Opti-Free Replenish Rewetting Drops, 0.33 fl oz (10 ml)

Moisturizes and refreshes lenses. For soft (hydrophilic) lenses, including silicone hydrogel and gas permeable contact lenses. Opti-Free Replenish Rewetting Drops moisturizes and refreshes your lenses for greater wearing comfort. It also helps remove particulate material that may cause minor irritation, discomfort, dryness, blurring and itchiness while wearing your lenses. Opti-Free Replenish Rewetting Drops contains patented RLM-100, which helps prevent protein deposit build-up on soft (hydrophilic) lenses while you wear them, when used as directed.

Pra mim, a melhor fotografia da historia. Philippe Halsman: Dali Atomicus In 1948 A. F. Bucknell identified portraiture as the most lacking area in the entire realm of photography ("100 Years..." Internet). He must have been overlooking the renowned work of 42 year-old Philippe Halsman, who created a masterpiece entitled “Dali Atomicus” the same year. The portrait of Halsman's friend and colleague masterfully captured the essence of the Spanish surrealist Salvador Dali, while at the same time playfully giving reference to the painter's own work entitled “Leda Atomica” both literally and figuratively. It was shortly after World War II and the world had just been shoved violently into the atomic era. Dali's surreal paintings, at that time, conceptually portrayed the idea of the atom and how, through the repulsion of protons and electrons, everything was constantly in a state of suspension. The day after Halsman and Dali discussed “Leda Atomica” for the first time, Halsman contacted Dali about the idea he had for a photograph (Halsman, Philippe 54). The two worked together on the concept for the photo, as they often did after meeting each other in the early 1940s (Halsman, Yvonne 12). The two artists had Harold Edgerton's “Coronet” milk drop photo, from the 1930s, at the forefront of their discussions. They were mesmerized by the idea of suspension captured in it. They argued back and forth on aspects such as blowing up a chicken and whether to use milk or water (Halsman, Philippe 54-55). Wanting to avoid animal cruelty laws in the United States and knowing that the photograph would be shown in Europe, where people wouldn't relish the idea of wasting milk, they agreed to use unharmed cats and water for the photograph. Halsman set up his New York studio and using the 4 x 5 format, twin-lens reflex camera that he had designed in 1947 (Bello 206), he prepared to capture one of his most memorable photographs. He suspended an easel, two paintings by Dali (one of which was “Leda Atomica”), and a stepping stool; had his wife, Yvonne, hold a chair in the air (Jeffrey 192); on the count of three, his assistants threw three cats and a bucket of water into the air; and on the count of four, Dali jumped and Halsman snapped the picture. While his assistants mopped the floor and consoled the cats, Halsman went to the darkroom, developed the film, and reemerged to do it again. “Six hours and twenty-eight throws later, the result satisfied my striving for perfection,” wrote Halsman in his book Halsman on the Creation of Photographic Ideas. “My assistants and I were wet, dirty, and near complete exhaustion—only the cats still looked like new.” The surreal and hysterical photograph was immediately given a two-page spread in LIFE magazine, for whom Halsman had taken many portraits of celebrities and other prominent people. Overnight, it seemed, the unusual photo was pirated worldwide, reprinted, and written about, with no payment to the artist. Later, the picture was included in Edward Steichen's selection, Photography in Retrospect (Halsman, Philippe 55). In the Spring of 2000 a print of it even reached the hallowed galleries of the Ball State University Museum of Art in a photography exhibit - and that's not too shabby. Halsman's work before “Dali Atomicus” was predominantly portraiture for magazines. He had an uncanny ability for helping celebrities drop their guard and allow him to capture their true personality. He worked in Paris for magazines such as Vogue, VU, and Voila. At the start of World War II, Halsman, then 34 years old, moved to New York City where he found work with LIFE magazine. By the time he stopped working for LIFE, Halsman had attained 101 covers for the magazine. Included were unforgettable images of icons such as Albert Einstein, Alfred Hitchcock, Winston Churchill, Marilyn Monroe, and Pablo Picasso (Halsman, Yvonne 120-137). After “Dali Atomicus,” Halsman continued magazine work and also produced several books. In his book written with, and about, his old friend Salvador Dali entitled Dali's Mustache, they conducted a photographic interview where Halsman would ask a question like, “Why do you paint?” Dali's answer, “Because I love art,” was accompanied by a photo of Dali's mustache resembling a dollar sign (Dali 41-43). This sort of humor appeared all throughout Halsman's career. Like “Dali Atomicus,” Dali's Mustache also covered an atomic question that featured a photo that appears as if a nuclear mushroom cloud is coming out of the painter's mouth (Dali 113-115). The entire book was an exercise in imagination for both of them, and happened to be a terrible flop financially for the publishing company (Halsman, Philippe 35). In his 1959 release, Philippe Halsman's Jump Book, Halsman gave a more in-depth look at the concept of suspension. “Jumpology,” as he referred to his new science, is a method of interpreting someone's personalit

Okay, this is my lone PPG photo. I shot this by what is known as TTV...or through the viewfinder of another camera. To do this, I use two cameras (an old argus 75 box camera on the bottom and a canon digital rebel on top). I have to shove the lens of my canon into one end of an 18 inch long, taped up aluminum foil box with the ends cut off. I place the other end of the box over the viewfinder of the argus. Then, I have to move around a lot to frame the shot (cropping is strictly verboten in the TTV world...you gotta include the border. talk about rules!) and i have to move around to get everything in focus. The point I'm getting to is this...it can take a while to get everything in place for a TTV shot. And you really can't do it on the sly, especially in the dark. Pittsburghers will see that this is PPG plaza, a site where many local Flickr-ers run into security guards who chase them away for, well, security reasons. To be honest, I don't know what security reasons there could be. Movie crews have filmed here. So do wedding parites. You could certainly hijack a movie clip if you wanted to do damage to the place. And everyone knows that wedding photographers are terrorists in disguise. Back to the point. I didn't get chased here. And I saw a security guard. So he probably saw me. Maybe my bizarre gear fooled him. Maybe he thought my legs looked cute in my biker shorts. Whatever the reason, he let me alone. I'm not allowed to ride my bike through here anymore. Probably because some idiot roared through without regard for the safety of others. Or maybe because some BMXers were grinding away on the stairways of the main building. Who knows. But that's a no-no now too. Don't know why there's a photography ban. I called the local Grubb & Ellis office to find you. But the contact person is out until Aug 6. So there's no reason to jam her voice mail with messages. Hell, she probably didn't make the policy. Like most people who work for others, she just does her best to keep her job by following the company rules. And yes I still think this isn't all that big of a deal...look at it this way...imagine you had a really cool looking house. Now, imagine that people were walking on your property and taking photos. Let's say that you asked them politely to leave...and they balked but eventually left. Still, when they did leave...they continues to take photos of your place from all angles on public property. Would you be upset? I would be. My house is nearly surrounded by woods. local kids use my yard as a shortcut to the woods. that's okay. i used to do the same as a kid. but if they started taking photos of my house, i'd be concerned. one last thing, if you own a home in allegheny county, then most likely a photo of it is online at the county assessment web site. if you remember, a lot of people were upset with that. including me. because the photo not included my home, but my two kids (who were much younger then) sitting on the front porch. Yet, the photo was totally legal according to the photographer's rights stuff everyone is talking about. But tell me...how pissed would you be in that case? okay, local pittsburgh Flickr people, I know you all avoid commenting on my photos. but seriously, let's hear what's on your mind. and if you like the photo, let me know that too.