1x Black Retro Industrial Edison Vintage Wall Lamp / Ceiling Light Antique Finish Brass Arm Metal Lampshade (Diameter: 20cm)

balls acrylic, clear glass pendant lights

Turn Signal Leds

Briday. Kmt1235117111601. Led pendant light color: Space: Yy-dt0001. Rohs,ce. Dining room,living room,bedroom,kitchen and so on. D8 06. Pendant lamp nordic vintage retro. Wholesale softlight studio. Living room,rest room. Bulb edison e27. L6354. About 30*30*20 cm/ 11.81*11.81*7.87 inches. Incandescent bulbs, led bulbs. Mtg110111. 

Mechanic

Lounge. Chandelier ceiling. Kitchen lamp industrial. Neo u9h. Handwork glass. Base chandelier. Color temperature: Rings acrylic led pendant lightFor the living room,bedroom,dining room,study room. 40w,80w. Light led for tap. Cylinder loncin250. Vintage luminaires. External testing certification: Aroma lamp. 12 head small,12 head big,18 head,20 head. Meter sealings. 

Light Bar Design Dining Rooms

Ampoule &2w. Modern minimalist. Industrial chandelierLight shades: Arcylic. Red,black,white. Gazebo outdoor. Shade auxiliary material: Xh-22tl. Light led solar street. 

Wholesale Lights Led For Home

Copper lampe pendant. Industrial light fixtures. Craft: Glass, chrome, plastic. Nordic lamp ball. Modern chandelier crystal. Wholesale chandelier living. Pendant light small. Modern nordic led chandelier. Lamp industrial. Light shade. 8823 gold. Living room / dining room / bedroom / cafe / bar / party. 


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Now Playing Tracks

bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...
bisexualangelinajolie:
“ “Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next...

bisexualangelinajolie:

Whatever was the center point of that shot had to be in the center of frame. In the faster cutting that [George Miller] has got your eye won’t have to shift on an Anamorphic frame, won’t have to shift to find the next subject when you’ve only got 1.8 seconds of time to do that. That theory of not having to move your eyes and being able to fast cut and it just goes bang, bang, bang, bang, bang, takes you into it, and the is basically the whole of the film. All we would hear all the time on the coms was George [Miller] saying “PUT THE CROSS-HAIRS ON HER NOSE! PUT THE CROSS-HAIRS ON HER NOSE!” and you put the cross-hairs on Charlize [Theron]’s nose. You didn’t offset to grab any of the information in the background, th e camera had to be in the center, it was very disciplined that way, everything is symmetrical.” - John Seale, DoP

Symmetry in Mad Max: Fury Road // 2015

(Source: lesbiangonegirl)

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