.
theworldsmental:

rainbownova:

agiantsackofpotatoes:

jimfaindel:

ohmydearray:

HE DID IT. (x)

He started in 2011, and it finally ended.

"Oh sweet, I beat it."

THATS LEGIT ALL HE FUCKING SAYS. HE SAYS IT WITH THE CALMEST VOICE EVER EVEN THOUGH HE’S BEEN SCREAMING FOR 4 FUCKING YEARS OKHE LITERALLY PLAYS IT THROUGH AND THEN HE JUST “oh sweet, i beat it” WHAT THE FUCK

He spent the last four years bleeding out his soul for a square. That is the reaction of a broken man.

theworldsmental:

rainbownova:

agiantsackofpotatoes:

jimfaindel:

ohmydearray:

HE DID IT. (x)

He started in 2011, and it finally ended.

"Oh sweet, I beat it."

THATS LEGIT ALL HE FUCKING SAYS. HE SAYS IT WITH THE CALMEST VOICE EVER EVEN THOUGH HE’S BEEN SCREAMING FOR 4 FUCKING YEARS OK
HE LITERALLY PLAYS IT THROUGH AND THEN HE JUST “oh sweet, i beat it” WHAT THE FUCK

He spent the last four years bleeding out his soul for a square. That is the reaction of a broken man.

newyorkersunposed:

By Alberto Reyes

  1. Camera: Canon EOS-1D Mark IV
  2. Aperture: f/2.8
  3. Exposure: 1/160th
  4. Focal Length: 120mm

lovelikedestiel:

captainarlert:

therealbarbielifts:

bergerwithcheese:

trumpetnista:

2ndratehandjob:

lady-dirtbag:

marchqueen:

tastefullyoffensive:

Portals to Hell by hrmphfft

IT’S BACK

I HAVE BEEN TRYING TO FIND THIS AGAIN FOR MONTHS

I AM SO HAPPY RIGHT NOW

ITS BACK 

This is one of those posts that you need to save and tag or you’ll never see it again for 84 years.

Whoever drew this is an amazing person and I love them.

What in hell

I feel like ill never see the large version of this post ever again

delish-eats:

Dark Chocolate Blackberry Maleficent Inspired Cupcakes | Sinister Sweet Shop

(Source: weheartit.com)

  1. Camera: Nikon D3000
  2. Aperture: f/5.6
  3. Exposure: 1/125th
  4. Focal Length: 28mm
sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??
sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??
sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??
sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??
sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??

sevvey6:

WHY IS THE LAST ONE THE MOST REALISTIC??

(Source: yogurtconpapasfritas)

asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 
asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama
Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite. 

asylum-art:

Time-lapse photography of nude dancer’s by Shinichi Maruyama

Since the dawn of the photographic age artists have been obsessed with the ways in which a cameraman can play with the perception of motion and time. In the 19th century Eadweard Muybridge used photography to win a bet by capturing an image of a horse galloping in order to prove that all it’s legs left the ground at once, now Shinichi Maruyama is presenting the opposite.