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#Chromatic Apparatus
drstonetrivia · 5 months
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Chapter 201 Trivia (Part 2)
(Previous part)
The moon looks really big here. I wonder if it's a visual metaphor of the KoS and Whyman getting closer, or just the fact they're around the equator right now and are closer to the moon than usual due to the shape of the Earth.
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Is this just every time they turn on a new device? They have to respond to Whyman until Whyman stops sending messages?
The way Ryusui says "habit of responding" makes it sound like Whyman is just lonely rather than threatening to kill them!
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The purpose of any furnace is to concentrate the heat towards the inside rather than radiating heat or, in this case, electromagnetic waves outwards. How sensitive is Whyman's apparatus that they're able to detect it?
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The "beeep boop boop" ( _.. ) is the correct Morse code for the letter "D".
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Senku keeps getting figuratively grabbed by clawed villains who want to kill him.
Whyman's also been drawn in slightly more detail than usual. More proof the KoS is getting closer?
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This page parallels the one from chapter 95 when the Wise Generals first heard Whyman speak. Does this mean we get more Wise Generals..?
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"Every language" for Francois is English, Japanese, and French. They specifically know no other languages.
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A pair who is evil together, stays together. They've been doing this for around 4 years now…
(Chapters 38, 60, most of the Age of Exploration…)
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The spacesuit shown here is the JAXA one, which Byakuya was shown wearing in earlier chapters.
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Fluorite is the mineral form of calcium fluoride, CaF2. Fluorite is used in the glass for telescopes and microscopes as it reduces chromatic aberration. It's also a source of Fluorine which has many varied uses, but in Senku's case he may be using it for polymers or surfactants.
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I'm wondering if the hole-punched sections of this film (does the KoS have film now?) are a code… Maybe I'm thinking too hard haha
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(Later edit: because of everyone trying to find a code in the film, this tweet exists:)
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clarks-letterman · 1 year
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I posted 728 times in 2022
That's 512 more posts than 2021!
369 posts created (51%)
359 posts reblogged (49%)
Blogs I reblogged the most:
@justarandomgirly
@robiinbuckley
@sunkissedbucky
@entertainmemrcavill
@toimoiluii
I tagged 322 of my posts in 2022
#marvel - 96 posts
#peter parker - 76 posts
#spiderman - 50 posts
#peter parker x male reader - 30 posts
#.txt - 26 posts
#marvel x reader - 24 posts
#peter parker x reader - 22 posts
#marvel fanfiction - 19 posts
#stranger things - 18 posts
#andrew!peter parker - 18 posts
Longest Tag: 95 characters
#unlike them i know that this is the internet and i can exit out of something if i don’t like it
My Top Posts in 2022:
#5
you’re telling me he got bitches in this
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671 notes - Posted August 20, 2022
#4
desirable | doctor!peter parker x gn!reader
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743 notes - Posted October 5, 2022
#3
Andrew! Peter Parker x male reader but peters the top which I never see with male readers 🤞
YOOOO I GOTCHU
the elevator ride
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A/n: Literally wanted to have fun with this,, THANK YOU FOR SENDING THIS BECAUSE HES ALWAYS BOTTOM :/// anyways…this is so dumb I’m sorry if I ruined elevators for y’all😭
Summary: You and Peter get intimate in an Oscorp elevator after being deprived of sexual contact.
Warnings: Plot…what plot?? Smut. Oral (Peter receiving), and fucking (Reader receiving)
~~~
A small ding chimed out through the bustling tower. A set of thin, translucent doors parted, followed by the much thicker, metal doors. Stepping into the enclosed space, your attention turned to the artificial voice that spoke to you.
The woman appeared on the small display situated to the left of the closed doors, "What floor would you like to go to?"
"Forty-two, please," You answered, fiddling with the clipboard in your hands. The machine sorted through its apparatus for a few seconds before the woman on the screen replied with a compliant, "OK."
Your eyes shifted around the room with a desire to find anything to cure the oncoming boredom as the elevator commenced its slow descent to a lower floor. They went from peering past the glass walls to landing on the doors again, more specifically, the misshapen reflection found within them as if they were mirrors propped up in a fun-house. For a quick laugh, you took a step to the side and watched your likeness stretch in the chromatic surface.
Then the elevator stopped. You quickly straightened your posture and returned to a professional manner for whoever was getting on. It didn't last long, though, as the gates parted once again to reveal another person standing on the other side—it was your boyfriend, a matching clipboard in his hand with the Oscorp logo visible on the back. He sported a white lab coat similar to yours—the same logo printed just above the coat's chest pocket. His hair perfectly tossed from the breeze and the back-and-forth pacings demanded by the job.
“Dr.Parker.” You greeted with a fake smile as he entered the elevating box.
Peter returned the smile and copied your professional greeting, “Dr.(L/N)”
You hung your head low and groaned at the imposed workplace rules, a light snicker following at how ridiculous it was, “God, I hate this.”
“What?”
“This,” You wave around the clipboard with scientific information clamped to it as you complained, “This job and it’s ‘no fraternizing’ rule. I wanna be able to hold your hand and stuff.”
The backside of your hand brushed against the back of his low-hanging one. Your lives had been so busy recently; Peter was always out saving the people of New York, and you were constantly stuck doing whatever your job—or Harry—demanded of you to do. So the slightest bit of contact with the other was something to cherish.
Though, Peter didn't take your hand like you had expected him to. Instead, he moved away to press a button in the array; it shone a bright red—he had pressed the emergency stop button. The elevator came to a sudden halt as you felt it rock along the rails, the cables omitting a light screech from above you at the sudden stop.
Your face contorted, taking a quick look to your boyfriend as he retreated to where he had previously stood, "What are you doing?"
Peter moved closer to you, one of his hands playfully slipping around you to rest on your ass, "I know we haven't had a lot of time together, so I thought we could..."
"At work? In a see-through elevator?"
"You have to push the call button for anyone important to notice. Besides, everyone's wrapped up in their work. They won't care for two researchers being gone for a little," Peter explained, looking at you with almost pleading eyes.
"Let's agree to make this quick," You sighed, reluctantly freeing yourself from Peter's grip to peel off your clothes. It wasn't that you weren't excited—after all, Peter could never make something uninteresting—it was the idea of rushing through this that made it seem less enjoyable. You wanted to have a night where things could go slow and build to what was about to happen, but this was all the time you had.
Peter had already stripped himself of his pearly-white lab coat and the tee-shirt underneath it, leaving him a pair of solid denim jeans and one of his many pairs of beaten-up sneakers. You yanked your top off and tossed it to the ground, Peter nearing you with a hand that softly molded to the side of your face on contact.
"I missed this," He mumbled, the light trace of his lips connecting with your forehead before backing his head to look at you. He scanned your complexion, absolutely enamored at the sight of you, and you felt it. Those short glances as you two passed the other in the halls had evolved into a loving look into the soul of the other, "Now, let's show everyone how much I fucking love you."
Wasting no time at all, Peter guided you to the clear wall that faced the chrome doors. The cool glass pressing against your back indicated that anyone could look into the small enclosure from the other side; your topless figure would be the first thing anyone would lay their eyes upon in the elevated sight. Peter didn't break the gaze into your eyes, wanting to cherish the moment for a few more seconds before having his way with you.
It was only until his gaze sunk to the level of your lips before quickly returning to your eyes did he break it, now back with a certain look in his own complexion—one of determinative neediness.
You felt this craving once his own set of lips met yours. He domineered the silent—yet passionate—exchange by pulling you deep into it with a coveting hold.
And his hands showed the greediness that laid behind the sultry admiration in his eyes in the same way, as he trailed the shape of your body until he reached the hem of your pants. Your hand flew down to stop him, and he broke the kiss and rested his forehead on yours.
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807 notes - Posted March 24, 2022
#2
Okay but like…Bully!Male reader falling for Nerdy!Pete…and like things escalate once you have detention and have to clean the tables of your class and The sexual tension is sky rocketing so much so Pete has to use his hands to hush you incase someone heard the…commotion 😭
I'M LOVING EVERY WORD!! ...let's get this written >:D
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a/n — thanks for requesting this and i tried to work it in the best i could!
summary — check the request above! it's basically 1 to 1
warnings — smut! top!peter parker and bottom!reader, creampies, anal sex
words — 3.8k (i think my longest fic so far)
~~~
The end of the school day had finally arrived; for most, it was a joyous celebration as it marked the start of the two days between this grueling week and the next one to follow, but for two individuals, that end was just the beginning of their time in detention.
"Back again, huh? I guess you missed me," Peter spoke, having only just set his bag on the side of his desk as he leaned up to see you taking a seat at the desk next to his. Immediately, he took a hand to his hair, toying with it to look a bit better before the conversation was set in motion.
You were quick to respond with a bite to your words, "Shut up, Parker. Why are you even here? Fall asleep from staying up too late again?"
Peter—unperturbed by your sudden outlash towards him—leaned forward on the oak surface of his desk and explained how he had ended up with a slip for detention, "That's a really weird guess, but, no, riding my board in the halls. It actually made a bunch of marks this time on the floor—"
"I, actually, don't care," You fulminated to the other boy. Sure, it was inconsistent—considering that you had asked him how he landed in detention—but a few days ago, you stumbled into a web of emotional entanglement after a shocking realization that seemed impossible to escape; you liked Peter Parker.
At first, it was a hard pill to swallow, a pill so confusing that you couldn't even name what was in it; it was simply an imbalanced mix of every emotion packed into something that no ordinary medicine would ever make you feel. Ironically, it never made you feel better. It only caused you to feel sick to your stomach whenever you saw Peter. 
You thought it was a desire to befriend him that left you feeling that way after every interaction. Maybe after all those years of being under Flash's coercion to bully the poor guy for laughs, you had realized what you actually wanted to see—you wanted to see him by your side, walking down the hall with you. The lockers that you used to cheer Flash on for shoving him into would salute the two of you as the ringleader of bullies himself would be stuffed away into one, with no one to help him.
But the more you thought about Peter, the more you wanted him. There were times in class when you would look at him, and time would stop. It felt like you could analyze every detail on his face in just a single glance but still have so much more to see behind it. Your eyes grew to know the path of his features, where certain things turned into an abrupt dead-end only to bleed into the surrounding, insanely alluring attributes. And as your feelings grew for the nerd, so did the number of times you thought about him and how perfect he was.
Hell, you were doing it now during your talk with him, watching how he sported a smirk across his face, eyes scornfully slit with a glare to combat your rude words carelessly tossed at him. His comeback to it came out a bit stilted once he deduced that your eyes lingered on him, "Well—," he cleared his throat, "—well, thinking about riding over your face helped give the extra push my board needed. Thanks, man."
"Of course," You mused, feigning compassion for the other boy. At this point, you realized that the classroom was empty apart from you and Peter. Though, in just a few moments of silence, the door opened. A faculty member entered the classroom, the handles of two buckets hung from his grip, janitorial supplies teeming over the brim from both.
He walked to the small margin of space given by the two desks you and Peter sat at, placing one plastic pail on each desk, "Alright, Mr.Parker and Mr.(L/n). I've decided to give the both of you a punishment that I think fits well—you'll be cleaning all the desks in this room, along with a few other areas around here, too."
The teacher strode to the chalkboard at the head of the classroom, turning away from the both of you to write the areas you had to clean on the black surface. Over the loud squeak of chalk marking the solid surface and the teacher's radio cutting through with intermittent static, Peter leaned towards you, asking his own question, "Why are you here?"
"Drawing on the desks," You replied hushedly. Unfortunately, it was loud enough for the teacher to hear you talk.
"Gentlemen! I don't want to have to remind you—no less than five minutes into the class—that this is detention and not a place for—," The teacher's receiver went off, signaling that he was needed on the other side of the school. He huffed at the request and carried himself to the door, "Get to work you two, I'll be back in a little to check your progress."
You shot to your feet, standing over the bucket on your desk. Inside the pail, there were bottles of various cleansing sprays for all kinds of surfaces, a couple pairs of rubber gloves, and a few large sponges. 
"Let's get this done," You stated, picking out a random bottle from the bucket and slipping on the elastic gloves with ease. Peter did the same, muttering some snarky comment under his breath that you couldn't hear.
To you and Peter's surprise, cleaning the surfaces of each desk and the chalkboards integrated into the walls turned out to be a cakewalk. You neared the last row of desks in the back of the room—where you and Peter sat—while Peter worked on cleaning a blackboard at the front of the room. Cleaning your way down the line of desks, you got to your own seat, squeezing the bottle handle as it squeaked out a few spritzes of the cleanser inside onto the wooden surface.
With the sponge in your other hand, you wiped the mixture around the desk until no dry areas remained. Peter's desk was the last one you would have to clean, and then you were done with your part of the room. You rounded your desk and moved to Peter's, following the same pattern as how you had cleaned the rest of the desks. Then, you noticed to the side of his desk sat his bag, beaten and marked up from the dirt and whatever else was on it. You laughed to yourself, thinking that this could be an easy way to mess with the other boy. You tugged at the zipper as you checked to ensure Peter wasn't looking.
On the other side of the room, Peter stood on the tips of his toes, his sneakers showing heavy creases as he tried to reach a bit of writing at the very top of the blackboard. As a result, his shirt had lifted to reveal a bit of his torso. If your jaw wasn't saved by the mercy of your mandible, it would have dropped to the floor at the sight of him. Instead, your heart plummeted to your stomach, and that feeling you had for Peter came rushing back. Your mind immediately gravitated to a myriad of thoughts dirtier than a New York alley—ones that involved Peter, on his back, with ropes of glossy white coating his abdomen. 
To block those feelings and thoughts out, you turned back to his bag, hoping that messing around with him would untangle the Gordian knot in your stomach. You started pulling at the zipper again, doing it softly so that Peter wouldn't hear it. You let the small, metallic rectangle dangle on the other side of his bag once you towed it along its path, parting the pieces of fabric to reveal the inside.
Your hand went for the first thing inside the backpack, a pile of some fabric that you assumed to be an extra pair of underwear given the material. It would be a perfect way to embarrass Peter, especially since it was probably something nerdy like Spider-Man boxers—or even worse, Star Wars boxers. You slowly pulled it out of his bag, careful not to make any noise as you did.
You immediately recognized what it was, your hands running over it frantically to try and confirm that it was fake, but it was Spider-Man's mask, complete with a matching suit sitting just under it in his bag. There was no way that this wasn't genuine. 
But that would mean that Peter Parker is Spider-Man. The nerd who looked like a breeze could carry him away was fighting criminals at night. 
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935 notes - Posted May 9, 2022
My #1 post of 2022
Steve Harrington x Male reader — So like, your boyfriends, which is a surprise in itself cause like steve didn’t think he’d fall for a guy, but you find yourselfs in the back of “family video” fucking, STEVE IS BLOWING YOUR BACK OUT- this could include (before hand) and assemble of touching, shy chaste kisses and sarcastic (but cute comments) which leads to steve punishing your sorry ass in the back (riding him-) 🫣
yasss lemme put u on somethin' (also sorry for this being late, writer's block do be kicking my ass into next tuesday)
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a/n — this has some crackfic to it, but to be fair, Stranger Things is full of crackfic humor sooooo
warnings — 18+! Smut, Steve blowing your back out with his massive-
words — 1.84k
summary — check the request!
~~~
The slowly repeated clack of one sole computer key bringing down the equally slowly refreshing digital screen set the tone for the imminently stale afternoon: utter boredom. Each name flickered on the digitizer as your eyes trailed along the lines of information, checking one vital row running down the screen in solid green lettering—the account holders of Family Video's current rentals and if they were overdue to return any of them. 
Surprisingly, the lessees renting videos from the store managed to indemnify everything on time, making your job a slog since everyone was responsible when presented with a deadline. You were looking for people who refused to return what they borrowed for whatever arbitrary reason they listed and calling to convince them to remit the fines.
What was less of a surprise was that it didn't bring much joy to scroll through the hundreds of names of the residents of Hawkins that all had an account at this here neon-consumed video store. There were far too many people to actually get through the list in one day, let alone the last couple hours of your shift. 
It could have gone faster if two people were plowing through the list, but Steve, on the other hand, seemed to be having a blast restocking the final few shelves in the store with different videotapes. You gave your eyes a break from the straining blue light by looking over to check on his progress, praying that he was nearly done furnishing the shelves to help you with this, to which he was still hunched over, placing cheesy romance movies of all kinds along the bottom row. 
You were about to get back to the grind of checking for overdue rentals when something from earlier in your shift urged you to connect the mental dots that formed in your brain. Your shift rotation started at noon, and you had arrived only to dash to the back to check for any new shipments as a new feature film had finally hit video, and you had no plans to miss out on being the first to own a copy. Not only did you love the movie, but you wanted to get it for you and Steve to watch together. Regardless, nothing new had arrived, and the back room was full of boxes containing dozens of restocks for every movie you could think of, along with their corresponding promotional posters. 
Returning to the front area of the store, you found Robin and Steve chatting in between the shelves for romance and comedy as Steve filled the bottom ledge with a few boxed films before inconspicuously pulling them off of it and placing them back into the cardboard box they shipped in. That would mean that Steve had been purposefully cycling through the same work all day, avoiding the worst tasks required by the job's standards.
You turned on your chair, smugly leaning over the forest-shaded counter with your arms easily sliding into place over the other to give you an equally derisive look to match. In a jeering tone, you teased your co-worker, "Didn't you already stock that area, Harrington?"
He turned to look at you, the harsh neon-orange lighting of the display shaming the half of him facing away from you as it competed with the golden glow from the front windows. He hung his head in defeat, admitting under a low mumble, "Yeah."
You pressed on, "Then why are you doing it again?"
Steve returned to placing each tape on the shelf, "To memorize the titles."
"I thought you didn't like romance movies? You always said that your hair had 'more charm than a prince on the screen.'"
"And I thought I didn't like guys, but here we are."
"What was that?"
"Nothing."
"Okay, what's up? Did King Steve finally lose the title of employee of the month? Or run out of Faberge products this morning?" He finished stocking the shelf for what you guessed was for the second time that day, and your eyes followed as he stood and paced over to the check-out counter with a vexing look on his face. 
"Don't disrespect the hair," Steve spoke, setting down the vacant box in his hands and pointing a single finger to his carefully cared-for hair. 
You were leaning far enough over the counter to stretch your arm out to the nape of Steve's neck, ushering it further northbound into the mess of his dewy yet soft hair and pulling him closer to you until he was a short breath away, "What's the real reason, Steve?" 
“Do I really have to say it?" Steve uttered quietly with a hint of snark and raised his shoulders in defense, letting them fall as he admitted how he felt, "I’m bored at work.”
You waved what he said off as you spoke, distancing yourself from him as you casually fell back into the stool near the computer, “With me around? Never.”
A glint of something more rose to the gloss of Steve's eyes, reflecting in the neon lighting lining the walls—an idea had come to him, but you didn't know what it could be. “You’re right—hey, uh, can you help me with a new shipment in the back?”
Your brows knitted together faster than a grandma determined to make the itchiest Christmas sweater imaginable. Somehow, both seemed unpleasant on you as you spoke, "But I didn't see anything earlier."
He neared the entrance to the storage room, turning on his heel and letting his back softly press against the door, "I know, but there's something else you could help me unpack."
"Steve Harrington, you are insane," You mused while shooting up and rounding the shaded counter, closing in on Steve as he backed into the door of the supply closet, a hand of his embracing the small of your back as the other reached for the handle. He flung the door open and pulled you into the small room meant for new shipments and stock, not bothering to shut it. Guiding you to a few stray and scarcely stocked shelves next to the door, Steve reached down to fish out a condom from the pocket of his flares before carelessly throwing it onto the rack behind you and attacking your neck with aggressive kisses.
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1,374 notes - Posted June 24, 2022
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claro-lights · 3 months
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UNDERSTANDING COLOR TEMPERATURE IN COMMERCIAL LED LIGHTING
Commercial LED illumination transcends mere luminosity, evolving into an artistry that shapes environments, fuels productivity, and enriches the overall experience for both employees and patrons. An elemental facet of this radiance lies in comprehending the intricacies of color temperature. This discourse navigates the subtleties of color temperature within LED illumination, elucidates its influence on commercial lighting installations, and underscores its indispensable role in curating the ideal luminous backdrop for commercial domains.
Deciphering Color Temperature in LED Illumination
Color temperature in LED illumination encapsulates the chromatic essence emitted by a bulb, quantified in Kelvin (K) units. This metric discerns whether the radiance manifests as warm, cool, or neutral. Grasping this concept assumes paramount importance, as it orchestrates the ambiance and operational efficacy of commercial spaces.
Warmth vs. Chill Brilliance: The Kaleidoscope of Color Temperatures
Commercial LED illumination proffers a vast spectrum of color temperatures, oscillating between the warm and the cool. Let's navigate through the diverse color temperature categories and unravel their impact on the surroundings:
Warm White (2700K-3000K): Resonating with the soft, snug gleam of traditional incandescence, warm white light finds affinity in places seeking comfort, like hotel lobbies, restaurants, and lounges.
Neutral White (3500K-4000K): Holding the middle ground in the spectrum, neutral white emerges as a versatile choice befitting diverse commercial settings such as offices, retail spaces, and healthcare establishments.
Cool White (4500K-5500K): Exhibiting a crisp and invigorating quality, cool white light finds its niche in areas demanding precision and focus, such as laboratories, art studios, and warehouses.
Daylight White (6000K-6500K): Mimicking natural daylight, this hue proves invaluable in spaces requiring maximum alertness and productivity, such as manufacturing facilities and classrooms.
Color Temperature's Impact on Commercial Milieus
Comprehending the influence of color temperature on commercial illumination is imperative to sculpting the right milieu and addressing the specific requisites of the space. Here's how distinct color temperatures shape commercial settings:
Office Productivity: Striking a balance between comfort and focus in office spaces often gravitates towards neutral white lighting (around 4000K). This choice fosters employee alertness and productivity sans an excessively clinical aura.
Retail Aesthetics: Retail spaces demand meticulous detailing and adept product showcasing. A fusion of warm and neutral white lighting caters to the brand identity and product aesthetics, creating an inviting and visually captivating ambiance.
Healthcare Illumination: Hospitals and clinics benefit from a blend of warm and cool white lighting. Warm light engenders comfort in patient rooms, while cool light in surgery and examination spaces ensures precision and lucidity.
Hospitality and Culinary Establishments: In these settings, cultivating a welcoming and cozy atmosphere is pivotal. Warm white lighting acts as a catalyst in setting the right mood, prompting guests to unwind and relish their experience.
Industrial and Warehousing: Cool and daylight white lighting assumes significance in manufacturing and warehousing realms. These hues augment productivity, safety, and precision by providing ample visibility and mitigating eyestrain.
Commercial Illumination Apparatus and Color Temperature
The selection of commercial illumination apparatus assumes a pivotal role in actualizing the desired color temperature and overall luminous impact. Deliberate considerations while selecting fixtures include:
LED Troffer Lights: Gaining traction in office and commercial domains, troffer lights offer varied color temperatures, aligning with the intended atmosphere.
High Bay Lights: Ubiquitous in industrial settings and warehouses, these fixtures boast diverse color temperatures catering to distinct task requirements.
Track Lighting: Renowned for versatility, track lighting fixtures find application in retail spaces, accentuating products or establishing focal points with the desired color temperature.
Recessed Lights: Widespread in diverse commercial settings, recessed lighting fixtures are available in myriad color temperatures, tailoring to the specific purpose and ambiance of the environment.
Dimming Proficiency and Color Temperature Tuning
For optimal adaptability in commercial LED illumination, contemplation of fixtures with dimming capabilities and color temperature tuning is advised. These advanced fixtures empower users to fine-tune color temperature, seamlessly adapting to specific spatial requisites. Be it a conference room transitioning into a presentation arena or a restaurant shifting from daytime to evening ambiance, these fixtures offer unparalleled flexibility.
Implementing Color Temperature Zones
To imbue commercial spaces with dynamism and adaptability, the integration of color temperature zones merits consideration. Strategic placement of disparate color temperatures within the establishment facilitates seamless transitions between warm, cool, and neutral lighting as warranted. This approach accommodates diverse functions, temporal shifts, or customer preferences.
LED Illumination Governance Systems
For precision control over color temperature and luminous ambiance, the integration of LED illumination governance systems emerges as a prudent choice for commercial spaces. These systems facilitate programming and adjustment of lighting scenarios, simplifying transitions between distinct color temperatures and luminosity levels based on specific needs.
In summation, color temperature within commercial LED illumination constitutes a pivotal facet in crafting the ideal ambiance and attaining operational excellence in the workspace. Armed with an understanding of the diverse impacts of color temperatures and judicious selection of commercial illumination fixtures, optimization of the luminous environment aligns with the unique requirements of each business. Whether the aim is to boost productivity, foster customer engagement, or instill a calming ambiance, the apt color temperature stands as the linchpin to unlocking the complete potential of the commercial space. Explore the avant-garde lighting solutions proffered by Claro Lights, a preeminent manufacturer of commercial LED luminaires in India. Our products not only elevate the aesthetic allure of your commercial enclave but also contribute
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gertlushgaming · 3 months
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Void Crew Preview (Steam)
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For this Void Crew Preview, we learn that in space, no one can hear you scream … except your friends! Rally your crew, man your spaceship, and prepare for an epic adventure. Battle fearsome foes, salvage valuable loot, and die repeatedly - while reclaiming humanity's lost territory together.
Void Crew Preview Pros:
- Decent graphics. - 5.9GB Download size. - Controller support. - Graphics settings - graphics quality preset, brightness, resolution, screen mode, v-sync, camera shake, head bobbing, screen space ambient occlusion, anti-aliasing, texture quality, model detail, film grain, bloom, blur, chromatic aberration, volumetric rendering, and shadow quality. - First-person view. - Survival gameplay. - Can rebind controls for the mouse and keyboard, Invert the mouse, and mouse sensitivity. - Steam friends list integration. - Opening and ongoing tutorial pop-ups as you play. - The goal of the game is to keep your crew and ship alive and discover new worlds. - Multiplayer browser. - Personal 2 to 4 terminals let you change suit color, gene tree, and rankings and equip different suit parts like helmet, suit, and apparatus. - The gene tree is split into four trees - grease monkey, gunner generalist, pilot, and Scavenger. Each point on the tree adds a new ability, buff, or upgrade. - Handy pop-up text. - On-screen mission markers. - 2 to 4 multiplayer support. - You have a central hub/lobby where you can all hang out, level up, change your appearance, and select missions. - The Galaxy map shows all available missions. - The ship loadout terminal lets you choose your METEM destroyer and MTEM frigate. - Level up and unlock new ships and ship parts. - Ships will have a recommended crew size including one for 1 and/or 2 players. - There is a flow diagram in the hub that helps set up a new mission. - When flying the ship you can play in first or third-person view. - Space combat is a case of manning the turrets and locking on them, you can move turrets around, etc. - Mining is done via lasers and sometimes guns. - The game goes from fine to everything is on fire in seconds, especially when in combat. - When you get going it is a great experience. - Fixing parts of your ship is mini-game time input sequences. - So atmospheric when the ship shakes under fire, panels start sparking and smoking when damaged. - You have a general shop speed, thrusters and you can hyperdrive to travel sectors faster. Void Crew Preview Cons: - Supports a controller but doesn't have any settings or prompts for it. - So much to take in. - The tutorial is more vague than direct with its information. - It is very challenging in a single player. - You don't have a lot of feedback or help when things go wrong or you feel lost like when you lose power for the first time. - Takes a while to get going. - The game is played out within self-contained levels and it feels kind of limiting. - You cannot do any character creation or edit your suit until you unlock them. - No third-person view. - The ship feels claustrophobic. - Playing with a controller is not great more because it's a case of fiddly controls and guessing inputs. Related Post: Neko Journey Video Review (PlayStation 5) Void Crew: Official website. Developer: Hutlihut Games Publisher: Focus Entertainment Store Links - Steam Early Access Read the full article
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rlxtechoff · 1 year
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dragon-heisters · 2 years
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Session 16: 6 Aug 2022
Lots of baby talk this week; our DM is an uncle and now I’m an auntie! Lovely news all around. We do some levelling up, and off we go.
We start with Faction quests, beginning with The Grey Hands. Nuri and Thessalie receive messages from Vajra about a bronze dragon. We are to use potions of Water Breathing to find out the dragon’s intentions. We are to go to the Docks Ward, to the harbour. We find Lif guarding the potions when we return to Trollskull Manor.
The Docks Ward stinks, and the inhabitants have maybe five teeth between them. The first thing we see are the gigolos and trollops:
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We start asking around about the dragon. Thessalie pops Aurix out, her gold pseudodragon. He tells her that metallic dragons are good and chromatic ones are bad. So this one’s probably a good one then…?
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Nuri approaches a trollop or gigolo.
“Are you interested in it?”
Nuri explains that he’s not really here for ‘it’. He will give the man four copper pieces to tell him about the dragon.
“What dragons?” He doesn’t know anything.
We move on. Thessalie asks a trollop, who also doesn’t know anything. Pfenig says that sailors like to gossip, and are more likely to have seen it anyway. Let’s try the pub!
Thessalie sends Aurix up to find the way to the pub. There is an enormous beached ship that has been turned into a tenement. We make Arcana checks; Nuri and Thessalie can sense background magic. Thessalie knows it’s Arcane magic. Odd; there is a spell caster somewhere in the vicinity.
Pfenig casts Identify; the source isn’t within 30 feet so he wanders around for a bit. Thessalie sends Aurix up again.
There is a hand on a door on a very suspiciously well kept building. Garloth residence. Thessalie has heard rumours about this woman. Polite folk would call her an eccentric. She’s a wizard who uses her gifts for treasure hunting. Human, older, She is a member of the Watchful Order.
Nuri knocks on the door. She says, “Do come in.”
She assumes we’re here about the apparatus?
Yes, Nuri says. He makes a persuasion check. We may have use of the apparatus if we use it to hunt for treasures for her. She will take 50% of the profits.
20, Nuri counters.
50 or no deal. She drives a hard bargain, but alright.
Half a day, no less. We are taken to see the apparatus:
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Forget the campaign, this is what we do now. Undersea adventures!
Do we have potions of water breathing? Yes. She gives us a scroll of water breathing, but will have to increase her cut to sixty - no, no that’s alright. Actually Thessalie and Nuri can transcribe a scroll into their spellbooks! Wait - it’s too high a level, she can’t do it yet. It would be cheaper to get it through the Guild than to buy it from her anyway. We decide to take it just in case, and can return it unused for the full 50% cut. Break glass in case of dragon, that sort of thing.
Has Grinda heard about a dragon in the area? We’ve been listening to some elf, known bandit, who is known for drinking and tall tales.
Right, she can have the apparatus ready in an hour! Let’s go and ask around about this dragon then. Thessalie swaps some spells, and Nuri comes to the realisation that he will be pretty useless if we have to fight, because everything he knows involves fire.
We head to another upturned ship. from which we hear singing. And more singing, in elvish, further in. It is tuneless, and about mermaids and pufferfish. It isn’t bawdy, but it is terrible. We follow the path out the pub to a ship out the back, and see the elf swaying on the deck.
He warns Nuri to keep away from the water. Bless. It’s full of dragons! Absolutely lousy with them. Nuri suspects some sort of Charm spell; he wants to cast Detect Magic.
The elf says he saw the dragons last night, on a ship in the deep harbour. He was fishing, and a whacking great drago came up and started asking about the Seamaiden’s Faire. (The one we were on last week!) Very interested in it. What colour was the dragon? Bronze! What did it want to know about the Seamaiden? Something about a secret, and who the performers were, what sort of performance they put on. All sorts. Rude!
What direction did it come from? From underwater, and he assumes it went back there. Very rude.
We are close to the deep water harbour, so we decide to begin our search there. Off we go!
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Only one of us can pilot the device. Grinda suggests the one with the highest Investigation score. That would be Thessalie, with a plus 7.
She rolls a 20 with Guidance for the first check. Does anyone speak Primordial? Nuri does. The voice is female, and it says “Fresh meat!”
Looking out through the window we see who she is:
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… Obliteros???
She was awoken by a man, who she ate, and he was delicious, and she thinks we will be too. We roll Initiative…
Nuri is up first, and he hates everything about this. HE drinks a potion of water breathing and climbs out of the apparatus. He tells Obliteros to bugger off, or we’ll do something about her. Or words to that effect. He is trying to Intimidate her. She grins.
Hazel gets out, and drinks her potion presumably. She can use a shortbow, but will be at Disadvantage (the attack misses if it is beyond normal range). We also discover that Nuri’s fire magic WILL work underwater, but the targets have resistance to the damage.
She hits! 6 damage. Thessalie uses Magic Missile, and does 15 damage, also taking her potion of water breathing.
Pfenig is torn between being a fish and using a potion; he can only be something with a CR of 1/2 - but that category does include a reef shark so he does that. Also he has necrotic spores around him. He gnashes his teeth.
Obliteros makes for Hazel. and bites her for 14 damage. Yikes.
She disengages and swims away, heads back to the Apparatus. Thessalie uses Mage Armour, having seen the great big bite Hazel just took. Pfenig swims right up to it and does a massive big bite.He tries to spin Obliteros and rip a chunk out of her. She returns the favour and bites him right back.
Top of the round, Nuri. He decides to change tack. He Hexes Obliteros and Firebolts her, with a middle finger raised.
Thessalie casts Magic Missile, this time at level 2 for 12 damage, and Pfenig bites it again for 10 piercing.
Nuri hears the shark say, “Too rich for me,” and she swims away - Shark-Pfenig tries to get one more bite in, but the bloodlust gets the better of him and he misses.
She is now in our player journals as an NPC - worrying.
The good news is that we have been very good at treasure hunting - we will get to keep 500gp of it. Woohoo! We return to Grinda to drop off the treasure before returning out to look for the dragon.
We tell her about Obliteros - “Oh, not her again.” Ah. Okay.
We head back out.
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visequiet0 · 3 years
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Select The Best Optical Components Suppliers For the Business
Since the early thing about this century the manufacturing means of optical components and system as changes drastically across the world. The approach of making these products as well as the actual outcome seems to have various enhancements. The age of totally dedicated to producing the products like lens and mirror has evolved enough and today manufacturing a wide range of active elements like lasers and visual sensors. These changes in the manufacturing industry have previously brought in the globalization in the optics industry. There are numerous ocular product suppliers contained in the world that utilized to produce an wide-ranging of varied apparatus. The lenses currently have exclusive different formations, a number of them are:
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Achromatic: These are designed to limit the effect of chromatic and circular abnormality. These Achromatic lenses are includes two essentials cemented together normally a crown and flint element. Aspheric: This kind of lens is highly recommended to prevent abnormality like astigmatism. It's made of the aspheric element. Plano-convex: This flat surface lens is positive focal length element which includes one spherical surface also. Double convex: It features a focal length for both the side and generally used in image convey application. Plano concave: These types of lenses are impressive for beam expansion, light projection. It has negative focal length and has negative spherical aberration as well. Double concave: It has two concave surfaces which are ideal for expanding the focal whole optical system. Cylindrical: This lens generally focuses right into a line rather than a point. The cylindrical lenses possess a single surface that triggers incoming light being focused in just single dimension. IR: They're used to collect, focus or collimate light within the near infrared spectra such as the short wave, mid-wave or large-wave. This system generally includes many other components also. UV: Fundamental essentials singlet lenses that are used in various applications such as collimation or focusing. Along with these Optical lenses, there are many components too that used to be produced by professionals. Some of them are Prism, waveplates, polarizer, interference filters, laser mirrors, BBO crystal and part more. However, if you are planning to set up your own personal store or start your business as a supplier in China or someplace else, you definitely require a professional supplier of all of the optical components. Searching for the best one through online or through getting a recommendation or by going through the review. These suppliers used to offer the products in both customized design and standard design at budgeted cost. They are doing ensure the company's products that must meet your standard. While choosing the best one among various; always do make certain that whether you could have a long term and reliable business relation together or not. For more information about bbo crystal visit our website: click here
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minimiscom · 3 years
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Turtle Agreeable Outdoor Lighting Rudiments
For those living in seaside spaces of the south, its opportunity to begin considering making your outside lighting turtle well disposed. The justification this is that waterfront homes share the sea shore with settling ocean turtles. Sadly, this hasn't been an equivalent sharing and the ocean turtles have endured altogether. 
In case you're acquainted with dim sky lighting prerequisites, you're most of the way there. Turtle Agreeable Lighting goes past "dim sky" lighting prerequisites in that it additionally addresses the sort of light created by your installation just as the manner in which your apparatus is mounted. Turtle Well disposed Lighting has 3 standards: 
Keep It Protected - Likewise a dull sky rule - All light is coordinated to the cold earth 
Keep It Long - Utilize just long frequency "turtle amicable" lights 
Keep It Low - Lower mounting statures are more averse to attack basic ocean turtle settling territories 
Safeguarded installations, additionally known by the specialized term of 'full cutoff apparatuses', point all the light they produce to the cold earth where individuals are strolling and driving. They have strong tops and sides that keep light from sparkling in places it doesn't have a place. The mix of full cutoff optics and turtle well disposed lights has been demonstrated to be the most un-problematic outdoor  lighting answer for delicate ocean turtle settling territories. 
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Turtle amicable lights utilize a unique mono-chromatic covering. These red bulbs, limit the range of the light that is transmitted to an extremely thin band of the noticeable range. You've seen the manner in which a crystal parts light into every one of the shades of the rainbow. White light contains every one of these shadings together. This is practically what a 'standard' brilliant light delivers. Turtle Safe coatings block a lot of this and just permits light at the extremely long (red) finish of the range to be transmitted. This long frequency light has been demonstrated in various examinations to an affect settling ocean turtles than different kinds of light. Turtle Safe bulbs will have this covering applied straightforwardly to the bulb. 
Be that as it may, there are circumstances where this isn't viable. In certain circumstances, it is preposterous or attractive to cover the bulbs. To address these circumstances, you can likewise utilize a Turtle Safe Cover. This is basically a turtle safe covering applied to a plastic film. This film would then be able to be joined to the glass of existing apparatuses... or on the other hand in any case used to restrict the yield of a bulb or apparatus to just the Turtle Safe frequencies. 
Note: This solitary functions admirably with minimal bright light bulbs. Incan descents, metal halides, and so forth produce a light that isn't helpful for working with this covering. 
Additionally Note: As these channels limit the light being yield to a thin band of the noticeable range... they don't put out however many lumens as an equivalent bulb. 
For arranging purposes, expect these to put out about 1/3 the quantity of lumens as a non-separated bulb. In case you're searching for a certain # of lumens, you should utilize higher wattage bulbs to accomplish the ideal number of lumens.
For More Info :-   turtle friendly lighting
Amber outdoor lighting
tiny landscape lighting
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A Case-Study of the Physico-Chemical Parameters of the Public Water Supply in the University of Port Harcourt by Johnson Ajinwo OR in Open Access Journal of Biogeneric Science and Research
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Abstract
Water –borne diseases is on the rise currently in the third world countries as a result of lack of routine water analysis checks to ensure that the desired quality of drinking water is upheld. In the light of the above, this research aimed at determining the physico-chemical properties and mineral content of seventeen water samples from the students’ residential areas and environs of the Main Campus of the University of Port Harcourt, Choba, Rivers State, Nigeria was carried out. The results showed that most of the physico-chemical quality indices of the water samples were within acceptable limits, except the nitrate levels of samples 13 and 14. The pH of all the samples were found to be acidic, with sample 12 having the lowest pH of 4.44. The hardness levels of the samples were determined to be very soft affirming the relationship between acidic pH and soft water. This increase in the corrosivity and plumbosolvency of the samples may result in long-term risk of metal poisoning from plumbing materials. However, the metal analysis showed only slight sodium and calcium contamination which may pose no health risk.
Introduction
About 829,000 people die annually from diarrhoea caused by poor sanitation, hand hygiene and drinking contaminated water. A number of diseases which include cholera, dysentery, diarrhoea, polio, typhoid and hepatitis A are transmitted through contaminated water and poor hygiene. Deaths from contaminated water are preventable and efforts aimed at tackling this ugly menace be put in place. The 2010 UN General Assembly emphasised that access to water and sanitation are basic human rights requirements. But water which is the number one liquid for life has come under intense pressure, owing to climate change, population explosion, urbanization and scarcity of water in many places. According to WHO, about 50% of the world’s population would be living in water-stressed areas in 2025 [1].
Water quality can be compromised by the presence of unwanted chemicals, micro-organisms and even radiological hazards. The problem of provision of good quality water for human consumption in Nigeria has been a major challenge that has received little or no attention. The National Agency for Food and Drug Administration and Control, (NAFDAC) is the body charged with the responsibility of ensuring the provision of good quality drinking water through the registration and quality assurance of commercially available drinking water [2]. However, majority of the Nigerian populace, in particular students shun commercially available water possibly due to the cost implication and still resort to water sources that lack quality assurance.
The vital role water plays include its ability to dissolve a wide range of substances, and has gained the status of being tagged the ‘universal solvent’. In the human body, two-thirds of the body is made up of water; which is the basic component of cells, tissues and the circulatory system. Due to the solvation character of water, cells are able to access nutrients in the body to produce energy, undergo metabolism and excrete waste in the body. Similarly, for drugs taken to elicit their desired activities, the drug substances must first be dissolved, prior to absorption into systemic circulation. It is well-known that acute dehydration may lead to death, which underscores the role of water as a life-sustaining fluid of great value and importance.
The University of Port Harcourt is sited in Choba community, Obio/Akpor Local Government Area of Rivers state, Nigeria. The state is one of the South-south states that constitute the oil-rich Niger-Delta Area, which has been the subject of oil exploration for more than 50 years. During this time, there have been oil spillages in the environment resulting in air, soil and water pollutions. This is evidenced in the recent United Nations Environment Programme (UNEP) report on the effects of oil spillages in Ogoniland in Rivers state. In this report water samples were obtained from boreholes drilled specifically for the research. The findings from the research revealed high levels of hydrocarbon, some organic and inorganic substances, some of which were carcinogenic [3]. The results further showed that in many locations, petroleum hydrocarbons had migrated to the groundwater. Furthermore, the host community of the University has also played host to an American oil exploration company for over two decades. To this end, it is expected that both soil and water in and around the community will be contaminated, especially with hydrocarbons and heavy metals.
This research aims to determine the physico-chemical parameters and the mineral content of the water sourced from deep water table within the students’ residential area and environs of the main campus of the University of Port Harcourt and to ascertain if the contamination is within safe limits. The standards by which this research would judge water quality is that prescribed by the World Health Organization (WHO), the United States Environmental Protection Agency (EPA) and the Nigerian Industrial Standard developed by the Standards Organization of Nigeria (SON).
Materials and Methods
1.1. Materials
1.1.1.        Water Samples
Drinking water samples were collected from students’ residential areas and environs at the University of Port Harcourt Main Campus (Unipark, Abuja); the samples were collected from seventeen locations, which were described in (Table 1).  The samples were collected using 2 L glass bottles fitted with an inner cork and an outer screw cap. The bottles were initially washed with detergent, rinsed thoroughly with tap water and then rinsed with distilled water. Prior to sample collection, the bottle was rinsed three times with the sample to be collected before collection. The samples were stored at room temperature. All titrations carried out in the physico-chemical analysis were done in triplicate for each sample and the average titre calculated.
1.2. Methods
1.2.1.        pH Determination
Apparatus: pH Meter.
The pH meter was calibrated with standardized solutions of pH 4.0 and 9.1 respectively. The pH was read after inserting the electrode of the pH meter into the sample and allowing the reading to stabilize.
1.2.2.        Total Alkalinity
1.2.3.        Apparatus/Reagents: Burette, pipette, conical flasks, 0.001105 M HC1, phenolphthalein indicator, and methyl orange indicator.25 ml of the sample was pipetted into a conical flask and 2 drops of phenolphthalein indicator was added. There was no colour change (indicating the absence of carbonate and hydroxyl alkalinity). 2 drops of methyl orange indicator was added to the sample and titrated with the acid to a yellow endpoint.
1.2.4.        Calculation:
Total Alkalinity (mg CaCO_3/L) =(M x V x 50000)/V_ (sample ) Bicarbonate Alkalinity (mg CaCO_3/L)=(M x V x 30500)/V_(sample )
Where M= molarity of HCI, V= titre value, and Vsample= Volume of Sample
1.2.5.        Dissolved Co2 Content
Apparatus/Reagents: Burette, pipette, conical flasks, 0.01 M NaOH, phenolphthalein indicator.
25 ml of the sample was pipetted into a conical flask and 2 drops of phenolphthalein indicator was added. Titration was done against the base. Endpoint was determined by colour change from colourless to pink.
Calculation
Dissoved CO_2 (mg/L)=(V x N x E x 1000)/V_(sample )
Where  V=titre value , N=normality of the base (0.0128), E=equivalent
Weight of co2(22),Vsample=Volume of Sample
1.2.6.        Chloride Determination (Precipitation Titration)
Principle:
               The principle behind this titration is the precipitation of C1 as AgCl by AgNO3 before AgCrO4 (red) is formed at the endpoint
Apparatus/Reagents: Burette, pipette, conical flasks, 0.014N AgNO3 and K2CrO4 indicator
25 ml of sample was pipetted into a conical flask, 2 drops of the indicator was added and this was titrated against AgNO3 solution until there was a colour change form yellow to brick red.
 Calculation:
Chloride (mg/L) =(V x N x E x 1000)/V_(sample )
Where V= titre value, N= normality of AgNO3 (0.014), E= equivalent
Weight of chloride ion (35.5),Vsample=Volume of sample used
1.2.7.        Silica Determination (Molybdosilicate Method)
Principle
The Molybdosilicate Method is based on the principle that at a pH of about 1.2, ammonium molybdate ((NH4)6M07024.4H20) reacts with any silica and phosphate present in a sample to form hetero-polyacids. Oxalic acid is then added no neutralize any molybdophosphoric acid present. This reaction produces a yellow colour whose intensity is proportional to the silica that reacted with the molybdate. Standard colour solutions of silica are also prepared and the colour intensity can be visually compared or its absorbance can be measured.
Apparatus: Conical flasks, beakers, pipettes, ammonium molybdate reagent: (NH4)6MO7O24.4H2O), 1:1 HCI, oxalic acid (H2C204.2H20)
Ammonium molybdate: prepared by dissolving 10g of (NH4)6M07024.4H20) in distilled water.
Oxalic acid: prepared by dissolving 7.5 g of H2C204.2H20 in 100 ml of distilled water.
Potassium Chromate (K2CrO4) Solution: prepared by dissolving 315 mg of K2CrO4 in distilled water and made up to 500 ml.
Borax Solution: prepared by dissolving 2.5 g of borate decahydrate Na2B407.10H20 in distilled water and made up to 250 ml.
The standard colour solution of concentrations 0.00 — 1.00 (mg Si/L) was prepared by mixing volumes of distilled water, potassium chromate and borax in the proportion given in (Table 2).
The absorbance of the standard was measured using a UV spectrophotometer at 390 nm. 50 ml of sample was pipetted into a beaker and 2 ml of ammonium molybdate and 1 ml of 1:1 HC1 were added to the beaker. The resulting solution was thoroughly mixed and allowed to stand for 7 minutes. 2 ml of oxalic acid was then added and after 2 minutes, the absorbance of the solution was measured at 390 nm.
Calculation:
The silica content of each sample was determined by means of simple proportion, using the formula:
(Absorbance of standard)/(concentration of silica in standard )=(Absorbance of sample)/(concentration of silica in sample )
1.2.8.        Total Hardness Determination (Edta Titrimetric Method)
Principle
Ethylene Diaminetetraacetic Acid, (EDTA) and its sodium salt forms chelated soluble complex when added to a solution of certain metal cations. The addition of a small amount of a dye such as Eriochrome Black T to an aqueous solution containing calcium and magnesium ions at pH of about 10, results in a wine red coloured solution. If EDTA is added as a titrant, any magnesium or calcium will be complexed and the solution will turn from wine red to blue.
Apparatus/Reagents: Burette, pipette, conical flasks, 0.01 M EDTA, Ammonia buffer, Eriochrome Black T indicator. 50 ml of sample was pipetted into the conical flask and 5 drops of indicator was added. 20 ml of Ammonia buffer was added and the resulting mixture was titrated with 0.01 M EDTA solution. The endpoint was determined by a colour change from wine red to blue.
Calculation
Total Hardness (mgCaCO_3/L)=(V x M x E x 2.5 x 1000)/V_sample
Where V=titre value,M=concentration of EDTA,2.5= (molecular mass of Ca〖CO〗_3)/(atomic mass of Ca^(2+) )
E=equivalent weight of Ca^(2+) (40),and V_ sample=Volume of sample
1.2.9.        Sulphate Determination (Turbidimetric Method)
Principle:
Sulphate ion is precipitated in a hydrochloric acid medium with barium chloride (BaCI2) to form barium sulphate (BaSO4) crystals of uniform size.  The absorbance of the BaSO4 suspension is measured using a UV spectrophotometer and the sulphate ion concentration is determined from the calibration curved developed
Apparatus: UV spectrophotometer, conical flasks, pipettes, beakers, spatula, sulphate conditioning reagent, sulphate stock solution.
Preparation Of Conditioning Reagent: the conditioning reagent was prepared by mixing 45 g of NaCI, 18 ml of conc. HCI, 60 ml of 20 % isopropyl alcohol, 30 ml of glycerol and 180 ml of distilled water in a beaker and stirred thoroughly with a glass rod until the solution was clear. Preparation of Sulphate Stock Solution: this was prepared by dissolving 147.9 mg of anhydrous sodium sulphate (Na2SO4) in 1000 ml of distilled water. Preparation of Sulphate Standard Solution: 0.1, 0.2, 0.3, 0.4 and 0.5 ml respectively of the stock solution was pipetted into five 100 ml volumetric flasks and made up to the 100 ml mark with distilled water to produce 1, 2, 3, 4 and 5 ppm of the sulphate stock solution. These were then transferred into appropriately labelled stopper reagent bottles.
Formation Of Baso4 Turbidity: 5 ml of the conditioning reagent was added to the each of the 100 ml standard solution as well as to 100 ml of each sample. This was stirred for one minute. During stirring, a spatula full of BaCl2 crystals was added. The absorbance or each standard as well as each sample was measured using the UV spectrophotometer at 420 nm. The agitated samples were allowed to stand the in UV spectrophotometer for 4 minutes before recording the reading.
Calculation
The absorbance of the five standard solutions were plotted against their concentrations to obtain a calibration curve. The equation of the resulting curve (Equation 1) was used to calculate the sulphate ion content for each sample.
y = 0.0054x + 0  ----------(equation 1)
(R2 = 0.971)
Where y = sulphate ion content (mg/L), 0.0054 = slope, 0 = intercept, R2 = extent of linearity
1.2.10.    Nitrate Determination (Brucine Colorimetric Method)
Apparatus/Reagents: UV Spectrophotometer, volumetric flasks, pipettes, beakers, brucine sulphanilic acid (brucine), conc. H2S04, 30 % NaC1, conc. HNO3, stock nitrate solution.
Preparation of Nitric Acid Stock Solution: 8.5 ml of conc. HNO3 was dissolved in distilled water and diluted to 500 ml in a 1000 ml measuring cylinder.
Preparation of Nitrate Standard Solution: 0.1, 0.2, 0.3, 0.4 and 0.5 ml respectively of the stock solution was pipetted into five 100 ml measuring cylinders and made up to the 100 ml mark with distilled water to produce 1, 2, 3, 4 and 5 ppm of the nitrate stock solution. These were then transferred into appropriately labelled conical flasks.
5 ml of the 1 ppm standard solution was pipetted into a volumetric flask. I ml of 30 % NaCI and 10 ml of conc. H2S04 was added gently to the 1 ppm solution, followed by the addition of  0.1 g of brucine. Upon mixing, a deep red colour which turned yellow was produced. The absorbance of the resulting solution was measured using a UV spectrophotometer at 410 nm. The above procedure was repeated using 5 ml each of the remaining as well as for each sample.
Calculation:
The absorbance of each of five standard solutions was plotted against their concentration to obtain a calibration curve. The equation of the resulting curve (Equation 2) was used to calculate the content for each sample.
y = 0.0038x + 0 ----------------- (Equation 2)
                                                               (R2=0.9747)
Where y = nitrate content (mg/L), 0.0038 = slope, 0 = intercept, R2 = extent of linearity
1.2.11.    Determination of Calcium, Iron, Zinc, Lead,Chromium, Cadmium And Sodium Content by Atomic Adsorption Spectroscopy
The levels of the above mentioned heavy metals and non-heavy metals were determined using the atomic adsorption spectrometer of the following model: Bulk Scientific 205 AAA Model 210 VGP (with air-acetylene flame on absorbance mode and with injection volume of 7 ml/min). Calcium was determined at a wavelength of 423 nm, sodium at 589 nm, iron at 248, zinc at 214 nm, chromium 357nm, cadmium at 228 nm and lead at 283 nm.
Standard metal solutions for each metal were prepared and calibration curves for each metal were obtained from a linear plot of the absorbance of the standard against their concentrations in mg/L. This was used to determine the concentration of each metal in each sample by extrapolation from the calibration curves.  The instrument was first calibrated to zero by aspirating a blank solution in the nebulizer. The samples were then aspirated in the nebulizer at 7 ml/min and the absorbance of each sample recorded.
Where M= molarity of HCI, V= titre value, and Vsample= Volume of Sample
1.2.5.        Dissolved Co2 Content
Apparatus/Reagents: Burette, pipette, conical flasks, 0.01 M NaOH, phenolphthalein indicator.
25 ml of the sample was pipetted into a conical flask and 2 drops of phenolphthalein indicator was added. Titration was done against the base. Endpoint was determined by colour change from colourless to pink.
Calculation
Where  V=titre value , N=normality of the base (0.0128), E=equivalent
Weight of co2(22),Vsample=Volume of Sample
1.2.6.        Chloride Determination (Precipitation Titration)
Principle:
               The principle behind this titration is the precipitation of C1 as AgCl by AgNO3 before AgCrO4 (red) is formed at the endpoint
Apparatus/Reagents: Burette, pipette, conical flasks, 0.014N AgNO3 and K2CrO4 indicator
25 ml of sample was pipetted into a conical flask, 2 drops of the indicator was added and this was titrated against AgNO3 solution until there was a colour change form yellow to brick red.
 Calculation:
Where V= titre value, N= normality of AgNO3 (0.014), E= equivalent
Weight of chloride ion (35.5),Vsample=Volume of sample used
1.2.7.        Silica Determination (Molybdosilicate Method)
Principle
The Molybdosilicate Method is based on the principle that at a pH of about 1.2, ammonium molybdate ((NH4)6M07024.4H20) reacts with any silica and phosphate present in a sample to form hetero-polyacids. Oxalic acid is then added no neutralize any molybdophosphoric acid present. This reaction produces a yellow colour whose intensity is proportional to the silica that reacted with the molybdate. Standard colour solutions of silica are also prepared and the colour intensity can be visually compared or its absorbance can be measured.
Apparatus: Conical flasks, beakers, pipettes, ammonium molybdate reagent: (NH4)6MO7O24.4H2O), 1:1 HCI, oxalic acid (H2C204.2H20)
Ammonium molybdate: prepared by dissolving 10g of (NH4)6M07024.4H20) in distilled water.
Oxalic acid: prepared by dissolving 7.5 g of H2C204.2H20 in 100 ml of distilled water.
Potassium Chromate (K2CrO4) Solution: prepared by dissolving 315 mg of K2CrO4 in distilled water and made up to 500 ml.
Borax Solution: prepared by dissolving 2.5 g of borate decahydrate Na2B407.10H20 in distilled water and made up to 250 ml.
The standard colour solution of concentrations 0.00 — 1.00 (mg Si/L) was prepared by mixing volumes of distilled water, potassium chromate and borax in the proportion given in (Table 2).
The absorbance of the standard was measured using a UV spectrophotometer at 390 nm. 50 ml of sample was pipetted into a beaker and 2 ml of ammonium molybdate and 1 ml of 1:1 HC1 were added to the beaker. The resulting solution was thoroughly mixed and allowed to stand for 7 minutes. 2 ml of oxalic acid was then added and after 2 minutes, the absorbance of the solution was measured at 390 nm.
1.2.8.        Total Hardness Determination (Edta Titrimetric Method)
Principle
Ethylene Diaminetetraacetic Acid, (EDTA) and its sodium salt forms chelated soluble complex when added to a solution of certain metal cations. The addition of a small amount of a dye such as Eriochrome Black T to an aqueous solution containing calcium and magnesium ions at pH of about 10, results in a wine red coloured solution. If EDTA is added as a titrant, any magnesium or calcium will be complexed and the solution will turn from wine red to blue.
Apparatus/Reagents: Burette, pipette, conical flasks, 0.01 M EDTA, Ammonia buffer, Eriochrome Black T indicator. 50 ml of sample was pipetted into the conical flask and 5 drops of indicator was added. 20 ml of Ammonia buffer was added and the resulting mixture was titrated with 0.01 M EDTA solution. The endpoint was determined by a colour change from wine red to blue.
1.2.9.        Sulphate Determination (Turbidimetric Method)
Principle:
Sulphate ion is precipitated in a hydrochloric acid medium with barium chloride (BaCI2) to form barium sulphate (BaSO4) crystals of uniform size.  The absorbance of the BaSO4 suspension is measured using a UV spectrophotometer and the sulphate ion concentration is determined from the calibration curved developed
Apparatus: UV spectrophotometer, conical flasks, pipettes, beakers, spatula, sulphate conditioning reagent, sulphate stock solution.
Preparation Of Conditioning Reagent: the conditioning reagent was prepared by mixing 45 g of NaCI, 18 ml of conc. HCI, 60 ml of 20 % isopropyl alcohol, 30 ml of glycerol and 180 ml of distilled water in a beaker and stirred thoroughly with a glass rod until the solution was clear. Preparation of Sulphate Stock Solution: this was prepared by dissolving 147.9 mg of anhydrous sodium sulphate (Na2SO4) in 1000 ml of distilled water. Preparation of Sulphate Standard Solution: 0.1, 0.2, 0.3, 0.4 and 0.5 ml respectively of the stock solution was pipetted into five 100 ml volumetric flasks and made up to the 100 ml mark with distilled water to produce 1, 2, 3, 4 and 5 ppm of the sulphate stock solution. These were then transferred into appropriately labelled stopper reagent bottles.
Formation Of Baso4 Turbidity: 5 ml of the conditioning reagent was added to the each of the 100 ml standard solution as well as to 100 ml of each sample. This was stirred for one minute. During stirring, a spatula full of BaCl2 crystals was added. The absorbance or each standard as well as each sample was measured using the UV spectrophotometer at 420 nm. The agitated samples were allowed to stand the in UV spectrophotometer for 4 minutes before recording the reading.
Calculation
The absorbance of the five standard solutions were plotted against their concentrations to obtain a calibration curve. The equation of the resulting curve (Equation 1) was used to calculate the sulphate ion content for each sample.
y = 0.0054x + 0  ----------(equation 1)
(R2 = 0.971)
Where y = sulphate ion content (mg/L), 0.0054 = slope, 0 = intercept, R2 = extent of linearity
1.2.10.        Nitrate Determination (Brucine Colorimetric Method)
Apparatus/Reagents: UV Spectrophotometer, volumetric flasks, pipettes, beakers, brucine sulphanilic acid (brucine), conc. H2S04, 30 % NaC1, conc. HNO3, stock nitrate solution.
Preparation of Nitric Acid Stock Solution: 8.5 ml of conc. HNO3 was dissolved in distilled water and diluted to 500 ml in a 1000 ml measuring cylinder.
Preparation of Nitrate Standard Solution: 0.1, 0.2, 0.3, 0.4 and 0.5 ml respectively of the stock solution was pipetted into five 100 ml measuring cylinders and made up to the 100 ml mark with distilled water to produce 1, 2, 3, 4 and 5 ppm of the nitrate stock solution. These were then transferred into appropriately labelled conical flasks.
5 ml of the 1 ppm standard solution was pipetted into a volumetric flask. I ml of 30 % NaCI and 10 ml of conc. H2S04 was added gently to the 1 ppm solution, followed by the addition of  0.1 g of brucine. Upon mixing, a deep red colour which turned yellow was produced. The absorbance of the resulting solution was measured using a UV spectrophotometer at 410 nm. The above procedure was repeated using 5 ml each of the remaining as well as for each sample.
Calculation:
The absorbance of each of five standard solutions was plotted against their concentration to obtain a calibration curve. The equation of the resulting curve (Equation 2) was used to calculate the content for each sample.
y = 0.0038x + 0 ----------------- (Equation 2)
                                                               (R2=0.9747)
Where y = nitrate content (mg/L), 0.0038 = slope, 0 = intercept, R2 = extent of linearity
1.2.11.        Determination of Calcium, Iron, Zinc, Lead,Chromium, Cadmium And Sodium Content by Atomic Adsorption Spectroscopy
The levels of the above mentioned heavy metals and non-heavy metals were determined using the atomic adsorption spectrometer of the following model: Bulk Scientific 205 AAA Model 210 VGP (with air-acetylene flame on absorbance mode and with injection volume of 7 ml/min). Calcium was determined at a wavelength of 423 nm, sodium at 589 nm, iron at 248, zinc at 214 nm, chromium 357nm, cadmium at 228 nm and lead at 283 nm.
Standard metal solutions for each metal were prepared and calibration curves for each metal were obtained from a linear plot of the absorbance of the standard against their concentrations in mg/L. This was used to determine the concentration of each metal in each sample by extrapolation from the calibration curves.  The instrument was first calibrated to zero by aspirating a blank solution in the nebulizer. The samples were then aspirated in the nebulizer at 7 ml/min and the absorbance of each sample recorded.
Results and Discussions
The results of the Physico-chemical characteristics of the sampled water sources are presented in (Table 3) below. From the results, the samples can be classified as generally soft. The highest hardness value from the result was 14.67 ± 0.00. According to the Twort Hardness classification, this falls in the soft water category [4]. This is directly related to the calcium levels of the samples. Calcium accounts for about two-thirds of water hardness. The recommended upper limit of calcium in drinking water is 50 mg/L. The calcium values were all less than 6.0 mg/L and this reflected in the low hardness values obtained.
The pH values of all samples were not within the acceptable limit of pH for safe drinking-water. The pH values of all the samples were generally acidic with a range of 4.44 to 6.06. Samples 3, 4, 5, 7, 8, 10, 12 and 17 all had values below 5.0, with sample 12 having the lowest value of 4.44. The acidic nature of most samples can be attributed to the low hardness (soft water) of the samples. Soft water is known to be acidic and this increases the ‘plumbosolvency’ of such water.
Dissolved CO2 is one of the components of carbonate equilibrium in water. The highest value of CO2 was 12.02 ± 1.50 mg/L. Dissolved CO2 is significant in that high values of it (usually above 10 mg/L for surface waters) indicates a significant biological oxidation of the organic matter in water. Dissolved CO2 also has a direct relationship with pH and alkalinity. From the results, the dissolved CO2 level is low for all samples, indicating little biological oxidation of organic matter. At pH values between 4.6 and 8.3, bicarbonate alkalinity is in equilibrium with dissolved CO2. The generally low values of dissolved CO2 corresponds therefore to the generally low (bicarbonate) alkalinity.
Chloride in water does not have a negative health impact. Its impact is aesthetic in nature, with high concentrations exceeding 250 mg/L producing a salty taste (when the associated cation is sodium). The chloride levels of all samples were quite low, the highest value being 66.28 ± 1.33 mg/L.
The silica and sulphate concentrations were very low. The limits are 1-30 mg/L and 250 mg/L, respectively [5]. The silica content was almost insignificant (all less than 0.1 mg/L). The sulphate content was also very low; the highest being 2.96 mg/L for sample 14, and in some cases not determinable (samples. 11 and 15). Nitrate is naturally present in soil, water and food due to the nitrogen cycle. The activities of man also add to increase the nitrate levels in the environment. To this end, WHO and NIS set a limit of 50 mg/L, while EPA stipulates a stricter standard of not more than 10 mg/L (nitrate as nitrogen). The range of nitrate concentration for the samples was 11.32 — 58.68 mg/L by WHO and NIS [6].
Standard samples 13 and 14 have excess of nitrate (58.68 and 52.11 mg/L respectively). The nitrate concentration of sample 12 is just at the threshold (50 mg/L). Nitrate levels can become dangerously increased with the increased use of nitrogen based fertilizers and manure, coupled with the fact that nitrate is extremely soluble. The environment around the boreholes are such that support thriving of bacteria which play a significant role in the nitrogen cycle. Nitrogen easily leaches into groundwater from runoff [7]. Since the sample area is inhabited by mainly adults, the most lethal health effect of nitrate poisoning is not expected to be seen (infants are much more sensitive than adults to methaemoglobinaemia caused by nitrate, and essentially most deaths due to nitrate poisoning have been in infants). However, long term exposure to nitrates can, apart from causing methaemoglobinaemia and anaemia, cause diuresis, starchy deposits and haemorrhaging of the spleen. Nitrites in the stomach can react with food proteins to form nitrosoamines; these compounds can also be produced when meat containing nitrites or nitrates is cooked, particularly using high heat. While these compounds are carcinogenic in test animals, evidence is inconclusive regarding their potential to cause cancer (such as stomach cancer) in humans. The Levels of some selected heavy and non-heavy metals in the water samples were determined and the results shown in (Table 4).
The AAS determination of heavy and non-heavy metals showed that the samples were free from these metals except for sodium and calcium. The range of values for sodium was 0.40 — 16.30 mg/L, well below the guideline value set at 50 mg/L for sodium [8]. Sample 17 was the only sample with a trace of zinc (0.13 mg/L) and this was well below the limit of 3 mg/L set by NIS [9] and 5 mg/L set by EPA [10] The increased corrosivity of these samples therefore has an increased associated risk of dissolving metals and non metals including lead, iron, zinc, nickel, brass, copper and cement/concrete [8]. If the water distribution system was laid with pipes containing any of these metals, then the risk of increased levels of these, especially lead would be high. However, this seems not to be the case because the lead levels obtained from AAS analysis of all the samples were all either zero or very low.
Conclusion And Recommendation
The physico-chemical analyses performed on the samples, demonstrated that the physico-chemical quality of the water samples were mostly within the specified limits as stated by WHO and EPA.  The health implications of the physico-chemical quality were considered to be of importance on the longterm basis, since these contaminants at the levels at which they occurred in the water samples can accumulate over time. The pH of the samples was found to be acidic. It can be concluded that the same acidic aquifer serves the entire sample area. The pH of water must be controlled through increasing alkalinity and calcium levels since acidic water tends to be corrosive and can dissolve metal fittings and cement into water, leading to contamination. Also, the nature of construction materials that have been used and that will be used in the future should be reviewed to ensure that it can withstand the acidity of the water. It was not in the scope of this research to determine the size of the underground water aquifer, but it is recommended therefore that the size of the underground aquifer be determined in other to ascertain the extent to which the recommendations for remediation proposed herein would be implemented. The nitrate levels of 2 samples were also found to exceed the acceptable limit (50 mg/L as nitrate ion), while one sample had 50 mg/L as its value. It is recommended that biological denitrification for surface water and ion exchange for ground water is employed in order to reduce the nitrate levels.
Conflict of Interest
The authors have no conflict of interest to declare.
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domealessi · 4 years
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A piano version of Dracula's Theme from Castlevania Lords of Shadow 2 - composed by Oscar Araujo featuring Chromatic Apparatus on cello check his channel here:
https://www.youtube.com/channel/UCUsveu_kAUGlay8m_TR9nig
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clarks-letterman · 2 years
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Andrew! Peter Parker x male reader but peters the top which I never see with male readers 🤞
YOOOO I GOTCHU
the elevator ride
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A/n: Literally wanted to have fun with this,, THANK YOU FOR SENDING THIS BECAUSE HES ALWAYS BOTTOM :/// anyways…this is so dumb I’m sorry if I ruined elevators for y’all😭
Summary: You and Peter get intimate in an Oscorp elevator after being deprived of sexual contact.
Warnings: Plot…what plot?? Smut. Oral (Peter receiving), and fucking (Reader receiving)
~~~
A small ding chimed out through the bustling tower. A set of thin, translucent doors parted, followed by the much thicker, metal doors. Stepping into the enclosed space, your attention turned to the artificial voice that spoke to you.
The woman appeared on the small display situated to the left of the closed doors, "What floor would you like to go to?"
"Forty-two, please," You answered, fiddling with the clipboard in your hands. The machine sorted through its apparatus for a few seconds before the woman on the screen replied with a compliant, "OK."
Your eyes shifted around the room with a desire to find anything to cure the oncoming boredom as the elevator commenced its slow descent to a lower floor. They went from peering past the glass walls to landing on the doors again, more specifically, the misshapen reflection found within them as if they were mirrors propped up in a fun-house. For a quick laugh, you took a step to the side and watched your likeness stretch in the chromatic surface.
Then the elevator stopped. You quickly straightened your posture and returned to a professional manner for whoever was getting on. It didn't last long, though, as the gates parted once again to reveal another person standing on the other side—it was your boyfriend, a matching clipboard in his hand with the Oscorp logo visible on the back. He sported a white lab coat similar to yours—the same logo printed just above the coat's chest pocket. His hair perfectly tossed from the breeze and the back-and-forth pacings demanded by the job.
“Dr.Parker.” You greeted with a fake smile as he entered the elevating box.
Peter returned the smile and copied your professional greeting, “Dr.(L/N)”
You hung your head low and groaned at the imposed workplace rules, a light snicker following at how ridiculous it was, “God, I hate this.”
“What?”
“This,” You wave around the clipboard with scientific information clamped to it as you complained, “This job and it’s ‘no fraternizing’ rule. I wanna be able to hold your hand and stuff.”
The backside of your hand brushed against the back of his low-hanging one. Your lives had been so busy recently; Peter was always out saving the people of New York, and you were constantly stuck doing whatever your job—or Harry—demanded of you to do. So the slightest bit of contact with the other was something to cherish.
Though, Peter didn't take your hand like you had expected him to. Instead, he moved away to press a button in the array; it shone a bright red—he had pressed the emergency stop button. The elevator came to a sudden halt as you felt it rock along the rails, the cables omitting a light screech from above you at the sudden stop.
Your face contorted, taking a quick look to your boyfriend as he retreated to where he had previously stood, "What are you doing?"
Peter moved closer to you, one of his hands playfully slipping around you to rest on your ass, "I know we haven't had a lot of time together, so I thought we could..."
"At work? In a see-through elevator?"
"You have to push the call button for anyone important to notice. Besides, everyone's wrapped up in their work. They won't care for two researchers being gone for a little," Peter explained, looking at you with almost pleading eyes.
"Let's agree to make this quick," You sighed, reluctantly freeing yourself from Peter's grip to peel off your clothes. It wasn't that you weren't excited—after all, Peter could never make something uninteresting—it was the idea of rushing through this that made it seem less enjoyable. You wanted to have a night where things could go slow and build to what was about to happen, but this was all the time you had.
Peter had already stripped himself of his pearly-white lab coat and the tee-shirt underneath it, leaving him a pair of solid denim jeans and one of his many pairs of beaten-up sneakers. You yanked your top off and tossed it to the ground, Peter nearing you with a hand that softly molded to the side of your face on contact.
"I missed this," He mumbled, the light trace of his lips connecting with your forehead before backing his head to look at you. He scanned your complexion, absolutely enamored at the sight of you, and you felt it. Those short glances as you two passed the other in the halls had evolved into a loving look into the soul of the other, "Now, let's show everyone how much I fucking love you."
Wasting no time at all, Peter guided you to the clear wall that faced the chrome doors. The cool glass pressing against your back indicated that anyone could look into the small enclosure from the other side; your topless figure would be the first thing anyone would lay their eyes upon in the elevated sight. Peter didn't break the gaze into your eyes, wanting to cherish the moment for a few more seconds before having his way with you.
It was only until his gaze sunk to the level of your lips before quickly returning to your eyes did he break it, now back with a certain look in his own complexion—one of determinative neediness.
You felt this craving once his own set of lips met yours. He domineered the silent—yet passionate—exchange by pulling you deep into it with a coveting hold.
And his hands showed the greediness that laid behind the sultry admiration in his eyes in the same way, as he trailed the shape of your body until he reached the hem of your pants. Your hand flew down to stop him, and he broke the kiss and rested his forehead on yours.
"Shouldn't I make you feel good?" You asked hushedly, "You can't expect me to let you do all the work, right?"
This wasn't how it was usually said; Peter was consistently the one to call the shots, but the lack of contact lately had driven you over the edge.
"Okay—okay, (Y/n)," He granted your ask with a laugh, "Get to work then."
Peter didn't have to say it twice; the side of you that had been starved for the slightest bit of intimacy had practically been the force to push you to your knees, your hands pulling at the entrapping denim and boxers to set his waiting cock free. From the way his length had excitedly sprung out from your actions, you could tell that he wanted this as much—if not more—than you.
You were quick to take the head past your parted lips, the memory of how his girth stretched your lips flooding back to you within a few seconds. You had never forgotten about how much Peter was actually packing, the image of the corded muscle forever burned into your brain from the previous intimate endeavors with your boyfriend. It was almost funny that Peter was nervous on your first attempt at messing around with the other because he certainly had nothing to be ashamed of when it came to his assets. He was big, big enough to turn pleasure into blissful pain.
The head of his cock had run smoothly over your tongue as you took in more of him, the pre-cum leaving a lingering taste that quickly mixed with the salty flavor of the underside of his length. Your eyes followed along the rest of his cock still outside of your mouth and up to his shot-back head—the sound of a loud moan spilling out into the small space.
If you were being honest, the back of your throat hadn't lost its experience from these efforts either, as you were quick to take up to the first half of his shaft into what Peter would only call 'perfection' with no issue. And the feeling of Peter's cock in your mouth drove you wild enough as it is. You didn't want to simply suck on his meat, but devour it entirely.
Even if Peter didn't know of your desires, he ate up how you expressed them by hollowing your cheeks and acting carelessly towards the small strands of spit spilling from your mouth and onto your chin. As you bobbed on his length, his hands lightly ran through your hair, searching for a good grip on your head.
Once he found it, Peter started to control the rate of how fast you took his cock, nearly ready to let his release spill down into your throat.
But, Peter had to resist the urge to finish in your mouth, knowing that if he held out for a bit longer, he would be taken from the soft high of cloud nine to the thin air of heaven—left in a fight for air on his way down.
His cock slid past your lips again, your mouth going empty, and lips slicked as he pulled away—the slight glistening of saliva coating his cock visible in the lighting of the elevator. Peter gave it a few tugs before retracting his hand, bringing it to his mouth, spitting in his palm, and quickly wrapping it around his length while jerking it again.
"You ready?" He asked.
"To get back to work?" You teased, "Yeah, I'm ready."
He used his other hand to help you up, guiding you to the elevator doors as you leaned against them with your forearms. You watched Peter come closer through the reflection of the doors, the both of his hands taking ahold of your hips as he readjusted your stance. You felt one hand slip away while the other stayed in place.
Within seconds, you felt the tip of his dick brush against your hole, slightly shifting around until he pushed the head of his cock in. The both of you moaned at how it felt. It was evident that both of you needed this more than you realized.
"If this was my job, I'd never take a day off," Peter joked, pushing himself in a little further.
"Me neither, I'd have so much overtime," You laughed, the pleasure rendering you weak all over your body.
Peter used joking as a distraction from the pain, and in all fairness, it almost always worked. The combination of charisma with stupid jokes was enough to keep you laughing while he was quick to bottom out in you. He pressed his chest to your back in an attempt to bask in as much touch as he could, his arms finding their way around to your chest to hold you close.
With the first swing of his hips, Peter could tell it would only take a few more motions like that to do it for him before he would be emptying himself inside you.
You felt similarly to your boyfriend; being pent up like a wild animal meant to run free caused you to be at the edge from simply having him in your mouth. Now, you felt him working open a much more sensitive area of your body, making you fill the small enclosure with your own moans.
To Peter's surprise, he managed to pick up a steady pace, rhythmically sliding in and out of you. He became verbal as well—both in a flurry of moans that intertwined with yours and accompanying praise.
"Look at you," He moaned, a hand finding its way to the back of your head to lock your attention to the oddly disproportionate reflection of yourself and him in the mirror, "You're taking me so well. I'm so fucking lucky to have you."
Peter's thrusts became sloppier; he was ready to finish and wanted to make sure you would get the same high as him. He slid a hand down your body to your own length, using a variety of maneuvers ranging from simple tugs to rubbing his thumb over the tip of your cock.
"Fuck!" You moaned, your hot breath fogging the chrome as your release sprayed out, coating Peter's hand and the metallic wall in front of you.
Peter came quickly after you, your ass spasming around his cock as he gave one last push into you, filling your ass with his own release.
A mixture of pants overtook the oncoming silence, the ecstasy of reaching your climaxes gradually fading with each passing second.
"Guess we have to get back to work, huh?" You rhetorically asked, pacing to your pile of clothes and slipping each article of clothing over yourself.
"Unfortunately, yeah," Peter agreed with a sigh of reluctance. He bent over to pick up his clothes before coming to a halt. His senses alerted him of your heart rate picking back up, so he stood straight, turning to face you.
Then, he realized your phone was buzzing, and you handed it to him, reading what was on the screen aloud, "It's Harry."
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Text
Manifesto for Concrete Poetry (1952-55)
By Öyvind Fahlström, Sweden
1. Starting Point
The literary fashion for 1953 was dictated by Sigtuna [where a literary conference was held]. One rejected the psychoanalytically marked bust line and hop line, pulled down the skirt length and lowered the neck line. Since fantasy is to be stressed this year, flounces and butterflies in the hair, everyone Sings with Setterlind (Swedish "court" poet).
All this is well-known. But what lies behind these general recommendations, how shall we realize them? It has been said that we should interpret modern myths (at the same time that Freud has been accused of myth-making); and that we should not bury ourselves in the situation of our time, but should concern ourselves with timeless symbols.
Myths: does this mean to construct a complicated apparatus of symbolic and mythological contacts a la Joyce, Gösta Oswald [Swedish novelist], etc. "who did the same thing with Shakespeare or Virgil"?
Or to give up the precise complexion and to be satisfied with single ideas, most often only single words, floating around without definite contexts? The risk is that the impression will be less timeless and less related to our timeless humanity, quite simply that it will be looser and more general; since the eternally valid word-symbols (if there are such animals) have become faded by much rubbing on the washboard. To some, Lorca, for example, they have been quite useful in new contexts. Also for the surrealists, but on another level, for them it has been valid not to create eternal myths, but myths useful for the future.
At Sigtuna they also talked about the structural analysis of the new criticism. But no one claimed freedom from preoccupation with the self in connection with the claim of interest in poetical structure.
Poetry can be not only analysed but also created as structure. Not only as structure emphasizing the expression of idea content but also as concrete structure. Say good-bye to all kinds of arranged or unarranged private, psychological, contemporary, cultural or universal problematics. It is certain that words are symbols, but there is no reason why poetry couldn't be experienced and created on the basis of language as concrete material.
That the word has symbol value is no more remarkable than that in art representative forms have symbol value over and above their Superficial representational value, and that non-figurative forms, even if it is the white square on the white tablecloth, also have symbolic value and further suggest associations over and above the experience of the play of proportions.
The Situation: since the war a long beer housesad-doomsday-mood, the feeling that all the experimental extremes have been arrived at. For the person who refuses to soar in the worlds of vodka and ambrosia, it remains only to analyze
analyze
analyze the misery with the given means.
Today when the rough symbolic cryptogram, "beautiful" romantic jargon, or desperate grimaces outside the church gate appear to be the current alternatives, the concrete alternative must also be presented.
Starting Point: Everything that can be expressed with language and every linguistic expression on an equal basis with another in a given context that heightens its value.
Therefore Dostoyevsky problematics do not appear to me as anything more essential and human than to consider whether the voices of men are more beautiful in värder [host] or in världar [worlds-pronounced the same as värder]. Motive for drama can be for the poet, as well as for the dictator situated in time, the fixed fact that a certain sound can never be repeated. Experimental psychological results can be taken as starting points for a novel as well as for psychoanalysis. I describe certain people: Bobb, Torsten, Sten, Minna, Pi, without the slightest interest in them as people. Literature won't be inhuman for all that. Ants should only write books about ants, but man, who has the ability to look around himself and objectify, need not be that one-sided.
2. Material and Means
What is going to happen to the new material? It can be shaken up as you like, and after that it is always unassailable from the "concrete" point of view?
This can always be said at the beginning. But the circumstance that the new means of expression have not found their norms of value ready-made, does not prevent us from testing them, if their value is ever to be clarified.
One way is that as often as possible we must break against the path of least resistance, Mimömolan [minsta mötstånders lag]. This is no guarantee for success, but it is a way to avoid sitting in the same spot. To use the system as well as automatism, mostly to use them in combination, but not in such a way that the system becomes other than an auxiliary means. So no ambition whatsoever to reach the purest "poetry" with automatism; even the surrealists do not pay homage to that any more. But do not criticise the systems: if you choose them yourselves and do not follow the rules. Therefore the question is not whether or not the system is in itself The Only Right One. It will become so because you have chosen it and if it gives you a good result.
In that case I can construct, I say construct, for example, a series of 12 vowels in a certain succession and make tables accordingly, even though a twelve vowel series as such does not make the same sense as the series of the twelve-tone chromatic- scale.
It is said that our time longs for stable norms. It is clear: when we tire of regular meter and at last tire also of rhyme, we must find something else that will give the poem that general effect. Nowadays the connecting element has a tendency to be content, both descriptive and ideational content. But it is best if form and content are one.
It remains, therefore, to give form its own norms again. This is already being done in punktmusik. The possibilities are uncountable. In the case of poetry strophes can be broken up into vertical parallelisms in such a way that content determines form by placing the word exactly below the word above it, which it repeats, or vice versa so that when you have a fragment of line vertically parallel with the one above, it brings with it the content of the line above. Identical strophes aided by filling out a line with rhyme on the last word in the line, or with agreed syllables, words, etc. Marginal strophes beside the principal strophes. Framed-form strophes with a kernel strophe within: the possibility for more readings corresponding to the free movement of sight when you look at abstract art. Thus the strophes can be read not only from left to right and from above to below but vice versa and vertically: all the first words in every line, then all the second, the third, etc. Mirroring, diagonal reading. Change of lines, particularly of short lines. Free emphasis and free word order as in classical literature (that we don't have the same linguistic conditions is no reason not to make these experiments).
Therefore a richness of possibilities for reaching greater complexity and functional differentiation so that the different elements of content in a work of art can assume their own shape.
The simplest of all systematizations of formless material is, as always, the change between the contrasts, the contrasts within all thinkable aspects of the work of art. The play between difficult and easy sentences (respectively texts or words), rich and poor, normally syntactic and primitively added, such with and such without context in the environment, lofty, porridgy, knotty, gliding, sounding, and representing.
Not only simple changes but also augmentations -and rhythms. Everything except the lazy stumbling forward according to Mimömolan [the law of least resistance]. (It is something else, of course, if amorphous pieces are put in with intended, directed effect.)
Above all I think that the rhythmic aspect contains unimagined possibilities. Not only in music is rhythm the most elementary, directly physically grasping means for effect; which is the joy of recognizing something known before, the importance of repeating; which has a connection with the pulsation of breathing, the blood, ejaculation. It is wrong that jazz bands have the monopoly of giving collective rhythmic ecstasy. The drama and poetry can also give it. Even in art with its limited time dimension it can be done, Capogrossi has shown that.
It is only to break loose from the grinding of the new, new, new; not to leave behind oneself a kitchen mess of ideas for every step in the work one takes: instead of biting oneself to stick with the motifs, to let them repeat themselves and form new rhythms; for example one works at filling out rhythmic words as a background for principle meanings, which can be bound or unbound by the background rhythm. Independent onomatopoetic rhythmic phrases, like those which the African or East Indian drummer forms to represent his melodies of rhythm. Simultaneous reading and above all-readings of several lines of which at least one has rhythmic words. Of course metrical rhythms also; rhythms of word order, rhythms of space.
Another way to have unit and connection is to widen the logic by forming new agreements and contrasts. The simplest way is to go to the logic of primitive people, children and the mentally ill, the intuitive logic of likeness, of sympathetic magic.
This logic applied to language: - words which sound alike belong together, the fun comes from that. Rhyme has had a similar effect. Myths have been explained like this: when Deukalion and Pyrrha had to create new people after the deluge, they threw stones and people grew up: the name for stone is lias, for people laos.
When the fire has gone out [släckts], I am less sure that it has stopped burning than that the family [släckt] have gone on their way. The fire can both burn and be extinguished [släckt] and be related [släkt] to the family [släkten] or be extinguished [släckt] with the family [släkten]. Laxar [salmon] has to do with laxcring [laxatives], and taxar [dachshund] with taxering [tax assessment], and not vice versa. Homonyms provide great possibilities. Zeugmabinding also belongs here: to connect words, meanings and fragments, for example, poetry is poetry is poetry, where the middle poetry is both end and beginning. And the whole work may be valued for the word put in here and there, always inflexible, a binding cord for structure as realized thought motive. Always the precious repetition for the joy of recognition.
It is valid, particularly in the larger forms, epic,
drama, the film, also, to create happenings of the same
firmness of structure as that of reality. To give the
elements new functions and then certainly, to make
use of them instead of the comfortable improvisations of floating inspiration. To knit the net of relations tightly and clearly. To be bound by conventions you develop yourself but not by those of others.
With such possibilities for richness, ordinary, interpretations and antitheses such as tragically- and comically must be oversimplifications. The whole value in the connection tax-taxering [ dachshund-tax assessment] does not lie in the humorous effect which can result from the unexpected connecting.
Another form of magic with linguistic means is the conventionally seen arbitrary dictation of new meanings for letters, words, sentences or fragments: let us say that in this table all the "I's" represent "sickness," the more "I's" the more difficult-or in this fragment the word "sickness" represents "all sounds, prize stones"-or all words devoid of their own meanings represent "coldness."
You can also go one step in this direction by putting well-known words in such realized strange connections that you undermine the reader's security in the holy context between the word and its meaning and make him feel that conventional meanings are quite as much or quite as little arbitrary as the dictated new meanings. This is no more remarkable than is the case with Povel Ramel Swedish actor: the man who suffered from stage fright among other things and told us that his temperature taken rectally was from the stage of himself [rampen/rumpan], so that-hearing both through the situation and the similarity between the words-we discover a new meaning for the word ramp [stage].
You can't say that the well-known in the strange connection arouses fertile insecurity about the identity between word and apparition in everyone- it may arouse a quite fertile interest in the form itself, if the meanings for the reader are meaningless and he has such a great appetite that lie goes on looking for values. At first many meanings will sound meaningless, particularly amusing or touching, neither forbodingly meaningful nor diffusely sonorous.
Not least because they contain unfairly dealt with words. The unfairly, dealt with words are those which, despite the enormous expansion of the poetic vocabulary during the last century, are not yet considered able to keep themselves dry on the poet's copy sheets. "Salesmen," "excitement," "Clubs," "mine," "horribly," "whisk," "men," "dozen," "glands." These words can, of course, be found, but how often when compared with the old guard. Reading the dictionary is quite as exploratory for the language artist as is turning the pages of a handbook about insects, car motors, or tissues of the body is for the artist.
Meanings can also sound meaningless because they have been constructed in another way. It is valid not only to mix the word order, but to meet the necessities in terms of all the habitual mechanics of sentences or grammatical constructions; and as thinking is dependent upon language, every attack aimed at valid language form will be an enrichment of the worn-out paths of thought, a link in the evolution of language -of thinking, which always occurs on the every day, literary and scientific levels.
Ideas to renew grammatical structures are bound to emerge if you make comparisons with foreign languages, with Chinese, for instance, with its classless words and meaning derived from word order, or with the unexpected and shaded possibilities for expression in the languages of many primitive people. Perhaps it is more important and in any case easier, because of its accessibility, to examine the language of the mentally ill. If, for example, you examine the tests of manic-depressives, you find effects-certainly not meant to be artistic-the connecting of logical resemblances (contaminations), pure soundlikeness associations, modeling with the material of words (neologisms) and more or less rhythmical repetitions (perseverances).
Another way is to see what there is to keep in language found purely mechanically without the use of reading directions or a series system of words and meanings. This will be to break through the frontiers, very slowly to that which means something to you. We can obtain unexpected values from-as we -now see it-the most amputated and kneaded (fragmentized) word elements and phrases.
SQUEEZE the language material: that is what can he titled concrete. Do not squeeze the whole structure only: as soon as possible begin with the smallest elements, letters and words. Throw the letters around as in anagrams. Repeat the letters in words; lard with foreign words, gä-elva-rna [djävlarna = devils]; with foreign letters, ahaanadalaianaga for handling, compare with pig latin and other secret languages; vowel glissandos gäaeiouuåwrna. Of course also "lettered," newly--discovered words. Abbreviations as new word building, exactly as in everyday language, we certainly have Mimömolan [the law of least resistance]. Always it is a question of making new form of the material and not of being formed by it. This fundamental concrete principle can be most beautifully illustrated by Pierre Schaeffer's key experience during his search for concrete music: he had on tapes seconds of locomotive sounds, but he was not satisfied only to connect one sound to another, even if the connection itself was unusual. Instead he extracted a smaIl fragment of the locomotive sound and repeated it with a change of musical pitch; he then went back to the first again and so to the second, etc. so there was a change. He had created a n interference with the material itseIf by means of separation: the elements were not new: the newly-formed context yielded a new material.
From this it will be clear that what I have called literary concretion and non-figurative art is not a style-it is partly a way for the reader to experience word art, primarily poetry-partly for the poet a release, a declaration of the right of all language material and working means. Literature created from this starting point stands neither in oppositional nor parallel relationship to lettrisme or dadaism or surrealism.
Lettrisme: usual "representing" and the "lettristic" words can be experienced as both form and content, "representing" giving a stronger experience of content and a weaker experience of form, "lettristic , vice versa; a difference of degree.
From the standpoint of the result itself, surrealistic poetry can be seen to share certain resemblances with the tables. But there is a difference of starting point which must ultimately influence the results: the concrete reality of my tables does not stand in any kind of opposition to the reality of environment: neither as sublimation of dream or as myth for the future but as an organic part of the reality in which I live with its potentialities for life and evolution.
The coquettish or desperate grimace and even more dadaistic nihilism can be fertile if you see the artistic result, again it is the starting point that separates: I can find no reason to talk about grimace and denial, I have no feeling of fuss, of exceptional condition, that is the normal thing. A constructive dadaism and so none at all.
Having used the word concrete in these contexts, I have related it more to concrete music than to art concretism in its narrow meaning. In addition the concrete working poet is, of course, related to formalities and language-kneaders of all times, the Greeks, Rabelais, Gertrude Stein, Schwitters, Artaud and many others. And he considers as venerated portal figures not only the Owl in Winnie the Pooh but also Carrol's Humpty Dumpty who considers every question a riddle and dictates impenetrable meanings to the words.
Tr. Karen Loevgren, Mary Ellen Solt
From Bord-Dikter 1952-55
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bacejelerenvorthos · 5 years
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The Lore of Zendikar: Life in Guul Draz (Part 2)
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The Free City of Nimana
“A coastal city built by humans, the Free City is ironically named because it is the major port where slavers buy and sell their wares. The most hardened denizens of Guul Draz, mostly vampires but also lowlifes of other races, purchase slaves in huge lots to work in their industries, and in the case of the vampires, to provide new food and sport. Likewise, Nimana is the major export center for the mercantile products of Guul Draz that are sent to other lands for trade. As such, nearly every vampire who is heading out to infiltrate the rest of the world passes through Nimana.
A shadowy council known as the Septumvirate rules Nimana and represents the major interests of the city. The members of the council carry bizarre and evocative titles: the Keeper of Keys (representing the city’s slavers), the Prismatic Seer (representing the Chromatic Council of mages), the Carrier of Coins (representing the merchant houses), the Scaled One (representing trappers, whose prey is largely reptilian), the Forger of Chains (representing smiths), the Dock Keeper (representing the wharf laborers), and the Sentinel (representing the city guard).
Before the coming of the Eldrazi, the Septumvirate was infiltrating Malakir and other settlements in and around Guul Draz, trying to take control of the ‘Dark Trades,’ as they euphemistically refer to their criminal endeavors. A secret alliance with house Ghet in Malakir gave them access and a safe base of operation in vampire territory. For its part, House Ghet used this alliance to gain access to the inner decision-making apparatus of Nimana and began actively converting influential members of the town to their cause — and sometimes to their race — in hopes of adding the city to their holdings and raising their own prestige and power. With the coming of Ulamog and the enslavement of Kalitas and House Ghet, of course, all these plans have come to nothing, and Nimana is in chaos.
The Chromatic Council. The Chromatic Council is a pretentious order of mages specializing in the pure colors of mana. Although it enjoys some modest fame as a school for mages, the council’s more important work is the sponsorship of various expeditions to explore the ruins of Guul Draz. The Chromatic Council has always been particularly interested in magical treasures and lore, and all the more so now that the Eldrazi have become such a threat. Persistent rumors before the Eldrazi’s rise said that the council had secret lore foretelling some terrible apocalypse, but that lore has not proven particularly useful in combatting the Eldrazi now that they have brought ruin to the world.
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Lulea
A merfolk settlement called Lulea is located on the dark shore of Lake Jeft. The merfolk are mostly concerned with the river and lake trade, policing the major waterways and demanding tolls from anyone who travels over or under the waters. The settled merfolk actively oppose most of their kind who act as river bandits, but a few such bands are recognized as official privateers, chartered to take down the other groups and bring their plunder to Lulea.
The merfolk of Lulea had largely rejected the traditional creeds even before the Eldrazi’s arrival. Many of them follow Cosi, including their leader, a sage named Ennesh. Ennesh has ruled for the last decade, and she is widely regarded as a just, if stern, ruler. The vampires count her as a good neighbor, figuring that the predation of her privateers is substantially less costly than the river and swamp bandits they hunt.”
Art by Daarken and Igor Kieryluk
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MONTREAL, QC, Dec. 2, 2021 /PRNewswire/ — Accretion its artistic belvedere for authoritative and absolution music, LANDR presents Chromatic, a different basic apparatus with absolute artist-generated sounds. LANDR is partnering with artists, admired affair players, and producers to actualize the Chromatic complete sets library. With circadian agreeable updates, LANDR users can admission a…
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degreeprojectblog · 4 hours
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Creating Environments in UE4 3
05. Real-time texturing
When making a plan for a Designer, my work process goes this way:
1.    Show the most extreme position first and afterward center just on the tallness data.
 2.    Gradually begin adding little subtleties to the tallness guide & check how the tile is.
 3.    Abstain from making composing excessively perceptible and ensure your length holds all the data you need. Use balance levels if necessary.
 4.    When the long queue looks great, make standard guides with AO and afterward utilize the inclinations to make a fundamental shading map.
 5.    The exact opposite thing to create is a guide of unpleasantness. Use all that you as of now have and get the correct impression of building materials. Try not to utilize 100% dark or white!
 06. Using the Material Editor
To help you work quickly when making building materials, here are a few things to remember:
 1.   Attempt to keep all that you use as straightforward as conceivable because there is a cutoff to what you can do progressively.
 2.   Name the hubs/nodes and add thoughts, so it's not difficult to perceive the various hubs/nodes.
  07. Building the level in Unreal Engine 4
1.    Ensure you have a rotate point in the ideal spot with your models.
 2.    Reset the scale and pivot of the item. At Max, I used to reset the Xform for this.
 3.    Send the model in .fbx configuration to the suitable envelope for your UE4 project.
 4.    Unreal Engine 4 makes multi-use designs to make it simpler to change various boundaries after some time.
    5.  Apply make-up to the structure materials and give them the fitting models and plans.
    6.    Apply the leaves to the scene with the Unreal Engine Paint apparatus.
 08. Light mass settings
 Here is the thing that I have changed in my light settings to make it work better:
 1.     Since the inward pieces of the scene utilize roundabout light, I chose to build the Diffuse Bounce to 2.
 2.     I likewise prepared an AO veil that I could use to fuse earth and greenery into building materials.
         3.  I set Num Indirect Lighting Bounces to 85.
 09. Post-processing
The exact opposite thing in the gathering is to incorporate a shading plan. I, as a rule, leave this last since when I can be certain it doesn't influence lighting or building materials.
 Here are my settings, yet this segment is tied in with discovering the style you need, so attempt:
 ü  Chromatic Aberration is set to 0.3 and Vignette to 0.5.
 ü  Global light has been changed to 4
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pjpxl · 3 years
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How to spine awesome Jewelry Photos that will boost your conversion
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A virtually perfect picture ends up with the intensified elements in the image. When it comes to online marketing, product photography has climbed new heights to attract potential buyers towards products, and make interaction possible. Working on jewelry photography carries its own set of challenges. 
The product to be captured can be a small or a huge one, reflective and staging shoot can also be difficult. Apart from that, a lot of emphasis needs to be given to the detailing part.
Common Mistakes to trick in Jewelry Photography
1. The rule of 3 
This rule defines 3 imperative factors for unblemished product photo creation are the background you choose, focus/of points you peek at, and the style to edit. Adding relevant backgrounds related to the color, texture, and profile can be of e-commerce advantage.
2. Check whether the photograph is fit to edit
There may be online photo editing tools, yet if the picture is originally clicked with perfection it aids better editing options. There is not much editing needed now when you click the pictures with perfection. But if you still feel the wish to edit then hire someone more proficient to ensure specifications (the photo editing companies with healthier reviews). Online photo editing tools aid much but for vital business snaps you better hire someone who is more experienced.
3. Poor Focus Peaking
Every solitaire you shoot differs in form, size, outline, reflection characteristics, edges/verges, type, and appeal. You need to learn the nature of the projected jewelry and strategize your action accordingly. The manual focus has been working better over mechanized focus. Your action plan is to be formulated bestowing to the object, to be snapped, as in these
potting and modification of problems with used lens snags 
Light to be projected or the background light peeping in
Focus measures depend upon
How do you see the article, in which form? 
Which angle is a perfect angle for the shot? 
What should be the ratio and sensor of the lens, purposed? 
4. Choose non-white and non-black background
Opt for other than the monotonous black and white backgrounds. Prefer the lighter shades of grey (for the e-commerce websites with white page background) to segregate the image from the rest of the page.
5. AF points have to be manipulated as a prerequisite
System application episode detection focusing technique used by photographing cameras like DSLR and other similar product photography lenses is best advisable for jewelry photography.  Under this, the vast majority of light getting through the perspective is reflected upwards by the mirror to the optical viewfinder, which gives you a chance to see accurately the camera focal point. Follow this! 
6. Overcoming camera lens distortion
Distortion for lenses can be from the below facts
Mustache or chromatic aberration, both of which can be resolved using ACR.
Abruption movement while the shoot - Photography of jewelry is so precise that you better be extra non-moving and there you get perfect click for the minutest jewelry.
Are your photo editing choices updated as per the need of the war or online photo editing portals? 
Crucial is not what you disassemble, but also what you assemble. Creative manipulation lines a superior picture but important is which part of the original image you crop and what you insert new to the picture. This edit may be in respect of color, themes, or texture to be trending to gain expanded love.
With the trending occasions, there has been an incredible leader with online photo editing apparatus helping a vital percentile of professional photography edits. But there are some preventive footsteps jotted down, that you are following.
Dispensation should not be overdone
Amateur and commencing photo editors commonly add a non-identical effect that either does not suit the prerequisite or looks like the image is overlapped by the edits. So, understanding of using only what and how much is required is important thereby saving the user from concluding a less attractive image.
2. The composite image serves best for single object image or multi-element image
Every problem has a solution. The composition is amongst the key factors that make an image dwell. With one element of jewelry, it's easy to pop it amidst the skin but with multiple elements, you need to think harder. 
Standard of thirds, the fundamental method for assisting with the piece, will drive the craziest image for your user. It is a method to view the picture in 9 distinct areas and is used to make eye-catching images. The theory is to insert the fascinating elements along the lines, on the convergence between the lines, or inside the 9 areas. It is then you will have an extraordinary product image.
3. Magnificence lies in the eyes of the observer 
Not following the beauty standards wherein it can be a competitive advantage. Focusing only on a fair, tall, and slim model would be indifferent to viewers who are fat or black or smaller in height, who can be your potential buyers. Try something uncommon to the folk, you will see love to your work by all biased sections and increased popularity thereby.
4. Cool color grading: A two way perspective of color grading 
Primary and secondary levels of color grading have to be wisely practiced throughout the project. This includes deciding upon which one is to be used and where. Primary grading manipulates the color density curves across the whole frame while the secondary grading segregates saturation and brightness to bring alterations in saturation, color tone and glow, in range. This will have a slight or no effect on the color balance range.
Wrapping up, 
With a few common crucial tips for jewelry photography. Think you have got the perfect camera lenses, but still not able to reach the acute sharpness. Make a move and find out does your device with 100% coverage for the viewfinder, weather resistance, high per second frame duration, and autofocus performance option. Whether you are a beginner or a pro, to jewelry photography, team PixelPhant will give you the best-edited product images for your jewelry product to fight in the competition. We are here to help you with the best product images if you are stuck somewhere. So Keep clicking & keep converting!
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