2021 – Gathering – NSFW
2021 – Gathering – NSFW
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2023 – Gathering – NSFW
2024 Gathering – NSFW
2024 Gathering – NSFW
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2021 – Gathering – NSFW
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2024 Gathering - NSFW
  • “The best thing about a picture is that it never changes, even when the people in it do.” – Andy Warhol

    “What I like about photographs is that they capture a moment that’s gone forever, impossible to reproduce.” – Karl Lagerfeld
  • hazin_lane

    Pictures from concerts, events, and whatever else I happen to shoot! -Hazin

    As someone who appreciates absolute underground ch As someone who appreciates absolute underground chaos, a solid wide-angle frame, and an absurd comedy, I pulled up to this third installment with zero expectations. 

The movie drops some surprisingly vivid visuals. They shoot a ridiculous Bollywood-inspired dance sequence in the opening act that has punchy colors.

Farva carrying the mayhem: Love him or hate him, he is the ultimate chaotic energy of this franchise, even with a silly EpiPen-stabbing sequence that hits the kind of slapstick notes you want when hanging out with these misfits. 

The best part about these guys is that 25 years later, they aren't trying to make an Oscar winner. They know their base. It feels like an underground family reunion where everyone brought their own strain of dumb humor, and nobody grew up. The chemistry between the main five is still naturally baked in. 

Where's the Bone? Soft Focus and missing the iconic traffic stops: If you're looking for the wide-angle street shots of pulled-over drivers getting messed with like in the original, you’re out of luck. 

The film trades classic road antics for a heavily scripted, convoluted plot involving some culture comedy to replace it. The narrative leaps all over the place, tossing in EV police cruisers to the Canadian punch lines and a fistful of side jokes that land out of focus.

Who are we kidding? If you're a fan of the first movie, you're watching it regardless, but if you roll up expecting a cinematic masterpiece, you’re looking through the wrong viewfinder. 

But if you gather the homies, crack a few laughs, and just want to kick back with some familiar, unhinged characters doing stupid stuff, it delivers enough clown-logic charm to make it worth the watch.
    Not evil? Then you’re just white noise. LLE turnin Not evil? Then you’re just white noise. LLE turning up the static at the Gathering of the Juggalos.
    Iowa City 10/8 at Gabes! Iowa City 10/8 at Gabes!
    Night 2 culling is underway. Couple of clowns on s Night 2 culling is underway. Couple of clowns on stage but looking at yall most the time. Dropping pretty much daily photos to Hazin iykyk.  Final drafts once culling is done.  Props to Jello Nate for this meme.
    The Ministry of Ungentlemanly Warfare is essential The Ministry of Ungentlemanly Warfare is essentially Inglourious Basterds framed with slick British flair. Looking at it through a lens that craves dark tone, and raw visual storytelling, the film hits some nice visual marks; even if its historical narrative pulls a few unearned flexes. 

The movie leans heavily into saturated colors, deep ocean blues, and golden coastal tones. For a photographer who thrives on heavy shadows, or dirty, low-light environments, the imagery here can feel a bit too clean and unrealistic. 

A secret WWII operation off the coast of West Africa should feel filthy, sweaty, and suffocatingly dark. Instead, it’s framed like a polished action flick that nobody’s hair gets out of place. The lighting is beautiful, but it prioritizes that hollywood look over realism.

The film paints Operation Postmaster as this pivotal, altering domino that single handedly cleared the Atlantic U-boats to directly get the United States into WWII, months after we already were.  Sure it was a good hiest, kept spain neutral, and was a huge morale boost, but far from pivitol. Granted no movie if ya dont add explosions and gun fights, but dramatic flair to the overall war seemed a stretch. 

If you go into The Ministry of Ungentlemanly Warfare expecting a gritty, dark, low-light war thriller, you'll be disappointed. But if you treat it like an over-the-top, popcorn action comic book with sleek camera work and stylish execution, it’s a fun ride.
    The End of Oak Street delivers a dark, gritty visu The End of Oak Street delivers a dark, gritty visual ride that drops clean cut nostalgia straight into the dirt. If you like your cinema high-contrast, tense, and downright ruthless, this one bites hard.

It plays out like a raw, slasher where a 1980's suburban neighborhood is dropped straight into a prehistoric hellscape, setting up a filthy, unpredictable playground for survival.

Cinematography is a brutally edged sword acting as a camera that avoids clean, clinical typical Hollywood lighting, leaning hard into heavy shadows, pitch-black dead ends, and oppressive contrast.

The claustrophobia hits instantly. The framing relies on low-light with streetlamps flickering out, wide shots where dark tree lines swallow the background, and shots that treat the suburban sprawl like a butcher shop. It relies on tension, negative space, and letting the darkness do the heavy lifting before the violent payoff.

Cast is lined up with some heavy names and I don't mean the actors.  Instead of treating these beasts like majestic wonders, it frames them as relentless predators.

With the spinosaurus being the absolute crown jewel of the chaos. This apex menace moves like an unhinged force of nature.
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    Game Night actually hits way harder than your aver Game Night actually hits way harder than your average mainstream studio comedy.

Most studio comedies look like flat, over-lit sitcoms. Multiple points use creative and fun cinematography. 

Dog scene is top tier slap stick gore, throw in some deadpan acting to mix it up.  Yes pleaae. 

The movie gets a little too addicted to its own premise  as the plot relies on one too many rug-pulls. 

Game Night isn't just a brainless date-night flick; it's a slick, cleverly shot dark comedy that respects both the craft of filmmaking and the art of a good, twisted laugh. It’s got style, killer framing, and just enough bloody chaos to keep the fam entertained.
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    It lied It lied
    Those late-night gathering parties, though! Those late-night gathering parties, though!
    What starts as a slick prohibition crime joint mor What starts as a slick prohibition crime joint morphs into a full blown bloodbath when nightwalkers start creeping out of the dark woods.

It’s got that raw, underground energy where folklore, delta blues, and vampires collide in an unapologetic gorefest.

Daytime frames bake in thick, amber dust, but when the sun drops, the palette goes icy dark, allowing the blood to blend into the shadows, giving it realism.

Silhouetting Tommy gun shootouts against setting suns and smoky oil lamps gives the horror an authentic, visceral punch.

​Sinners doesn’t pull punches or retreat into cheesy vampire tropes. It’s dark, bloody, beautifully composed, and down with the wicked spirit from the first frame to the final drop of carnage.
    Let the background fall into total darkness so the Let the background fall into total darkness so the subject feels isolated and ominous. Letting some of the classic Hazin style creep back in.
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    If I look like I’m lurking or hitting odd angles, If I look like I’m lurking or hitting odd angles, don't mind me. The half-candid, in-between moments are always the real shot I'm trying to land.
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    Everyone looking for festival photos and I'm over Everyone looking for festival photos and I'm over here doing that whole Day Job thing all day.
    Listen, fam, when the pit goes wild and an ember s Listen, fam, when the pit goes wild and an ember starts blazing, you don’t wait for Smokey the Bear. You grab that two-liter of Redpop, slam a thumb over the plastic spout, shake it as if it owes you bail money, and unleash the holy carbonated baptism directly into the flames.

Whoop whoop, crisis averted.
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