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Oxo Good Grips 17014 Twister Snow Brush/Scraper
Tested on Mt. Washington, the Oxo Good Grips Twister Snow Brush can take on heavy snow and ice. The dual position Snow Brush features an extra-long yet lightweight handle with strong feathered bristles to remove snow without damaging glass or painted finishes. Use the Brush to sweep lighter snow from side to side or rotate the Brush head to push and pull heavy snow. Simply push the button on the side of the Brush head and twist it to the desired position. A shatterproof polycarbonate scraper blade removes thick ice and the soft, non-slip handle provides a secure grip, even while wearing gloves.85% (17)
Remove snow and ice from the car windshield on frosty mornings with this handy combo tool from OXO Good Grips. Good Grips is dedicated to creating tools that reduce stress on wrists and hands. Use this lengthy brush/scraper to can clean a large portion of the windshield without excessive stretching. A clever, push-button, twist function turns the brush 90 degrees for flexibility when sweeping heavier snowfall.
Penetrate hard frost with the sturdy, polycarbonate scraper blade. Molded knuckles on top of the tool can be used to crack thicker ice sheets. Feathered brush bristles remove snowflakes without scraping your car’s paint finish or scratching windshield glass. A secure no-slip grip is great for wet conditions and gloved hands. Good Grips offers a satisfaction guarantee for all its products. This item measures 24 by 9 by 2 inches and weighs 2 pounds. --Jessica Reuling
After five years spent working on the more experimental fringe, Gus Van Sant fluently returns to the relative mainstream with “Milk,” an adroitly and tenderly observed account of the life of Harvey Milk, the first openly gay man voted into significant U.S. public office. Smartly handled study of the San Francisco politician’s powerful effect on individuals and society accurately catches a moment in American political life three decades ago, but is most notable for the surprising and entirely winning performance by Sean Penn in the leading role. Almost the definition of a specialized audience film, this Focus release looks to perform strongly in urban and university-adjacent areas but will have trouble crossing over to a public not into gay, political and social-vanguard issues. Commentators will not fail to note certain parallels with the current political season, encapsulated by its hero’s parting line, “You gotta give ‘em hope.” Van Sant has always gravitated toward transgressive outcast characters, and none of them traveled so far from the margins into the status quo, or had such convulsive impact, as the real-life Harvey Milk, a New Yorker who, at 40, moved to San Francisco and broke down a significant sociopolitical barrier before being assassinated by a disturbed fellow politician. The normalizing demands of the biopic genre necessarily squeeze the director into a more recognizable format than he has employed since at least “Finding Forrester” eight years ago, and it’s possible that the most ardent fans of his variously beautiful and aggravating subsequent works -- “Gerry,” “Elephant,” “Last Days” and “Paranoid Park” -- will find this one too conventional. But while “Milk” is unquestionably marked by many mandatory scenes -- the electioneering, outrage at conservative opposition, tension between domestic and public life, insider politicking, public demonstrations, et al. -- the quality of the writing, acting and directing generally invests them with the feel of real life and credible personal interchange, rather than of scripted stops along the way from aspiration to triumph to tragedy. And on a project whose greatest danger lay in its potential to come across as agenda-driven agitprop, the filmmakers have crucially infused the story with qualities in very short supply today -- gentleness and a humane embrace of all its characters, even of the entirely vilifiable gunman, Dan White. Enormously researched script by Dustin Lance Black (“Big Love,” the indie feature “Pedro”) begins in November 1978, with Milk presciently tape-recording some personal reflections, driven by the awareness that he could easily become the victim of a political assassination, which he in fact was later that month. “Almost everything I did was with an eye on the gay movement,” he admits, and so it is when, in jumping back to 1972, Harvey moves with b.f. Scott Smith (a frizzy-haired, sweet-smiling James Franco) from Gotham to Baghdad by the Bay, determined to do something meaningful with his hitherto uneventful life. The opening stretch fleetly documents the role Harvey and a small group of gay buds, who hung out at Harvey’s Castro Camera shop, played in transforming the Castro district from an unremarkable working-class neighborhood into the gay Mecca it shortly became. The banter flies easily among these bright young men, who form the nucleus of Harvey’s activist political organization when he runs for office and loses three times, twice for the San Francisco Board of Supervisors and once for California State Assembly. Warm but boldly assertive at all times, Harvey builds a strong support system in the Castro, becomes allied with new S.F. Mayor George Moscone (Victor Garber) and, against the backdrop of propagandist singer Anita Bryant’s campaigns to repeal gay rights in Florida and elsewhere, takes advantage of new city redistricting to finally win a seat on the Board of Supervisors in 1977. At this point and beyond, especially during the fight against the attempt by California State Senator John Briggs (Denis O’Hare) to ban gays from teaching in public schools, the film does become overweighted by real and re-created TV reports and docu-like material (actual homemovies and vintage reportage are fluidly mixed with newly shot footage throughout) and rooted in specific issues at the expense of the personal. In fact, the pic’s least satisfactory interludes are devoted to Harvey’s last important lover, Jack Lira (Diego Luna), a footloose young Mexican who never comfortably coexists with the long-established inner circle. One can surmise there was a strong sexual bond that kept them together, but as Jack increasingly complains about his partner’s busy schedule, he quickly becomes an annoying character, the only person who creates a drag on Harvey’s energy and focus. More insight into this needy, immature fellow would have helped. By contrast, another street kid picked up by Harvey, the amusingly brash Cleve Jones (Emile Hirsch),White mask #2
Here's how I did it: 1: I made at least 35 photos. The weather was extremely good today, so I was sweating a lot, wearing this thick sweater :p It's very hard to get the right frame if you can't look through the lens. (Mirror too low, too much to the left, to the right, but this one is just fine.) 2: Image > Adjustments > Channel Mixer is what I did to turn the photo into black and white. 3: I used the history brush to make some parts re-appear in color, like my arms, the blue mirror, yellow letters and lipstick. 4: Since the rest was still in black and white, I used Color Range to select the black and white part of the photo. 5: With the selection still active, I used the color balance to make the b/w turn blue/green. (If I get tired of this color, I can easily make it any other color.) 6: Deleted all spots of dust and dirt, on the mirror, sweater to get a clean image. 7: Added an unsharp mask. 8: I used the curves on the eyes, so that my eyes are less visible, but you can still see some detail in those holes. 9: I used the burn tool in the center of the photo because it was a little brighter than the rest. Most of the time, the photo was zoomed in on 300% to be able to work precise. The only light used here, is my flash, at full capacity. It's pointed at the ceiling so the light is softer, avoiding ugly shadows. If you are thinking about buying one and you have a Nikon, the SB-600 is very very good! Deel 1 van 3, van wat waarschijnlijk mijn eindwerk wordt. Ze zeggen: "toon nu maar eens waar je echt graag mee bezig bent", maar als ze niet zeggen hoe of wat, wil dat zeggen da je zo vrij bent als een vogeltje he. Het is misschien een rare foto, waar je ni direct iets op kan zeggen, maar als je opmerkingen hebt of zo, zeg het gerust! Met twee is men altijd slimmer dan alleen :)
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