100 curses in JapaneseHere are some Japanese curses:
1. Baka (idiot), pronounced Baka.
2.アホウ（傻B）。
3. Beast (Beast).
4. "Ke"(It can be understood as a word to express dissatisfaction like "I'll go").
5. * *(Scum)
6.てめえ（你丫的）。
7. Dead Friend (Go to hell)
8. * **(Ugly B)
9.きっめ（臭小子）。
10.こぞう（小家伙，可带有轻蔑意）。
11. Kichigai (Lunatic)
12. Ke Chi (Stingy)
13. Tawakemo no (Idiot)
14. Inakamo no (Country people, discrimination).
15.げひん（下流）。
16. Shāni Sākāni (Damn it, I won't die).
17.できそこない（废物）。
18. Su Ke (Pervert).
19.ぶす（丑女人）。
20. De de,(Fat Pig).
21. Anta, Baku (Are you an idiot?)
22.ばかづら（长相愚蠢）。
23. Mosquitoes could not die (pockmarked face, this was an insulting term).
24. Little Monk (a little guy who was addressed with slight contempt).
It is uncivilized and immoral to use swear words. In communication, positive, healthy and mutually respectful words should be advocated.
The meaning and symbol of nine layers and a thousand layersFrom the perspective of Taoist culture, there were different levels in the Nine Heavens, such as Zhongtian, Xiantian, etc. Different levels might have corresponding meanings to astronomical phenomena, but there was no clear unified statement about the overall meaning of the Nine Heavens. " Qianzhong " implied victory over thousands of miles, virtue and prestige. It contained the meaning of describing the general's great talent, noble morality, and great reputation. It also had the meaning of thousands of talents, eternal fame, gratitude, and caution.
The novel " Nine Levels of Purple " is equally exciting. Everyone is welcome to click and read it!
Layers in photographyLayers were an important concept in photography. From the perspective of a two-dimensional image representing a three-dimensional space, the hierarchy could be reflected in many ways.
* * I. Elements of the Formation of Levels **
1. * * Light-dark relationship (black, white, grey)**
- It could also be understood as "level difference". Through the contrast of light and dark, the contrast of the picture was formed, thus creating a level. For example, the windows of a building received different light, and the difference in the brightness of the near and far windows reflected a sense of layering. The trees in the forest also showed a sense of layering due to the difference in the brightness of the trees.
2. * * Colors **
- The principle was similar to light and dark, but it was richer. When there were colors in the picture, such as the contrast of cold and warm tones, the layers would appear. When shooting, if the picture is rich in color, you can cut off the most colorful part to strengthen the level; if there is no color, you can consider strengthening the level through light and shade.
3. * * Light and shadow change **
- The change of light and shadow could produce different bright and dark parts, thus constructing the level of the picture. For example, when the sun just came out in the morning, the contrast between the light and the shadow on the scene enhanced the level of the picture.
4. * * Line perspective **
- Using the lines to guide the line of sight to form a perspective effect, it could create a sense of depth and make the photo more layered. For example, roads, rivers, forest paths, and other linear shapes could be used as guiding lines to guide the line of sight from near to far. For example, using roads to guide the line of sight to distant mountains, or using forest paths to guide the line of sight to distant people, would make the picture more rich.
5. * * Comparing reality and illusion **
- The contrast between reality and illusion could make the real thing stand out more, and the illusory part could make the theme more artistic. Through the small depth of field, the background could be blurred and the main body could be clear to enhance the sense of layering. For example, when shooting a character, focus on the character to make the front and back blurred, or when shooting flowers, use the shallow depth of field to make the background blurred. Shooting reflections was also a good way to use the contrast between reality and reality to create a sense of layering, making the reflection and the real thing illusory.
* * 2. Common structure of levels **
1. * * Foreground, Mid Shot, Foreground **
- This was a typical hierarchical structure. There was a clear picture of the front, middle, and back. It gave a strong sense of space and gave people a strong sense of space. For example, in a landscape photo, there were flowers nearby (in the background), buildings in the middle (in the middle), and mountains in the distance (in the background). The structure was clearly layered.
2. * * Main body and background **
- It was the most basic level structure, and the background was used to set off the main body. For example, in a photo studio, the character (main body) and the background board (background) formed a simple hierarchy.
* * 3. Techniques for Leveling Up **
1. * * Remove the middle **
- Photographers needed to do a lot of deduction. The simpler the picture, the easier it was to highlight the main body. It allowed the screen to have only one main body and background, with no other layers in between. That was to filter out the intermediate layers between the main body and the background, making the main body of the screen to be maximized and very eye-catching.
2. * * Increase prospects **
- Adding a background to the scene was a common technique. Foreground could balance the center of gravity of the picture, highlight the contrast between far and near, stretch the vertical space, enhance the texture of the picture, enrich the content of the picture, and enhance the atmosphere. For example, using the falling leaves as the background of the scene could give people a different perspective experience.
3. * * Make good use of one of the relationships **
- The level of the picture is affected by many factors. You can highlight one of them to improve the level effect. For example, it could focus on the changes of light and shadow in the picture, use color to change the level of the picture, or use the spatial relationship of the picture (such as vertical composition using the depth of the street to express the spatial relationship).
4. * * Use the light and dark relationship of black and white photos (for black and white photography)**
- The texture of a black-and-white photo mainly depended on the brightness of the black, white, and gray in the picture. He could enhance the contrast between black and white through the white curves, brighten the light parts of the picture, suppress the dark parts, and add some texture and clarity to remove the haziness to bring out a layered texture of black and white photos.
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