2021 – Gathering – NSFW
2021 – Gathering – NSFW
2023 – Gathering – NSFW
2023 – Gathering – NSFW
2024 Gathering – NSFW
2024 Gathering – NSFW
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    • Ninjas in Action
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2025 Gathering
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2023 The Float
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2023 - Porn Stars Ball
2023 - Porn Stars Ball
2023 Punk in Drublic
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2022 Fright Fest
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2022 Hallowicked
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2022 The Float
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2022 Kosmic Kingdom
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2018 Lost Lands
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2014 Pulse
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2014 Awakening
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2013 Twiztid Abom Tour
2013 Twiztid Abom Tour
2013 Porn Stars Ball
2013 Porn Stars Ball
2021 – Gathering – NSFW
2021 – Gathering – NSFW
2023 - Gathering - NSFW
2023 - Gathering - NSFW
2024 Gathering - NSFW
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

    The yard rodents are back. The yard rodents are back.
    Instagram post 18084334325239316 Instagram post 18084334325239316
    This stuff absolutely took care of an earwig issue This stuff absolutely took care of an earwig issue we were having in our mailbox, additionaly this tick season, something like this will work wonders: smells good, pet safe, people safe, gear safe! Spray yourself and stuff while camping: https://amzn.to/4z11j6t
    Many Moons Ago - Disposable Camera Days Many Moons Ago - Disposable Camera Days
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    This piece of cinema is absolute Dark Carnival mag This piece of cinema is absolute Dark Carnival magic. The visuals & cinematography on this thing is borderline illegal. The way the dynamic range on those sweeping Mediterranean locations and baking hot highlights on the waters without clipping, paired with crushing, mood-drenched shadow detail in the lair, is pure lens clown craft. 

The camera work during the sea-monster sequences gives you that terrifying depth-of-field isolation where the horizon feels endless, but the danger is choked right up in your face. The composition isn't just pretty; it hits like a heavy bassline. That Insane Cast of Posse characters is a wicked lineup.

Matt Damon carries Odysseus with this bruised, battle-weary weight that pulls you right into the dirt with him. Zendaya brings pure, radiating, otherworldly aura to Athena. Every time she steps into the frame, the practical lighting hit on her eyes looks like magic. Robert Pattinson playing Antinous as a greasy, sleazy villain is an absolute masterclass in casting. Add in Anne Hathaway, Charlize Theron, and Tom Holland... 

Every single frame feels stacked with heavy hitters who actually earn their screen space. Three-hour runtime is a bit much, and the sound mix had a few bad notes, but it’s an ancient war epic. Surprise Travis Scott showing up as an ancient bard casting a modern hip-hop artist to bridge oral poetry with rap is a perfect twist in casting. 

Bottom line: grab the biggest screen you can find, lock into the visuals, and let the masterclass in light and shadow wash over you. Much love to the crew behind the glass on this one!

These would get so many more views if I made a Vlog AI reading it, but y'all would then lose your minds over AI, also AI is expensive.
    When the sirens go off, so you go outside to look When the sirens go off, so you go outside to look at the sky but the corns to tall to see over... then get distracted by some fun guys.
    Nothing beats a day at the gathering until it’s ti Nothing beats a day at the gathering until it’s time to sleep in your own grime, or whoever you invited back... Avoid the lines and stay fresh, clean, and comfortable anywhere under the stars with portable, easy-to-fill water to take back to camp. Recharagable Shower Head: https://amzn.to/3RW2G5G and Jugs: https://amzn.to/3TEuZ9v and
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    If you’re into pitch-black, supernatural detective If you’re into pitch-black, supernatural detective stories like From or that classic 90s demon flick Fallen and your still singing "Time Is on My Side".

HBO’s The Outsider hits that exact same eerie, shapeshifting frequency. Visually, this show is a straight-up masterclass. The composition is dirty and claustrophobic, using weird out-of-frame subjects, reflection shots through dirty glass, and a drained, moody color palette with deep, crushed blacks that make every frame feel drenched in dread.

The setup is absolute fire: Jason Bateman and Ben Mendelsohn lead off with two of the tightest, most intense episodes of TV in recent memory, trapping you in an impossible double-exposure mystery. But man, once the hook is set, the pacing hits a total wall.

Extreme struggle of sitting through it: this 10-episode journey easily had 4 episodes of pure filler. While a slow burn works when the psychological tension is cranked, it stretches its middle act so thin that you’re practically fighting off sleep. The script drags its feet so heavily that reaching the finale feels like an endurance test.

Wicked setup, killer dark-art visuals, and top-tier acting. Just be prepared to sip it slow, maybe have this on a 2nd screen while you're processing festival photos, or watching paint dry... because it crawls at a snail's pace to get to the end.
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    The grass is taller than I am. The grass is taller than I am.
    Missed this place, glad they back at it. Missed this place, glad they back at it.
    Look, we all know this wasn't the Lip Sync Battle Look, we all know this wasn't  the Lip Sync Battle of Holland’s iconic umbrella dance that lives in our brains rent free but man, this is undeniably Tom Holland’s finest performance to date.

Here is my breakdown on why this film is absolute art through the viewfinder.  Its shot with lighting design that leans heavily into moody, low-key street photography vibes. The shadows across New York’s rooftops make Peter's isolation hit twice as hard.

The web-swinging sequences aren't just generic CGI floating through skyscrapers. They pulled off dynamic, low angle tracking shots and long takes that feel heavily inspired by handheld camera or drone work and thr high-octane video game feel.

You can practically feel the lens pulling focus as Spidey whips past the brick walls.The movie ditches the flat, over-polished MCU digital look for rich textures, deeper blacks, and vibrant reds that pop like classic comic book ink.

Tom Holland at His Peak with the heartbreak in Peter's eyes when he sees MJ and Ned look right through him isn't watching an actor, it feels pure.

Without the Avengers, Holland carries this entire narrative on his back. He portrays a guy entirely consumed by grief, physical exhaustion, and quiet dignity while becoming a adult spider with all its changes. The chemistry between him, Punisher, and Hulk, brings a sharp, gritty contrast that balances heavy psychological drama with snappy, organic street banter.  Well done!
    That time the major international photo magazine d That time the major international photo magazine dropped me as a top amateur photographer.  Crazy.
    Alright fam, let’s talk about Prime Video’s Spider Alright fam, let’s talk about Prime Video’s Spider-Noir. I live for high contrast lighting, heavy shadows, and storytelling that throws the traditional formula out the window, and this Depression Era and Germany spin on the Spider absolutely fed like a late-night bourbon chicken or pickle pizza.

This series hits like a freight train in how it looks through the lens, but it does drop the web a few times throughout.

If you’re tired of the clean, cookie cutter multiverse cape flicks, this story is a breath of fresh, haze-filled air.

It’s 70% gritty Humphrey Bogart detective flick, 30% cartoonish madness, which is fun; however, 100% unhinged Nick Cage energy, which isn't always my cup of Faygo.

The series gives you two viewing modes: Authentic Black & White and True-Hue Full Color. Hands down, the black-and-white cut is the way to shoot this. The high-contrast lighting brings blinding streetlight beams cutting through thick fog and pitch-black alleyways, which is a whole classic vibe.

If you appreciate dirty, dark storytelling that takes massive creative risks and visual composition that belongs on a gallery wall. Spider-Noir is a ride worth taking. Just be ready for a few slow middle episodes and a superhero story without the big-budget CGI.
    Caught The Devil’s Mouth on Prime Video, and I’ll Caught The Devil’s Mouth on Prime Video, and I’ll give credit where it’s due: it’s actually refreshing to see a creature feature trying to take itself seriously for once. We’ve been drowned in irony-poisoned trash like Sharknado for over a decade, so I was down for a real, claustrophobic survival thriller.

That said... what the hell were they thinking?

Visually, the outdoor footage from Thailand before they hit the water actually looks gorgeous. The framing on the surface, the natural lens flares, and the depth of field in the opening act had me hoping they brought some real camera craft to the table. But  the moment they get inside the flooded cave system, all gets tossed out the window. Bro. 

Underwater inside a subterranean rock cavern. Where is this massive, soft-diffused key lighting coming from?! Every submerged chamber is magically illuminated like a studio set with gelled fill lights hidden behind stalagmites. None of those exposures make sense! Air pocket locations with sunlight?

A bull shark isn't going to stalk all them people like a Jason Voorhees with gills. The ramming and jumping: This CGI fish spends the entire movie ramming solid rock, jumping out of the water, and trying to break down cave walls just to eat humans when hes already ate. Sharks don't give themselves concussions for a snack.

They should of went with a bunch of smaller sharks. Add jurassic park logic.. at one point, the shark literally waits around corners to pull a fake-out ambush on the tour guide like it studied stealth tactics at Film School. It swam throrugh multiple small areas magically... I respect doing their best with the material, and I love that we got a serious shark movie instead of a joke... but between the studio-lit pitch-black caves and a shark that acts like a killer in a hockey mask, the suspension of disbelief took a heavy bite to the face. 

Multiple small sharks and more lit by headlamp scenes would of gone much better.
    Lighting during the night duels is straight-up gor Lighting during the night duels is straight-up gorgeous. The contrast between deep shadow work and bright blasters gave me pure cinema.

Favreau loved his monster shots here. That swamp fight on Nal Hutta featuring the Dragonsnake felt like watching a wicked monster movie up close. The CGI framing on those swamp beasts had some serious scale.

Its essentially a giant quest. If you're looking for deep, life-altering lore, you might feel the plot is a bit thin. But if you're here for jetpack action, and Grogu running wild with a crew of Anzellans to save his adoptive dad, it delivers.
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    Supergirl flick. Honestly feels like DC is back to Supergirl flick. Honestly feels like DC is back to throwing shit at the wall to see what sticks.

​It’s trying way too hard to blend genres. You’ve basically got a John Wick revenge plot centered around a hurt pet wrapped in fight choreography that desperately wants to be John Wick on cosmic steroids, all shot inside a sci-fi world that looks like a knockoff mashup of Star Wars and Guardians of the Galaxy.

It flips wildly between a grit-and-dirt space western, a hyper-violent revenge thriller, and a quippy alien ensemble movie.

Where is the bright, vibrant, cosmic spectacle promised in the comics, its too heavily into flat, muddy, greys and browns. It lacks a strong visual identity.

I know Jason has wanted to be Lobo forever. But he signed up for this???, like our introduction to deadpool way back when,  wtf.  Milly is the only positive here, even the cinematography lacked, which is where I usually give credit.  She's an up and coming actress who hopefully continues to land big roles with better screenplays.
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