easy to use camera

10

carwood lipton
requested by @seeungri

I also fell down the PIpabeth hole

After I saw the pictures from Jimin, I stil have doubts that he shot them completely himself.
I know self-timer exists, and it’s pretty easy to use. But let’s just talk about the camera itself, he uses.

I think after the Japan trip we kinda know, Jimin doesn’t have a high-quality camera. He mainly used his phone and with that you can see the lower quality of the videos and his selcas. They also always have these kinda fuzz over them.

And now those recent pictures. They have a complete different quality. The color scheme, how they are projected and how detailed they are in general. A normal phone camera is not able to do that.

Which gives the possibility that he could have borrowed one and the easiest way would be to borrow from the members. Taetae uses normally his old-school like camera, so it’s not that one. JK and Yoongi are the only ones to have such a camera. But nowadays we never really got to see Yoongi with his, it’s always Kookie.

Which makes me think, that either he borrowed JK’s camera or he let kookie himself take them. 

Also I noticed that the tilt in both pictures changed, but Jimin is still standing on the same spot. Slightly changed position, but same spot. So the camera moved between those two shots. 
On another hand, why wouldn’t he say it was JK who took those pictures? He usually does and the other members also… So took a staff the pictures??

Anyway, that’s why I have doubts about those pictures.

anonymous asked:

HC: Steve loves using his phone to take pictures. It's one of his fav things about the new century— how easy to use and accessible cameras are. He's also good at it, b/c he has an artist's eye for perfect lighting and camera angles. Tony ends up being his fav subject, and even before they began dating more than half the pictures on his phone were of Tony. (Steve can't bear to delete any of them, so Tony shows him the wonders of the Cloud; now he can access all his pics of Tony anytime, anywhere)

And then, after the accords, when its late at night and Steve can’t sleep because the bed is too big, empty, and cold, when the guilt threatens to overwhelm him, Steve appreciates the Cloud so much more because whenever he needs to he can look back at all those pictures. when they were together, when things were easier… when everyone was still happy. He sits and stares at those images for hours while he clutches an old flip phone in his hands and waits for it to ring.

woo look who took that a completely different direction lmao

anonymous asked:

Given your approval of the original Thomas the Tank Engine series, what are your opinions on the show's current state with it being all-CG now and having characters simply for toys? I did hear the switch to CG was because looking after/using models had become expensive, however, I don't know if this is true, and given the series still used models with CG faces for the engines before making a complete switch tells me that wasn't the case.

CG nowadays is generally a lot cheaper to do - but only when it’s done like shit. It’s the reason most kids shows use appalling CG - it’s ridiculously easy, and way cheaper than the upkeep of models/using real cameras/stop motion etc, with the logic being that kids don’t notice and kids don’t give a shit, so why should they?

I’m not saying all CG kids shows are bad because that isn’t true at all, but the new Bob the Builder/Postman Pat/Fireman Sam over the stop motion models of the past just screams cheap and shitty - if it’s done badly it already dates it within weeks, so god knows how it’ll look 10 years from now.

I Can’t Forget You

Pairing: Bucky Barnes x Reader

Summary: Bucky feels the need to take pictures of the things he treasures so he doesn’t forget them.

Warnings: Swearing.

Word Count: 1,018

A/N: This is only my second one shot, so I’m still getting used to this. I don’t really know how I feel about it. But thank you to all of those who followed me and/or read, liked, and reblogged my last one shot, it means a lot. Please request anything or give me feedback here. I’m completely open to and greatly appreciate constructive criticism. If you want to be tagged in my future writing, just send me a message! I hope you enjoy! ily all :~~)

Originally posted by fantasyimagine

Keep reading

For fucks sake can people stop with the ridiculous notion that Meghan plans pap walks? There’s a lot of ways people can find out where they are (staff, airport workers, etc.) and if you know how to use a camera it’s pretty easy to take good photos

flawednight  asked:

What do you recommend for someone looking to get away from digital and start dipping their toes into film?

So this is a question that I see a lot on tumblr and I’d like to try my best to answer it properly.  First of all, I think that whatever kind of photography you’re doing, you have to develop your own style.  If you haven’t taken the time to find what it is that you like to take pictures of, and can take good pictures of that subject matter, then it doesn’t matter what kind of camera/medium you’re using.  There are so many different styles and subject matters to choose from and unless you are comfortable and happy with what you’re shooting, it’ll always come out disappointing to you personally.  I think a lot of people look to film as being something that will immediately make them happy, but at the end of the day it’s much more time consuming and frustrating than digital will ever be.  That being said, I found my style and subject matter in film and the things around me when I travel and I’m still continuing to develop what I do.  Starting with film though, I use to absolutely hate the pictures that I took.  Looking back, I realize that it was because I was too worried about using my camera properly than actually taking a picture with it.  I shot roll after roll after roll and hated all of it.  Then after a while, I started to take pictures of what came naturally to me and in a way that best fit me, and I’ve never looked back.  I still don’t think my work is where it should be, but I can say that I’ve grown with it and figured things out along the way.  

So here’s the deal, if you want to start shooting film you need 2 things, film and a film camera.  I will forever suggest starting with 35mm over medium format/other formats because it’s easy and there are some great and fairly inexpensive cameras out there.  I started using a Canon AE-1 Program and can only say wonderful things about it.  Here’s the thing though, that camera is an SLR, and a lot of people have trouble using them because there are so many different things to learn at once if you’re going to shoot manually (which you always should forever and ever).  If learning ISO, shutter speed, and aperture combos all at once seem like too much, then go with a point and shoot (Rangefinder cameras also have the same amount of things to learn, you just look through a side lens instead of having the lens reflected off the mirror and into the viewfinder).  There are nice ones like the Contax T2 or the just as good and less expensive Olympus Stylus.  Another point and shoot option is a disposable camera because of how accessible and easy to use they are.  You don’t have to worry about settings or lighting and you can used to shooting in general.  As for what film to get, I personally stay away from Fuji stuff because I personally don’t like it and I don’t think it captures light very well regardless of the film speed.  I always go with Kodak Gold Max 400 (400 iso) because it is so fantastic and captures light beautifully.  They sell both Fuji and Kodak stuff at most pharmacies (Walgreens, CVS, etc) and it’s not too expensive.  Where to get film developed though?  Some pharmacies will still do it and I used to take mine to a CVS, but I’ve since started going to a local film lab in my city who does a fantastic job and can develop anything and everything I bring to them including my medium format stuff.  

Basically, just think about what kind of pictures you want to take (meaning your style and subject matter) and let that guide what sort of camera/film combo to go with.  Word of advice though, stay away from most all antique store/thrift store/flea market/garage sale cameras because most of the time the owners don’t even know if they work or not, and they almost always charge too much because they can.  That’s a lot of information and sorry for the length but I just wanted to try and answer this as thoroughly as possible.  Just try to experiment with what you take pictures of and how that works with your film/camera set up, because digital and film shots of the same thing can look and feel completely different.  Don’t be scared though is the main thing, you just have to start shooting and not stop until you feel comfortable.  Once you can do that, your film skills will translate to any other film camera/system.  Here are some lists of good stuff I’ve used/know of to be good.  Thanks for the ask, I hope it helps.

35mm SLR Cameras: Canon AE-1, Canon AE-1 Program, Nikon F3, Contax G2, Yashica FX-3

Point and Shoots: Contax T2, Olympus Stylus, Kodak Disposables

Film: Kodak Gold Max 400 (Color), Kodak Portra 400 (Color, more professional), Kodax TMax 400 (B/W)

6

And Now You’re Gonna Believe Us, by Zack Goldman

By now, you almost certainly know the story.

If you don’t, it goes something like this: Leicester City Football Club, the unfancied, fearless Foxes—hailing from a city known less for winning football trophies and more for curry, Kasabian, and King Richard III—began the season as 5000-1 underdogs to win the Premier League.

Tonight, they were crowned champions. With two matches to spare.

Attempting to find an equivalent in the history of professional sport is futile; there is nothing remotely ripe for comparison.

Seriously, there’s nothing.

It’s impossible not to sound platitudinous about this, particularly after a season’s worth of “Do You Believe in Miracles?” think pieces, but the fact is that what Leicester have done is truly a singular, stupefying, utterly ridiculous story.

Ask anyone how they did it, though, and you’ll get plenty of answers.

They might point to the fact that this was a season typified by turmoil, underperformance, and distraction for each of the league’s favourites—from Chelsea, to Arsenal, to the red and blue halves of Manchester.

Or that Leicester rode their fortune, outperforming almost all statistical indicators during their run, and built a title-winning campaign from seemingly unsustainable performances that would be unlikely to even secure them fourth place and Champions League football in another simulation of our reality.

Or they might tell you that this was a team masterfully moulded from a motley crew of ragtag castoffs, brilliant role players, and diamonds in the rough. That this title was the product of refined research, impeccable recruitment, and intelligent coaching, which gave rise to a squad that played to its strengths, took its chances, and clinically diagnosed tactical advantages and systemic inefficiencies in opponents. That this was a success story built upon seamless, almost providential pivots from attacking particle accelerator to defensive fortress, in a season that contained fewer matches and fewer injuries than opponents had to endure.

They might say that it was Riyad Mahrez’s grace in the box, or his magic wands for feet that led to a PFA Player of the Year Award after being bought for only £400,000 the year prior.

Perhaps they’ll tell you it was Jamie Vardy’s unsparing breakaway speed, or his ruthless near-post lashes, which saw the man—who, yes, half a decade ago was playing in the seventh division for £30 a week while working in a carbon-fibre factory—break the Premier League record for consecutive goalscoring appearances.

Some will assure you it was N’Golo Kante’s tireless running, incredible transitional ability, and outrageous intuition, which have now catapulted him from the French second division to the French national team in a few years.

Or maybe it was Danny Drinkwater’s inch-perfect tackles, or inch-perfect through-balls, that have seen him transformed from “Midfielder with a Funny Name” into “Midfielder with a Funny Name in the England Squad.”

Or the aerial commitment, rugged marking, and run-tracking of a defence that beats with one heart, that unabashedly tussles, that like an accordion, squeezes the air out of an opponent’s attack before expanding into the counter.

Or Kasper Schmeichel, the son of a goalkeeping legend—unrelentingly treated as though he bears “The Lesser” as an epithet trailing his surname—who has now written his own legacy, with a host of highlight-reel saves and a consistently diligent command of his eighteen-yard kingdom.

Or Claudio Ranieri, the manager once mockingly known as “The Tinkerman” for his ceaseless rotational policy, who has uncharacteristically settled on a first-choice lineup, whose motivational tactics over the course of the season have included rewarding his players with pizzas and beers for shutouts, and whose easy-going charm and modesty in front of the cameras have given us a second impression of a man eminently capable of keeping feet on the ground and morale sky high.

Or, perhaps, they might just tell you this was all meant to be.

Keep reading

gayusoctgayvius replied to your post “some of my fave things about ios11 on the 5s: - how do not disturb…”

phone rec, but I just got an oppo which is basically an android phone with an apple Look (body + interface) and it’s so GOOD!!! it’s a fraction of the price of an iphone, but it’s still really nice and super-fast, it’s easy to use, lightweight, the camera is gorgeous, it’s got a nice big screen, and it has this built-in red-filter button you can turn on at night… like it’s cheap and rlly good

oh shit thank you so much!!!! 

anonymous asked:

I never like comparing the beard relationships with Liam and Zayn's relationship but with all the pics I've seen so far I just had to make a comparison. It's easy to smile in front of the camera. It's easy to use social media. It's difficult to show that you have actual chemistry with one another. There's no proof that they're attracted to one another. If you compare sham and zigi they have no sexual attraction whatsoever. When you look at ziam it's all gentle touches, kisspering, giggly smiles

Hiya anon,

And not only that, its the depth of their knowledge of each other.  They were young lads, and yes okay they were thrust together as the 5 of them in a completely alien environment, but still Liam spoke of Zayn in ways that previous beards couldn’t pretend to describe him. (saved at the right point)

And Zayn knows Liam, whether or not you think they’re in a relationship or not, he was moved enough to call him.

Right from early on, they had a bond, something you just cannot fake, be that friendship which simply grew or more. 

Originally posted by almaraistheperfectcouple

It doesn’t need me to throw a million pics of whichever beard you care to name.  I will always believe that Liam and Zayn are real and authentic.   

Because if anything these early looks

Originally posted by fziam

Originally posted by vanessasgifs

Just grew to gentle loving support and quiet moments of congratulation

and smiles

Originally posted by twoangelsonelove

Originally posted by buzz-lightpayne

to moments which don’t make any sense at all unless there’s something there

Originally posted by lucazade

Originally posted by sarasletter

Originally posted by idnttcare

Then…

to now..

And there’s so much I’ve missed out and could’ve included but even just the above is enough for me.   Beards or no beards. 

I don’t mind what people believe, I can only speak for my own eyes and my own thoughts. 

*credit to those where the gifs aren’t mine 

http://everydaycarry.com/posts/6072/Fujifilm-X30-Digital-Camera-Review?utm_source=tumblr&utm_medium=tumblr&utm_campaign=tumblr Submitted by Ed Jelley
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While most phones come equipped to take photos, they don’t come close to the same experience of using a dedicated camera. The distinct feel and added control are just some reasons to keep a compact camera in your carry. Fujifilm has been a huge player in the mirrorless camera game over the past few years, and they’ve sent us their X30 to review, confident that it can fill that need for a small, capable on-the-go camera. In this review, we’ll put that to the test — but we won’t be doing any extreme pixel peeping. Instead, we’ll explore how the X30 measures up as an everyday carry camera.

The Specs

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  • 12MP 2/3” XTRANS CMOS Sensor
  • 4x Optical Zoom Lens with f2.0-2.8 aperture, 28-112mm equivalent
  • Macro, Super Macro, Scene shooting modes
  • Full Manual Controls
  • 3” Tilt LCD
  • Built in Wifi for easy sharing

Design, Fit, and Finish

The Fuji X30 is a compelling blend of retro design and modern technology. Magnesium alloy construction of the body leads to an incredibly sturdy camera that feels great in the hand. The dials and control rings are all crafted of metal with precision ridges for tactile control. Nothing on the camera wobbles — the dials and buttons feel deliberate and solid, as they should be. Every press on the customizable buttons are affirmed with a satisfying “click,” nothing mushy here.

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The electronic viewfinder is the largest in its class, providing an excellent field of view and accurate color representation. Settings, a shooting grid, and focus confirmation are all easy to read on the display. Flipping the orientation of the camera changes the viewfinder as well, making it even easier to see what’s going on. The large viewfinder made it easy to frame out shots and it is hugely helpful to know exactly what the exposure settings are going to look like before pressing the shutter.

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The camera is fitted with a comfortable, ergonomic molded rubber grip section. Throughout the course of using the camera, I never felt as if it were going to slip out of my grasp. I brought the camera with me to New York City and the grip was easy to maintain with one hand. Overall, the design, fit and finish of the X30 are superb. It feels like a solid camera that will have no problem bouncing around in a bag or being worn around your wrist for countless days of shooting.

Operation and Performance

I really like how the X30 can be as easy or as complex to use as you want it to be. The camera can be set to fully automatic to capture fleeting moments, but has full manual controls to get a shot exactly the way you planned it. The menu system is easy to pick up on and the quick menu (with a dedicated “Q” button) is fully customizable to suit your shooting style. Through most of the testing, I shot on aperture priority mode. This leaves the shutter speed up to the camera and the aperture setting up to me. Most photos were properly metered and exposed, leaving me happy with the results.

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The zoom lens is equivalent to 28-112mm on the full frame scale. The low aperture lens shoots effectively in low light and can produce some nice bokeh (background blur with your subject in focus). At the wide end, it’s great for landscapes, architecture, and getting pictures of large groups. The middle range is ideal for portraits, and the long range end of the zoom can get up close to something that you might not be physically able to. The unique image stabilization mechanism ensures that most shots are in focus and tack sharp. I found this particularly useful in low light settings. When taking pictures at night, the darker conditions usually resulted in a lower shutter speed. The image stabilization allowed for lower shutter speeds when hand holding the camera, eliminating the need for a tripod.

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Fuji’s mirrorless cameras have earned so many accolades for their straight-out-of-camera JPEG image quality. This is due in part to the on-board film simulation that emulates Fuji’s film stock. There are several modes and all of them have their place (Provia is standard, Velvia is vidid, Astia is soft, etc.). I personally prefer the muted tones of the Classic Chrome setting. The in-camera processing ability lessens the need for extensive post-processing and makes for a quicker, easier to share, and more fun photography experience. Post processing at a computer is not my favorite part about taking pictures. The X30’s straight out of camera JPEGs cut down on the need to spend extra time in front of a screen, leaving you with more time for shooting. To see some samples of the X30’s image quality and in-camera processing at work, check out the photos I shot with the X30 in my review of the Spyderco Dice.

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The tilting screen is useful in a variety of shooting situations. No more laying on the ground to frame out a shot or standing awkwardly on a chair to get that perfect pocket dump photo. The hinge mechanism is robust and the screen locks back into the body with ease. Once you’ve taken a photo, it’s easy to share straight to your smart phone or computer. Simply press the dedicated wifi button on the camera, connect to the created network from your device, and beam the photos over.

Sometimes it’s just as fun to share the photos as they are to take, and the built-in wifi is a welcomed and useful feature. This was especially useful on my trip to the city. I was able to shoot during the day, go through the photos on the train, and the share the images I liked by the time I got home.

Carry Options

Fuji’s X30 is much easier to carry around than even the smallest digital SLR. The camera is compact, ergonomic, and easy to use. The X30 can fit in a jacket or cargo pocket, but don’t expect it to slip comfortably into your jeans. I’ve been carrying the camera in both my bag and jacket and haven’t found it to be a burden. The lens does stick out from the camera a bit, so be careful of snagging it when placing the camera in a pocket or bag.

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While not the best option for a truly pocketable camera, the X30 is excellent to keep in your EDC bag. It’s light enough to not weigh you down, and the performance and versatility of the zoom lens will come in handy in lots of shooting scenarios. The X30 has a ring on either side of the body for strap attachment, either a neck or wrist strap can easily be used. Due to the smaller size of the camera, I prefer a simple wrist strap. Holding and using the camera is easy with one hand. The thumb and finger grips are comfortably shaped and encourage a firm grip.

Pros & Cons

Pros:

  • Great image quality straight out of camera
  • Sturdy construction
  • Wifi for easy sharing
  • Tilting screen makes composing easy

Cons:

  • Not truly pocketable
  • No dedicated charger, must charge battery in camera

Conclusion

I can honestly say I’m a big fan of the X30. It’s been fun to shoot with for the month. The X Series by Fuji is an optimal blend of retro styling and cutting edge camera technology that results in a well-built, fun to use camera. Fuji has managed to retain the spirit of shooting with a dedicated camera in the X30. The electronic viewfinder is crystal clear, the build quality is top-notch, and the price is right.

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For $599, you get a lot of camera. I personally EDC the X100T, the X30’s bigger (and more expensive) brother, and both cameras are equally fun and easy to use. It’s been hard to pick out anything truly negative about the X30, and I’ve been trying. For a point and shoot camera, the X30 delivers on ease of use, image quality, and speed of sharing images. With street prices dipping as low as $500 for this dedicated EDC point and shoot, the X30 delivers a lot of camera for the money.

BUY ($500)

Disclosure: The manufacturer of this product sent this sample to be considered for review at no charge. It does not, however, affect my opinion of the product as stated in this review.

Interview with Naomi Hicks

What do you do?

Hi there! My name’s Naomi, and I’m a story revisionist on Penn Zero: Part-time Hero! I work with my director Tom DeRosier on multiple episodes at various stages of production. I may rough out sequences for an early board, revise sequences before an executive pitch, and continue revising sequences up until the final lock, before the episodes are shipped out to be animated.

 How did you get to where you are now?

I was always a weird, creative kid, and I liked drawing comics and coming up with stories. Around middle school or high school I discovered Adobe Flash and decided that I wanted to be an animator. I was really fortunate to attend CSSSA when I was 16, it’s a one-month program held at CalArts that encourages kids to pursue the arts, and includes a really great animation program. It gave me a glimpse of what the animation world looks like and taught me that yes, you can totally draw cartoons for a living. Following CSSSA, I took a LOT of life drawing classes and attended art school for two years. Art school was really expensive, and I knew by that point that I wanted to be a story artist, so I dropped out and decided to pursue my own art education. I took classes primarily at the Animation Guild and Concept Design Academy. I took a lot of classes, and focused primarily on building my skills as a board artist. Concept Design Academy in particular has helped me build relationships with amazing peers and teachers who have helped guide me to where I am today. Every industry job I’ve had has been thanks in part to friends at Concept Design Academy who have told me about upcoming jobs or recommended me for open positions.

 What are the most rewarding, challenging, and surprising aspects of your job?

One of the most rewarding aspects of my job is getting to pitch my work and make people laugh. It feels really incredible to have the attention of the room, and when people laugh it really brings the board to life. The most challenging aspect for me is dealing with technical challenges. Boarding action can be difficult, and knowing how to best handle the camera and cutting is a skill that takes a lot of time and experience to develop. The most surprising aspect of my job is probably the amount of freedom I can get. A lot of the time, revision work is just making small fixes to a scene, but when a board is in a rough phase, you sometimes get to board bigger sections of it.

 What skills do you have that help you in your job? Are there skills you want to develop? And if so, how do you plan to develop them?

Drawing quickly is very important. It’s important to develop a shorthand, because there isn’t time to fully flesh out every drawing. It’s very important to determine which information in a scene is the most important, because you don’t have time to draw every detail. The skills I still need to develop are stronger use of camera and cutting. Sometimes it’s easy to forget about the 180 line, or board yourself into a corner when doing complex action scenes or scenes with a lot of characters. I plan to develop these skills further by boarding more, studying more films, and studying how filmmakers I admire handle different types of scenes.

 What’s your typical day like?

On a typical day, I either continue working on sequences that have already been assigned to me, or I check in with my director to get new sequences to work on. My director is responsible for multiple episodes, all of which are at different stages of being completed and locked, so I might be jumping around on different boards, depending on which stage of the process an episode is in. I check my email and calendar - we often have pitches, episode playbacks, etc, and it’s good to see what’s going on. When I finish my work I go check in with my director and ask for more scenes. If there’s ever a time where my director doesn’t have work for me, but another director is swamped, he may tell me to go check with them and ask them if they need help. I’ll usually check in with my director again before I leave. Revisionists typically work with the director, not the board artist, but occasionally I’ll be asked to check in with the board artist and see what they need help with.

 What advice would you give to someone who wants to do what you do?

Study storyboarding. Working as a story revisionist is a good place to learn, but you need to know enough about storyboarding in order to be qualified. Studios often look for revisionists that they can train, and one day potentially work with as board artists. Know the technical side of boarding, and also study what makes a good story. You may get scripts that don’t excite you - learn how to identify what makes a story stronger or weaker, so you’ll know how to plus your work and make your boards strong. Keep focusing on the area you want to end up in – there are different qualities that directors look for when they hire artists for animated feature boards, live action boards, and television boards. But all of them require strong drawing skills and clear understanding of camera, so always work on strengthening your abilities. Also, be a good person and have good work ethic! Directors will usually pick the person who is better to work with, who can be counted on to turn things in on time, and who doesn’t make excuses, over the person who draws better but is a nightmare to work with. Be nice to everyone and don’t burn bridges, because the industry is small and there’s a good chance you’ll see these people again.

Is there anything you’d like to say about your experience as a woman working in entertainment art?

Things are certainly better than ever for women working in entertainment art. Women In Animation in particular does a lot of good work to connect women in this industry. However, there are still many areas of the industry where women are not integrated enough, particularly in positions of power. I don’t see enough female board artists, female directors, female showrunners, female executives, or female CEOs. The sexism may be less blatant these days, but many women do still experience grey areas of discrimination, and there is still a ‘bro culture’ that persists in some environments, and can be unwelcoming to women. Even in the areas in which women are making strides, it’s frustrating to see women becoming ‘the first female ___’ that a company has ever hired, in 2015.

 More women are studying animation than men these days, and yet women are still heavily underrepresented in the industry, both behind the scenes and onscreen, where most films and cartoons feature more male characters than female characters, and the male characters speak more than female characters. Women still have to question whether or not they’re being paid fairly, and women do still experience sexism and misogyny in the workplace. The industry is more accepting these days of women, people of color, and LGBT+ employees, and yet when you look at the demographics, the majority of people in power are white men.

 I’ve been fortunate to work on a show that has a positive environment for women, and to work with a really great female director that I admire, as well as fellow female board artists and revisionists. Disney in particular promotes a strong policy against harassment, and is one of the best workplaces for LGBT+ employees. But every woman in this industry has a different experience, and I’ve heard from women who have been underpaid, objectified, or who have experienced sexual harassment. There’s also the fact that this is a fast-paced industry, without protection for women who need to take time off to have children. When and if you have kids can impact a woman’s career in animation much more dramatically than it affects men’s careers. Men and women need to stand up for our rights in this industry, since everyone stands to benefit from an industry that better serves its workers. Women in this industry need to support each other and root for each other’s successes. It’s important to look at our representation in the industry and fight for more, and to stand up for intersectionality. It’s so important to fight for progress in this industry, because everybody has stories to tell.

Is there anyone you’d like to thank?

I have TOO MANY people I need to thank! I’ve been really fortunate to have met so many people who have taken the time to teach me and give me guidance in my career.

 Tron Mai, Marshall Vandruff, and Ben Juwono are hands down the best teachers I’ve ever had, and they’ve each done so much to encourage and support me. They each have such valuable wisdom to share and I’ve been really fortunate to learn from them.

 I owe a lot to the people who patiently gave me advice when I was considering leaving art school - James Joyce, Jessie Greenberg, and Kevin Chen; as well as the wonderful teachers at CDA and the Animation Guild who gave me feedback and helped me on my journey, especially Louie Del Carmen, Rad Sechrist, Tony Shelton, Mark McDonnell, Will Weston, Jay Oliva, and John Nevarez.  

 I especially owe thanks to the wonderful Penn Zero crew, who have given me so many opportunities! Sam Levine is a really inspiring showrunner, and I owe him for taking chances on crazy young upstarts like me. Kat Good is an incredible, empowering director, and the first woman I’ve met in the industry who I can count on for honest guidance in all areas of life. I also owe a lot to Tom DeRosier and Adam Henry for mentoring me, as well as my wonderful crewmates, especially Arielle Rosenstein, David Shair, Travis Blaise, Hillary Bradfield, and Casey Coffey, for sharing a ton of laughs and christening me “Tiny Furiosa”.  

 I also have to thank my parents for being supportive of all my crazy artistic endeavors, and for letting me drop out of school! And my boyfriend Preston Do for being there for me through this whole crazy journey. And the incredible friends and strangers who support my wild and crazy dreams, and pay me money to draw cartoons. All of you are the best.

 AND YOU, Jonathan Blake, for interviewing me and for being so patient!

Are there any artists you’d recommend I follow and/or interview next?

There are too many great artists out there! I think it’s especially still important to study the old masters and learn from them. I’m out of touch with all the cool artist stuff happening (there’s so much going on all the time these days!) but maybe it’d be cool if you capitalized on CTN and had a meetup or some interview sessions or something there?

That being said, there’s a ton of cool people who work on PZ! Travis Blaise would be great to interview, I sit across from him at work and always pick his brain about his stories of being a Disney animator at the Florida studio in the '80s and '90s. Peter Paul is another great artist, he’s worked everywhere and knows all the good gossip, so he’d be good to interview as well. Hillary Bradfield boards on Penn Zero and would be another great person to interview! She’s hilarious and crazy talented.

How/where can people see your work?

I have a tumblr, which is often left tragically abandoned, at naomihicksart.tumblr.com. I also post dumb doodles on instagram: @spacecadetnaomi

Is there anything that you’re not doing now that you might like to try in the future?

I’d like to board again! I got to board one episode on our show and it was really fun. Boarding is more difficult than revisions, and takes more time, but it’s so much fun and you get a lot of control over the episode. I’ve still got more to learn, but our team is amazing and it’s a great environment to learn in! In the future I just wanna set the world on fire and inspire other artists to help build a positive, accepting environment in which we can all tell the best stories and encourage each other. Super cheesy, but my dream is to work on amazing projects that I can believe in with the people I love!

outofstyles  asked:

what you're thinking about your boy Liam's interview? Disturbs me so much, verry ignorant. And someone who has gay rumours himself talking about other people's gay rumours

This was pure narrative. It was a cornucopia of rumor shut downs.

I mean basically it served both interested parties well:

1DHQ gets their way. As fans we never would have paid this much attention to a random article by the Sun, the Mirror, or even Billboard. But, this was in a GAY PUBLICATION?! OMG. We all went bezerk. The Larries, The Ziamists, even non-shippers were pledging to read the article out of pure curiosity. They managed to get this into pretty much every hot little hand in the fandom in mere hours. That’s impressive.

They knew it had to be an article (the disaster of the Four Livestream showed that we would NOT believe that bullshit again. The Fakery is way too easy to spot on camera) They knew they could not use Harry or Louis (WAY too obvious to see through) it had to be Liam or Niall (given the dude bro marketing), but Liam made more sense given the homophobic seeding with Duck Dynasty & Girl Almighty-Gate. 

His denials and shut downs would incense the fandom and he would be the one to take the heat. If we are also to believe the break-up narrative, this makes sense. What we read was the interview of someone fed up with fans, struggling with aspects of their success, and clearly wanting to grow up and move on. (aka a smear campaign on the 1D brand before they depart Modest’s evil clutches. GET YOUR OTRA TICKETS NOW!)


Attitude Magazine gets cash. They may have also been promised an exclusive story down the road.. The international recognition for this issue cannot be matched. I’m sure sales from this issue spiked, but whats worth more to them is the advertising and sponsorship dollars. Showing a prospective advertiser that your publication can achieve worldwide trends, and target the highly sought after millennial market is key. All press is good press baby. .

Liam did everything he could to mitigate this. I think in his limited control that he DOES have we recently saw:

-Sophiam Ho stroll Shading (him just being generally uncooperative)

-Reading signs at the shows. So many Larry signs in the last few weeks, that isnt a coincidence that he amped that up so much

-Tupac Quote

-All the Ziam twinning (Tattoos, Instagram photos etc)

He did everything he could do to warn us- to help us see through it.

Remember this?

I don’t believe the content of this article anymore than I believe that Harry called Perrie to console her after the Zerrie split, that Zayn is having spats with grown ass artists on Twitter, and Louis impregnated a random bar fly.

Scene Analysis: Welcome To The New Age

This post is very much inspired by @abazethe100’s analysis on 3x13 here, particularly her take on the scene where the delinquents enter the dropship. We share a favourite in that scene, certainly. It also draws some inspiration from @storyskein’s astute observations here - Firstly about 3x13 representing a new beginning, not only for Bellamy and Clarke, but for the characters, and secondly that of how, visually, the oil rig scene was very much a throwback to when the delinquents stepped out of the dropship.

Essentially, it is a nostalgia-fueled look back on 1x1 in relation to 3x13.

Keep reading

anonymous asked:

howd you lift the smoky palette?

keep in mind that my sephora doesn’t monitor cameras (and this wasn’t even my “easy” sephora). I used sleight of hand mixed with the sweater method. I made my way to the urban decay section, and tested a couple shades on my hand (it’s sus to just pick up palettes straight away).

When no one was in the “aisle” (I use that word loosely since the displays are pretty low) I picked up the 2 palettes at the same time in the hand that I had previously draped my sweater over (it was a cool day so having a sweater wasn’t weird). It was crowded enough that I was lost in a group of people, but not SO crowded that there were customers everywhere. I made sure the palettes were covered with my sweater, and smoothly put the whole bundle in my purse, sweater and all while walking/backing a camera. You can really only do that once because it’d be sus to keep taking out and putting away a sweater without putting it on.

If you’re going to put the whole thing in your purse btw, don’t have a knitted/bulky cardigan because then you’re probs not going to be able to conceal smoothly.

And that’s it :)

The best camera you can buy for under $250
If you’re looking for a camera that can do more than a smartphone, you have a number of options — including some good ones under $250. The right camera should cover the basics: it should be compact enough to fit in your pocket or the bag you’re already carrying around. As the old adage goes, the best camera is the one you have with you. Second, it should have a long zoom lens, since there’s no point in carrying around a camera that doesn’t offer significantly more reach than your smartphone. Finally, it should be fast and easy to use. If a camera isn’t fast enough or you have to fumble with awkward controls, you’ll often miss the shots you’re trying to get.