through a fisheye lens

so i’ve mentioned how my favorite thing is fake ah crew ryan being a complete dork masquerading as a badass, right

one night like way after midnight michael wakes up to the sound of loud, steady, insistent pounding at his door, and he’s up out of bed in his pajama bottoms with a gun in his hand before he even wakes up completely

and when he gets to the door he looks through the peephole and sees the fisheye lens version of ryan standing in the hall of his apartment building wearing his skull mask and looking generally creepy and imposing

so michael opens the door and for a moment there’s just this silence with michael holding the gun loosely at his side and ryan creepily silhouetted against the lights of the hallway, jacket spattered with deep red spots

and a list of things michael is expecting ryan to say, having come to his apartment in the middle of the night without warning covered in blood:

  • i need you to help me bury a body
  • i’m on the run from the cops
  • i’ve decided to kill you and everyone you love

but this is what ryan actually says, words muffled through his mask, body language abruptly sheepish: “i forgot to pay my bills this month and they shut off my water. can i use your shower?”

michael stares, and then he nods dumbly–what else can he do?–and ryan murmurs a thanks and pushes past him into the apartment.

later, ryan haywood is sitting in michael’s living room in a towel while his bloody clothes are spinning through the wash cycle

(“do you have a pair of sweats or something i could borrow,” ryan had asked when he came out of the bathroom

“sure,” michael had replied, and had then turned around and actually looked at ryan, towel around his waist, hair dripping, bare chest still slightly wet, upon which he’d blurted, “actually, no.”

“…you don’t have any spare clothes.”

“that’s right.”

“…okay…? i’ll just…hang on to the towel until my clothes are done, then?”

“that’d be great.”)

and after some awkward silence, michael says, “you know, you can probably set your bills up to auto pay,” and ryan blinks once and breathes out an oh that seems to carry the weight of a dozen forgotten months of water bill payments, what a fucking nerd.

These Somethings

She’s got the broken down
badly used tossed in a corner blues

The promises were there
but never kept
the expectant lover
beneath the porch light
as sunset gave in to night
raising a hand but never knocking
a fisheye portrait in hesitation
through a peephole lens,

The phone never rang
with the right numbers
cold rain fell upon the picnics
and the presents always seemed
better before they were unwrapped
oh but she believed all along
because that’s what they told her
good girls do
wait and believe and behave
and it all comes back

Eventually is a calendar with no numbers

It is somewhere before forever
but after now
and though they never say it
She understands now
that eventually might not be for her

Our Most “Liked” Instagram Posts of 2016

Our Instagram page has over 1,800 images and is lucky enough to be followed by more than 18 million fans.

What images and videos were your favorite from this past year? Great question, and one we asked ourselves too! 

Here’s a look at our most liked Instagram posts* of 2016…Enjoy!


Colorful “last hurrah’ of a star: The Hubble Space Telescope shows off the colorful “last hurrah” of a star like our sun. The star is ending its life by casting off its outer layers of gas, which formed a cocoon around the star’s remaining core. With 513,672 likes, this image is our 10th most liked of 2016.


Vivid glowing auroras in Jupiter’s atmosphere! Astronomers are using the Hubble Space Telescope to study auroras – stunning light shows in a planet’s atmosphere – on the poles of the largest planet in the solar system. This image ranks #9 for 2016 with 515,339 likes.


Astronomers found evidence for what is likely one of the most extreme pulsars, or rotating neutron stars, ever detected. The source exhibits properties of a highly magnetized neutron star, or magnetar, yet its deduced spin period is thousands of times longer than any pulsar ever observed. With 517,995 likes, this picture ranks #8 for 2016.


Fiery South Atlantic Sunset! An astronaut aboard the International Space Station photographed a sunset that looks like a vast sheet of flame. With Earth’s surface already in darkness, the setting sun, the cloud masses, and the sideways viewing angle make a powerful image of the kind that astronauts use to commemorate their flights. This image ranks #7 for 2016 with 520,553 likes.


Go floating! Join us for a fly-through of the International Space Station! This footage was shot using a fisheye lens for extreme focus and depth of field. This video ranks as our sixth most liked Instagram post of 2016 with 541,418 likes.


This #BlackFriday post helped us celebrate our 4th annual #BlackHoleFriday! Each year we pose awesome content about black holes on the Black Friday shopping holiday. A black hole is a place in space where gravity pulls so much that even light cannot get out. With 549,910 likes, this image ranks #5 for 2016.


A cluster of young stars – about one to two million years old – located about 20,000 light years from Earth. Data in visible light from the Hubble Space Telescope (green and blue) reveal thick clouds where the stars are forming. This image ranks #4 for 2016 with 573,002 likes.


Supermoon is a spectacular sight! The Nov. 14 supermoon was especially “super” because it was the closest full moon to Earth since 1948. We won’t see another supermoon like this until 2034. Which might have something to do with this image ranking #3 for 2016 with 695,343 likes.


Supermoon seen from space! Aboard the International Space Station, NASA astronaut Peggy Whitson posted this image on Dec. 14 captured by European Space Agency astronaut Thomas Pesquet. This stunning image ranks #2 for 2016 with 704,530 likes.


It’s a bird, it’s a plane…no, it’s a #supermoon! The moon, or supermoon, is seen rising behind the Soyuz rocket at the Baikonur Cosmodrome launch pad in Kazakhstan ahead of the November crew launch to the International Space Station. This photo was our #1 image of 2016 with 746,981 likes.

Thanks for joining us as we traveled through the space events of 2016. We’re looking forward to all of the interstellar fun that 2017 will bring. Happy Holidays!

Do you want to get amazing images of Earth from space, see distant galaxies and more on Instagram? Of course you do! Follow us:

*Posts and rankings are were taken as of Dec. 21, 2016.

Make sure to follow us on Tumblr for your regular dose of space:

animalcrossephant  asked:

Wait, how do you lense correct? Is it on an app or something?

If it’s an indoors shot you can just use photoshop’s Perspective tool, dragging a top corner to pinch in the image so lines that should be traveling straight up, such as side edge of the window, do so (perpendicular to the top of the picture). This might make your picture look too thin, so use the Transform tool to crunch it down a bit so your characters look reasonable.

Note that you’ll lose part of the picture when cropping it into a rectangle.

If it’s an outside shot, fixing it is more complex because the whole would has a curvature which almost makes it like you’re looking through a fisheye lens. To fix this I use Adobe Lightroom’s Lens Correction settings which are used to undo fisheye in actual lenses. Here’s what the settings look like:

First I adjust the Vertical slider, which is the essentially same as using the Perspective tool in Photoshop, to again get those edges perpendicular. In this case, I’m using the left edge of the house as reference:

Next you can undo the fisheye by adjusting the Distortion slider. Moving it left adds fisheye and moving it right removes it. This time I’m going to move it all the way right, but watch the objects on the far right and left to make sure they don’t get too noticeably curved.

Finally, use the Aspect slider to stretch your image taller or wider to get the object proportions back to normal (the same as the “crunch” step in Photoshop):

Now the perspective of the image is a bit better, giving a better illusion of depth. If you want to straighten its sides out a bit you can mess around with the Warp tool in Photoshop.

yo here’s a thing
ramwood-centric, ah ot6 (vaguely), gta verse
couple explicit sentences but not a smutty piece you get me

“Took a while to find you.” Ryan gestures, vaguely, to the motel room at large. “This is very…”

“Very,” Geoff agrees.

“Different. For you.”

“No five star hotel, no penthouse suite, no king-sized bed,” Geoff rattles off, swinging his feet up on the bed and leaning back. He’s got the money for extravagance, but sometimes extravagance is exhausting. Sometimes a place off the highway where you have to check the mattress for bed bugs is comforting.

(Sometimes it reminds you of years ago, when you’re fresh-faced, twenty-something and fucking a guy whose Georgia accent hasn’t bled out yet, who hasn’t killed a man yet but wants to, asks to, needs to.)

Keep reading


The greater Manila metropolitan has, by some measures, the worst traffic in the world. Getting anywhere is a nightmare. It’s hot. It’s cramped. It’s chaotic. 

Lawrence Sumulong throws you into the middle of it with his series Bottleneck. His gritty black and white photos capture crowds filling smoggy underpasses, packed rush-hour trains, and the iconic jeepneys packed with passengers. 

 Seeing the insanity through a fisheye lens makes an unbearable commute downright claustrophobic. It gives you a visceral sense of what it’s like to spend two hours moving three miles.

MORE. Claustrophobic Photos Go Inside Manila’s Traffic Nightmare


Mohammad Reza Domiri Ganji (Iran)

Through the use of wide-angle fisheye lenses, Northern Iranian photographer Mohammad Reza Domiri Ganji captures the geometric structures and visual patterns of the majestic mosques located throughout the Middle East. Focusing on the way light enhances a space, Domiri seeks out the bold stained glass windows of each mosque he photographs and waits for the perfect moment when light to penetrates the space, which he then photographs. By using his fisheye lens, Domiri helps to guide the viewer through the entire space and visually absorb its grandeur. (src. Juxtapoz by Canbra Hodsdon)

[more Mohammad Reza Domiri Ganji]

Through the looking glass

“A moonlit night of the Shirakawa Ice Pillars through a circular fisheye lens. This is a plain dry cliff during summer time, but only at the most freezing months of winter, huge ice pillars like this form. The picture was taken with a half-moon illuminating the ice pillars. Even with the moon, the stars are clear and the evening air is crisp. The foot of the Ontake-san is one of the few places left in Japan where we can enjoy a beautiful dark sky with almost no worry of light pollution.”

Image credit: Akiko C. Ikeda

dovakla  asked:

Can you elaborate on the domed screen thing for the movie? Will it be like a planetarium-style setup?

Sort of, it’s closest to “IMAX Dome” or “OMNIMAX,” or the system designed for the old Back to the Future ride. The dome is tilted at 45 degrees, or steeper for my intended format. Footage is shot through a fisheye lens and projected through the same to cover a 180 degree field of vision. The hemispherical screen thus fills your entire field of vision in both shape and size.

IMAX claims its 15-perf film frame is equivalent to about 12,000 horizonal lines, this would be called “16K” by modern standards (which go by horizontal resolution) in which 4K is considered very sharp. I plan an even higher resolution combined with an ultra-high frame rate (Hobbit looked awful at 48fps, but past 120 you start to get a different effect that’s less ‘greasy’ and more real. This will all be in 3D with a realistic interoccular distance yielding an experience so completely real and immersive that the brain can’t convince itself that what it’s seeing isn’t simply there in front of you.

This sounds overly ambitious until you remember that we’ve been doing it on film since the 1980s for theme park rides and special shows. The digital version is just around the corner but nobody has the guts to use it because it won’t be a movie anymore. It will be an experience and you can’t shoot and edit an experience the way you can a movie, it’ll make everyone sick. The language of cinema goes out the window when you make a movie like this. So I’ve designed a new language. From the acting style to the photography to the editing and framing to the very concept of what can be shown, my test short film will not only showcase a revolutionary format but a new way to tell a story.

Combine this all with the story and Wagnerian total-artwork in the Valhalla trilogy and I am confident it will change cinema forever.