Group body painting on semi-nude women with the Absinthe Kubler logo.
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* Red Bull Body Painting
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* Red Bull Body Painting
Microsoft Windows Internet Explorer 8 Wallpapers, Imahes, Pics
Microsoft IE 8 Wallpapers | Download Free Wallpapers of Microsoft Internet Explorer 8. I used this and it's very nice browser, i think now Firefox and Chrome may be out of market or they might loose their popularity. From few months (1 or 2) Firefox has some problems when we open more than 10 tabs, firefox hang and we need to restart browser, now IE 8 is best option in replace of it.
Click & Download IE 8 Wallpapers
Click & Download IE 8 Wallpapers
Red Bull Body Painting
Body painting on semi-nude women with Red Bull logo. Red Bull energy drink was recently banned in Germany due to traces of cocaine in their produce. Read Red Bull Cola Laced With Cocaine
Cameron Diaz in Green Vogue
Cameron Diaz talked to Vogue about breaking out of her comedy comfort zone and taking on an intense drama:
“People who put labels on themselves limit themselves. If you are a woman who’s been labeled as a sex symbol, for instance-I mean, I am not saying that’s the label people would apply to me. But if you see yourself that way, inevitably you get to a point when you are no longer a sex symbol. And if you can’t move past that, you’re putting a limit on yourself; you’re arresting your development. And that’s where I think a lot of women get in trouble.”
An undeniable sex symbol in front of Mario Testino’s lens, the green actress (at the box office and in real life) dons organic designs by 3.1 Phillip Lim, Stella McCartney and Rag & Bone, just to name a few, for her desert-set “Sunshine Superwoman” (or as we like to call it “Diaz in Desert”) editorial.
For a behind-the-scenes look at the photo shoot, check out Cameron’s Vogue Video Diary, below.
The Olympus 35-100mm f2 in Use
Picked up the 35-100mm f2 yesterday, and within hours it was in use shooting one of the dimmest live performances I've done in a while, the dress rehearsal for Tapestry New OperaWork's production of The Shadow.
This is a high speed medium telephoto zoom (the fastest lens in it’s focal range that I’m aware of) with an equivalent focal length of 70-200mm - the classic 'go to' lens of the working professional. It’s fully weather sealed, so on an E3 body it will give you a dust and moisture proof combo.
Some scenes from The Shadow, a modern opera written by Alex Poch-Goldin and composed by Omar Daniel that will be enjoying a short run at the Berkeley Street Theatre Mainspace until May 30.
It's a dark menacing tale with a very modern abstract score (atonality abounds). Having since been to the opening night, the score really seemed to start working for me in the latter half of the piece where there were more melodic fragments to contrast with the dissonance.
The singing overall is terrific with Soprano Carla Huhtanen's Allegra and Bass Baritone Peter McGillvray's powerful vocal performance (seen above) plus CounterTenor Scott Belluz (below) as The Shadow particularly standing out.
Tenor Keith Klassen adds some comic relief as the waiter.
The lens when mated to an E30 body generally did an excellent job. Owing to the tightness of the space we had for shooting I photographed this opera all handheld.
First impression - man this thing is big! I mean it's only a 35-100mm lens, but it’s the size of a Canon 300mm f4. Of course, it is also a very bright f2 and designs for high speed lenses are always going to make you pay a price in terms of size. But adding to a general impression of bigness is an almost comically over-sized lens hood (seal the bottom, put a handle on it, and you could put a pitcher of draft beer in there)
Despite the size and weight I really didn't find it that taxing to do handheld for the hour and a half duration of the production. Every so often I'd just switch to using the 12-60mm on the other E30 and that would allow me to get the feeling back in my fingers. No all joking aside, it's really not that bad.
It’s a good lens for isolating subjects as the fast aperture allows for softer burred backgrounds when shooting wide open, and in fact it was this more than the increase in effective shutter speed in low light, that I was looking for from the 35-100mm.
Of course, everything works as advertised. Excellent sharpness wide open, nice contrast and saturation, focusing in dim, dim light was generally good.
Michael Cooper was photographing the production for the house with a Nikon D3, and there were a few instances where he got a shot I didn't because of the camera failing to find focus in time. But generally the E30 seemed to keep up with the D3 surprisingly well.
I had hoped to use the 35-100mm for street shooting, but might need a new plan for that. Pointing something this intimidating at strangers on the street may actually be illegal in some jurisdictions.
However for indoor shoots it's perfect.
All photos captured with the Olympus E30 w/ 35-100mm f2 lens
All Rights Reserved.
Body Painting - Cyclist
An old painting of nude woman cyclist.
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* Body painting - Cyclists
* Body painting - Sports - Snooker and Golf
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* Body painting - Cyclists
* Body painting - Sports - Snooker and Golf
One Night Live Concert: Sting & Sheryl Crowe
Did the big One Night Live fundraising concert at the Air Canada Centre last night featuring Sting, Sheryl Crowe, The Canadian Tenors and hosted by Chris Noth of Sex And The City fame.
The publicist warned us beforehand that we would be on a riser behind the sound board, even measured the precise distance (150 feet) to the stage for us. This was good info to know in advance, and consequently I left the 35-100mm f2 at home favouring the 50-200mm w/ 1.4 teleconverter instead.
The guy beside me, shooting for the Toronto Sun, had to lug two 1DMK3 bodies, a 5dMK2 w/battery grip, 400mm 2.8 lens, laptop, and video camera to the gig. He had so much stuff hanging off him that he cracked the rear LCD screen on one of the 1DMK3's in the elevator.
That 400mm 2.8 should be sold with it's own jeep to mount it on, and with a 1.4 teleconveter added on the 5DMK2 it didn't have any more reach than my E30 w/ 50-200mm and 1.4, but obviously it was significantly brighter.
From the distance we were shooting it was pretty difficult to see a photographic 'moment', so I just fired away every time they stepped out from behind the microphone.
We got to shoot the first two songs for Sheryl Crowe, the first three for Sting, and nobody cared how many photos we took of Chris Noth :)
The nice thing was, since the riser and people on it blocked the audience view behind, they sectioned off the first seven rows od seats behind us. After our songs were up we were allowed to sit in this section and watch the performance.
Amazing. Finally a promoter who shows some apreciation for the free publicity they are getting. Usually we get escorted right out of the building as soon as our time is up.
Amazing. Finally a promoter who shows some apreciation for the free publicity they are getting. Usually we get escorted right out of the building as soon as our time is up.
Sheryl Crowe seems a bit stiff live. I got the imnpression that she really doesn't enjoy the whole live performance thing. Seems to have a touch of stage fright which is odd considering how much experience she must have over the years.
Sting on the other hand seems totally comfortable and completely at home on stage - like he was born with a bass guitar in hand howling Roxanne in the delivery room. He had a first rate band with him and was more adventurous in deviating from the recorded version of his songs than Sheryl Crowe, who pretty much did a note perfect greatest hits package. Not that it was bad. She had the whole audience on their feet by the end and got very warm and sustained applause for her set.
Some of Sting's variations were more successful than others. He slowed Message In A Bottle down to a near ballad pacing, blending audience participation with fragments of other songs from the same LP, creating a hypnotic reverie that really highlighted the song structure of each melody. Energy-wise it was a low point for an audience that seemed impatient to party to the music at points, but I found it one of the highlights of what I saw of his set (had to leave mid-way)
The guy has sold 100 million albums yet plays one of the most beat to cr@p bass guitars I've ever seen (close up on the monitor I wouldn't be surprised if parts are held together with gaffer tape)
And speaking of guitars, isn't it about time Fender made female friendly versions of strats and telecasters. The regular sized ones look a little large and bulky on Sheryl's frame. Women have come a long way in rock from being just the back up singers.
Nowadays they're the stars often as not. You'd think guitar manufacturers would have taken note. I'm not talking about messing with the shape of the Strat or Telecaster - that would be heresy! - just shrinking the proportions a bit. It's not so noticeable on this one, but with some of the shots the size of the guitar makes her look child-like. Not a good thing for an adult artist.
All in all, an enjoyable evening. The unexpected bonus of being able to watch the show was a really nice surprise.
All photos taken with the Olympus E30 camera and Digital Zuiko 50 - 200mm 2.8 lens with 1.4 Olympus teleconverter added.
All Rights Reserved. No Reoproduction of photos or text allowed without written authorization.
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