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Most RAW photos are not perfectly exposed right away. Here is a quick trick to find out how to get the "perfect" exposure, recovery and black point for your photo.
Now take your camera and bitnap some photos!
This is a video PictoColor iCorrect Editlab Pro 6 Review. It's Friday at 4:35pm.Your boss says that he wants you to get this group of images ready for a print proof on Monday morning. Ugh... you want to go home. Now what do you do? Go through several different adjustment layers in Adobe Photoshop... for each image?
Nope. You open up Pictocolor iCorrect EditLab 6 and apply the SmartColor Feature. Bam, your going home on time.
Use the PictoColor EditLab Coupon Code: "ART11" for 11% Off the entire order. Yeah, that's 10%, kicked up a notch.
Actually, if your boss doesn't even want to buy Adobe Photoshop, you can tell him that iCorrect EditLab Pro is also available as a stand alone application for JPEG & TIFF batch processing. No need for that extra $600 investment, to get the same results. You can even work with 16-Bit images on a 64-Bit Processor. All the code is designed for optimal, professional use. No need to deal with any old legacy stuff.
The program is made up with four distinct tabs:
PictoColor iCorrect Editlab 6 ToolTab01 Color Balance: Remove color casts and balance the whites by simply clicking on any neutral colors. You can even manually adjust the color balance with sliders.
PictoColor iCorrect Editlab 6 ToolTab02 Tonal Range: Full control over the tonal range by setting the white point, black point and midpoint of your images using an eye dropper, slider, or automatic SmartColor technology.
PictoColor iCorrect Editlab 6 ToolTab03 Brightness/Contrast/Saturation: Control the brightness, contrast and saturation of by individually targeting highlights and shadows using sliders or the automatic SmartColor technology.
PictoColor iCorrect Editlab 6 ToolTab04 Hue-Selective Edits: With hue-selective edits, you can automatically correct repetitive colors, like your standard backdrops, skin tones, or water. Additionally, you can convert to black and white or sepia.
One benefit of Pictocolor iCorrect EditLab Pro is ProcessQ. This completely redesigned image queue that allows you to easily view, sort and manage your color corrections for efficient, time-saving workflows. Pictocolor's website boasts "We color corrected 15, 3MB+ images with similar color issues in 2 minutes and 4 seconds" and I can certainly tell you, it's quite possible.
With the automatic adjustments from the SmartColor technology, you can be done in to time, with frustration-free, professional quality results. Pictocolor iCorrect EditLab Pro is an essential program for the serious photographer.This
simplified approach to selective color correction and color editing allows you to spend your time doing what you do best, behind the camera.
Use the PictoColor EditLab Coupon Code: "ART11" for 11% Off the entire order.
Moniza Alvi reads her poem Presents From My Aunts In Pakistan
Presents From My Aunts In Pakistan
by Moniza Alvi (1954-)
They sent me a salwar kameez
glistening like an orange split open,
embossed slippers, gold and black
Candy-striped glass bangles
snapped, drew blood.
Like at school, fashions changed
in Pakistan -
the salwar bottoms were broad and stiff,
My aunts chose an apple-green sari,
for my teens.
I tried each satin-silken
was alien in the sitting-room.
I could never be as lovely
as those clothes -
for denim and corduroy.
My costume clung to me
and I was aflame,
I couldn't rise up out of its fire,
unlike Aunt Jamila.
I wanted my parents'
camel-skin lamp -
switching it on in my bedroom,
to consider the cruelty
and the transformation
from camel to shade,
marvel at the colours
like stained glass.
My mother cherished her
Indian gold, dangling, filigree,
But it was stolen from our car.
The presents were radiant in my wardrobe.
My aunts requested cardigans
from Marks and Spencers.
My salwar kameez
didn't impress the schoolfriend
who sat on my bed, asked to see
my weekend clothes.
But often I admired the mirror-work,
tried to glimpse myself
in the miniature
glass circles, recall the story
how the three of us
sailed to England.
Prickly heat had me screaming on the way.
I ended up in a cot
In my English grandmother's dining-room,
found myself alone,
playing with a tin-boat.
I pictured my
from fifties' photographs.
When I was older
there was conflict, a fractured land
throbbing through newsprint.
Sometimes I saw Lahore -
my aunts in shaded rooms,
screened from male visitors,
wrapping them in tissue.
Or there were beggars,
and I was there -
of no fixed nationality,
staring through fretwork
at the Shalimar Gardens.