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For better or worse, the Hollywood blockbuster is now firmly tied to superheroes. This summer alone has already seen DC’s Wonder Woman and Marvel’s Spider-Man: Homecoming hit screens to critical acclaim (both averaged above 90% on Rotten Tomatoes) and financial success, with Wonder Woman taking the title of highest grossing movie of the year, despite being the first superhero film with a female lead since 2004’s shocker Catwoman.

 

Still to come this winter is Marvel’s Thor: Ragnorak and the highly anticipated superhero team-up Justice League, both of which saw new trailers this weekend. In just two days, both of these trailers currently sit at over 20 million views on YouTube, with news of the trailers topping every news website from The Guardian to Jimmy’s Geek Blog.

 

For these brands, the licensing opportunities are simply endless. Given their universal appeal and worldwide recognition, there is no limit to a number of products can be enhanced with the backing of a super-charged brand. In the toys space, innovators like Sphero are pushing the envelope with their interactive Spider-man tech toys while on the grown-up side of things the potential for collectables and apparel are exploding, as the phenomenal success of Funko’s pop-culture flagship has proven.

 

TV also held a massive presence at SDCC. Mega-hit The Walking Dead, now readying its eighth season is still going strong, with an action-packed trailer hinting at the most dynamic season yet. The iconic characters and accessibility is what has propelled this show firmly into the mainstream, with the zombie action now being just as popular with edgy teens as it is with mum and dad.

 

You don’t need us to tell you that these firmly established franchises are big business, it's in the unknown quantities that firms can get ahead of the game. Comic Con also played host to the very first reveal of sci-fi opus Ready Player One, Steven Spielberg’s adaptation of Ernest Cline’s hit novel.

 

The film looked to be a visual feast, targeting in on the ever growing audience of gamers and with Twitch streamers and gaming YouTubers hitting the mainstream like never before, the film couldn’t hit at a better time. In licensing, hindsight is 20-20 and there is plenty of reward up for grabs for those firms that can spot a trend before it happens. It is perfectly possible that this ambitious virtual world blockbuster could be a complete and total flop, but with Spielberg’s legendary name behind it, it just could be the next big thing.

 

In many ways, geeks are the tastemakers for tomorrow’s blockbuster franchises. While it may seem to some as a lot of spandex and bad make-up, savvy licensees should keep a close eye on pop-culture expos like SDCC, as they just might spawn the next game changer.

 

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De: ToyNews Feed - www.toynews-online.biz/opinion/read/planet-of-the-capes-w...

Fecha: July 26, 2017 at 04:24AM

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- Fecha de publicación (Publication date): July 26, 2017 at 05:05AM

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Wearing magical bracelets of gold, silver, and copper , Diana's hand plays a tune as it grasp the moon in this image by ValxArt.com

 

Valxart astrology art with 2 zodiac symbols on 144 unique designs to celebrate friendship or one sun and moon signs are perfect for anything frosty cold or piping hot. See your drink peeking through Valxart. Dishwasher and microwave safe. Makes a unique gift. Personalize any design to create a special cup to share.

 

Zodiac art by ValxArt.com is on calenders, posters, tee shirts, hats,bags and on 12 zodiac mugs, 12 zodiac cusp mugs, 60 years of chinese zodiac mugs at ValxArt mugs Valxart relationship MUGs can be customized with different zodiac sun signs on either side of cup & personalized names. Valxart has zodiac designs on ipad cases at ValxArt iPad cases and iphone cases at valxart iphone

 

Valxart shares an unprecedented glimpse beyond limits of visible to discover new realities of art and takes you on a walk through breathable atmospheres, riding in UFOs beyond stars to visions of imagination reflected on the walls of life. Don't be surprised to see art of the future at valxart.com today as Valxart entertains earthlings & aliens on usable gifts including mugs, iphone cases, ipad cases, prints, greeting cards , tee shirts and custom request products at Zazzle.com/valxart*. Everyone is welcome to see more at Valxart.com. For help creating custom products using Valxart, or to license or sell Valxart, email artist at info@valx.us

 

Wood dragon is part of valxart.com dragon series.

fineartamerica.com/products/wood-dragon-by-valxart-canvas... Valxart has 12 zodiac mugs, 12 zodiac cusp mugs, 60 years of chinese zodiac mugs at ValxArt mugs Valxart relationship MUGs can be customized with different zodiac sun signs on either side of cup & personalized names. Valxart has zodiac designs on ipad cases at ValxArt iPad cases and iphone cases at valxart iphone

 

Valxart shares an unprecedented glimpse beyond limits of visible to discover new realities of art and takes you on a walk through breathable atmospheres, riding in UFOs beyond stars to visions of imagination reflected on the walls of life. Don't be surprised to see art of the future at valxart.com today as Valxart entertains earthlings & aliens on usable gifts including mugs, iphone cases, ipad cases, prints, greeting cards , tee shirts and custom request products at Zazzle.com/valxart*. Everyone is welcome to see more at Valxart.com. For help creating custom products using Valxart, or to license or sell Valxart, email artist at info@valx.us

 

by Chillee Wilson from Customize My Minifig.

Screen image of t-shirt, tshirt, hoodies etc available from Redbubble.

I have two accounts on Redbubble where you can purchase my images on various merchandise

’Chillee’ for Minifig Photographic work

www.redbubble.com/people/chillee/portfolio

’Chilleew’ for Brick & Minifig Design work

www.redbubble.com/people/chilleew/portfolio

Plus an account on Zazzle – www.zazzle.com/customizemyminifig*

Like Customize My Minifig on Facebook - www.facebook.com/CustomizeMyMinifig

Also visit my minifigure fan page - www.facebook.com/WeLoveLegoMinifigures , you can add your own comments, ideas, photos and links to this page too.

View all my work at Flickr on www.flickr.com/photos/customizemyminifig/collections/

LEGAL STUFF

Please note images in my photostream are copyright protected and my Logo is a trademark – therefore, do not copy, download, reuse or post these images or our Logo elsewhere without written approval from Customize My Minifig. Thank you.

Please also note our minifig silhouette design has been designed by Customize My Minifig in the tradition of other minifigs available in various forms from various countries, but is our own copyright design.

Note: LEGO® is a trademark of the LEGO Group of companies which does not sponsor, authorize or endorse these pages. Customize My Minifig has no affiliation with or sponsorship by the LEGO Group in anyway. Customize My Minifig is an online business specializing in LEGO®, the customization of LEGO® products, (often mixing LEGO® with non LEGO® parts to create our own Custom minifigs), the photography of our LEGO® and custom LEGO® minifigs and design work on brick themes. Customize My Minifig is a good corporate citizen and respectful of the great name, product and reputation of all brick companies

Thank you, from Chillee Wilson, owner of Customize My Minifig.

www.customizemyminifig.com

by Chillee Wilson from Customize My Minifig.

Screen image of t-shirt, tshirt, hoodies etc available from Redbubble.

I have two accounts on Redbubble where you can purchase my images on various merchandise

’Chillee’ for Minifig Photographic work

www.redbubble.com/people/chillee/portfolio

’Chilleew’ for Brick & Minifig Design work

www.redbubble.com/people/chilleew/portfolio

Plus an account on Zazzle – www.zazzle.com/customizemyminifig*

Like Customize My Minifig on Facebook - www.facebook.com/CustomizeMyMinifig

Also visit my minifigure fan page - www.facebook.com/WeLoveLegoMinifigures , you can add your own comments, ideas, photos and links to this page too.

View all my work at Flickr on www.flickr.com/photos/customizemyminifig/collections/

LEGAL STUFF

Please note images in my photostream are copyright protected and my Logo is a trademark – therefore, do not copy, download, reuse or post these images or our Logo elsewhere without written approval from Customize My Minifig. Thank you.

Please also note our minifig silhouette design has been designed by Customize My Minifig in the tradition of other minifigs available in various forms from various countries, but is our own copyright design.

Note: LEGO® is a trademark of the LEGO Group of companies which does not sponsor, authorize or endorse these pages. Customize My Minifig has no affiliation with or sponsorship by the LEGO Group in anyway. Customize My Minifig is an online business specializing in LEGO®, the customization of LEGO® products, (often mixing LEGO® with non LEGO® parts to create our own Custom minifigs), the photography of our LEGO® and custom LEGO® minifigs and design work on brick themes. Customize My Minifig is a good corporate citizen and respectful of the great name, product and reputation of all brick companies

Thank you, from Chillee Wilson, owner of Customize My Minifig.

www.customizemyminifig.com

This design makes a great iPad case for Cancer zodiac lovers at wooden_cancer_crab..

Valxart uses digital technology to share unprecedented glimpse beyond limits of visible to discover new realities of art and takes you on a walk through breathable atmospheres, riding in UFOs beyond stars to visions of imagination reflected on the walls of life. Don't be surprised to see art of the future at valxart.com today. Valxart uses art to entertain earthlings and aliens on usable gift items including mugs, iphone cases, ipad cases, prints, greeting cards , tee shirts and many custom request products at Zazzle.com/valxart*. Everyone is welcome to see more at Valxart.com. For help creating custom products incorporating Valxart, or to license or sell Valxart, email artist at info@valx.usValxart has 12 zodiac mugs, 12 zodiac cusp mugs, 60 years of chinese zodiac mugs at ValxArt mugs Valxart relationship MUGs can be customized with different zodiac sun signs on either side of cup & personalized names. Valxart has zodiac designs on ipad cases at ValxArt iPad cases and iphone cases at valxart iphone

 

Valxart shares an unprecedented glimpse beyond limits of visible to discover new realities of art and takes you on a walk through breathable atmospheres, riding in UFOs beyond stars to visions of imagination reflected on the walls of life. Don't be surprised to see art of the future at valxart.com today as Valxart entertains earthlings & aliens on usable gifts including mugs, iphone cases, ipad cases, prints, greeting cards , tee shirts and custom request products at Zazzle.com/valxart*. Everyone is welcome to see more at Valxart.com. For help creating custom products using Valxart, or to license or sell Valxart, email artist at info@valx.us

 

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

BY STELLY RIESLING

Featured below is another original art work of mine in homage to THE PIONEER OF INVISIBLE ART — PAUL JAISINI. Forget all the copycats that came after him — Master Paul Jaisini was the *FIRST* of a totally original concept and the *BEST*. My favorite thing about him is that he’s a voice, not an echo, which is quite rare.

DISCLAIMER: This is for anyone who is a hater OR wishes to better understand me, what I’m all about, so you can decide whether I’m weird or normal enough for you — a kind of very loose manifesto, rushed and unrevised, full of raw uncut emotion that I don’t like to be evident in my writing as lately I prefer a more professional, formal style, so we can consider this a rough draft of the more polished writing to come when I have extra time. I might return to this text later and clean it up or break it into separate parts. Right now it’s a long-winded hot mess, so if you manage to make any sense of it, BIG PROPS TO YOU. lol …and if you manage to read it ALL, you have my solemn respect!!! in a day when reading has been reduced to just catchy headliners and short captions of images once in a while. The consequence of this one-liner internet culture is non-linear, tunnel thinking, which is baaaaaad.

There lives among us a most enigmatic and charismatic creature named Paul Jaisini who led me into the wonderful world of art, not personally, but through descriptions of his artworks in essays written and published online by his friend, which painted the most fascinating images in my mind. Early on as a kiddo, I experimented with photography, simple point and shoot whatever looked attractive to me. Digital manipulation of my photographs with computer software followed… and somehow I learned useful drawing techniques along the way to combine existing elements with nonexistent ones, which allowed me to elevate the context for my ideas. Later, I started creating my own digital art from scratch for my friends and family as a favorite pastime. They would shower me with praise and repeatedly encouraged me to share my “different” vision with the rest of the world… it took a while and wasn’t easy to overcome the insecurity of not being good enough along with a gripping fear of being harshly criticized, but one day I woman-ed up and started publishing my work on the web, reminding myself that my livelihood didn’t depend on a positive reception.

Paul Jaisini’s role in all this has been to not disgrace myself, even if what I do is just a hobby. And I would never do him and other genius artists the disservice of calling myself a professional because I know I’ll never be as good as any of the GIANTS of pre-modern history. Be the best or be nothing, no middle ground.

People’s jealousy in the past, future and present over my obsessive love of Paul Jaisini, which they are well aware is purely plutonic, has caused them to despise the man and has made many relationships/friendships impossible for me. I refuse to have such people in my life because by harboring any negativity towards Paul, they unknowingly feel that way about me and express it to me. It’s their own problem for not realizing this. Paul’s new art movement, Gleitzeit, shaped me into the allegedly awesome girl I am today, giving my art more edge, more “sexy” because it refined my vision of the world and propelled me to attain the skills necessary to not dishonor my family name through tenacious pursuit of perfection. Since the beginning of my life, I attempted to depict what I saw in visual, musical and literal forms, but continuously failed without adequate training and determination. Paul Jaisini’s Gleitzeit was the answer to my prayers. Who I am today I owe mostly to him and his selfless ideals of the artverse that I’ve given unconditional loyalty to (he has this cool ability for hyper-vision to see whole universes, not itty bitty worlds, hence I call it an artverse instead of art world, with him in mind). So again, anyone who hates Paul Jaisini hates ME because, regardless of what he means to you, he is the most important person in my life for making me ME. The way a famous actor, dancer or singer inspires others to act, dance or sing, Paul inspired me to become a better artist, better writer, better everything. More people would understand if he was a household name because they’re wired to in society. But we’re inspiring each other all the time in our own little communities without being famous, so if someone has the ability to change even ONE person’s life immensely with creativity, it is a massive achievement. And passionate folks like myself are compelled to scream it from the cyber rooftops. So here I am. It’s whatever.

Furthermore, I’d like to address here a few pressing matters in light of some recent drama brought on by both strangers and former friends. To start, I never judge the passions, interests or likes of others, which are often in my face all over the place, so likewise they have no right to judge any of mine. It is quite unfortunate and frustrating how very little understanding and education the majority of people have or want to have. Their logic is as primitive as a chipmunk when it comes to promotion of fine art on the web: “spamming, advertising, report!” It’s their own problem that they fail to understand what it’s about due to the distorted lens through which they see the world or inability to think for themselves; an inherent lack of perception or inquisitiveness. Well, guess what? Every single image, every animation, every video, every post dedicated to Mr. Paul Jaisini and “Gleitziet” (to elaborate: a revolutionary new art movement Paul founded with his partner in crime and personal friend, EYKG, who discovered him and believed in him more than anyone) has an important purpose. Every one of those things you run across is a piece of a puzzle, a move in a game, an inch down a rabbit hole; the deeper you go, the more interesting it gets; the more levels you pass, the more clues unfold, the greater the suspense and nearer the conclusion (yet further). You earn awesome rewards like enlightenment, spiritual revelations, truths, knowledge, wisdom and the most profound reward of all: the drive to improve yourself to the absolute maximum, so an unending, unshakable drive. People often make a wrong turn in this cyber game and go back a few levels or get stuck. Those that keep on pushing, however, will come to find the effort has been worth it. And what awaits you in the end of it all? The greatest challenge to beating the game: YOUR OWN MIND. You will be forced to let go of every belief you held before you had reached the last level, to completely alter your mindset and perception of the world, of life, of yourself. But by the time you’ve gotten to that point, it will be as easy as falling off a cliff! (It is a kind of suicide after all — death and rebirth of spirit.)

Paul Jaisini does NOT, *I repeat* does NOT use mystery and obscurity to his advantage as a clever marketing ploy, no, he’s too next level for that with a consciousness so rich, he should wear a radioactive warning sign (he’ll melt your brain, best wear a tinfoil hat in his presence as I certainly would.) The statement he makes is loud and clear, hidden in plain site for those who take the time to connect the dots and have enough curiosity to fuel their journey into unknown territory (an open mind and flexible perception helps a lot). Actually, anyone with an IQ above 90 is sure to figure it out sooner or later. Hint: You don’t have to SEE an extraordinary thing with your eyes to know it exists, to understand it and realize its greatness — you can only feel it in your bone marrow, your spinal fluid, your heart and soul. The moment you do figure it out, as the skeleton key of the human soul, it will unlock the greatness and massive potential buried deep within, changing the doomed direction humanity is undoubtedly headed. I don’t speak in riddles, I speak in a clear direct way that intelligent humans will understand, so I’m counting on them.

GIG is an international group of artists and writers that support Paul Jaisini’s Gleitzeit. We started off as an unofficial fan club of Jaisini in 1996, comprised of only 6 individuals spanning 3 countries, and eventually escalated in status to an official fan group across the entire globe. A decade later it had grown to hundreds of fans. Nearly another decade later, there are thousands. Let’s not leave out another delightful group of vicious haters that have been around for nearly as long as us since the late 90s and have also grown in impressive numbers. Now, for the record (and please write this one down because I’m sick of repeating myself), Paul Jaisini himself is not part of our group and has nothing to do with us. He loves and hates us equally for butchering his name and making him appear as a narcissistic nut-job in his own words. He casts hexes on us for the blinding flash we layer over the art that members contribute to GIG — “disgusting-police-lights, seizure-inducing-laser-lightshow, bourgeois-myspace-effects retarded-raver shit” in Paul’s words. Ahh, how we love his sweet-talking us. In a desperate attempt to please him, those among us who make the art and animations have spent countless hours and sleepless nights trying to solve a crazy-complex quantum-physics type of equation = how to not create tacky or tasteless content. He does fancy some of it now, we got better, that’s something! In the reason stated below, our mission just got out of hand at some point.

What little is known about Paul Jaisini, even in all this time, is he’s a horrible perfectionist who slaughtered hundreds of innocent babies — I mean — artworks of remarkable beauty created by his own right hand (mostly paintings, some watercolors and drawings). He’s a fierce recluse who wants nothing to do with anyone or anything in life. But those few of us who know of an incredible talent he possesses (one could go as far as calling it a superpower), could not allow him to live his life without the recognition he FUCKING DESERVES more than any artist out there living today and, arguably, yesterday. We use whatever means necessary to reach more people, lots of flash and razzle-dazzle to lure them into our sinister trap of a higher awareness. Mwahaha! The visual boom you’ve witnessed in both cyber and real worlds, that is GIG’s doing — two damn decades of spreading an art virus — IVA. InVisibleArtitis… or a drug as in Intravenous Art. It’s whatever you want it to be, honey.

Our Gleitzeit International Group (GIG) started off innocently enough and gradually spiraled out of control to fight the haters, annoying the hell out of them as much as humanly possible. They don’t like what we do? WE DO MORE AND MORE OF IT. But never without purpose, without a carefully executed plan in mind collectively. If we have to tolerate an endless tidal wave of everyone’s vomit — e.g., idiotic memes and comics; dumbed-down one-liner quotes; selfies; so-called “art photography” passed through one-click app filters; mindless scribbles or random splatters by regular folks who have the nerve to call themselves serious/pro artists; primitive images of pets, babies, landscapes, random objects, etc… then people sure as shit are gonna tolerate what we put out, our animated and non-animated visual art designed for our beloved master, Paul Jaisini, who has shown us the light, the right path to follow, taught us great things and done so much for us — and so in our appreciation of him, we stamp his name on everything, for the sacrifices he has made in the name of art, to save our art verse, he’s a goddamn hero. There’s a book being written in his dedication where little will be left to the imagination about him.

If Paul Jaisini was as famous as Koons or Hirst, for example, people would know it’s not him posting stuff online with his name on it but fans creating fanart like myself among others. But noooooo, such a thing is unfathomable to most people - the promotion of another artist. Like, what’s in it for us? Uhh, nothing?? This is all NON-PROFIT bitches, the way art should be. It’s a passion FIRST, a commodity/commercial product/marketable item LAST and least. Its been that way for us since the early 90s to this day. Not a single member of GIG has sold an art work (neither has Paul Jaisini who’s a true professional) and we want to keep it that way. We do it for reasons far beyond ego. So advertising? Really? How the hell do you advertise or sell thin air, you know, invisible paintings, invisible anything? Ha ha, very funny indeed. The idea here is so simple, your neighbor’s dog can grasp it. Our motives: replace fast food for the mind with fine art, actual fine art. You know, creativity? Conscious thought? Talent? Skill? Knowledge? All that good stuff rolled into one to bring viewers more than a momentary ooohand aaahh reaction. Replace the recycled images ad nauseum; repetitious, worn-out ideas; disposable, gimmicky, money-driven fast art for simpletons. Stick with the highest of ideals and save the whole bloody planet.

Fine art is often confused with craft-making. This often creates bad blood between classically trained artists who put out paintings that leave a lasting impression, that make strong conversation pieces, that are thought-provoking and deep… and trained craftspeople whose skills are adequate to create decorative pieces for homely environments — landscapes, still lifes, animals, pretty fairies, common things of fantasy, and other simplicity. Skills alone are not enough for high art, you need a vision, a purpose, the ability to tell a story with every stroke of your brush that will both fascinate and terrify the viewers, arousing powerful emotions, illuminating. I have yet to see a visible painting in my generation that does anything at all for me, other than evoke sheer outrage and disgust. What a terrible waste of space and valuable resources it all is.

Paul Jaisini leads, we follow. He wishes to remain unknown - so do most of us. I’m next in line, slipping into recluse mode, no longer wanting to attach my face, my human image to my art stuff. I wish to be a nameless, faceless artist as well, invisible like P.J., and in his footsteps I too have destroyed thousands of my own artistic photography and digital art made with tedious, labor-intensive handwork. The whole point of this destruction is achieving the finest results possible by letting go of the imperfect, purging it on a regular basis, to make way for the perfect. I love what I do so it doesn’t matter, I know I’ll keep producing as much as I’m discarding, keeping the balance. Hoarding is an enemy of progress, especially the digital kind as there’s absolutely no limit to it. It’s like carrying a load of bricks on your back you’ll never use or need.

The watering down of creativity that digital pack ratting has caused as observed over the years is most tragic. For the creative individual, relying on terabytes of stock photos or OSFAP as I call them (Once Size Fits All Photos) instead of making your own as you used to when you had no choice, being 100% original, is a splinter in the conscience. It’s not evil to use stock of, say, things you don’t have access to (outer space, deep sea, Antarctica, etc.), but many digital artists I know today can’t take their own shot of a pencil ‘cause they “ain’t got no time for that!” How did they have time before? Did time get so compressed in only a decade?

Ohhhhh, and the edits, textures, filters, plug-ins and what-have-you available out there to everyone and their cats… are responsible for the tidal wave of rubbish that eclipses the magnificent light of the real talents.

I can tell you with utmost sincerity there is no better feeling on earth than knowing your creation is ALL yours, every pixel and dot, from the first to the last. It’s not always possible to make it so, but definitely the most rewarding endeavor. I’m most proud of myself when I can accomplish that.

Back to Paul Jaisini, from the start there have been a number of theories floating around on what his real story is. One of my own theories is that he stands for the unknowns of the world who can’t get representation, can’t get exhibited at a decent gallery because highly gifted/trained artists aren’t good enough - those kind of establishments prefer bananas, balloon dogs, feces, gigantic dicks/cunts, and all kinds of what-the-fucks…

So again, you don’t get the Paul Jaisini thing? That’s your problem. Don’t hate others for getting it. People are good, very good, at making baseless assumptions and impulsively spewing it as truth. They criticize and judge as if they’re high authorities on the subject yet they clearly lack education in fine art or art history and possess little to no talent or skill to back up their bullshit. My little “credibility radar” never fails. When they say I know this or I know that, I reply don’t say “I know” or state things as fact as a general rule of thumb - instead say “I assume/believe” and state the reasons you feel thus to appear less immature, especially about a controversial topic like invisible art. I have zero respect or tolerance for egomaniacs who think they know it all and act accordingly like arrogant pricks. Who can stand those, right? Once again, a good example would be: I, Stelly Riesling, believe everything I’ve written in this little manifesto to be correct based on personal experience and observation from multiple angles, thorough research and sufficient data collected from verifiable sources (and don’t go copying-pasting my own words back at me, be original). Just because you or I say so doesn’t make it so. Just because you or me think or believe so doesn’t make it true or right. I only ask that my opinions are regarded respectfully and whoever opposes them does so in a mature, civilized manner. We should only be entitled to opinions that don’t bring out the worst in us.

I don’t normally take such a position, but the time has come to stand up for what I believe in! It’s quite amusing and comical how haters think calling me names, attacking me or my interests or members of the project I’m part of for years is going to change something. It only makes more evident the importance of what I’m doing so I push on harder still.

Words of advise to those who can identify with me, with my frustrations over people’s reluctance to change their miserable ways, with our declining art world…

DON’T waste time on people who sweat the small stuff, whose actions are consistently inconsistent with their words. DO waste time on people who always keep their eye on the ball—the bigger picture of life.

Paul Jaisini’s invisible paintings are more than hype, more than your lame assumptions. Here’s one I got that’s pure gold: a cult! It started out as A JOKE OF MINE that was used against me. I told a then-good friend that he should come join our little “art cult” in a clearly lighthearted manner, and later he takes this idea I put in his head first and accuses me of being in an (imaginary) cult—the jokes on me eh?. But wait, aren’t cults religious? Our group consists of people around the world of different faiths (or none at all) so how could that ever work? If religion was about making fine (non-pop) art mainstream and bringing awesome, fresh, futuristic concepts to the collective consciousness, the world would not be so fucked up today because talent, creativity, originality and individuality would be the main focus, not superficial poppycock; those things would be praised and encouraged and supported in society by all institutions, not demonized and stigmatized.

Here is one thing I CAN state as solid fact: only one person close to Paul Jaisini knows the TRUE story, or at least some of it: EYKG. Everything else that has ever been said about him is myth, legend, gossip, speculation, the worst of which is said by jealous non-artists (wannabes, clones, posers, hang-ons, unoriginal ppl in general) and anti-artists (religious psychos, squares, losers and -duh- stupid ppl). Sadly, people are unable to see the bigger picture by letting their egos run their lives or repeating after others as parrots.

Commercial art, consumerism, and ignorance of the masses truly makes me want to curl up in a ball, not eat or drink or move until I die, just die in my sleep while dreaming of a better world, a world where real fine artists rule it with real fine art as they used to and life is beautiful once again….

Well I hope that settled THAT for now, or perhaps inadvertently made matters worse. I hope I didn’t sound too pissed from all these issues that keep popping up like penises on ChatRoulette… just got to me already! Can you tell? I had to put my foot down, stomp ‘em all!

To be continued, still lots more ignorance and pettiness to battle… Till then peace out my bambini. MWAH!

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological explosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

 

Dear Bill Major,

As I wrote earlier today: I re-listened, this time to some of the FIM (Frankfurt’s Indeterminables Musiqwesen) CDRs. This out-put of CDRs on the print-on-demand-label recout (here a remained selection) were launched in 1995 through my production of the CD "Endlos / Endless" – a memento "50 years after WWII" for an exhibition in Poland, for which I invited the FIM trio Parallelaktion, plus singer Corinna Mayer.

 

What I auditioned today was "Hot Deals" by "Imperial Hot" (Christoph Korn – gt, Bertram Ritter – dr, A23H – reeds, tp, and Casio). I do not want to describe the music. I just love the feel of these 15 year old recordings. There is also "Rent Art Quest" by the "Stern4et" (Daniel Franke – as, cl, comp, Micha Daniels – kb, Bertram Ritter – dr, A23H on bari sax, bcl and ts, comp) from some years later – a lovely birthday present those talented younger musicians gave me. It was recorded during a "Jazzferien" session I had set up at a castle in the Spessart mountains in 1999, with Micha Daniels – kb, Bertram Ritter – dr, and A23H – ts. There is another beautiful session made in a Frankfurt bunker in 2000, "House of Thee". Together with Christoph Korn I had a duo "Canada dry & 20" recorded in 1992-1994 with drummer Vladimir Tarasov as a guest. Of course there is more from that period I could tell you about. For today I'll finish by mentioning "Cassini", a nine-piece band which I assembled in 1998 with members from my bands "Hale Peat", "Imperial Hoot" and the theater ensemble I put together for my Frankfurt-am-Main production of West Side Story (Harry Petersen- as, cl, Stefan Lottermann – tb, Martin Lejeune – gt, Christoph Korn – gt, Marcel Daemgen – sound system, Peter Antony – kb, Bülent Ates – dr, Günter Bozem – dr, and A23H – ts, bcl, arr). This recording sounds to me like an early version of Otomo Yoshihide’s orchestra ONJO, in which I was a member, as you know, during 2005-7.

 

Alfred 23 Harth / Lindsay Cooper / Phil Minton – the three musicians on "Trio Trabant a Roma" – appeared at festivals in Moscow & Volgograd prior to this recording as members of Lindsay’s "Oh Moscow" (we hope to do a new recording in 2010). Especially for Lindsay and me, the impressions from this journey were so deeply strange that even after returning to "the West", we felt like we were still in another mental state – the "State of Volgograd." I formed this trio at the invitation of the Budapest Festival in 1990, called "et all ways Budapest." It's been twenty years now since The Wall came down. In those days, we were just beginning to see the odd spectacle of cars coming from the East mixing into traffic in Western cities. One East German car was called the "Trabant". I liked that name, since trabant also means a planet orbiting a star, so I called the new trio "Trabant A Roma". Earth was under a new "orbital tent" after the Iron Curtain had come down. It was funny to see those strange cars from the East making long distance journeys through Western Europe – finally "all ways lead to Rome!" The fourth title refers to a festival in Strasbourg where we performed (see CDR Le Cadran Bleu). At that time I also played the Farfisa organ, Casio keyboard, and other miscellaneous stuff, all part of the search to express the strange by-products of technology emerging at that time. The trio didn't last long – "Oh Moscow" played its final concert at the London Jazz festival in 1993 due to Lindsay’s worsening illness (which I didn't know of until 1998, when Sally Potter confirmed the facts concerning Lindsay’s declining health).

It was the brief period of time after the Sovjet Union collapsed in 1991, when all of us were curious about Eastern cultures – the curiosity was mutual among those in the former Soviet bloc. Moscow TV offered to produce a filmed portrait about me in February 1992; this led to my appearance at the "Open Mind" festival in St. Petersburg alongside members of the Russian musical avant-garde. The film's title "Balance Action" is taken from the name of a famous saxophone from the early Cold War years. It also refers to the "balance action" that finally led to the breakdown of the Communist regimes. In old Leningrad (freshly rechristened St. Petersburg again) I met Vladimir Tarasov. He told me that before the Wall fell, he and his compatriots were forced to smuggle my records through a narrow, secret tunnel. He also claimed that, in the old CCCP avant-garde circles, I was a celebrity on the order of Michael Jackson (probably a Russian exaggeration). In fact, I did receive one of my very first fan letters from Moscow, in 1970 – somebody who loved the "Just Music" LP (ECM 1002). With Tarasov I formed the Quasar Quartet in 1992 with Simon Nabatov (Russia) and Vitold Rek (Poland); we performed together with Dmitri Prigov. But, just as fast as it arose, this cultural exchange period ended – astonishingly quickly, compared to the decades-long span of the Cold War, which had threatened the entire globe with doom.

Because my group "Just Music" played in Prague in 1970 I knew how serious audiences loved what we brought to our music from the West – they had witnessed the disappointing Prague Spring revolution two years before and heard reflections of those heady times in our music. After 1972 I had numerous opportunities to reach audiences throughout Eastern Europe – Dresden, Leipzig, East Berlin, Krakow, etc. Last year another listener from Prague told me how important it was for them to hear "Cassiber" in 1984. With that in mind, it is a bit sad that 7K Oaks cancelled its October tour which would have brought us to the Wroclaw festival (where I had played with "Just Music" in 1972 and with "Gestalt et Jive" in 1986(?)).

Now I am patiently waiting at the border of Stalinist North Korea to play my music beyond the split – my heart is already there. Who knows what the ongoing imperialist wars within the holy Sufi countries will bring in context of the metastasis of capitalistic asymmetries and Western weapons mass-production…

 

Alfred 23 Harth, in September 2009

 

Model: Kelsey

Body: Canon T2i

Lens: 50mm f/1.8

Lighting: Natty

Editing: Lightroom 3

 

I finally got the chance to work with this talented young lady! I have had this pose in my head for months now just waiting for our shoot to come around. Funny thing is, I didn't even have to tell her to pose this way. She did it naturally and I couldn't be happier with the result!

 

I recently purchased a domain name for my portfolio and decided to give a new watermark a try. I figure it's less bulky than the last, it directs viewers straight to my work, and it blends in well with my photos. What are your thoughts on it?

 

Oh and HAPPY NEW YEAR! I hope all of you enjoyed your night and continue to enjoy your year. I'm going to try to be more active on here because I feel like I need to branch out more in the photographer community. Drop me a comment, fave, or send me a message! I'd love to get to know some of you.

 

PORTFOLIO: andrewstudebaker.com

PHOTO TIPS WEBSITE: photographymadesimple.net

FACEBOOK: facebook.com/studebakerphoto

I picked up the Lensbaby Fisheye Optic at Imaging USA this year. Initially I thought I would have pretty limited reasons to use it. I might pull it out for the occasional odd portrait or something but a true 180° fisheye is most often used in rap videos and at skate parks, neither of which do I often photography.

 

But, I am finding it a lot more useful than I originally imagined. Human vision is a funny thing. We are aware, via peripheral vision, of almost 180° of the world but we only have good focus on about 10° of out vision. Our eyes and brain see a lot but we only focus on a small sliver of that. As distorted and odd as these round images look, there is something familiar to them just because they do show the world as we see it… sort of. On a full-frame sensor camera, like the Canon 5D MKII, a 12mm fisheye like this Lensbaby optic produces a round image and much of the sensor never sees any light. The view is so wide that you have to be careful that you don’t get your feet, camera strap or elbow in the shot.

 

In spite of all the distortion that the lens gives, it provides a very deep depth of field even when focused very close and shot at f/4 like (the aperture I used on these shots).

There are a few drawbacks to the Lensbaby fisheye when you use it in their Composer rig. First, you have to be very careful that the image is centered properly or you end up with some of the elegant sphere getting cut off. It is also manual focus and because everything looks so small through the viewfinder, you really have to shift to Live View and digitally zoom in to focus properly. This is not a big deal if you have a little time to compose your shot but tends to preclude and “on the fly shooting.”

 

Anyway, it’s a fun addition to the arsenal of obscure lenses that I seem to love and fawn over. It is also a good bit cheaper than the Canon EF 8-1fmm lens f/4 L USM (which will set you back $1,400 and only stops down to f/4 while the lens baby goes to f/2). I am sure that the Auto Focus of the Canon would take a lot of the leg-work out of using an extreme fisheye and that the optics are cleaner, but I have heard reports that the clarity, when stopped down and used properly are not worth the price difference.

 

But, enough camera geek talk. I hope you enjoy this somewhat unusual view of Louisiana and Mississippi during the winter that I photographed yesterday on my ride back from Lake Bruin. I’m looking forward to putting this lens to more remunerative use on my next portrait assignment. All in all, highly recommended.

 

Check out more at my blog, for lots of photos, recipes, tech talk, travel writing and other ramblings. I appreciate any feedback but, please do not post graphic awards or invitations in the comments, I'm just not crazy about them. Also, if you want to use any of my Commercial Commons licensed photos please link the attribution back to my blog (listed above) and use my full name, Frank McMains. Thanks! Sorry, but you have to pay to use fully copyright protected photos.

Why Atheist Doctors Hate This Diabetes Breakthrough

 

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The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.

 

A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.

 

Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.

 

She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.

 

In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.

 

On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.

Fawcett's record-breaking poster that sold 12 million copies.

 

The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.

 

Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.

 

Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.

 

The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.

 

In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.

 

In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.

 

The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.

 

In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.

 

She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.

 

Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.

 

That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.

 

In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.

 

In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.

 

Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.

 

Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.

 

From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.

 

From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.

 

On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.

 

Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.

 

Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.

 

Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.

 

In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.

 

A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.

 

The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.

 

The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.

 

Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.

 

Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.

 

The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.

 

Larry King said of the Fawcett phenomenon,

TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.

 

Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.

 

Kate Jackson said,

She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.

 

She is buried at the Westwood Village Memorial Park in Los Angeles.

 

The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.

 

The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.

 

In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31

It's really funny almost all Asian tourists come here have some kind of Canon FF cameras, rarely they carry a Nikon D750 class body but seldom see anything better than the D750, or any of the highend Fuji mirrorless cameras.

 

The coming death of Nikon as a camera brand 2(updated)

 

I attended a few academic conferences in Osaka, Kobe and Kyoto. And I visited many many very crowded tourists venues there and I have come to realize the death of real camera thing is nothing but extremely exaggerated by those silly clickbait sites. There were many many people still using a REAL ILC camera along with their smartphones.

Then what is the problem I've found there?

Well there were a very few people using so-called mirrorless there , especially the high-end mirrorless cameras like theA7R/A7R2,theA7M2, the X-T2, the X-P2, etc. I saw many m43 cameras even the EM1MK2 and GH5, I also spotted many people with XT20, A6300, etc, but I never spotted any A7R2, A7M2, XT2,etc......even at the most crowded tourist places like Kinkaku-ji temple, Kobe Great earthquake museum, Kiyomizudera temple, etc.

And that makes me worry about the long term future of so-called Mirrorless, if Sony and Fuji actually going under before Nikon?

 

To be honest, there are many many Nikon shooters and of course Canon guys and girls, but no A7 or XT2 guys at all.

 

In my last academic conferences in Tokyo area, I found it the same, and in Bangkok and Korea I did not see any Fuji or Sony high-end mirrorless bodies at all.

And more worrying fact was that there were so many Chinese tourists there with big cameras, but none of them shooting a Sony or a Fuji, that makes me really nervous about the future of Sony.

 

Sony is investing a lot of money very quick into the FE system but the ship seems to be sinking. I think the stupid shill marketing and silly "mirrorless taking over the entire industry "hype generated by Fuji and Sony paid internet sites is not at all working for them , but maybe working against them.

  

The temporal D800 success in the camera forums made Nikon this stupid!

 

Nikon seems to be the biggest loser in this market-too much pride destroying them completely, they never learn to ignore all the annoying self-proclaimed experts such as Tony Northrup, Kevin Raber, and the guy runs PhotographyLife.

I think Mr.Hogan is a rare exception case here because he is more realistic and understanding the industry more broadly and therefore he sees it clearly that the so-called Mirrorless won't be the long term future that will ultimately save Nikon.

So-called mirrorless is also important for the short term future......but it is not the long term solution....

 

Nikon should listen to the young smartphone generation photographers instead of the annoyingly condescending self-proclaimed experts online.

 

To me it is really shocking that no one shooting any of highend Nikon cameras any more in any where in Japan, it is really hard to spot any one with Nikon product here, and I think it is getting worse these days.

 

Now the D7500 is announced and we have had some chance to test it through at a big camera dealers meeting here, and I confirmed its LV AF speed is a tiny bit faster than anything before it from Nikon, but still no where near the level of Canon dual Pixel AF or Fuji X-T2 or Panasonic GX8 or G85, let alone the GH5 or the current fastest LV AF champion the Olympus EM1 MK2.

I think this slow LV focus and operation speed issue is the real big reason why Nikon is quickly becoming an irrelevant player to many young people.

 

I think this really slow Live View AF issue is a serious issue and becoming a serious sales hindrance against Nikon.

All young boys trying out a camera at our shop use it in LV mode and see how fast it focuses, and they all say why this Nikon thing is so slow, dammit, crap!

    

When Nikon D800 and E were the greatest cameras among those armchair experts online and those avid Nikon lovers(Canon haters) all predicted the death of Canon and trashed all Canon cameras for a bit less DR at base ISO..........but did the D800E actually become a big commercial success for Nikon?

All those Nikon lovers made the sensor DR at very base ISO a huge issue and trashed all those having lesser DR at base ISO than their beloved Nikon as though they were all useless junks for any application without realizing their beloved a gen older Nikons all had lesser DR and resolution than the rival Canon and Sony back then.

Many Nikon avid fans make the D800 series a huge deal, but besides the sensor what has been so appealing to non Nikon users or even Nikon users who are not interested in a cheap landscape or a budget studio work camera set up under 10K USD range?

Often Thom Hogan and PhotographyLife,etc repeat in their review of any camera(either a mirrorless or a D-SLR).

"The D810 is overall still the best camera body to date even without the class leading sensor and the great F mount lens line for the FX , It was definitely the best DSLR on the market in this segment. So reducing a D810 to its sensor is an over simplification and stupid."

And he claims himself an unbiased Nikon shooter........Really? To me he seems like one of the biggest pro Nikon avid Nikon fanboy reviewer in the world. He may be trying to be neutral but it is obvious that he is not a neutral but a pro Nikon person.

Just imagine there was a Nikon D810b with the Canon 5D3 sensor, which would have been a slow, clumsy body with limited lens selection, poor live view, a slow frame rate, a weaker AF system than the 5D3 and no immense IQ advantage over the competition. It was the Exmor which got the D800 off the ground, prior to the D810's refinements. Without it, it would have gotten nowhere, but another boring 1970 style crappy retro camera offering. Bear in mind that, in 2012, Canon practically owned the high-resolution/low ISO crowd, since the 5D2 had such a huge resolution advantage over the D700 (which was, in every other way, a better stills camera). It's really a testament to the strength of the Exmor - and Canon's stagnation at the time - that the D800/D810 were able to get many those people who were obsessed with the base ISO DR thing to ditch their Canon setup and move to the Nikon system.

But it was just a very short time trend-until the A7R was out. The A7R was a terrible body ,but for those who loved the also terrible D800 series body, it was not a serious issue since their intended use of those high resolution so-called FF was on tripod-serious static thing shooting just like I do use my A7R or my old D800E.....the biggest attraction of the Sony over the Nikon for a Canon shooter was that they did not have to change the lenses they already owned, just buying adapter let you use the Sony sensor with your own Canon lenses.

Even back in 2012 when the D800E thing was the hottest and greatest ever, Nikon was losing sells to Canon and Sony, to a lesser extent to m43.

Nikon lost about 15 percent of its market share in 2012 from its peak in 2008(when the D3 was the hottest camera) despite of the crazy D800E hype generated online.

If the so-called amazing DR was so important to most and even besides that the camera was the best D-SLR ever, then why haven't those amazing Nikon D800 series been commercially successful for Nikon but rather money losing products?

This year Nikon has lost even more sales; sales down 20%, Income down 30%, disastrous Coolpix, Nikon1 performance and non-existent DL cameras all paint a dismal picture, and with no mirrorless or video/motion presence worth speaking of, an even worse outlook. The only area that made up for the loss in imaging was the successful Precision semiconductor group.Bottom line is the balance sheet doesn't lie. And this poor results of Nikon prove that no one outside of the internet camera forums really care about so called amazing DR at base ISO, or what Nikon call amazing pro AF, but more sophisticated overall hybrid functionality, with a bit more like universal mount design.

In fact, those do care about the base ISO DR or obsessed with it actually prefer it in a mirrorless body combined with the amazing Sony EPSON EVF used in the XT2 and A7R2 and thus the temporal switchers from Canon to Nikon for the D800 all moved to or moving to Sony for the A7R series. No one really cares about so-called pro AF in their very high DR high resolution camera since they are not intended to use handheld but on a solid tripod.

Those just needed a bit better DR with very good AF, fast performance, and pro class ergonomics all moved back to Canon for the 5D4 for its better LV and video performance compared to the poor Nikon way of LV in the D800E/D810.

So despite of the all crazy hype for the D8XX, Nikon has been losing serious amount of money to Sony Canon and now to Fuji and Olympus.

Internet is consisted of full of lies and disinfos or ones' wishful thinking, those who do not know anything about the actual sells speak about it as though they knew all with access to the real sells numbers of each camera company. So the D800, the D810, the D500, and the A7R are all huge hits in all camera forums online, but they haven't performed very well commercially......In fact, the one which has stabilized current Sony's market position in this market as the solid no2 player is the A6000, A6300, not the much more hyped A7R series. And the original A7 is the still best selling of the A7X series cameras.

And the all time best selling FF camera is still the Canon 6D, and the saddest reality for Nikon is the 6D alone simply outsells the all the Nikon FX sells combined.

Many Nikon fans never realize it but Nikon is a tiny company, in fact, it is even smaller than Olympus or Ricoh, who Nikon fans usually dismiss or mock as a tiny player, or as an irrelevant player.

Olympus is at least 4 times bigger than Nikon is in terms of total revenue and income in this year.

And there is rumor that Fuji will take over Nikon and produce Nikon branded endscopes soon.

Many Nikon fans still believe Nikon has all the mirrorless and video tech needed in house, but is it really true?

Nikon has no background in digital video and their supporting hardware is likely quite underdeveloped compared to Sony or Canon in catering to video. This is quite evident in their still cameras, which underperform video-wise compared to Canon, Sony, Panasonic or even Olympus and now Fuji still cameras. Doing so would also carry the same risk as their current offering - the complete lack of control over their sensor supply - while not really diversifying their market.

Digital video is a game for electronics companies (Sony, Panasonic, and Canon), not companies whose main strength is optics and who outsource their electronics. Nikon's best bet is just to build lenses for everyone else's video cameras, not to make them themselves.

So in that sense, Nikon's main rivals are Zeiss, Fuji, and Samyong.

So I am guessing if Nikon cannot design a decent F mount mirrorless hybrid system camera in the next 3 years, before the Tokyo Olympics, they will have to become a third-party lens manufacture designing and producing cheap lenses for the camera video manufactures such as Canon, Sony and m43- just like Samyong or Sigma. They cannot try to sell highend optics to labs or broadcast industry like Zeiss, Leica, Canon, or Fuji since Nikon does not have the luxurious name of Zeiss, Leica, Canon, Fujinon, etc.

I think this is why Nikon has tried to sue Sigma for a several times or so. They know that their real rivals are Sigma, Tamron, and Samyong , and they cannot produce better lens designs than those cheap off-brand manufactures.

So to me,it is sad to face, but the coming death of Nikon as a camera maker seems quite obvious and unavoidable.

  

UPDATE: I interviewed many NORMAL camera buyers in my area at our camera shop and asked them to tell us about what was the main reason they did not buy so-called mirrorless any more, and why they think the market share of these mirrorless decreasing at least in the Western world and the already developed part of Asia such as Japan, Taiwan, South Korea , Singapore and HK.

They answered to these questions carefully as we paid some $$ and I think we found out a few interesting things about the NORMAL camera buyers' perception/opinion about ILC cameras and the culture surrounding the camera business:

 

1 to them, if it requires a bag even a tiny one, it's really not important what kind of camera system it is; a mirrorless or a D-SLR, a m43 or a FF, it is just too big and simply too annoying to carry around. So they use their cellphone more even though many of them already have some sort of One cameras or cheap ILCs.

2 To most of NORMAL camera buying people here it really does not matter FF or m43 or APS-C or MF because they are all too difficult to operate and actually really not much different to each other in real life use(at least to them).

This means maybe the small sensor camera systems like the m43 and the Nikon One will all fail since there is no market for them. Not many average camera buyers are interested in ILC systems but fixed lens all around cameras with good one button wireless connection to their phones. And not many the fanatics get interested in these cause most of them are obsessed with the best IQ possible they can get out of a camera system. Thus Olympus, Nikon and Panasonic will definitely need a bigger sensor system to entice them.

3 they do not want a lens like Zeiss Otus or Sigma Art even if it is selling for $50 or less. In fact, any kind of lens interchangeability is not important to them, in fact it is really annoying, and if it is an all around just fixed lens camera like the Sony RX10MK3 , it is actually a better camera system than any type of ILC with a set of primes that most of camera forum denizens want. They should realize they are not the majority of camera buyers and making and selling exactly what they want does not actually help any of these camera makers........

To them a set of great dedicated APS-C primes may be an important part of a good camera system, but to most of NORMAL people it is just not an important or an alluring feature at all.

So as opposed to what Tony , Thom, and many other self-proclaimed experts in many camera forums think, a great set of APS-C dedicated primes will NOT help Nikon or Sony. In fact, outside of the forums most of people actually prefer ZOOMS.

4 To NORMAL people all interchangeable lens cameras are big and quite intimidating.

This means that the very common camera forum trend to get mirrorless for being less conspicuous in the public reason is a silly idea , no one actually cares about if it is a mirroless or a D-SLR, to them all interchangeable lens cameras are annoying and intimidating to most of non-photographers.......so if they really want to be less conspicuous they should try one of the One inch sensor fixed lens cameras.

 

So as I already pointed out, the camera makers should focus on developing fixed multi lenses multi sensored computational cameras with easy one-button wireless connectivity to the phones. The software must be intuitive and 21st century design rather than the current 1980 design, I think it should be user programmable and as Thom points out open the source code to the smart kids and then some of them will develop some good apps for them for free.

Remember why the 5DMK2 and the Panasonic GH2 became such huge hits? Because of the hacked firmwares, I think it is the key.

  

UPDATE2: I heard that the A9 might not be the long rumored Sony flagship model, but it is the flagship consumer model.

And this means that there will be the ultimate FF or MF Sony camera coming and it will be called Alpha One.

  

UPDATE3: Recently, I decided to sell some of my Sony, Nikon, and Fuji gear and the results were really surprising.

 

I sold a couple of Fuji X-T2, a Sony A6500, a A6300, a A7R, a A7R2, three A7MK2. I also sold my Nikon D800E, D750, and D810.

 

The most expensive camera by far of the list was the A7R2, but surprisingly I got about identical amount of money for it to what I got for my much cheaper(as a brand new) D810. I paid about 3200 USD for my A7R2 in 2015 and shockingly it was devalued a lot more than I thought, I could only get about 1750 USD for it.

I must say it was a terrible loss.

I paid around 2000 US for my D810 in 2016, and got back about 1800 US for it in May 2017.

 

I got about 123000 yen for my X-T2, and I must say the resell value of this camera is great, I think Fuji has been controlling the price of this camera quite well. I just lost about 5000 yen on this camera and I have used it for more than 7 months, so it was a great deal. Renting it over 5 months and paid only 45 US or less, is an amazing deal.

 

I got offered only 72000 for my A7R and it was really pity, so I did not sell it.

 

I got only 64000 yen for my A6300, but I expected this so it was not really shocking, still it was a bad value camera, though. But it was replaced by the A6500, so I did not expect too much for this one.......

 

I got about 75000 yen for my A6500 and it was quite shocking, I expected to get more for that since I paid 118000 yen for it in last Oct.

 

I got 95000 yen for my A7MK2, it was quite sad, deplorable since it is a FF and cheaper than the X-T2 in the used camera market here.

I got about 134000 yen for my 2 year old D750, and it was a positive surprise. I did not expect to get this much of money for it since I paid only about 158000 yen for it in 2014.

 

So I realized Sony cameras seem to hold the worst resell value (by far) in Japan and my Thai friend told me in Thailand too.

I was about to sell my second A7R2, but I decided to keep it just for my FE16-35mm f4 and Voiklander 15mm f4.5 and Sony 85mm f1.8...

 

But the shocking loss by far this time was the Batis 85mm f1.8 or the Batis 18mm f2.8, I have lost a lot of money on those 2 lenses, and I did not expect this.....I thought I might get about 900 US for my Batis 85, but I got only about 630 US for it.

The 18mm Batis was even worse, I paid about 168000 yen for it in 2016..... and now I could get only about 98000 yen for it, it was the most shocking and the biggest loss by far, I never thought the resale value of the Batis 18mm f2.8 this bad.

  

So now I decided never buy any more Batis series lenses, I have lost too much on this terribly built so-called Zeiss(actually Tamron made) lenses.

  

UPDATE4: I am now in the process of replacing all my Sony E mount lenses(except a few) with Canon EF mount lenses.

I hated adapters, but after I tried the Sigma MC11, I changed my mind and I think it is much safer to use my Sony bodies with Canon lenses since Canon EF mount is the safest long term future proven mount, and the resell value of the super expensive Sony GM and so-called Sony Zeiss are too bad, the Batis line is even worse. So I think by selling off all expensive Sony E mount lenses that cannot be reused in any other mount system in the near future, I will be more secured and adding the Sigma adapter expand the possible AF lens selection for my FE bodies. After all, I realized that Sony FE zooms are all mediocre , even the most expensive GM ones.

 

I will replace my FE16-35mm f4 Z with a Canon EF16-35mm f4 L IS, I have compared ten copies of each and I am 100 percent sure the Canon is the better lens and cheaper one. In fact, the adapter plus the lens price is the same as the Sony FE16-35mm f4 Z alone. And another benefit of this lens over the FE16-35mm f4 Z is that the Canon lens does not extend its length when it zooms out or in.

 

I will also replace the FE24-70mm f4 with the EF24-70mm f4 LIS.

I will get the 40mm f2.8 STM, which is a surprisingly good lens for the modest size and price.

 

I will also add Sigma 135mm f1.8 Art, which is the sharpest lens ever produced by any one according to Photozone,de.

 

I also add Canon EF70-300mm f4-5.6IS MK2 lens, which is really cheap and for me it is a worth lens since I am not a serious telephoto shooter and so I do not want to invest over 100000 yen for a lens like FE70-300mm f4-5.6G, which is clearly overpriced.

 

I also add Tamron 35mm f1.8VC to replace my Sony FE 35mm f2.8 and Loxia 35mm f2, both of which I actually detest for the terrible corner quality and terrible coma(in case of the Loxia).

 

I may also add the amazing Tamron 70-200mm f2.8 VC G2, which is about half the price of the Sony FE70-200mmf2.8GM, and in my experience, the Tamron is the sharper lens(I compared 4 copies of each once at my shop).

 

I will keep my FE85mm f1.8, which is one of the best 85mm primes ever made and I much prefer this to the overpriced oversized GM and my plastic coated cheap looking Zeiss Batis 85mm f1.8E lens.

 

I will also keep my Voiklander 15mm f4.5 and 12mm f5.6.

 

UPDATE5:Now I have been testing the new Sony FE85mm f1.8E, I bought 3 copies of that lens. I have compared it to my 2 copies of Batis 85mm f1.8E many times now.

And now I know much more about these 2 lenses than a month ago when I first wrote about the FE85mm f1.8E.

 

The Batis 85mm f1.8E has a serious distortion issue, about -2.74 percent pincushion distortion which is a very high value for a 85mm. The Sony FE85mm f1.8E has about -1.74percent of pincushion distortion and which is already quite high for a mid tele prime.

The FE85mm f1.8 is , as DXO says, a tiny bit sharper wide open and continues to be sharper until f4 or f4.5.

From f4.5 or F4, the Batis becomes a tiny bit sharper than the FE, but after f7.1 or so, the FE becomes sharper again.

The Batis vignettes a bit more throughout the available f stops. But the Batis has noticeably better flare performance, with a bit better contrast.

To me the biggest difference between the 2 budget 85mm E mount primes is the color difference. The Batis produces quite a bit warmer tone, and for portrait many people prefer that. Personally, I do not shoot portrait with my Sony any more, so it is not a big issue, but if I do it still, then I probably choose the Batis(this lens) over the new FE85mm f1.8E since people I shoot prefer the color of it.

 

For landscape or flower shots I think the Batis still produces a bit better colors, especially red and blue channels.

But if resolution is the most important or distortion control is the most important aspect of a lens IQ to you , then the Sony FE85mm f1.8E is slightly but noticeably better than the Zeiss Batis.

 

But since I have 2 copies of Batis already and I will lose a lot of money selling them, so I think I will return the FE85mm f1.8E. But if I were buying now, then it's easy, I will get the cheap FE85mmf1.8 Sony.

   

The coming death of Nikon 3(updated)

 

I attended a few academic conferences in Osaka, Kobe and Kyoto. And I visited many many very crowded tourists venues there and I have come to realize the death of real camera thing is nothing but extremely exaggerated by those silly clickbait sites. There were many many people still using a REAL ILC camera along with their smartphones.

Then what is the problem I've found there?

Well there were a very few people using so-called mirrorless there , especially the high-end mirrorless cameras like theA7R/A7R2,theA7M2, the X-T2, the X-P2, etc. I saw many m43 cameras even the EM1MK2 and GH5, I also spotted many people with XT20, A6300, etc, but I never spotted any A7R2, A7M2, XT2,etc......even at the most crowded tourist places like Kinkaku-ji temple, Kobe Great earthquake museum, Kiyomizudera temple, etc.

And that makes me worry about the long term future of so-called Mirrorless, if Sony and Fuji actually going under before Nikon?

 

To be honest, there are many many Nikon shooters and of course Canon guys and girls, but no A7 or XT2 guys at all.

 

In my last academic conferences in Tokyo area, I found it the same, and in Bangkok and Korea I did not see any Fuji or Sony high-end mirrorless bodies at all.

And more worrying fact was that there were so many Chinese tourists there with big cameras, but none of them shooting a Sony or a Fuji, that makes me really nervous about the future of Sony.

 

Sony is investing a lot of money very quick into the FE system but the ship seems to be sinking. I think the stupid shill marketing and silly "mirrorless taking over the entire industry "hype generated by Fuji and Sony paid internet sites is not at all working for them , but maybe working against them

  

The temporal D800 success in the camera forums made Nikon this stupid!

 

So who will be the next Samsung?

  

It seems to me that the "pure camera makers" of old are being slowly challenged by electronics companies. From what I remember Sony's latest results were not all that grim. In the past film days it must have been cheaper to make a camera - it was really a light tight box with a light meter and a shutter. Now, we are looking at sensors, which take big dollars and big factories to make along with software which has to be updated and all types of micro-processors that never existed before. I would expect that big electronics companies like Sony,Samsung, Panasonic, Canon, and Apple would ultimately have some kind of home field advantage - especially in the mass market.

 

While there will likely be niche markets for purists who want to stick with the old names with 1950th analogue finder technology with loud slapping mirror just like there are people who still buy very expensive high end fountain pens like my father and grandpa , I think the average people who just want to take a good photo will slowly drift into the electronics company camp. Sony did buy Minolta camera business(not Minolta itself as opposed to what many camera forum experts always say in many fora) and slowly transitioned it to a pretty innovative camera maker. So maybe, Nikon will ultimately meet the same kind of fate. I guess time will tell, there is a long lasting rumor Canon is interested in picking up Nikon camera division, but I doubt it is true since Canon already has much bigger and stable camera division than that of Nikon and so Canon will gain nothing from buying Nikon camera division.

So that alone gives a decent reason for Samsung to stay in the business, and I do believe if they stay in this game a bit longer and grow the tech inside of the NX1 further, they may be able to become one of three dominant players in this game with Sony and Canon. So I think Samsung has just decided it is not a big enough market for them, not they cannot compete with the rest.

 

That said though, Sony's camera results were kind of vague, so it's hard to determine exactly how well stills camera sales/profits are doing. Their camera division includes "broadcast and professional use products like my FS7MK2" and "flow cytometers", and they don't report how many cameras were sold.

Sony will face the same sales decline problem in few years after they will make a perfect camera lineup when there`s nothing reasonable to upgrade(I think they are already at that point now). It is unavoidable.The last few years, every single new generation Sony camera gets better AF, better viewfinder, better video, ergonomics, etc., and so we Sony users had to keep up with that. I think Fuji people were in the same situation and they were also following every major Fuji camera update.

But sadly as Sony and Fuji once make everything just right, they`ll face the same problems as other camera manufacturers do face now. The original A7X series bodies were just too flawed, rushed-out products and so most of us upgraded to the A7X2. I think the Fuji XT1 original was also a terrible experimental camera that never get matured, so when the X-PRo2/ the X-T2 came out all my Fuji friends got either of these or both. But this cannot continue forever.

Do you think they keep upgrading forever even after the A6300, the A6500, the X-P2, the X-T2 generation? I am not very sure if I sell my A6300 and A6500 when something slightly new and better comes out in next April.

I`m not a Fuji and Sony hater (on the contrary I love using their cameras and have recommended them to many people). This is just sad reality for over-saturated market: product is good enough, no reason to upgrade ever so often, plus strong competition from a cheaper accessible devices (older generation cameras are hugely discounted).

Actually, we many of camera dealers deep into this industry think Sony has already faced this market saturation issue. Their sales were down last year, total camera units down- from 8.5 million down to 6.1 million - yes that includes P&S as well, however, Sony very carefully does not break it out any further - unlike just about every other camera company.

You have to wonder what they are actually hiding. They used to brag about their overall market share and their gains with that(until 2012). Now they only brag about how much they rip off their user base with high valued overpriced products like the A7R2, the A99MK2, and the A6500, which is nothing better than the already excellent A6300 in most of use cases.

When you charge the different prices for the A7R2 from the A7M2 and also the A7S2, and your parts,etc are nearly identical, you can be sure you are making a ton of profit on limited sales numbers. I suspect that the A7R2 and A7S2 are nearly pure profit for Sony. Do people actually think that sensor costs Sony 1500 per unit more to manufacturer than the sensor in the A7R? Are people that naive? The body price of the A7R2 and A7S are probably exactly the same as the A7M2, so that alone tells you how much overpriced the A7R2 and A7S2 are compared to the modest but reliable the A7M2 or the A7R.

While the Sony fangirls and fanboys are loving it, they sadly aren't seeing the big picture, Sony's market share is contracting with respect to the overall market. What will happen when Sony starts hitting diminishing returns on it's camera bodies? Right now, people are upgrading aggressively like they did with DSLR's 6+ years ago. Will someone with the A7R2 or the A6500 feel as strong of a need to upgrade to the A7R3 or the A6700? Sooner or later Sony will exhaust it's user base. Honestly I cannot even imagine what camera will force me to displace my A7M2, A7R2,A6500, and A6300 cameras. (I think this simple logic also apply to Fuji system, it is hard for them to get the X-Pro2 and the XT2 users keep changing their cameras every single iteration from the already pretty matured excellent APS-C bodies.)

In actuality, Sony is probably in more of a teetering stage than most. Canon for the most part has it's unit counts stabilized which means it gained market share. Nikon is contracting with the market and so is Sony. However Nikon has a far wider audience and potential customers that can / may upgrade to a new camera if they wake up soon enough to make a F mount mirrorless system that takes all the lens advantage of the new Nikon E series lenses(almost all the new E series FX lenses are superb).

What's funny though is that the DSLR market is not contracting as much as some think it is, partly because Sony has stopped shipping mass shelf stuffing amounts of DSLT cameras. That distorted the shipments, and is never really taken into account.

We are also seeing a fairly dramatic MILC shift as well, as more and more units are being shipped to "Asia" not including Japan and China. Asia now accounts for the majority of mirrorless camera units. However with those, it's the discount units and the lower cost units that are being shipped there, not the high end units. So we are seeing a significant amount of what appears to be mirrorless inventory dumping which also sniffs like all is not right in this camera world, even in the world of mirrorless.

So Sony, Fuji and other mirrorless manufactures, especially Olympus will face really really serious financial issues as their mount systems get really matured. Their real enemies are not smartphones but unsold inventory and the market saturation. Just face the reality that normal or average camera users with a decent big sensor camera cannot justify upgrading to new camera at full price any more unless they are fanatic about IQ, or crazy picky of the latest features, or interested in at least 4k quality video.

Sony Canon Fuji fanboys talk about the Nikon financial crisis as though it is "Nikon only issue", but in reality they will also face the same issue.

Maybe Samsung was the only one smart enough to quit this ever sinking business before the ship actually sink into the deep hell just like IBM in the PC market a few years back?

 

In conclusion:

My present view on Sony is this... They're for the camera techies and early adopters. Those who are willing to be "crash test dummies" and actually kind of enjoy that process(like myself), and are willing to pay a premium for the privilege. Sony is NOT for the average person, at least right now, IMHO. The original A7R was a complete experimentation of the high resolution FF sensor in a compact body at the all cost of usability concept, and it was kind of received well, some hated it but many odd people like myself loved it. The A7S was also an experimental concept camera to see if the majority of FF buyers accept very low resolution but very high ISO capable almost ultimate lowlight hybrid camera even at the big cost of resolution and basic usability in still photography. I am not sure this concept model was well received or not, but I personally do not care for it, I much prefer the normal A7M2 and the original A7R(still my favorite a7X as I am mainly a tripod shooter).

What does this necessarily do to the cost of entry into the system or a particular piece of gear? Well, there's this thing called economics. And if you don't understand (at least very basic of it) economics, you can't possibly understand the cost of goods sold. You also need to know a little about how camera businesses operate specifically, and generally. You need to understand the difference in product lineups and cost to the consumer between a market leader and a recent entrant into a market.

Without a basic understanding of these types of things (and you don't need to be able to define them or even know specifically what they are - you just kind of need to know about them), you can't even have any serious view about the current consumer camera market.

Most people either don't get this stuff, or don't consider it due to personal bias. I actually know most of people actually get it but do not accept or want to even see how it works, especially in the case of this controversial Sony A7X series and in the case of the Fuji X line products.

In the case of what Sony hopes is a class leading 70-200 f/2.8 zoom... well... they're going to sell a LOT less of them than say, Canon or Nikon, but their development costs and potentially their manufacturing costs, are likely much higher. So they won't be able to spread out their R&D and manufacturing costs over a large number of units thus, the units will be more expensive than the competition if they wish to maintain their profit margins. And I am sure they are all after high profit margin stuff now and this is actually what has made Sony successful in this sinking market, even in very short time.

So, yeah... the lens is already substantially more expensive than the competition- the slightly better optics of Canon and Nikon now, and I actually expect it will be more expensive than the CN offerings for a few more years at least.

This is why, at least foreseeable future-maybe at least 3 -5 more years, until the size of market share for the Sony system increases, everything Sony will release in the A7 and FE line will be more expensive than the same class Canon , Nikon or m43.

But I think Sony market share may actually increase steadily, as Sony consolidates their offerings as a whole system and more people come to appreciate what's on offer.

But again it takes some time to get there, and all of the above what I've just said about Sony also applies to Fuji X system.

All in all, IMO, the disadvantages and risks of innovation are now firmly outweighed by the benefits........ and this will become more obvious with time because most of people are getting really tired of Nikon for their complete lack of innovation, let alone invention.

So like I said in the very first part of this write up, Sony and Canon will probably win over Nikon and Nikon will probably go bankrupt as it is mainly a camera company-about 75 percent of their total income comes from camera sells.

The DL is already aborted even before it gets actually out......Nikon is really domed.

  

UPDATE: I interviewed many NORMAL camera buyers in my area at our camera shop and asked them to tell us about what was the main reason they did not buy so-called mirrorless any more, and why they think the market share of these mirrorless decreasing at least in the Western world and the already developed part of Asia such as Japan, Taiwan, South Korea , Singapore and HK.

They answered to these questions carefully as we paid some $$ and I think we found out a few interesting things about the NORMAL camera buyers' perception/opinion about ILC cameras and the culture surrounding the camera business:

 

1 to them, if it requires a bag even a tiny one, it's really not important what kind of camera system it is; a mirrorless or a D-SLR, a m43 or a FF, it is just too big and simply too annoying to carry around. So they use their cellphone more even though many of them already have some sort of One cameras or cheap ILCs.

2 To most of NORMAL camera buying people here it really does not matter FF or m43 or APS-C or MF because they are all too difficult to operate and actually really not much different to each other in real life use(at least to them).

This means maybe the small sensor camera systems like the m43 and the Nikon One will all fail since there is no market for them. Not many average camera buyers are interested in ILC systems but fixed lens all around cameras with good one button wireless connection to their phones. And not many the fanatics get interested in these cause most of them are obsessed with the best IQ possible they can get out of a camera system. Thus Olympus, Nikon and Panasonic will definitely need a bigger sensor system to entice them.

3 they do not want a lens like Zeiss Otus or Sigma Art even if it is selling for $50 or less. In fact, any kind of lens interchangeability is not important to them, in fact it is really annoying, and if it is an all around just fixed lens camera like the Sony RX10MK3 , it is actually a better camera system than any type of ILC with a set of primes that most of camera forum denizens want. They should realize they are not the majority of camera buyers and making and selling exactly what they want does not actually help any of these camera makers........

To them a set of great dedicated APS-C primes may be an important part of a good camera system, but to most of NORMAL people it is just not an important or an alluring feature at all.

So as opposed to what Tony , Thom, and many other self-proclaimed experts in many camera forums think, a great set of APS-C dedicated primes will NOT help Nikon or Sony. In fact, outside of the forums most of people actually prefer ZOOMS.

4 To NORMAL people all interchangeable lens cameras are big and quite intimidating.

This means that the very common camera forum trend to get mirrorless for being less conspicuous in the public reason is a silly idea , no one actually cares about if it is a mirroless or a D-SLR, to them all interchangeable lens cameras are annoying and intimidating to most of non-photographers.......so if they really want to be less conspicuous they should try one of the One inch sensor fixed lens cameras.

 

So as I already pointed out, the camera makers should focus on developing fixed multi lenses multi sensored computational cameras with easy one-button wireless connectivity to the phones. The software must be intuitive and 21st century design rather than the current 1980 design, I think it should be user programmable and as Thom points out open the source code to the smart kids and then some of them will develop some good apps for them for free.

Remember why the 5DMK2 and the Panasonic GH2 became such huge hits? Because of the hacked firmwares, I think it is the key.

  

UPDATE2: I heard that the A9 might not be the long rumored Sony flagship model, but it is the flagship consumer model.

And this means that there will be the ultimate FF or MF Sony camera coming and it will be called Alpha One.

  

UPDATE3: Recently, I decided to sell some of my Sony, Nikon, and Fuji gear and the results were really surprising.

 

I sold a couple of Fuji X-T2, a Sony A6500, a A6300, a A7R, a A7R2, three A7MK2. I also sold my Nikon D800E, D750, and D810.

 

The most expensive camera by far of the list was the A7R2, but surprisingly I got about identical amount of money for it to what I got for my much cheaper(as a brand new) D810. I paid about 3200 USD for my A7R2 in 2015 and shockingly it was devalued a lot more than I thought, I could only get about 1750 USD for it.

I must say it was a terrible loss.

I paid around 2000 US for my D810 in 2016, and got back about 1800 US for it in May 2017.

 

I got about 123000 yen for my X-T2, and I must say the resell value of this camera is great, I think Fuji has been controlling the price of this camera quite well. I just lost about 5000 yen on this camera and I have used it for more than 7 months, so it was a great deal. Renting it over 5 months and paid only 45 US or less, is an amazing deal.

 

I got offered only 72000 for my A7R and it was really pity, so I did not sell it.

 

I got only 64000 yen for my A6300, but I expected this so it was not really shocking, still it was a bad value camera, though. But it was replaced by the A6500, so I did not expect too much for this one.......

 

I got about 75000 yen for my A6500 and it was quite shocking, I expected to get more for that since I paid 118000 yen for it in last Oct.

 

I got 95000 yen for my A7MK2, it was quite sad, deplorable since it is a FF and cheaper than the X-T2 in the used camera market here.

I got about 134000 yen for my 2 year old D750, and it was a positive surprise. I did not expect to get this much of money for it since I paid only about 158000 yen for it in 2014.

 

So I realized Sony cameras seem to hold the worst resell value (by far) in Japan and my Thai friend told me in Thailand too.

I was about to sell my second A7R2, but I decided to keep it just for my FE16-35mm f4 and Voiklander 15mm f4.5 and Sony 85mm f1.8...

 

But the shocking loss by far this time was the Batis 85mm f1.8 or the Batis 18mm f2.8, I have lost a lot of money on those 2 lenses, and I did not expect this.....I thought I might get about 900 US for my Batis 85, but I got only about 630 US for it.

The 18mm Batis was even worse, I paid about 168000 yen for it in 2016..... and now I could get only about 98000 yen for it, it was the most shocking and the biggest loss by far, I never thought the resale value of the Batis 18mm f2.8 this bad.

  

So now I decided never buy any more Batis series lenses, I have lost too much on this terribly built so-called Zeiss(actually Tamron made) lenses.

  

UPDATE4: I am now in the process of replacing all my Sony E mount lenses(except a few) with Canon EF mount lenses.

I hated adapters, but after I tried the Sigma MC11, I changed my mind and I think it is much safer to use my Sony bodies with Canon lenses since Canon EF mount is the safest long term future proven mount, and the resell value of the super expensive Sony GM and so-called Sony Zeiss are too bad, the Batis line is even worse. So I think by selling off all expensive Sony E mount lenses that cannot be reused in any other mount system in the near future, I will be more secured and adding the Sigma adapter expand the possible AF lens selection for my FE bodies. After all, I realized that Sony FE zooms are all mediocre , even the most expensive GM ones.

 

I will replace my FE16-35mm f4 Z with a Canon EF16-35mm f4 L IS, I have compared ten copies of each and I am 100 percent sure the Canon is the better lens and cheaper one. In fact, the adapter plus the lens price is the same as the Sony FE16-35mm f4 Z alone. And another benefit of this lens over the FE16-35mm f4 Z is that the Canon lens does not extend its length when it zooms out or in.

 

I will also replace the FE24-70mm f4 with the EF24-70mm f4 LIS.

I will get the 40mm f2.8 STM, which is a surprisingly good lens for the modest size and price.

 

I will also add Sigma 135mm f1.8 Art, which is the sharpest lens ever produced by any one according to Photozone,de.

 

I also add Canon EF70-300mm f4-5.6IS MK2 lens, which is really cheap and for me it is a worth lens since I am not a serious telephoto shooter and so I do not want to invest over 100000 yen for a lens like FE70-300mm f4-5.6G, which is clearly overpriced.

 

I also add Tamron 35mm f1.8VC to replace my Sony FE 35mm f2.8 and Loxia 35mm f2, both of which I actually detest for the terrible corner quality and terrible coma(in case of the Loxia).

 

I may also add the amazing Tamron 70-200mm f2.8 VC G2, which is about half the price of the Sony FE70-200mmf2.8GM, and in my experience, the Tamron is the sharper lens(I compared 4 copies of each once at my shop).

 

I will keep my FE85mm f1.8, which is one of the best 85mm primes ever made and I much prefer this to the overpriced oversized GM and my plastic coated cheap looking Zeiss Batis 85mm f1.8E lens.

 

I will also keep my Voiktlander 15mm f4.5 and 12mm f5.6.

  

UPDATE5: Many people including myself thought Nikon is dying, if not already dead by now, but in reality Nikon still sells many many more units than Sony and Nikon is now working on new type of sensor design and they may collaborate with Pentax and Olympus to set up a new sensor company. If this plays out well, then Sony will be the loser since they will have no one to sell their so-called Fullframe sensors any more. And as a result their highend camera prices will go up significantly.

And now Sony has just announced they've just decided to spin off their digital-imaging division(Sony DI) and now it is an independent business under Sony corp's supervision, just like their sensor group.....

This means now Sony imaging is not a part of Sony but their subsidiary, and therefore, to Sony device group, the imaging group is just a customer,nothing special, in fact,considering its size of market share in relation to that of Nikon, Sony imaging group is a lower class customer to the device group.

So there is no more reason for Sony device technology to keep the best sensor for in-house use-only. In fact now Sony device tech must compete with the new sensor company Nikon Olympus Ricoh have just established here and some European sensor designers such as CMOSIS, who makes the Leica SL sensor and M sensor.

And do not forget there is always Canon if Sony does not sell anything to Nikon.........Canon will start selling it and there will be Panasonic and Tower Jazz also........so Nikon will not have any problem choosing sensor suppliers any more.

Sony must sell their best sensors to Nikon, Olympus, and Pentax , or Sony will lose them, Sony cannot choose customers any more.

If Sony is smart, it will not compete with Nikon or Olympus in camera market. After all, Nikon is the biggest customer of Sony.....and Sony also buys steppers from Nikon anyway. So Sony is not dominating the sensor market, or controlling Nikon as many armchair experts in many camera fora think..........and the just announced Spun-off of their imaging division makes Sony camera business less trust-worthy........... Sony thinks every business as a short term investment and runs it to make it temporarily profitable and then spins it off.

After that? of course sells it to anyone willing to buy it.........like Sony did with the Vaio PC business, TV business, etc,etc.

That is why no one really trust Sony in the long run, we long term Sony users just use its cameras but always know it is a back-up plan or step-gap solution......

After all no serious camera buyers are as obtuse as many spec-chasers and review sites think they are. No one buys into a big expensive camera system just for an amazing set of features in a body or two...................there are many many more important aspects to a system camera than just a set of great features... I think Sony should try to be an Intel of camera.

   

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I reallly really reallllly didn't want to do a Super Hero for this week's Illustration Friday topic: 'Super Hero'.

 

My solution came pretty quickly. I decided to do a manual anagram of the letters, and the one that satisfied me intellectually was this one: 'O! Her purse!'

 

The next challenge was working out how to illustrate that.

 

So I did what any self-respecting new-media-liberal does. I turned to the Creative Commons. Using the beta version of the Flickr Foto Finder, I looked for images that I may use commercially and that I may alter. ('Commercially', cos I'm now offering art prints of my paintings for sale -- email me if you're keen, and 'alter', cos I mostly take liberties with the works I use as inspiration.)

 

And that's how I came up with a pretty funny photo of a woman with a little dog in her purse. It's by a gal with a pretty funny profile. Her name is 'Malingering' (aka Irreverent). The photo is titled: 'at least it's not a pink pup purse' .

 

For me, the presence of the dog is what made this pic such a 'YESSSSSS!' for me. It kinda links in to the super hero theme, cos it's about this little innocuous animal who THINKS he's a super hero. And his leggie babe owner probably regards him in the same light.

 

I opted to use a completely different style to my normal mode.

 

In this one, I did very loose line drawings as the top layer, then immediately set them to a low opacity, so that I could start blocking in colour without paying too much attention to the line. I decided before starting that this one would have no line art in the final.

 

I then started working from background through to foreground, making everything pretty messy and shoddy and inaccurate. I used only the roller tool and eraser for this entire picture.

 

Each colour got a new layer. And each colour was sliced back with the eraser set to the thinnest possible width. Kind of like a needle scraping away at a piece of scraperboard.

 

I ended up with about twenty or thirty layers, which I only merged down when I was happy with my look.

 

The little messy bits of erasings are left in on purpose. I wanted this pic to show my process, to have evidence of being worked. And more than that, to give it the sense that it actually WAS handmade. I kinda WANT people to know that this isn't some sort of computerised conversion of a photo into an artwork thing. It's actually my eye, my judgement, my brushstrokes.

 

I changed the composition to suit my needs. And I've used the background to lead us directly to the woman's face. I wanted this because her face is in a dominant position at the confluence of a horizontal fifth, and a vertical third.

 

But the real hero of the piece is the crazy super hero dog in the purse. Which is why he's a straight drop down the woman's arm, down in the middle of the pic. This is NOT a great place for him to be in traditional composition. Which is why I strengthened the lines leading to the woman's face.

 

Im not sure if I'm making sense here. What I'm TRYING to say is that the compositional WEAKNESS of the dog's placement BECOMES the punchline, thanks to the strength of the woman's face in conjunction with the title of the piece. (That's also why the skirt and purse are so much darker than anything else on the page. To make sure that dog can't be missed.)

 

As usual, I painted this in a coffee shop (this time, my usual local haunt, the Mugg & Bean in Cresta), on my Toshiba Tecra M4 tablet pc, using ArtRage 2.2. A gorgeous lass I've dated a few times asked me whether or not I get paid to mention the hardware and software I drive. The answer is no. I do not receive ANY remuneration, or favours, or anything else from Toshiba or Ambient Design. I'm a paying customer. And I just love the products. And I'm keen to let people into my process. So I disclose stuff. Thanks for asking, Sandi!

View On Black

 

Processed by: mavenimagery Labs, Universal Studios, Californa.

HDR PROCESSED with IRET (Iris Range Enhancement Technology)

IRET (Iris Range Enhancement Technology and MavenFilters are products of mavenimagery Labs Innovation)

  

maven's note:mavenimagery does not guarantee this story will be appealing to everyone. This is a PROLOGUE to the TRUE story Undercover Of Darkness

Featuring: Tom. A high-tech GPS programed by WICS TECHNOLOGY which provides advanced GPS fleet tracking with geographic boundaries with audible alarms and reports, as well as wireless GPS vehicle tracking services with multiple screens with mappoint integration and advanced asset tracking. You can connect to the Internet anywhere by just telling Tom (voice recognition tech)

 

"How are we on Traffic?" I voice at Tom.

Beep!

As if I've just realized the annoying Beep! sound, “Sounds. Reset settings. Customize. Uncheck 'Alert Sound' ” I commend.

Very well, Maven. Done.

"And stop sounding so damn formal," I say. " Loose that Hot-potato-in-your-mouth-accent. What am I, a tourist with Oxford Dictionary?"

"Ay dui apologize foo de inconvenience, Maven," responds Tom, now in more deliberate-exaggerated accent. "Would you prefer Reginald accent or Received Pronunciation English? Standard English?"

"Very funny, Tom. Strangely, am not laughing, though".

“Please choose from the List of English Dialects,” continues Tom.

"Enough!"

"You sound restless, Maven. Quite on the edge. What’s wrong?"

"You my shrink now?"

"I am programmed in all technical, physical and intellectual subjects, Maven. You should know that."

"Traffic, please."

"Expect gaper’s delay, Maven,” Tom’s mechanic voice splits through AC/DC’s Highway To Hell. “An apparent gridlock in 2.8 miles on Eastbound on Highway 49, through highway 88 and the heavy radio signals indicates a possible accident.

"ED?"

"Estimate delay is thirty minutes."

"Possible Detour? Re-route?"

"Detour –Reroute is not possible within the next 3miles. The possible exit was at 2.8miles, Maven."

"You telling me..." I pose. The mild agitation suddenly trippled. "We missed the possible exit by driving 2 miles talking Queen’s and King's and Peasan'ts English?

"Exactly."

"Damn, Tom!" I curse through my teeth. I’ll make sure your chips are re-programmed, stripped off of 32-bit microprocessor brain that contains technical, physical and intellectual and other memory sensors.

That’s cruel…

 

Omitted:

-What happened the next 2.8 miles?

-What was the reason of the ‘gaper’s delay’ ; the gridlock?

-Meet the spine shivering ACCIDENT II and the Neo-Nazi CHP officer at the scene.

*The unpredictably hilarious…the cruel, greed, outrage and the crooked American System. True story told by Maven vividly; raw and ‘As Is’. Maven does not write for tourists, beach readers. Maven writes for hard-core devotees drawn to the wild, angry imagination on display and the taboo-busting humor. Maven has no fear of them jokers given the powerful claws of the LAW!

**The story will be posted on Flickr depending on how much interest this image and the Prologue generates.

 

Know Murphy's Laws, Tom?

Anything that could go wrong, it will.

My Murphy's Law, Tom.

Silence.

What, can’t read mind, Tom? Lemme, diagram it for you.

--- Never trust modern technology. Trust it only when it is old technology.

I’m at matured age

"A year old? Don’t think so. A year old Gizmosapien equals 2 year of human year or the like is a 2-3 years old human child. The second year is equivalent to about another 3 to 8 years in terms of physical and mental maturity, and each year thereafter is equivalent to only about 4 or 5 human years. Still with me, Tom?

No comments.

"Wasn’t expecting one. It was a rhetorical question"

--- Computers are unreliable, I went on. But humans are even more unreliable. Any system which depends on human reliability is unreliable. And what’re you, Tom?

A computer

Thanks for admitting that, Tom. Never forget where you came from or what you made of…"

--- "To err is human," I went on. "But to really foul things up requires a computer. That includes you, Tom"

I got that. No need to rub it in.

"Sorry. Where was I? Oh”

--- If it works in theory, it won't work in practice.

---If it works in practice it won't work in theory.

"What’s our new destination, Tom?" I ask.

Never trust modern technology, says Tom. Trust it only when it is old technology. And I’m still a baby. A year old baby does not have a sense of direction and therefore cannot help in directions.

"Isaac Asimov wrote the Three Laws of Robotics. Law Second: A robot must obey orders given to it by human."

I’m not a Robot

"Same difference, Tom. You’re a computer and so is a Robot."

Don't patronize me, Maven

I'm not patronizing you, Tom. I'm mocking you!

One of those days, Maven?

"Directions, Tom"

I thought, you don’t trust computers.

"I don’t," I say. " I’ll take what I can and combine it with my own non-chipped-brains made of cells. I trust, well, somewhat, your ability to connect to a satellite. Can you do that, Tom?

After less than five seconds.

Daffodil Hills

"Known for?"

Each spring, from mid-March through mid-April, Daffodil Hill explodes with thousands of blooms.

"No, flowers…and Tom, briefly."

Sure. A century of nurturing .....

Today, much of the landscape around the old homestead is covered with more than 300 named varieties of daffodils… For the last twenty years is estimated that today, Daffodil Hill is carpeted with over 300,000 bulbs—

"Briefly, Tom. No history."

… The farm began as a 36-acre ranch and toll road for travelers and teamsters hauling timber. In the 1930's—

"Say farm?"

Yes, Maven.

" Images, please…"

Image 1: daffodil close up

Image 2: there it was; the farm

 

"Thank you, Tom. Go…" I said and pumped up the volume and Billy Idol's Shock To The System streamed through Bose loudspeakers.

Little Smurf said: I like to listen jazz & to enjoy in candy Pez.

 

www.youtube.com/watch?v=K7MAb8ELbZk

 

Enjoy in good song ;D.

 

P.s. I wrote Pez song few years ago

  

Neka ti u đepu uvijek bude Pez

Ne idi nikad u svijet bez njih

Bombone Pez obožavao je Grigor Vitez

Za bolji glas prije nastupa jede ih

Nenad Knežević Knez

Pez je slađi nego ijedan pekmez

Bombone Pez obožavaju Austrijanac

Amerikanac, Rus i Kinez

Jer su neodoljivi i neponovljivi.

 

(Photo and song by Yasha Jakovsky)

 

History about Pez Candy

 

The PEZ Dispenser has been around for nearly 50 years. PEZ Candy got its start even earlier, introduced in 1927 in Vienna, Austria as the world's first ever breath mint. Edward Haas, an avid non-smoker, wanted to invent a product to rival cigarettes. His product, a small compressed sugar tablet with peppermint oil added, was sold in small pocket size tins (similar to Altoid brand mints sold today) and marketed as an alternative to smoking. His slogan was "smoking prohibited pezzing allowed!"

The name PEZ was dirived from the German work for peppermint, "pfefferminz" Using the first, middle, and last letters of the word, Hass came up with the name "PEZ."

 

badllama2.tripod.com/pezhistory.html

 

This was on my desk when i got into the office today.

 

Woo hoo. Go tarts, go.

 

Funny as it is, I am at a complete loss as to why Kellogg's would settle on the name "Go-Tarts!"™ (complete with exclamation point in the trademark) for a food product. I assume they are not going to market these in the UK.

 

Then again...

 

Got tarts?

 

I so want a Go-Tarts!™ t-shirt.

 

Go-Tarts!™ Theeerrrrre Grrrrrrrrrrrrrrreat!

 

(I wonder of General Mills is going to come out with a rival product, Go-Vicars!)

The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.

 

A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.

 

Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.

 

She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.

 

In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.

 

On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.

Fawcett's record-breaking poster that sold 12 million copies.

 

The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.

 

Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.

 

Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.

 

The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.

 

In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.

 

In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.

 

The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.

 

In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.

 

She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.

 

Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.

 

That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.

 

In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.

 

In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.

 

Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.

 

Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.

 

From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.

 

From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.

 

On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.

 

Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.

 

Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.

 

Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.

 

In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.

 

A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.

 

The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.

 

The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.

 

Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.

 

Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.

 

The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.

 

Larry King said of the Fawcett phenomenon,

TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.

 

Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.

 

Kate Jackson said,

She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.

 

She is buried at the Westwood Village Memorial Park in Los Angeles.

 

The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.

 

The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.

 

In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31

This funny looking, egg-shaped little car with its single-cylinder, 200cc JLO two-stroke engine was effectively a Dutch product. It was basically a German Fuldamobil, built under licence in the mid-1950s by the conveyance manufacturer Alweco in Veghel, and named the 'Bambino'. Other countries such as Chile, Greece, England and India also built the Fuldamobil under licence. The Bambino enjoyed only limited success in the Netherlands. A four-wheeled version, the Sport, was introduced in 1957. It goes without saying that this considerably underpowered two-seater was not a credit to its model name and vanished as quickly as it appeared.

 

bit.ly/uUIBny

This is all I could muster- I've misplaced ALOT of them... like "The Write Brain Workbook" , "What Would Your Character Do?", "Sun Signs for Writers" and others. This collection dates back to my 8th grade year all the way to my freshman year of college. I haven't bought any more books since then.

 

Don't worry- I haven't read ALL of them yet. I'm actually not much of a reader (I rather be writing than reading LOL)- so it's a miracle if I ever get down to reading ANY of them.

 

EDIT: Well my sister moved out and I cleaned out an organized my stuff into the new empty room, but I still wasn't able to find my missing books... That really REALLY sucks...

Achieve visibly younger skin

 

ladler.ruhop.us/got/ham/MTU3OHwzOXw0NzMw/land/aZ2l2ZXM5M3...

 

Preferences

distractedly.ruhop.us/got/ham/MTU3OHwzOXw0NzMw/unsub/aZ2l...

 

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23 July 2008

 

Today I was inspired by my 99 Luftballoons t-shirt from threadless.

www.threadless.com/product/423/99_Luftballons

 

I'm wearing it, but you can't really see it from this angle. You'll have to trust me on that one :)

I'm sure I looked pretty silly taking this shot – I drove out to a back country road and pulled over on the side of the road and set up my tri-pod and camera... I got some funny looks from the passing cars :) Oh well, all in the name of Flickr!

It's really funny almost all Asian tourists come here have some kind of Canon FF cameras, rarely they carry a Nikon D750 class body but seldom see anything better than the D750, or any of the highend Fuji mirrorless cameras.

 

even a tiny woman here with a dedicated camera had a big(for their tiny body) 6D or D750, it was really funny.

to me it seems really like the tinier the person the more sensitive to how they're seen in public(at least here in Kyoto).

  

The coming death of Nikon 3(updated)

 

I attended a few academic conferences in Osaka, Kobe and Kyoto. And I visited many many very crowded tourists venues there and I have come to realize the death of real camera thing is nothing but extremely exaggerated by those silly clickbait sites. There were many many people still using a REAL ILC camera along with their smartphones.

Then what is the problem I've found there?

Well there were a very few people using so-called mirrorless there , especially the high-end mirrorless cameras like theA7R/A7R2,theA7M2, the X-T2, the X-P2, etc. I saw many m43 cameras even the EM1MK2 and GH5, I also spotted many people with XT20, A6300, etc, but I never spotted any A7R2, A7M2, XT2,etc......even at the most crowded tourist places like Kinkaku-ji temple, Kobe Great earthquake museum, Kiyomizudera temple, etc.

And that makes me worry about the long term future of so-called Mirrorless, if Sony and Fuji actually going under before Nikon?

 

To be honest, there are many many Nikon shooters and of course Canon guys and girls, but no A7 or XT2 guys at all.

 

In my last academic conferences in Tokyo area, I found it the same, and in Bangkok and Korea I did not see any Fuji or Sony high-end mirrorless bodies at all.

And more worrying fact was that there were so many Chinese tourists there with big cameras, but none of them shooting a Sony or a Fuji, that makes me really nervous about the future of Sony.

 

Sony is investing a lot of money very quick into the FE system but the ship seems to be sinking. I think the stupid shill marketing and silly "mirrorless taking over the entire industry "hype generated by Fuji and Sony paid internet sites is not at all working for them , but maybe working against them

  

The temporal D800 success in the camera forums made Nikon this stupid!

 

So who will be the next Samsung?

  

It seems to me that the "pure camera makers" of old are being slowly challenged by electronics companies. From what I remember Sony's latest results were not all that grim. In the past film days it must have been cheaper to make a camera - it was really a light tight box with a light meter and a shutter. Now, we are looking at sensors, which take big dollars and big factories to make along with software which has to be updated and all types of micro-processors that never existed before. I would expect that big electronics companies like Sony,Samsung, Panasonic, Canon, and Apple would ultimately have some kind of home field advantage - especially in the mass market.

 

While there will likely be niche markets for purists who want to stick with the old names with 1950th analogue finder technology with loud slapping mirror just like there are people who still buy very expensive high end fountain pens like my father and grandpa , I think the average people who just want to take a good photo will slowly drift into the electronics company camp. Sony did buy Minolta camera business(not Minolta itself as opposed to what many camera forum experts always say in many fora) and slowly transitioned it to a pretty innovative camera maker. So maybe, Nikon will ultimately meet the same kind of fate. I guess time will tell, there is a long lasting rumor Canon is interested in picking up Nikon camera division, but I doubt it is true since Canon already has much bigger and stable camera division than that of Nikon and so Canon will gain nothing from buying Nikon camera division.

So that alone gives a decent reason for Samsung to stay in the business, and I do believe if they stay in this game a bit longer and grow the tech inside of the NX1 further, they may be able to become one of three dominant players in this game with Sony and Canon. So I think Samsung has just decided it is not a big enough market for them, not they cannot compete with the rest.

 

That said though, Sony's camera results were kind of vague, so it's hard to determine exactly how well stills camera sales/profits are doing. Their camera division includes "broadcast and professional use products like my FS7MK2" and "flow cytometers", and they don't report how many cameras were sold.

Sony will face the same sales decline problem in few years after they will make a perfect camera lineup when there`s nothing reasonable to upgrade(I think they are already at that point now). It is unavoidable.The last few years, every single new generation Sony camera gets better AF, better viewfinder, better video, ergonomics, etc., and so we Sony users had to keep up with that. I think Fuji people were in the same situation and they were also following every major Fuji camera update.

But sadly as Sony and Fuji once make everything just right, they`ll face the same problems as other camera manufacturers do face now. The original A7X series bodies were just too flawed, rushed-out products and so most of us upgraded to the A7X2. I think the Fuji XT1 original was also a terrible experimental camera that never get matured, so when the X-PRo2/ the X-T2 came out all my Fuji friends got either of these or both. But this cannot continue forever.

Do you think they keep upgrading forever even after the A6300, the A6500, the X-P2, the X-T2 generation? I am not very sure if I sell my A6300 and A6500 when something slightly new and better comes out in next April.

I`m not a Fuji and Sony hater (on the contrary I love using their cameras and have recommended them to many people). This is just sad reality for over-saturated market: product is good enough, no reason to upgrade ever so often, plus strong competition from a cheaper accessible devices (older generation cameras are hugely discounted).

Actually, we many of camera dealers deep into this industry think Sony has already faced this market saturation issue. Their sales were down last year, total camera units down- from 8.5 million down to 6.1 million - yes that includes P&S as well, however, Sony very carefully does not break it out any further - unlike just about every other camera company.

You have to wonder what they are actually hiding. They used to brag about their overall market share and their gains with that(until 2012). Now they only brag about how much they rip off their user base with high valued overpriced products like the A7R2, the A99MK2, and the A6500, which is nothing better than the already excellent A6300 in most of use cases.

When you charge the different prices for the A7R2 from the A7M2 and also the A7S2, and your parts,etc are nearly identical, you can be sure you are making a ton of profit on limited sales numbers. I suspect that the A7R2 and A7S2 are nearly pure profit for Sony. Do people actually think that sensor costs Sony 1500 per unit more to manufacturer than the sensor in the A7R? Are people that naive? The body price of the A7R2 and A7S are probably exactly the same as the A7M2, so that alone tells you how much overpriced the A7R2 and A7S2 are compared to the modest but reliable the A7M2 or the A7R.

While the Sony fangirls and fanboys are loving it, they sadly aren't seeing the big picture, Sony's market share is contracting with respect to the overall market. What will happen when Sony starts hitting diminishing returns on it's camera bodies? Right now, people are upgrading aggressively like they did with DSLR's 6+ years ago. Will someone with the A7R2 or the A6500 feel as strong of a need to upgrade to the A7R3 or the A6700? Sooner or later Sony will exhaust it's user base. Honestly I cannot even imagine what camera will force me to displace my A7M2, A7R2,A6500, and A6300 cameras. (I think this simple logic also apply to Fuji system, it is hard for them to get the X-Pro2 and the XT2 users keep changing their cameras every single iteration from the already pretty matured excellent APS-C bodies.)

In actuality, Sony is probably in more of a teetering stage than most. Canon for the most part has it's unit counts stabilized which means it gained market share. Nikon is contracting with the market and so is Sony. However Nikon has a far wider audience and potential customers that can / may upgrade to a new camera if they wake up soon enough to make a F mount mirrorless system that takes all the lens advantage of the new Nikon E series lenses(almost all the new E series FX lenses are superb).

What's funny though is that the DSLR market is not contracting as much as some think it is, partly because Sony has stopped shipping mass shelf stuffing amounts of DSLT cameras. That distorted the shipments, and is never really taken into account.

We are also seeing a fairly dramatic MILC shift as well, as more and more units are being shipped to "Asia" not including Japan and China. Asia now accounts for the majority of mirrorless camera units. However with those, it's the discount units and the lower cost units that are being shipped there, not the high end units. So we are seeing a significant amount of what appears to be mirrorless inventory dumping which also sniffs like all is not right in this camera world, even in the world of mirrorless.

So Sony, Fuji and other mirrorless manufactures, especially Olympus will face really really serious financial issues as their mount systems get really matured. Their real enemies are not smartphones but unsold inventory and the market saturation. Just face the reality that normal or average camera users with a decent big sensor camera cannot justify upgrading to new camera at full price any more unless they are fanatic about IQ, or crazy picky of the latest features, or interested in at least 4k quality video.

Sony Canon Fuji fanboys talk about the Nikon financial crisis as though it is "Nikon only issue", but in reality they will also face the same issue.

Maybe Samsung was the only one smart enough to quit this ever sinking business before the ship actually sink into the deep hell just like IBM in the PC market a few years back?

 

In conclusion:

My present view on Sony is this... They're for the camera techies and early adopters. Those who are willing to be "crash test dummies" and actually kind of enjoy that process(like myself), and are willing to pay a premium for the privilege. Sony is NOT for the average person, at least right now, IMHO. The original A7R was a complete experimentation of the high resolution FF sensor in a compact body at the all cost of usability concept, and it was kind of received well, some hated it but many odd people like myself loved it. The A7S was also an experimental concept camera to see if the majority of FF buyers accept very low resolution but very high ISO capable almost ultimate lowlight hybrid camera even at the big cost of resolution and basic usability in still photography. I am not sure this concept model was well received or not, but I personally do not care for it, I much prefer the normal A7M2 and the original A7R(still my favorite a7X as I am mainly a tripod shooter).

What does this necessarily do to the cost of entry into the system or a particular piece of gear? Well, there's this thing called economics. And if you don't understand (at least very basic of it) economics, you can't possibly understand the cost of goods sold. You also need to know a little about how camera businesses operate specifically, and generally. You need to understand the difference in product lineups and cost to the consumer between a market leader and a recent entrant into a market.

Without a basic understanding of these types of things (and you don't need to be able to define them or even know specifically what they are - you just kind of need to know about them), you can't even have any serious view about the current consumer camera market.

Most people either don't get this stuff, or don't consider it due to personal bias. I actually know most of people actually get it but do not accept or want to even see how it works, especially in the case of this controversial Sony A7X series and in the case of the Fuji X line products.

In the case of what Sony hopes is a class leading 70-200 f/2.8 zoom... well... they're going to sell a LOT less of them than say, Canon or Nikon, but their development costs and potentially their manufacturing costs, are likely much higher. So they won't be able to spread out their R&D and manufacturing costs over a large number of units thus, the units will be more expensive than the competition if they wish to maintain their profit margins. And I am sure they are all after high profit margin stuff now and this is actually what has made Sony successful in this sinking market, even in very short time.

So, yeah... the lens is already substantially more expensive than the competition- the slightly better optics of Canon and Nikon now, and I actually expect it will be more expensive than the CN offerings for a few more years at least.

This is why, at least foreseeable future-maybe at least 3 -5 more years, until the size of market share for the Sony system increases, everything Sony will release in the A7 and FE line will be more expensive than the same class Canon , Nikon or m43.

But I think Sony market share may actually increase steadily, as Sony consolidates their offerings as a whole system and more people come to appreciate what's on offer.

But again it takes some time to get there, and all of the above what I've just said about Sony also applies to Fuji X system.

All in all, IMO, the disadvantages and risks of innovation are now firmly outweighed by the benefits........ and this will become more obvious with time because most of people are getting really tired of Nikon for their complete lack of innovation, let alone invention.

So like I said in the very first part of this write up, Sony and Canon will probably win over Nikon and Nikon will probably go bankrupt as it is mainly a camera company-about 75 percent of their total income comes from camera sells.

The DL is already aborted even before it gets actually out......Nikon is really domed.

  

UPDATE: I interviewed many NORMAL camera buyers in my area at our camera shop and asked them to tell us about what was the main reason they did not buy so-called mirrorless any more, and why they think the market share of these mirrorless decreasing at least in the Western world and the already developed part of Asia such as Japan, Taiwan, South Korea , Singapore and HK.

They answered to these questions carefully as we paid some $$ and I think we found out a few interesting things about the NORMAL camera buyers' perception/opinion about ILC cameras and the culture surrounding the camera business:

 

1 to them, if it requires a bag even a tiny one, it's really not important what kind of camera system it is; a mirrorless or a D-SLR, a m43 or a FF, it is just too big and simply too annoying to carry around. So they use their cellphone more even though many of them already have some sort of One cameras or cheap ILCs.

2 To most of NORMAL camera buying people here it really does not matter FF or m43 or APS-C or MF because they are all too difficult to operate and actually really not much different to each other in real life use(at least to them).

This means maybe the small sensor camera systems like the m43 and the Nikon One will all fail since there is no market for them. Not many average camera buyers are interested in ILC systems but fixed lens all around cameras with good one button wireless connection to their phones. And not many the fanatics get interested in these cause most of them are obsessed with the best IQ possible they can get out of a camera system. Thus Olympus, Nikon and Panasonic will definitely need a bigger sensor system to entice them.

3 they do not want a lens like Zeiss Otus or Sigma Art even if it is selling for $50 or less. In fact, any kind of lens interchangeability is not important to them, in fact it is really annoying, and if it is an all around just fixed lens camera like the Sony RX10MK3 , it is actually a better camera system than any type of ILC with a set of primes that most of camera forum denizens want. They should realize they are not the majority of camera buyers and making and selling exactly what they want does not actually help any of these camera makers........

To them a set of great dedicated APS-C primes may be an important part of a good camera system, but to most of NORMAL people it is just not an important or an alluring feature at all.

So as opposed to what Tony , Thom, and many other self-proclaimed experts in many camera forums think, a great set of APS-C dedicated primes will NOT help Nikon or Sony. In fact, outside of the forums most of people actually prefer ZOOMS.

4 To NORMAL people all interchangeable lens cameras are big and quite intimidating.

This means that the very common camera forum trend to get mirrorless for being less conspicuous in the public reason is a silly idea , no one actually cares about if it is a mirroless or a D-SLR, to them all interchangeable lens cameras are annoying and intimidating to most of non-photographers.......so if they really want to be less conspicuous they should try one of the One inch sensor fixed lens cameras.

 

So as I already pointed out, the camera makers should focus on developing fixed multi lenses multi sensored computational cameras with easy one-button wireless connectivity to the phones. The software must be intuitive and 21st century design rather than the current 1980 design, I think it should be user programmable and as Thom points out open the source code to the smart kids and then some of them will develop some good apps for them for free.

Remember why the 5DMK2 and the Panasonic GH2 became such huge hits? Because of the hacked firmwares, I think it is the key.

  

UPDATE2: I heard that the A9 might not be the long rumored Sony flagship model, but it is the flagship consumer model.

And this means that there will be the ultimate FF or MF Sony camera coming and it will be called Alpha One.

  

UPDATE3: Recently, I decided to sell some of my Sony, Nikon, and Fuji gear and the results were really surprising.

 

I sold a couple of Fuji X-T2, a Sony A6500, a A6300, a A7R, a A7R2, three A7MK2. I also sold my Nikon D800E, D750, and D810.

 

The most expensive camera by far of the list was the A7R2, but surprisingly I got about identical amount of money for it to what I got for my much cheaper(as a brand new) D810. I paid about 3200 USD for my A7R2 in 2015 and shockingly it was devalued a lot more than I thought, I could only get about 1750 USD for it.

I must say it was a terrible loss.

I paid around 2000 US for my D810 in 2016, and got back about 1800 US for it in May 2017.

 

I got about 123000 yen for my X-T2, and I must say the resell value of this camera is great, I think Fuji has been controlling the price of this camera quite well. I just lost about 5000 yen on this camera and I have used it for more than 7 months, so it was a great deal. Renting it over 5 months and paid only 45 US or less, is an amazing deal.

 

I got offered only 72000 for my A7R and it was really pity, so I did not sell it.

 

I got only 64000 yen for my A6300, but I expected this so it was not really shocking, still it was a bad value camera, though. But it was replaced by the A6500, so I did not expect too much for this one.......

 

I got about 75000 yen for my A6500 and it was quite shocking, I expected to get more for that since I paid 118000 yen for it in last Oct.

 

I got 95000 yen for my A7MK2, it was quite sad, deplorable since it is a FF and cheaper than the X-T2 in the used camera market here.

I got about 134000 yen for my 2 year old D750, and it was a positive surprise. I did not expect to get this much of money for it since I paid only about 158000 yen for it in 2014.

 

So I realized Sony cameras seem to hold the worst resell value (by far) in Japan and my Thai friend told me in Thailand too.

I was about to sell my second A7R2, but I decided to keep it just for my FE16-35mm f4 and Voiklander 15mm f4.5 and Sony 85mm f1.8...

 

But the shocking loss by far this time was the Batis 85mm f1.8 or the Batis 18mm f2.8, I have lost a lot of money on those 2 lenses, and I did not expect this.....I thought I might get about 900 US for my Batis 85, but I got only about 630 US for it.

The 18mm Batis was even worse, I paid about 168000 yen for it in 2016..... and now I could get only about 98000 yen for it, it was the most shocking and the biggest loss by far, I never thought the resale value of the Batis 18mm f2.8 this bad.

  

So now I decided never buy any more Batis series lenses, I have lost too much on this terribly built so-called Zeiss(actually Tamron made) lenses.

  

UPDATE4: I am now in the process of replacing all my Sony E mount lenses(except a few) with Canon EF mount lenses.

I hated adapters, but after I tried the Sigma MC11, I changed my mind and I think it is much safer to use my Sony bodies with Canon lenses since Canon EF mount is the safest long term future proven mount, and the resell value of the super expensive Sony GM and so-called Sony Zeiss are too bad, the Batis line is even worse. So I think by selling off all expensive Sony E mount lenses that cannot be reused in any other mount system in the near future, I will be more secured and adding the Sigma adapter expand the possible AF lens selection for my FE bodies. After all, I realized that Sony FE zooms are all mediocre , even the most expensive GM ones.

 

I will replace my FE16-35mm f4 Z with a Canon EF16-35mm f4 L IS, I have compared ten copies of each and I am 100 percent sure the Canon is the better lens and cheaper one. In fact, the adapter plus the lens price is the same as the Sony FE16-35mm f4 Z alone. And another benefit of this lens over the FE16-35mm f4 Z is that the Canon lens does not extend its length when it zooms out or in.

 

I will also replace the FE24-70mm f4 with the EF24-70mm f4 LIS.

I will get the 40mm f2.8 STM, which is a surprisingly good lens for the modest size and price.

 

I will also add Sigma 135mm f1.8 Art, which is the sharpest lens ever produced by any one according to Photozone,de.

 

I also add Canon EF70-300mm f4-5.6IS MK2 lens, which is really cheap and for me it is a worth lens since I am not a serious telephoto shooter and so I do not want to invest over 100000 yen for a lens like FE70-300mm f4-5.6G, which is clearly overpriced.

 

I also add Tamron 35mm f1.8VC to replace my Sony FE 35mm f2.8 and Loxia 35mm f2, both of which I actually detest for the terrible corner quality and terrible coma(in case of the Loxia).

 

I may also add the amazing Tamron 70-200mm f2.8 VC G2, which is about half the price of the Sony FE70-200mmf2.8GM, and in my experience, the Tamron is the sharper lens(I compared 4 copies of each once at my shop).

 

I will keep my FE85mm f1.8, which is one of the best 85mm primes ever made and I much prefer this to the overpriced oversized GM and my plastic coated cheap looking Zeiss Batis 85mm f1.8E lens.

 

I will also keep my Voiktlander 15mm f4.5 and 12mm f5.6.

  

UPDATE5: Many people including myself thought Nikon is dying, if not already dead by now, but in reality Nikon still sells many many more units than Sony and Nikon is now working on new type of sensor design and they may collaborate with Pentax and Olympus to set up a new sensor company. If this plays out well, then Sony will be the loser since they will have no one to sell their so-called Fullframe sensors any more. And as a result their highend camera prices will go up significantly.

And now Sony has just announced they've just decided to spin off their digital-imaging division(Sony DI) and now it is an independent business under Sony corp's supervision, just like their sensor group.....

This means now Sony imaging is not a part of Sony but their subsidiary, and therefore, to Sony device group, the imaging group is just a customer,nothing special, in fact,considering its size of market share in relation to that of Nikon, Sony imaging group is a lower class customer to the device group.

So there is no more reason for Sony device technology to keep the best sensor for in-house use-only. In fact now Sony device tech must compete with the new sensor company Nikon Olympus Ricoh have just established here and some European sensor designers such as CMOSIS, who makes the Leica SL sensor and M sensor.

And do not forget there is always Canon if Sony does not sell anything to Nikon.........Canon will start selling it and there will be Panasonic and Tower Jazz also........so Nikon will not have any problem choosing sensor suppliers any more.

Sony must sell their best sensors to Nikon, Olympus, and Pentax , or Sony will lose them, Sony cannot choose customers any more.

If Sony is smart, it will not compete with Nikon or Olympus in camera market. After all, Nikon is the biggest customer of Sony.....and Sony also buys steppers from Nikon anyway. So Sony is not dominating the sensor market, or controlling Nikon as many armchair experts in many camera fora think..........and the just announced Spun-off of their imaging division makes Sony camera business less trust-worthy........... Sony thinks every business as a short term investment and runs it to make it temporarily profitable and then spins it off.

After that? of course sells it to anyone willing to buy it.........like Sony did with the Vaio PC business, TV business, etc,etc.

That is why no one really trust Sony in the long run, we long term Sony users just use its cameras but always know it is a back-up plan or step-gap solution......

After all no serious camera buyers are as obtuse as many spec-chasers and review sites think they are. No one buys into a big expensive camera system just for an amazing set of features in a body or two...................there are many many more important aspects to a system camera than just a set of great features... I think Sony should try to be an Intel of camera.

   

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Having a company is beneficial in several ways to begin with, you could be your personal boss having a flexible work schedule. It is possible to involve yourself with stuff that you worry about. Learn some terrific tips out of this article which will help you in operating your internet business successfully.

 

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Operating your own home based business need not be arduous. Possess a plan and stay with it you may soon see the main advantages of working from your home. It could be great setting your personal hours while being your personal boss. Position the advice listed in the following paragraphs into practice and obtain started! jaron.empowernetwork.com/blog/qivana-scam-fraud-qivana-re...

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by Chillee Wilson from Customize My Minifig.

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Please note images in my photostream are copyright protected and my Logo is a trademark – therefore, do not copy, download, reuse or post these images or our Logo elsewhere without written approval from Customize My Minifig. Thank you.

Please also note our minifig silhouette design has been designed by Customize My Minifig in the tradition of other minifigs available in various forms from various countries, but is our own copyright design.

Note: LEGO® is a trademark of the LEGO Group of companies which does not sponsor, authorize or endorse these pages. Customize My Minifig has no affiliation with or sponsorship by the LEGO Group in anyway. Customize My Minifig is an online business specializing in LEGO®, the customization of LEGO® products, (often mixing LEGO® with non LEGO® parts to create our own Custom minifigs), the photography of our LEGO® and custom LEGO® minifigs and design work on brick themes. Customize My Minifig is a good corporate citizen and respectful of the great name, product and reputation of all brick companies

Thank you, from Chillee Wilson, owner of Customize My Minifig.

www.customizemyminifig.com

by Chillee Wilson from Customize My Minifig.

Screen image of t-shirt, tshirt, hoodies etc available from Redbubble.

I have two accounts on Redbubble where you can purchase my images on various merchandise

’Chillee’ for Minifig Photographic work

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’Chilleew’ for Brick & Minifig Design work

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Plus an account on Zazzle – www.zazzle.com/customizemyminifig*

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LEGAL STUFF

Please note images in my photostream are copyright protected and my Logo is a trademark – therefore, do not copy, download, reuse or post these images or our Logo elsewhere without written approval from Customize My Minifig. Thank you.

Please also note our minifig silhouette design has been designed by Customize My Minifig in the tradition of other minifigs available in various forms from various countries, but is our own copyright design.

Note: LEGO® is a trademark of the LEGO Group of companies which does not sponsor, authorize or endorse these pages. Customize My Minifig has no affiliation with or sponsorship by the LEGO Group in anyway. Customize My Minifig is an online business specializing in LEGO®, the customization of LEGO® products, (often mixing LEGO® with non LEGO® parts to create our own Custom minifigs), the photography of our LEGO® and custom LEGO® minifigs and design work on brick themes. Customize My Minifig is a good corporate citizen and respectful of the great name, product and reputation of all brick companies

Thank you, from Chillee Wilson, owner of Customize My Minifig.

www.customizemyminifig.com

This Jörg !!!

a new Abomination ....

 

Abomination ???

well let me tell you ... A store wants to sell my products .. O_O ... YAY!

I am sooooo happy .. this is suppose to be a secret until I have a lot of plush ... but I am so exited .. and I want to enjoy that moment with you

 

now ... why his name is Jörg ??? Did you know who is Jörg ? ... Jörg is my Germany friend ... he have a little air to David Caruso (Horatio Caine from CSI: Miami) and Rick Astley

and well .. he is in love with animals ... special with Joey and Malcolm ... (Chinchillavilla Pets).. and if you read his comments .. OMG ! you fall in love with him ^-^

So I put his name because ... he is eating a Bunny ^-^

jajaja .. that`s not consistent ... but is funny jajaja

 

****************

Este es Jörg !!!

mi nueva Abomination ...

 

Abomination ???

Bueno , dejame contarte ... Una tienda quiere vender mis productos ... O_O ... YAY!

estoy taaaaaaaan feliz ... se supone que era un secreto hasta tener varios peluches .. pero estoy tan emocionada .. y quiero disfrutar este momento con ustedes

 

ahora .. por que se llama Jörg ?? conocen a Jörg ? ... Jörg es un amigo de Alemania .. tiene un aire a David Caruso (Horatio Caine de CSI: Miami) y a Rick Astley

y bueno ... esta enamorado de los animales ... especialmente de Joey y Malcolm ... (mascotas de Chinchillavilla) ... y si lees sus comentarios ... DIOSES !!! te enamoras de el ^-^

asi que le puse su nombre por que ... se esta comiendo un conejito ^-^

jajaja .. no es consecuente ... pero es divertido jajaja

Saw the original B&W photograph a few weeks ago entirely by accident. Completely taken by it. Had no intention of emulating piece though couldn't resist when asked to donate a piece to the Boobiethon Auction. There is such a draw for me in the original, it's sort of pervy and yet not. Madonna /child, man/woman. A baseline eroticism yet with such incredible poise.

 

I have of course taken some poetic license. Poses created by me . Not too shabby for my 2nd attempt ever. Very impressed with myself LOL

 

Original can be seen here......

www.spreadartculture.com/2011/07/09/life-and-death-of-mar...

 

"What is BoobieThon in SL?

 

This year marks the 5th year that Lady Twilight, Serra Anansi, and I, Eva Bellambi, have been leading wonderful groups of volunteers to raise money to help in the fight against breast cancer. It all started 5 years ago when Serra happened to IM me about a very funny product for which she had just seen an advert. That product was called, Boob Lube. Go ahead, search for it. The product is promoted by several breast cancer awareness groups in an effort to help women remember to perform their monthly self breast exams. Anyway, Serra was enjoying the ad for Boob Lube co much that she had to share it with me.

 

She and I talked about that for a while and I told her that it reminded me of a tongue-in-cheek approach to breast cancer research fund-raising called BoobieThon. This was a group of bloggers who had been raising money for a few years by posting pictures of, both covered and uncovered, breasts online for the first week of October. All proceeds were sent to Susan G. Komen Foundation. It was at this point that we began to hatch our plans to be a part of this irreverent and fun approach to raising money. We we do so in-world. There are quite a few places to read about our BoobieThon events - I will simply direct you to a couple of links on my own blog and on the BoobieThon page.

 

Once Again We Work To Save Second Base - redroseofcaledon.blogspot.com/2011/09/once-again-we-work-...

 

Amazing BoobieThon in SL - redroseofcaledon.blogspot.com/2011/10/amazing-boobiethon-...

 

Boobie-thon.com - boobiethon.com/

  

This year, 2012, we will be holding events from Oct 1st through Oct 13th. Due to changes at both Boobie-Thon (in RL) and Komen, we have changed our named fund-raising beneficiary this year to be Feel Your Boobies Foundation.

  

Feel Your Boobies Foundation happens to be local to Eva's typist and was created after the founder discovered a lump in her own breast at a very young age while performing her monthly self-exam. This saved her life. To quote the foundation's website:

   

THE FOUNDATION & MISSIONThe Feel Your Boobies Foundation focuses on one simple mission (and we have since 2004): using media and other unconventional outreach to remind young women to ‘feel their boobies’. Over the past few years, provocative breast cancer slogans have become more popular…and while we’re all about a good chuckle, we’d like to make sure our supporters know that we’re more than a funny slogan. Feel Your Boobies® is a call to action that reminds you about a habit that can increase your chances of early detection and potentially save your life.

 

Why focus solely on the use media to spread or message? That’s simple. Since 2004, this campaign has run out of our Founder, Leigh’s, home in a small town in Pennsylvania. With a shoestring budget and a few dedicated volunteers and workers, Feel Your Boobies has reached an international audience with its message and saved lives (read our testimonials!). Media (social media specifically) makes this possible. With over 300K “likes” on facebook and more than 1 Million Cause supporters…we’re certainly making waves from this tiny PA town.

 

Why focus primarily on young women? For women who are pre-mammogram age (under 40), “feeling your boobies” is one of the primary ways to get to know your body and detect changes in your breasts. Even as you get older, this habit can help in making sure you identify a change in your breast as soon as it occurs and bring it to your doctor’s attention. Should the change be breast cancer, early detection is the primary way to increase your chances of surviving this disease.

 

Their focus on the use of social media and unconventional methods as well as their focus on education and prevention makes this a perfect charity for a community of people who come together from all over the world in a virtual space.

 

We hope that you will join the fun - and the hard work - again this year to raise money for BoobieThon in SL 2012. Please notecard either Serra (Serra Anansi) or me (Eva Bellambi) in world if you would like to volunteer to create or host an event during this week of fund-raising. Whether you can volunteer in that capacity or not, please do plan on attending several of the fun events during the week (a preliminary list of events may be found below), bring friends, and bring your spirit of giving.

 

Let's educate men and women about breast cancer and about how they can save their own lives by the simple act of feeling their boobies at least once a month.

 

See you there!!

Eva Bellambi and Serra Anansi"

  

Been ages since I've done this kind of work. Frida Kahlo piece was the last I recall.

www.flickr.com/photos/30500340@N06/5953223576/