Daily Quote, klbc is ms.K, Photography, Travel, Vietnam

Summer’s filled with breaking the rules, standing apart, ignoring your head, and following your heart.

Việt Nam

Quảng Nam province – Đà Nẵng, Việt Nam

Summer break. Where you drink triple, see double, and act single.

While we’re young and beautiful, living free and easy. Here without a worry, dancing in our bare feet because when the summer’s done we might not be so young and beautiful. ♥ ♥ ♥ Sleep all day. Party all night. Never grow old. Never die. ♥

♥ ♥ ♥ ♥ ♥ Go crazyyyyyyyyy ♥ ♥ ♥ ♥ ♥! Yay!!!!!!!!!!!!!!

( to K: Oh oh…my dear…..you just said so…somehow do it properly =]] )

Summer’s filled…

Quote
klbc is ms.K, Travel, Vietnam

Vietnamese Floor

Đi le te mới thấy Văn hóa Việt Nam mình rất ngộ, rất tổng hợp :”>

Trò chuyện ban trưa, chủ đề hôm nay là: FLOOR của các nước chúng ta =))

PBK: rất ngộ là t phát hiện ra TQ xài Floor giống Anh. 1st Floor = ground Floor

Alex: Ờ, đúng, trong khi Mỹ zà Pháp tụi t, Ground floor là ground floor, trên ground floor là 1st floor

SB: thiệt là quái gỡ! Làm sao  Ground floor = 1st Floor được!

Loyal: Nói túm lại là Ground Floor của TQ = 1st floor của Anh và 2nd floor của TQ = 1st floor của Pháp và Hà Lan. Vậy đi!

bla bla bla…..

K [cười trong bụng] Zị là VN mình là nhất! Mình có TẦNG và mình có LẦU. TẦNG TRỆT của mình là TẦNG 1 và = ground floor và 1st floor của TQ và Anh. LẦU 1 của mình = 1st floor của Mỹ, Hà Lan và Pháp. Hé hé hé hé!

Image

—-

blah blah blah…..

PBK: Nước mài xao K?

K:…..[nói sao trời hỡi…tiếng lòng gào thét]….ờ tụi teo xài cả 2

PBK:…..

Standard
klbc is ms.K, Photography, Travel

A GUIDE FOR NATURE PHOTOGRAPHERS

INTRODUCTION

Image

Imagine an exposure computer so advanced that it uses your eyes as a sensor. The processing unit is as powerful as your brain. The computer is accurate over a light range from reflected starlight through the light produced in a hydrogen fusion reaction. This computer weighs nothing and operates without batteries. It comes with instructions to allow you to implant the capabilities of the computer directly into your own memory so you can accurately judge a correct exposure by simply looking at the type of light that the subject is in. You are using this computer right now!

Everything I’ve said above is true. However, I’m sure you’ve noticed that the only thing before your eyes is a World Wide Web page. An entire photographic industry has been built by convincing consumers that the subject of photographic exposure is so arcane, difficult and impossible to understand, that it is best left up to technology. This, of course, allows companies to sell billions of dollars worth of equipment to figure it all out for you.

The fact is that the concept of photographic exposure is extremely simple. It can be mastered by anyone who can multiply or divide by two. Everything you need to know is contained on these few Web pages.

Knowledge of photographic exposure is essential to controlling the creative side of the photographic process. This knowledge increases the chance that the photograph that comes back from the lab is the one you envisioned when you pushed the shutter release. Your camera or light meter can not make creative decisions for you. If you want to control the creative side of photography, you need to understand the interrelationship of Exposure Value, film speed, aperture and shutter speed. You must have this understanding even though you own the most sophisticated equipment available. I have watched photographers (amateur and professional) struggle with this subject for a number of years, confused by the misinformation that abounds in the photographic press. I decided to publish this document to clarify, simplify and demystify the issue.

But first, a word about copyright. This document is copyrighted. In order to keep the cost down, it has been published in a form that would be easy to copy. Copyright law strictly forbids copying this document. You may print a copy or two of the Ultimate Exposure Computer to keep in your camera bag for personal use. In fact, I would encourage it. All I ask is that you send me an e-mail (fred at fredparker dot com) to let me know that you’ve downloaded this document. If you get a chance, drop me another e-mail after you’ve worked with it and let me know if you have any suggestions. However, please do NOT make copies for your friends, students or any other person. Originals are inexpensive and easy to obtain. If you have a related site (commercial or otherwise) please hyperlink to this site for access to this document. If you download all or part of this document and post it directly to your site, it will be assumed that you have decided to purchase redistribution rights, which START at $3500. Thanks!

WHY YOUR LIGHT METER LIES TO YOU

Light meters can be less accurate than you might imagine. Their response to various colors of light may not match that of your film. Their response in low light and high light conditions may not match response at the mid-range of light. But the worst characteristic, for practical purposes, is that all reflected light meters make one basic (erroneous) assumption. They are calibrated to render an exposure that will make the subject look like a middle tone in the resulting photograph.

How do you compensate for the fact that your meter is lying? You have to lie to your meter. If you are photographing a light toned subject, such as snow or sand in bright light, you must convince your meter that it is looking at something even lighter than your subject, so that the meter’s attempt to make it a middle tone will result in the right tone. The same is true for dark objects. You must tell your meter that the object is darker than it really is so that the meter’s compensation will register the correct tone in the photograph.

You can tell this white (or black) lie to your meter in a couple of ways. You can meter a middle-toned area in the same light as your subject and manually set your camera accordingly. You can lie to the camera outright by telling it that it is using film of an ISO rating different from what is actually in the camera. For instance, if you are using ISO 100 film and are photographing a light subject, you would tell the meter that you have ISO 50 film. If you are photographing a dark object, tell your meter that you have ISO 200 film in the camera. This method works well for cameras in automatic exposure modes. Be careful to tell your camera the truth if you move to a middle toned subject.

Another way to get the right exposure from a lying meter is to politely ignore it. Switch from automatic to manual exposure (a good idea anyway) and simply move to the next larger aperture or the next slower shutter speed (for a light object) or to the next smaller aperture or faster shutter speed (for a dark object).

So it goes. Your meter deceives you, so you deceive it. But what kind of relationship is this? The Ultimate Exposure Computer does not make erroneous assumptions, because you tell it what type of light your subject is in. As long as you tell it the truth, it will not lie to you. Definitely a better relationship.

There is a chance that the preceding section may have confused you. If that is true, don’t worry about it. The next section defines Exposure Value, film speed, shutter speed and aperture (f/stop) and describes the interrelationship among these factors. After you’ve read the next section, revisit this section again, because the concept is important.

EXPOSURE VALUE, FILM SPEED, SHUTTER SPEED AND f/stops — What Are They?

Each of these four factors is represented by a series of numbers. Your camera may have only a portion of each series indicated.

Exposure Value:

In most light meters, photons of light that are reflected from your subject put pressure on a photo-sensitive receptor in your light meter and are converted into electricity (this is why some meters do not require batteries). The greater the number of photons, the greater the electricity that is produced. Internationally accepted standards specify exactly how much light pressure equals a certain EV number. This value is measured by the following number series (for ISO 100 film):

1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23

Easy! However, even though this appears to be a linear progression, each number represents twice as much light as the numbers increase. This provides an easily memorized scale to clarify the concept of “absolute value of the amount of light falling on a subject”. This term is related to illuminance, footcandles and lumens. But it doesn’t matter. If you are using a light meter this number is irrelevant, and you can ignore it. You may never see these numbers, because the meter uses them internally to calculate a set of combinations of shutter speeds and apertures. However, knowledge of Exposure Value can significantly enhance your ability as a photographer. The Ultimate Exposure Computer gives you the knowledge to take control of your photographs. See the section “Throw Away Your Light Meter!” for details.

In order to be useful, this Exposure Value number must be converted into an f/stop and shutter speed combination that will provide the proper exposure for the film speed you have chosen. The relationship between these four elements is represented in the Ultimate Exposure Computer.

Film Speed:

Film speed is a number that indicates the sensitivity of film to light. Film sensitivity is measured by a set of standards established by the American Standards Association (ASA) or the International Standards Organization (ISO). For all practical purposes, the ASA and ISO numbers are interchangeable. In general, films with a higher sensitivity (larger number) have coarser grain and do not register detail as well as films with lower sensitivity (lower number). The number series for film speed is:

25, 50, 100, 200, 400, 800, 1600, 3200

Pretty straight forward! Moving to the right, each number is twice the preceding number, and represents twice the sensitivity to light as the preceding number. There may be some intermediate steps (such as 64 or 125) on your dial. Set the light meter or camera for the same number that is on the film. Your camera may do this automatically.

This leaves only two things to adjust to achieve the correct exposure while making a photograph; shutter speed and aperture (f-stops). Shutter speed and aperture are very important to the creative photographic process.

Shutter Speed:

Shutter speed indicates how long the camera shutter remains open to let light onto the film. The number series for shutter speed is:

15, 8, 4, 2, 1, 2, 4, 8, 15, 30, 60, 125, 250, 500, 1000, 2000, 4000, 8000

This looks more complicated, but it’s actually straightforward. These numbers are whole seconds or fractions of seconds. They aren’t expressed on your shutter speed dial as fractions to save space, so they should read as below:

15, 8, 4, 2, 1, 1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000

Again, each number moving to the right is half the value of the preceding number, and represents half as much light as the preceding number.

There is an important rule regarding shutter speeds:

If your shutter speed is slower than the reciprocal of the focal length of your lens, you must use a tripod.

For example, if you are using a 200 mm lens, your shutter speed must exceed 1/200 second (I.E. 1/250 or faster). If not, you should use a tripod. If your subject is moving, double this shutter speed. If you are moving (such as in a boat or plane) triple the speed. If you are doing macro work (.25 magnification or greater), always use a tripod. If you’re using a format larger than 35mm, use a tripod. To be safe, weld your camera to the tripod. If you are a serious nature photographer you will always use a tripod, anyway. A tripod will allow you to make photographs with slower film speeds. Slower film speeds equate to better detail and sharpness in your photographs. More important, using a tripod makes you slow down and allows you to examine your composition more carefully. Modern electronic cameras may lack certain features of the older, mechanical cameras (such as a button that allows you to see the depth of field that will be present in your photograph), but every camera has a tripod socket. You’ll make better photographs if you use it.

Aperture (f-stops):

Aperture refers to the size of the opening inside the lens that the light must go through to reach the film. Aperture is measured in f/stops as indicated in the series below:

1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 45

This looks tougher, but the solution is the same as for the shutter speeds. These are actually fractions. They should read as follows:

1/1, 1/1.4, 1/2, 1/2.8, 1/4, 1/5.6, 1/8, 1/11, 1/16, 1/22, 1/32, 1/45

Like the shutter speed series, each progression represents half as much light (moving to the right) as the preceding number. But why do the numbers look so odd? I recommend that you ignore it, because it doesn’t matter anyway. Just accept that each progression represents half as much light as the preceding number.

If you are curious as to how we got to such a seemingly illogical progression of numbers, read the following three paragraphs. If you aren’t curious, you can safely skip them.

The numbers represent the ratio of the focal length of the lens to the diameter of the lens diaphragm opening. That’s why it’s called an f(ocal)/number. The designation “f/2” means that the diameter of the aperture is 1/2 the focal length of the lens. The designation f/32 means that the diameter of the aperture is 1/32 the focal length of the lens. f/2 on a 100mm lens means that the diameter of the diaphragm opening is 100/2, or 50mm. Unfortunately, the amount of light reaching the film is dependent on the SURFACE AREA of the opening NOT the DIAMETER. As you no doubt learned in high school, the method of calculating the surface area of a circle is Pi times the radius, squared (Pi is approximately 3.14; the radius is half the diameter, squared means that the number is multiplied by itself). Therefore, in our example, the surface area of the opening would be 3.14X25X25, or approximately 2000 sq. mm.

Now, let’s look at the next f/stop, which is f/2.8. 100/2.8=35.7mm. The surface area would be 3.14X17.85X17.85. If you multiply it out, you will see that the surface area is now approximately 1000 sq. mm, or HALF the surface area of f/2.Therefore, each succeeding smaller aperture lets in half as much light as the previous f/stop.

The reason we use the ratios instead of the actual surface area of the diaphragm opening is that the actual surface area would be quite different between lenses of different focal lengths. Photographers would have to memorize a series of numbers for each focal length lens they owned. Think about what you’d have to do with a zoom lens! Ratios allow us to use the same number series for all of our lenses. f/2 on a 100mm lens lets in exactly the same amount of light as f/2 on a 500mm lens. Trust me, f/numbers are the best way to do this. I would still recommend that you simply accept that each successive f/stop represents a doubling (or halving) of light. However, since you’ve read this far, I’ll give you a hint about how to memorize the f/number series. The good news is that you only have to remember two numbers; 1 and 1.4. Double each one alternately and you will have two series:

1, 2, 4, 8, 16, 32 and 1.4, 2.8, 5.6, 11, 22

So, combining the two sequences in numerical order gives the full sequence: 

1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32

What you need to remember is that, within each factor, as you move from one number to the next, the amount of light is either doubled or halved. Some cameras may include numbers between the numbers mentioned above. Those numbers represent half or third stops. For the purpose of what you are learning here, ignore the in-between numbers.

HOW TO USE THE ULTIMATE EXPOSURE COMPUTER

THROW AWAY YOUR LIGHT METER!

Well….. maybe not. But you could if you wanted to. The purpose of this section is to show you how Exposure Value, Film Speed, Aperture and Shutter Speed are interrelated, and why you don’t need a light meter to know the proper exposure.

STEP ONE: PUT YOUR CAMERA ON MANUAL

Automatic cameras are designed to give an average photographer a better chance of getting properly exposed pictures while shooting average subjects in average light, without a tripod to steady the image. These cameras work well for family pictures and many urban subjects. Automatic focus and exposure (especially TTL flash) are extremely useful for some specialized types of photography, such as sports or photojournalism.

Nature photography is a different matter. Many of your subjects will not have “average” tonality. Most of your subjects will not be located in “average” light. Many times your subject will not be in the center of the frame (where an automatic camera takes its light readings). However, the most important reasons for putting your camera on manual while photographing natural subjects are:

1) There are times when you will want to stop motion, such as a flower waving in the breeze. Other times you may want to exaggerate the effect of motion, such as when photographing flowing water. Decisions about these matters address APPARENT SUBJECT MOTION. This is controlled by the shutter speed. Faster shutter speeds stop action better than slower speeds (1/1000 second will stop most motion, while 1/8 second will blur even slow moving subjects).

2) Sometimes you will want everything in focus, such as a foreground flower AND a distant mountain. Sometimes you will want the flower to be in focus while keeping a busy background softly out of focus. When you make this type of decision, you are considering DEPTH OF FIELD (the distance in front and behind of the subject that is acceptably in focus). The aperture (f/stop) controls the depth of the image that is acceptably in focus (f/32 keeps more of the subject in focus than f/2).

You must make these aesthetic choices. The camera has no way of knowing what you want the photograph to look like. Remember that the camera’s automation is designed to make technical decisions based on average subjects in average light. It is not designed to make aesthetic choices regarding natural subjects (which are rarely “average”).

Because of these factors, the same camera that will give you dozens of perfect photographs of your children opening birthday presents will churn out dozens of badly exposed nature photographs that look nothing like what you experienced in the field. The only way for you to get good results in nature photography is for YOU to make the choices.

Get your camera. Purchase two sets of batteries and install one set in the camera. Do this even if you changed batteries last month. Keep the spare set with the camera, always. Keep a copy of the Ultimate Exposure Computer with the camera and the batteries.

Find your instruction manual. Now comes the hardest part of the entire process (unless you’ve lost the manual). You must find out how to set your camera body to its “manual” setting. I can’t help you here. Good luck and congratulations! You’ve just taken the first step toward becoming a serious nature photographer!

STEP TWO: A TOUR AROUND THE ULTIMATE EXPOSURE COMPUTER

CHART A: Take a look at Exposure Value Chart A. The left column of the chart contains the Exposure Value (EV) numbers. The right column of the chart contains some lighting situations that equate to EV numbers. The chart ranges from EV -6 to EV 23. This represents a range of light from below reflected starlight to the brightest light in the Solar System.

Notice that most daylit subjects fall within a narrow range from EV 11 to EV 15. It is a good idea to memorize the characteristics of these daylight Exposure Value factors. Pick a favorite lighting situation, note the EV and turn the Ultimate Exposure Computer over to Chart B.

CHART B: Exposure Factor Relationship Chart B shows how Exposure Value, film speed, aperture and shutter speed are related.

On the left side of this chart, along the top row, are the ISO/ASA film speed numbers. Pick the film speed you use most often. Starting with that film speed, move down the column until you reach the EV number that you chose from Chart A. Now move to the right along the row until you cross the double line. To the right of the double line is a row of shutter speeds. As you will recall, a fast shutter speed stops motion, while a slow shutter speed enhances the effect of motion. Choose an appropriate shutter speed for your subject. Now, move straight up the column to the top row to find the aperture (f/stop) for use with the shutter speed. Enter your chosen shutter speed on your camera and set your lens to your chosen f/stop. It’s that easy!

Example 1 — A Typical Day In The Life of a Nature Photographer

Suppose you are in the field photographing with ISO 100 film, and the battery in your camera just failed. You can’t take any light readings, and you only have one mechanical shutter speed (1/125 second). This situation is extremely unfortunate, since you just stumbled onto an extremely rare species of flowering plant that blooms for one hour every hundred years. It’s in full bloom. The sky has started to cloud over and things look bleak. Have no fear! Your Ultimate Exposure Computer will save the day! You already know from Chart A that subjects under heavy cloud cover are at EV 12.

Look on the left-hand side of Chart B. Locate ISO 100 film along the top row. Look down the column until you find EV 12. Look along the row to the right of EV 12 (across the double line) until you find the shutter speed you are looking for (your mechanical 1/125 second). Move straight up the column and find that the aperture of your lens should be set to f/5.6. Easy! No light meter required!

But wait! Suppose the f/stop you landed on isn’t on your lens. Or perhaps the f/stop you landed on offers too much or too little depth of field (the distance in front and behind of the subject that is acceptably in focus). In that case, move to an appropriate f/stop along the top row to achieve your desired result. Then move down the column to the row represented by your original choice of film speed and EV number. At that intersection you will find the appropriate shutter speed for the desired aperture.

Perhaps this exercise indicates a very slow shutter speed that cannot be hand held. That means one of two things. You must put the camera on a tripod (where it should have been to begin with), or you need to determine the proper film speed to use for your photographic situation.

Example 2 — Planning Ahead

The Ultimate Exposure Computer is useful for several photographic tasks, such as planning a shooting session. For instance, you may know that you are going to be shooting scenics of a field of flowers with mountains behind. It will be a sunny day (EV 15), but the wind will be gusting to twenty miles per hour. You need a small aperture to get the greatest depth of field (the distance in front and behind of the subject that is acceptably in focus), but you will also need a fast shutter speed to stop the motion of the flowers in the wind. What ISO film speed will you need to do the trick?

Go to the upper right of the Table B. Find f/22 aperture for maximum depth of field. Go down the column until you reach a shutter speed fast enough to handle the flowers in the wind (1/125 second). Move to the left along the row (across the double line) until you find the correct Exposure Value (15). From there, move up the column and find that ISO 200 speed film will solve your problem.

STEP THREE: USE THE ULTIMATE EXPOSURE COMPUTER WISELY

The Ultimate Exposure Computer is designed for use in existing light. If you need to use flash, or you are taking bellows shots, by all means use a camera with a through-the-lens meter. When using flash, use the manufacturer’s dedicated flash unit that allows through the lens control of the flash. Those situations are excellent reasons to use the meter in your camera. Some of the lighting situations described in Chart A occur outdoors during daylight. In these cases it is assumed that the sun is at an elevation greater than forty-five degrees. If the sun’s elevation is less than forty-five degrees, you can use the next lower Exposure Value, although you’ll probably like the results of using the chart without modification. For some films, exposures involving shutter speeds in excess of several seconds may require additional exposure because the film’s sensitivity decreases with continued exposure to light for long periods (this is called “reciprocity failure”). Light meters do not correct for this phenomenon, because it varies according to the type of film. Consult the manufacturers’ specifications for details. There are some tricky exposures where you can improperly expose the film whether you are using a camera meter or the Ultimate Exposure Computer. Many of these situations are addressed in “What to do in Tricky Light Situations” in Appendix A.

THE FINAL STEP: THROW AWAY THE ULTIMATE EXPOSURE COMPUTER!

The Ultimate Exposure Computer is easy to use and extremely accurate. But there is an easier way. Why not memorize the whole thing? It’s a lot easier than you may think. This section will show you how.

There is a rule called the “Sunny f/16 Rule”. It says:

On a bright, sunny day, the correct exposure for any subject is f/16 at the shutter speed nearest to the reciprocal of the film speed.

For example, if you are using ASA/ISO 100 film, the correct exposure would be 1/100 second (or rather the closest available shutter speed – 1/125 second) at f/16. The next three paragraphs address this example.

We know that a bright, sunny day equals EV 15. The “Sunny f/16” rule gives us an anchor point to use in mentally calculating the entire contents of Chart B, since it contains all four elements of exposure: Exposure Value (EV 15), film speed (ISO 100), aperture (f/16) and shutter speed (1/125).

From that anchor point, it is easy to calculate any other set of correct exposures. We know that each step up or down in one variable represents a doubling or halving of the amount of light required to make a correct exposure. For example, an overcast day would halve the light falling on the subject (EV 14). If the light reaching the film is cut in half, ONE other variable needs to be changed to increase (double) the amount of light. In this case the shutter speed could be reduced to 1/60 second OR the aperture could be increased to f/11 OR the film speed could be increased to ISO 200. Any ONE of these corrections would provide the correct amount of light. Make the correction that best suits your photographic purpose (decreased depth of field — the distance in front and behind of the subject that is acceptably in focus — or enhanced apparent subject motion).

In the same sense, a change in any of the variables can be offset by a reciprocal change in any other variable. For example, you may need a faster shutter speed to stop some action. If you choose 1/500 second, the light will have been reduced by two steps (cut in half from 1/125 to 1/250 and cut it in half again from 1/250 to 1/500). You could compensate for this by opening up the aperture two steps (from f/16 to f/11 will double the light and f/11 to f/8 will double it again). You could make the same correction by increasing the film speed by two steps (from ISO 100 to ISO 200 doubles the light and from ISO 200 to ISO 400 doubles it again). Or, you could increase the aperture to f/11 AND increase the film speed to ISO 200. Again, make the adjustment that best suits your purpose.

Now, let me say that the “sunny f/16” rule is one of the most misunderstood rules in photography. I have heard very competent professional photographers say that the rule is based on reflected light. Nonsense! The rule is based on the light falling on the subject (incident light) not the light reflected from the subject. The rule gives precisely the same measurement that you would get from an incident meter or a reflected meter using a perfect gray card. If your subject is very light or dark, you will need to adjust exposure to bring it within the five stop range of transparency film. But you would also have to make an adjustment from a reflected reading in the same circumstance. The difference is that an incident light measurement is a consistent anchor from which to adjust. A reflected measurement is much more subjective and prone to error. I have also heard that the “sunny f/16” rule doesn’t work for backlit or sidelit subjects. This is also false. Just open up a half stop, and make a series of exposures in half stop increments one and a half stop above and below the correct exposure. This is called “bracketing” and it is an important concept. You should always bracket in difficult situations. Anyone who says differently is misleading you. See the section on “Difficult Exposures” for guidelines.

The “sunny f/16” anchor point, combined with your knowledge that each change of one step in a factor doubles or halves the exposure, makes it easy to select a correct exposure for any photographic situation you may be confronted with.

Practice this technique with the Ultimate Exposure Computer in hand. Look at (or imagine) a photographic situation and try to mentally figure out the correct exposure using the “Sunny f/16” anchor point and any adjustments you feel are necessary. For the purpose of this exercise, it is best to concentrate on EV 11 through 16 (where most of your outdoor photography will occur). As you perfect your accuracy in this range, you can move on to more exotic lighting situations. Write down the factors (Exposure Value, film speed, aperture and shutter speed) that you believe will make the best exposure. Consult the Ultimate Exposure Computer to assess the accuracy of the calculations you made mentally.

With a little effort you will soon be achieving close to 100% accuracy, without the use of a light meter or any other exposure aid. The more you practice with the Ultimate Exposure Computer, the sooner you will be able to simply look at a lighting situation and immediately know the correct exposure for the job.

Once you have mastered this technique, you can use it to judge the accuracy of the light meter in your camera (or anyone else’s). You will be able to amuse and edify your photographic friends by accurately stating the correct exposure in any situation before your friends can take a reading with their meter!

When you reach that point, the real Ultimate Exposure Computer will be YOU!

WHERE ON EARTH ARE YOU?

I get e-mail from all over. Photographers use this document on every continent. Even Antarctica. People taking photographs far to the north or south of my sunny San Diego, California (USA) location (32d N) have asked me to make charts adapted to extreme (from my perspective) latitudes. Here’s why: If you live anywhere between the equator and about 50 degrees north or south, the charts and tables in the Ultimate Exposure Computer should work fine for you (remember to bracket). Just move on and don’t read the next few paragraphs. If you live further north or south, it should work for you in summer. But things aren’t so simple if you live toward the poles. Light from the sun is diminished by traveling farther through the atmosphere or blocked by the curvature of Earth. Look at it this way: near a solstice, natural light at mid-day can range continuously from “Sunny f/16” at the equator to near dark at one of the poles. So you have the variables of latitude and season and time of day to consider. There are other variables such as altitude and snow cover (partially counteracting the effect of latitude and season).

“So,” you say, “You’ve taken me this far and it turns out this won’t work for me?”   I say, the Ultimate Exposure Computer will NOT let you down. “Well then,” you say, “Are you going to give me some complicated, hashed-up chart that tries to fit in the five variables you talked about?”  Well… Actually I DID try to do this. What a mess! I’m striving for simplicity here, not trying to model the light falling on every square inch of Earth! Fortunately, the solution is simple, because I know something about you that you’ve never admitted to me. You DIDN’T throw away your light meter, did you!!? Hah! I knew it!  Good! Read on!

You can easily calibrate the Ultimate Exposure Computer to fit your exact location. Go outside and take a meter reading (preferably incident or reflected from a standard gray card). Use whatever light is available, but it is best if it’s full sun on a bright day (Sunny f/16). Take a few readings and average them. How many stops difference between your reading and the “Exposure Value Chart”?

Print out two copies of the “Exposure Value Chart” (below). Using a sharp implement (your choice) cut one chart apart, separating the “EV” section from the “Type of Lighting Situation” section. If, for example, your metered reading was two stops below “Sunny f/16” you would slip the “EV” section down two rows. Tape it in place. You now have a chart customized to your latitude, season, time of day, altitude and any other variable you can think of (remember to bracket). You’ll need to repeat this exercise as the seasons and conditions change. This is only necessary for sunlit subjects. Other subjects in the chart will work using the copy you didn’t deface. There are limitations. Here’s just one example: If you’re at McMurdo Station on June 21, you’ll need to find another way to calculate exposure. Drop me an e-mail and tell me how you make photographs. For most of you intrepid poleward photographers. enjoy!

Exposure Value          Chart 

EV

TYPE OF LIGHTING SITUATION

-6

Night, away from city lights, subject under starlight only.

-5

Night, away from city lights, subject under crescent moon.

-4

Night, away from city lights, subject under half moon. Meteors (during showers, with time exposure).

-3

Night, away from city lights, subject under full moon.

-2

Night, away from city lights, snowscape under full moon.

-1

Subjects lit by dim ambient artificial light.

0

Subjects lit by dim ambient artificial light.

1

Distant view of lighted skyline.

2

Lightning (with time exposure). Total eclipse of moon.

3

Fireworks (with time exposure).

4

Candle lit close-ups. Christmas lights, floodlit buildings, fountains, and monuments. Subjects under bright street lamps.

5

Night home interiors, average light. School or church auditoriums. Subjects lit by campfires or bonfires.

6

Brightly lit home interiors at night. Fairs, amusement parks.

7

Bottom of rainforest canopy. Brightly lighted nighttime streets. Indoor sports. Stage shows, circuses.

8

Las Vegas or Times Square at night. Store windows. Campfires, bonfires, burning buildings. Ice shows, football, baseball etc. at night. Interiors with bright florescent lights.

9

Landscapes, city skylines 10 minutes after sunset. Neon lights, spotlighted subjects.

10

Landscapes and skylines immediately after sunset. Crescent moon (long lens).

11

Sunsets. Subjects in deep shade.

12

Half moon (long lens). Subject in open shade or heavy overcast.

13

Gibbous moon (long lens). Subjects in cloudy-bright light (no shadows).

14

Full moon (long lens). Subjects in weak, hazy sun.

15

Subjects in bright or hazy sun (Sunny f/16 rule).

16

Subjects in bright daylight on sand or snow.

17

Rarely encountered in nature. Some man made lighting.

18

Rarely encountered in nature. Some man made lighting.

19

Rarely encountered in nature. Some man made lighting.

20

Rarely encountered in nature. Some man made lighting.

21

Rarely encountered in nature. Some man made lighting.

22

Extremely bright. Rarely encountered in nature.

23

Extremely bright. Rarely encountered in nature.

THE ULTIMATE EXPOSURE COMPUTER

EXPOSURE VALUE

Exposure Factor Relationship Chart B 

       

FILM SPEED (ISO/ASA NUMBER)

         

APERTURE OF LENS (f/STOP)

       
 

ISO 25

ISO 50

ISO 100

ISO 200

ISO 400

ISO 800

ISO 1600

ISO 3200

 

f/1.4

f/2.0

f/2.8

f/4

f/5.6

f/8

f/11

f/16

f/22

f/32

 
  1 0 -1 -2 -3 -4 -5 -6   4 sec 8 sec 15 sec 30 sec 1 min 2 min 4 min 8 min 16 min 32 min  
  2 1 0 -1 -2 -3 -4 -5   2 sec 4 sec 8 sec 15 sec 30 sec 1 min 2 min 4 min 8 min 16 min  
  3 2 1 0 -1 -2 -3 -4   1 sec 2 sec 4 sec 8 sec 15 sec 30 sec 1 min 2 min 4 min 8 min  
  4 3 2 1 0 -1 -2 -3   1/2 sec 1 sec 2 sec 4 sec 8 sec 15 sec 30 sec 1 min 2 min 4 min  
  5 4 3 2 1 0 -1 -2   1/4 sec 1/2 sec 1 sec 2 sec 4 sec 8 sec 15 sec 30 sec 1 min 2 min

 

E

6 5 4 3 2 1 0 -1   1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec 4 sec 8 sec 15 sec 30 sec 1 min

S

V

7 6 5 4 3 2 1 0   1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec 4 sec 8 sec 15 sec 30 sec

H

  8 7 6 5 4 3 2 1   1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec 4 sec 8 sec 15 sec

U

N

9 8 7 6 5 4 3 2   1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec 4 sec 8 sec

T

U

10 9 8 7 6 5 4 3   1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec 4 sec

T

M

11 10 9 8 7 6 5 4   1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec 2 sec

E

B

12 11 10 9 8 7 6 5   1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec 1 sec

R

E

13 12 11 10 9 8 7 6   1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec 1/2 sec  

R

14 13 12 11 10 9 8 7   1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec 1/4 sec

S

S

15 14 13 12 11 10 9 8   1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec 1/8 sec

P

  16 15 14 13 12 11 10 9   1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec 1/15 sec

E

  17 16 15 14 13 12 11 10   1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec 1/30 sec

E

  18 17 16 15 14 13 12 11   1/30000 sec 1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec 1/60 sec

D

  19 18 17 16 15 14 13 12   1/60000 sec 1/30000 sec 1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec 1/125 sec

S

  20 19 18 17 16 15 14 13   1/125000 sec 1/60000 sec 1/30000 sec 1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec 1/250 sec  
  21 20 19 18 17 16 15 14   1/250000 sec 1/125000 sec 1/60000 sec 1/30000 sec 1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec 1/500 sec  
  22 21 20 19 18 17 16 15   1/500000 sec 1/250000 sec 1/125000 sec 1/60000 sec 1/30000 sec 1/15000 sec 1/8000 sec 1/4000 sec 1/2000 sec 1/1000 sec  
  23 22 21 20 19 18 17 16   1/1000000 sec 1/500000 sec 1/250000 sec 1/125000 sec 1/60000 sec 1/30000 sec 1/15000sec 1/8000 sec 1/4000 sec 1/2000 sec  

THE ULTIMATE EXPOSURE COMPUTER

EXPOSURE FACTOR RELATIONSHIP CHART B ©1995-2012 Fred Parker

 

Some Useful Photographic Guidelines

Sunny f/16 Anchor Point: On a bright day (EV 15) the correct exposure for any subject is f/16 at a shutter speed nearest to the reciprocal of the film speed (I.E. ISO 100 film = 1/125).

Doubling Rule: Within any exposure factor (Exposure Value, film speed, aperture, shutter speed) each step is double (or half of) the preceding step.

Tripod Rule: Use one for every photograph. If your shutter speed is slower than the reciprocal of the focal length of your lens (I.E.< 1/200 sec. with a 200 mm lens), use a tripod. If your subject is moving, double this shutter speed. If you are moving (such as in a boat or plane) triple the speed. If you are doing macro work (.25 magnification or greater), always use a tripod. If you’re using a format larger than 35mm, use a tripod. To be safe, weld your camera to the tripod. 

Film Speed: As you increase film speed, problems with grain and sharpness will increase.

Apparent Subject Motion: Increasing shutter speed will reduce apparent subject motion. Decreasing shutter speed will increase apparent subject motion.

Depth of Field (the distance in front and behind of the subject that is acceptably in focus): Increasing aperture (lower f/stop #) will decrease depth of field. Decreasing aperture (higher f/stop #) will increase depth of field.

APPENDIX “A”: WHAT TO DO IN TRICKY LIGHT SITUATIONS 

Front Lighting: Follow directions given in this document.

Side Lighting: Expose for front lighting, exactly as described herein. Bracket in half stop increments to one and a half stops over exposure. No need to bracket on the underexposure side. Alternatively, use a reflecting surface to bounce more light into the shadows. Make decisions based on the tonality of the subject. With a light subject your first exposure should be your best. With a darker subject your last exposure should be correct.

Back Lighting: Where possible, shoot subject in front of a dark background. Use EV 12 as your starting point (there are three stops difference between sun and shade) and bracket in half stop increments one and a half stops to the underexposure side (no need to bracket to the over exposure side — EV12 takes care of it for you). If you must shoot into a light background, your best bet is to shoot a silhouette. Examples are backlit fog on a lake with fishermen in boats in the shot. In this case, start with EV 15 and bracket in half stop increments to three stops on the under exposure side. Your backlit photography will be better if you use a long lens (with an appropriate lens shade!). Make sure your lens is scrupulously clean. If you are shooting people, use a warming filter (such as 81B), and adjust exposure by increasing exposure by 1/2 to one stop.

The Ultimate Backlight — Sunrises & Sunsets: When the sun is in your shot, go for silhouettes. Begin with EV 15 and bracket in full stops to four stops under.

Night Shots: Don’t shoot them at night, shoot at dusk. Look through your camera with the aperture fully stopped down. This has the effect of taking color out of the scene and allowing you to judge tonality more accurately. When your subject and the sky seem to be the same shade of gray, open up the lens and make your exposure. With a middle tone subject, this will usually take place 30-45 minutes after sundown. Use EV9 as a basis for exposure. Bracket in half stop increments to two stops over and two stops under. You will like at least half of the shots.

Shoot the Moon With a Long Lens: Use EV14. Bracket in half stop increments to one stop over and one stop under.

Shooting Scenics in Woods or Where There Are A Lot of Shadows: Shoot under overcast (EV12 or 13) situations.

Fast Moving Subjects — Sports, Etc.: Pick a vantage point that lets you shoot in front light, if possible. Utilize a dark background if available. Use a telephoto lens and a tripod, if possible. Use Chart B to select a film speed that will allow you to use a shutter speed TWICE the reciprocal of your focal length (i.e. a 300mm lens at 1/500 sec).

Shooting from an Airplane or Boat: Use Chart B to find a film speed that will let you shoot at THREE times the reciprocal of the focal length (i.e. 1/1000 sec for a 300mm lens).

Macro or Micro Shots: Make adjustments for loss of light due to extension of the lens or bellows, as given in the instruction manual, or on the lens barrel. Better yet, use your in camera meter! It will need the exercise.

Excessively Long Exposure Times: Times above 10 seconds or so. Here you run into reciprocity failure (a fancy name for “it will take a LOT longer than you think!”) Follow the directions that come with every film package. You will run into this problem whether you are using a meter or not. Bracket liberally!

APPENDIX “B”: EV, FOOTCANDLES AND LUX (for REALLY serious light aficionados).

Those of you who have been involved with photography for some time may have heard the terms “Foot-candles” or “LUX”. You may find these referred to on some light meters. These measurements are used in the film industry, television and industrial lighting. There is a relationship between these numbers and EV numbers. Since you’ve already learned about EV numbers, this section will allow you to edify and amaze your friends with your knowledge of light!

RELATIONSHIP

Is there any intuitive relationship between EV, Foot-candles and LUX? The answer is “not really”. EV numbers are a linear progression that is convenient to use for memorization of relative light levels. Footcandles and LUX proceed in a doubling manner, which better illustrates the doubling (or halving) of light at each step. To get to LUX, simply multiply the foot-candles by 11. The table below better represents the relationship:

Exposure Value

EV ISO 100

Footcandles

LUX

-3

.03

.31

-2

.06

.63

-1

.12

1.3

0

.23

2.5

1

.46

5

2

.93

10

3

1.9

20

4

3.7

40

5

7.4

80

6

15

160

7

30

320

8

60

640

9

120

1300

10

240

2600

11

480

5100

12

950

10000

13

1900

20000

14

3800

41000

15

7600

82000

16

15000

160000

17

30000

330000

The Ultimate Exposure Computer
An Exposure Guide For Professional and Advanced
Nature Photographers
©1995-2012 Fred Parker
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community, klbc is ms.K, Travel, Vietnam

Vietnamese Arrange

Người nước ngoài Học tiếng TQ:

– Nên nhớ rằng TQ thích đặt những gì quan trọng ở cuối cùng. Suy ra, để đặt câu thì cứ tướng ngày giờ, ba thứ linh tinh lên trước rồi mới tới chủ ngữ, vị ngữ, động từ tính từ….

– TQ đi từ lớn đến nhỏ, nên người ở độ tuổi khác nhau thì xưng hô khác nhau.

– TQ đi từ tổngquan vào chi tiết, nên thời gian sắp sếp sẽ là yyyy/mm/dd

PBK: trời quơi bao nhiu nem qua teo ở đai giờ teo mới phát hiện ra chân lý nài!!!!!!!!

SC: Ờ trong khi tụi teo (là Pháp) xài dd/mm/yyyy

K: người Vn của teo xài dd/mm/yyyy – Thứ/ngày/tháng/năm nhưng mà tụi teo rất biết phân biệt lớn nhỏ nên tuổi khác nhao đều xưng hô khác nhao zà thứ tự trong gia đình bự cũng khác nhao dù tuổi teo khác nhao =)) zà câu của VN thì….tụi teo là người thích gây bất ngờ nên thường yếu tố bất ngờ zà quan trọng tụi t để sau cùng!!!! CÀNG  QUAN TRỌNG càng đặt ở cuối câu =)))

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Cirque du Soleil’s Zaia | ĐOÀN XIẾC MẶT TRỜI VÀ HÀNH TRÌNH TRÁI ĐẤT

Zaia theo tiếng Hy Lạp nghĩa là Cuộc sống và đó cũng là tên vở diễn được kết hợp thể loại ca – vũ – nhạc – kịch – xiếc của gánh xiếc Mặt trời (Cirque du Soleil). Zaia đã được dàn dựng lần đầu tiên trong nhà hát Venetian Macau.

Zaia là câu chuyện về ước mơ chinh phục không gian vũ trụ của một cô gái trẻ, ước mơ vươn tới một cuộc sống thanh bình, tươi đẹp, khi khoảng cách giữa cuộc sống thực và những dài ngân hà không còn quá xa. Tại Venetian Macau, người xem sẽ được sống và cảm với những tinh hoa văn hóa của nhân loại…

ZAIA is the dream of a young girl who journeys into space on a strange, yet familiar voyage of self-discovery. As she travels, she encounters the beauty of humanity and eventually brings it back with her to share with the inhabitants of earth.

ZAIA presents a young girl’s perception of the stars and planets, space and infinity, all populated by a panoply of fantastic, literally out-of-this-world creatures. The title, ZAIA, comes from a Greek name meaning life and is also reminiscent of Gaia, the living, self-aware, spirit of earth.

ZAIA is a show that highlights dance, movement and aerial acrobatics, soaring to the farthest reaches of space and human beauty.

HISTORY

A marvelous idea began to take shape in the early 1980’s in Baie-Saint-Paul, a charming village nestled on the north shore of the St-Lawrence River, east of Quebec City. Les Échassiers de Baie-Saint-Paul (‘The Stiltwalkers of Baie-Saint-Paul’), a theatre troupe founded by Gilles Ste-Croix, walked on stilts, juggled, danced, breathed fire and played music. These young entertainers, among whom was Cirque du Soleil-founder Guy Laliberté, constantly impressed and intrigued Baie-Saint-Paul’s residents.

In 1984, during Quebec’s 450th anniversary celebrations of Jacques Cartier’s discovery of Canada, the province sought an event which would bring the festivities to all Quebecers. Guy Laliberté convinced organisers the answer was a provincial tour of Cirque du Soleil performers and it hasn’t stopped since!

From then on, Cirque du Soleil tale is that of a remarkable bond between artists and spectators from around the world. And it is the latter who feed the sacred fire of Cirque du Soleil.

CREATIVE APPROACH

Cirque du Soleil was built on values and deep convictions which rest on a foundation of audacity, creativity, imagination and our people: the backbone of our success.

Cirque du Soleil places creativity at the core of all its endeavors so as to ensure limitless possibilities. This is why the creative challenge is of the utmost importance with each new business opportunity, wether it is a show or any other creative activity.

Cirque du Soleil dream is also an integral part of its philosophy: To take the adventure further, step beyond its dreams and, above all, believe that our people are the engine of our enterprise.Cirque du Soleil offers its artists and creators the necessary freedom to imagine their most incredible dreams and bring them to life.

The International Head Office, located in Montreal, wishes to be an international laboratory of creativity, where our world’s best creative minds, craftsmen, experts on various domains and performers can collaborate on creative projects. By assuming the roles of catalyst and unifier, Cirque du Soleil is able to reinvent itself with each new chapter of its history.

ZAIA SHOW CREATORS
http://www.cirquedusoleil.com/zaia/en/show/creators.asp
(Visit link for more detailed information on the Creation Team for ZAIA)

  • Guy Lalibert – Guide – “Cirque du Soleil began with a very simple dream. A group of young entertainers got together to amuse audiences, see the world, and have fun doing it.”
  • Gilles Ste-Croix – Senior Vice President, Creative Content
  • Neilson Vignola – Director of Creation – My role is to bring people to the creative challenge and go beyond it. I love what I do. I don’t think the job exists anywhere but Cirque.
  • Gilles Maheu – Writer and Director – We have to rediscover the art of troubling, of overwhelming. I believe in a theatre of the emotions of the body. The stage is the centre of fire, of a hurricane, of a storm where forces alive and dangerous confront each other.
  • Guillaume Lord – Set and Props Designer and Theater Concept – I don’t really have any regular visual signature. It’s always the show that drives my designs.
  • Dominique Lemieux – Costume Designer –  I have a penchant for noble fabrics and natural materials, such as linen and silk, that accentuate the natural beauty of the artists.
  • Violaine Corradi – Composer and Musical Director –  In circus, the music envelops the audience. It makes the audience feel the difficulties, the danger, the lightness or dizziness, and, sometimes, it can even reassure.
  • Martino Müller – Choreographer –  Dance is simply about people expressing themselves, moving and revealing their emotional energy. And it is this energy that connects the dancers to the acrobats. In turn this energy also connects with the audience, linking human emotions in an inspiring way.
  • Jeff Hall – Acrobatic Choreographer –  Circus choreography is very physical theatre centered around the artists’ skills while driven by the emotions of theme.
  • Rob Bollinger – Acrobatic Performance Designer – “A little fear is good because it keeps you alert. You don’t want to be careless when you’re diving 100 feet. That’s something I stress with the acrobats.
  • Guy Lemire – Acrobatic Equipment and Rigging Designer – In acrobatics we have the artists lives in our hands so their safety is our primary concern.”
  • Axel Morgenthaler – Lighting Designer –Beyond revealing the magic of the artist’s expression, light has the power to make us believe we are elsewhere and transport the audience outside of the physical performance space into the realm of imagination.
  • Jimmy Lakatos and Raymond Saint-Jean – Projections Designers – “Given the expressive power and narrative complexity of the images that are used by artistic creations today, designers are employing video to tell stories rather than simply create textures or make backdrops for the stage.
  • Steven Dubuc – Sound Designer – “Sound design is one of the places where technology meets art. And with a Cirque du Soleil production, when you first walk into the lobby you’re already in the show, thanks to the sound environment.
  • Nathalie Gag – Make-up Designer – “Makeup is a reflection of the character’s soul. It’s also a magic wand that sweeps away inhibitions.
  • Leonid Leykin – Clown acts Designer – “I can stand on the stage and do nothing, and everybody understands what I want to say.

https://i0.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_3.jpg

Set rising up on the three stage lifts

https://i1.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_4.jpg

Height and more height: performers on the set, flown from the grid and on the proscenium wall

https://i0.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_1.jpg

Fibre star cloth and projected constellations behind the cityscape by night

https://i2.wp.com/www.av.net.au/downloads/bonus_material/issue_3/zaia_2.jpg

Cityscape

 

trời quơi tui đã bỏ lỡ huhuhuhu!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

 

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K’ Sketchbook 2012

Finally – DONE

Sleep all day

Here is my work: klbc’s Sketchbook 2012

Look forward the Beginning day  of the TOUR!!!!!!!!

  • Brooklyn, NYApril 14th-30th
    Brooklyn Art Library
    103A N. 3rd St
    Brooklyn, NY 11249
  • Chicago, IL
    May 3rd-5th
    Hyde Park Art Center
    5020 S. Cornell Avenue
    Chicago, IL 60615
  • Portland, OR
    May 11th-13th
    The Cleaners at the Ace Hotel
    1022 SW Stark St
    Portland, OR
  • Vancouver, Canada
    May 15th-16th
    W2 Media Cafe
    111 W Hastings St.
    Vancouver, BC
  • Los Angeles, CA
    May 24th-26th
    iam8bit
    2147 W. Sunset Blvd.
    Los Angeles, CA
  • San Francisco, CA
    June 2nd-June 23rd
    Pop-Up Shop
  • Greater Boston Area
    July 6th-8th
    LynnArts
    25 Exchange Street
    Lynn, MA
  • Portland, ME
    July 11th-14th
    SPACE Gallery
    538 Congress Street
    Portland, ME 04101
  • Toronto, Canada
    July 18th-22nd
    The Gladstone Hotel
    1214 Queen St. W
    Toronto, ON
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klbc, klbc is ms.K, me, Travel

Khi hạnh phúc tràn trề thì lòng tui trống rỗng?

Người ta nói trống rỗng bao gồm nhiều hình thái và sắc thái, nhiều cảm xúc và không có cảm xúc gì ráo.

Rồi cho đến một ngày tui bước vô mà như thể bước ra và lọt cái tùm xuống dưới, nhận ra rằng muốn thét lên 1 câu ngu chưa từng có trong đời

TRỜI ƠI,

TRỐNG RỖNG

TRỐNG RỖNG

ĐỒ NGU !!!

Sao bao lâu nay vẫn cứ ngu, sau bao lâu nay hoài còn ngu và bao nhiêu lâu nữa thì mới hết ngu hả trời !!!

Hạnh phúc kinh zị hồn khi mà tự nhiên tui hụt hẫn quá mạng thiệt.

Thiệt mạng hok chừng.

Có người hỏi tui rằng

Khi một cái ly đã đầy nước rồi thì làm sao mà có thể làm cho nó đầy hơn được nữa?

Rồi có ai đó cầm ly lên và đổ hết nước đi

Lâu lâu lên cơn lại lảm nhảm

Ngày mai bắt đầu từ trong đôi mắt [chớp chớp]

Tềnh êu bét đầu từ ngài hum nai [đớp đớp]

(xin lảu chớ nghiêm túc hoàn toàn là chịu hẻm nảu)

Thấy lòng trống rỗng !? thiệt hok? Sự thiệt nghĩa đen nhất có thể, thiệt hok?

Vì vậy, em ơi

hãy ôm gấu

và đi nghỉ

cho đến khi

con giông bẳn đi rồi.

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