primary lens

The Art of Shambles, by Miss Tick

A shamble: A handmade device for the focusing of magic. Like a lens, its primary uses include detecting, magnifying and projecting - in this instance - of magic.

‘Coincidence’ is an arrogant sort of a word, I’ve always thought. It takes all the glory and does none of the work.

It’s a word for when ‘fate’, ‘magic’ and, sometimes even, ‘miracle’ have been sat on the naughty step for being altogether too interesting.

The fact your mother and your father were of compatible genders, and indeed species, was an overwhelming stroke of luck. That they happened to be in the same place, on the same day and furthermore, though that it would be a jolly nice idea to knock boots to see what happened, well that depended on an astronomical array of variables. Remarkably, their mothers and their fathers managed a similar unutterably unlikely feat. As did their parents, and their before them. In fact, the chance of you existing in this place at this time is nothing short of magnificently, awe-inspiringly, jaw-droppingly improbably or, if you prefer, a bit of a ‘coincidence’.

The here and now is the pinnacle of hundreds of millions of little ‘coincidences’, of chances, all lined up in the exact fashion needed to produce this precise moment. This is where I find the power of my shambles. It is the coming together of objects which, against all probability, somehow conspired to be right here, right now, right when I needed them. The magic lies in the moment. Too often we let parts of ourselves wander off to the future, wondering what;s for dinner or allowing our memories to drag the past into the now. Building a shambles focuses the mind. It anchors you to one precise moment, and believe me, when a witch gathers all of herself in one place at one time, she can have a significant bearing on the next poor unsuspecting moment that comes along.

Of course, this is simply my way. We each make and use them differently, and a shambles in itself is not to be considered magical, but rather as a tool of magic. After all, owning a chisel doesn’t make one a sculptor, but it doesn’t half help. Shambles can be used for many things in many ways, but there are rules. The shambles must be built at the time it is to be used and from items that happen to be around you. It doesn’t hurt to have a few suitable items about your person in case of emergencies; after all, why can’t a well-stocked pocket serve as an eldritch agent of destiny on occasion? A shamble must contain an element of life; a beetle, an egg, a seed perhaps, and it must look the part (after all we are witches), but most importantly it must feel right.

- from 2016 Discworld Diary: A Practical Manual for the Modern Witch, by Terry Pratchett, aided and abetted by the Discworld Emporium

Pet peeve of mine: when people think that just because I’m a bellarke shipper that I don’t see Bellamy and Clarke as individual characters. I like shipping, dudes, but it’s honestly not how I generally read the show. Shipping is a secondary lens for me, not a primary lens… so yeah, everything isn’t about romantic bellarke, for me. In fact, most things about this show and what I love about it have nothing to do with bellarke becoming romantic (or anyone becoming romantic, honestly). 

markusleben  asked:

I think the fear people have of a 'world of hats' is reasonable, even if it's misplaced. They're worried that using some sort of theme in a world makes it impossible to reuse the world with different themes or the theme with different worlds. I feel like Kaladesh giving us a new kind of artifact world is good evidence of a world using a theme again, and New Phyrexia is a good example of revisiting a world with a different theme, but I also think respecting and addressing that fear is important.

Fair point. Our goal is to make worlds that are both deep and defined. One though does not negate the other.

Also, the primary lens that we show worlds is through a card set and the nature of that forces us to highlight more focused aspects of that world.

Because we’ve moved to a system where we return to many worlds, that allows us the opportunity to show different facets. The new design model will also allow us to remain on a world and shift focus.

ive been realizing recently that gayness potentially just being Normal gives me so much hope and like watching things where gayness is like the primary lens through which Normal Life is conducted without it making any like drastic changes to the content of interaction (but still changing how they flow and in which direction) honestly makes me so excited to be an adult

anonymous asked:

Do you have a basic workflow for editing? Do you use Photoshop or Lightroom?Like if your just doing basic editing, what do you do? Color correction, brightness and saturation, sharpen? Filters? When you deliver finished photos to someone do you have a standard resolution and size (ratio) that you save the images at for web use? What about for printing? *Updated my photo page btw, check it out if you get a chance.

My workflow is a bit all of the place in terms of what I focus on and the order but it’s more or less:

  • Import RAWs from camera to laptop via Lightroom CC 
  • Back up immediately from laptop to external drive
  • Go through entire shoot and add shots I want to work on to Quick Collection
  • Select one photo from a set of similar shots and create the look using previous presets from other shoots or create a new look from scratch
  • Go through the edited pictures and 1-Star the ones I want to export for the initial batch
  • Go through the 1-Starred and do any last minutes corrections, blemishes, spots, acne (usually by request)
  • Export the final set at 2560px long side 300dpi standard sharpening
  • Back those up to a private album on Google Photos with sharable links

All editing no matter if just minor corrections or a full 2 hr clean up edit is done in Lightroom. It just suits my needs but it’s possible to achieve the same outcome with Camera Raw or something like Aperture.

I do a lot of color toning. Hues, Saturation, and Luminosity are usually altered even just a little to achieve the look I’m after. Off the top of my head, I can confidently say I alter the brightness, saturation, vibrance, exposure, contrast, highlights, blacks, whites, shadows, noise, color noise, sharpness, chromatic aberration, shadow tint, blue/red/green primaries, curves, and lens correction to correct barrel distortion.

For filters/presets, I’ve gone with VSCO Film, however I can say that I have never applied a preset and exported it. Most of my custom presets are based on VSCO Film presets but I have edited them to hell and back to tailor to the look I envisioned.

Electronically shared photos are delivered through Google Photos by private albums. They’re 1920px long side which is fine for things like posting on Tumblr and Instagram. I’m more than willing to supplying Full Res images for printing but stick to 1920 for the sake of space efficiency.

Haven’t done much printing as yet but I’m looking to begin getting samples for my coffee table book for my 100 best shots from 2015 that I’ll be giving to all of the people I’ve worked with as a bit of a thank you for helping me grow kind of thing.

anonymous asked:

gon literally almost got himself killed like 5 times to rescue killua because he knew killua wasn't acting of his own will, gave up the idea to play greed island just the two of them for the sake of finding out if the spell cast on killua was life-threatening, constantly tells killua how important he is to him, and constantly worries about his well-being, even if killua insists he's fine (like in the CA arc). i don't know why it's hard to believe gon has some devotion to killua as well

something i find interesting about gon’s character is that, despite being the central protagonist and also incredibly straight-forward personality-wise, we don’t get into his mind the same way we do with killua’s. this is possibly because killua keeps a lot of his feelings and thoughts to himself, which we as an audience get the privilege of seeing. it makes killua come off as a much more transparent, easy-to-read character compared to gon. gon is also the “unpredictable” one between the two of them, so a lot of moments are framed from killua’s pov to increase the suspense (for instance, any moment where gon is fighting and killua is giving commentary in his head – killua and us as the audience have no idea what gon has up his sleeves). i think this is why so many fanfics are instinctually written from killua’s pov – it’s the primary lens we read hxh through so it’s natural to continue that dynamic when writing fic.

so anyway, it’s not that gon doesn’t care about killua, it’s just that we get more of killua’s pov and it probably seems unbalanced as a result.

Philip Hamilton from Hamilton
by Rebecca
requested by @prismapaws and @jeffer-sin

Extroverted Intuition (Ne)
“I’m only nineteen but my mind is older. Gotta be my own man, like my father, but bolder.”
Philip leaps before he looks, often jumping into new experiences and opportunities when he finds them in the world. He is very creative, as demonstrated by the fact that he calls himself a poet and creates his own work in “Take A Break.” He usually ends up desiring change, such as how he always changed the melody when playing piano with his mother. He tends to be adaptable to the situation around himself, willing to embrace new experiences such as challenging Eacker to a duel or flirting with girls on the street. However, his ability to not only look at opportunities but end up jumping to them leads him to act without filtering it through thought (Te) and past experience (Si).

Introverted Feeling (Fi)
“Pops, if you had only heard the shit he said about you, I doubt you would have let it slide and I was not about to.”
Philip has his own personal moral ideals and stands up for them whenever he feels that he must, which ends up leading him into his fatal duel. He focuses on having his own identity, seen as he wants to accomplish something of his own while still carrying his father’s legacy. Throughout his short life he is always working on building himself as his own person even with a father like Alexander Hamilton. His downfall comes because of his desire to defend his own feelings and the honor of his family, as his pride and feelings end up getting the better of him. By staying true to his family pride, he ends up trying to defend it at the cost of his life through his duel with Eacker.

Extroverted Thinking (Te)
“You can write rhymes but you can’t write mine!”
Philip is quite intelligent, just like his father before him, but he doesn’t use logic as his primary lens in most of what he does. This is seen most prominently when Philip doesn’t think logically about challenging Eacker to a duel, even though he knows nothing about dueling. He soon realizes he has made an error after challenging Eacker, checking his moment of emotion (Fi) with logic. This means he is forced to ask his father for advice, unable to use his own experience and knowledge for the situation. He relies on the exterior logic and structure that his father provides, aiming his gun at the sky because his father told him to do so.

Introverted Sensing (Si)
“Mom, I’m so sorry for forgetting what you taught me.”
Most of the time, when Philip looks to the past it is either to best it or to remember it as his life is ending, rather than to use it to learn. When he introduces himself in “Blow Us All Away,” he says, “I gotta be my own man, like my father but bolder. I shoulder his legacy with pride.” This demonstrates that he does have respect for the past, but is more interested in what new things he can accomplish with Ne. As he is on his deathbed in “Stay Alive (Reprise),” he ends up looking back on his past, specifically his time playing piano with his mother. He seems to remember these moments with clarity and shows regret for what he has done in the past.

Body Language (StormPilot, 1/1)

BB-8 had a mission.  Never in its short operation span had the droid ever focused such a high percentage of internal resources to solving a single task, but now was the time to compile the data and implement its new subroutine:

The mimicry of human body language.

Less than a dozen bio-organisms on base could understand 27th generation Droidspeak.   Any viewscreen with a data port could display BB-8’s conversation in text, but lacked nuance.  Any droid with a high-tech vocabulator could translate, but none were available for its ‘ridiculous nonsense’, as the General’s cantankerous protocol droid put it.  Nor could they keep up with the new model astromech’s fast-rolling design.

So BB-8 had decided to establish communications without assistance.  Poe understood at least the general essence of the droid’s language.  Poe was not the problem.  The problem was Finn.

Keep reading



A telescope is a popular gift, especially so every December. It can be a portal to the universe and provide a lifetime of enjoyment. But there’s no one “perfect” telescope – just as there’s no such thing as a perfect car. Instead, choose a telescope based on your observing interests, lifestyle, and budget. And “buyer beware”: a telescope should not be bought on impulse.

“Don’t expect a lot from the majority of telescopes costing less than $200, and certainly be wary of anything sold in a toy shop or department store,” says Sean Walker, Equipment Editor of Sky & Telescope magazine. “Do some research before buying, and then go to a reputable store or online dealer that specializes in telescopes or related products, such as cameras or consumer electronics.”

Here’s expert advice from the editors of Sky & Telescope to help anyone searching for a first-ever telescope.

Telescope Types

Telescopes come in many shapes, sizes, and prices. Yet all of them fall into one of three general classes: refractors (those that collect light using lenses), reflectors (those with mirrors), and compound telescopes (hybrids of the two). Each has its strengths and weaknesses, but all share the same function: to gather light from a distant object and to form a sharp image that can be scrutinized by eye or camera.

* Refractors have a lens at the front of the tube – it’s the type most people are familiar with. While generally low maintenance, refractors quickly become expensive as the diameter of the main lens increases. In refractor lingo, an apochromat offers better optical quality (and is more expensive) than an achromat of the same size.

* Reflectors gather light using a precisely-shaped curved mirror at the rear of the main tube. For a given diameter, these are generally the least expensive type, but you’ll need to adjust the optical alignment periodically – especially if you bump it around a lot.

* Compound (or catadioptric) telescopes, which use a combination of lenses and mirrors, offer compact tubes and relatively light weight. Two popular designs are called Schmidt-Cassegrains and Maksutov-Cassegrains – look for these phrases in ads or on the telescope itself.

“Whatever design you choose, optical quality should be your top priority,” notes S&T Senior Editor Kelly Beatty. “It’s the key to seeing the night sky at its best.” Running a close second is a solid, steady mount with smooth, dependable motions.

If at all possible, try before you buy – visit a local astronomy club and look through members’ scopes to see which ones you like. If you purchase a unit online, make sure there is a good return policy. Avoid used-equipment offers unless you’re certain about what you’re buying.

What to Look For

Here are important characteristics to look for in any telescope, regardless of type:

The aperture (diameter) of the primary lens or mirror in your telescope determines two things: light-gathering power and resolving power (the ability to see fine detail). The larger the aperture, the more light your scope collects and the fainter the objects you can see. With increased aperture also comes increased resolution – a larger-aperture telescope will reveal smaller features on the Moon and in distant nebulae and galaxies.

Focal Length and Magnification
The distance from the primary lens or mirror to the point where the image of a distant object comes into focus is called the focal length. The magnification, or power, of any telescope-eyepiece combination is easy to calculate: divide the focal length of the scope by that of the eyepiece. So a 25-mm eyepiece used with a refractor having a focal length of 900 mm gives 36 power (900 / 25 = 36), usually written as 36x. As a general rule, twice the aperture in millimeters (or 50 times the aperture in inches) is the maximum usable magnification. Beyond that, the image gets so faint and fuzzy that it seems forever out of focus.

Beginners are frequently surprised at how small a window on the sky their scope presents when used at medium to high power. So all telescopes – regardless of type or design – should be equipped with a high-quality finder, an observing aid that assists in locating celestial objects. Very common these days are “red-dot” finders, which use an LED to project a red dot or centering pattern on the search area but don’t magnify the view.

Mount Type
A telescope with the finest optics will be rendered useless without a suitable mount. A good mount (1) holds the instrument firmly with little vibration, (2) allows the tube to be pointed to any part of the heavens quickly and accurately, and (3) permits smooth and precise tracking of a celestial object as Earth’s rotation carries it from east to west across the sky. Two basic types of mounts accomplish these tasks: altazimuth and equatorial.

Alt-azimuth (“alt-az”) mounts, which move up-and-down and side-to-side, require simultaneous manual corrections for two axes to keep celestial objects in view. Unless you have a motor-driven altazimuth mount, for high-magnification visual observations – and especially for faint-object astrophotography – you’ll probably want an equatorial mount.

An equatorial mount also uses two axes, but one of them is aligned parallel to Earth’s axis of rotation by being pointed at the north celestial pole, near Polaris, when viewing from the Northern Hemisphere. Then, once a celestial object has been found, you only have to pivot the scope around its “polar” axis to keep the object in view.

Computerized Scopes
Many telescopes use a built-in computer to drive the mount’s motors. Once properly initialized, the computer takes over and can automatically aim the telescope at any desired object and track it as it moves across the sky. This is the essence of a “Go To” telescope. Depending on the sophistication of the system, you might need to enter your viewing location, date, and time at the beginning of an observing session. You might also need to point the scope at two or three bright stars or planets in order to synchronize the instrument’s coordinate system with that of the sky.

Go To scopes aren’t for everyone – the setup process might be confusing if you don’t know how to identify bright alignment stars in the sky. And lower-priced Go To models come with smaller-aperture telescopes than similarly priced, entry-level scopes that have no electronics.

TOP IMAGE….All telescopes gather and concentrate light, but the three basic optical designs — refractors, reflectors, and compound — do so in different ways, as revealed by these cutaway drawings.
Sky & Telescope / Gregg Dinderman & Brett Pawson

CENTRE IMAGE….Here are seven important qualities of a good-quality telescope: (1) eyepiece shows a sharp image from edge to edge; (2) smooth focuser with “precise” feel; (3) mount moves smoothly on both axes; (4) mount is sturdy and sta-ble; (5) tube stops shaking quickly after being touched; (6) eyepiece is at a comfortable height for viewing while you are seated; and (7) the finderscope is easy to adjust and look through. Sky & Telescope

LOWER IMAGE….Telescope mounts come in two basic types. An altazimuth mount (left) permits the scope to move up-down and left-right. It’s quick to set up and intuitive to use. An equatorial mount (right) tracks celestial objects by turning just one axis and can be more easily motorized — but to work properly it must be aligned with the North Star (Polaris). Sky & Telescope

BOTTOM IMAGE….When using a traditional finderscope (left), your eye must be very close to its back end, and seeing the crosshairs can be difficult in the dark. A “1-power” finder (right) use a red LED to create the illusion of a reference dot or pattern on the sky. It lets you view your target and the superimposed red dot or circle more comfortably. Sky & Telescope

New goodies for myself! I thought that it was about time that I upgrade from my 18-55mm kit lens after using it for several years as my primary lens for landscapes. I got a Tamron 17-50mm f/2.8 and I am enjoying it very much. I had to get a circular polarizer and a 10 stop Hitech ND Filter to fit the new filter thread size. Excited to go shooting with these!