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somethingusefulfromflorida · 2 years

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I'm going through the complete text of Dracula to try and determine what year it takes place based on the days of the week mentioned by the characters.

The novel can be set no earlier than 1888, as that was the year the Kodak camera Jonathan uses was invented, though the Eastman Kodak company wasn't formally organized until May 1892, so we're really looking at 1893 as the lower bound.

Arthur and Quincey go home after Lucy's funeral on 22 September, and on the 26 September Dr. Seward receives a letter from them dated Sunday, which must have fallen on 23, 24, or 25.

Sunday, 23 September, 1888 [this year is too early]

Sunday, 25 September, 1892 [too early]

Sunday, 24 September, 1893

Sunday, 23 September, 1894

Sunday, 25 September, 1898

Sunday, 24 September, 1899

Sunday, 23 September, 1900

Note: the novel was published in 1897, but all we know is that it takes place in the 19th century (Jonathan says so on 15 May, Seward on 26 September, and Van Helsing on 30 September), so 1898, 1899, and 1900 are not necessarily disqualified. This gives us upper and lower bounds of 1888 - 1900, or more likely 1893 - 1900

Spoiler for events that haven't been emailed yet: on 2 November, Jonathan writes in his journal that Mina and Van Helsing should have arrived in Veresti around noon on Wednesday. A few pages later, Mina's own journal says they arrived at Veresti noon on 31 October.

Wednesday, 31 October, 1888 [too early]

Wednesday, 31 October, 1894

Wednesday, 31 October, 1900

Lucy's very first letter to Mina is not dated, but is said to have been written on a Wednesday. Dracula Daily emailed it on 11 May, but only because that happened to be a Wednesday in 2022. Mina's previous letter to Lucy was dated 9 May, and subsequent letters between the group tend to be delivered very quickly, so let's look for Wednesdays that were less than, say, four days after 9 May

Wednesday, 13 May, 1891 [too early]

Wednesday, 11 May, 1892 [too early]

Wednesday, 10 May, 1893

Wednesday, 13 May, 1896

Wednesday, 12 May, 1897

Wednesday, 11 May, 1898

Wednesday, 10 May, 1899

On 25 September, Mina tells Van Helsing that Jonathan nearly fainted last Thursday when he saw a man that looked like a young Count Dracula. She recorded this episode in her diary three days prior.

Thursday, 22 September, 1892 [too early]

Thursday, 22 September, 1898

A newspaper clipping dated 8 August says that the big storm that hit Whitby came out of nowhere, and that Saturday evening had been as calm as any other. On 6 August, Mina wrote that the day was gray and fishermen were warning people that a storm was brewing. If Saturday evening was calm, but Mina reported gray skies on the 6th, then either she wrote about it late on Saturday after the storm started rolling in, or sometime on Sunday, meaning Saturday is either 5 or 6 August.

Saturday, 6 August, 1892 [too early]

Saturday, 5 August, 1893

Saturday, 6 August, 1898

Saturday, 5 August, 1899

Those are all the days of the week mentioned in the book, so now let's account for the phases of the Moon. Mina says it was full at 3am on 11 August. Full moons rise at sunset, so it would have risen on the 10th. Looking at a phase calendar, let's say a reasonable person in the 1890s would say it looks full for 2 days before or 2 days after the actual full moon (3 days, and you start to notice it waxing and waning). When did the full moon fall between 10 and 13 August?

Saturday, 10 August, 1889 (looks full from 8 - 12) [too early]

Monday, 8 August, 1892 (looks full 6 - 10) [too early]

Thursday, 12 August, 1897 (looks full 10 - 14)

Friday, 10 August, 1900 (looks full 8 - 12)

Dr. Seward says that there was "full moonlight" on 20 September, the night Lucy died. That's more than a month after Mina's full moon, but Seward didn't actually go outside to check, he just noticed the moonlight through the window, so let's give him some more wiggle room and say that the moonlight could appear bright enough to be mistaken for full up to 4 days before and after the actual full moon; it's about one week between the quarter and full phases, and nobody could mistake a quarter moon's light for being full, but I guess you could make that mistake for a gibbous moon if you don't see it directly. When did the full moon fall between 16 and 24 September?

Thursday, 20 September, 1888 (seems full 16 - 24) [too early]

Friday, 18 September, 1891 ("full" 14 - 22) [too early]

Monday, 25 September, 1893 ("full" 21 - 29; kind of a stretch)

Monday, 21 September, 1896 ("full" 17 - 25)

Tuesday, 19 September, 1899 ("full" 15 - 23)

Let's tally up all the data

1888: 3

1889: 1

1890: 0

1891: 2

1892: 5

1893: 3.5

1894: 2

1895: 0

1896: 2

1897: 2

1898: 4

1899: 4

1900: 3

No year won all 7 possible points, so there's no doubt that Bram Stoker was just making up the timeline as he went along; he didn't have calendars and moon charts open as he was writing, so he fudged some details because he figured nobody would ever attempt to put the story in chronological order. That said, the year that fits best would be 1892 were it not for the fact that the Kodak company was brand new in May 1892, so it's unlikely a British law firm would supply their solicitors with American cameras before they became ubiquitous. 1898 and 1899 come in second, and are therefore the most plausible for the novel's setting; if we ignore the moon, 1898 wins with 4 points to 3. I however choose to set the novel in 1894 because that would place the epilogue in 1901, just over the hump of the 20th century, which is fitting, but really you could argue for any years except 1890 and 1895.

#dracula #dracula daily #bram stoker #1890s #1800s #19th century #timeline #kodak #eastman kodak #1892 #1893 #1894 #1896 #1897 #1898 #1899 #1900 #days of the week #reconciliation

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urmoneymysummer · 4 months

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Joywave hyperfixation got me seeing a construction road sign and announcing to the entire car “did you know Joywave’s song No Shoulder off their third album Possession refers to the street sign? And also Mr. Eastman comes right after that, it’s a reference to the founder of the Kodak Company which was started in Rochester New York, where the band is from. But the band also has a more personal connection to the company because all of their parents worked at the factory nearby and they would see the smokestacks every day. Oh by the way they have a song called Smokestacks off their first EP Koda Vista, which also refers to their view of the factory. They’ve never played it live. But it’s an inside joke among fans to demand they play Smokestacks at every show they do. Oh wait but actually they did play it at the Planetarium one time. Anyway it’s also an inside joke to demand a Double Destruction (playing Destruction twice), because when they released it was supposed to be the lead of their upcoming album SWISH, but it was a prank and SWISH is just Destruction nine times in a row. They actually regularly do Double Destructions at concerts though. One time they played it seven times in a row for a whole half hour (well they threw in Now a la It’s Not Unusual). Absolutely legendary. Oh but I was talking about Koda Vista. Did you know Cortez was a bonus track on the original vinyl release, but they replaced it with an earlier version of Golden State that says “babe” instead of “hey” (which by the way is so much better)? Yeah I have the newer release. I actually have all the main albums + their live album. Possession was the first record I bought from them way back in 2020. I had tickets to see them but the tour got cancelled cause of the pandemic. Did you know the Possession album release cycle is the longest the band has ever done? Yeah the first single Blastoffff was released a whole 2 years ahead of it. They had to release it early cause Fortnite wanted to use it in their season 5 trailer. Oh the coolest thing about Blastoffff is that they used Tesla coils as the bass line in it. Yeah they recorded actual Tesla coils playing different notes. And I haven’t even mentioned their other three albums or their collab with Best Frenz— hey why are you pulling over. Oh I have to get out of the car? But we’re on the highway. Oh okay.”

#this is actually how my brain works #joywave #og

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awesome-casuallyfamouscollector · 1 month

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youtube

Deese: Risk of US Automakers Falling Behind on EVs

Brian Deese, MIT Innovation Fellow and Former National Economic Council Director says that the demise of the vehicles are "greatly exaggerated," but cautions that legacy US automakers risk falling behind on the technology needed to compete on EVs.

P.S. A bit of a misleading title, because in fact, America's "leading" legacy automakers have been hopelessly behind in the field of electric car technology for a long time ago, already in 2017/2018, (That was the last time the old companies had any hope of saving themselves! Now you've completely missed everything!!!) and the old companies with their current strategy do NOT and WILL NOT have any chance to overcome this backwardness...

The specificity of the structure of the American car market is that almost no one outside of America needs huge pickup trucks and SUVs. For the rest of the car world already, the big three American car manufacturing companies are almost completely unimportant...

Ford ICE vehicle sales are already slowly "dying" in Europe and elsewhere. GM has fled the European market because it was unable to produce competitive ICE vehicles. In the field of electric cars, the fate of Eastman Kodak awaits the old American legacy automakers...!

Customs barriers will not save you because you do NOT have a competitive product - a good electric car at a reasonable price... Tesla - the only American car company worth paying attention to...!!!

#USA #ev adoption #demise of legacy automakers #competition #Tesla #Ford #GM #Youtube

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frogblast-the-ventcore · 2 months

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The BEANO T-13 Grenade

An experimental fragmentation grenade designed by the American Office of Strategic Services (OSS) and manufactured by the Eastman Kodak company, late in WW2. The concept for the BEANO hand grenade was that a spherical grenade the size and weight of a common baseball would be effective in the hands of American troops. The designers believed that by emulating a baseball, any young American man should be able to properly throw the grenade with both accuracy and distance.

The final design for the grenade utilized a pressure trigger as well as an in-flight arming device. The grenade was designed to be thrown as a traditional baseball, and as such it was held with two fingers. Once thrown, the knurled cap at the top of the grenade detached from the body, and a length of nylon string unwound until a secondary arming pin attached to the far end of the cord was pulled, arming the grenade to detonate upon impact with a hard surface.

tl;dr: they wanted every soldier to able to do this, but without having to be an actual baseball pitcher.

#ww2 #history #grenade #weird weapons

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nyupreservation · 1 year

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FILM INSPECTION: THE EARLY FILMS OF BETH B

by Emily Jenne, Institute of Fine Arts Conservation Center graduate student

Beth B, one of the most influential filmmakers to emerge from the generative chaos of the 1980s downtown scene, is known for her transgressive head-on confrontation of power structures and sexual politics. She formed the independent film production company B Movies (a play on low-budget films) with her partner Scott B, with whom she has worked over the years along with a panoply of collaborators, downtown luminaries such as Jack Smith, Arto Lindsay, Pat Place, John Lurie, Bill Rice, Gary Indiana, James Nares, Kiki Smith, Tom Otterness, Richard Edson, Vivienne Dick, James Russo, Richard Prince, Ann Magnuson, Jenny Holzer, Richard Kern, Kembra Pfahler, James Habacker, Dirty Martini, Thurston Moore, and Kai Eric (the list goes on). She is still active today, and her recent documentaries zero in on burlesque, no-wave provocateur Lydia Lunch, and the painter Ida Applebroog (who also happens to be Beth B’s mother).

Flyer for ‘Black Box’

As a longtime Beth B fan myself, I was thrilled to have the opportunity to work on several of her early films as they entered NYU’s Special Collection (Beth B Papers, MSS.614; Scott and Beth B (B Movies) Records, MSS.622). This included: G Man (1978), Black Box (1979), The Trap Door (1981), Salvation (1987), Belladonna (1989), and Visiting Desire (1996), as well as a copy of Un Chant d’Amour (1950) the first and last film by French writer Jean Genet, famously banned for its explicit content. As a graduate student specializing in both time-based media and paper conservation at the Institute of Fine Arts NYU, I am often asked where these two seemingly disparate fields overlap. The work I’ve done at the Barbara Goldsmith Preservation & Conservation Department is an excellent example of the two working in tandem. The Beth B collection, for example, has both a media component (the films) and an accompanying paper element (posters and other ephemera).

‘The Deadly Art of Survival’ poster, photograph by Dawn Manokowski

Film preservation begins with an assessment logging current conditions and identifying the media, which will determine the best practices for storage. The first order of business is identifying the film base as cellulose nitrate, acetate, or polyester. The film gauges present in the Beth B collection, 16mm and Super 8mm, ruled out one possibility, cellulose nitrate which was never used as an 8mm or 16mm substrate in the West. From there, acetate and polyester could be distinguished using a very high-tech piece of equipment, 3D movie glasses. A pair of polarized 3D glasses folded in half at the nose can be used for a polarization test. When slid between the lenses, a polyester base will birefringe, acetate will not (birefringence is a phenomenon of optical anisotropy in certain materials that causes distinctive visual undulations at changing angles). In the end, all of the films were found to have an acetate base.

The film inspection bench in the Barbara Goldsmith Preservation & Conservation Department.

Further information about the film stock can be determined from clues in the edge code. Using a loupe and cross-referencing with an edge code chart, the year and even the location of manufacture can be established. The placement of a dot within the word ‘safety’ notes the location (acetate film base is known as ‘safety film’ in contrast to its highly reactive and flammable predecessor, cellulose nitrate). The film stock in the Beth B collection was manufactured in Rochester, NY.

Kodak edge code identifying Rochester, NY as the manufacturing location.

Eastman Kodak Date Code Chart

Information on the soundtrack format was also noted, the Super 8mm reversal films had a magnetic soundtrack, and the 16mm reversal films had a variable density optical track. Other relevant information was also recorded such as instances of surface abrasion, broken sprocket holes, number and character of splices, and any annotations on the head or tail leader (often instructions for the projectionist).

‘Salvation’ Print # 2

‘The Trap Door’ 8mm reel.

The major concern with acetate film base is deacetylation, an irreversible form of deterioration colloquially known as ‘vinegar syndrome’ for its distinctive acidic odor which can be detected at concentrations as low as 1 ppm. Deacetylation is essentially a reversal of the synthesis steps used to make the acetate base, and the reaction produces acetic acid which can also have a detrimental effect on the other component layers of the film. Acetic acid can soften the gelatin emulsion layer and accelerate fading of color dyes in color film. Deacetylation also leads to warpage, embrittlement, channeling, and shrinkage of the film base by as much as 10%. Shrinkage beyond 0.8% makes it dangerous to project the film.

Film shrinkage gauge.

Deacetylation is exacerbated by high humidity and fluctuations in temperature, but further damage can be mitigated with correct storage conditions. The industry standard for measuring the extent of deacetylation is with AD strips, a type of targeted litmus test, which measures acidity on a scale of 0 (blue, indicating no deterioration) to 3 (yellow, which indicates critical condition). In conjunction, multiple readings taken with a film shrinkage gauge can be used to determine the average shrinkage level of the film.

An 8mm film splicer in action.

‘Trap Door’ film reel storage case.

The films in the Beth B collection were found to be in generally good condition, and minor preservation interventions included the removal of tape residue and splicing of new labeled extensions onto the existing head and tail leader. The copy of Un Chant d’Amour, now upwards of 70 years old and suffering more from the effects of deacetylation in contrast the Beth B films, is a good reminder of the importance of consistent low humidity, low-temperature storage in prolonging the life of acetate-based films, just the kind that these films will receive in their new home at NYU.

Film Poster for ‘Lydia Lunch: The War is Never Over’

#preservationweek #nyulibraries #fales #nyuifa

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clavissionary-position · 2 years

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◆ G A C H A C O M M E M O R A T I O N ◆ ROSE ⨉ COFFIN Headcanons

N A P O L E O N I S A A C S E B A S T I A N

THIS BLOG IS 18+ minors/ageless blogs please dni TAGS ⨉ WARNINGS: spoilers for isaac, sebastian, and vlad . angst . sexual content . description of a panic attack and ptsd during one of the serious parts that gets resolved unrealistically . shameless crack during the non-serious parts . strangely wholesome in places . historical inaccuracies INSPO: the works of various writers in the fandom and how they write the suitors mentioned . the vampire-photoshoot episode of Wallflower (or at least I think that's what that episode was about. Haven't watched since I was 15) . this hauntingly sexy music video for all of my coffin-writing needs WORD COUNT: 3800+ READ ON AO3

✝ n a p o l e o n

one "You're not giving me much of a choice here, are you?" He says with brows cutely furrowed when you tell him about Comte (and Leonardo?)'s Weird Idea of the Day™. Those silly purebloods and their not knowing how else to pass eternity.

He's still recovering from their last scheme which ended with him and Jean having to fish several dozens of pairs of women's lingerie from the fountain at the Place de la Concorde. All while you were forced to explain to onlookers that there was, in fact, nothing to see except two soggy men in white shirts. Jean didn't appreciate the windfall from that, so he'd hidden behind the statue and posed for the pigeons until you apologized.

What a waste of perfectly good lingerie though, Napoleon laments, economically.

two From his window he can see several residents helping to carry large batches of gorgeous black roses, unique with their red under-sheen, into the mansion. Ah, but they would look so lovely paired with you, and with those earrings you wore when you first stumbled into the mansion.

Napoleon feels like he's lived a thousand lifetimes, but his memory is reserved for you. Just picturing you with the roses makes him heady. He looks at you watching the residents below, and you have no idea of the adoration in his eyes. He looks away the second you turn your head, and you both share a chuckle.

A couple of the more spirited residents, namely the individuals at the beginning of the alphabet, catch Napoleon spying on them and they in-turn offer him evil, laughing winks. Even Leonardo throws him a crooked salute as he strolls past with Lumiere wrapped around his neck.

Napoleon groans under his breath. Is there something about this photoshoot that nobody is telling him? Fine, then.

He shows you some teeth and spins you around to wrap his arms about your waist, whispering into your ear: "I hope you're prepared for EVERYTHING this will entail, nunuche."

He doesn't know what "everything" is, at all, but he will never pass-up an opportunity to tease you. This will be his revenge for your calling the attention of random Parisian bystanders to his wet nipples. Those are only ever meant for your gaze.

three Secretly he's nervous. Posing for grand portraits is one thing, but photography is something he only knows of from chats with Sebas and half-heard conversations during his security gigs. Lately amongst the nobility there has been much talk of George Eastman's Kodak Company, and while Napoleon would be lying if he said his curiosity wasn't piqued, he has no idea what to expect or how to prepare even. Maybe Isaac can offer some insight?

Napoleon's uncertainty is only made worse however when he learns that Comte has sent you off to procure even more roses for this photoshoot. Which means you'll be spending some time with a certain florist. Napoleon recalls telling you that he's never had reason to be jealous before he met you. He's never experienced the kind of love he has for you, but unfortunately something so wonderful comes with its host of thorns.

He manages to keep his jealousy―which isn't any better or worse than what most people in his shoes might experience―well under-control, especially for fear that it might turn into something ugly and scare you away. But whenever you're with Vlad, something just itches him the wrong way.

He trusts you though, so he bites down on his worries and focuses on the photoshoot. At least Sebas will be there to distract him. He fries up a batch of karaage before bathing and getting into costume.

four Lining an entire coffin in roses is a bit extravagant for his (personal) tastes (as he will spare no extravagance for you). But people really like this sort of thing? He can't say he completely understands, but to each their own. If you're into it, then he'll learn to be into it too. Rather, if you're into it, it would be impossible for him not to be. Though it really seems like something better-suited for Vlad or Shakespeare. Napoleon doesn't have the vocabulary for "spooky goth bois", but he's able to articulate his point to you later just fine.

five The roses are kind of uncomfortable. Is he going to have to clean all these up afterwards, or…? Seems unfair since it wasn't his idea to do this in the first place. But he's not about to dump this work on Sebas. He'll have to see if Jean is available later to help. (spoiler: Jean is eating marorons backstage)

six Sebas has photography duty. He's enjoying this. Very. Much. He knows exactly how to pose Napoleon for max キュン points. That angle that requires him to hover above the coffin, above Napoleon? Heart-pounding and insane. He doesn't know if he's mentally cataloguing the way the light bounces off Napoleon's lips for posterity or for himself or both or―

But while he issues his instructions (and occasionally administers them himself) with pure professionalism, he's definitely six seconds away from stroking-out at any given moment. I most certainly thought I was used to Napoleon's exposed chest by now, he scribbles into his diary while biting his other fist.

seven Okay, the roses are really irritating Napoleon's backside now. Maybe if he reduces the amount of surface area he exposes to them… Nope, it's even worse when he's on his side. Now he's partially smothered in roses. Sebastian tells him to get up. He can't. He's stuck. Fuck.

eight When is this photoshoot supposed to end again? Exuding sex-appeal is usually somewhat of a default state for him, but if he has to consciously think about it then he's at a complete loss. He prefers loss when its him getting lost in seducing you. When he gets to the state of mind where he doesn't even see it as seduction, but a serenading with his entire being, that's the kind of domestic bliss that he'd gladly surrender himself to over and over again.

nine When you finally come back from shopping, Napoleon finds himself struck by just how lovely you look struggling to hold what looks like a thousand roses in your arms. Before he can stop himself, he's climbing up out of the coffin and taking you in his arms for a whirlwind kiss. The roses fall to your feet as he bends you backwards. The lighting is perfect.

ten Sebastian enthusiastically uses up the rest of the roll trying to capture one of the top ten most beautiful sights he has ever seen. Unfortunately this means that the sight of Leonardo using a trampoline when he thought he was alone in the mansion has been bumped from the list.

✝ i s a a c

one If he's being perfectly honest with himself, you and he have engaged in far stranger activities than canoodling in a coffin bursting with roses. As well he feels it's terribly exploitative of Comte to be throwing you in here with him. What if he suddenly gets hungry and the lid closes on you both? That blood would be on Isaac's hands, but definitely also Comte (and Leonardo?)'s.

They prepared a full, 3 by 1 meter table of sandwiches for breaks? Sandwiches made by you? Oh his sweet little British heart is positively over the celestial orb known as the moon. Now he wants to bite you from the unbearable happiness alone.

two The question on the back of his mind (and occasionally slipped out between his breathlessly-kissing lips) is where did this coffin materialize from?

Was there a dead person in here before? (Because that certainly well changes things!)

This quantity of roses must have been expensive to procure: is Comte okay?

Is he really hearing Dazai's whimsical laughter from the nearby darkness or has he just been conditioned to hear it forever and ever and ever?

Does it bother you that his feet don't reach the bottom of the coffin because he's so short? (You assure him that is hardly the case while feeding sandwiches into his blushing mouth-hole)

three Unlike Napoleon above, Isaac is extremely familiar with modern 19th-century cameras. In fact he's the one who built the one being used for the photoshoot. He'd not an inkling at the time that it would be purposed for such frivolous activity, but he supposes that he doesn't mind so long as the camera is returned to him without issue. He needs it so he can upgrade it to a model that can capture the stars and your heavenly body. By the Gods did he just say that last part out loud.

four

By the Gods, Dazai is the photographer.

Isaac doesn't need to dig through to the bottom of the coffin to know what the entire flooring is layered with.

"I hate you," Isaac mouths to him as you dab sandwich-residue from his expression twisted in rage.

Dazai clicks the shutter with glee. "Did you know that every single one of your students ordered a copy of these bromides? I sold out within minutes."

"YOU DID WHAT?" (screamed at 126 decibels while covering your ears)

src x

five Dazai, seemingly unfazed by potential loss-of-hearing, proceeds to call you by the wrong name as he redirects you to mount Isaac while placing your hands on his bare chest.

"Now use your mouth to feed this into his mouth."

"Feed what?"

"This."

"Right, but what's 'this'?"

Dazai laughs and toggles a switch on the camera to prepare for shooting. "I'm not allowed to say the word or I risk even more hearing loss."

six Comte stops by to see how things are going. He is saddened by the gross under-utilization of the roses after he went through all that trouble to procure them from Vlad (it was actually quite easy but Vlad issued him an ominous warning about collecting interest at a later date and Faust immediately smiled really, really big).

Isaac gives Comte the wide-eyed, pleading, "help me"-stare. Comte misinterprets the stare as Isaac having accidentally soiled himself. He panics. This is why he signed up for adult-children and not children-children. "L-LEONARDOOOOOO!" he wails as he trips over a crate of forbidden fruit on his way out.

Isaac looks at you as he thumbs a breadcrumb from your lower lip and then suckles on said-thumb. "I don't know why he's getting Leonardo. Surely he could have asked Dazai to leave himself."

"What's that? You want me to join you inside the coffin?"

seven Dazai has somehow convinced Isaac to act out CPR on you in a sensual way "for his adoring fans in academia". He stops you two halfway to suggest you stop laying there like a corpse and use the roses to weave a flower crown around Isaac's head. Overall it's an incredible and aesthetic art direction, ruined only by the fact that Isaac never learned proper CPR technique, so he spends the entire time trying to suck your lips through his teeth while drumming on your chest.

Weirdly this turns you on. And when you clench your thighs around Isaac's sides, his dick does a somersault so olympic in nature that a squeal rips out of his throat.

Dazai pretends to confuse it for a hiccup and uses a pair of salad tongs to pass him a cup of forbidden fruit juice.

Isaac slaps it away, reaches up to shut the coffin door, opens it again to hang a necktie between the crack, shuts it again, and then proceeds to ravage you in the dark of roses.

eight Isaac's bromides are a hit at the university. If the students are crazy over them, the staff positively lose their marbles.

Normally this is the kind of scandalous affair an esteemed professor loses his job over. And technically Isaac does lose his job, for all of about two minutes, and in a manner unbeknownst to him, because just moments after the decision is made Dazai slips in through the window, weaves a fanciful tale about how the man pictured in the bromides is a look-a-like, and then loses half his kimono in his escape-sequence.

At least 15 different students ask Dazai when his bromides will be released (Atelier/note: methinks it will be with the Jean and Mozart rose x coffin gacha).

nine There's only a handful of people more enthused by the camera that could produce such quality photographs than in the disgraceful photographs themselves. These are the people whose company Isaac seeks out. Rather, they find him and (respectfully) hound him with questions. He is delighted to explain his plans for the next prototype and bounce ideas off his colleagues.

Yes, there are one or two vultures among this group of people, hoping to profit off Isaac's work. Isaac suspects as much and he tests them posing a question about how they would overcome a particular design challenge. They flounder for a satisfactory answer, but Isaac surprises them by asking simpler questions to help them work up to the correct answer themselves. He wants to instill in them the joy of problem-solving on your own. It's a risk, he knows, but he doesn't want to go back to living the cloistered, miserable life he had before he met you.

ten Dazai sells-out a second volume of bromides, and you wonder if Comte and Leonardo truly had something to do with this scheme, or if they're just quietly profiting off their own investments.

✝ s e b a s t i a n

one His roses are an unusual color, not seen in nature. But it's simple enough to dye white roses in preparation for the photoshoot.

You and Akihiko and Lotte spend a peaceful afternoon in the garden, taking turns feeding each other cucumber sandwiches while working on the roses at a leisurely pace. He patiently instructs you and illuminates you with his breadth of knowledge. Unlike his usual demeanor when you two are on the clock, his whispers in your ear are gentle and subtly-bladed with desire. Each petal that comes between your fingertips becomes something forbidden and decadent.

Such an idyllic sight it is from a distance that Mozart serenades you three through his open window as Comte and Leonardo fondly look on from their smoker's-only balcony. And then Shakespeare randomly skips past with a water-drenched Theo on his heel. Fun times are had by all.

two Then night falls and your nether parts are ill-prepared for just how sexy Akihiko looks laying on a bed of roses, his entire focus solely on you, trailing his gaze from your eyes down to your parted lips, further still to the pulse throbbing inside the delicate casing of your beautiful neck. You two are both keenly aware of the other's breathing as it slows together into a languid sigh between a heated, all-consuming kiss.

three "Hello, Sebastian," says Faust, presumably having come to collect Vlad's interest.

"NO!" Akihiko shouts as he closes the coffin lid on the both of you.

All you can hear in the sudden, cool dark is the rustle of petals and Akihiko's clamoring heart fighting with the storm within your own chest. But you two are safe in each other's embrace.

Faust knocks on the coffin door and his voice comes through muffled. "I'm kidding. I'm here to pick-up the old man."

"Oh!" You suddenly remember. "He's probably in the Pureblood Nursery with Leonardo!"

The atmosphere immediately changes. You and Akihiko overlap hands and push the coffin door open together.

Faust smiles down at you with shark-teeth. "Just kidding, I'm your photographer."

four "Permission to challenge fate by declining your generous offer," Akihiko replies in monotone. You don't know how your man does it, but the coffin is now somehow half a meter away from Faust. You can't make-out Faust's expression (though you can imagine the evilness that must be soaking through his skull), because Akihiko has firmly placed his body in your line-of sight.

You're just as worried as Akihiko is by this turn of events, but you're also suddenly so desperately taken by the sculpted lines of his back muscles, poking through the semi-sheer fabric of his costume shirt. It takes a moment too long for you to tear your gaze away or to avoid tracing those beautiful lines with the feathery petals of one of the roses.

To make matters worse, Akihiko happens to look over his shoulder and catch you thirsting for him.

five We'll continue this later, Akihiko mouths to you as a glint of unbridled desire passes over the eye that you can see. The rest of him is beautifully-haloed in the studio lights.

Faust drops his boot down on the edge of the coffin right in front of your face. "Is that so?" The glare of the studio lighting renders his eyes indiscernible behind his glasses.

"It IS so!" You kick Faust's boot away and then close the coffin door on you and Akihiko once more.

Once you're in the dark, you wrap your arms around him and breathe in his gentle, clean scent. The scent of a man who launders like it's his job. Because it is.

"I'm sorry―" Akihiko begins, but you cut him off with a finger to his lips. Or to his nose first, because you're behind him and you overshoot. Then you feel teeth on the pad of your finger as he gives you a love-bite. "I was told we would be having a guest photographer, but I'd have never thought in a million years that Comte would collude with that oaf."

six "This oaf is tired." Faust lays down on top of the coffin and plays with Mephie on his belly as he waits for you two to open it again. This of course is a catch-22. How can you open the coffin if he's on it, and so on. The obvious answer is if he gets off the coffin of his own volition.

Or if Mozart tackles him (Atelier's/Note: I'm going off the version of Mozart in the Ikevamp Stageplay that knows parkour and hand-to-hand-combat).

Akihiko doesn't know what's going on, exactly. He can make some assumptions based on the type of impact (definitely sounds like someone large was just suplex-ed into the catering, possibly by someone smaller in size), the shouting (lots of colorful German), the tiny screeching (he's not entirely sure they belong to Mephie), and the sudden lack of piano music. He almost doesn't want to open the lid to check, especially now that you've got your hand in his pants.

Yes, yes, whatever is going on outside the sanctuary of this coffin can wait. He rolls around, knocking his elbows against the sides of the coffin in the process and activating the human tragedy known as the funny-bone. 'Tis but a trifling matter. He presses feverish kisses into your lips and all along the side of your neck. The roses interfere more than they enhance the mood, and their scent is too synthetic after the dye-job, but he thinks of none of that. His thoughts are of you and you only.

seven Mozart rips the coffin door open, seemingly having won the scuffle with Faust somehow. His eyes widen at the sight and he quickly closes the lid and backs away, tripping over a crate of forbidden fruit that someone has carelessly left behind.

"Use a tie next time," Mozart tells Sebastian later. "Onegai, Sebas," he adds in Japanese for some reason.

Back in the present, Faust collects himself from the wreckage of the overturned catering table. A thin trickle of blood trails from his lips, a sight that some may find disastrously sexy, and so the author has chosen to include this detail. He grabs Mephie and leaves the studio, presumably to plot his revenge against the composer. Or to visit the Pureblood Nursery and fetch Vlad, because that really hadn't been a lie.

Back in the coffin, Akihiko has become all hands as he roves every curve and point on you with butler-precision. Some part of him acknowledges that the danger outside has passed, but the mood inside the coffin is far past the point of no return. This man is grateful to be alive. If only he hadn't accidentally switched diaries with Jean earlier that week, because he has so, so much to detail about the endless joy you bring him.

eight In the absence of the photographer, you end up being the one photographing Akihiko. After a shower and insistence from Comte that his mansion calendar cannot be completed otherwise.

Akihiko wouldn't have it any other way. You're the one who knows him best. He wants to be photographed the way your beautiful gaze beholds him. This is just one of countless ways you keep his heart beating.

Indeed, he doesn't take his eyes off you for a moment as you position yourself to take a photo from above. He wants to latch onto your reaching hand and pull you in all over again. But he stays his ardor and lets you fuss with his bangs, adjust his open shirt with a languid touch, and he lets your splayed palm linger on his warm chest.

Akihiko knows you want him to touch you again. Instead he smiles in a way that rivals Napoleon's cocky grin. "I'll ask you to recall that we're still on the clock."

nine Akihiko finds you in his room some time later, pouting and gloomy. At first he wonders if he's done something wrong, but when his mind comes up blank, he finally notices the developed photographs spread across his bedding.

He almost doesn't recognize himself in them.

"Don't laugh?" You hold one of the photographs up, staring at it so intently that Akihiko wonders if you aren't into mixophilia. "I know how it sounds, but I want to keep all of these to myself. I don't want to share them with a soul. They're too sexy!"

This is prime-opportunity for a flick to the forehead.

Instead, Akihiko sits down beside you and pulls you into a hug. He brings his lips to your ear and flicks the top with his tongue. "How sexy exactly?" He pulls you tighter the more you writhe.

"So sexy that I could…"

"Mhmm?" He doesn't want to embarrass you quite yet by pulling away to see the look on your face. He contents himself for the time-being with tracing the lines of your back. A vivid memory jumps to mind, from the day of the photoshoot, when he happened to catch the way the studio lights accentuated the shape of your lovely back. He'd stopped himself then. He's not so sure he can stop himself now.

ten Akihiko's photos are a hit with the residents. Leonardo wants multiple copies. Comte orders one more than Leonardo for weird rivalry reasons. Isaac wonders how Dazai has managed to turn Comte's own idea into a profitable business for himself.

Jean, however, is frowning as he looks the photos over. "Does nobody else see it?"

Arthur peeks over his shoulder. "See what?"

"The demon."

Vincent laughs awkwardly. "Wh… what do you mean by demon?"

Jean places each photo on the dining table and then goes through them sequentially, pointing to one spot each time. The top-left corner of the coffin on this one, the bottom-right on that one. It goes on and on.

Comte frowns. "This is disturbing."

Akihiko sighs in defeat. "It is. Mephie photo-bombed every single one." Then he pauses and casts you a meaningful smile. "Looks like we need to revisit the coffin again."

#ikemen vampire #ikevamp #ikevamp napoleon #ikevamp isaac #ikevamp sebastian #ikevamp dazai #ikevamp faust #ikevamp comte #ikevamp mozart #vhcuteot #atelier writes ikeseries #atelier basement #ikevamp mephie

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kerropi-1001 · 11 months

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The history of photography goes way back to the 16th century. Throughout the years it has been changed from major advances starting since the beginning where brightness and clarity of the camera improved!!! And from then it continued to improve where also in 1855 the beginning of the Stereoscopic era began. Then go on to 1880 where George Eastman creates a dry plate company and then the first half tone photograph appears in the news paper. This time was when there was limited resources as to how to improve and capture decent looking photos.

Now this is when it takes it's major advances such as in the late 18th centurty where KODAK the infamous camera that everyone and their mom buys was produced which helped create 100 circular pictures. They then used film instead of paper and the box film camera was introduced. Along with the infamous Kodak the first Nikon camera was produced known as the Nikon 1 and then 1934 less than 100 years ago the fuji photo film made camera and lenses which made taking photos even more easier. Starting from the 16th century to now the way photographs were taken changed drastically and still continues to improve and its all simple and can be taken which a simple button which makes taking pictures fun and enjoyable.

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cuuno-moved · 2 years

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I KNOW THAT ITS IMPORTANR RO MEBC ONE OF MY EX FRIENDS WAS MAJOEING IN PHOTOGRAPH Y . BUT UR PHOTOS ARE AWESOME. I know ur photos are really cool and sometimes remind me of things

!!! dude :-D kissing u on the forehead!!

ok im assuming you don't know anything ab the invention of photography or the evolution of cameras so im. im going to talk about that

in the 1830s, a french guy named niépce figured out that you can use a camera obscura to make a semipermanent image on a pewter plate with bitumen. immediately after this invention came out, pretty much everyone ever began to invent different kinds of photography, by soaking things in chemicals and seeing if they stuck.

one of these guys was another french guy named daguerre. he used a copper plate soaked in silver and iodine. it took about 15 minutes to take one picture.

pretty much at the same time, some other guy in england made something called a wet plate, which only took a few seconds. there were two types: one that printed on glass and one that printed on tin. the main drawback to wet plates was the fact that they had to be developed fast, which made them kind of hard to do. eventually someone figured out how to do wet plates without the urgency of the development process. these were called dry plates.

eventually some guy named george eastman decided to make photography more accessible and invented the company kodak. the photos required people to send the film back to the company to be developed and printed. these became really popular for war photography because they could do candid photos

another big company, polaroid, invented the instant photo: you no longer had to send your film back to be developed, they pretty much developed themselves

ok i have more facts but this post is getting long and i doubt anyone cares lol

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pocketsrestorations · 25 days

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Check out this listing I just added to my Poshmark closet: Vintage Kodak Disc 6100 “Close-Up Lens” Legacy Disc Film Camera.

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somethingusefulfromflorida · 2 years

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Dracula: May 7

Jonathan and Dracula Are Friends

The Count needs Jonathan's help as an accent coach. "I can speak your language, but I don't want anyone to think I'm a common foreigner. I've been Top Dog around here for so long, I'm not used to being disrespected as a stranger. Is it because I talk funny? Help me Harker Jonathan, you're my only hope!"

Jonathan's real estate firm is sponsored by the Eastman Kodak Company, maker of quality photographic recording devices since 1892.

The Count seems so nice. He's a kindly old man looking to retire abroad. I hope he enjoys his new London estate; he deserves it.

#dracula daily #dracula #count dracula #jonathan harker #kodak #london

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webionaire · 1 month

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https://www.insideimaging.com.au/2023/colour-film-market-opaque/

And speaking of the CCP leads to speculation about China Lucky Film. Back in the 1990s, Eastman Kodak entered into a partnership with the China-based Lucky Film. It shared its old Kodak 1980s-era VR emulsion recipe (replaced by the Kodak Gold range in the late 1990s) with Lucky film. The arrangement petered out around 2007. Lucky Film then merged with the China Aerospace Science and Technology Corporation in 2011. It’s a possibility that the Lucky film plant is still coating a version of that Kodak VR emulsion, which might explain all these retro-style films with Made in China printed on the box. An entry about Lucky Film in Wikipedia states: ‘In 2017, a new offshoot company Lucky Film started a production of Lucky New SHD100 in 35mm and 4×5.’ The same entry lists half a dozen Lucky colour films.

Lomo Colour films 100, 400, 800 are ‘thought to be based’ on Kodacolor VR formulations from the mid-1980s. Presumably manufactured by Kodak in USA, but who knows? Some state ‘Made in China’. When it comes to informing customers where the base emulsion comes from, Lomo goes all coy. You get something similar from cameras manufacturers when it comes to imaging sensors manufactured by Sony.

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clansocreations · 3 months

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[Disclaimer: this is a bunch of art history facts and tidbits masquerading as Midnight Pals fanfiction. I am so bored. Midnight Pals is by @bitterkarella , it's very good and you should read/listen. hello good day and I am so sorry]

Nièpce: Uhm. Bonjour. I would like to introduce you you all this new thing I made called a heliograph?

Caravaggio: who the fuck invited the chemist.

Hopper (looking at the heliograph): I like it. It reflects the tristesse and pointlessness of the world.

Genteleschi (talking over Hopper,to Caravaggio): who the fuck invited you.

Stieglitz: I like it and I'll argue your case but you must NEVER bring up the word "Kodak"

(A cartoonish brawl breaks out in the background)

Nièpce: What's a Kodak?

(scene)

Turner: I would like to introduce to you my painting Snow Storm – Steam-Boat off a Harbour's Mouth Making Signals in Shallow Water, and going by the Lead. The Author was in this Storm on the Night the "Ariel" left Harwich

(Everybody looks at the painting)

Hopper: but what's the painting called.

Turner (sarcastically): it was called many things by the critics.

Turner:...

Turner: you can call it snowstorm.

(scene)

Duchamp: I would like to introduce you to my painting "Nude descending a staircase"....

Gauguin (startling out of deep sleep): Tits??

Gauguin (squinting at the painting): .....

Gauguin: go fuck yourself Marcel.

Genteleschi (nursing a stab wound from the earlier fight) That's what you should do, then you'd stop making women sick.

(murmurs of agreement)

(scene)

Dramatis personae:

Nicephore Nièpce, an early pioneer of photography (his heliograph is today regarded the first photograph ever)

Alfred Stieglitz: American photographer, part of the pictorialist movement that heavily pushed the "photography is a form of art too damn it" angle after the Eastman Kodak company released the first commercially viable photo camera and photography went from a totally obscure nerd hobby that only a few people could even pull off to something that everyone could easily do.

Caravaggio: Renaissance painter. Most of the information that exists on him are court records of his stab-happy crime spree and that he once sued a guy for painting in his style which is a 21st century dick move. He got thrown out of two different cities for the crime of stabbing a guy fatally in the balls. This is really all you need to know about Caravaggio.

Artemisia Genteleschi, renaissance WOMAN and absolute badass. There were woman artists back then but not many and she could already paint at a professional level at age fifteen or sixteen! She got admitted to the academy of arts!! She sold her paintings internationally! She was really really good.

Edward Hopper, member of the school of so called "American realism" and probably clinically depressed according to my classmate who did the presentation on him. If it looks sorta realistic and exudes a sense of isolation and loneliness even if there is multiple people in the painting, it's probably one of his. (He was part of last year's art history final and I thank whoever looks kindly on highschoolers that I was able to retain some information from that presentation as well as.my classmate for picking him off the list)

William James Mallord Turner

British landscape painter. Regarded as Britain's Favorite painter (these days)

He was supposed to be the subject of my presentation but I begged my teacher to let me do Marcel Duchamp instead. I have since seen the errors of my way.(more on that later) Snowstorm is currently on loan to the Lenbachhaus, an art museum in Munich Germany, and I went to the exhibition and stood right in front of it. It's really something.

The things the critics said about Snowstorm were "soapsuds and whitewash" and "all of the contents of his (Turner's) pantry"

Now Turner had a certain "fuck off" attitude to artistic people pleasing but according to a contemporary source called John Ruskin (I think) he read that scathing review and went "soapsuds and whitewash! Soapsuds and whitewash! I wonder what they think the sea's like!? I wish they'd been in it!" which I think is hilarious.

And finally Marcel Duchamp.

What the fuck do I say about him? I have done the presentation. I got a 2 (that's pretty good!) And I still struggle to understand what the guy was even doing. His most well known contribution to art is an upside down toilet. Or well...a photo of that that was photographed by Stieglitz.

He was french I guess that's what I can say about him. I was like "oh he did Object art. I do object art. I'll like what he made" but it turns out that "object art" is a really vague catch-all term. :) who could've guessed. I like Tom Every more (look up the Evertron. It's the world's largest scrap metal sculpture and it is freaking phenomenal. THAT'S what I wanna do. Not Marcel Duchamp. I wanna make whimsical shit like he did or weird shit like Luise Bourgeois did. They're my art heroes. Not Marcel Duchamp. just wanted to make Gauguin look bad cause he was a thoroughly unpleasant person who I wouldn't touch with a six meter pole )

#art history #midnight pals #train rides man #my spine hurts

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