Monthly Archives: January 2007

Sh-and-Az

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Shelley Leong and Az Samad were back in town for two intimate gigs.

10th January 2007, No Black Tie


Az: Aku main dulu. Harap tak pancit.

He played some new shit. Some old shit. Some refashioned shit. All good shit. Az is Malaysia’s violent acoustic fingerstyle guitarist with a penchant for alternate tunings, gentle guitar dynamics, and medleys of Beatles songs (all on one guitar, like Daytripper with both vocal lines and basslines!)

Oh, and I think it was his first public performance of Nirvana – Smells Like Teen Spirit.


Shelley meanwhile, upped her performance photogenicness. 😀 All that raw emotion oozing from her face, I felt like crying too. (This was before the Minolta 70-210mm F4 beercan lens, shot using smashpOp‘s Sony 18-200mm F3.5-6.3 at 120mm, F6.3, 1/15s, ISO1600.)


Wah, pedal!


Open mike, and it’s awesome fingerstyle guitarist Dave Yoong! He had a few tricks up his sleeves, too.


Rozhan joins Az to jam some jazz standards. I didn’t know if it was a jazz thing for both of them to take audible breaths at the same time, and sometimes take turns taking breaths, but not related to who was playing or taking turns.


Emoticus maximus.


Now, with Alda on bass and Zalila Lee on percussions!


Zalila aspires to be a hip candid shooter while playing the percussions with the other hand. Ah, the days when I slinged my Canon Powershot A520 on its belt pouch snapping everything as proof of something.


Reza Salleh, soul/rock crooner and Moonshine and Feedback gig organizer, gets an epiphany.

Fast forward to 17th January 2007, same place, right after I got the beercan lens.


Crispness at the 210mm F4 1/60s end!


Same, but at 1/8th of a second.


It’s like they teach looking emo in Berkley. Hmmm, maybe they do.


Guess that chord! (This is a 600×898 crop shrunk in half to 300×449 to show the power of the beercan. Beer goggles beercan makes it look good!)


I’ve been meaning to catch Az do this. (No, he’s not shielding himself from the bright spotlights.)


Knock on wood.


I’ve never seen anyone so happy to be tuning his guitar.


Two plugs – one for the guitar pickup, the other to pick up the sound of knocking on the guitar!


Zach Tay plays alternative rock and shreds the blues madly.


Finally, some flare! 50mm, F1.4, 1/3s (the main factors being overexposure, wide-open aperture and having a bright light somewhat out of the frame.)


This was not combined from two pictures.


Az tunes. Everyone is happy.


More extreme closeup goodness at 210mm F4. For once Az plays the blues without going all jazzy and haram on us. Yay!


A most massive Chumbawamba-esque jam fest. From left: Two guitarists (Az and Shelley), two bassists (Loon and Alda), two percussionists (Stephanie and Zalila).


Oh, and Zarul the blowing the blues!


Yep, we’ve all seen him with Isaac Entry. Interesting change of pace, this.


Another surprise came in what Shelley called her happy blues song – Az sings the blues!


Argh I forgot her name, and her friend’s name too. She had a beautiful, slightly fragile-yet-chin-up voice. I think I’ve been exposed to too much of that unidentified Laundry Bar blogger, hence my decreasing captioning abilities.

Stumble Upon A Glass

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Many things I have obtained, in the horrific financially-draining hobby of photography. This is part 1.

Nikon SB-28 flash


Thanks Xian Jin for this belated birthday present! Batteries not included. Battery cover not included, either. (Uh, I hope the battery cover comes before my next birthday.)

Being resourceful, I taped coins to keep batteries in. The flash zapped me once when I touched the coins by accident.


I can use it on my Olympus OM-2000 film SLR safely because it just triggers a mechanical switch to trigger the flash. 😀 Of course, TTL information is not passed to the lens, so I had to use it in full power all the time. That’s when you’d have to know some basic flash math. The SB-28 has a guide number of 36 (zoom head at 35mm, ISO 100).

So I’d set my shutter speed to the flash sync speed (1/125th of a second, marked in red on my OM-2000), focus on the subject, note the focused distance on the lens, and note the film ISO.

Multiply the guide number by the film ISO, then divide it by 100. Divide that number by the focused distance in meters, and viola! You now know what aperture to set.

For example, if the distance was 2 meters, ISO 400, guide number 36:

36 * 400 / 100 / 2 = 72

Your lens probably won’t have F72, so decrease the flash power to say 1/16, so you can use F72/16 = F4.5.

Of course, if you point the flash upwards for bounce flash, you’d have to choose an aperture 1 stop brighter, e.g. F3.2.


Sony A100 at 18mm, 4 second exposure, F18, ISO100. 4 seconds gave me enough time to try to press the recessed rubber test-flash-fire button on the SB-28. I find those recessed soft rubber buttons annoying; they’re hard to access and hard to press. (They also remind me of little pocket LCD games.) Of course, they made it recessed rubber since the SB-28 to provide better water resistance or something. However, if that is the case, why doesn’t the SLR have those annoying rubber buttons too?

Unfortunately, I could not set the flash power; whenever I tried to, the flash would switch itself off.


Sony A100 at 18mm, 4 seconds, F22, ISO100, with the Sony’s pop-up flash, set at -2 flash power. This gives enough flash to fill in the otherwise harsh shadows and nothing else.


I couldn’t position the flash behind me and trigger it easily. 🙁 In retrospect, I should’ve mounted it on my Olympus OM-2000.


An alternative way to trigger the flash – short-circuiting the PC Sync connector. This was an unused USB cable, not connected on the other end (you do not want to zap anything!) The center pin and outermost ring triggers it.


Sony A100 at 18mm, 2 seconds, F3.5, ISO200. I used the flash to illuminate this slow exposure.

Minolta Maxxum AF Zoom 70-210mm F4 “beercan” lens


Sweetness.


From left to right: The Minolta 70-210mm F4 lens, Sony A100 (with Minolta 50mm F1.4 pre-RS lens), Sony 18-70mm F3.5-5.6 kit lens

This is the legendary, constant-aperture zoom lens of the 80’s. It is solid, heavy metal (just like the good music of the 80’s heh). Made in a time before they invented plastic. Heavy metal, but well-balanced, with a rubber grip and plenty of space after that to hold the lens while you fiddle with the focus. This lens was designed in conjunction with Leica.


0.8 seconds, 210mm, F4, ISO1600. This was shot right after I bought it from a guy who had a Konica Minolta 7D with Tokina 80-200mm F2.8 (thus, the beercan was sitting in his dry cabinet for a while.) I stood with elbows against a railing. What, do you think I carry a tripod around?

Do you carry a tripod around?

The practical merits of CCD-shift stabilization show itself when you travel with only the lightweight plastic lens and a bright prime.

Oh, and it is great and crisp at F4. You’d buy a bright lens to use it at bright apertures anyway.


I think I got a really good copy (they were handmade then) as I find it hard to get chromatic aberration with this. This beercan lens was reputed for bad CA (from the time before they invented multicoating and apochromatic glass?)

It’s built like a tank. Solid, and defends yourself from rabid dogs.


1/60th of a second, 210mm, F4. It has great bokeh, which some have described as creamy, and high contrast.


1/30th of a second, 75mm, F4. Its minimum focusing distance is 1.1 meters. 1.1 meters meant that I had to point at the next table to find something I could focus on! However, back then, that was the shiznit, focusing closer than most other lenses.

A 55mm +4 close up filter would allow it to focus as far as 25cm.

(In other news, I find the new KFC Alaskan burger pretty alright. Nice funky sauce.)


I put my Seagull 50mm F1.8 MC lens on reverse in front of the lens (which is equivalent to a +25 close up) and got the top-left picture at 210mm, F4. Top-right is at 210mm, F32. Bottom-left is at 70mm, F32, while bottom-right is at 70mm, F4.


Macro champions: On the left, the Sony A100 with Minolta 70-210mm F4 lens and Seagull 50mm F1.8 MC lens on reverse (up to 4.2:1 magnification); on the right, the Olympus OM-2000 with Vivitar 2x teleconverter and Olympus Zuiko 70-210 F4.5-5.6 lens and Fujica 50mm F1.4 lens on reverse (up to 8.4:1 magnification).

It has internal zoom (but not internal focus). This means that it’s less obvious when you zoom in to snipe someone! I love the clear space beyond the zoom ring.


1/25th of a second, 210mm. I was elated to manage to get mirrored ghost images with bright highlights at F4! I couldn’t get that with my new-generation Sony 18-70mm F3.5-5.6 kit lens. 🙁 The gradient to the left is a severely out-of-focus pillar.

Yes, I love the ghost effect and enjoy trying to coax it out of this lens. I first saw it on the Nikkor 50mm F1.8D (when wide open, regardless of flare hood as the highlight is in the frame).


1/15th of a second, 70mm, F4. Despite being at 70mm, the EXIF data reads 75mm, a rather common bug with the beercan.

Nikon’s 70-210mm F4 was discontinued after 3 years; the Canon 70-200mm F4 L USM is pricey, at RM2500 or so, while the 70-200mm F4 IS L USM is RM4200 or so.

I got the Minolta 70-210mm F4 for RM1000. This is considered expensive since they go for USD150 on eBay (which was the same price when it started selling).

Of course, the Canon 70-200mm F4 L USM has a speedy, quiet ultrasonic motor for focusing. However, I find the Minolta 70-210mm F4 much faster to focus than the 70-300mm F4-5.6 lenses I’ve tested.


At 210mm, the Super Steady Shot lets me use 1/20th of a second with no visible motion blur. That’s close to 4 stops!

Holy smokes, BAT man!

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I was surfing/scrolling Wikimapia when I came about this in Section 17, Petaling Jaya, covering the Rothmans roundabout:


This is a full-screen screenshot, scaled down and auto-levelled.


What if I zoomed out and took a crop instead, so you could see my tooltip and see who’s causing all that smoke?

Yep, it’s those buggers who “provide better quality cigarettes to consumers who are aware of the risks and consciously make the decision to smoke” (quoted from Kuzco.)

Thinking Inside The Cube

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Thanks Ed for sending me these!


A smiley Rubik’s Cube. (Obviously, shooting with a 50mm at F1.4 won’t have enough depth-of-field.)


Properly done. (It’s as easy as a 3x3x3; just watch out for the center face alignment.)


Thanks also for the Rubik’s World! (I have trouble with the parity of the last two corners, as with all even-numbered-divisor cubes.)


Tumpang glamor.


Yes, I’ve figured this out! How?

I cheated by examining before jumbling it up; noted that if you spin it on one of the axises, all the numbers on the sides are the right way up. Based on this discovery, I positioned the corners.

I then checked with the pictures I took, and yay my corners were correct!

The edges were designed in such a way you’d know if they belonged to the top or bottom face, or on the middle layer (if they were both facing up or down) and then through simple Sudoku rules, I could tell where they went.

I then did non-destructive edge flips where needed. I’d then be left with middle faces that weren’t aligned. I’d put a correctly aligned middle face downwards. To correct misaligned middle faces on the middle layer, I’d pull out the edge cube below it, put in another edge cube, and finally return the original edge cube such that the middle face is aligned. After aligning all middle faces, the top face would be aligned automatically.

The top layer would have misaligned edges, so non-destructive edge swaps and non-destructive edge flips would solve the cube.

More Cubic pr0n here:
Rubik Cubism
Professor Erno’s Revenge

Better Butters

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What? Butters & Friends at Zouk KL, 13th January 2007.


Damn Dirty Apes have turned… reggae! Pedram thankfully is still on sound-effect guitar. (Shot at F1.4.)


Guess whose style this reminds me of!


C’mon man, gimme the Jaguar. You know I want it.


No color tweaking on this one. I love how it turned out so film-like on my Sony A100.

Thankfully, after a few reggae-singalong songs (with DDA background music) they went back to their classic shoegazing, with lush soundscapes, beautiful arpeggios, haunting basslines and intense walls of noise. Space-rock/post-rock never sounded this good.

Now if only these guys would come down from Penang more often. Worth the RM35 entrance fee alone.

(They were also the only band to play new songs. Their new non-reggae stuff rocked as much as the day I first heard them, falling into a hypnotic trance, then enjoying the roaring volume-11 feedback.)


Republic Of Brickfields! (I went in as media since Xfresh FM was part of the event anyway.)

They’re finally coming up with an album after years of otai-ness. Ganja-ran, they call it.


Another vantage point (which would’ve been awesome with a telephoto lens.)


OAG‘s guitarist. Focused on it by accident. At F1.7 the out-of-focus spots were still bright-lined bokeh (which, some people say, is displeasing) so I used the Blur Tool in Adobe Photoshop, with the Mode set to Darken, to give the circles less donut-like borders.


Despite being mostly out-of-focus, I like this.


OAG played their English stuff! Yes, I must admit that I liked their English songs more, because they had a simpler pop rock sound.


As you can tell, it got harder with more photographers creeping in to the sides. The exclusivity of media tags had been lost!


Radhi was a boom mike operator in a past life.


The Minolta 50mm at F2.0 really sparkles. I loved it when I captured other photographers’ flashes, illuminating the fog.


This, at F2.5. I love having a 50mm F1.4 not just for the F1.4, but for all the apertures in between that and F4.


Butterfingers are on! Loque tries to locate his pedals with the sudden influx of people.


They played their classics. Again, I prefer their English grunge rock with Malay-or-Celtic-traditional-riff (I don’t mean A-minor glam rock) stuff, before they went Malay and added Radiohead influences.

…I don’t like Radiohead much.


Many songs I didn’t know the titles to, I found out that day. Fire Is A Curse? E! Stolen! Skew! Love! Delirium! Garden City Of Lights! (Okay, so I had Butter Worth Pushful sitting on Winamp, but I never committed the song titles to memory.)

Emmett can still scream like he came out of his momma’s womb in Seattle.


There you go. This would probably be grabbed by a fan.


Loque, for the synth-y bits.


Needless to say, they blew me away. I haven’t felt such a fresh rush of grunge since… 2002?

On a side note, I figured out a Celtic version of Vio-pipe for guitar using E-A-C#-G#-B-E tuning. Yeeeaaahhh!


Moshpit in Zouk. You’d better believe it.


I spotted Xfresh FM DJ Rex crowdsurfing! Congratulations man, you’ve kept it real and have transcended beyond your socializing days in Laundry Bar. You now really rock after getting kicked in the face a few times and coming out of the crowd smelling like a thousand Mat Rockers.


Emmett ends his set neck-to-guitar-neck.


He jumps, and is met with a most supportive crowd.

To think, I only came because I heard that Damn Dirty Apes were playing. I forgot what a national treasure Butterfingers were. Plus, for RM35, all four bands played one-hour-long sets! Usual gigs only have half-hour sets at most.


Outside, I bumped into Linda Onn! (I’d link you babe but where?)

After the gig, I bumped into Ahmad Saiful, a friendly photographer. I got to play with his Olympus E-500. His Zuiko Digital 14-45mm F3.5-5.6 in particular, had very cool flare, with an obvious double-line outline, a quarter-circle filling up half the frame. I think it’s a characteristic of having such wide focal lengths (despite the view crop.)


This shot was to demonstrate black-and-white with high contrast color mode on my camera; I just stretched out my arm without aiming and got this random shot. Some people like it for some reason. I just find the bokeh reflected in the window to be rather odd for its position.

Rocking To 2007

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The first Moonshine of 2007 on the 11th of January had many greeting me “Happy New Year!” although my happiness subsided 10 days ago.


Who the heck is Paolo Delfino, and why are girls speaking lushly of this acoustic singer-songwriter?


Oddstars, oo la la.


Hehe the drummer smiles too!


Guest vocalist.


Karen Nunis Blackstone. Folk rocker.


Who has rather otai-looking members…


…like the great bluesman Julian Mokhtar.


Funk/jazz rockers Seven will always be recognizeable by afroed Bobo…


…who is also a member of Cosmic Space Munkys.


And not forgetting the saxophone.


Random shots; top-left and top-right: Rachel; bottom-left: Athira who looks cool; bottom-right: the Laundry Bar blogger (what, you thought she really wanted to take your picture because you were sitting around looking cute?) and Eddy the hard rocker.


The next day I headed to Jamasia for its relaunching.


The Epiphone SG guitar that once hung from the ceiling now had a grander spot.


The bar relocated to the back. Debbie makes AWESOME cocktails, with interesting names like Naughty Chocs, Twist And Dip, Electric Berries and Do The Haka. There’s also something that blows the McDonalds McFlurry – the Snickers Pimp. Like melted Snickers!

If you tire of mamak drinks in Desa Sri Hartamas, come over to Jamasia for funky fruity/sweet alcoholic delights.

Where is Jamasia anyway?

Behind the Maybank in Desa Sri Hartamas.


Guitar!

Jamasia is now open 6 days a week, closing only on Monday. Tuesdays are jam nights, where anybody can bring an instrument and play. There’s a gig every other night, including Reza Salleh‘s new Feedback series.


Speaking of which, his band played for the relaunch.


Melina!


Reza and gang. Finally got to flash Jamasia with my digital SLR!


One Buck Short also did a short punk rock set.


Something I rarely blog about in Jamasia gigs (but is tradition) is the drinking game, where the winner gets a jug of beer. Adam, the usually malevolent-looking screamer of Dragon Red, looks so cute with emo glasses!

Oh, and the best thing about Jamasia is that it is now non-smoking, like The New Paul’s Place. Smokers will have to sit at the stairway.

Mount, Olympus

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Camera geeking time!

Did you know:

The hotshoe mount you’d use to attach an external flash to your camera wasn’t originally meant for flash units; it was meant to attach accessory viewfinders! I first spotted one on Kingsley‘s Yashica Electro GSN 35, which was all metal, without at least one pin in the middle (to allow a signal.)


The top of a FED-2, a Russian rangefinder.

In 1988, Minolta created a new mount for the Maxxum 7000i film SLR, the iISO hotshoe. This was inherited by Konica Minolta, and then Sony.

But why, Minolta, why change? The standard ISO hotshoe tended to be overtightened or loose (hence slipping out sometimes.) The iISO hotshoe mount had a button for quick release.

Okay, so I found a great photogeeking blog. Herbert Keppler talks of shoes.

Minolta was also first with wireless flash (so Nikon CLS proponents, quit asking me “does yours have wireless flash?“) though I cannot tell you which is better, as I’m not into flash photography.

Even more interesting is from his insight on brands:
“Tokina had the greatest multiple brand triumph a few years ago, simultaneously marketing a decent 19-35mm f/3.5-4.5 autofocus under four different brand names: Phoenix, Tamron, Tokina, and Vivitar.”

From this post, I suspect that my Cosina 19-35mm F3.5-4.5 Pentax KAF mount lens was in that list too, because it looked just like the Vivitar.

Whoa.

If Vivitar is Cosina, then my Olympus OM-2000 (actually designed and made by Cosina) with Vivitar 24mm F2.0 lens (or Cosina) could’ve come out of the same factory!

And now, for a slightly off-tangent ponderance: If Hoya bought Pentax (now Hoya Pentax HD), does this mean they’re likely to be bought by a consumer giant? (e.g. Sony buying Konica Minolta) Hmmm. Which consumer giant doesn’t have a digital SLR out?

Microsoft! 😀

I eagerly await the day, if it happens, but pity the shallow “I will hate this camera because it’s Microsoft” and totally disregarding the Pentax legacy.

Imagine being able to hack into the firmware and making your own exposure algorithm, your own continuous auto-focus tracking, your own noise reduction, making every button customizable, and even playing Solitaire on it using the keypad!

I don’t think of my Sony A100 as a Sony product. I think of it as having the genetics of those great Minoltas of yore, with some cult-like Minolta lenses (of yore), which I will divulge in, in another post. Also, the Konica Minolta 7D is very well regarded among those who have it.

Now, for more camera pr0n.


This M39 screw mount lens was on the FED-2; back then they’d measure lens focal length in centimeters! So yes, it’s a 50mm F2.8. Turning the focus ring to infinity would move the rear element’s holder into the camera mount, pushing a lever on the camera, and adjusting the rangefinder image.


Side-by-side with my Olympus OM-2000.


The bottom of a Rollei 35 TE, found in Ampang Park. Petite collapsible-non-interchangeable-lens rangefinder! Aperture and shutter speed dials were to the side of the lens, and working ISO hotshoe underneath.


The Rollei, ready to roll. Note the 24mm screw thread on that 40mm F3.5 lens!

I Googled the cameras and found Erik Fiss, who has an unbelieveable list of rangefinders, SLRs and TLRs, complete with detailed reviews! (Though not every article has an English translation.)

And then somemore kickass reading:

“A revolution within the revolution. When used with the OM-2, the T-32 doesn?t have to rely on a sensor built into the electronic flash. The camera reads the light that hits the film and turns the electronic flash (or flashes) off when enough of that light has reached the film.

Since only the light entering the lens – no matter what focal length lens you?re using – is read, this camera-regulated automatic off-the-film exposure control provides far more accurate exposures than the conventional flash-dependent types. No matter how many flashes you?re using.”

Taken from Maitani’s Advertisement. He makes me wanna drill an air damper into my Olympus OM-2000 for quieter shots! Also check out TTL Direct (OTF) Light Measuring and the 1-inch-thick 50mm F2 lens!

Higher Ground

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And now, for part three; on top of it all. Yes, on the rooftop of the abandoned 16-storey Pekeliling flats. Kids don’t do this at home! It’s illegal and DBKL is just next door!


Jenifur eats until she grows into a giant. Ultrajen!

She is now ready to take on rubber-suited monsters.


Grace is a major camwhore. (Using the infrared-modded Fujifilm Digital Q1.)


Xian Jin rocks!


Using my Sony A100 digital SLR at 200mm with smashpOp‘s Sony 18-200mm F3.5-6.3 lens.


Using my Olympus OM-2000 film SLR with Vivitar 2x teleconverter and Olympus Zuiko 70-210mm F4.5-5.6, zoomed all the way in to get a 420mm F11 image.


Xian Jin’s fan is a flasher! (Shot at 24mm on the Olympus OM-2000.)


Asyraf frames with his elbow. (Shot using same lens.)


Elmo the slave flasher. (Back to digital shots.)


Kingsley also uses Elmo as a guitar pick.


Grace wonders what lies beyond. Spot the eye on the world!


smashpOp jumps on the 17th floor.


Xian Jin dares look over, but trips and falls!


Grace rocking on rocking chair. (Note vignetting due to Vivitar 24mm F2.0 lens.)


smashpOp rocks.


Rames has infrared-absorbing pants. Cool.


So cuuute!


Asyraf telling her how to pose.

You’d also wanna check out part two, Abandoned Grounds and part one, Zoom To 2007.

Abandoned Grounds

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Guess what’s wrong with this taxi stand. Yes, that’s Pertama Complex, where I got my Vivitar 2x teleconverter for Olympus Zuiko mount.


The first subject I managed to snap at 1/500th of a second and 420mm at F11, was Grace, using the Olympus OM-2000 with the 2x teleconverter and Olympus Zuiko 70-210mm F4.5-5.6 (effectively a 140-420mm F9-F11.) Interesting what the teleconverter does to bokeh. Even more interesting is how little chromatic aberration there is (I left her shoulder untouched.)

Oh, and the Olympus OM-2000 was loaded with standard Kodak ISO 400 film.


With the Vivitar 24mm F2.0, I could fill up my full frame with 16 floors!

This abandoned place is the Pekeliling flats near the Titiwangsa Monorail (and Titiwangsa STAR LRT.) Reeks of all sorts of smells, but the wind takes it out. Once in a while.


With the same wide lens, my hand kept making a guest appearance. Asyraf disapproves. When manual focus is tack on at F2.0, images just pop!

And now, for digital photography.


Where’s Raymond?


Asyraf, proponent of Nikon’s Creative Lighting System, shooting Kingsley. Spot the slave flasher Xian Jin!

…I don’t think I’d want to take more than 10 minutes to compose the lighting for a shot, though.


Jenifur wonders how to work my infrared-modded Fujifilm Digital Q1 with 2x teleconverter and 70-210mm F4.5-5.6 lens (which gives a 840-2520mm equivalent crop.)


“Ma our apartment has been broken into!”


Xian Jin, shot with the Q1 in infrared. I’m not sure who shot this because I don’t remember shooting it. I reckon it was using the Vivitar 24mm F2.0 lens (144mm equivalent crop).

At this point, you might be wondering – hey, wasn’t the Vivitar 24mm F2.0 on the Olympus OM-2000 film SLR?

Well, the Q1 has a homemade adapter to support Olympus Zuiko lenses. 😀


Grace on the Q1, in infrared.


The ghost of Rames!


“Aiya, don’t flash me anymore lah.” – smashpOp


Kingsley is more than happy to bask in available light.


Rooftop jam.


Grace eyes on, looking rather… pigeonly.


There’s something about Grace.

I now end this second part with film pictures.


What happens when you underexpose, at 1/500th of a second although the meter tells you you should shoot at 1/30th of a second? You can salvage this much detail (after noise reduction!)


smashpOp tells stories. Check out everybody‘s expressions! (Colors retained because there’s something magical about the exposure.)


Hey, that looks like Asyraf’s style! Not exactly rule of thirds. Oh waitaminute, Asyraf did take this shot.

Those of you who were there will probably figure out what is next in this series. Part three, yo. Part one was intentionally devoid of people.