#the pose/composition is wild!! beautiful! | Explore Tumblr Posts and Blogs

universalinfo · 5 months

Text

5 Ways How Storytelling Can Elevate Animal Photography in the UK

Welcome to the world of storytelling, where every picture tells a story, and every story creates a lasting impact. For any animal photographer in the UK, weaving a narrative into your work can be the difference between a good photo and a great one.

Here, we explore how a unique approach to storytelling can transform your animal photography from mere snapshots into compelling visual tales. Let’s begin, shall we?

1. Understanding the Animal’s Story

Every animal has a story, and as an animal photographer in the UK, it’s your job to capture it. But how?

Well, it starts with observation. Spend time with your subject, understand their behaviors, and anticipate their next move. This isn’t just about waiting for that perfect shot; it’s about creating a connection with your subject that shines through in your photography.

Consider the background of each animal. Are they wild, or do they have a loving home? Each setting offers a different narrative, and your photo can tell that tale. By capturing the essence of their environment, you can create a more immersive and relatable experience for your audience.

Finally, it’s all about emotions. Animals, like humans, display a range of feelings. Capturing these moments requires patience and empathy. Your photo should evoke the same emotions in your viewers as you felt when taking it.

2. The Power of Lighting and Composition

Photography is an art, and like any art form, it requires a keen eye for detail. Lighting and composition are two tools that can dramatically enhance your storytelling.

As an animal photographer in the UK, you must understand how different lighting conditions affect the mood of your photo. Soft morning light can create a serene, peaceful atmosphere, while harsh afternoon sun can bring out the dramatic tones in your subject’s fur or feathers.

Composition is equally important. The rule of thirds, leading lines, and framing can all be used to guide the viewer’s eye to the focal point of your story. Experiment with different angles and perspectives to find the most compelling way to tell your subject’s story.

3. Capturing the Unseen Moments

The beauty of animal photography lies in its ability to reveal the hidden, the overlooked, the moments that escape the naked eye. As an animal photographer in the UK, your lens has the power to unveil these subtleties and share them with the world.

Think about the delicate interactions in the animal kingdom. A bird meticulously building its nest, the first steps of a newborn fawn, or the playful wrestling of bear cubs. These moments, often unnoticed, are the heartbeats of nature’s ongoing story. Your role is to be an observer, patiently waiting for these natural occurrences.

Don’t just focus on the big, obvious subjects. Instead, turn your attention to the patterns in a butterfly’s wings, the expressions of a fox in its natural habitat, or the gentle nudge of a mother horse with her foal.

These details, while subtle, can make your photographs truly captivating. Remember, sometimes it’s the whispers of nature that have the loudest impact in a photograph.

4. Embracing the Unpredictable

One of the most exhilarating aspects of being an animal photographer in the UK is the sheer unpredictability of your subjects. Animals don’t pose, they don’t follow scripts, and they certainly don’t wait for the perfect lighting. This unpredictability isn’t a hindrance; it’s a treasure trove of spontaneous, genuine moments.

When you’re out in the field, be flexible. If a sudden rain shower interrupts your shoot, use it to your advantage. How does the rain change the mood of your scene? How does it affect the animals’ behavior? These changes can add an entirely new dimension to your story.

Similarly, if an animal doesn’t cooperate as you’d hoped, don’t get frustrated. Instead, use this as an opportunity to capture something new and unexpected. Perhaps their movement leads you to a more interesting backdrop, or their interaction with another animal provides a unique moment. Being adaptable and open to these changes can result in some of your most memorable shots.

5. The Role of Post-Processing

In the journey of storytelling through animal photography, post-processing is your secret weapon. It’s not about altering reality, but about enhancing the story you’ve already captured. As an animal photographer in the UK, mastering post-processing can elevate your images from good to breathtaking.

Start by focusing on the basics like exposure, contrast, and color balance. These adjustments can help correct any lighting issues and bring out the details of your subject. Then, consider how you can use color to enhance the mood of the photo. Warmer tones can convey a sense of comfort and serenity, while cooler tones might create a feeling of mystery or solitude.

But remember, subtlety is key. The aim is to enhance the natural beauty of your subject and the scene, not overshadow it. Over-editing can detract from the authenticity of your image. Trust in the strength of your original shot and use post-processing to subtly elevate it, maintaining the integrity and the story of the natural moment you captured.

6. Trimble Group’s Expertise in Storytelling

Here at Trimble Group, we understand the power of storytelling, especially in the realm of animal photography. Our expertise in turning outdated content into high-quality visuals is a game-changer for any animal photographer in the UK. We combine veterinary knowledge with creative flair to make the science behind animal health not just understandable, but also fascinating and memorable.

We pride ourselves on our creativity, innovation, and commitment to quality. By working with us, you can ensure that your animal photography is not just visually stunning, but also tells a compelling story that engages and educates your audience.

Conclusion

In conclusion, storytelling is an art, and as an animal photographer in the UK, mastering this craft can elevate your work to new heights. And with Trimble Group’s expertise, you can transform your animal photography into engaging, educational, and memorable visual experiences. Join us in advancing animal welfare through the art of storytelling.

#Animal Photography in the UK

0 notes

expeditiontravellers2 · 8 months

Text

Unlocking the Wonders of Wildlife Photography: Embark on Safari Photography Workshops

Introduction:

Safari photography workshops have emerged as a transformative experience for photography enthusiasts and nature lovers alike. These workshops combine the thrill of wildlife encounters with the art of photography, offering participants a unique opportunity to capture the beauty of the natural world in its most raw and untouched form. As the sun rises over the savannah and the creatures of the wild awaken, participants are equipped with cameras and guided by seasoned professionals to capture mesmerizing shots that tell stories beyond words.

The Confluence of Adventure and Art: Safari photography workshops stand at the confluence of adventure and art, presenting an unparalleled blend of thrilling encounters with wildlife and the skillful practice of photography. Led by experts in both fields, these workshops cater to individuals of varying skill levels, from beginners eager to grasp the basics of wildlife photography to experienced photographers aiming to refine their techniques. By combining theoretical learning with hands-on experiences, participants gain insights into camera settings, composition, lighting, and the intricacies of capturing fleeting moments in the wild.

Learning in the Lap of Nature: One of the most captivating aspects of safari photography workshops is the classroom itself: the vast and untamed landscapes that serve as both subject and backdrop. Participants are immersed in diverse ecosystems, from lush rainforests to arid deserts, as they learn the nuances of capturing subjects ranging from the majestic big cats to the smallest of insects. The workshops foster a deep appreciation for nature's wonders while honing participants' skills in navigating the challenges posed by ever-changing conditions.

Guidance from Seasoned Professionals: At the heart of any successful safari photography workshop is the guidance of experienced professionals. These mentors bring a wealth of knowledge not only about photography techniques but also about the behavior of the animals and the ecosystems in which they thrive. Their insights enable participants to anticipate moments, adjust settings swiftly, and compose shots that convey the essence of the creatures they encounter. With these experts by their side, participants gain confidence in their abilities and elevate their craft to new heights.

Preserving Nature Through the Lens: Safari photography workshops do more than impart technical skills; they instill a sense of responsibility towards nature and its conservation. By capturing the beauty of wildlife through their lenses, participants become advocates for the preservation of these ecosystems. The images they capture can serve as powerful tools for raising awareness about the fragility of these habitats and the need to protect them for generations to come.

A Transformative Journey: Participating in a safari photography workshop is a transformative journey that extends beyond the realm of photography. It is an opportunity to connect with nature on a profound level, to witness the intricate web of life in action, and to gain a deeper understanding of the world around us. As participants return with memory cards brimming with captivating images, they also carry home a renewed perspective on the delicate balance of nature and the role of humans in its conservation.

For more info:-

Kenya Migration Photography Workshops

Africa Photography Workshops

0 notes

solar-teddy-bear · 1 year

Text

I got a piece of black history for you, regarding a really skilled artist, sculptor, and one of the first black women to attend college! (All information comes from Wikipedia, AmericanArt.si.edu, and ArtStory.org) More under the cut!!!

This Mary Edmonia Lewis, 1844-1907. During her childhood, she sold items, such as baskets, moccasins, and blouses, with her aunts and half brother to make money. At this time, she went by her Native American name, Wildfire. When she was 12-13 years old, she went to a pre-college program, but left after 2-3 years because people said she was "wild." She had good grades in the school, all classes of which were Latin, French, Grammar, Arithmetic, Drawing, Composition, and Declamation. She was 15 years old when she attended another school for 3 years, and at 18 attended college. She was victim to racism and discrimination on a daily.

One day, she gave her friends wine that made them really sick (they recovered properly however) and while walking home, multiple people beat her near to death, left her in a field to die(she didn't) and she was arrested for poisoning her friends. The first black lawyer in Ohio represented her, and all charges against her were dropped. By the way, there was no evidence of her friends being poisoned, as their stomach contents weren't investigated or analyzed.

The rest of the time she spent in the college was poor. She was treated poorly and accused of crimes that also, had no evidence. She wasn't able to graduate from the college as she wasn't allowed to register for her last term, and she had enough of the mistreatment and left.

Only in 2022, over 100 years after she died, did the college give her a degree. The mistreatment of the people, the college, and the fact that literally 100 years had passed since she died did she ever receive the degree she deserved.

After college she moved onto pursue her art career! Some of these she made when she was only in her 20s to 30s. Here are some of my favorite pieces of hers.

The Death of Cleopatra

This, as said in the title, depicts the death of cleopatra. Honestly this is so beautiful, and the folds in the clothes are so amazing. What I love most about this is that with how the fabric falls you can literally tell that it's a thin fabric, not thick. You can tell the texture of the fabric had this not been a sculpture but a real picture. That I find is really so cool and awesome, I can't express how much I love how awesome that is.

(Unknown Title)

I really just love how simple and lovely this is :). Nothing much to be said, just compassion.

Forever Free

Was made after the Emancipation Proclamation, where all slaves were to be set free, forever. Put your attention towards the raised hand with a broken chain. This piece tells so much! I love it a lot, especially the symbolism of the broken chain. Also you may think the woman to the left (from viewers perspective) is a white woman, but Lewis actually did this on purpose. The woman is black, and is portrayed as she is to represent the societal norm that was pushed on women back then, especially women of color, to be submissive and pure.

Old Arrow Maker

This depicts a Native American father teaching his daughter how to make an arrow! My favorite part about this is the texturing in the clothes.

From an artist's perspective my favorite part about these sculptures is the gesture/poses of the people in these pieces, and how well the clothes folds are sculpted. As a 2D artist, making proper poses is already difficult, but adding emotion and humanity to them is even more difficult. I can't imagine the skill, time, and patience it took Lewis to make these.

And that's all I have to say! Honestly as someone who's always wanted to be a sculptor (but just doesn't have the time, skill, materials, or patience) I find Mary Edmonia Lewis to be a big inspiration. Her sculptures are so beautiful and lovely, they're really just super awesome. If any of the info in this post is invalid or incorrect, please let me know so I can correct it!!!!

#black history #black history month #black history matters #mary edmonia lewis #edmonia lewis #black history is world history #black history 2023

0 notes

randombtsprincessa · 5 years

Text

Bells and Roses

Author: Randombtsprincessa

Characters: Park Jimin x Reader (2nd POV)

Words: 4.4k

Genre: Smut

Summary: You pay your muse a visit. Or alternatively; you and Jimin haven’t defined a relationship but does it stop you from turning it wild? Lol no.

Warning: Jimin dancing, no real relationship defined, pink! Jimin, a lot of handsy behaviour, fingering, oral (female receiving), riding, sub! Jimin, unprotected sex (be safe kiddos)!

A/N: Happy Birthday, my love, my life, my beautiful Park Jimin! I was inspired for this fic from Cake Waltz! You can listen to it while reading this!

I love feedback!

An idle glance was cast at the delicate chain watch circling your wrist, eyes flickering over the glittery digits before returning to the front of the hall. A hush fell over the murmuring crowds surrounding you, the well-dressed masses shifting and straightening in their plush seats with their eyes drawing to the front as well where the spotlights had been directed.

You waited keenly, the rest of the ambient lights dimming till darkness hid you in its embrace, masking away the slight change in your face, if any occurred.

You, of course, knew it was inevitable. You were an expressive person, some might say a little highly strung, but it was all in a day’s work. You were here to have fun, let loose. Maybe even get another stroke of inspiration but you weren’t going to be specific about it.

This wasn’t about you, not really.

The curtains rose and colors exploded in your vision.

A dusky shade of pink was first, circling spotlights forming a halo upon the wooden stage where stood perfectly posed, curled ballerinas in glittering costumes of the same pink. The pink light dimmed, the ballerinas sinking to the floor with their feet curled behind them, a bow of sorts.

Another light burned, a blinding silver this time, hitting just the edge of the curtains and unbidden, your body lurched forward in anticipation.

The light flickered, building tension as a brush of strings echoed, followed by a deep thrum of beats that pulsed in your blood. It was an unusual combination, mellow, sweet tinkles that contrasted against the sultry bass, sending chills down your back.

The spotlight was back and from it – just as the beat dropped – emerged the reason why you were here, sitting among people who held no delight for you.

The figure threw itself into a spin that had you gasping in concern, feet flying over where a head should be, before landing squarely in the centre of the second spotlight, this time a raging purple. Loose, white shirt that hung around the torso and black tights caught the light, glinting and winking at the audience with its sequins.

No, your delight lay in this, watching the figure unfurl, standing straight and proud, a tilt to his head that had him eyeing the crowd, a particular trance in those orbs that made you bite into the glossed surface of your lip.

The ballerinas moved in synchrony, as they reached up on their toes, a perfect throw arabesque pointing towards the figure of your interest but he still didn’t move, taking his time to study the audience that watched. You sent a silent thanks to the darkness that shielded you because when he was done, he turned his back to the stage before opening the dance with a pirouette, a brush of his fingers trailed onto each dancer that had been turned to him.

You slumped in your seat, chin stuck to your chest as headiness clouded your mind. Your eyes never strayed, fixed on the man that pranced, settled and then took flight (almost literally) on the stage. The bass never seemed to reduce his pace, his feet, encased in white, following the faerie precision of the composition.

The dance was a mix of his contemporary and ballet, the ballerinas more an accessory on the stage, paling next to his vitality but of course you could be biased. It wasn’t like you even saw what the girls and boys in the tutus were doing. Your eyes were fixed on the man who with a roll of his neck, turned a seducer and then as innocent with big glimmering eyes and a too familiar pout.

The music went on, and your delight soared with him.

It was almost too short but it was more than enough for you, overwhelmed as you got to your feet with the rest of the audience when they rose for a standing ovation.

He finished off the dance with an over exaggerated flourish, a mischief that he loved when he knew that he had rendered a mind blowing performance. His head was tilted again, eyes roving.

You could’ve sworn there was a hint of a smirk brewing on his face but there was no way it could’ve been aimed at you. You had shrouded yourself from him exquisitely. He had no business having that smirk on his face.

Park Jimin

The name lay as exquisitely upon your tongue as the finest wine, the sweetest delicacy. Meeting him had been the rarest coincidences, but knowing him now felt like serendipity. You had been a fresh out of college artist, eager with your skill and your degree.

Everything had been lovely until you were prompted to hold your own exhibition in one of your friend’s galleries and you were struck without inspiration. Landscapes…cityscapes…abstract…nothing seemed to fit. Canvases were discarded, paints tossed around, palettes and brushes broken in frustration and quite a few tears shed before an impromptu walk through the city landed you standing dubiously in front of the Theatre.

Slumped in one the same chairs as you had been, you’d laid eyes first on the lead dancer for Calico Dance Academy, the rising star. You had both been much younger back then but even then he had been graceful, sleek like a striking cobra and just as entrancing.

He had basically pried your third eye open with his beauty. So, when you learned that his doors were open for admirers, you knew you had to take your chance.

You gazed at the bouquet in your hand, clasped loosely within your fingers as you studied the flowers.

“How may I help you?”

You flinched at the customary questioned posed to you by the cheerful florist, soft cheeks lifting as she welcomed you to the counter.

“Yes, hi,” you stammered before clearing your throat. “I would like some flowers, please.”

“You’ve come to the right place.” The girl laughed softly, but not deprecatingly, moving to the side so you could see the arrangements behind her. “How would you like them?”

You studied the shelves, moving from the simple collection of a few stems tied neatly together to an extravagant affair of lilies and daffodils, too big for you to carry.

You thought back to the night before and the lapels of the man’s costume.

“Can I customize a bouquet, with sunflowers and roses? And could you add those small bells to it?”

It was relatively easier, finding Jimin’s delivery address and dropping the flowers off. The studio was not too big, considering the academy was still finding itself but Jimin was certainly quick to find you, following you out one day when you were done leaving the flowers at the front desk.

“Hey, you’re the secret admirer.”

You turned to see the beaming man taking quick steps towards you, still in a tight black shirt and leggings that enhanced his thighs. You were surprised to say he was much shorter up front and that much more beautiful.

He smiled at the startled look on your face and you could’ve sworn flowers blossomed from the cracks of the concrete sidewalk.

“You leave me flowers,” he prompted.

You nodded, more for your sake than his as he stuck out his hand. “It’s not much of a point being a secret admirer. Let’s make friends.”

You raised an eyebrow. “Some people would like a secret admirer.” You told him, catching his hand in yours nevertheless.

“Some people would also be creeped out by it but you seem nice. I’m Jimin, and you are…?”

You stared at the expectant look on his face, a part of you itching with some indescribable emotion.

“Y/N,” you managed at last. “I’m Y/N.”

Park Jimin proved to be a great friend. With the most charming disposition, he was also equally brainy. As clichéd as it seemed, he helped you see things that you didn’t in your not so humble artistic perspective. He was a storm, bubbling with gossamer energy and you had never been so grateful to have your life thrown in the path of so impressive a storm.

So, after a soft afternoon spent in the park with ice cream after his practice you popped your question.

“So…you know, I am a painter right?” you asked lightly.

Jimin slurped at his strawberry scoop delicately. “Yup,”

“I was, just thinking, you know, that – if you don’t mind awfully – I could paint…you, I guess.”

Jimin stopped with his tongue still gracing the side of his scoop, his eyes flickering to yours in amazement. “You want to…paint me?” He asked.

You shook yourself a little, ready to save face. “It was just a thought. I mean, you don’t have to even consider it. I know most people get freaked by the thought of getting painted and it’s a whole lot of hassle.”

Jimin cut you off, laughing as he streaked an ice cream soaked finger across your cheek. You squealed in turn, sliding away from him on the seat.

“Stop trying to put me off, Y/N. Of course, I’d model for you. I’d be honored. We can go now; I have all the time in the world.” Jimin leaned in and before you could even register the motion, he’d kissed the line of pink sugar from your skin, popping his lips as he did so, careless and ignorant of the way your eyes lingered on his mouth.

Four hours later, your masterpiece was ready of sorts. Jimin held still the way you told him to, hair fluffed as he stared out your window in one of his somber stage expressions.

“God, Y/N,” Jimin grinned, peering over your shoulder, watching you apply the small shades and contours to his neck and collarbones. You’d yanked his sweater down a little, much to Jimin’s amusement to reveal the sharp bones beforehand. You thanked your insight now; they looked beautiful in the fading evening sunlight.

“Is that a good god or a bad god?” You halted your hand, staring at the picture in trepidation before Jimin laid a warm hand on your shoulder.

“Good, Y/N, I can’t wait to see myself up on your friend’s wall.”

You invited Jimin with your customary selection of flowers, delivered to his house this time, the invitation to the exhibition tucked within the stems.

It seemed Jimin was much more excited about the exhibition because he showed up an hour before you; seeking his picture while you ignorantly mingled, clueless until you spotted a familiar figure, studying the one picture you were responsible for.

“Jimin,” You called the man, his head tilted to the side as he stared at his likeness against the lavender wall.

“Y/N,” he greeted, not looking at you, thankfully because you were blatantly staring at your friend.

You had never had occasion to see Park Jimin in a suit but by god, it was a sight.

Tight black satin clung to his figure, stretching over his shoulders and hugging his waist. “I see you found your picture.” You had to smile.

Jimin turned to you with a smirk. “I don’t know if it’s the lighting or the finishing touches but I do look mighty fine. You picked a fantastic model.”

You shoved at him. “That’s just your ego talking. I have it on good authority that the painting is just fine.”

He pouted at that. “What have I said about the self depreciation, Y/N?” He didn’t wait for an answer, aiming a hopeful look at his own self. “So, when do you need another painting of a hunk?”

It was during the third painting that you and Jimin ended up on your too messy bed. Fast, rough and brilliant, Jimin rolled off of you in a daze, eye glimmering in the shadows.

“If I’d known you felt that good, I’d have jumped on you sooner.” You managed in a huff, causing Jimin to break out in a guffaw that lasted well into the minutes that you took to clean up and slip into a nightgown.

He stayed on his back, gloriously naked with no signs of wanting to pull the comforter up across his body. You stepped cautious when you saw that the light in his eyes had changed, something deeper and serious flickering in them now.

“What’s wrong?” you’d asked.

Jimin was mum for a while before speaking, “I don’t want you to think of this the wrong way.” He said slowly before wincing, realizing the start had been wrong itself.

He sat up, finally tugging on the covers to recover some dignity. “I meant, I don’t want you to think that I’m just into the whole wham-bam-thank you ma’am thing.”

You continued to frown, silence prodding him into further speech.

“I want this, I really do but I don’t know how much time I can devote to you.” He said finally.

You broke out laughing. “Jimin, you know we don’t have to define a relationship just because we slept together one time. We can still be friends.”

“I don’t want to just be friends though. I want to define something, just in case you go and find some other muse.”

It had taken a few days to discuss out terms to define a relationship between you and Jimin. Both of you were busy people, what with your exhibits picking up and needing you to focus on extensive travel while he toured for his own shows.

You didn’t want to look it to face but you knew Jimin was a very attractive man with a healthy amount of libido that needed to go around along his charisma. That was one of the first things you’d brought up; exclusivity. However, your friend turned potential lover had quickly shot the idea down, vehemently stating he would very much appreciate some form of stability, something solid to come back to.

Did that answer any of your questions? No, neither did you manage to put a finger to what exactly it was that Jimin and you were.

However, it did not stop either of you from falling into bed with each other whenever Jimin and you happened to be in the same city.

You were at your florist again; much more upright and sure of your order this time as you smiled at the long term girl friend behind the counter.

“Y/N! It’s been a while.” She greeted, straightening the uniform cap perched on her bleached hair.

“Hey Solji, yes it has.” You agreed, your eyes screening the assortment of flowers.

“I take it the special receiver of the flower is back in town then?” She asked, moving to the usual selection of sunflowers, fresh and dewy, high near the sun.

“How do you know?” you gasped, looking around as Solji smirked, wrapped a pretty blue paper around the roses and sunflowers.

“I’ve been wrapping flowers for a good many years, Y/N. I’ve seen a lot of flower givers. You’re timed and only get one particular customization. Of course, he or she is special.” She plucked out a tiny string of small bells before tying the package off.

“Pretty observant, I’ll have to be more careful.”

“Or one day you can just introduce us,” she teased back, cashing you out. The soft giggles followed you a good way as you carried the bouquet towards Jimin’s building.

It had been a few months since Jimin had moved out of the small apartment that he’d had to share with roommates. With the success and acclaim that followed his dancing troupe, he had purchased an apartment of his own, making it easier for you to show up whenever you wanted to.

You deigned to be sneaky about your approach, leaving a small painting of his last performance, on cheap canvas first at his doorstep, sliding it in and ringing the doorbell, quickly concealing yourself in the alcove of the stairs. You watched the door swing open quickly before a head peeked around, looking slyly around before shutting the door again.

You let out a giggle, flitting down again to place the bouquet in front of the door when the door flew open again, nearly scaring you into heart palpitations as you were met by the crinkle eyed grin of none other than Park Jimin.

Clad in baggy grey pants and a pale blue shirt, stood the man who’d been your muse ever since you’d laid eyes on him. As your eyes drifted over his features you fixated on one change that had you gaping.

“Jimin,” you gasped out, “…your hair is pink!”

On his part, he looked sheepish, raising a hand to pat at his head before opening the door wider to let you slide in, swiping the bouquet from your hand and taking a whiff.

“Ah, my favorite,” he sighed, complacent as you looked down the apartment you hadn’t stepped into for months now.

The deep, woody scent of new furniture still lingered, clearly from having been locked ever since he got it and you wondered if you should’ve gotten a bigger bouquet so he could smell something better than varnish.

The sweet bliss of his arms wrapping around you diverted your attention, turning to look up at him.

“I saw your name in the audience listing.” He mumbled, lowering his head to nuzzle within the crook of your neck.

“And hence the smirk,” you realized, placing both hands on his chest. “You knew I was there. And here I thought, I’d surprise you,”

“I always check audience listings in case some company is scouting.” He shrugged before smiling slyly. “So, did someone miss me?”

“Nope,” you shrugged away, walking off to remove your coat, knowing that Jimin was sporting a spectacular pout by now. Such a spoilt baby…

“Ugh, come on, I missed you, you know…pay attention!” He whined, catching you near the couch, back to wrapping his arms around you.

Spinning you around he caught your lips in a nostalgic kiss, scorching in the way his plump petals caressed yours, trying to find a break in your armor.

You let him find it, wrapping your arms around his neck as he tugged you closer, a satisfied hum escaping the pair of you, his hand drifting over your waist and back before pulling away.

“I wanted to come back ever since I got on the plane you know,” he told you.

You smiled, remembering the pained expression with which he had dropped your hand, disappearing through security with his eyes returning to you every few seconds.

“I know, I could tell.” You brushed kisses over his jaw line.

He tilted his head back before looking down at you, amber eyes glinting in the afternoon sun beaming into his living room. “Stay with me.” He whispered, a lull of command in his voice that made the dull ache in your stomach sharpen, keening you towards him.

He raised his eyebrows in a way that told you he knew his effect on you and you allowed him to bask in the knowledge. “I already planned to.” You let him know.

“Good, because I’m taking you to bed and not letting you up until we’re hungry and gross.” He said, not waiting for a reply as he tugged on your hand, leading you further into his home.

You barely had time to glance around the space before Jimin was locking the bedroom door, pressing your bodies up against it and leaning over you. Warm breath wafted over your bottom lip when he brushed his against your tingling skin.

Your hands crept up his back, moving to pink fleece on his head. It must’ve been hard to maintain it without getting it fried completely but the strands felt silky enough with your eyes closed.

Jimin walked backwards, hands drifting down to his shirt and pulling it off and moving to his windows, drawing the shades and casting the room in gloomy lighting.

“Come on then,” he grinned and you followed, pulling at your clothes until they decorated your steps towards him where he sat on his bed, watching you with his lip caught between his teeth. The strip tease probably wasn’t as sexy as you wanted it to be but at least you tried and by the looks of it, it was enough.

Jimin’s hands wrapped around your waist, squeezing with abandon. “I missed your skin, your warmth.” His eyes drifted to you lazily, his fingers moving to the band of your simple underwear. You placed your hands on his shoulders, balancing yourself as he began to tug the garment down your legs, the action even more erotic when he groaned; catching sight of your glistening slit.

Jimin’s thick fingers landed first at your knees, slipping around the back and sliding upwards, his eyes still glued to yours, minutely examining each expression or change that passed over your face. The way you tilted your head back before down again to look at his actions, the small pants; they were only making Jimin harder, wanting to rip into you with wild, wicked intentions. He held control, of course, no need to rush.

His breath hitched when his thumb finally made contact with the apex of your thighs, eyes flashing to the point of contact before up at you again. Was that a hint of apprehension?

“You’re already wet.” He mumbled, your eyes fluttering and cheeks reddening but you held fast to him.

Jimin had clearly been working out. His shoulders were broader; muscles more pronounced at you latched yourself on them while he attended to you in his gentle yet teasing ways.

And then he lowered his mouth…

You were glad that you had had the foresight of grabbing Jimin before because even before those luscious lips touched your skin, you were buckling, a rampant moan escaping you when he carefully parted your slick flesh, exposing your clit to his punishing tongue. Jimin pulled away, his tongue swirling before retreating back.

“I missed your heat.” He said before diving back in.

There were few things in your life that compared to Jimin giving head. Maybe the first time you had seen him naked, his skin glowing but still full, nothing chiseled about him as of then. Now he was harder, his planes more defined but you loved him just as much, the rake of your fingernails still shone the same and your kisses worn with as much pride as he used to.

Jimin was far into you for you to think much ahead. The way his hand migrated to hitch your leg up, placing it on the bed next to him to give him more access before dipping his fingers into you, curving the way he knew he reached your sweet spot, waiting for the groan to be satisfied before he returned to sucking your clit into his mouth, tongue pushing forward so he could collect more of your juices on his tongue.

He barely took a breath, finally pulling away and retracting his fingers from you gently, feeling the tightness of you close on his hand, trying to keep him there.

“Fuck, don’t be greedy, babe. You’ll get what you want.” He chuckled, deep and throaty. His eyes were nearly black now, pupils blown out.

You’d loved that, how he could be so fucked out even when he barely received any pleasure himself.

You removed your hands from his shoulders, studying him carefully. His cheeks were sunk in, a little more angular than you remembered. His biceps bulged where he leant on them, his thighs were thicker. You made a mental note to feed him while you had him here and another to ride his delicious legs while you were at it.

Jimin smiled a little at your scrutiny, “Y/N, what are you thinking?”

You didn’t answer immediately, instead reaching up to undo your bra, letting it drop at his feet. “I’m thinking…I want to ride you.”

Jimin’s mouth dropped, you could see him clearly swallow before he was nodding. “Yeah, okay, we can make that happen.”

He began to back further onto the bed but you stopped him, placing a hand on his knees to bunch the material of his sweats and tugging at them.

Your lover gave you a wide eyed stare. “Like this?”

Your eyes ran up the newly acquired abs, placing a kiss directly on them. He clenched at the contact. “Like this,” you whispered.

Jimin was quick to lose the sweats at that, eyeing you for further instruction as you flicked your hair behind you, placing a knee on the bed beside his hip and the other on his chest, anchoring yourself as he held himself at the base, angling the tip to brush against your entrance. You sighed, the thrum of his groan as you sat down on him bracing you.

The stretch burned you deliciously, the girth of him sliding against the right spots as you tried to get him in as deep as you could.

Jimin’s back arched, the tips of his fingers digging into the skin of your hips as he mumbled unknown, unheard words. His eyes opened to see you kneeling over him.

“Fuck me, please.” He begged, a hint of desperation plaguing him that you couldn’t ignore.

Raising yourself, still using your hands for support, you dropped back down, using his pants of breath as a metronome, your hips gyrating and thrusting in time with him.

Jimin lay obediently still below you, letting you fuck the both of you into a pleasurable oblivion. His skin was starting to collect sheen.

You bent over him, feeling him whimper before bracing himself against the floor and thrust up into your warmth. His hands moved up your back, digging into certain special spots before wrapping into your hair, trapping you against him as you sunk your teeth in his shoulder, hiding cries of pleasure that he could hear anyway.

“Are you close?” He asked, yanking on your hair to look at your face, contorted a little.

“So close,” You arched your back, further pushing your body into his skillful hands.

“Good, me too, I want you to come with me.” Jimin let his hand cup a breast, while the other fell where your bodies connected. His thumbs set to work, rubbing sparks of extra pleasure into your peaking nipple and clit.

You whined, back tilting as your nails dug into his thighs as you exploded on top of him, a similar groan sounding below you as Jimin let go as well.

You felt his seed flood you as you convulsed on him and you probably would’ve toppled over if Jimin hadn’t sat up, wrapping an arm around your waist to hold you close while he kept thrusting, slowly letting you both come back down to earth.

By the way his hand moved back to your ass, a light squeeze placed on it, you knew you were far from done.

#smutcentralnet #jimin smut #jimin fanfic #jimin #park jimin #bts #bts smut #bts fanfic #bts jimin #jimin scenario #bts scenarios #happy birthday jimin #bells and roses

152 notes · View notes

laine-o · 4 years

Note

who are some artists u take inspiration from / are some of ur inspirations? love ur art btw :)

Wow I’m so sorry it took me awhile to get back to you anon! This was a hard one. I haven’t thought of my inspirations lately since they have changed a bit. I tried to keep these relevant more to my anime art since that’s what I’m more known for, but some are influences on more of my original art that I hope someday I’ll feel brave enough to share with you all.

From left to right, top to bottom.

CLAMP (Magic Knight Rayearth) - they were the reason I started drawing manga/anime artwork at all back in early 2000′s for me. The only “shoujo” artists on this list, I was really taken by the eyes they drew at the time and it still can be seen a little bit today, though I’ve really tried to steer myself away from the large pointed eyes with thick lashes and elongated bodies that plagued my art for a long time. I’ll always love their compositions, use of color and just how they use marker.

Yusuke Murata (Street Fighter fan art) - known for Eyeshield21 and One Punch-Man. This man can draw anything. His sense of anatomy, foreshortening and movement is breathtaking. I love the lighting and rendering as well. He also has a knack for creating really original faces and he doesn’t have the “same-face” syndrome problem. Just top-notch. I don’t aim to be as shonen in style as him, but I hope to start being able to add more dynamic poses into my work.

Kyohiko Azuma (Yotsubato!) - known for Azumanga Daioh and Yotsubato! I really love the comedy and slice of life genres lately. I love softer styles and I really adore the more simplistic approach he has to his character design that really allows the slice of life genre to shine through his art. Despite the simplicity, it still is very anatomically technical. It’s simple, but warm and effective and very soft. His skill in backgrounds as well is phenomenal. I think it’s a whole atmosphere he creates and the story he tells in his illustrations that I would love to apply to my own work if I can. I also related a lot to an interview where he stated he struggles blending little Yotsuba into the world he created because she’s so different stylistically from all the characters, so it’s a lot of fun and helpful to see how he accomplishes this throughout the manga and the panels.

Masashi Kishimoto (Naruto) - of course one of my biggest influences due to all the SasuSaku I draw. I think his style is very effective. It’s also I think more on the simpler side actually (if you compare it to CLAMP and Murata’s). But it’s so dynamic and full of strong composition and memorable character designs. I really appreciate how by his influence, I never really stopped drawing thanks to the characters, Sasuke and Sakura, that he created that had such an impact on me.

Xia Da (Song of the Long March AKA Choukakou) - This one is a manhua artist. Her inking and watercolor artwork is absolutely phenomenal. Definitely someone I look up to when I’m inking my own pieces, I would love to be at her level of skill someday. Primarily an inspo for inking.

Kamome Shirahama (Atelier of Witch Hat) - another artist with phenomenal inking skills that I really admire. She’s also really good at drawing children! But I definitely believe she can draw anything, the fact that she has crossed the barrier to illustrate comic covers for both DC and Marvel is just incredible to me and a testament to how much skill she possesses. Primarily an inspo for inking.

Kozue Amano (Aria) - Known for Aqua, Aria, and Amanchu (lots of A’s!). Her ability to design precious soft characters, gorgeous scenery, and write a beautiful and gentle slice of life fantasy tale has always made her one of my absolute favorites. I absolutely love how she colors her works.

Adachitoka (Noragami) - this is a team who does characters and background art. It’s not a secret that I love watercolor. I also love the movement and action and fighting scenes from this manga. The fact that this team is female and broke through with a popular shonen series is simply amazing. I hope to be as good as they are in drawing figures and in watercolor someday.

James Gurney (Dinotopia) - the master of creating fantasy worlds and making it look like it EXISTS with his painting skills. His “Color and Light” book is an absolute staple (I have it always ready as reference) and it’s a must if you want to give your lighting that more realistic feel. I think my love of lighting really came from growing up with the Dinotopia series. He is always constantly sharing his wisdom as well on his website and twitter and just an amazing and inspiring person for generations of artists.

Makoto Shinkai (Kimi no Na Wa) - This movie’s aesthetics (especially the lush backgrounds), surrealism, and existentialism really spoke to me. I adore the starry skies and heavens and clouds. Screencaps of his movies fill my phone as a quick reference whenever I’m rendering some complex lighting or trying to create some sort of composition with the sky.

Studio Ghibli/Hayao Miyazaki (Kiki’s Delivery Service) - nothing really needs to be said especially given my love for the details in all the movies, the fantastic scenes involving flying in the sky, the gorgeous backgrounds, and the delicious food. Always a good choice to use as a reference for anything with nature or even cluttered cozy houses and rooms and greenhouses. It’s still a desire to delve more into world building for me and I’ll be using these movies for reference. I also keep tons of their artwork in my phone as reference.

Satoru Takizawa (Legend of Zelda, Breath of the Wild) - Known for his work with Twilight Princess and Breath of the wild. You know where I’m going with this - he is the MASTER of ambient lighting. I love his rough and loose painting style that I wish I could achieve someday, but I still have a tendency to over-render. A great resource for learning how to world-build and for concept art.

Andrew Loomis - anatomy and figure drawing master. At the end of this list, but not the least important by a long shot. His book I think is not the most beginner friendly in terms of seeing basic shapes and breaking down the form (I think his construction is still more on the complex side), but it’s a good place to start and keep grinding until it “makes sense.” It took me years, but once it started clicking, I have him to thank for it because my anatomy was an absolute mess because of my background of starting from CLAMP’s art style. Buy his book and make it your bible. Attend figure drawing classes. If you want to illustrate people no matter how simple, you must make studying anatomy a part of your process.

Lastly - some original artists to check out who I like the inking, watercolor skills, and concepts of that closely align with my interests for my own original art.

meyoco - twitter, instagram

maruti_bitamin - twitter, instagram, tumblr

Qinniart - twitter, instagram

Some mangaka honorable mentions -

Takeshi Obata (Death Note, Bakuman)

Kaoru Mori (Emma, Otoyomegatari)

Satsuki Yoshino (Barakamon)

This was super long, I apologize, but it’s something I’m passionate about. I love art to pieces. I think a lot of what I admire is very technical - anatomy and lighting. I think my influences also reflect my aim to be more proficient at watercolor and inking. And lastly, world-building, fantasy/cosmos, and background art. I think a lot of what I really love though, is color and lighting and that’s found within any of these artists. :)

Thanks for the question anon! You allowed me to geek out on art for about an hour while I wrote this out.

#anon #asks #my asks #laine-o responds #Anonymous

17 notes · View notes

trickstermelon · 5 years

Note

Do you have any advice for someone who wants to learn who to draw? Your art is beautiful and inspiring dude I swear ; ;

1st step: draw every day. Lil headshots, a flower, zen doodles whatever. It’ll just keep your hands loose and force you to stop considering everything a masterpiece/putting pressure on yourself to be perfect

Now here’s a bunch of Professional sounding tips that are legit great to do but I’m in the bad habit of only semi employing-

- work from observation! If you’re having a difficult time with a pose, refs are your friiiend tho they can sometimes be difficult to find. Also secret hot tip if you want to do a really wild piece with lots of moving parts and difficult scaling: photoshop that shit together. Doesn’t need to be clean or perfectly accurate to what you’re invisioning, but it will help you brain and hand get on the same wavelength.

- let yourself take breaks from your usual subjects. A lot of times drawing the same thing over again will put you in a rut. Grab some of the most interesting knickknacks you have lying around and sketch a quick still life. I tend to like combining hard objects with organics

- save what inspires you!!!*

- *then actually look back at it later. Clothing, patterns, color swatches, backgrounds whatever, all is good to mix and match

- doodle on the same page + with a theme in mind. This is something I really need to work on, but it’s fun to play with negative space

Now some bullshit that I do at least semi often-

- try to find a balance with speedy sketches and finished work. (Most my full illustration effort goes into schoolwork at this point so I never get to. Actually finish things. But.) Your sketches will have the most energy of the whole process, but they’re probably gonna have weird proportion problems. Bring up the sketch lines that are really working and fade off the rest

- line weeeeeight— drastic deviation can really push the sense of pressure between figures

- thumbnail/sketch at least 3 times, each getting more detailed as you go. If you’re working digital you can always mash together aspects you enjoy but that’ll push the composition!

- speaking of, actually think of your borders before you do the composition, and you can always blow up the sketch to fit the full page later if you like working small

- play with as many materials as you can get your hands on!! Let each medium influence the other and find what you like the most!

- don’t let your 40lb dog step on your tablet

-this has turned into me yelling @myself but hey I hope you find it helpful

#art advice #melon noises #thank you for askin!!

39 notes · View notes

morosemariposa · 5 years

Text

Shoma’s First Solo Gold

This weekend Shoma competed at the Finlandia Trophy challenger for the first time in his career. It was a good weekend for me as I was able to watch the entire competition and that hasn’t happened once this season so far. As a Shoma fan it was a good weekend for all the content and the joy from watching him skate. This post is going to be a more in-depth analysis of Shoma’s program performances and his interviews. Get ready to read because this is long.

The Short Program

I’m going to mention this first and then I’ll never mention it again. I know the controversy surrounding this program. I’m aware of the origins of the music and the whole appropriation of it all. For the duration of Shoma’s performance of this program this season I will be focusing on his performance and the elements executed in it. I’m not implying a flippant attitude about the program as a whole I just want to focus on a different aspect of it. I don’t like the program very much but I’m conflicted because I like the energy Shoma brings to it. I like that it’s a different much quicker pace than he’s use to and I like that he’s challenging himself this way. It just could’ve been done to a more appropriate program.

Right from the starting position on the ice it’s already different than what were use to seeing. Shoma starting at the end of the rink and making his way to the middle is a great way to begin this program. Right away you know this program is meant to excite the crowd. He makes his way to the audience and reaches out to them. I really like the movements and the set up leading up to the first jumping pass which was a planned 4F3T combo but ended up being a solo 4F. Shoma’s only done the 4F3T combo at the 2019 WTT and it was exciting to see it there because it was the first time he’s ever done a combo on the 4F. It’s great that he’s challenging himself with new tech content he’s never done before and if he keeps practicing it and attempting it in competitions it’ll pay off well. The only thing I worried about is that in practice, from the fan reports I read it seemed like the 4F was a struggle, so maybe he should’ve planned the 4T3T instead. But this is Shoma were talking about he doesn't back down from anything. That attitude is why we love him. The composition of the program is made so a combo goes at that music point because it silences for a couple of seconds long enough for a combo jump to be performed there. Then immediately the music changes tempo and it’s a beat that the audience can participate and clap in time to. This is great for again reiterating that this program is meant for the audience. Then comes the 4T2T combo that was planned as a solo 4T but Shoma needs a combo and after the failed 4F3T the 4T has to be in combination. To come back to the composition of the program this part is were the energy really comes in and leaves little room for mistakes. Because Shoma had to turn this solo jump into a combo jump he was a little behind on the music beats for the rest of the program and had to take out some of the choreography. The missing arms reaching up and the tiny foot steps at the end of the CSSp is something I took notice of, it’s one of the parts I like because it elongates his body but I’m glad the hands in the hair part is still there right before the cantilever that’s placed at a perfect point in the program where the music tone changes again and becomes lighter than before. The little parts of choreography after the cantilever are missing as well and this is were those missing movements would have lead to the CCoSp but the arrangement is changed to the 3A placed here instead. This is in difference to the layout Shoma did at Friends On Ice. The FOI layout works better for the program because doing the 3A after the CCoSp would work as a transition into the FCSp and that would transition into the StSq. At this competition the 3A comes before the FCSp and the music doesn’t fit well with this arrangement change but Shoma makes it work. The choreography that is supposed to be there is missing and I believe that keeping it would’ve helped with the completion of the program. Then he does the CCoSp and when he’s getting out of it he’s skating backwards toward the audience and this is where I think adding some kind of movement is necessary. He appears to be tired and I don’t think in a program it’s a good idea to give the appearance of exhaustion. But I guess it’s suppose to be that way because when he raises his fist up at the audience, again performing for the crowd, he immediately transitions into the StSq and it’s great. The movements are sharp albeit a bit rushed because he’s trying to catch up to the music. I love it but the best part is the butterfly jump into the final pose. I love the pose at the end because his body is twisted at an angle where you can see the curves of the body and positions of his legs, arms and the head thrown back at the end beat is amazing. This program is a wild ride and Shoma is performing it for the audience. Every time he reaches out it’s to the crowd and the participation of the audience helps to elevate the performance.

I don’t know what’s going on with the 3A. It’s one of his best jumps and in JapanOpen and now here with the short program it hasn’t gone well. Is the technique being changed? It doesn’t seem that way to me but If I have to worry about Shoma’s 3A’s then I’m going to be stressed all season.

My favorite thing about this performance is the energy he brought to it. It got the audience clapping along to the beat for almost the entire time. I hope this happens at every competition this season, I want Shoma to feel the support of the audience.

Interview After the Short

Shoma is his own harshest critic. I like that he acknowledges his shortcomings and mistakes then works hard to better them but I wish he would also acknowledge his successes. He said he wants a more complete program and I would like for him to use the program layout that he did at FOI. I felt that layout complimented the program well but if he keeps this layout then it could workout just fine. He also said his edges were shallow......???? Is he talking about himself? Did I watch a different performance? If those edges are shallow then there’s a rude awakening for many skaters. Shoma has some of the best edge control and quality. He made other comments but I think it’s interesting hearing Shoma analyze his own skating and then seeing the enhanced protocols and realizing that Shoma pretty much knew what those protocols would look like. I like hearing his awareness of his own performances. I guess he’s sharing it with us instead of a coach. In that case I’ll be glad to hear you out Shoma.

The Free Program

Right from the starting position and the opening movements I’m instantly reminded that I love this program for Shoma. The iffy landing on the 3S happened and I thought he could still pull it together and do well. I like the bits of choreography leading up to the next jumping pass which was the well executed 4F. I wanted him to do the combo then cause I had a feeling that the 4T wouldn’t go well. I wish he did do the 4F3T here because it would’ve been vengeance for not being able to do in the short. Then a beautiful 3A to follow a great 4F. I didn’t like the camera work during this part because I wanted to see Shoma from the front so I could better focus on the little steps he does after the 3A. Then a great 3L that he could’ve turned into a combo jump as well. I know that the first four jumping passes are all solo jumps but that kind of jump layout really stresses on the skater that they HAVE to land all the next three jumping passes. Because the last three jumping passes are all combo’s Shoma can’t afford to mess even one of them up especially if he messes up on a solo jump. For the composition of this program I understand that the first four jumping passes have to be solo jumps. Each jump works in tune with the music that way. Then the fall on the 4T and for the second time in a row Shoma falls on the 4T during the free program. Maybe it should be moved to the first half of the program. He might have a better chance at landing it. The 2A3T is interesting. Could that combo maybe turn into a 3A4T in the future? I don’t know but if not then I feel Shoma can do a different combo instead. I’m not a person who cares about points much but he could score more points on a better combo. The landing on the 3A part of the 3A1EU3F is what messed up the entire combo which is a shame cause that’s my favorite combo in skating. I love this StSq, he hits every note of the piano and I’m mesmerized. It blends into the FCCoSp so seamlessly and during the spin he’s hitting piano notes as well. I love it. He was a little behind on the music for the ChSq but I liked it and the ending CCoSp is classic in a Shoma program. Great positions and I like the simplicity of the ending pose. It’s not dramatic like his SP ending pose but it’s subtle and reflective of the program it belongs to. The interpretation of the music was by far the best part of this performance. That along with the 4F, StSq, ChSq, and cantilever made it great. It’s not perfect but it’s a good outing this early in the season.

The most common issues across both programs and this competition and JapanOpen is the 3A and the 4T. It could be because it’s the start of the season and eventually they’ll be stable during the Grand Prix Series. Or it could be boot problems. I hope either is the reason. I think this was a good overall performance, for me at least. I liked it, I could still see the good parts and can appreciate that Shoma never gave up on the performance. As a whole it still needs work especially the consistency of the jumps. It was good enough and I’m eagerly looking forward to his Grand Prix events to see how he improves.

Reflections After the Free

It’s been confirmed via Shoma’s Manager that he’s having boot problems and is trying to break in new boots and that’s why his tech content was lowered. I figured that was the reason. There were similar reports at JapanOpen.

Best moment of the competition was Shoma and Sota sharing a podium together again. It was a moment four years in the making since 2015 Junior Worlds.

It was a great effort by Shoma in this competition. It’s not easy being on your own and finding motivation in yourself to do well. So I’m proud of Shoma for going out there and doing it. People might think it’s dumb for him to be without a coach this season but I really admire him for going on this journey of self-discovery. I think it’s important to remember that he made this progress without a coach to guide him. He made his own choices and succeeded here on his own. Of course he wasn’t totally alone. He had his manager, trainer, and JSF representative but ultimately Shoma won this competition by coaching himself.

Congratulations on your first gold medal of the season!!

#shoma uno #i just love him so much #can i love him any more #2019 finlandia trophy

26 notes · View notes

s-c-i-guy · 5 years

Photo

What the Sight of a Black Hole Means to a Black Hole Physicist

The astrophysicist Janna Levin reflects on the newly unveiled, first-ever photograph of a black hole.

“At this historic moment, the world has paused to take in the sight of humanity’s first image of the strangest phenomenon in the known universe, a remarkable legacy of the general theory of relativity: a black hole. I am moved not just by the image; overwhelmingly I am moved by the significance of sharing this experience with strangers around the globe. I am moved by the image of a species looking at an image of a curious empty hole looming in space.

I am at the National Press Club, in Washington, D.C., a hive of excitement. Scientists with the Event Horizon Telescope aspired for years to take the first-ever picture of a supermassive black hole, so when they gathered journalists and scientists together today for a press conference, there wasn’t much doubt as to what we were here to see.

But still, there are surprises.

At the podium is Sheperd Doeleman, the director of the Event Horizon Telescope. He welcomes us, ‘black hole enthusiasts.’ I have the strongest memory of standing at the chalkboard in an otherwise empty classroom at the Massachusetts Institute of Technology with Shep, my funny friend with his funny, unmistakable, burnt-mahogany hair. Covered in chalk dust, we acquired the hard-earned mathematics of Albert Einstein’s theory of relativity.

We knew the words already, the standard lore: All forms of matter and energy bend space and time, and light and matter follow those curves. The words have to be taken on trust. But the mathematics we could acquire. It would belong to us. When Einstein conceived of relativity, he gave us a gift that has been passed from person to person around the world. Relativity, defying its name, is true for all of us.

Maybe my memory of that particular board is so crisp precisely because that moment defines the cusp between before and after acquiring relativity. Now I cannot imagine my own mind without it. Relativity permeates my thoughts so that I think in relativity the way writers think in their natural language. Since that time at MIT, Shep and I have both found our way via relativity to the most remarkable of its predictions, black holes.

Black holes were conceived of as a thought experiment, a fantastical imagining. Imagine matter crushed to a point. Don’t ask how. Just imagine that. While enlisted in the German army during World War I, Karl Schwarzschild discovered this possible solution to Einstein’s newly published theory of relativity, apocryphally between calculating ballistic trajectories from the trenches on the Russian front. Schwarzschild inferred that space-time effectively spills toward the crushed center. Racing at its absolute speed, even light gets dragged down the hole, casting a shadow on the sky. That shadow is the event horizon, the stark demarcation between the outside and anything with the misfortune to have fallen inside.

Einstein thought nature would protect us from the formation of black holes. To the contrary, nature makes them in abundance. When a dying star is heavy enough, gravity overcomes matter’s intrinsic resistance and the star collapses catastrophically. The event horizon is left behind as an archaeological record while the stellar material continues to fall inward to an unknown fate. In our own Milky Way galaxy there could be billions of black holes.

Supermassive black holes, millions or even billions of times the mass of the sun, anchor the centers of nearly all galaxies, though nobody yet knows how they formed or got so heavy. Maybe they formed from dead stars that merged and escalated in size, or maybe they directly collapsed out of more primordial material in a younger universe. However they formed, there are as many supermassive black holes as there are galaxies — hundreds of billions in the observable universe.

We had never seen a black hole before today. No telescope had ever taken a picture of one. We have indirectly inferred the presence of black holes when they’ve cannibalized companion stars, powered energetic jets in twisted magnetic fields, and captured stars in their orbit. We have even heard black holes collide and merge, ringing space-time like mallets on a drum.

We had never taken a direct picture of a black hole before because black holes are tiny, despite their dramatic reputation as weapons of mayhem and destruction (yes, the Nova film I hosted was called ‘Black Hole Apocalypse’). A black hole the mass of the sun would have an event horizon a mere 6 kilometers across. Compare that to the 1.4-million-kilometer breadth of the sun itself. The supermassive black hole at the center of the Milky Way, dubbed Sagittarius A*, is 4 million times the mass of the sun but only about 17 times wider.

Consider the challenge of capturing a portrait of an entirely dark object only 17 times the width of an ordinary star at a distance of 26,000 light-years. Resolving an image of Sagittarius A* is comparable to resolving the image of a piece of fruit on the moon.

To resolve such a minuscule image requires a telescope the size of the entire Earth. Since those days in that chalk-dusted classroom at MIT, my funny, utterly unconventional friend has been determined to capture the image of a supermassive black hole all the same.

During our years in graduate school, Shep’s hair was an allegory for his mind — wild and spirited. I admired the freedom I sensed in the way he thought, always forging unexpected connections, sometimes at the expense of the required lesson. His shocked eyes would warn me that a crazy idea had struck him just at that precise moment, as though he was as surprised as I was by the thought.

The Event Horizon Telescope is a testament to bold ideas, as well as scientific ingenuity and collaboration. Exploiting large radio telescopes around the globe — relying on the newest, most sophisticated observatories and reviving some that were nearly defunct — EHT became a composite telescope the size of the Earth. As the planet spins and orbits, the target black holes rise into the field of view of component telescopes around the planet. To render a precise image, the telescopes need to operate as one, which involves sensitive time corrections so that one global eye looks toward the black hole.

Combining telescopes for better resolution was the basis of Shep’s doctoral thesis in the ’90s. By 2008, he led a small team that imaged structures comparable in size to nearby supermassive black holes. That proof of concept drove the EHT project, whose team was now confident that the required resolution was in reach. In the decade since, EHT had to address challenges the data posed and advance technologically, and Shep is quick to credit the international team for their stamina and for the cleverness of their collective contributions.

Our supermassive black hole, Sagittarius A*, became the obvious target to pursue. Despite the abundance of supermassive black holes in galaxies, all others are too far away to resolve even with a telescope the size of the Earth. There is one exception. Messier 87, or M87, is an enormous elliptical galaxy 55 million light-years away that is known to harbor a staggering supermassive black hole somewhere between 3.5 billion and 7.2 billion times the mass of the sun. At the small end of that range, M87 would be an impossible target for EHT. At the high end, it is possibly suitable. So M87 became a secondary target in the heated pursuit of Sagittarius A*.

A black hole against the dark backdrop of empty space would be truly invisible. Sagittarius A* and M87 are helpfully illuminated by debris caught in hot disks orbiting very near their event horizons. The path of the light from the luminous orbiting material is bent along the curved space so that even light behind a black hole gets redirected our way. The disk appears to surround the black hole, allowing for a bright contrast against which its shadow is visible.

EHT actually sees an area slightly outside the event horizon itself — a region defined by the location closest to the black hole where a beam of light could orbit on a circle, known as the ‘last photon orbit.’ (Were you to float there, you could see light reflected off the back of your head after completing a round trip. Or, if you turned around quickly enough, you might see your own face.) Closer than that, all the light falls in.

We are gathered here, black hole theorists and observers, journalists and friends, in this room together to share an image we could already pretty well imagine and were excited to celebrate. But this was the surprise on hearing the announcement: It’s not Sagittarius A* they saw. It’s not our black hole. It’s M87!

The image is unmistakable — a dark shadow the size of our solar system, enveloped by a bright, beautiful blob.

While the scientific implications will take time to unpack, some of the anthropological impact feels immediate. The light EHT collected from M87 headed our way 55 million years ago. Over those eons, we emerged on Earth along with our myths, differentiated cultures, ideologies, languages and varied beliefs. Looking at M87, I am reminded that scientific discoveries transcend those differences. We are all under the same sky, all of us bound to this pale blue dot, floating in the sparse local territory of our solar system’s celestial bodies, under the warmth of our yellow sun, in a sparse sea of stars, in orbit around a supermassive black hole at the center of our luminous galaxy.

When asked his thoughts at the moment he first saw the image of the black hole in M87, Shep replied, ‘We saw something so true.’ And it’s true for all of us.”

#science #science news #event horizon telescope #general relativity #black holes

220 notes · View notes

marshmallowgoop · 5 years

Text

Kill la Kill Books!

Got a small haul of Kill la Kill books the other day!

SUSHIO CLUB LOVE LOVE KLKL has been a glaring omission from my collection, so when I saw a listing of the book for 3,600 yen—which usually goes for 10,000+ these days—I bought it right away.

And I figured I might as well pick up a few more things while I was at it, right? To make the shipping more cost effective?

That’s definitely the only reason.

But anyway, my growing mass of Kill la Kill books and magazines has now reached 36 items.

And I’ve talked about some of this merch before; you can find my post about the Febri volume 21 issue here, my post about Fractal 10 here, my post about the Talking About Composite books, The Complete Script Book, and The Art of KLK Vol. 3 here (and I have a whole tag for the script book, #klk-script-book), and I yammer on about the nine Blu-ray key art collection and artboard books here. I also have several essays discussing the official manga adaptation:

Kill la Kill Manga Chapter 7

Kill la Kill Manga Volume 3, Chapters 8-17: Thoughts and Impressions

Kill la Kill Manga Volume 3: Translation Notes, Anime Differences

Kill la Kill Manga Volume 3: Worth it?

Manga Differences

And now, I wanna briefly (lol) yap about the six new additions to my collection.

Because I have a lot of love in my heart for this ridiculous, ridiculous anime.

SUSHIO CLUB LOVE LOVE KLKL

So, I got this book for cheap because it was allegedly in poor shape and “not suitable for collection.”

(My reaction to “not suitable for collection” is always, “It’s suitable for my garbage collection! I’ll give your ‘ugly’ copies a loving home!”)

But, like? There are a couple of dents and folded corners, but the condition is really not bad at all. The art is completely intact and beautiful.

Sushio—who is the character designer for Kill la Kill—has shared much of this book on his Twitter, and I would definitely recommend fans of the series to scroll through his photos and have a look. There’s such a cute, sweet charm to Sushio’s work, and along with the polished, colored pages from LOVE LOVE that he shares online, he also shares sketches of his own fanart for the series, too.

(Okay, maybe this isn’t exactly the best demonstration of Sushio’s absolutely precious artwork, but. It’s one of my favorites from the book. Ryuko resorting to such wild extremes to be with Senketsu again is just. My heart. Kill la Kill is actually adorable.)

In any case, I don’t think any of the content in LOVE LOVE was new to me, but there’s just really something about having the book in my hands. I know there’s such a strong desire for digital media these days, but call me old-fashioned—there’s nothing quite like holding this art and really seeing every stroke and line in person.

Being able to physically flip through the pages also makes me notice things I didn’t before. For instance, I found myself charmed by the little detail of Barazo, Mako’s father, loving and adoring Sukuyo, Mako’s mother.

I mean, aw? It’s stuff like this that really makes me wish Kill la Kill were a kids’ show (as Sushio himself seemed to want!) Barazo is so much more likeable when there aren’t any signs of his less-than-pleasant behavior and he’s a loving, supportive husband and father.

Seriously!

Another thing I notice from having the book now is the order in which the pages are organized. Like, I couldn’t help but be amused about how Ryuko gets her own page here...

(Smiling for her Starketsu in the sky, right? Just like he asks her to in “Till I Die”?)

...and then the next pages have Satsuki beside Nonon and Mako (and Mataro) beside Ira...

...which strikes me as a bit funny because this isn’t exactly how Sushio organized his Tweets of these images. There, Satsuki was next to Ryuko, Nonon was next to no one, Mako and Mataro were next to Ira, and Uzu was next to Houka:

So, in LOVE LOVE, is Sushio deliberately trying to say something with the changed placement? Especially when it comes to the direction of the ladies’ eyes?

Yeah???

I kid, I kid.

(But really, it looks much better to give Ryuko her own page and not have Nonon standing next to nobody.)

Also, one of the first things that popped out to me about LOVE LOVE is how Senketsu’s pages are right next to Ryuko’s pages. As they should be.

They belong together, okay?!

And speaking of Senketsu and Ryuko, I remember a comment years back that said you could probably find pics of your OTP with matching expressions in this book.

But, uh. Just compare Senketsu posing to Ryuko posing...

They’re kind of different types of people, lol.

But hey, they do both make cute sneezy faces.

As a final note about my copy of LOVE LOVE, I will say that my only disappointment is that I received the version with print errors. As such, this page of Nui...

...was accidentally printed twice, and I miss out on this page of Nui as a result:

There are also some minor goofs, like Mako’s arm getting cut off by the background here:

But considering I got this beautiful thing for only 3,600 yen, I really can’t complain!

Now I just need Sushiotan 2 to complete my Sushio Kill la Kill doujin collection....

Takepro

This charming little volume is a collection of animator fanart for the show (and other shows). The book includes a short profile for each featured artist, and their big Kill la Kill pieces are—like all titles in Kill la Kill—named after classic Japanese pop songs. You can read and see more about Takepro here.

It’s hard to pick favorites from this doujin because there is so much adorable and wonderful artwork, but I especially love Naoki Takeda’s “ここに幸あり,” or “Here is My Happiness,” named after the song by Yoshitsu Ootsu.

youtube

The picture features Ryuko, Mako, and Satsuki sitting together, all having a good time, and there’s just something so sweet about seeing happy Satsuki.

I also found an English translation of the song’s lyrics, courtesy of beast-senior 810:

The storm breaks and the rain falls Thorny as the women's path might be I would still keep on living with you And my happiness is here in the blue sky

I could not tell anybody of my scars A bird of love that resided in my chest If only I wander about crying and evading A sorrowful night wind will blow through the streets

I call out your name from the bottom of my heart Who will be awaiting me at the end of the echoes? Snuggle up to you and cheerfully look up to your face And my happiness is here in the white clouds

Aw. This song is so Satsuki.

And speaking of Satsuki, I can’t get over how cute she and Ryuko look on the cover of this book. Like??

Aw!

I also am quite fond of a small piece by Syuichi Iseki, which is in a super-deformed style and features Satsuki comforting Nonon after her uniform is destroyed during the Naturals Election. Nonon cries, and Satsuki pats her head. In the background, Ira looks distressed at the display, Houka seems to be deciphering it, and Mako smiles. It’s really, really cute.

Yoshie Endo’s “僕笑っちゃいます,” or “I’m Laughing,” named for the song by Shingo Kazami, is also real cute. It depicts Mataro holding up Guts, who licks his face. It’s another one of those, “I-so-wish-Kill-la-Kill-were-a-kids’-show” kinda pieces....

youtube

Hiroyuki Imaishi’s Doujin

Admittedly, I don’t actually know the title of this one, but it’s a very small doujin by Kill la Kill director Hiroyuki Imaishi. There isn’t too much Kill la Kill content, but there are two pages of Ryuko and Satsuki in their respective Kamui, accompanied by some text.

I thought the text might be something about the show, but it seems like it’s actually about Imaishi’s experience working on the show. And... it’s rather sad? He talks about how he’s able to accomplish more now, but he also has to consider a lot more as well, and he doesn’t have the time and energy that he used to. It’s a lot about aging and growing old.

At least, I think that��s what’s being communicated. Here’s a transcription, though:

なんだろう。

初会社役員とか。

昔よりやれることは増えたが考えなきゃいけないことも増えて時間と体力は足りなくなっていく。

年相応とも言える。

だけどいつまでも大人気なく生きていきたいものだ。

One last interesting thing about this doujin is the material it’s made from; it’s different than any other book in my collection. I’m not an artist, so forgive me if I sound totally ignorant here, but the paper reminds me watercolor paper. It definitely took me by surprise!

SL Sketch 3

SL Sketch 3 is a small fan doujin by Buzin. You can find most of the art in this book on their Tumblr!

Sketch 3 is a really fun collection of sketches, and I especially love the cover. I’m so desperate for art where Senketsu is acknowledged as an actual person that I’m just all heart eyes over Ryuko smiling at him here.

March 2014 Newtype

Okay, so this one’s really a magazine, not a book, but wow. I was taken aback by what’s inside!

I’ll definitely have to look at this issue in more depth because there are a bunch of Kill la Kill goodies in here that I didn’t even expect. And I don’t think most of it has been translated at all!

I also realized that I’ve been mixing up my Newtypes and will have to fix my resources page. But on the bright side, there is so much to love about this issue.

Like, the Elite Four Light Novel got reprinted in the Kamui Bansho, but it’s way better here because it has pictures!

I also love how Nonon, out of all the Elite Four, is the only one who stands beside Satsuki in these illustrations.

And I don’t even know what this is (VR or something with Ami Koshimizu, Ryuko’s VA?), but it’s cute and got me smiling:

And Ryo Akizuki, the mangaka for the official Kill la Kill manga, made a small comic about his experience working on the project. I like the little title panel with Ryuko, Senketsu, and Mako a lot:

Plus, there’s a shiny ad for the manga’s second volume, too:

One of the things that most caught my interest, though, is an article about the second opening song for Kill la Kill, GARNiDELiA’s “ambiguous”:

I got so curious about this bit because I’ve heard varying, conflicting information regarding the meaning behind the song’s lyrics. On the one hand, I’ve heard that half of the song is from Ryuko to Senketsu, and the other half is from Satsuki to Ryuko. On the other hand, I’ve heard that the whole song is from Satsuki to Ryuko. But I’ve never found any concrete sources for either of these claims!

So, I was hoping the Newtype article would help, but it’ll take a lot more digging into. Still, briefly looking over the page, I did find this bit:

そんな私の思いと歌詞が一致しました。『キルラキル』でいう流子ちゃんと神衣・鮮血の関係に近いかもしれませんね。

Roughly, it says, “As such, my thoughts about the song agreed with its lyrics. You might say it’s like the relationship between Ryuko and Kamui Senketsu in Kill la Kill.”

I’m not totally sure about the context here—and I admittedly don’t even know the author’s involvement in the making of "ambiguous”—but this article might explain where the Ryuko-and-Senketsu reading of the song came from. It’s definitely something I’d like to delve into more.

Because I really love the Ryuko-and-Senketsu reading of the song, okay, and I’d love some actually official backup for it!

Finally, another favorite part of the Newtype is simply all the art. Takafumi Hori’s spread is particularly great:

(You can find a cleaner image here.)

Just... dang. I wish I got a little poster of this instead of the ones actually included in the Newtype! The artwork is just stunning.

And one of the cutest things about the Newtype is all the fanart from its readers! I particularly love the little Valentine’s Day special; there’s an illustration of Ryuko giving Senketsu chocolate, and there’s also a Ryumako piece, too!

Kill la Kill Storyboard Ep. 01

Finally, one of my favorites from this haul is the Kill la Kill Storyboard Ep. 01. The book was included as a shop bonus for the original Japanese Blu-ray/DVD release, though I was able to win it by itself in an auction. I do think I overpaid a bit, but gosh, it’s a lovely addition to my collection. It’s just really neat to see the production process of an anime in action. I wish there were storyboard books for every episode in the show!

Hiroyuki Imaishi’s storyboards are also just super amusing. Here is a small sampling of some of my faves (because there is so much gold in here, my goodness):

And that’s all for now!

...I guess this really wasn’t so brief at all, huh?

Shocker.

33 notes · View notes