CLIPS FOR VERTICAL BLINDS : VERTICAL BLINDS

CLIPS FOR VERTICAL BLINDS : HILLARY BLINDS

Clips For Vertical Blinds


clips for vertical blinds
    vertical blinds
  • Strips of fabric [louvres] suspended vertically from a headrail. Immensely practical blind which comes into it's own on larger sizes
  • UpWindow treatment featuring vertical vanes that can be swiveled open and closed or opened in either a split or one-way stack.
  • A window blind is a type of window covering which is made with slats of fabric, wood, plastic or metal that adjust by rotating from an open position to a closed position by allowing slats to overlap. A roller blind does not have slats but comprises a single piece of material.
    clips
  • Trim or remove the hair or wool of (an animal)
  • (clip) cartridge holder: a metal frame or container holding cartridges; can be inserted into an automatic gun
  • (clip) time: an instance or single occasion for some event; "this time he succeeded"; "he called four times"; "he could do ten at a clip"
  • Cut off a thing or part of a thing with shears or scissors
  • Cut short or trim (hair, wool, nails, or vegetation) with shears or scissors
  • (clip) nip: sever or remove by pinching or snipping; "nip off the flowers"
clips for vertical blinds - Broadway Extra
Broadway Extra Tall 90mm Rear Wide View Mirror 330mm (13 inch) Flat
Broadway Extra Tall 90mm Rear Wide View Mirror 330mm (13 inch) Flat
Tired of the bright glare of headlights in your rear view mirror when you drive at night? Fear no more with the Broadway Wide Rear View Mirror from Napolex! This mirror has a wide angle view for maximum viewing, eliminating blind spots. It is very easy to install, just clip it onto your existing rear view mirror, no screws or bolts required! Broadway Rear View Mirrors are guaranteed to reduce double images, bright glares, and distortion. The Wide Mirror has an extra wide vertical view (90mm) for even more maximized viewing! Get one today for safer driving on the road! Dimensions: 330mm (13 inch) x 90mm (3 1/2 inch)

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Negative Space
Negative Space
I find negative space to be one of the most fascinating aspects of composition, which is probably due to my interest in eastern philosophy, which has always emphasized the dynamic relationship between objects and emptiness, form and formlessness. In these philosophies the “void” acquires a mystically powerful role in the process of creation. For example, Japanese Zen Buddhism considers “ma” – which can be roughly translated as “empty,” “gap,” or “space” – to be the critical compositional element of all art forms. The Taoist philosopher Lao Tzu also stressed the importance of the emptiness that gives purpose to things, as he illustrates in this passage from his Tao Te Ching: Thirty spokes share the wheel’s hub; It is the center hole that makes it useful. Shape clay into a pot; It is the space within that makes it useful. Build walls for a room; It is the space within that makes it useful. But maybe I’m getting ahead of myself. What exactly is negative space? And if there’s negative space, then what is positive space? Defined simply, negative space is the area around and between the subject of an image. It is the area that is NOT your subject. In Gestalt psychology, they would say that the subject is the “figure” and the negative space is the “ground.” Unfortunately, the term is misleading because space isn’t negative in a bad sense. As we’ll see, it plays a vital and very good role in composition. On the other hand, positive space is the area occupied by the subject, which is basically the same thing as saying that it IS the subject. It’s the figure or form that your mind focuses on, while the rest is “background.” So if you imagine a shot of a person standing against a bright clear sky with his arms and legs stretched out, the positive space is the area where you see the person, while the negative space is the sky around him which has probably blown out to pure white, assuming the person is properly exposed. Or say you correctly expose the sky rather than the person. In that case the person becomes a dark silhouette, but the positive space is still the person and the negative space is still the surrounding sky. Your mind focuses on the silhouetted person and doesn’t consciously notice the space around it. This second example of a silhouetted body with arms and legs stretched out is particularly good for understanding how negative space serves the function of defining the subject. Because the subject is dark and maybe even totally black, we can’t see any details of his body. Nevertheless, the clear sky around the body and between the arms and legs guides the mind into seeing the silhouetted shape and recognizing it as a human form. This simple definition, as well as the examples I just described, might lead us to believe that negative space is empty space. This is what the term “negative” suggests, that things are absent and there’s nothing there. However, that’s not quite true, at least not in most photographs. While some areas of a photo may be clipped to pure white or pure black, which is as close to a visual “nothing” as we can get, most seemingly empty areas do contain some kind of texture, form, or detail, even if very faint or blurry. All negative space, even areas of total white or black, has weight and mass that helps define the subject. Besides, the human mind, which cannot fathom absolute emptiness, will perceive even pure white or black as something – like a wall or a dark sky. Because negative space usually contains some kind of subtle form or texture, a more accurate definition of it is any non-distracting, seemingly unimportant area, such as the background or foreground, that doesn’t immediately draw the conscious attention of the viewer, but nevertheless helps define and enhance the shape, action, or size of the subject. It’s anything other than the main subject or focal point of your photograph, but it in some way supports the viewer’s attention on that subject or focal point. So imagine a magnificent tree in a field of grass. The area around the tree isn’t empty. It’s a field of grass, but because the color and texture is uniform, it doesn’t capture the eye like the tree does. The field is negative space that supports the subject of the tree. A narrow depth of field might also be used to create negative space by selectively focusing on the subject while blurring the details in the background, foreground, or both. Because the human mind doesn’t like to dwell on blurry areas, this negative space in a sense pushes the eye back to the subject. From a purely psychological point of view, we might define negative space as any area of the photograph that the mind perceives as “space” around, between, or behind the subject, no matter what might be in that space. Because some photographers think of negative space as a place for the eye to rest while viewing the photo (think of the silent moments in music), any area that the mind perceives as a respite from the subject may be consid
unresolved
unresolved
While editing this shot, the mood just simply struck me as what state my mind constantly is in : unresolved. Abou life. About the way I look. about everything.

SB-28 into westcott umbrella to camera left. Simple walmart king sized sheet clipped to vertical blind shutter support in front of my sliding glass window. After spending 30 minutes to remove the background from another pic, I decided to experiment with some cheap sheets from walmart. For simple white & black, you cant go wrong for $13.08

clips for vertical blinds
clips for vertical blinds
Schoolhouse Rock Rocks
The beauty of Schoolhouse Rock in its original Saturday morning run (1973-85) was that kids watching couldn't tell whether the catchy three-minute cartoon jingles were meant to be commercials, shows, or something else entirely. That enabled overexposed TV youth to learn without realizing it between episodes of Scooby Doo and Fat Albert. Then the Brady Bunch generation became the alternative nation, and the innocence with which they took in these grammar, history, and math lessons was lost. Now comes the obligatory tribute album, Schoolhouse Rock Rocks--pleasant enough, but full of postmodern yuks and missed-the-point nostalgia that aim to celebrate but instead drain the joy from childhood memories.
Though it's somewhat interesting to hear Pavement turn "Mo More Kings" into lo-fi krautrock or Moby make "Verb: That's What's Happening" into industrial techno-pop, the performers who most successfully preserve Schoolhouse Rock's edutainment viability are those who are most cartoonish to begin with: Ween ("The Shot Heard 'round the World"), Biz Markie ("The Energy Blues"), and Daniel Johnston ("Unpack Your Adjectives"). The problem remains, nonetheless: Any revamping of these songs implies Schoolhouse Rock somehow needed to be made hipper. That none of these songs is better than its original proves how very unhip '70s kids have grown up to be. --Roni Sarig

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