#working on making them better in terms of editing and composition

[sigridstumb]

Get out of my own way

There's a phrase that is new-ish to therapy models, one that I look at entirely askance because what is now termed "pathological demand avoidance" is what I have spent my life knowing as "self-sabotaging dumbass." In most of my life, I manage to avoid being a self-sabotaging dumbass. But in one area, that of cultural trends, it sometimes sets in. Usually to my loss and detriment.

It's just that, when I am barraged with a whole bunch of people all loving a thing at the same time (Tumblr amplifies this a LOT) it *irritates* me. This is asinine, and it makes ME the asshole were I to voice it, because oh my god, Sigrid, people love what they love! Do not squash joy in this parlous existence! But internally I resolve to never watch or read or listen to the thing in question.

Why? I dunno, because sometimes I am a self-sabotaging dumbass!

At any rate, after months of being vaguely irritated with the INTENSE love people have for Dimension 20 (it's not you! It's me! I have a problem! You go on and keep loving the shit out of what you love!) I finally saw a TikTok clip of the show Game Changer. And Brennan Lee Mulligan was hilarious and brilliant.

So, I sought out the show, Game Changer. Spouse and I both really enjoy it, and agree that Brennan is our favorite. I figure out that to watch more episodes, I should subscribe to Dropout.tv. I do, and suddenly realize that Brennan Lee Mulligan is that guy from Dimension 20 that everyone loses their goddamn minds over.

Oh. Oh!

I, with a sense of letting down some internal moral code and a pervasive feeling that I am doing something shameful, watch the first episode of Dimension 20: Fantasy High. It is, as literally everyone (not literally, obviously) already knows, very very good.

I am hooked! I have become One Of Those People! And, Sigrid, the only thing keeping you from enjoying this all along was your own self-sabotaging dumbassery!! Argh!!

ANYWAY.

For those of you who do not know, you are one of Today's Lucky 10,000.

Firstly, Dropout.tv is a comedy troupe formed out of the wreckage of College Humor when it imploded. There is a core group of, I'm not sure, 12-20 people, and they invite guests. The group does a variety of different web tv shows, some of them game shows, some skit comedy, and a great deal of table-top role playing game based improvisational theater. The members are actors, impressionists, writers, voice actors, musicians, and very skilled improv comedians.

Dimension 20 is the umbrella name for the 30-ish different TTRPG campaigns they have filmed. They play in different genres, there are a handful of GMs (though Brennan does a LOT of them,) and the player group composition shifts around a lot. In later seasons, there are nerd celebrity guests.

We, the viewer, are watching people play AD&D 5th edition. That's it, that's the show.

Except it is not at all the show! Here are some points I was not expecting:

- The production values are great. The props, the miniatures, the sound effects, the models of the combat areas, it's all great. It's the dream TTRPG set-up of my teenage years. - The people are voice actors. They are fantastic. They inhabit their characters, and it is fantastic to watch. Also, Brennan Lee Mulligan as GM does all the non-player characters. He does voices for ALL of them. - These people are all IMPROV COMEDIANS. Whatever the others say, they roll with it. Unexpected things happen constantly, both because of the dice rolls and also just because players are unpredictable, and everyone picks up the event and carries on. - They are actually playing a game, so much of what happens in controlled by rolls of dice. And everyone is pretty damn good about this. They make it work, they make the plot continue, using whatever the dice has given them to work with. They are SO much better at it than any of the gaming groups I was in! - The episodes I have seen so far are all good-natured in vibe. The people playing want everyone to have fun. They want the GM to have fun, the players to have fun, and the audience to have fun. There's no sniping except in the most friendly way, there's no sulking about bad rolls, there's no vibe-kills that I have seen.

Anyway, if you like improv comedy, if you like voice actors performing SF/F plays live, if you like other people's TTRPGs, Dimension 20 might also be for you.

[watercolorsam-arts]

Why the Minecraft Movie looks so bad

Okay, let’s see if I can make this work

Hi, I’m Watercolor, currently a student learning animation and visual effects. I’ve got some more technical explanations for why exactly the trailer looks god awful

I’m gonna do my best to explain this in simple terms, but if I don’t explain something very good, let me know and I’ll explain more. Alright, this is gonna be a long post

Starting off with the obsession with backlighting. See how it doesn’t really match the environmental lighting? That’s one of the major things that makes it look so weird to a lot of people. It could have been done to better distinguish the actors from the background, but it does that a little too well and makes them look way too out of place. The environment has a very nice constant (most likely singular) light source, which is most likely an HDRI.

An HDRI (or high dynamic range image) informs the animation software on how the scene should be lit, and is often a weird panoramic image of whatever physical area you want to replicate.

In a reverse case, adding a CG character into a real set, you could take an HDRI of the physical set, and use it to apply similar lighting. Adjustment will most likely have to be hand adjusted by the lighting team (and tbh they add a lot of extra lights in anyway. It just needs to look right) but it’s a fantastic starting point for the compositing and lighting teams.

However, the McM’s live set has way different lights set up then what is seen in the environment.

Here, for example, the live set is most likely being lit by standard 3 point lighting, which are not only the wrong color (the lighting on the environment is much more yellow) but also washes out any shadows that would help define the actors. If this movie wasn’t obsessed with backlighting, you could fix that by lighting the actors and environment from the front, but because the sun is in the back, they have to make the front of the actors unnaturally brighter to see them more properly. I have a slight idea on why the kid in red looks especially “photoshopped” in, and it’s mostly because his hoodie doesn’t have a similar reflectiveness to everyone else’s outfit, and his hair is a more neutral color, causing the highlight to be even more washed out. Also, while we’re here, the cube is a physical prop, but it was not lit up during filming, and all the light output was tossed on after. And it’s really inconsistent and honestly, lazy. For the most part they just hit it with a blue blur effect in post, it doesn’t actually cast any light.

Another major issue is the color difference between the actors and the environment. The color balancing on the actors is particularly garbage, they’re somehow desaturated while also being too saturated, I don’t know how they managed that. But the technical issue on why it looks odd, is because the physical camera cannot physically pick up the same vibrancy as the “camera” in the CG world. You might have seen an example of this when trying to take a photo with your phone, especially of a very colorful event like the sunset. It’s also why “ugly sonic” looked particularly out of place, he was 10x more saturated than anything else around him.

Having the actors on a very low effort green screen stage also completely ruins any chance of getting the proper ambient light or ambient occlusion.

Ambient occlusion is basically the bounce light from other objects in your scene, gamers might know this as a form of ray tracing (ray tracing is live changes in ambient occlusion, games without ray tracing bake in ambient occlusion to get a similar result)

When everything is CG, (again art style aside) looks pretty darn good actually!

I attempted some edits to see if anything could make it look better (left is original, right is mine), and I don’t think proper lighting or anything could actually fix what this movie has wrong with it. They should have made the whole thing animated, I don’t think any amount of bullying would fix this, the studio basically has to scrap the actors, and make new CG characters from scratch in the same style as the rest of the world.

All of this is not the fault f the animators, or any of the vfx team, they did their absolute best with what they had, this is 100% the fault of the higher ups on this project. I have no idea how this good this far into production without ANYONE saying that it was a bad idea (Either that, or a lot of people got fired, which is unfortunately a likely possibility)

[kaphzzz]

Do you use photoshop to edit your pictures? Their so crisp and clean and I just got 4k res on my pc.

If so, can you maaayyybbee give us a brief tutorial on how you enhance these for previews for tumblr. Because they always come out so clean even in the preview images.

hiii!!! omg sorry almost didnt see this! congrats on getting 4K!!! it's truly life changing *tears up*. and thanks for such a high compliment 🥹🥹🥹

i do edit my photos yes, but i don't do it in photoshop, but rather in mobile apps so i can just do it during time i cant do other stuff like on the subway so, yes, i can give a tutorial, but it's going to be general steps and guidelines :) sorry i can't give anything like photoshop specific! and i know you're only asking for editing advice but i'll go over the whole process for anyone else who wants to read this as well, so please bear with me. (and please don't take my advice too seriously, i'm only an amateur hobbyist too)

1. The base photo

So firstly, I think it's important that the base picture itself looks good when you capture it in game. With a good photo straight out of the game you can avoid a lot of further editing down the line.

One common mistake I see a lot is that the field of view will be left unadjusted to the default value, which is good for landscape shots, but for portraits it will have a wonky fisheye effect. For portraits you'd typically want to zoom in a lot so the character doesn't look super thin and distorted. In photo mode this is the "lens" option, I typically just zoom in to the max, and tweak what fits into the frame with the freecam. Here's a pic with good FOV for a zoomed in character shot vs. one with the default FOV (his whole face is skewed, as well as pupper):

Also, the in game environment is important for setting up a good shot. You'd typically want some kind of light vs. dark contrast to make your subject pop out, especially against any background. I like to use Rampage Trainer to tweak the in game time and weather and freeze them for better lighting and atmosphere, and sometimes spawn an extra light source but that's a rare case. For example, okay vs. not very okay lighting that's impossible to salvage even with editing:

I also like to blur the background and foreground in the game, with either the focus tab of photo mode or with depth of field reshade presets, because it's a big hassle to blur those during editing. It's quite subtle most of the time but really helps focus the shot on your character, especially if the background is so messy it can swallow your main subject (trees, I'm looking at you).

The photos in this section aren't edited; my point is that with good lighting, composition etc in game, your base vanilla photo can already look pretty good :D This is RDR2 after all.

2. Cropping

I typically crop my images at 3/4 or 2/3 ratio, depending on what looks better. But I think a general rule of thumb is that you want to crop your image so that the contents look balanced; I don't know how to explain this in concrete terms... Basically the same way centering your subject or cropping it by the rule of thirds serves to balance an image. All these pics are more or less 'balanced' in different ways, even though they're not straight smack centered. It's an eyeing process but I think with time it will be easier to tell how to balance your photo...

3. Editing

So! Editing!

Editing I think is just a lot of fine tuning based on what you have with the base image. Me personally, I used to do a lot of colour and lighting editing, but more recently since figuring out that you can just make your base image look good right out of the game, the editing has become a lot lighter. The game can definitely do the heavy lifting, but still editing is important.

I'll demonstrate with two images (hello my babygorls *kissy noises*):

So these two images obviously need some work. Firstly, I'll tweak the lighting, so that dark and light areas aren't too extreme, and also improve the definition/contrast, not too much, but just enough so that the subject is more defined. For Arthur's image the lighting is too murky so I used RGB curves to sort it out a bit.

Then I will colour grade it a little by tuning the warmth and the tone (not touching filters yet). For Charles, it's at night so I've made the tone a little colder for the blue, and for Arthur a little warmer, as well as some custom light patches just to make his face stand out a little more against the background. Some other mild adjustments.

Then if I think the background is still too attention stealing I'll blur it out a bit more. Again, I try to just blur it enough in game, since manually blurring is faulty and annoying.

Then if I think overall the lighting and colour is fine, I'll go through the filters the app offers to see if I can improve it a little more. Since I focus on portraits (pretty bois how could I not) and not do really cinematic/dramatic scenes I tend to stick to the more natural looking filters that just harmonise the colours a bit more.

And that's pretty much it for the editing.

On a side note, contrast is a good thing, but not limited to contrast in lighting, and not necessarily in lighting either. Contrast can be in the colour of your subject and in the back/foreground, or in the conplexity of your subject and blankness of everything else. I think for especially atmospheric photos you'd actually want less contrast for that softer feeling, and not like super hard silhouettes. So yeah, the editing process depends a lot on the image itself and what kind of emotion I want it to have.

4. Other miscellaneous things that help

Besides using mods to customise lighting and props and character pose etc. to your liking, reshade is definitely also a big help. It has a lot of presets that can help your photo to have better colours or add blur. I don't really have a recommended list since I don't remember how I set up my Reshade, but I think a lot of the most popular or built in ones work really well, just play with it and see what you like.

A mod I sometimes use for colour grading in game is the 'Seasons' mod. I don't like too much green so I often set the season to Autumn for that warmer tone to the grass and trees. The other seasons also have different colour tones so it's good for trying different tones! Without vs. with the mod set to Autumn (ignore the quality on those they are from ages ago):

5. Most importantly! Do what you think suits your visual preferences and taste!

So personally I think this is definitely the most important point! I think while you should look at others' work for inspiration and analyse what they're doing well, you should also definitely always prioritise your own preferences on what you like to see in your own pictures :D I think it's important to just do what you like in the moment instead of worrying about what's necessarily right or wrong, or looks good to others.

For example for me my style changed a lot over the past year and a half, and there was definitely a learning and realisation process along the way but I think my more recent preference isn't necessarily better and how I used to do things wasn't necessarily wrong either, it's just different taste.

Hope this was helpful!! :D

Please ask me if you've got any more questions or would like me to explain anything else <3

[eve-be-sleep-deprived]

How do you get such nice shots in captura? I wanna get better at it could you share some tips? Been trying to figure it out but I admit I'm not the most knowledgeable in photography etc.

Well.... It's a bit of a complicated process and it relies very very much on personal preference. Much like with any type of art there are different styles that each individual artist will gravitate toward. I can only show you how I do things, so I'd recommend asking other Captura folks on here about their own styles to see where our processes and preferences differ.

I'll also include some extremely helpful videos at the bottom, they go extremely in depth as to best practices and technical exploits.

Alright, lets get started with the background stuff... the tools! ReShade: Shader injection, a MUST if you want to take dynamic and customized captura without using a program like Photoshop to do everything in post.

SRWE: Simple Runtime Window Editor.... the god among programs... It's an upscaler, allowing you to increase the resolution of the game beyond the bounds of your monitor. It's how I was able to get 15K panoramas at one point in time.

Any image editing software. Since I rely mainly on compositing to get the lighting I do, I need something to overlay and mesh the images with. I use GIMP cuz it's free, but even Microsoft Paint will work as soon as it add the ability to layer images.

Those are the tools... what about the tactics?

Well, I generally prefer moodier shots with the Warframe being the central focus (though, that's also the side effect of me cropping the image). Just a note! Moody doesn't mean dark, moody is the enigmatic space between dark and light where there is more dark than light... but there's still a good amount of light to be had. Occasionally you can have overexposure in a moody shot even.

Important to note, the overall exposure level of the environment, even is the scene lighting is low, will effect how brightly your Warframe can be lit. Both the Scene Light and Exposure sliders need to be fine-tuned otherwise you won't be able to light your Warframe at all.

Now, for shot composition I prefer low angles with either a cluttered but familiar/recognizable background, or a simple but abstract background. The Subject, be it a Warframe, an enemy, or an NPC, reside in the center with their feet out of shot.

Like so:

Each of these shots also demonstrate well the way I like to pose my subjects: Symmetry and.... not... not symmetry. The official term for this is Contrapposto, which is Italian for Counterpoise. Basically, even though the Wisp is sedentary, her body is still giving off the impression of movement based on how her waist is curving and hips are tilted, forming a loose 'S' shape. There's a handful of animation sets, Khora (Urushu) Noble, Mesa Noble, and Wisp Noble are excellent for this.

Some examples:

But... what about the lighting? This is where things get technical. So, the standard Captura's three-point lighting system is generally inadequate at properly lighting the entire Warframe. This is where compositing enters the picture, in a very literal sense. Each of these shots, shown above, are composites of between two and four separate images, each with different lighting angles. I actually have an example I made for an earlier explanation made already (thank goodness)

Getting the different lighting angles is really simple, just rotate the 3-way lighting without moving the camera. Then you overlay them in some photo editing software and just start going layer by layer, erasing bits of the topmost layer to reveal your desired highlights or shadows from the shot underneath.

Don't feel obligated to do this compositing process though! Sometimes the 3-way lighting works perfectly well for a shot or environment, don't feel obligated to complicate this process.

And this segues in nicely to the final part of the shot-making process, post-processing and fog layers.

Now, fog layers are important to the overall appearance and vibe of my Captura. They add texture the image that the game doesn't impart naturally, removing large swathes of solid color from the background and foreground. An added bonus is that the added texture makes the image look somewhat better (imo) when compressed, or when viewed at lower resolutions.

The same image with and without Fog

This shot contains two individual fog layers, one in the foreground, washing out the foliage, giving the general uniformity of it texture and implied depth, it also serves to cover up the manual blurring I did (poorly) around his legs. Then there's the background Fog, which is the deeper blue you see in the sky. It adds a more dynamic air to the generally dour set of greys. And, again, the fog is just something I personally like to add, even if it doesn't serve a practical purpose in a shot. No shade if someone feels the fog ruins the shot, I almost always keep a fog-free version about.

After the fog is added, blended, and blurred slightly, I will apply a few gentle blurring filters to remove any jarring or jagged pixelation from the shot, giving the Frame a somewhat smoother appearance and reducing the file-size dramatically.

That's just how I do it though, it's not a particularly popular style, but it's how I do it and how I love to do it! :3 Remember to ask around, I'm sure there's lotsa Captura Artists out there willing to explain their methods and processes.

Helpful vids! How to Captura by Vash Cowaii Hotsampling in Warframe for High Res Shots by PurpleFlurp

good luck, and happy snapping!

[ae-neon]

Jujutsu Kaisen s2 ep3

Overall I'm enjoying this because it's jjk but I have a few gripes ngl

Scroll away if you might be upset by a less than glowing review

I'm so sorry to these mappa employees and I completely understand why they went with the less detailed look but 😕 idk man

(I'm not bothered by the new style, I loved ep1 and enjoyed ep2 for the most part)

BUT

There's something missing in the weight and impact of the fight scenes. Kuroi and Geto's fight scenes in ep 2 didn't even make sense. Even the blood splatter looks a little lifeless.

There's a reason the more detailed, less "pretty" and a little rigid style worked for jjk. I understand that this season has better animation, background work and composition but there's something off in the feel of it

I also think they could have adapted and arranged this episode a little different from the manga. Like:

Reveal Geto and Gojo's thoughts on the merger and letting Riko go while they watch her at the aquarium

Give us a view of how Gojo sees sorcerers and humans and the CE they have or give off and then show us none coming from Toji to show us his invisiblity. Then have Gojo inner monologue about how that's impossible, but quickly move on to "if that's the case, it must be heavenly restriction allowing him superhuman abilities" or something

(jjk isn't really a hand holding show but some anime onlys haven't heard the term in 3 years, they might not know what he means)

Show Riko thinking about growing up with Kuroi while she's at the aquarium so we don't have 1 relatively silent montage followed by another

Show Geto looking at Kuroi holding back tears or having a trembling lip before she says she can't go any further

Show Gojo using his six eyes to figure out the inverted spear of heaven's ability then just have Toji say the name

Idk, I can't think of anything else rn but in all honesty, the impact of the fights not hitting quite as hard is the most worrying considering there's gonna be non stop action for more than half the season

I understand that with how much needs to be adapted, it wouldn't be practical to do what Sung Hoo Park did in extending and adding to the fights and I might be proven wrong when Gojo v Toji continues

(plus this can and might be addressed in a Blu-ray edition)

But I still think it's a shame that 3 out of the 4 fights so far haven't hit the way others in jjk have. Season 1, imo, put as much weight into even the smaller fights

Idk, maybe I'm just bugging. Don't kill me, I just needed to rant

(s2 still above and s1 still below)

Someone posted this on twitter and (again I don't dislike the s2 look BUT) I can't deny that there's something special about the aesthetic of s1. Like his eyes don't just have a glow filter look to them, they have the actual sky. I understand and respect that they probably don't have the time to animate that anymore but I'm allowed to say I prefer it

Idk s2 kinda looks like an AI art

[toffabergphotography]

An interview with my self – 2023

1. What is the one thing you wish you knew when you started taking photos?

2. How did you get good at photography?

It happened during a moonlit night under a starry sky. All of a sudden a beam of light shone down upon me and an ominous voice spoke to me: “Now you’re good at photography!”.

All joking aside. There is one way to get good at photography, and that is to work at it. You need to put in the hours learning the principle of photography. Get your horizons straight. Learn how to use depth of field. How different shutter speeds convey different things. How ISO impacts your images.

Or more correctly, learn how the concept of ISO (ASA) in an analog sense impacts your images as ISO in the digital age is not that big of a thing anymore. Technology has come so far now that ISO in these days is more of an ND filter for your camera than it was in the days of analog film. Yes, a slower ISO will yield a cleaner file in terms of noise, but with today’s quality on high ISO like 800 and 1600 is far superior in that regard than earlier. Beside this you also have composition and image editing as well. 

3. What gear do you use?

The one I have at hand. Last time I answered this question I elaborated in more detail about this but I won’t this time. What gear you use has in a general sense not that much impact on your photography. When you start out you often think that gear has so much to do with what type of images you’ll be able to capture. That the latest camera will make you take better images. The reality is that gear plays a far smaller part in that equation than most think. It’s not the pots and pans that make a chef create a good meal, it’s the skill. The knowledge of the ingredients and how to employ them in a dish. Yes, there are some gear that is needed to achieve certain effects like a circular polarizer or a flash.

But having a limited access to gear will also help you solve problems in a more creative manner. By having let say just one speedlight you’re forced into making it work for you. Same goes for having a limited range of focal lengths. Also, if you don’t have the skills to capture a good image you won’t get a better image with lets say a Phase One medium format digital back. All you’re left with is a higher resolution garbage.

But to tackle the question more directly, I personally have used Nikon for 20 years. Both analog and digital. My personal reason for this is that a Nikon feels good in my hand and they are mostly built like tanks that can take whatever beating you throw at it and come back for more. Also with the old F-mount one was able to use a vast array of lenses that date back to 1957.

With regard to lenses, I have for the last 13 years favoured Tamron zoom lenses. The reason for this is that it presents a good mix of quality versus price. This is what makes up the backbone of my gear roster. I also still use filters when I shoot, like ND-grads and ND-filters. My philosophy is that I want to get my exposure right on location instead of blending different exposures in the digital darkroom later. With regards to bags and backpacks I like F-Stop backpacks as they have great quality and modularity. When it comes to tripods I use Feisol legs and either a geared or 3-way head over a ball head as I’m not comfortable with ball heads for the way I shoot.

4. Which lens is your favourite? Why?

I don’t have a favourite lens in that sense, but my most loved lens is my Tamron SP 28-75mm f2.8. The reason for it is that that lens has never let me down. It has taken whatever beating I have thrown at it and like Oliver Twist has come back asking for more. That lens covers the majority focal lengths I often use, and also it has the bonus of having a manual aperture ring which lets me use it on both my digital and analog camera.

5. When you go out to shoot, do you take any essential items other than a camera and lens?

6. Among the photography gear that you’ve purchased, is there something you wish you hadn’t bought? Why?

That’s hard to say. As I said, gear is not the most important part. One will always end up with gear that one regrets buying. Unless one has the chance to rent every bit one needs in advance you need to take chances on things and hope they solve your problem. But if I should say one thing it has to be aluminium tripod and not saving up for a carbon one right away. 

7. What are your favourite settings?

8. What kind of tools do you use for post-processing? What’s your workflow like?

I use Photo Mechanic for import and sorting plus to add IPTC data for my images. After I finish in Photo Mechanic I move the images into Capture One. Since Capture One has the option to use both Sessions and Catalog, I first move the images from my import folder into a Session that’s named by year and which sit in the overall hierarchy based on the main subject. For a more specific job/shoot I use a Session name for that job/shoot. 

After I have moved the images into a Session folder I start a more detailed culling process where I find the keepers I want to work on further. From there I cull them further into what will be my limited edition prints and what will end up as my stock/regular print editions. For concrete jobs/shoots I only cull my images into selects and output them from that specific Session. I cull my images by star ratings and use colour tags to denote if an image is finished or not. 

Once the culling process is done I broadly tweak the RAW-files in Capture One. I only focus on getting the image closest to how I want it to look and then I export them into TIFF master files which I then finish in Photoshop and NIK Software. Also I don’t do my dust removal in Capture One. Photoshop is a far superior engine for that job.

Once I get the image into Photoshop I first start with the dust removal before I move on to the final edits. After dust removal I move into different NIK Software plug-ins depending on what the final output will be. Most often I start in Color Efex where I work the colour aspect of the image. I further tweak my edit from Capture One here. If the final image is gonna be a colour image, this is where I leave editing the image and move to clean it up if needed before I call it done.

If I’ve decided that the image is a black and white I move onto Silver Efex. In Silver Efex I work on the image as if I was to work on it in an analog darkroom. To go into specific details here regarding each slider would make this section a book. So I leave this for something I might write about in the future. After I’ve developed the image to where Silver Efex can’t help me any more I revert back to Photoshop where I do my final retouching. Removing parts that don’t support the image as a whole. This is something I would have burned in if I were to do it analog or that I would employ traditional retouching to remove. 

When I view the image as done I flatten the layers and save it as TIFF-file. I flatten the layers because I regard my image as a print, and I will not do any further edits to that version besides going back to do some minor cleaning that I might have overlooked earlier.

9. Out of all your photos, which one is your favourite? Why?

10. Whose work has influenced you most?

First and foremost I have to say Ansel Adams and Joe Cornish. Both of these have influenced me the most, but they are not the only ones. Over the years others have also influenced and inspired me. W. Eugene Smith is one that is not a landscape photographer but who also had a great influence on my work. Mainly his use of light and contrast. In the later years I find that photographers like Ben Horne have influenced me. Not so much in terms of technique but in ways to approach the scene and how he works with his subject matter. 

Beside purely photographic influences I’m also very inspired by the Norwegian national romantic painters of the 19th century. Painters like J.C Dahl, Hans Gude, Thomas Fearnley, Theodor Kittelsen, August Cappelen, and Lars Hertervig. This has very much to do with my national identity and my love for Norwegian nature. 

[blackfern]

self-love time! talk about which ones of YOUR creations (edits, artworks, fanfics) you like the most then send to other creators to do the same 💜

HI SALEM :D i won't be passing this on to other creators because i have an aversion to sending chain asks but i will gladly take this opportunity to talk about my edits.

so i feel like i'm kind of an outlier in the ts4 editing community because the edits i tend to be the most proud of have less of a focus on the sims themselves and more to do with the text on them. i tend to have a lot more fun with these too! i'm not confident with my ability to edit sims yet so when i put the focus on the text in the image and go for a more typography-inspired approach i feel like i'm happier with the work i create.

i'll talk a little bit about my most recent edit in regards to that. for this one i actually reused a couple of elements from an edit i did about a year and a half ago not related to the sims, i'll compare them side by side so you can see:

i kept the orange, white, and teal colour scheme and i'm pretty sure i used the same fonts for the title too? i think i prefer the composition of the one on the right more but i don't think that detracts from the one on the left at all, i still like them both. i had just as much fun creating the one on the left as i did the one on the right! but in terms of preferring to make edits where the focus is on the text rather than the sims, i pulled these two up to show that it isn't really about the sims themselves for my edits and that i'm just as capable of producing edits that don't have anything to do with the sims at all.

another edit i had a lot of fun with was this one:

this isn't even my sim! she came from @/vampiremilfs' screenshot folder. this was from when i was just coming into my text-based editing style and it turned out to be one of my favourite edits i've ever done to this day. another little tidbit, this was from before i decided to 🏴‍☠ photoshop and i used an in-browser photoshop clone called pixlr, which is really beginner friendly but has a fair amount of features missing. i could probably do a lot better with the resources i had today, but i don't think i'd be able to capture the pure "fucking around and finding out" energy that came with my experimentation during this period.

and this has nothing to do with anything i've just said because there's no text on this one but i did also wanna bring this one up as an honourable mention:

i have a couple of nose presets in my game that cause this weird glitch where it turns the entire sim completely black? and it's weird as fuck but i took advantage of that to create the hands for this edit. i actually don't like this edit as much, i think the face looks weird and i'd like to get better at editing before i give this one another shot, i just thought it'd be funny to include that tidbit because i'm proud of myself for using something broken to my advantage LMFAO.

[shadowetienne]

Etienne’s Top Fives of 2022: Kpop Edition - Girl Groups

Now we’re on to Girl Groups!  If you want to see what else I’ve already done in these Top Fives, you can look at the Roundup Post. You can find that post linked in my “The Hoard of Interests” (it’s an about me), and if you want to request any Top Fives that aren’t already on the list, feel free! I will answer any asks about that, but may or may not choose to fill requests based on if I feel like I can make a good list.

I had a much easier time with this list than Boy Groups, probably mostly because the last couple years have seen me losing several long term favorite girl groups (CLC, Lovelyz), so there’s more space in these lists for new groups or groups that had been hanging out in the peripheries of my interest for a while to jump up places. That also means that there are some groups high on my list that I don’t know that much about other than really liking their music so far.

If a girl group has had subunits or members doing things solo, I consider that part of the group’s body of work for the year as long as they’ve also done some full group stuff. If only a subunit has been active, they’d probably get considered a girl group for the sake of this (unless they’re a duet, in which case they’d be considered that), and if only solos have been active, then they’d go in with solos.

The list with representative MVs is under the cut!

Here’s a shoutout to the girl groups that made my preliminary list with their MVs that I watched from this year (in the order I wrote them down over the course of the year): Mamadol (“Wooah HIP”), Viviz (“Bop Bop!” / “Loveade” / “Rum Pum Pum”), (g)i-dle (“Tomboy” / “Nxde”), Ive (“Love Dive” / "After Like"), bugaboo (“Pop” I’m so sad they’ve disbanded), Lightsum (“Alive”), Fromis_9 (“Stay This Way”), and Purple Kiss (“Nerdy”).

5) KARA

Look, Kara was one of my favorite girl groups when I very first got into Kpop back in 2011. This song is so very them while still showing how they’ve grown and matured over the years. What a spectacular 15 year anniversary comeback! I kind of hope that this is the start of them doing more stuff together again in the future, but I’m not holding my breath. I love “When I Move” so much, and I love that they’ve been performing a ton of my old favorites of theirs on shows.

Biases: Gyuri

4) Dreamcatcher

I’ve been on the verge of getting seriously into Dreamcatcher for some time now. I consistently like their music, and I think that “Maison” (above) and “Vision” (https://youtu.be/jKrJBVLnRiM) both being such incredible songs, and them still going strong when I’m losing other groups that I’ve liked for a long time is a sign that it’s the time to really dig into their stuff and get to know them better. They’ve got such good music, and I already know that I really like some of the members individually. If you are a mutual who likes Dreamcatcher, throw me some of their behind the scenes stuff or variety shows or something so that I can learn more about them?

Biases: Handong, Jiu

3) WJSN

It’s been a good year for them in terms of recognition, though a bit of a rough year for one of my biases (Dawon). Overall though, their music this year has been so good! “Last Sequence” (above) was a brilliant showing of their voices and ability and just the kinds of really good songs they make. The album as a whole was also so good, but most of all, I loved “Stronger” (https://youtu.be/f-SwNrl2ax4 a live version), Dawon and Yeonjung’s song. Dawon being on the composition/writing/production team for this song, and just delivering something so very heartfelt and compelling, that really uses her amazing voice in conjunction with Yeonjung’s, was what I really needed from her return. Honestly, it’s one of those songs that might be even better live than in the studio recording.

Biases: Dawon, Luda

2) Rocket Punch

It’s weird to have Rocket Punch be one of my longer term favorite girl groups now, considering my brain definitely labels them as a pretty new group still. I loved both “Chiquita” (above) and “Flash” (https://youtu.be/oAbhfMWvcZs) and the B-sides that came along with them. They’ve got such a distinctive style, and I love how consistently good their music is. I feel like I don’t have enough to say here, but I just enjoy their music, and choreo, and dynamics as a group so much!

Biases: Suyun, Yunkyoung

1) Billlie

I really fell in love with their music this year! I liked them a lot at debut, but as they’ve continued to build that body of work, they’ve had this absolutely delightful off-beat pop-rock sound that really works for me. They’re incredibly talented, and “Ring Ma Bell” (above) is probably one of my favorite songs this year! I’m excited to get to know the group better as they continue to grow in their career.

Biases: Haram, Suhyeon

I would love more people to talk girl groups with! And if there are any girl groups that you think that I might like based on the ones that I’ve mentioned here, feel free to send recommendations my way.

[astralstudiosza-blog]

Why a Professional Cameraman is Your Secret Weapon for Killer Corporate Videos

Let’s cut to the chase: in the world of corporate video production, you can’t afford to mess around. If you want your brand to pop and your message to hit hard, you need a professional cameraman on your team. This isn’t just about having someone press record; it’s about having an expert who knows how to make every shot count.

Professionalism Makes a Difference

Here’s the deal: your video is a direct reflection of your brand. A sloppy, amateur video sends the wrong message. On the flip side, a video shot by a professional cameraman screams quality, attention to detail, and credibility. You want your audience to see your brand as top-notch, and that starts with high-quality visuals. This is where a pro cameraman comes in—they know how to use every piece of equipment and technique to make your video stand out.

The Edge of a Professional Cameraman

What sets a professional video cameraman apart? It’s their ability to turn a standard shoot into something special. They understand lighting, angles, and composition in ways that make your footage pop. It’s not just about taking nice pictures; it’s about capturing your brand’s essence and making sure it lands with impact. This is the level of detail that can take your video from average to outstanding.

Cameraman vs. Videographer

You might be asking: isn’t a cameraman and a videographer the same thing? Not exactly. A videographer handles everything from shooting to editing and directing. A cameraman focuses specifically on capturing the best footage. For those times when you need top-tier quality, a professional cameraman is the way to go. They’re specialists in making sure every frame is perfect.

Why Investing in a Pro Cameraman Pays Off

Hiring a professional cameraman is more than just an expense—it’s an investment in your brand’s future. High-quality videos drive engagement, boost your credibility, and help you stand out from the competition. Whether you’re a small business or a big corporation, investing in a pro cameraman can lead to higher engagement, better conversions, and a stronger online presence. The payoff is worth it.

How to Find Your Perfect Cameraman

When you’re looking for a professional cameraman near me, don’t just settle for the first name that pops up. Check out their work to see if their style aligns with your vision. Experience with corporate projects is a big plus. And make sure they communicate well—your cameraman should understand your goals and help bring them to life.

Rethinking Terminology

One last thing: the term “cameraman” can be a bit outdated. Today’s industry is diverse and inclusive. Using terms like “camera operator” or “videographer” not only reflects the current state of the industry but also promotes inclusivity.

In a nutshell, a professional cameraman can make a huge difference in the success of your corporate videos. They bring expertise, creativity, and quality that can elevate your brand. If you’re ready to step up your video game, reach out to Astral Studios. They’ve got the skills and experience to make your videos shine and ensure your message lands with maximum impact.

[raindrops-of-analysis]

Theme Comparison: 'Eyes On Me' by Alfred Sun vs. 'Nightwalker' by TEN

‘Eyes On Me’ by Alfred Sun

A fairly simple song in terms of lyrics and the music video itself, but Alfred Sun thoughtfully considered the performance that portrays philautia (love for oneself). Straight off the bat, the theme of the video is immediately placed on the audience. Alfred wears a light blue outfit as opposed to the backup dancers in white. If it was a dark shade to be a direct opposite of white, it would stand out too much with what he wanted to convey. Instead, the background does the work for him, the main focal point being the harsh beam of light in the background that always centers on Alfred.

Alfred is constantly in the front and center of the performance, which is typically unconventional for most performances. Dancers constantly change from a fixed spot on stage to build a sense of movement or dynamics. The backup dancers compensate for this by changing the amount of space and people in each segment. How would the rap segment at 1:06 get conveyed differently if all of the backup dancers were present instead of just four? It would not be fitting for the theme; The most distinct verse of the song should focus on him being the distinct person he is performing.

‘Nightwalker’ by TEN

TEN's performance from his latest concept holds similar themes to Alfred’s performance on the surface—similar color schemes, composition structure, and symbolism—except this song is an example of agape love (love of the divine). The ending of their entanglement begins at 1:28 when TEN moves away from the center and the backup dancers are no longer facing him. This is where you begin to see that the dancers do not serve to compliment TEN's dancing, but rather function as a unit to construct the abstractness of his faith. The rap segment uses a larger amount of dancers than Alfred's. This enhances the dance better than if they used fewer dancers, as divinity is something greater than you can imagine.

The dance break at 2:16 is very similar to Alfred’s (1:59), and why I thought to compare these two, because it shows how the purpose of the song drastically changes the end result. Instead of the backup dancers being ‘directed’ by the artist, they act as the spirit inhabiting TEN by extending his performance outward. He also uses the same beam of light as Alfred, though for a different symbolic meaning. Up until the end of the video, TEN is in the abyss, and the parting from the center that we see previously shows it's an endless darkness. When the light is revealed at the end, his walking towards conveys his faith of a greater being. 

I try to make these analyses short, but if you would like longer, more detail-oriented ones, feel free to let me know!

NOTE: Everything said in my posts is subjective. You are free to disagree with them and make your own interpretations, that's what art is about! If I mistranslate or miss something, you can message me and I'll make sure to edit the post!

[inner--islands]

In Conversation with Path of the Sun (March 2021)

Path of the Sun is a new musical project by Steve Targo and Daniel Guillén - better known for their projects as Inner Travels and Lunaria (respectively). They released their debut album, Path of the Sun, on Inner Islands in January 2021 and I, Sean of Inner Islands, got to chat with them about their process and philosophy of music making. The following is a conversation we had over email and it has been slightly edited for clarity.

Inner Islands: Hi guys, it's been such a pleasure working with you both on this project! I'm so glad we could make it happen :) I want to ask, do you think the process of working together and pushing each other into somewhat unfamiliar territory has influenced the work you will each do in your respective solo projects? Perhaps incorporate new sonic or compositional ideas?

Daniel Guillén: Thanks Sean, it's been a joy for me too. When I first listened to the serene bed of sound Steve provided, it worked like an empty sky for me, so to speak. Without thinking too much about it, there began to appear some dynamics that I'd describe as tides and oppositions between two complementary concepts —light and dark, above and below, tension and relaxation, that could interact on the base of that soundscape, like creative energies emerging from primordial waters. I think this combination can trigger a special inner movement, potentially able to help some kind of change happen. I had already explored this to some extent, but working with Steve's creation helped it take form in a more conscious way. I believe this exploration will be an essential part of my path ahead as a musician. Regarding the more technical side of the process, working with Steve, who has different methods and views, has definitely helped me improve my working process. Long-term conversation, dealing with a different perspective, the need for deep listening, all took me beyond my limits, and this has always helped me grow as an artist and as a person too. And hopefully, having made contact with Steve's ear for peaceful, flowing, nature inspired sounds will make my music more organic.

Steve Targo: That is very kind of you, Daniel. I am so happy you felt this. Your response beautifully illustrates the need for collaboration — not just in music, but in all parts of life. We can become so absorbed in ourselves, especially now, that it is easy to forget how important others truly are. People open doors for us that did not know existed, whether they realize it or not. What I gave Daniel, which formed the basis of “Portal of Twilight,” was a series of overlapping drones. I gave him a texture which he imbued with life, structure. I was amazed when he first shared it with me. What he heard in something so minimal was gorgeous. I really went through an enlightening process with “Aquatic Sun.” The sound bed Daniel gave me was quite challenging for me. It consisted of sounds that slithered and bent through various different keys and moods much darker than I explore in my own work. So I knew I wanted to bring light into the darkness, but my usual methods of creating music were not successful here. Ultimately, I broke up his sound bed into different sections and worked on each one separately. Once I did, everything fell into place. I can’t wait to try making my own music this way.

II: I love that idea that working with other people can open doors that we were previously unaware of. I've felt similarly in my own collaborations. There is a common theme to what you are both saying about trying to find a balance in the elements of light and shade. Can you tell me more about this inclination? Is some aspect of it trying to mirror life as we experience it?

ST: Striking a balance between light and shade — I like that descriptor by the way. To me, shade is like someplace nice and cool, where one can rest. That really appeals to me. But I find parts of this album to be dark. Not in an unsettling way. Intriguing maybe, mysterious. Like exploring a cave. There is a passage in “Aquatic Sun” I made from echo feedback and a phaser pedal that always makes me think of like going through someplace subterranean. Then what happens? Daniel’s sound bed returns and we enter the heavens on choir like drones and my own clavichord jam. I did try to balance light and dark in “Aquatic Sun,” and I suspect Daniel did on “Portal of Twilight.” I will also go out on a limb here and suggest we both did this in order to try to create a sonic journey.

II: More specifically what I'm asking is, what is behind the motivation in balancing the "dark" and the "light" in the music? Both of you have mentioned this intention, but I'm wondering what is driving that? I was using the word "shade" in place of "dark" - something I read Jimmy Page talk about in a Led Zep biography that I read when I was 13 and it stuck with me. They also made a point of trying to balance the dark and light elements in their work.

ST: We all do. I hear it in Daniel’s solo projects, in yours and in my own music. I think I understand better now your question about this mirroring life. We spend our lives trying to achieve balance of various elements, “light” and “dark” included. We exist within that balance. It defines who we are. Musically, when I use the terms here, I’m talking about moods. From a compositional standpoint, achieving a mood balance makes sense, especially for pieces that are around 20 minutes long. You do not dwell on one thing and that kind of hooks people by making them wonder what they will hear next. But that was not how I approached it, to be perfectly honest. Since I try to bring comfort and peace with my music, well, I wanted to remain true to my intentions. At an early stage, I tried to make what became “Aquatic Sun” exceedingly dark, almost bleak, but it just wasn’t me. So what I said about bringing light into the darkness from Daniel — darkness in a cosmic sense — was more about me trying to be honest in my contribution to the music. But again, I also like to create a journey. I love it when music goes from darkness to light, so that might have come through here subconsciously.

DG: I see things very much like you on this, Steve. Regarding composition, I usually try, more or less consciously, to achieve that mood balance, and sometimes I even try to emphasize the contrast between light and dark. I'd say the darkness I seek in my music has more to do with the mysterious, numinous, hidden side of reality, than with dark feelings. So yeah, darkness in a cosmic sense, as you said. Nevertheless, this makes me think about something I experienced in my life as a listener. Sometimes I focused too much on comforting music, trying to banish darkness so to speak. However, this often caused a reaction where I listened to a lot of really dark, depressing music, which anyways would help me to externalise my shadow. Somehow I was trying and failing to be 'only spiritual' in my listening habits but I struggled to find a balance until I slowly realized that the darkness that we see outside is but our own darkness, and the only way out is accepting and integrating it as part of us. What I experienced as a listener was of course mirroring my general inner journey in life. Probably this learning influenced me when it comes to music creation. When I worked with Steve's contribution, I saw comfort and peace, and my natural reaction was trying to balance that with some darkness. That brought about a journey, with tension and resolution, just as in life.

II: And one could even say that embracing the full range of forces and embracing the full range of emotional experience is just as spiritual of a practice as only looking towards the light. Would either of you say that music is a spiritual practice for you? If so, what do you think makes the medium of sound an appropriate avenue for that practice?

DG: Well, whenever I listen to what I have made, I often have this sensation of strangeness, like did I really make this? My experience of music creation is like a journey, an adventure into unfamiliar ground where I connect with parts of me that are usually veiled. I believe music is a deep mystery. Everything is, but sound has this quality of transcending time and space, and opening doors to unknown places. These places can certainly be a wide range of different moods and psychic states, and I wouldn't say all of them are spiritual, but it all depends on what one means by this word. Currently I don't follow a formal method to approach music creation as a spiritual practice, just let go and see where the wind blows, but that's transcending my self-imposed limits in a way. However, I have sometimes intentionally done a formal meditation just before recording improvisations, trying to keep an altered state. This can bring about interesting results, but I rarely do it these days. I just try to be very mindful and receptive to the inner silence that arises from my daily sitting meditations, as I try to do with anything else in my daily life. It's kind of turning the silence into an active mode, but again I often have this feeling of surprise, like I'm not doing it myself, so it's passive too, in a sense. Anyway, sound can be indeed a door to the world where you are not an isolated being but something that is an individual and transcends individuality at the same time. I'd say listening is kind of an art, the art of disappearing in the joy of a greater reality through sound. Listening to nature sounds out there and listening to acoustic instruments have had somehow this effect on me. I think the key is being very present and allowing the sound to reveal itself without any thinking. Opening to something beyond my own will and control. In this sense I can consider music a spiritual practice.

ST: Growing up, I was raised Catholic. When I reflect on that — sitting there in Mass as a young child, listening to all the prayers and Bible readings — that time seemed so serious when I was a kid, even frightening. Then, the music would clear the path to understanding spiritual truths. Mass no longer seemed so massive and scary. Music is the universal language, and language is a form of expression. Of course, it can be spiritual. I just read Tape Op’s Laraaji interview. He said he hopes his music creates a sense of stillness in his listeners which may enable them to hear their own “inner music.” That is such a noble, spiritual intention. In making healing music, one must not neglect the spirit. I must mention that Daniel perfectly described how I feel when I make music. I am routinely surprised by what I hear when I’m done. Like it’s coming from someone else. I may set out to do one thing, but I almost always fly off on a tangent, which takes me in directions I never expected.

II: What do you two think is happening during the practice of improvisation? Do you think elements of your subconscious are coming forward? Some people say they experience energy outside of themselves coming through, like a channel for something else. What are your experiences?

ST: To me, playing from a sheet of music is like delivering a speech. It is formal, rigid, it commands a level of respect. Making up the music as I go is far more spontaneous and alive — casual, loose, exciting. Most times, I improvise with myself. First I’m the drawing up some sort of sonic atmosphere, then I’m the bass player, the lead soloist, etc. I’m sure my subconscious plays a big part in this. And I have felt like I am channeling some form of energy. I certainly did on this album. Sometimes, sounds give me visions with the energy — with “Aquatic Sun,” there was a jungle and a temple on a cloud with ornate pillars. Seeing these settings quite vividly guided my musical choices on the song. I recall after a session thinking, “How did this stuff even happen?” When discussing this, it is important to consider how we collaborated on this project. I don’t know about Daniel, but I believe that if we made music while being in the same room together, it would not have sounded like this. Had we improvised in a more traditional way, I probably would have been more influenced by the vibe in the room, playing with another musician, direct feedback through nonverbal communication — so many factors. Swapping audio files and writing messages to each other, a lot of that doesn’t exist. On one hand, I find it does improve my focus. On the other, it’s kind of lonely, haha.

DG: What is happening during improvisation is intriguing. Talking about the subconscious, I think about the mind as being individual only relatively and to an extent. According to spiritual views, the deeper the content that appears in consciousness, the more shared it is by everyone. Deep down it's universal, and in between there are all kinds of transpersonal stuff. I believe creativity and improvisation always involve connecting with something from that world, be it energy, ideas or influences. You let go of control and stop directing what is happening, then something beyond what you think you are takes control. From then on, something you hadn't planned comes through you, something that is probably even better than your original idea. So I suppose it's possible to talk about channeling something from the inner worlds, whatever we think these are. Also, I think quality of intention defines the quality of the energy you channel, so it's not necessarily a merely passive process, and this brings up many interesting questions. I often feel this letting go of control as a natural part of improvisation. It's exciting and invigorating, and I forget my worries for a while and focus on freely flowing with music. I think this is because I'm connecting with something beyond my illusory and limiting identity. Of course improvisation involves some will to get somewhere too, and then a different phase comes when I work on the music in a more analytical way. But there is always this part of not knowing what I'm doing, and maybe that's the best part. I think artists are not the only creators of their music in a sense. They are collaborators, so to speak, with the soul or however we want to name it, so that some ideas and energies can be manifested. By the way, I find it interesting that both Steve and I had some imaginal experiences involving ancient architecture like a temple or a portal in nature, before actually talking about it. Maybe we shared something more than words in our communication? Who knows, but I think distance doesn't limit consciousness, strange as it may sound.

II: Indeed, distance creates no barrier to consciousness. When I listened to the album I was very inspired by the visuals of ancient architecture and the image of a gateway. It seems that none of us discussed these things until after the creative process! I love that synchronicity. Do you two plan to continue working together as Path of the Sun or is this perhaps a one-off collaboration?

DG: Yeah I would love to collaborate with Steve again. I don't know if it will be as Path of the Sun or under another form. At the moment we have not a plan to begin working on a follow-up within this project soon, but it could happen for sure. I have some ideas for a possible new collaboration, maybe shorter songs and a different way to combine our respective styles. I think the way this album happened was quite unpredictable, so who knows! In any case, we are very pleased with our work together and I think the right time will come sooner or later.

ST: I hope so, Daniel. I would love to work with you again, either on a different project or another Path of the Sun album. Seems like we have a seed for something new already. Shorter songs, new sounds and approaches — I’m excited about this already.

II: Wonderful, I look forward to hearing new work from the two of you whenever the time is right :)

[elitecameras1904]

Are Dslr Cameras Better Than Phones

As an amateur photographer, I've been wondering: are DSLR cameras really better than phones when it comes to taking pictures? With the rise of smartphone photography, we can now take pretty good photos simply by using our phones. But does that mean that investing in a DSLR camera is no longer worth it? In this article, I'll be exploring both sides of the debate and seeing if there's a definitive answer when it comes to which one is best. To get started, let's look at what makes each type of camera unique. Smartphones have advanced sensors and come with plenty of helpful apps for editing your shots after you've taken them. On the other hand, DSLRs boast larger sensors and provide more manual control over settings like aperture and shutter speed – giving photographers more flexibility when trying to capture their desired image. So which type of camera should you go for if you're looking to take great quality photos? Let's find out!

Understanding The Basics Of Photography

I'm sure you've heard the debate before - are dslr cameras better than phones for taking photos? Before I can answer that question, let's first take a look at what it takes to learn the basics of photography. It's not just about having an expensive camera; understanding how light and composition work together is essential when photographing anything. There are different types of cameras available on the market today. DSLR (Digital Single Lens Reflex) cams are typically used by professional photographers due to their flexibility in manual settings, while point-and-shoot cameras or smartphones may be easier to use for casual shooters. Learning which type of camera works best for your needs can help make your experience more enjoyable and successful. The key to great photos lies in knowing how to use all those fun features like shutter speed, aperture, ISO and white balance correctly – no matter what kind of equipment you prefer! With practice comes confidence and then creativity starts flowing. So go out there and find something interesting to photograph!

Comparing The Features Of Dslr Cameras And Phones

As a photographer, I understand the appeal of DSLR cameras. With their superior optics and cutting-edge technology, they offer unparalleled capabilities for capturing stunning images – much more than an ordinary smartphone can provide. But how does the cost comparison between these two different types of cameras stack up? And what are the differences in terms of lighting techniques? Let's take a look. DSLR cameras give you more creative control over your photography than phones do. They have larger sensors, allowing them to capture higher quality photos with better colors and contrast. The lenses on DSLRs also allow you to play around with depth of field, enabling you to blur out backgrounds while keeping subjects sharp in focus – something that most smartphones can't achieve easily. Furthermore, DSLRs come with advanced features such as shutter speed adjustment which allows you to freeze movement or create motion blur effects when needed; whereas phones lack this functionality altogether. In terms of price tag, DSLRs tend to be quite expensive compared to mobile phones, but if you're serious about photography then it could be worth investing in one since the image quality is so much better than what a phone camera offers. In addition, many DSLR models also boast unique lighting techniques like bracketing and HDR mode that no phone has yet been able to replicate accurately. So if you want maximum control over your shots and access to professional-level tools without breaking the bank, it might just make sense to go for a good-quality DSLR instead of relying solely on your phone's camera capabilities!

Examining Image Quality

Moving on from the features of DSLR cameras and phones, I'd like to examine image quality. For starters, a DSLR camera will produce sharper images with more accurate colors as compared to a phone camera due to its larger sensor size. In addition, since they have dedicated lenses, they offer greater flexibility when it comes to experimenting with different types of photography such as wildlife or street photography. When it comes to editing photos taken by either device, you'll be able to achieve similar results if you use photoshop editing techniques. However, in order for your photos to truly stand out, you should consider using lighting techniques while taking pictures with your DSLR camera which will add depth and richness to your shots. Overall both devices allow us take great photographs but if you want professional-grade visuals then opt for a DSLR camera. They are built for the purpose of capturing stunning imagery that can make any photograph look breathtakingly beautiful!

Pros And Cons Of Each Camera Type

It can be hard to decide between a DSLR camera and a phone when it comes to capturing quality images. Both have their pros and cons, so let's take a look at what each one offers in terms of cost comparison, lens selection, and other features. When it comes to cost comparison, DSLRs usually tend to be more expensive than phones. If you're looking for something that won't break the bank but still allows you to take some great photos, then your best bet is likely going to be your smartphone. However, if you're willing to invest in better equipment in order to get higher-quality shots with greater flexibility and control over settings like aperture or shutter speed, then DSLRs are definitely worth considering. In terms of lens selection, DSLRs offer much more variety than smartphones do – from wide angle lenses for landscape photography to telephoto zooms for long distance shooting – giving photographers significantly more creative freedom when taking pictures. On the other hand, many modern smartphones now come equipped with multiple lenses which allow users to switch between different focal lengths depending on their needs. This gives them access to some standard zoom capabilities without having to purchase any additional hardware. So whether you choose a DSLR or a phone really depends on how much investment you want make into getting higher-end photos as well as the types of shots you'll be taking most often. Decide what works best for your budget and goals before making your final decision!

My Recommendation For Amateur Photographers

I'm a huge fan of DSLR cameras. They offer more manual settings than phones and they allow you to make better gear selections, which can help when it comes to capturing the perfect shot. That said, I think that for amateur photographers who are just starting out, phone cameras may actually be better in some ways. Though phones don't have as many manual settings as DSLRs do, this isn't always a bad thing for newbies because it prevents them from becoming overwhelmed by all the options available on high-end camera models. Furthermore, phone cameras tend to come preloaded with software that makes taking photos easier and faster - something that's ideal for those who aren't quite comfortable navigating complex menus yet. For budding photographers looking for an easy way to take good pictures without breaking the bank or getting too technical, my recommendation is simple: Start off with your phone camera! You'll still get great results plus you won't be saddled with steep learning curves or hefty price tags right away.

Frequently Asked Questions

How Much Do Dslr Cameras Typically Cost? When it comes to purchasing a DSLR camera, the cost can vary greatly depending on features and brand. Generally speaking, entry-level models with basic functions start around $400-$500 while high-end professional cameras may go up to $2000 or more. These higher priced cameras will have better shutter speeds and image quality than budget options. So if you’re looking for superior performance, be prepared to pay a bit extra. How Difficult Is It To Learn How To Use A Dslr Camera? Learning to use a DSLR camera can be intimidating, but it doesn't have to be. It's important to understand the basics, like manual settings and how to adjust them in low light situations. Once you get the hang of that, there are plenty of tutorials online or classes offered at your local photography store that can help hone your skills. Plus, practicing with your own camera is always the best way to learn! Is A Dslr Camera Worth The Investment Compared To A Phone Camera? I'm always asked if a DSLR camera is worth the investment compared to a phone camera, and my answer is yes! The image quality of a DSLR will blow your mind. You'll be able to capture so much detail that you just can't get with a phone camera-especially in low light settings. Plus, there are plenty of options when it comes to lenses and accessories, so you can customize your setup to fit whatever style of photography you prefer. What Are The Benefits Of Having A Physical Lens On A Dslr Camera Compared To A Phone? When it comes to photography, having a physical lens on your dslr camera can be incredibly beneficial. With image stabilization and the ability to get better depth of field, you can take sharper photos than with just a phone camera. A physical lens also allows for varied levels of aperture which further increases the quality of your images. Being able to adjust each aspect of your shot gives you more control over how it turns out, giving you higher-quality results than if you were using just a phone. Are There Any Other Types Of Camera That Are Better Than Dslr And Phone Cameras? When it comes to cameras, there are many types of options out there. Beyond DSLR and phone cameras, you may also want to consider mirrorless cameras or point-and-shoots. Mirrorless cameras offer faster shutter speeds than DSLRs, while still maintaining good image quality - making them a great option for action shots. Point-and-shoot cameras are typically more affordable and smaller in size, offering convenience when travelling or going on hikes. Ultimately, the camera that is best for you depends on your needs and budget!

Conclusion

In conclusion, DSLR cameras are a great investment for those looking to take their photography skills to the next level. While they can be expensive and require some learning time in order to master, the extra features like physical lenses make them worth it in the long run. For me personally, I find that my photos turn out much better with my DSLR than when I use my phone camera. However, if you're on a tighter budget there are other types of cameras available which may suit your needs even better such as mirrorless or point-and-shoot models. Ultimately, the choice is up to you and what kind of results you want to achieve from your photography. Read the full article

[hotofftheprocess]

Sound Editing Readings (3/14)

Sayles Sound Editing

Generic movies rely on tension and release. Hannah Gadsby says a similar thing about comedy. I think this is why comedic film  artists often produce challenging or new feeling work in other areas. Look at Jordan Peele.

Tension wants release — like catharsis - in film. Psychic scorecard. 

New or closer angle adds heat to a performance, even with other scenes spliced into it. 

Pace defines the quality of a movie. Older movies were slower, modern movies tend to move faster but you can still make a stylistic choice to support the quality of a film. 

More angles, more takes, more time in the editing room. Important to know what shots you really really want to save money, thus storyboarding. 

Assembly is a looser cut, trying to get a feel for a story. This editor prefers to cut things tighter with an eye towards what it could be in the final cut. 

As a film progresses, the viewer often needs less visual context. 

Parallel action seems to be action we understand is happening at the same time. Thing Mission Impossible - everyone does the heist together. 

SOUND EDITING

Get the picture right, then get the sound editing right. 

Sounds can substitute for picture in the right context. 

Sound editing comes into fruition with the mix. Voices equalized and backgrounds, effects, so on. 

Mixer gives the sound shape and perspective while keeping it whole and round. 

LISTENING AT THE SEAMS: CURATING A RELATIONS-BASED AUDIO NARRATIVE OF THE SCHUYLKILL RIVER. 

Seeking an alternative method for telling the story of this geographically, culturally and socially important river. Sounds can do that. 

ACtive attention is the type of listening this project wanted. 

Field recordings are specific to a space/time. 

These recordings should not be strictly naturalistic - they needed to create an artistic space to create a sort of verfremdungseffekt to force the audience to really investigate their relationship to the sound. 

Specifically a relationship to humans and waste and productive byproduct to simulate this non-environment. Relation and objects to create the sound of the river. 

Seams all the way down is actively seeking out the places where one thing is joining another thing. I quite like that idea, there’s something some beautiful about thinking about the world in the context of a bunch of seams. I also like how they frame it as an active choice of what to focus on. In costume design, a seam changes the fit of a thing. Choosing where to put them changes the hang and story of a garment, which is similar to the editing like process they put on choosing their sounds. 

Field (what they capture in the world) and studio (how they mix it) form the compositional spaces of the seaming. 

Hydrophone (for water) contact microphones (for object vibration sounds through a material) and small lavs mounted on objects (to hear from within an object) 

What strategies does Sayles suggest in "Principles of Editing" how does sound work in terms of storytelling?

Sayles says that we can focus on things like tension and release, pace and parallel action to shape a story. Tension and release is how most film works - a problem (a tension) is established and by the end of the film, it is resolved, not always for the better. Focusing on finding how to heighten the tension can help the story. Pace is the literal speed of the story and how it is edited to be told. Some films want lots of cuts, action and a fast pace, some need to be more contemplative and slower. Parallel action is useful because it lets things happen in a more efficiently and skip a lot of the setting of the scene. Things happen at the same time AND cutting between things happening at the same time can heighten tension. HOWEVER it can get too complex. 

Sound editing for Sayles is a way of finishing and heightening the world. 

You want a robust, lively sound that helps sculpt the picture. Sound should be ambient and finish the world, but it also needs to be mixed well so focus goes where it needs to. Sayles also says that sound can take the place of picture for storytelling. Certain sounds can set up the expectations for scenes or become motifs for what could happen (such as the example of the car engine meaning conflict). 

What role does sound play in "Audio Process" or Listening at the Seams: Curating a Relations-Based Audio?

Sound is the medium this group chose to use to find the seaming of the river. Which is to say, they used sound as the medium for exploring human relationship to the river. This means finding pollution or objects left behind by human interaction with the river to create the narrative of how humans are relating to the river today. The sounds are mainly filed focused, though mixing was important to help create a more interesting space for audience investigation. They knew they wanted the sounds to not just be naturalistic sound recordings, but rather create sound records that were a little unnatural to force the audience to investigate their relationship to them. 

Narrative of the Schuylkill River? How is sound differently employed here as compared to Sayles?

The river has been used by humans. It is near coal mines, refineries and has lots of junk in it, like many rivers that are near populations of humans. This leads to a space that has a lot of objects to relate to each other in each sound scape. There are animals, people and cars nearby. The river is still moving, and alive and being polluted by our actions. What I find interesting about the difference between this and Sayles is that Sayles wants to use sound to curate or complete a world. It almost feels like his approach wants a mostly naturalistic world sound with mixing throwing focus. This project is interested in field creations of a sound space, that can also be remixed and refocused by future listeners of the piece. It’s like a choose your own adventure of sound. They’ve chose the audio means but it can till be open to your interpretation even after they’ve crafted their final mix. Also, sound is pretty much the only story-teller here. They are relying on some visual information, since they share photos of where and how they recorded their sounds, but the final story lies in the sound and what they decided to focus on. 

[sciencespies]

Zapped survivors: Some tropical trees won't be defeated by lightning

https://sciencespies.com/nature/zapped-survivors-some-tropical-trees-wont-be-defeated-by-lightning/

Zapped survivors: Some tropical trees won't be defeated by lightning

Sheltering under a tall tree during a thunderstorm is not a great idea, given that lightning often strikes the tallest thing around. However, we may not think much about the fate of the trees themselves, at least not as much as a team of scientists whose research on the effects of lightning on tropical forests was recently published in Nature Plants.

Combining the expertise of lightning scientists and tropical field biologists — including Steve Yanoviak, a research associate at the Smithsonian Tropical Research Institute from the University of Louisville, Jeannine Richards, a former postdoctoral fellow in his lab, and Evan Gora, a Smithsonian Tupper Fellow and former student in the Yanoviak lab — the study looked into the effects of lightning strikes on the Panama Canal forests of the Barro Colorado Nature Monument for several years.

Yanoviak and his colleagues estimate that lightning strikes tropical forests millions of times a year and because lightning frequency may increase in the future due to climate change, they aimed to understand how susceptibility to lightning may vary across tree species.

In a way, the remarkable biodiversity of tropical forests also makes them more resilient in the face of hazards. Just as successful team work relies on recognizing the strengths and weaknesses of team members, biodiverse tropical forests rely on the contributions of every organism in the ecosystem to thrive. The scientists found that some species did quite well after a lightning strike — especially those most likely to be struck — while others fared poorly. Palms, in particular, were the most likely to die.

“The tree species that were most frequently damaged by lightning tended to be the same species that were most capable of surviving lightning strikes,” said Gora. “This suggests that lightning is an important selective force with implications for the ecology and evolution of tropical forests.”

Not surprisingly, the most lightning-resistant tree species had a few things in common. Their wood was denser, they had larger vessels for transporting water, and their leaves were richer in nitrogen.

“Trees with denser wood tend to live longer and store more carbon, so finding this trait correlated with lightning tolerance implies an interesting compensatory mechanism where greater lightning frequency could actually favor species that are better at storing carbon,” said Richards.

In other words, tree species with a greater capacity for removing carbon dioxide from the atmosphere also seem to be better equipped at surviving lightning, which is a valuable trait to have in the face of increasing greenhouse gas emissions and climate change.

“The results of this study are especially interesting because they suggest that changes in lightning strike frequency can influence the composition of tropical forests over the long term,” said Yanoviak.

Story Source:

Materials provided by Smithsonian Tropical Research Institute. Original written by Leila Nilipour. Note: Content may be edited for style and length.

#Nature

[drogba-prospect]

Dorifutoshīn Kanri Puroguramu

Alternative to High School

The PGA Golf Management University Program provides extensive classroom courses, internship experience and opportunities for player development in a four-and-one-half to five year program for aspiring PGA Professionals. Offered at 18 universities nationwide, the University Program allows students to earn a degree in areas such as Marketing, Business Administration, Hospitality Administration, Recreation and Park Management, providing them with the knowledge and skills to succeed in the golf industry.

Marketing

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Hospitality Administration

Track Architect

Rental Property Development

Automotive Engineering Mathematics

Rēshinguakauntingu

Financial Technology

Options Trading

Conscientiousness

In individual sports, people must learn to depend on themselves. While training in their sport, they set personal goals and work each day to meet them. Solo athletes must push themselves to achieve both short-term and long-term goals. They have no one else to pull them through when things get difficult.

This offers advantages for teachers and coaches. They can offer personalized training to solo athletes, working to maximize strengths and eliminate weaknesses. Coaches can get to known solo athletes better than in team sports. For the athletes, solo sports offer a way to reduce stress and lead to better organizational and decision-making skills.

Dōrifutoshīn Geijutsu Gakkō

Alternative to High School

An art school is an educational institution with a primary focus on the visual arts, including fine art

Automotive Design

Musical Composition

Film and Edit

Photography

Graphic Design

Fashion Design

Art Curator

Graffiti Artist

Mural Artist

Perfumer

Video Dancer

Modelling

CHIGGA PROPERTY

[freakslomo]

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