Sep. 3rd, 2016

dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2cwTMaU:
bomberqueen17:

i gotta figure out how to repost stuff on instagram. this is my sister. the farm sister. yesterday. they came out in the morning to discover two dead chickens, and their murderer, who was majestically and crankily tangled in the fence. so she put on some gloves and unwrapped him, and they let him go. 

Great Horned Owl, majestic and not so great at electric mesh fences. 

My fave part of this pic, which is a screenshot so pardon the resolution, is my sister’s shirt, which I desperately wish I owned one like it in my size. In case you can’t make it out, it depicts Princess Leia in a full Disney-like skirt with petticoats, twirling the skirt with one hand as she frolics, blaster in her other hand, among a group of adorable woodland-creature-type aliens with R2-D2 peeking out from behind her.

She doesn’t know where this shirt came from and it doesn’t have a brand name on it. 

It’s the perfect outfit to wear to free raptors, I think.

UPDATE: 

I did not know this but my older sister also has this identical shirt. She showed this photo to her kids, and they were like, “MOM WHEN DID YOU TOUCH AN OWL”. It fooled all three of them. (Older sister has dark hair, but otherwise very closely resembles littlest sister, above.)

Littlest sister points out (on Facebook) that the owl’s got LEGS, man. Never thought about it, but they’re pretty powerful. When asked if she was afraid it would hurt her, she said no, because the damn thing was exhausted, it had been fighting with their fence all night. She just went slow and was careful, and it had no interest in hurting her, it just wanted to get the fuck away. 

grumpylady replied to your photo

“i gotta figure out how to repost stuff on instagram. this is my…”

Shirt here maybe (not sure what size you need)? I’ll probably be getting one myself :D. http://ift.tt/2bWTeWp

That is indeed the shirt, but it doesn’t come in that fabulous pink color, dang it! (additional hat tip to @ceebee-eebee, who also found the shirt.) 

Additional news from the other sister– they weathered the hurricane down in Georgia, it passed over, not much damage, not much flooding, but four inches of rain, and immediately the golf course they live next to was watering the grass. They lost power briefly for unrelated reasons (a car hit a utility pole), but had power today and spent the day building robots out of cardboard boxes. I don’t know why I feel like i have to share all that, but I like to think about these things. I just love that the identical shirts fooled her kids. 
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bJb6rW:sugarspiceandcursewords
replied to your post “torrilin:

bomberqueen17:

ineptshieldmaid:

bomberqueen17 replied…”
I’m stunned and pleased to learn more about photography because of Oscar Isaac. (I often use a 35mm f1.8 on my Nikon D5300, but not, like, because I know how, exactly.)

Sometimes I can look at a commercial shoot (like a magazine spread) and know what’s going on and get pointers from it. A lot of times though, no. LOL.

I have a Nikon D7100! And yes, that 35 is such a good lens, cheapish and widely useful. It was the first lens I ever bought, and was my go-to for a very long time. It’s clear and sharp and light and small and fast enough, and generally a good focal length for most photography. If you hold up your camera for someone to pose, they’ll generally move to a distance where a 35 will capture them without trouble; if you have a 50, you’re going to have to back up, invariably. People have an idea in their head of where you should stand for a camera, and I don’t know why, but that’s the distance.

The 5300 and 7100 are similar vintages, and it was that generation of digital sensors, no earlier, when suddenly it no longer mattered what the minimum aperture on my lenses was for most situations. I used to always struggle to get enough light, because I love to shoot candids in available light without a tripod. But as soon as I got the 7100 I no longer had to worry, because the sensor was fast enough in low light that it could pretty much handle any normal low-light situation. 

It’s that recent that digital photography advanced to that point. (Which is somewhere film photography never did get, btw.) Your camera, and mine, can increase the sensor’s capacity without excessive noise such that even a dim interior scene will be adequate light that with most lenses, you won’t get motion blur. The camera I had before that could not. 

(It’s your ISO setting, if you ever mess with that– that’s how fast the camera can respond to light. My old camera, 6400 was the highest real setting, and it was very grainy, with almost no color fidelity. My current camera can use 6400 and look reasonably normal, and can go to 12,800 with no real trouble. This is all electronic stuff, and is constantly being improved. Camera phones are a few generations behind, but they’re catching up too. My current camera phone is far better at this than my first digital SLR was, in 2004.)

ISO 6400, with the D7100, and my trusty Sigma 17-50 f/2.8 wide open:
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bWXp4E:torrilin replied to your post “sugarspiceandcursewords replied to your post “torrilin: …”

I do know why. The 35mm on DX works out to 50mm full frame, and 50mm was the default lens for nearly forever. Like until zooms became common. So people will just know where to stand for 50mm on full frame if they’ve got any exposure to SLR cameras.

I thought about saying that, because I’ve definitely told customers that before (I used to work on the sales floor)– and I certainly started off with a manual SLR with a nifty fifty on it! 

But I think actually the truth is that 50mm, or 35 on a DX sensor, is exactly in the middle, neither wide-angle nor telephoto, no magnification. It’s closest to what the eye sees– although, of course, without any peripheral vision, which is what your wide angles give you.

So it’s the distance away to be the size a person is in a photo, without any lens distortion. And that’s why I sold so many 35mm primes to new photographers, when I was out on that sales floor. (Now there are so many full-frame rigs they’re trying to pitch to beginners, and i just don’t know what’s cool anymore.)

When I started out in photography class in high school we used to have these little cards, I think the teacher would make them, that were just rectangles cut out of a card, and you’d hold it up to your eye, I think a few inches in front of it, to give you an idea what the view would look like through a camera viewfinder, and you’d use it to frame pictures, and then when you finally had film for your camera, you were used to what kind of framing your lens would give you so you knew before you raised your camera whether you’d be able to get the shot or not.

Back when that was a thing!!! Although they still use exactly the same equipment to teach photography. I know because now’s the season and nobody makes those manual SLRs anymore so we’re constantly scraping up vintage ones to sell to students. 
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bMEBaO:
starchythoughts:

I was introduced to the concept of hermeneutical injustice a couple days ago and it’s been blowing my mind. I’ve been struggling for a while to reconcile consent and asexuality, specifically in the context where asexuality isn’t known. If asexuality isn’t an option, how can someone’s consent be truly free? Anagnori’s post on Asexuality and Consent Issues sums it up well:

Consent can only be freely given when all people involved are mentally, physically, socially and financially able to say “No.” An imbalance of power or of information limits the options that one of the partners can take, and it casts doubt on the voluntariness of the relationship. […] How many asexual people consent to sex that they would not have consented to if they grew up knowing that asexuality was a good, normal, and healthy way to be? How many people are pressured or manipulated into sex because they believe that they need to be fixed?

Queenie’s post on Mapping the grey area of sexual experience: consent, compulsory sexuality, and sex normativity shows how prevalent these experiences are:

I’ve had countless conversations with other aces who felt pressured into sex before they discovered asexuality, not necessarily because their partner was standing over them saying, “You must have sex with me or the heavens will smite you with thunderbolts” (although that has happened to some people), but because they couldn’t think of a “good” reason why they shouldn’t want to have sex. They loved their partner. They had birth control. They hadn’t experienced trauma. What was stopping them? Why didn’t they want it?

I think part of the problem is that there’s this idea that people’s natural state is wanting sex and wanting to consent to sex. […] You don’t need a reason to consent; ”you need a *reason* to opt out of sex rather than a reason to opt-in in the first place.“

This is a personal topic for me. I wouldn’t have consented to a lot of things in a previous relationship had I known that asexuality existed – had I known that asexuality is “a good, normal, and healthy way to be” – and there’s a lot of hurt in that for me. I was blamed and blamed myself for not being sexually attracted to my partner; after realizing that I’m asexual, I was able to stop blaming myself for not feeling sexual attraction. But then I became angry. I was angry at my ex for pushing sex. I was angry at the abysmal state of sex ed. I was angry at compulsory sexuality. And I was angry at myself. Why hadn’t I had the courage and confidence to say no?

I blamed my ex for a while – why did he push it when I said no so many times before? why did he enjoy it when I was clearly disinterested? – but that didn’t feel quite right. I said yes multiple times, and people can’t read minds. So then I was back to blaming myself. Perhaps if I truly felt so strongly that I didn’t want to have sex, I would have said no every time. But that doesn’t encapsulate the pressure and feeling of brokenness that I felt – the unspoken social norm that because I didn’t have a “good” reason to “deny” him, saying yes was a given. The problem is that I was left with no way to explain my hurt. On the surface, it shouldn’t have been a big deal: he said yes, I said yes, therefore everything was consensual. The problem is, had I known about asexuality, I would have said no. It felt like a wrong had occurred, even though there was no one to blame. And that is hermeneutical injustice.

Coined by Miranda Fricker in her book, Epistemic Injustice: Power and the Ethics of Knowing, hermeneutical injustice is “the injustice of having some significant area of one’s social experience obscured from collective understanding owing to a structural identity prejudice in the collective hermeneutical resource.” twin_me’s introduction to epistemic justice explains it well:

Hermeneutical injustice is scary because of the word “hermeneutical.” What we need to know is that “hermeneutical” just means “having to do with interpreting things” – and in our case, “having to do with interpreting our experiences.” The foundational idea is fairly straightforward: having certain concepts helps us interpret our experiences. (Imagine trying to interpret the experience of anger or jealously or being “in the zone” without having a name or concept for it). But, how is this injustice? The answer to this question lies in the fact that a lot of experiences never become concepts that everyone learns. In fact, the concepts that everyone learns are often the concepts of people who are doing pretty well in society – not marginalized people. So, roughly, hermeneutical injustice happens when the reason that a relevant concept doesn’t become part of the collective consciousness is because the concept interprets an experience that is felt primarily by a marginalized group. Because [there] is no concept for the injustice the person is feeling, the person can’t express, understand, or know it.

Fricker discusses a few case studies, the central case being the story of a woman, Wendy Sanford, who had severe depression after the birth of her first child. She blamed herself for her depression, and her husband blamed her as well. A friend convinced her to go to a workshop on women’s medical and sexual health, where one of the small groups she was in started talking about postpartum depression. Suddenly, she was able to make sense of her experience. Just knowing that she was experiencing a real phenomenon that other people experience changed her life. Even though many people experienced postpartum depression, it wasn’t talked about, and it wasn’t in the collective consciousness.

The parallel between Wendy’s revelation about postpartum depression and an asexual person’s revelation about asexuality is clear, particularly when the asexual person is in a relationship with a non-ace person. Fricker writes, “the primary harm of hermeneutical injustice consists in a situated hermeneutical inequality: the concrete situation is such that the subject is rendered unable to make communicatively intelligible something which it is particularly in his or her interests to be able to render intelligible.” In sexual situations, an asexual is left without hermeneutical resources to interpret their feelings. The collective hermeneutical lacuna around asexuality – or to go one step further, the lacuna around asexual feelings in general, i.e. lack of sexual attraction without a socially prescribed reason – harms the asexual person’s ability to consent. Learning about asexuality is therefore not only a hermeneutical breakthrough, but an overcoming of epistemic injustice.

Asexual invisibility is harmful in more ways than specific situations of sexual consent, too. Fricker asks, “Is hermeneutical injustice sometimes so damaging that it cramps the very development of self?” She gives an example using Edmund White’s autobiographical novel, A Boy’s Own Story. As he describes his love for a friend, the collective hermeneutical resources classifying homosexuality as a “sickness” or an “adolescent stage to pass through” conflicts with his own feelings. His sense of self is being formed by collective understandings of homosexuality, which are more powerful than his singular personal experiences. “The primary harm of hermeneutical injustice, then, is to be understood not only in terms of the subject’s being unfairly disadvantaged by some collective hermeneutical lacuna, but also in terms of the very construction (constitutive and/or causal) of selfhood. In certain social contexts, hermeneutical injustice can mean that someone is socially constituted as, and perhaps even caused to be, something they are not, and which it is against their interests to be seen to be.”

Similarly, an asexual’s sense of self is formed by collective understandings of sexuality, leading to feelings of brokenness, abnormality, and isolation. When the collective hermeneutical resources construct sexuality as default, there is no way develop a healthy asexual selfhood. Moreover, asexuals are socially constituted as sexual where, particularly in intimate and physical relationships, it is against their interests to be seen as such. We see the harm in this played out again in issues of consent. The collective understandings of sexuality are more powerful than the singular personal experiences of asexuals, and an asexual person doesn’t have the courage and confidence backed by hermeneutical resources to say that their feelings and experiences are valid and must be respected by their partner.

When you find yourself in a situation in which you seem to be the only one to feel the dissonance between received understanding and your own intimated sense of a given experience, it tends to knock your faith in your own ability to make sense of the world, or at least the relevant region of the world. […] hermeneutical injustice not only brings secondary practical disadvantages, it also brings secondary epistemic disadvantages [… that] stem most basically from the subject’s loss of epistemic confidence. The various ways in which loss of epistemic confidence might hinder one’s epistemic career are, to reiterate, that it can cause literal loss of knowledge, that it may prevent one from gaining new knowledge, and more generally, that it is likely to stop one gaining certain important epistemic virtues, such as intellectual courage.

When I learned about asexuality, it was like the floodgates opened. Suddenly there was a term for my experiences and an entire community built around discussing them. Backed by this collective knowledge, I’m much more confident in my self, my boundaries, and my relationships. However, I was still left with pain and bitterness about my previous relationship; I didn’t have a model or framework in which to analyze a situation where lack of knowledge – for which no one was accountable – would’ve affected consent.

Now, we can talk about these consent situations as hermeneutical injustice. It encapsulates the visceral feeling that something wrong has occurred, yet no one involved in the situation is directly responsible. Fricker concludes, “hermeneutical injustice is not inflicted by any agent, but rather is caused by a feature of the collective hermeneutical resource – a one-off blind spot (in incidental cases), or (in systematic cases) a lacuna generated by a structural identity prejudice in the hermeneutical repertoire. Consequently, questions of culpability do not arise in the same way. None the less, they do arise, for the phenomenon should inspire us to ask what sorts of hearers we should try to be in a society in which there are likely to be speakers whose attempts to make communicative sense of their experiences are unjustly hindered.”

When people say that sexuality is a personal matter and no one should care what people do (or don’t do) in bed, it means that the collective hermeneutical lacuna around non-heterosexualities will never be filled. When people are confused on why some asexuals feel the need to “come out”, I can now explain hermeneutical injustice. As Anagnori concludes:

This is why asexual awareness is so important. We need everyone in the world to know that we exist, not only so that we can be respected, but so that millions of other asexual people can have the power to make informed, confident choices about their own sexuality. We need asexual people everywhere to know that they are not broken, abnormal or wrong for what they are feeling, and that they have the right to reject sex at any time, for any reason. When asexual people can confidently say “No,” then they will also be able to say “Yes” with more certainty and weight, and they will have the option of forming sexual relationships that respect their asexuality and bring them happiness.

In her article, Queenie goes on to state that the simple knowledge of the existence of asexuality might not be enough to counter compulsory sexuality, i.e. aces aren’t “suddenly free from pressure and expectations” after realizing they’re asexual. I completely agree. To analyze other consent situations, there’s Emily Nagoski’s model of consent (with addendums made by other people, as mentioned in the first paragraph of Queenie’s post). I’m also particularly fond of Lisa’s non-binary power model of consent. However, for the very specific case of an asexual person consenting to sex when either partner had no knowledge or understanding of asexuality, I believe that hermeneutical injustice is the best interpretation of the situation.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bMMnkY:sugarspiceandcursewords replied to your post “deputychairman replied to your post “I think I’m doing the thing…”

I so wish I had the mental capacity remaining this week to sit down and write about baby Poe teething on L'ulo’s fingers because Kes has looked everywhere and cannot find his leather belt and holy hell does this kid have a set of lungs – and L'ulo reminding adult Poe of it by silently holding up two fingers every time Poe says anything remotely self-congratulatory. Pretty sure some of the newer Resistance pilots now think two fingers signify some kind of threat in L'ulo’s culture.

Save up some spoons and write it sometime, I would love to read that.

I haven’t yet worked out when in the chronology Poe meets L’ullo. I have an awesome short story written where L’ullo and Green Squadron are all bonding, and the young human woman in the group that he’d assumed would be shy turns out to be awesome and tells a very colorful story of how she accidentally got married. 

Everyone was laughing; Pick looked impressed, Crynyd looked a little uncomfortable. “So I hunted him down,” Shara said, “got my teeth in him, dragged him back to my place. I figured I’d use him up and throw him away, because you know.” She shrugged. “Life is cheap out on those spaceports, and he was– well, he was a juicy specimen.”

“Just gonna use him up, huh?” Kokely chuckled. “I approve.”

“I had solid plans,” Shara said. “I was going to use him up, wear him out, suck him dry, and break his heart.”

Everyone had a good laugh at that, although L’ulo decided against trying to read any literal meanings into that. He knew humans did not as a rule practice sexual cannibalism, so clearly, it was all metaphor.

But I don’t want to post it because then all the stuff I wrote about how Kes wound up in the Resistance would already have been told. 

I do have this idea that Poe being in so many of the propaganda/PR holos from during the Rebellion (there must have been other kids around, but he was exceptionally cute) means that he’s in a ton of historical material as this wide-eyed infant, and it’s probably sort of embarrassing to him and yet, on the other hand, sometimes it works out in his favor and people think he’s cool. So it’s all a little bit fraught.

But his continuing relationship with L’ullo would definitely be one of those instances of Insanely Cool colliding with Sort Of Mortifying, I think, for sure.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2co02k2:
torrilin
reblogged your post and added:

Eh? It can be, for some people? Maybe? It’s gonna depend a lot on what kinds of lens distortions you consider a problem and what you plan to shoot. Maybe the kinds of composition you tend to fall back on.

I don’t mean that it’s the Truest Vision, I mean it’s the most neutral level of magnification. Things look the size they are through a 35, while a telephoto makes them look larger and a wide-angle makes them generally look smaller. Yes, there’s a lot more complex optics going on than that, but that’s all I mean– to be the size people are in photos, you stand a distance away that’s friendliest to a 35 (or FX 50). 

For the vast majority of my career as a photographer, though, I’ve been less concerned about optical distortions, which I generally don’t notice, and more about trying to get something interesting in focus. I’ve always kind of shot documentary-style, and I’ve only rarely set things up or gone into something just to ‘see what i get’– I’ve always been shit at the art stuff, and instead felt like I had this drive to Document What Was Going On and so on. So it just gives me a different set of concerns, I think.

 Mostly I’ve had to fight with motion blur and inadequate lighting, so I literally haven’t ever paid attention to lens distortion beyond what’s horrifyingly unflattering for portraits, since most of my photos end up being of people. 

99.99% of the photos of my career have looked approximately like this (back when my equipment couldn’t eliminate motion blur, I had a rock-solid kink for this technique, which is panning to follow the face of my chosen subject while the background and everything else blurs) (this is the 85), or like this

where my primary concern is that i can’t f*cking get far enough away with the lens i have while standing on a bench to get the shot. (this is the 35) 

and sometimes this kind of thing

which must have come out with a color cast hence the desaturated edit. I still don’t have the necessary distance, I loved those girls so much, I skated with them for nine years and this was the season I missed due to injury, and then I retired with zero fanfare and just stopped coming around. Anyway. I didn’t expect I’d get quite so many feels from looking back at these photos just now.

Nowadays I do this at the farm, which is often but not always less dramatic.

This is my only semi-special-effects lens, which is a 10.5mm fisheye. 
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bLD1IV:sugarspiceandcursewords
replied to your post “sugarspiceandcursewords
replied to your post “torrilin:

…”
I am slowly figuring out ISO settings! I actually went full manual a few times on my summer trip because I just couldn’t get the camera to do what I wanted in aperture mode. Big step for me, because my entire photography experience has been trial and error and Google. But yes, it’s amazing how little light a modern DSLR really needs to get a usable shot. This is all fascinating. :-)

Oh yeah, I use manual mode a little bit. Actually I tend to use the exposure compensation button because I can toggle that without changing my grip on the camera. It depends where the controls are on yours. One of the things the D7100 has going for it is just more control wheels, so you can adjust more of the settings with only one or two buttons instead of going into a menu. So I do a bunch of that. (Exposure comp is probably pretty easy on the 5300 too? It’s the button that says +/- on it. All it does is tell the camera to adjust lighter/darker than the light meter, and it’s usually in increments of a third of a stop. I do this sometimes just automatically– if I ever put a super wide-angle on, I adjust down if I’m outdoors to factor in the sky, and up if I’m indoors because dark walls/floor.) 

One of my coworkers used to teach beginning photography seminars to customers, and his absolute and sincere belief was that you should always have the camera in manual mode. Literally everyone else who worked there was like, are you crazy? cameras have light meters, use them. I used to teach remedial seminars at the counter. This is the P mode, it means Programmed Automatic, it means it’s mostly going to adjust as it sees fit but you can specify a few things, like the flash and maybe your ISO. This is the A mode, probably use this– make your settings for your depth of field, and then look to see if your photos are coming out motion-blurred. Large number for group shots, small number for single portraits, zoom in on your viewfinder to see. If you still can’t get what you want, then play with your ISO but don’t forget what you left it on!

(My capsule explanation of ISO was: how fast the sensor responds to light. lower is better for fine detail; higher is faster but clumps pixels together and sometimes guesses wrong when filling in dark areas, so use as low as you can but be aware those numbers go pretty high so use them if you’re missing shots! Better gritty than blurry, you can always fix grain with a filter but you can’t really fix blur.)

That’s all there is to it. Google and trial-and-error. 

Which brings me to my other point: 

buttons-beads-lace replied to your post

“sugarspiceandcursewords replied to your post “torrilin: …”

that is a super cool photo and yeah, I would have assumed it wouldn’t be possible to get the fire and the dude in a picture together without the fire being super bright and the dude being too dark to see.

Ha that’s because I took like a hundred pictures of him and tried a different setting on each one. That’s the true revolutionary-ness of digital– not that it’s so much technically superior, but that you can literally take a thousand pictures of something for fun and not spend any more than a few cents on electricity to recharge the thing. You can just erase the ones that didn’t come out, or not– memory storage is cheap now.

That was the thing I had to kind of hammer into some customers, who’d be like “but some of my photos come out bad!” Yes. Most of your photos will come out bad. That’s why you bring a huge memory card, keep shooting, and throw most of them out. There is nobody who just takes a flawless photo every time. You always take minimum three. How many photographers do you know come to an event, take a single photo, put their gear away, go home? No! You figure one in ten good shots is a phenomenal average. And i don’t mean, the others were lackluster. I mean, the others were unusable. Backs of heads, nothing in focus, black, solid gray, blurry to unrecognizability.

I took 15 photos of this girl’s performance, and this is the only one I liked.

I knew what I was doing and I made my adjustments based on educated guesses and I still only got the one that I really liked. 

Hey. At least i got one I liked.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2c2Bb3d:
I think chapter 6 is done. I took a break from it, I read it again, I still have no perspective. Ugh.

Kicking around ideas for going out of town for the weekend, but I kind of want to stay home, but I worry I’ll freak out and spiral into unproductivity at home. we’ll see. let’s hope I don’t. I’m feeling… it’s not that I’m better today, it’s that I’m not trapped at work being useless, so maybe I can kinda rise above all of that. Spending hours staring at my own body of photographic work last night kind of helped and kind of didn’t, I can’t tell.

I want/need to make insulated wall hangings for the yurt because I want to leave it up through the end of November, and last year being in it in October was a little tough, because it was 30 F some nights. With better insulation, that’d be easier, I think. And i have all these materials.

I did get started on one ceiling hanging I wanted to do– cut open a half-circle skirt I don’t wear, and cut batting and canvas to fit as insulation and a back lining. Now I have to quilt it together, and i don’t know how to do that. I might attempt a tied-quilt kind of thing? but I don’t know how to do that. We’ll see.

The next thing is convincing myself it would be okay to cut into actual fabric yardage. I just don’t believe that it’s okay, and I know it is. I own this fabric, it’s okay to use it for something. I don’t have to save it.

That’s probably my number one failing as a crafter: if I get something nice, I firmly believe I have to Save It. And like. OK, I get not using a nice thing to make a test piece that might not work. Sure. But. 

I’m making flat wall hangings that are going to be suspended from curtain hooks. It is literally not possible to fuck that up irredeemably. I can use the nice fabric for the trial run if I want. 

And the “nice fabric” was on sale. I can get more.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bTOqkz:kiwisson replied to your post “I think chapter 6 is done. I took a break from it, I read it again, I…”

a tied quilting tutorial that i’m sure can be adapted: http://ift.tt/2bNh9Ki

HA THANK YOU

I had resisted Googling a tutorial because what happens with me is I open a window and I browse the Internet pointlessly for an hour or two, and then  maybe i go do something else and come back, and try again, and maybe i google this time, and then I have to read everything I find, and then I can’t close the tab because it might be something I could use eventually, and then I finally open a new window and try again, and it’s usually a twelve-hour process and it’s been three days and i don’t remember what it was I wanted to do but I have sixteen new projects half-planned-out.

So seriously thank you, I know that site and I know I could have gone there but I wouldn’t have thought to and anyway. It can’t be ADHD because women don’t get that, but I can’t be trusted to Google shit.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bTRsXz:kiwisson replied to your post “I think chapter 6 is done. I took a break from it, I read it again, I…”

as for the “don’t Waste the Good Stuff” the only thing that helps me is that knitting is pretty easy to rip out if you mess up. this is why i will never actually be good at sewing. it’s too scary.

and

unicornduke said: yeah the only way I forced myself past Saving the Nice Yarn was to make so many things with cheap yarn that I got bored of working with it and felt I had enough skill to do things. But most yarn is pretty cheap in general and people give me it as christmas gifts so its a bit easier than with fabric

ah see. Knitting is terrifying to me because it takes SO LONG before you see any results, and you don’t know until you’re done whether the thing is going to be the right size/shape, and I just can’t envision it. It’s all the process, and no real idea as you’re going. My mother is a champion knitter, and even she sometimes just– it’s $200 worth of yarn in this sweater, and like 60 hours of labor, and sometimes oops, it’s just not the right shape, gotta either rip it all out and start over or consign it to the Dutifully Wear It Once bin, sorry!

I can’t. 

Sewing, you can tell pretty much right away if it’s the right size, and it’s possible to have a wearable garment in literal minutes. 

I can’t read a pattern. I mostly make things that are either refashions, or I figured out what shape it should be and made that. Most of my early experiments were historical patterns where there’s really no cutting of fabric. And there’s a lot you can fudge, in sewing. A ton of what I do is try it on, pinch and pin the seam that’s too loose, sew it at the new spot, try it again, and hey presto close enough.

I don’t dress *well*, but RTW fits me like that anyway, so I might as well. 

Yarncrafting is some form of dark magic I can’t fathom. You have to count things, it’s straight out for me, no way. 

But. Fabric. Even if it was cheap, I still have trouble making myself cut something up. 

It’s just so dumb (and predictable) how sweatshop-made clothes are basically free (I just bought a brand-new t-shirt and including shipping it was $3.83, in my size, made of cotton and polyester chiffon, with a detailed neckline and embellishment, brand new, sized for a 50″ chest. The material and notions for such a thing would be $20 minimum, and it would take me probably twelve hours including binding the neckline) and raw materials are primo-expensive. So. I mean. 

It’s dumb though because sometimes refashioning is even harder. I have a few things saved out that I’m terrified to start working on because then I won’t have them anymore. They don’t fit me! I can’t use them! They’re not really going to go to any kind of good home if I donate them! I am risking literally nothing by cutting them up, but I can’t bring myself to.

Anyway, I pin-basted that skirt to the backing, and now I need to sit down and sew it together and figure out what I want to do with the edges, if I want to bind them or tape them or what. It can literally be WHATEVER, because this is not meant to be a washable item. I can glue the fucken thing, it doesn’t matter. But I want to make it usable, so. I gotta think it over. At least I progressed. 
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2cycpeo:
John Stark: Either we beat them here, or Molly Stark sleeps a widow tonight. Weird motivational speech dude.
Bennington Monument: ten bucks to go up it, you can see my house from here maybe
day-old chicks
my aunt, the baby of her family, looks at my sister, the baby of hers; they closely resemble one another
sister in the Gothic, that's what that thing is called, it's a hoop house technically?
Blue Benn Diner, Bennington VT
Young pigs, Farm Baby
ASA Annual Dinner, Easton NY
Farm Baby makes drawings in the dirt. half the time she says "don't step on these!" half she says "step on these!" Is she doing magic?
Peanut Butter, the breeding boar. Not a small hog but they get bigger.
Just got these off the camera. Random July pictures, including Bennington VT, the ASA fundraising dinner, and assorted farm events.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2cnDSvo:
terpsikeraunos:

friendly reminder that “kudos” means “glory” in ancient greek, so if you give someone kudos you are wishing them renown on the battlefield
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2cypTH1:torrilin
replied to your post “sugarspiceandcursewords
replied to your post…”
If I’m shooting easy stuff, I can be very fast. Sleeping dog? I can totally get a cute picture in a few seconds. But an awake dog playing with a good friend? I’ll be lucky to get 1 picture that works. And even then my hit rate is miles better than in film days when dad would hand me the camera to try and get photos of his model airplane stuff. You could blow through 30 exposures and get nada.

I mean… action photos. Bane of existence. You have to have all your settings just right, and then you wait for the thing to be approximately the right spot, and then you blast away until it’s gone again, and only then do you get a chance to check and oh. your settings. not actually right. fuck. 

Sports are great because the motion is repetitive. I learned with derby that I was only gonna get good shots at one spot on the track so I didn’t even bother pointing my camera other places (well. after a lot of learning process and failed photos, lol). Parties and stuff, sometimes I do that, I just set myself up at a spot and wait for subjects to do something cool. The longer the lens, the more of that I have to do, because I can’t wait for something cool to happen and then try to capture it. 

(a wide lens, you can kind of stand in the middle of action, and wait for someone to react. a long lens, you gotta be more of a creeper and stand back and watch, but you’ll get more flattering portraits and more striking images. wide angle is really cluttery, there’ll be overwhelming detail just because #1 everything’s in the frame and #2 everything’s in focus, it’s the nature of the beast.)

 Weddings, formal stuff like that, you have an edge because people are going to do some pretty ritualized things in a predetermined spot, so you kind of know where the action will be, though your opportunities to capture it are a lot more fleeting. (This is why you scope out the location and ask where you should stand and get permission to use a flash or not, and take test shots with or without the flash, etc.)

Animals playing? Way harder. Children too. Best shot is if you know there’s a thing they’ll play with, and you can get into position and wait for them to come to it. But you may not get anything.

(Adults playing can be easier, because they’re not as short and their attention spans are usually longer, LOL, but I’ve learned– for drunks, you need a wide-angle and an open mind.)

Random just documentary-style shooting trying to document anything interesting that happens = No Matter What, You Have The Wrong Lens On Your Camera, Ha Ha, Sucks To Be You. Literally No Matter What Lens You Have On Your Camera, It Is Wrong. (You can mitigate this with an all-in-one like the 18-270 I have, but it’s not so great in low light, and while it does everything, it doesn’t do any of it well perfectly. I use it a lot, though, because at least I get *a* shot.)

Yeah, back in film days I did a whole lot more static and posed stuff, because motion was really pretty much impossible. First off film was slow as hell and there was never enough light, second off every missed shot was about fifty cents. 

Now, though. You can just– go nuts. I love it. When I am in a position to love things. 

But I was going through my photos from the farm and there are whole days where all I have are four or five blurry unsatisfactory shots of something, and nothing that came out. Sometimes, you just can’t. 

And if you mostly take documentary-style photos, if your style is clean/transparent/minimal/Realistic enough, this is the sort of trap: people forget that you took them. They just– are images of things that happened. People take them for granted. I started watermarking derby photos because everyone saved them to their own facebook pages, and often gave no credit at all, or credit to a different photographer, because they genuinely didn’t know or care. And you can’t blame them, but– that’s not the camera, that’s my eye and my equipment and my timing and my edits. That’s not an event, that’s an image I took during the event. That’s not dispassionate Reality, that’s my interpretation. I don’t even necessarily care about my Artistic Vision or whatever, I just want people to think, as you view these images, that there’s a layer of remove from reality there. 

In order for me to take that picture, there has to be something I saw, there. I made choices. Sometimes the derby photos were political in various ways, and I always pointed out that I was incapable of taking neutral photographs, because I was not a neutral observer.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2c2blNT:
hahaha I JUST hit preview on it. I might pause for dinner but I’ll have it up within probably an hour. :)
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2cnYe7z:

“Who are you?” the person asked. “I mean, you can’t really be Poe Dameron.”

“Why not?” Bolt asked. He was still sort of fuzzy on what was going on. At a time like this he actually missed the stimulants. “I could be. I never had a real name before, maybe I could just steal one.”

The person’s smile went a little crooked. “Are you— were you a Stormtrooper?”

“No,” Bolt said, offended, but then he deflated. To regular people there wasn’t really a difference. He scrunched his face up as he thought about it. “JN-4002,” he admitted. “TIE pilot.”

“Oh, wow,” the person said. “I flew one of those for like, five minutes. It was awesome . They’re so fast!”

“Ha,” Bolt said, “I just flew an X-Wing for the first time, and it was like trying to fuck a liferaft down a trash chute without using your hands. I couldn’t even get the fucking thing pointed anywhere near where I wanted it to go.”

I’m in final edits here. I can’t think about this any longer so I’m going to just post it. 

Y’all probably have lives and won’t read it tonight but I’ll try to remember to shamelessly self-promote and reblog it. I dunno, Monday morning maybe? We’ll see. 

One more once-over and then I’ll hit the button. I feel like I’m missing something important.
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bUigqD:
I can’t focus enough to proofread this any longer so apologies, I hit the button anyway. 

Chapter Six: My Race Is Nearly Run

One hopes we’ve reached the point where the plot can’t thicken any further and starts to resolve. One might hope that in vain, but one hopes regardless.

“I know the difference between a forlorn hope and total futility,” Poe said. “But, I mean, if you really insist.“
dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
via http://ift.tt/2bUijm4:
exuberatrix reblogged your post and added:

HOLY SHIT, I WHOOP-SHRIEK-SNORTED with delighted…

I assure you, Poe made approximately the same noise, but Bolt’s POV is a little distracted so he only reports the snorting part.

Profile

dragonlady7: self-portrait but it's mostly the DSLR in my hands in the mirror (Default)
dragonlady7

January 2024

S M T W T F S
  1 2 3 4 5 6
7 8 9 10 11 12 13
14 15 16 17 18 19 20
21 22 23 24 25 2627
28293031   

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 20th, 2025 09:17 am
Powered by Dreamwidth Studios