perfect. Of course, that skyline has been decimated since then, it doesn’t have the architectural look or the charm that it once had.

But at the same time, there’s an area in midtown that’s about nine square miles of old growth trees that are there because of the watershed coming down from that curve in the river and making it very, very fertile. You British would call it a wood.

Yeah, or maybe a ‘copse’, although not many people use that word.

There’s a lot of European paintings of that kind of thing. They haven’t decimated it with pharmacies and parking lots, although I’m sure they’d love to. I’m taking photographs of the trees to call attention to it—I wanted to make people aware of what they have in Tulsa.

Do you think people take that kind of thing for granted a bit?

Yeah, they do. There’s this dappled light at the base of these trees, which filters down through the canopy and splashes across the ground, and that has a psychological draw for people. They get into that dappled light, and they don’t really realise it’s doing something to them, making them relaxed, making them feel protected—it’s neat. But when I first started taking pictures, I used to avoid dappled light. I didn’t want it, it was too chaotic and confusing. I liked solid blocks and shapes that were well defined. But at my age now, I love that dappled light—I look for it.

From what I gather, you started taking photos when you joined the army and went to Korea, but had you any interest in it at all before then?

Not a bit—I really hadn’t. I mean my sister and I would do goofy shots out in the front with a Hawkeye camera when I was a kid, but I didn’t do anything until I got to Korea.

You see what happens is you go in there and they say, “Let’s go to the village.” And they’ve all got cameras around their necks. So by about the third or fourth trip, I went and bought a camera. I remember it was a Petri, and then after that I got a Honeywell Pentax PX.

So I’d go out, and shoot these slides—but then one day I decided to try black and white—and one of the better pictures I’ve done was on that roll, at the very beginning. It was shot out of the bus window, going down the street. I shot these guys who were out on the street, these old timers who had been in the war and were reminiscing. It was just a neat shot.

And at some point someone said, “You know you can make a print off that?” So I went into the darkroom, and I get this picture. It’s a guy on a cart eating an apple. He’s a human truck, waiting for his next job. So I print this picture of him, and it was still wet, but I ran down to the club where my buddies were all drinking, and threw this print down on the table. And they went, “Ooh, look at that! That’s great!” They were all over it, and that was all needed. So I ran back to the darkroom and I was there ever since.

You just thought, ‘right—this is what I want to do’?

Yeah. Then I started messing around with cropping and all those other elements of art. I started really examining everything, until I got to the point where I was just excessive.

What sorts of things were you looking for back then? What were you trying to show?

Chronologically, it starts with me taking pictures of people farming along the Han River. Those kinds of things that were related to a kind of rural mind-set. But then I just expanded into all other kinds of things. What I realised then is that with a twist of this, or a twist of that, you could make a whole new world out of these images. I saw the potential for all the kinds of things you could do to change the feel of a print.

And now, later on, I’ve came to the conclusion that what I was looking for was perfect math. Everything is math—the frequencies in colour, lengths and distances, ratio and proportion—and if you frame it, and put it in a rectangle, then you’ve got the potential for perfect math. Or maybe something that’s perfect on one side, but not the other side. And all those kinds of unknowns.

The eye picks it up, sees it, then the mind says, “What’ve we got here, let’s put a rectangle on it—it’s perfect.” And then you shoot! Bang! Hit the shutter! And that’s what it is, isn’t it?

Your photographs aren’t maybe what I’d think of as being ‘mathematical’— they’re not straight, stiff architectural shots—they’re loose, and some parts are blurred, but I suppose maybe they’re mathematical in the real sense… rather than someone just lining their camera up 90 degrees to a subject.

Yeah, and I’m dealing with this now in another sense. My wife died about five or six months ago, and I’m still in that in-between land. We were married 50 years, and she was part of this bike shop with me for 22 years. And when she left, I started doing something really odd. I had some craft paper on a roll, and I brought it over to my bar. I taped it down, and I started darkening these frames which I wanted to put around these old sepia tone prints.

I wanted it to be this really, dark, dark brown. Almost black—but if you look at it next to a colour it’ll pick it up and amplify it—it really incentivises the silver to pop out at you. And it’s working a charm by the way.

So I’m doing this, and I splash some ink—well actually, it’s more of a stain like what you use on furniture. And on this craft paper I’m doing this very physical, violent Jackson Pollock kind of thing, and all of a sudden, these faces are coming up out of this paper. And I’m getting pictures of my wife, pictures of my kids and pictures of people I know, coming up out of this craft paper. And you talk about loose, this is as loose as I’ve ever been.

It’s that thing of the mind joining up the gaps?

You’re looking for math, your brain is looking at what you eyes are sending in, and it says, “Wait a minute, I recognise this.” But you didn’t do it on purpose.

And another thing when you talk about mathematics… I shoot a lot of photographs at a 15th of a second—even in the bible it says that’s the twinkling of an eye. So I shoot these drive-by photographs at 40 miles and hour and I realised in looking in these pictures that a lot of stuff comes and goes in that 15th of a second that we won’t see with our eyes. It real mysterious. It’s like a no man’s land of time— a warp of time.

I suppose if the eye processes 25 frames a second or whatever it is, what’s going on in the in-between time? There’s could be all sorts of stuff.

Yeah, that’s the point… there’s stuff in there. And I’m getting to the point now where I’m seeing faces everywhere, in all kind of objects. And I’m loving it. I’ll say that if you want to get over loss, and get through the pain, use art to do it. Make that your vehicle—and use your hands!

Art is a thing that is so hard to define, but I’m starting to think that it’s picking up impulses from the past, and fitting them into your current situation. And that’s why art doesn’t have to be anything in particular, there just has to be a connection. That’s what it has to be.

When you were in Korea in the early 60s, were you thinking of making art?

No, I can remember after a couple of weeks of doing those prints, I had a photo of some laundry hanging on some clothes-lines in a house in Seoul in the snow, and I made a print of this, and I turned it on its side 90 degrees, and all of a sudden it’s like an exotic seascape. It was all being done with this white linen laundry. And I thought this was unbelievable. You could twist it, turn it, dodge it, burn it, and you could make a whole different world.

And that began to fascinate me, that you had the control there. So I would crop and crop and crop until the math was perfect. And I trained myself to look for all the elements of math. And now, at my age, I’ve realised that that’s the name of the game—recognising and making available perfect math. And you can either see it, or you don’t. It’s a weird thing… I guess it’s a gift.

The subject or the narration takes a back seat—you’re showing the math that’s going to appeal to the eye or the brain of the person looking, and then they’ll investigate further. It’s the hook that gets people to look.

So you weren’t bothered about the subject?

That’s where it started—but looking back over my old prints, I’ve realised that everything I shot early on, I continued to investigate. I love architecture, I love portraits of people, and I love those Cartier-Bresson photos… the non-events… those photos where everyone is doing something, but they’re not related. I loved those. I was always real bold about putting the camera in people’s faces. I did a whole bunch of that. I didn’t ask, and I made a lot of people mad.

Did you get much grief for doing that that?

I didn’t have to fight them off, but I’d have to push them away.

What’s your argument against people being mad about that? Surely the photo was more to appreciate the person rather than condescend.

Right, exactly. Or actually, it wasn’t so much to appreciate… I took a lot of pictures that kind of exposed people and showed some of their idiosyncrasies. I liked to do that. I was always bold like that, especially when I was doing a story for the newspaper.

I did television news too. I would always have a microphone in your face… and I had a Nikon around my neck the whole time. I was banging shots and doing interviews. And some of my best work was taken during those investigations for television. I was banging shots whilst I was doing the work—unconsciously. If I saw something and it looked right… BOOM. As simple as that.

Sometimes I think you get an inkling or a hint of what is about to happen. I think that’s what Bresson and those guys did. They were always on the shutter, just before the moment. You had to be ready before the decisive moment. I used to kiss the back of the camera when I’d hold it up to my eye. And then I’d wait and I’d wait and then at some point I’d hit the shutter.

How did you get involved with the news stuff? Did you get into that straight after you got back from Korea?

As a matter of fact I did. The first job I had coming back, I worked as the night-wire editor of an evening paper in Tulsa. I would pull the copy from the AP wire and the UPI wire and Reuters and all that stuff, and put it on the desk of the guys coming in to write about that stuff in the morning. It was an evening paper, but I worked all night long. I had the whole newsroom to myself.

And then after that, I was cleaning swimming pools, and then let’s see… what else did I do? Around that time I built a dark-room at home and I printed a lot of the stuff I’d done in Korea, and put it all together when my father died. That was in ’64. I hadn’t been home very long, so I just packed it all into my ’57 Desoto with push-button controls, and drove 90 mph to New York with all my stuff.

There I worked for a photographer called Vincent Lisanti, he had gone to Brooks, which is a school in California where people go to learn how to use view cameras and super commercial photography. When I got back to Tulsa, I moved into this apartment, and next door was a photographer called Bob Hawks, he’s turns wooden bowls now—they’ve even got a bowl of his in the White House—that’s how good he is, but he’s one eye a photographer, and one eye a bowl carver.

I said, “I’ve just come back from New York and I wanted to see if you needed some help. I worked for Vincent Lisanti.” He said, “Vincent Lisanti? I know him. I went to Brooks with him.” So he gets on the phone to Lisanti and he said, “Oh, he’s great, give him a job,” so he did, and I started travelling around shooting the Sweet Adelines.

How long were you doing that for?

That was about a year, going all over the country. It was great. I’d do the quartet portraits and all that stuff, and then I’d go out and shoot my own pictures. I was just obsessed with shooting.

And then I got a scholarship to go to Tulsa University and photograph their year-book, so I did that—shooting the yearbook in exchange for tuition. And then I just quit and joined the newspaper again, and did television news.

And whilst you were doing this news stuff, you were taking your own photos?

Yeah, but eventually I stopped doing everything and anything apart from taking pictures. But it’s expensive, and where’s it going to go? You get these pictures, but what are you going to do with them? No-one is going to hang them on their wall. It’s not the kind of thing that people use to decorate.

So that’s when Vagabond came along, in 1975. I quit my job to do Vagabond, I went to New York and stayed in the Chelsea Hotel. I think we were in Eugene O’Neill’s old room. Dan Mayo and myself spent a year doing that book.

How was New York back then?

Oh, it was great. I’ll tell you when it was better though… when I went in the mid-60s. The skies were cobalt blue and there was beautiful weather, but then all of a sudden it became smog-ridden.

What was the process for making the book? There’s a lot going on in there.

Yeah, I was using the Cain and Abel story to depict an outcome that was predicted. I was using myself, and my friend Bill Rabon, as examples of the vagabond. And that became a way for me to talk about the dilemma we’re all in right now as modern humanoids.

What do you mean by that?

I think it’s one DNA versus another DNA. There’s maybe 12 DNAs on this planet, and they’re always at loggerheads with each other—that’s my idea anyway. And those DNAs go 6,000 years back to the Garden of Eden… or maybe they go back 60,000 years? They’re all over the lot.

I’d decided that my father had died sooner than he should of, because I had a talk with him a couple of weeks after I got back from Korea, and I started to point out some of his deficiencies—I chewed him out. And two days later, he died. And I always carried that with me, and I’m still carrying that with me. So I did this book for him. He was a vagabond, and I was a vagabond.

When you talk about the dilemma we’re in, what do you mean?

It’s politics, it’s art, it’s war. It’s the dilemma, the debacle. The best example is the chimp—the young males beat each other to death, but they’re almost exactly the same, when it comes down to DNA or whatever, as the bonobo, and they just kiss all day. That’s all they do, there’s no war, they just love all day long. It’s two different wings of the same animal. And that’s kind of what we are. We don’t have enough bonobo, we’ve got too much chimp. And chimps will tear your face off.

Do you think that’s changed at all, since the 70s when your book came out? Will it always be like this?

I don’t know about that. I don’t know about where you are, but around about ten years ago I started having a feeling that we were starting to become dull normals—we were being ‘dull normalised’. You could tell in the advertising and the culture and the thoughts and the way people entertained themselves that they were getting much more like dull norms—like children, just wanting to be occupied and entertained all the time.

Nobody wants to think of better ways to organise our various cultures around the world, and help people out. I think we were much more egalitarian back then. We’re really selfish and childlike now.

AT THIS POINT WE GO OFF ON A TANGENT ABOUT DNA AND ANCIENT ASTRONAUTS. THINGS ARE EVENTUALLY BROUGHT BACK AROUND WHEN GAYLORD SAYS…

…at the same-time, I think the photographers that are serious about photography are called to do that.

Your book wasn’t just photos, it had paintings and writing in there too—a definite departure from the ‘Aperture Monograph’ style of book. How did people react to it?

That book was really well reviewed. I even got a shout-out from Robert Frank.

Did you ever meet him?

Oh no, but I’d have loved to. He was an outstanding photographer. When I first saw The Americans, I loved it. He was going around, shooting in motel rooms, on highways and all kind of things. He was trying to get the atmosphere that goes with it… the dance that goes with it. Sometimes it’s dancing inside and you’ve got to grab it… you’re obligated to grab it.

Where did all that extra stuff in Vagabond come from? How did you go about laying it all out?

Do you know who was going to do it at first? The guy who did that book Somnambulist… who was that?

Ralph Gibson?

Yeah, Ralph Gibson was going to do the book—that was who Dan Mayo was negotiating with, but then finally I said, “Do you know what? I would love to do this myself.” And so I went with it, just starting to wait for ideas… and they came. It was about that simple. It took a year to do it.

And that was the same thing as the photographs… mathematics. When it feels right, the lines are right, the ratios are right, the distances are right, and then there’s texture and colour… when all of that seems to be in balance, like a Calder sculpture, then you nail it, and you get the page.

How did people lay out books back then?

I made a dummy of the pictures and the copy and everything, and then I took it to this guy Sidney Rappaport in New York, the guy who did all the Edward Weston and Ansel Adams books. He was a great printer. He used this triple-tone, it was a lithograph kind of a thing. It was beautiful.

How many did you get printed?

I think there was 10,000. I’ve got about 300 left. People reviewed it very well, which I loved, but it was such a small niche. I tried to promote it as much as I could, but I did a horrible job. I can sell bicycles and I can talk to people until they buy a bicycle, but I can’t sell photographs.

Was there ever plans to do another book? You carried on taking pictures, but as far as I know, Vagabond was your only book.

I’m at the point now where I’d like to relocate the negatives into a collection… a museum or a school or something so they could use it for education. But I haven’t done that yet, so I may at some point try to do a couple of books.

I’ve got thousands and thousands of images, and I’ve scanned in my prints, but until I know what I’m going to do with my negatives, I don’t know whether I’m going to need to print anything else or not. I need someone to sponsor me… it’s not easy.

If you’ve only scanned in your prints, I imagine you must have countless negatives you’ve never seen before. How many photos off a roll of film would you print?

Back in 69 to 71 when I was working at the newspaper I was banging so many shots on a roll that I’d want to print half the roll. It was one after another. I made them on an Ektamatic Processor, which is an interesting aside.

Kodak made this A/B solution roller, feeder and printer. You put your Ektamatic paper in, it goes through an activator, it goes through a stabiliser, and then it comes out, you squeegee it off and set it down and it air dries.

And I made gazillions of prints, just sitting on a stool with that roller printer, and now I’m looking at them, and they’re better now than ever. They were never fixed! Somehow Kodak figured out how to make the chemicals co-exist forever… or something. And these are 50/60 year old prints. They self tone down to sepia over time, as random sulphite molecules attach to them, but the silver is still pristine.

A lot of older photographer has a mystery to it. There’s maybe not as much information in the image, so your mind has to fill it in. Do you think that mystery has been lost a little bit nowadays?

It could be, and it could be that selfies have become ubiquitous and no one thinks about any other form of visual representation. People aren’t doing much because they’re always looking at their iPhone. They’re not getting anything done. It’s seems like as a culture, we’ve made preparation for an accomplishment into the goal. “I’ve got to get all this stuff together, get my money, get all the stuff I need, and then I’ll accomplish this goal.” All the time we’re preparing for everything, we never actually do anything… we’re just preparing.

I think people don’t investigate as much. In an old article, I said that taking a photo was like a stream of water running down a bubbling brook—you reach in and pull out a few drops that you can examine. That’s what a photograph does. It pulls a drop out of the stream so that you can examine it, or identify with it, or learn from it, or even be inspired by it. Or are made comfortable by it. And that’s the beauty of it.

Whose photographs did that for you?

I liked those guys who did the ‘decisive moment’ thing, where you capture it just right. You’d have to be on top of the shutter to get that—you’ve got to be ahead of it. If not, you don’t have it—you’ve just got another dull rectangle. But that’s okay, I think those are important too by the way… they’re just dull.

But I think that permeated my thinking all along. What I was going to say before is that when you shoot that roll of film you were talking about, well, you might have six images on there that you know are good, but then there might be one down at the end of the roll… and you’ll say, “This is it! That’s the shot!” It wasn’t those six—it was that one vagabond image that you saw. You print that puppy and you love it. That’s the one that stands out. You’re talking about various levels and grades of attraction, and math.

And then there’s content. I’ve always been mindful of content. That picture of that woman holding that girl on that street corner… her face and her body attitude… it makes me cry, every time I look at it, and I don’t know why. There’s just something about the arrangement that touches my soul.

Is that because it’s figurative? There’s always going to be more of an emotion connection to a photo of a person.

Yeah, but those trees… I’m having an emotional affair with the trees right now… but yeah, people come first.

Maybe going off on a tangent here, but I’ve noticed every time you’re mentioned, it’s often in the same sentence as Larry Clark. Is that a bit annoying?

Yeah, there was a review that a woman wrote which compared the two views of Tulsa, Clark and me, and she came out eventually to say that mine was positive, and his was negative.

I suppose his wasn’t really about Tulsa, even thought that’s what it was called.

Yeah, it was about that subculture, the methamphetamine. Whereas I wanted to be as universal as possible. When I was a kid, I’d think, “Wouldn’t it be neat if you could see everything in the world?” And maybe that’s what I’m trying to do—to photograph everything and see everything? But that’s the definition of omnipresent or something, and you can’t have that. But yeah, I thought that’d be neat.

I would just like to see everything, I don’t know why. I do know that it’s a visual thing. I think there’s a speed to your vision. Sometime you can look and get an immediate read from your brain. A lot of times your brain looks at it and says, “What the fuck is this? What are you doing?” But you get this fast, fast read, visually.

I suppose your book is a good example of that mix… of seeing everything. There’s all sorts in there.

It’s a cultural dragnet, over the whole thing. The overarching drag-net.

What do you think about photography now? Do you look at much contemporary stuff?

I wonder about the people who photograph now. They’ve got their iPhones, and they’ve also got their Nikons, and they’re banging shots… but I’m not seeing anything. It might be that they don’t know how to read the culture, or maybe they’re not interested in the things that I’m interested in, but there’s a lot of flamboyance now in art.

I don’t know how to explain it, but I always wanted to reduce it to the basic elements. But now there are all these different things to make it brighter, or make it shiny… we all like shiny things. But right now I’m drawing on this brown craft paper… and that’s what they wrap fish in!

What do you think has kept you going with photography and art and everything? A lot of people eventually slow down or stop, but you’re still at it.

One of the reviewers who wrote about Vagabond said, “I don’t think Herron’s going to write another book.” And he put that thought in my head… but I’m going to do another book—I’m not going to quit just because he said I would. But it was almost like that was my message and that was all I needed to do, and that was pretty much right.

But then I discovered something when Judy died, after that I didn’t go down and print old stuff, and I haven’t been taking pictures the way I normally do—I substituted it for drawing. But I can’t do that forever, so I guess from now on what I’ll do is collate what I’ve done, and try and make it accessible as a teaching tool. But I’m not having much luck with that. That’s why I’m selling bikes.

How did you get involved with that?

It was my son. He had a job in a bike shop, and he wanted to go skiing, so his boss said I could run his bike shop whilst he was skiing. And I just fell in love with it. And we’ve had this place for 22 years now. I grew up helping my father with his business, so I knew about mechanics early on. I made my own everything—whatever I needed, I built it. So this is a hangover from that. And I love the people who come in the bike shop. This is how I maintain my contact with people. But I’m not maintaining my art, and I think it’s because I was doing it for Judy. I couldn’t wait to show her a print. I was trying to impress her, and all along, through all those decades, she supported me—she kept me going. I’d print endlessly, with sepia tone, stinking up the kitchen… and I did it for her.

But now I’m re-organising, and rethinking all of it. And right now, I’m loving the idea of drawing on craft paper. And at the same time, I’m putting a little gallery upstage, showing some prints upstairs.

I might be wrong, but you seem like a fairly deep thinker; what do you think life is all about?

I think we’re here to reproduce, and to help what we produce. We’re here to survive and to thrive. I think we get tweaked up and down from time to time as well. I think it’s pretty simple really.

We’ve got so much energy flying around the planet at all times. There are all kinds of frequencies and wavelengths, and all kinds of lanes, and some people can pick up on a lane, and some people can’t. I keep thinking of Einstein, he’s drawing on a blackboard and doing all these calculations, and he’s in a lane that nobody knows about. But that stuff, the math, is there all the time, you just have to know how to grab it. And I guess taking pictures is maybe a practice of grabbing it. You’re grabbing the math and your brain is interpreting the math.

Were there photos you wished you grabbed? Some that got away?

Oh yeah, there are a bunch of those. But like I say, there’s always that one down the end of the roll that makes up for all the bad shots—all those dull rectangles. I love to look at it when it’s on those proof sheets, I can see the math real easily when it’s reduced down like that. In fact, it becomes bolder in terms of the contrast and the shape. When you’ve got one, you’ll see it, and it’s always that sleeper that you didn’t think of.

I don’t make wet-prints anymore, I do ink-jets. I really don’t like it, but I do it anyway. There’s something about looking into that silver. Silver is eternal, and it’s going to go thousands and thousands of years on that paper. It doesn’t diminish or dissolve or anything, it’s solid, and it stays solid. It’s a very mysterious thing, it’s hard to describe, there’s a luminance that reflects back to you.

Has the computer screen ruined that?

What did Marshall McLuhan say? “The medium is the message.” That’s what I think about all those pixels running around. It just looks like faux… faux life, faux everything. But when you look at silver, you’re looking at a solid piece of material that’s been around for hundreds of years. It’s completely different.

Yeah definitely. I think I’ve got to go fairly soon so I’ll try and wrap this up a bit. What have you got on this afternoon?

I’m actually going to go upstairs and work with photographs, and then do a little work for the bicycle shop. I’m G. Oscar Bicycles in the bike world, and then I’m Gaylord Oscar Herron in the art world. I can maintain both of them though… I can chew gum and walk at the same time.

Do you think it works well together?

Oh yeah, there isn’t anything that I don’t do anymore. I keep them all separate, but it’s all one flow. The whole thing is math.

It all comes back to maths doesn’t it?

The best example of math is this; you’ve got the guy playing baseball, he’s out in the left field, and he hears the ball hit the bat and his mind records the sound. And then he sees the ball leave the bat and coming up to his right, so immediately the eye sends that into the brain and the brain looks at it and says, “Okay, start this leg and this arm and move as fast as you can into the direction that the ball is going to go to, so that you can catch it”. Think about how many calculations that is. It’s all mathematics, it really is. And then he can catch the ball with his glove. And that’s the best example of how math determines everything we do. It’s all mathematics.

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Week 1 Results!!

Week 1 is over everyone, and so here are the critiques, and winner for the week! Remember there is no elimination this cycle!

Also please be careful when you vote. Had to remove a few due to double voting or voting after the period was over. <3

The top model for Week 1, by just a few points is:

Rivienne Cotrlaint

Congratulations to you, let’s see if you can keep your place at the top or if someone else will slip in to steal it!

 Week Images and Voting will be up this Monday, 8th of May!

 Critiques and Comments (in no particular order):

Flare:

Rivienne Cotrlaint:

I love the dynamic between you and the dragon minion. It looks like you have a real bond, and your telling me a story.

Noesis Phobos:

The humor in this picture is spot on! I'm in love with the simple colors, the color filter really makes the white background pop.

Doki Kodoki:

Watch out, someone’s about to be in trouble! The contrast of this picture is super gorgeous.

Stephen

Fairbrook: You did well picking that color filter. The pose you’re doing with page 63 keeps us focused on you.

Nadede Lasalle:

Just another night with the goblins! You look like you and your little guy belongs there.

WoW Wie:

Very nice background, pose and use of the dragon minion.

Kusuh Valentione:

Nice tone and setting. Looks like you and your little buddy are taking a break from studying after a long night.

 Gangly:

Wow Wie

Rain or shine, a teacher must serve as a role model to the student! Choosing such intense weather for the story being told gives your shot an extra layer of uniqueness, and the way your dress is flowing allows me to imagine the gusty winds blowing through. The shot is well-lit with natural light and the white of your dress helps you stand out! However, I find that the camera is rather far from you, and that little Ohl Deeh is blending into the background due to the darker colors. I think to exaggerate the impression of flying, zooming in much more and tilting your camera up towards the sky would help with that, but would also serve to narrow the area of focus on you and Ohl Deeh (also the awesome weather effects)! I do get a sense of a patient and enthusiastic mentor just with your emote!

Stephen Fairbrook

I’m loving the scholarly feel from this shot! The piled books behind you, your outfit, and the filter used mesh cohesively to create that. The filter works extremely well with the greens and browns, giving your shot an older feel to it. While the background shows me your studious side, your interaction with your minion shows me a more relaxed side! The camera tilt works quite well with your scene, but I feel the angle from which it was shot could have been pushed just a bit more. The camera can become distorted with varying angles, and I think having your minion even closer to the viewer could manipulate that distortion to create a unique sense of depth!

Noesis Phobos

This is an adorable shot! The darker colors of your outfit and the Shalloweyes make you stand out clearly against the white of the snow and the sky. Your expression is warm and friendly; no wonder your little friends adore you! The slight tilt of their heads looking up at you reminds me of little ducklings, and the smaller one on your shoulder conveys a much closer relationship than what might have been had they all been following you. I am not quite sure if the camera tilt works with this shot; using no tilt to show the flat plane of snow in the background could add a more natural scenic element to the picture, but also parallel how straight you are standing. Aside from the emote, the camera tilt does create an illusion of walking downhill!

Rivienne Cotrlaint

The emote your character is displaying matches so well with Ohl Deeh’s toothy little grin! I get the feeling that you both are looking to start some mischief! The proximity between you and Ohl Deeh further accentuates the comradery between the both of you. Even the wings on your outfit mimic that of Ohl Deeh’s! The deep black of your hair contrasts heavily with your fair skin, making you pop out against the background, however, the back of your staff in the corner is somewhat distracting, not only because I see very little of it, but because it is the closest to the viewer. I think using a one-handed staff/wand would work just as well, and not detract from the emote which already conveys your shot’s mood!

Kusuh Valentione

This is very calming to look at! The soft pink of the whole shot and the bit of light coming in from the right gives the background a serene feel. Ahhhh, what’s better than sitting by a bookshelf and having your minion grab a book for you? I really do love the background and how you’re sitting against the bookshelf, but I’m not quite sure what story is being told. Your outfit led me to interpret your shot as a battle-hardened scholar taking some time to sit down and relax with a good book, but the lack of emotion on your face makes it a bit confusing. A little smile, a side glance, maybe even a grin could give me a hint as to how you’re feeling in your shot! (It’s ok to laugh at me if I completely misinterpreted that!) Your minion’s distance from the bookshelf creates a fun illusion of its arm being long and flexible, as if reaching into the back.

Nadede Lasalle

What a cool bunch! Your outfit shows a rougher exterior which matches perfectly with your gobbie friends. I really like how you are facing in the same direction as the left-most gobbie and that the light hits you both in a similar fashion; you are both the same, yet different! While I am curious as to what your shot would look like if your minion was facing in the same direction, I think the small deviation makes your friend seem a little shy! I am not sure if it is the tilt of the camera or if you are sitting on uneven ground, but your sitting position looks a little odd; the front of your leg makes me think that you are sitting flat on the ground, but the rest of your body looks as if you’re leaning on your side. I think lessening the tilt of the camera and swinging the camera closer to yourself could alleviate some of that. I also usually try to avoid having any foreground objects in my shots, but I think the metal part in your shot creates an interesting divide!

Doki Kodoki

The lighting in this shot is great! The summer vibes are coming through clearly, and with a unique twist! The emotes displayed give off a worried and cautious mood, but the location, weather, and camera tilt keep it playful! The calamari looks as if it is facing your character, drawing my eye towards you. Your guest closest to you does take some of my attention away from you because of how much light is shining on her back, as well as her being very close to the center of the image, but the distance between you and your guests in the back make it easy to identify that you and the troublesome calamari are the focus!

 Katarh

DISCLAIMER:  Everyone did an amazing job this week and nobody had a bad shot.  Choosing the order for these was hard.  My critiques are my own personal preferences, so take everything with a grain of salt.

Doki + Calamari + Bright 1

This is an excellent use of the filter to emphasize the atmosphere - bright, playful, cheery, and innocent.  (Well, except for Calamari, the only minion less innocent than Succubus.)  Your faintly terrified expression brings this composition together, and I especially like how the bottom of Calamari is cut off, so that the rest of him could be lurking just below the bottom edge. I think your screen shot tells the most complete story this week.  The one thing that would have made this better is if your friend's ... um... bum.... was not quite so dead center.  Controlling extras is hard!

Rivenne + Dragonet + Pastel 2

I love that you chose a head shot for this so you could put the focus on you and the Dragonet. Although the background isn't a big part of the composition, it's clear enough that it's Dravania, and the atmosphere with the stars in the sky is a good complement to the setup. The position of your hand makes it look like you're about to tickle him under the chin. This is my favorite this week and I can't think of anything else you could have done to make it even better. Great job!

Nadede + Gobbie + Echo

Gobbies think brown tint is goodsight!  This picture feels really cozy, and your gobbie cosplay is spot on. I'm wary of having the "odd angle for the sake of an odd angle" in the new /gpose, but in this case, it works since it gets more of you and the gobbies into the picture. The one thing that I find distracting is the giant pole in the middle - if there was a way to take this shot without it, it would have been perfect. (I'm not sure it's possible though.)

Wow Wie + Dragonet + Strengthened effects (?)

What a cutie!  I hope he learns to fly well. I got a huge grin on my face because of the false perspective that makes him look like he's standing n the island just below him, even if that wasn't intentional.  You didn't specify what your color filter was here though, and I'm having a hard time determining it from the picture.  My best guess is strengthened effects, but maybe another filter would have been better to unify the environment.  The dress is pretty but not really matching the concept of "flying lesson" - although the way it's fluttering in the wind is quite cool.

Stephen + Page 63 + Echo

Good reaction emote to the bizarre hand of Page 63 reaching up to.... do whatever it does.  I like the usage of Echo to bring a faint sepia tone to everything, unifying the minion with the background - and you, the confused librarian!  I'm not sold on the necessity of the tilted angle here, though, as both you, the bookshelf behind you, and the minion could have appeared in the frame without it.

Kusuh + Page 63 + Pastel 1

The use of the pastel filter here gives an unusual pink tint to what looks like the Thaumaturges guild. Great choice of background for Page 63. But there's a lot of empty space around you and the book, and I don't get a sense you're interacting with it, just looking at it.  I think this shot would be stronger with a tighter zoom, and perhaps an outfit more appropriate to the location.

Noesis + Shalloweye + Bright 3

This is one of my favorite filters because it can add a soft sense to any photo, and it works especially well in Coerthas.  This is an adorable concept.  I always felt cheated that we never got a bunch of Deepeyes following around a bigger one like chicks behind a mother hen, which is what I thought we'd get back with the 3.0 benchmark.  Your outfit is just right for the environment. I'm not sold on the tilted camera here though.  It makes it feel a bit lopsided, and it leaves some dead space on the edges of the shot, especially on the right side.  A tighter zoom and a smaller tilt would have made this shot much stronger.

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Then, find and follow the pages of photographers you like, much as you would follow a retailer or restaurant. You’ll likely stumble across deals and exclusive offers. Myers, for example, said he recently ran a free engagement photo session contest on Instagram.

ZERO IN ON A ‘MINI-SESSION’

Another money-saving strategy is to look for a photographer who offers “mini-sessions,” which are shorter or smaller versions of full shoots. This shorter session may last 20 to 30 minutes and result in 20 to 30 photos, whereas a normal portrait session may take 60 to 90 minutes and result in 60 to 70 images, Myers says.

“There are photographers who offer mini-sessions, and those usually occur in the busier time of the year,” Myers says. “At least in the Southwest and some other places, spring and fall are kind of the popular times to do these because the weather is perfect.”

For example, Myers estimates a photographer who offers a mini-session for an engagement may charge around $200 or $250, compared with $600 for a regular session. The tradeoff? You’ll have a shorter shooting time and get fewer images. But you might pay about a third of the usual price.

GET A WIDER ANGLE

Keep your options open beyond the first few photographers you find.

“The photographers who can afford to advertise are usually the ones who are charging more money,” says Maddie Eisenhart, a retired wedding photographer and chief revenue officer at the website A Practical Wedding.

“The people that you see a lot are generally going to be a little bit more expensive,” she says. “There are a lot of wedding photographers who are really talented who maybe aren’t the most skilled at blogging or getting their web presence out there.”

Eisenhart recommends relying on word of mouth to find these photographers. Or look at photos from weddings and other events on wedding websites or social media. When you find a photography style you like, get the name of the photographer.

Widening your search also means being open to choosing less popular days and times. Myers says you can likely find discounts if you pick “friendly dates” when photographers have better availability.

For example, since Saturdays are the busiest days for weddings, weekday ceremonies are usually more appealing for photographers.

“If you’re getting married on a Thursday,” Myers says, “you will see us fall over ourselves to try to shoot your wedding.”

SEE THE PRICE IN BLACK AND WHITE

Don’t forget the fine print. Before you agree to a photographer or pay anything, make sure you know the final price and exactly what you’re going to get. Eisenhart says to always have a contract — and to read it in its entirety.

She also advises looking through the photographer’s gallery. For a wedding, look at a complete album, as opposed to a handful of highlights. You don’t want to waste your money on a photographer who only manages to take a few good pictures for the whole event.

Ask questions such as: How many hours will the shoot take? Can you limit the number of hours the photographer is on site to cut down on the price? What will be done to the pictures after the shoot?

“Be sure to inquire about what treatments the photographer will add to the images, such as sepia tones, multiple exposures and split frames,” Andie Fowler, editor for The Bash, a party planning site, said in an email. “All of these extras can add up quickly.”

————————————————————————

This column was provided to The Associated Press by the personal finance website NerdWallet. Courtney Jespersen is a writer at NerdWallet. Email: courtney @courtneynerd.

RELATED LINKS:

NerdWallet: Engagement Ring Calculator http://bit.ly/nerdwallet-engagement-ring-calculator

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AI app transforms black and white photos into colour

An online tool has been unveiled which is capable of bringing black and white photographs to life instantaneously by adding colour to them using artificial intelligence. 

Colourisation of old images is a normally time consuming process which requires specialist training and expensive software.

The tool, ColouriseSG, is able to do it for free from only a single digital image and works on iconic historical photographs and old family portraits. 

Try it for yourself here or via the interactive tool below. 

The artificial intelligence is able to colourise images for free from only a single digital image and works on iconic historical photographs and old family portraits. Pictured is Rose Williams posing with her son Billy Williams in circa 1944 

Existing software, such as Algorithmia, was trained using 1.3 million images from ImageNet, a database of photographs developed in the US by researchers at Stanford University and Princeton University. The free-to-use AI was trained on a wider range of images. Pictured is Katharine (left) and Maria Kinsella (right) circa 1958 

It is trained on a back catalogue of old images and uses machine learning to guess what it thinks the image would have looked like in colour. 

‘The purpose of colourisation is to generate an image with colours that are plausible,’ the tool’s developers claim.  

‘It by no means guarantees that the colourised image is an accurate representation of the actual snapshot in time.’

It is also more adept at colourising images of human subjects with natural landscape and can struggle with more complex pictures. 

The free-to-use tool was developed to provide an accurate way for people from Singapore to edit their monochrome images. 

Existing software, such as Algorithmia, are trained using 1.3 million images from ImageNet, a database of photographs developed in the US by researchers at Stanford University and Princeton University.

The idea of ColouriseSG was to provide a large enough data-set to be relevant to the residents of Singapore. 

It is effective at colourising images and works better for high-resolution images but appears to provide a sepia effect opposed to a true life-like colouration. 

Tech firm NVIDIA have released several different image editing tools that are powered by artificial intelligence. 

DOES THE AI COLOURISER WORK FOR YOU? 

Journalist Stephen Matthews uploaded a black and white picture of himself as a child, taken in around 2000. He remembers the colour of his jumper and says the AI tool, while impressive, does not prove entirely accurate.

He said: ‘The tool did not appear to work on the black-and-white picture of me as a child, despite proving more successful for the more historical snaps.

‘Instead of showing my primary school jumper as a vibrant yellow, it depicts it as being somewhat a mix of pink and grey. The navy blue symbol also appears black.

‘You can tell the polo shirt I was wearing at the time was white, though my skin is arguably much more tanned than it would have been at the time.

‘The picture was taken in around 2000, when I was six years old. My parents say they were not offered the option of having the photograph in colour.’  

Pictured is Stephen Matthews circa 2000. An online tool has been unveiled which is capable of bringing black and white photographs to life instantaneously by adding colour to them using artificial intelligence

This vintage photograph from Edwardian era features two teenage girls at the seaside, one with a Lifebuoy round her neck, circa 1910. The AI-powered technology colourises monochrome images in seconds 

A group portrait of a policeman and his family, Warwickshire, 1905. A uniformed policeman poses with his wife and baby outside an unidentified house

An European migrant boy is held by his mother on ship arriving in New York Harbour with the lower Manhattan skyline in background in June 1950. The developers say the purpose of colourisation is to generate an image with colours that are plausible and not necessarily an accurate representation of the actual snapshot in time

1950s family of four walking towards the camera with baskets, beach balls and an umbrella in tow. The free-to-use tool was initially developed to provide an accurate way for people from Singapore to edit their monochrome images

A 1950s American family pictured by a riverside enjoying a picnic. The image was colourised and edited using the tool available at www.colourise.sg and  says it learns form a database of images how a black and white photograph may have looked if it was taken in colour 

Female child with mother and aunt in 1951. It is more adept at colourising images of human subjects with natural landscape and can struggle with more complex pictures

Crowds in punts on the Thames watching the Henley Regatta showing off the fashion of the day. Colourisation of old images is a normally time consuming process which requires specialist training and expensive software but the online tool is a far quicker method 

Its latest release is software which uses deep-learning to elevate even the roughest sketches into works of art.

WHAT IS MACHINE LEARNING?

Artificial intelligence systems rely on neural networks, which try to simulate the way the brain works in order to learn.

These networks can be trained to recognise patterns in information – including speech, text data, or visual images – and are the basis for a large number of the developments in AI.

They use input from the digital world to learn, with practical applications like Google’s language translation services, Facebook’s facial recognition software and Snapchat’s image altering live filters.

But the process of inputting this data can be extremely time consuming, and is limited to one type of knowledge.

The new program, dubbed GauGAN, after famous French impressionist Paul Gaugin, uses a tool called generative adversarial networks (GAN) to interpret simple lines and convert them into hyper-realistic images.

Its application could help professionals across a range of disciplines such as architecture and urban planning render images and visualisations faster and with greater accuracy, according to the company.

‘It’s much easier to brainstorm designs with simple sketches, and this technology is able to convert sketches into highly realistic images,’ said Bryan Catanzaro, vice president of applied deep learning research at NVIDIA.

What separates GauGAN from other rendering software, beyond its seemingly simple interface and application, is just how the tool was developed.

According to NVIDIA, GauGAN was trained to mimic different types of landscapes by employing the use of deep-learning software to pore over 1 million different images.  

Tech firm NVIDIA have released several different image editing tools that are powered by artificial intelligence.  Its latest release is software which uses deep-learning to elevate even the roughest sketches into works of art. The new program, dubbed GauGAN, after famous French impressionist Paul Gaugin, uses a tool called generative adversarial networks (GAN) to interpret simple lines and convert them into hyper-realistic images

The post AI app transforms black and white photos into colour appeared first on Gyrlversion.

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Utilizing CSS To Build A A Number Of Selection Test

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Franzis BLACK WHITE projects professional 6.63.03376 macOS

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