Hot Shot Camera Ring
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Bower Digital Universal Automatic Flash for Canon, Minolta, Nikon, Olympus, Pentax, and Samsung (SFD290) $34.00 The Bower SFD290 Digital Automatic Zoom Flash is an innovatively designed flash unit for both digital and traditional SLR cameras with a wide array of high-end features at an affordable price. This model — compatible with Canon, Nikon, Pentax, Olympus, and many other SLR cameras — features fully automatic operation and helps photographers fill shadows, add depth, avoid red-eye and improve image … |
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Godox 16 Channel Wireless Hot Shoe Flash Remote Trigger Receiver for Nikon D90, D5000 $37.48 Specification:Power Supply: Transmitter-23AE 12VReceiver: 1.5V (2 x AAA)Transmit frequency: 433MHZ wireless remote systemWorkable Distance: ¨Q30m (Strobe & Speedlite)¨Q100m (Camera)Sync speed: 1/200 secondsChannel: 16 channelsDimension for transmitter: 90 x 30 x 27 (mm)Dimension for receiver: 80 x 35 x 37 (mm)Item Includes:1 x Transmitter1 x Receiver1 x Remote Cable1 x Sync Cable1 x PC cord1 x C… |
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Godox 16 Channel Wireless Hot Shoe Flash Remote Trigger Receiver for Nikon D300S, D700. D300, D3X, D3, D3S, D200 $35.48 Specification:Power Supply: Transmitter-23AE 12VReceiver: 1.5V (2 x AAA)Transmit frequency: 433MHZ wireless remote systemWorkable Distance: ¨Q30m (Strobe & Speedlite)¨Q100m (Camera)Sync speed: 1/200 secondsChannel: 16 channelsDimension for transmitter: 90 x 30 x 27 (mm)Dimension for receiver: 80 x 35 x 37 (mm)Item Includes:1 x Transmitter1 x Receiver1 x Remote Cable1 x Sync Cable1 x PC cord1 x C… |
Why do the TV cameras always zoom away from the hot ring lady in between rounds in a boxing match?
You never see a tight shot of them…is there some technical reason for that?
They are saving u an embarrassment cause they dont want u to get a boner in front of all your friends while your watching the fight.
Hotshot =Stallion
3 Backyards Never Movie 2011 : Free Download
Sumptuously dreamlike and compellingly elusive, “3 Backyards” stands as a cinematic testament to how much can be accomplished with few resources and a heap of artistry and ambition. Shot with the RED Digital Camera on
a budget of just $300,000, the film is leisurely and attentive to the small details and moments between people, whether it be a loved one or a complete stranger, that oftentimes make the greatest lasting impact. Simultaneously, writer-director Eric Mendelsohn builds a rhythmic, ever-rising urgency to, respectively, the personal journeys of John,
Peggy and Christina—three protagonists set upon a reality shimmering with foreboding undercurrents and mysterious passersby. As the wistful sun peaks through the trees, arachnids spin their webs, felines prowl, caterpillars slink beneath the grass, and bees pollinate the flowers, there arises both the feeling of a routine to the world’s order and the possibility, at once thrilling and threatening,
of unforeseen curves to one’s course. With Michael Nicholas’ haunting music score of flutes and harps teasing the viewer to look closer and Kasper Anderson’s entrancing cinematography painting its Long Island locale with the texture of a fable and the authenticity of knowing the land and being a longtime resident, the picture takes on the aura of a storybook transplanted into the here and now.
The tri-thread of narratives are fairly straightforward, but their purposes are deliciously ambiguous. Mendelsohn does not spell out his messages or present a biased plot, but observes his characters as they are. What one takes from the film is limitless, based on each individual viewer’s perspective and what they bring to it. Peggy is beside herself at the thought of escorting a big-time actor to the ferry, imagining how they might bond on the trip through conversation and shared interests.
On the drive, Peggy tosses out info she thinks she’ll like, as when she discusses the art house movie theater in town and how she likes a mixture of Hollywood productions and smaller indies, but the actress is respectfully curt. She’s got something else on her mind and, really, just wants a ride. Peggy expects more from her, and when she doesn’t get it turns to gradual passive-aggressiveness.
The portrait of fame as seen from both sides—a housewife awe-struck over a movie star, wanting something from her without knowing what, and a famous person going through a tough time who can’t seem to escape the outside expectation of always being “on”—rings with resounding truth. It’s not that Peggy or the actress is selfish, but that there’s a sort of wall that separates who they are and why
they can’t completely see eye-to-eye. This is no more evident than when the actress has a brief emotional breakdown and Peggy, astonished over what she’s just witnessed, responds by marveling at how “real” she is. Even seeing her as a person and not a screen character, there is an inability to disconnect the two
. In a film where each performance is indelible, it is Edie Falco’s (2006′s “Freedomland”) transformative work as Peggy, a woman who can’t quite grasp or understand the sorrow inside her, that is especially poignant. Netwebsite.In Is A Free Movies Website Where You Can Watch Full Movie Free.
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