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W. Swales "Tell it like it is" (Worthing)

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Polaroid 52mm Macro Close Up 4 Piece Filter Kit with Case
Polaroid 52mm Macro Close Up 4 Piece Filter Kit with Case
Offered by Smart Shop UK
Price: £14.99

5.0 out of 5 stars This four-piece set of MACRO LENSES is a ‘must have’ in your photographic armoury., 17 Aug 2014
Verified Purchase(What is this?)
These MACRO LENSES permit you to get ‘up close and personal’ with the macro world of tadpoles; frogs; crabs; bugs; insects; flowers; jewellery; and any other macro creature or object that eludes the normal capabilities of your camera. They deliver fabulous results and are astonishing value for money!

What you receive are four MACRO LENSES of various DIOPTRES – a word that here means ‘magnifying power’ - presented in a fully-padded ‘easy access’ case to protect your macro lenses when out and about.

The lenses are used by screwing the lens mount onto the front of your camera lens and then 'moving the camera ' in and out' to accurately focus on the desired object (mount the camera on a tripod and use the 'height adjuster' to acheive this).

The dioptre values you receive are:

A ‘PLUS ONE’ – perfect for capturing the detail in amphibians (frogs and toads); and small creatures such as guinea pigs; rats; mice; hamsters; birds; lizards; fish; crustations; and so on.

A ‘PLUS TWO’ – perfect for capturing the detail in blooms; butterflies; dragon flies and so forth.

A ‘PLUS FOUR’ – perfect for getting up close and personal with wasps and bees.

A ‘PLUS TEN’ – perfect for recording bugs and spiders; as well as serving to capture a record of valuables such as necklaces; rings; and brooches.

But it doesn’t end there dear reader because each macro lens has a DUAL-THREAD incorporated so that you can ADD the dioptres together (always starting with the LOWEST values CLOSEST to the lens and ‘working outwards’ to prevent distortion of the image) to provide even more scope to create some truly SPECTACULAR imagery – right down to grasshopper; ANT and APHID level – how good is THAT!

The first three macro lenses can be COMBINED in ONE DIOPTRE STEPS as follows to give the PRECISE dioptre required for the situation at hand.

For a ONE DIOPTRE magnification simply screw on the ‘one dioptre’ macro lens.

For a TWO DIOPTRE magnification, screw on the ‘two dioptre’ macro lens.

For a ‘THREE DIOPTRE’ magnification combine the ‘ONE dioptre’ macro lens and the ‘TWO dioptre’ macro lens – the ‘one dioptre’ macro lens goes on first.

For a FOUR dioptre magnification, screw on the ‘FOUR dioptre’ macro lens.

For a ‘FIVE DIOPTRE’ magnification combine the ‘ONE dioptre’ macro lens and the ‘FOUR dioptre’ macro lens – the ‘one dioptre’ macro lens goes on first.

For a ‘SIX DIOPTRE’ magnification combine the ‘TWO dioptre’ macro lens and the ‘FOUR dioptre’ macro lens – the ‘TWO dioptre’ macro lens goes on first.

For a ‘SEVEN DIOPTRE’ magnification combine the ‘ONE dioptre’ macro lens with the TWO dioptre’ macro lens, and the ‘FOUR dioptre’ macro lens – the ‘ONE dioptre’ macro lens goes on first; followed by the TWO dioptre’ macro lens; and then the ‘FOUR dioptre’ macro lens.

The next set of available steps gets you REALLY up-close and personal from TEN dioptres through to a HUGE SEVENTEEN dioptres as follows:

For a TEN DIOPTRE magnification simply screw on the ‘ten dioptre’ macro lens.

For an ‘ELEVEN DIOPTRE’ magnification combine the ‘ONE dioptre’ macro lens and the ‘TEN dioptre’ macro lens – the ‘one dioptre’ macro lens goes on first.

For a ‘TWELVE DIOPTRE’ magnification combine the ‘TWO dioptre’ macro lens and the ‘TEN dioptre’ macro lens – the ‘TWO dioptre’ macro lens goes on first.

For a ‘THIRTEEN DIOPTRE’ magnification combine the ’ONE dioptre’ macro lens with the ‘TWO dioptre’ macro lens and the ‘TEN dioptre’ macro lens – the ‘ONE dioptre’ macro lens goes on first; followed by the TWO dioptre’ macro lens; and then the ‘TEN dioptre’ macro lens.

For a ‘FOURTEEN DIOPTRE’ magnification combine the ‘FOUR dioptre’ macro lens and the ‘TEN dioptre’ macro lens – the ‘FOUR dioptre’ macro lens goes on first.

For a ‘FIFTEEN DIOPTRE’ magnification combine the ’ONE dioptre’ macro lens with the ‘FOUR dioptre’ macro lens, and the ‘TEN dioptre’ macro lens – the ‘ONE dioptre’ macro lens goes on first; followed by the FOUR dioptre’ macro lens; and then the ‘TEN dioptre’ macro lens.

For a ‘SIXTEEN DIOPTRE’ magnification combine the ’TWO dioptre’ macro lens with the ‘FOUR dioptre’ macro lens, and the ‘TEN dioptre’ macro lens – the ‘TWO dioptre’ macro lens goes on first; followed by the FOUR dioptre’ macro lens; and then the ‘TEN dioptre’ macro lens.

And finally – the BIGGY:

For a ‘SEVENTEEN DIOPTRE’ magnification combine the ’ONE dioptre’ macro lens with the ’TWO dioptre’ macro lens; the ‘FOUR dioptre’ macro lens; and the ‘TEN dioptre’ macro lens – the ‘ONE dioptre’ macro lens goes on first; followed by the ‘TWO dioptre’ macro lens; then the ‘FOUR dioptre’ macro lens; and then the ‘TEN dioptre’ macro lens.

Now set up a FIELD DAY with you and your family (especially children), and go out into the countryside and capture the cornucopia of wonderment that awaits you – from ladybirds eating aphids and greenfly (look UNDER the plant leaves to see this) to grasshoppers eating corn and mating; spiders spinning webs; and bees gathering nectar from flowers – and LOTS in-between.

With THIS fabulous set of lenses, it ALL awaits the observant eye!

When shooting JEWELLERY, add a POLARISING FILTER as the LAST item; place the article in bright sunshine and rotate the polariser to bring up the ‘bling’ on the item.

Another use is to 'record' small parts prior to dismantling something and after dismantling the object, so that you know where all of the bits go when you put it all back together again.

A cautious warning dear reader. Should you own a DIGITAL camera you will swiftly discover the HUGE limitations of the digital medium. These include: totally confusing the FOCUSING MECHANISM when attaching the polaroid filter to subdue unwanted reflections; bring sparkle to the eyes, or bring up ‘bling’ on jewellery and so forth; not having the facility to MANUALLY SET the all-important ‘hyper-focal’ distance to obtain stunning pin-sharp pictures of the amazing creatures that live in the macro world all around us; not having the facility to SEE (preview) the depth-of-field PRIOR to pressing the shutter to see what is ‘in focus’ and what isn’t; not being able to see the image on the screen in bright sunlight; and being unable to ‘freeze’ the gossamer wings of bees in flight because of the slow speed that the camera takes to capture the image and SAVE the image to the memory card (upgrading the memory card is a MIGHTY expensive business and doesnt bring much - you can get a good analogue camera for the price of a 'hi-end' memory card).

To overcome ALL of this nonsense, for a VERY modest outlay, all you need to do is purchase a HIGH QUALITY 35mm ANALOGUE (film) camera such as a CANON A1 (fabulous) or a CANON AE1 (superb), together with a 25mm-to-70mm ZOOM lens so that you can ACURATELY set the CORRECT focal length for the image as well as PREVIEW the shot prior to ‘taking’ it.

Two publications that will really ‘bring on’ your photography are:

‘The working camera – the world’s first pop-up guide to photography’ by Professor John Hedgecowe and the celebrated pop-up artist Ron Van Der Meer. ISBN 0 – 207 – 15340 – X (available from Amazon). There isn’t a BETTER guide to taking photographs ANYWHERE! Here, through imaginative amazing FULLY-ANIMATED pop-ups of STUDIOS and more, you will learn pretty much EVERYTHING you need to know about taking STUNNING pictures with vibrancy and attitude.

‘Cinematography theory and practice’ by Blain Brown, ISBN 978 – 0 – 240 – 81209 – 0 (available from Amazon). Here you will find pretty much EVERYTHING you could wish to know about cinematography in one handy volume – and it comes with a great DVD that shows you HOW TO DO IT – covering everything from composition to lighting. It doesn’t get any better!

For indoor work, a superb BOUNCE-FLASH (so that you can bounce the light off the ceiling so everything looks natural) is the CANON SPEEDLITE 199A – and to learn how to get the best from it, obtain a copy of ‘Mastering flash photography’ by Susan McCartney (ISBN 0-8174-4545-5 – available from Amazon)

Once you have familiarised yourself with such a camera and used these amazing publications to guide you all the way whilst you learn how to ‘drive’ the camera and practice composing, all you then need to do is purchase a roll of 200 ASA FUJI film (Jessops – who will also process the film for you in under an hour); load it into the camera; set the camera ASA to match the film ASA (200) to get correct exposures, and start CREATIVE photography.

Oh – the anticipation as you wait for your beautiful photographs – photographs taken at ONE –THOUSANDTH OF A SECOND that you can then have printed on CANVAS (A3 is good – A2 is FABULOUS) so that the light shines THROUGH the canvas when its hung on the wall and then ‘bounces back’ to bring YOUR beautiful image ALIVE!

BE WARNED! Once you ‘go analogue’ you will find it VERY addictive – and you will be hooked for LIFE. Please don’t blame me – I am merely the messenger!

Have FUN and happy shooting!


Beyond Bach: Other Composers I Adore
Beyond Bach: Other Composers I Adore
Price: £9.30

1 of 1 people found the following review helpful
5.0 out of 5 stars FORMIDABLE! Just purchase this MUST HAVE double-CD and be in awe!, 14 Aug 2014
Verified Purchase(What is this?)
Every so often – not as often as one would wish – an awesome performance of a masterwork is performed by a rare and extraordinary talent that completely blows away everything that went before. Such rare occurrences can be counted on ones fingers – The Royal Ballet’s 2014 visionary performance of ‘Don Quixote’ as realised and choreographed by Carlos Acosta and danced by Marianela Nunez and Carlos Acosta (available on BluRay); Itzhak Perlman’s performance of Sarasati; and the two stunning interpretations of ‘The four seasons’ – one performed by Nigel Kennedy – the other by Jacques Loussier - being perfect examples of what I mean.

THIS fabulous double-CD compilation contains just such performances from the maestro JACQUES LOUSSIER to celebrate his EIGHTIETH birthday!

When one watches an opera or ballet, or listens to a performance of a masterwork, one requires TWO things to be in place – a moving interpretation of the masterwork one wishes to savour and relish in its splendour and magnificence, and SONIC FIDELITY to capture ALL of the nuances and dynamics that the performers deliver. THIS CD compilation delivers BOTH in SPADES!

ASIDE: This is a 24 bit MASTER RECORDING and it may not play on 14 bit CD players - but it should play OK on DVD players and BluRay players.

Here Jacques Loussier and his trio create beautifully expressive and very moving interpretations of the music of Vivaldi; Satie; Handel; Scarlatti; Debussy; Beethoven; Mozart; Schumann; and Chopin as they take you on a deeply moving spiritual journey where jazz meets classical in an explosion of breathtaking virtuoso performances that will have you spellbound and in awe from the very first note.

There is an uncanny spiritual ‘oneness’ in the trio’s performances that one doesn’t often encounter – it’s as if there was TELEPATHY between them – it’s AWESOME to experience.

BE WARNED – THESE CDS DELIVER!!! Not only are the performances delivered with exceptional beauty and feeling, so too is the AUDIO! Unlike most CD recordings and ALL digital media players (MP's WMA and other such stuff), the performance is NOT COMPRESSED in any way whatsoever.

The performances were recorded in Jacques Loussier’s state-of-the-art studio at the Chateau Miraval and his sound engineer Patrice Quef has captured the FULL dynamic range of the trio to achieve a ‘naturalness of sound’ that delivers the FULL frequency spectrum – and some – you can hear the drum-sticks actually HITTING the drums and cymbals – and the reproduction of the double bass is AWESOME - its like ‘being there’.

What this means is that the LOUD parts and the very low BASS may WELL overwhelm your sound system so initially KEEP THE VOLUME DOWN TO AVOID DAMAGING YOUR EQUIPMENT and then steadily increase the volume level to achieve a signal level that your equipment is capable of handling without distortion, or sending the cones of your speakers across the room to land on your lap.

If you wish to savour the full rich sound that these amazing CDs contain then purchase a VALVE AMPLIFIER such as the MISTRAL 307A (Bluetooth) valve (tube) amplifier (Available form Amazon for around £250 – or for £100 more you get a £300 pair of Mistral 307s loudspeakers included with the Mistral 307a amplifier) or - if you are on a budget and you want to experience the sonic fidelity that valve amplifiers deliver - then give the Marriola RV-100 a go (it’s a ‘stupid-money’ bargain from Amazon at around £160 that wipes the floor with everything else in this price bracket).

If your speakers aren’t ‘up to the task’ and you have around £120 - £150 to spend then seek out a pair of KEF CONCERTO speakers on eBay.

Be warned though – Kef Concerto speakers have a VERY wide frequency response (18 hertz to 50 kilohertz) that delivers sonic fidelity that you can FEEL, as well as delivering stunning sound detail such as a cello bow ‘bowing the string’ creating a lovely deep sonorous ‘rasping’ sound as the note is played, as opposed to just hearing the frequency of the note being played; or mallets physically striking a xylophone or vibraphone – producing a sharp ‘click’ sound as they do so, and not just a flat ‘dink’ or ‘ding’ as the wood or metal vibrates; or drum sticks physically hitting the drums – producing a sharp staccato sound as they do so, and not simply reproducing the ‘thud’ of the instrument - which can be ‘off-putting’ until you get used to everything sounding ‘real’.

As for this fabulous album from a genius virtuoso – just GET it – nuff said!

Happy listening!


Picnic (1955) [Blu-ray]
Picnic (1955) [Blu-ray]
Dvd ~ Cliff Robertson
Offered by screen_archives_entertainment
Price: £29.00

5.0 out of 5 stars Only a person with a heart of stone would not openly weep, 13 Aug 2014
Verified Purchase(What is this?)
This review is from: Picnic (1955) [Blu-ray] (DVD)
Here we have an ‘Inner Realism’ film that focuses on ‘the observer within’ and explains that WE are our own OBSERVERS – but we do not know how to OBSERVE because we are so addicted to the external now-world that we haven’t mastered the SKILL of observation – and all the brain does is function out of RESPONSE instead of out of RATIONALITY and REASON.

‘Inner Realism’ has been used as a sub-text in opera and ballet for CENTURIES to make strong points and deliver lessons in life through emotional turmoil. The hit shows ‘Les Miserables’ and ‘Phantom of the Opera’ (both coming up to their thirtieth year in the West End) use the potency of ‘Inner Realism’ - and the emotional ‘roller-coaster’ ride the spectator is taken upon probably explains why these shows are so compulsive and have run for so long.

Chaplin was the very first to use the CINEMATIC medium to explore and exploit the ‘Inner Realism’ idea and you can experience this in ‘The Kid’; ‘City Lights’, and the timeless classic ‘Limelight’ - a style of film making far removed from Chaplin’s ‘The Circus’, ‘Gold Rush’, and the time-honoured satirical classics ‘Modern times’ and ‘The Great Dictator’.

ASIDE: ‘Theme from Limelight’ is one of Chaplin’s best loved musical scores and it sits alongside ‘Smile’ from ‘Modern Times’ – sung by thousands and revered by millions.

For me, this fabulous classic film – a film EVERYONE should own - filled with humour and pathos in equal measure - is a very good example of how bravery and strength of character sprinkled with determination and fortitude, against a backdrop of blinkered, small-minded intolerant, prejudiced people with hidden agendas, eventually wins the day.

We learn that for the most part, people are wired to jealousy, fear and despair – and these feelings become their EMOTIONAL AGREEMENTS, and these emotional agreements become the BAROMETER OF THEIR REALITY – because one’s MENTALITY is ‘attuned’ to accepting that THIS IS THE WAY THAT LIFE IS because THAT is all that they know – unless they (we) are willing to CHANGE to bring POSITIVE outcomes to our lives through the DECISIONS we make and the ACTIONS we take!

A LOT is said about the importance of having a POSITIVE attitude and treating people fairly to bring about a positive experience as we live our lives by always being BRAVE, facing adversity with positivism; and always remembering to ‘look before you leap’.

The film introduces us to a hard-working man who is ‘down on his luck’ seeking out a close friend from University in the hope that his friend might help him find a job so as to ‘get a fresh start’.

As the plot develops we meet several characters, which include: the lost soul; his college friend and his friend’s father; a mother and her two daughters; an elderly widowed neighbour; a school teacher who has devoted her life to teaching and so has never married; and a businessman with whom the school teacher wishes to forge a relationship – all creating a hot-bed of love; lust; fire; tension; distrust; delusion; and despair; as they all attend the town’s yearly communal ‘Labour day’ picnic.

There are so many amazing scenes – the picnic scenes as we see the townsfolk gather by the river to enjoy their community picnic are just fabulous and things to watch out for include hilarious situations with mothers and their babies and young children; and their pets; a fabulous ‘community singing’ episode as the sun slowly sets; and the classic dance scene with Kim Novak and William Holden – as they dance to ‘Moonglow’.

It’s a stellar cast and the performers are on FIRE delivering spell-binding memorable performances that will remain with you for a long time; and the cinematography is truly STUNNING – it’s like watching a PAINTING come to life.

But there is also something VERY special. Instead of getting the usual ‘directors commentary’ as one of the soundtracks, we are treated to all of the MUSIC - and we hear all of the soundtrack minus the DIALOGUE – which includes the community singing and the FULL version of ‘Moonglow’ – as Kim Novak and William Holden perform one of the most provocative dances ever captured on film. How good is THAT!

As the ‘feel-good’ musicals of Busby Berkeley, and Fred Astair with Ginger Rogers and Cyd Charisse became in vogue, later followed by the exquisite talents of Gene Kelly and Leslie Caron, the ‘musical’ ruled and the ‘Inner Realism’ style of film making fell out of fashion and all but disappeared. THIS film changed all of that and brought it back with a vengeance - which led to remarkable films such as ‘Tea with Mussolini’; ‘Room with a view’; ‘Ill Postino’; ‘Black Swan’; and ‘Anna Karenina’.

Will Picnic make YOU cry? Watch it and see!


K&F Concept 55mm 6pcs Lens Accessory Filter Kit UV Protector Circular Polarizing Filter for Sony A37 A55 A57 A65 A77 A100 DSLR Cameras - Includes Filter Kit( UV+CPL+FLD,Graduated Color Blue,Orange,Gray) + Microfiber Lens Cleaning Cloth + Petal Lens Hood + Center Pinch Lens Cap/Cap Keeper + Filter Bag Pouch
K&F Concept 55mm 6pcs Lens Accessory Filter Kit UV Protector Circular Polarizing Filter for Sony A37 A55 A57 A65 A77 A100 DSLR Cameras - Includes Filter Kit( UV+CPL+FLD,Graduated Color Blue,Orange,Gray) + Microfiber Lens Cleaning Cloth + Petal Lens Hood + Center Pinch Lens Cap/Cap Keeper + Filter Bag Pouch
Offered by dcmall
Price: £26.99

5.0 out of 5 stars This filter kit is a ‘must have’ in your photography armoury., 13 Aug 2014
Presented in a superb ‘easy access’ padded case to protect your filters when out and about, this filter set is astonishing value for money and a ‘must have’ in your filter armoury.

If you have ever viewed the work of JACK CARDIFF - the British genius cinematographer who filmed such notables as Marlene Dietrich; Marylyn Monroe; and Audrey Hepburn - and changed cinematography forever - and you wonder how he achieved the ‘vividness’ of colour (watch ‘The red shoes’; ‘My Fair Lady’; or ‘Breakfast at Tiffanies’), well – with THIS fabulous collection of two essential GENERAL PURPOSE FILTERS; a MIRAD CORRECTION FILTER; and three GRADATION FILTERS – a word that here means a colour filter that GRADUALLY FADES FROM THE COLOUR at the EDGE of the filter down to CLEAR at the half way point of the filter - you will be able to apply his secret of ‘colour space’ and ‘colour harmony’ to create truly STUNNING photos.

The filters are used by screwing the filter mount onto the front of your camera lens and they have a dual-thread design so that you can add ALL the filters and ‘blend’ them by rotating the active part of the adjustable filters to place the selected effect where you want it so as to create some spectacular imagery as well as create wonderful ‘vignetting’ (watch the ‘must-see’ film ‘The Grand Budapest Hotel’ to see how vignetting is used to highlight ‘characters of special significance’.

An important point to note:

- BLUE filters absorb (remove) GREEN and RED light
- YELLOW filters absorb BLUE light
- GREEN filters absorb BLUE and RED light
- MAGENTA (purple) filters absorb GREEN light
- CYAN (turquoise) filters absorb RED light

The two GENERAL PURPOSE filters are:

- A UV (ultra violet) filter to kill glare to enhance your outdoor efforts. As there is never a need to remove it, put it on FIRST as it also affords very good protection for the camera lens.

- A CIRCULAR POLARISING filter which you attach and ROTATE to ENHANCE HIGHLIGHTS (such as eyes or the ‘bling’ on jewellery) or SUBDUE REFLECTIONS (so that you can shoot creatures swimming underwater in rock pools for example). This should be put on LAST!

The GRADATION FILTERS - which you attach and ROTATE to achieve the effect you desire - are:

- A NEUTRAL DENSITY (grey) filter to enhance contrast so as to bring out clouds against grey skies.

- An ‘ORANGE’ filter to enhance skin-tones and capture candle-light and truly stunning sunsets when shooting outdoors – which can also be pressed into service to bring ‘warmth’ to the pallid skin tones of ELDERLY people whilst allowing younger members in the frame to be left ‘unfiltered’ (set the filtration to the right or left side of the frame and then compose your people accordingly).

- A ‘BLUE’ filter to enhance the contrast between blue sky and cumulus (white fluffy) clouds on monochrome (black and white) panchromatic (sees all colours) film. It can also be used with colour film to achieve the same striking effect – however - the clouds will lose their ‘glow’ at the bottom. Hold it up; look through it; and make a ‘value judgement’ – or simply take two photos – one with filtration – one without.

Filter COLOURS work INDEPENDANTLY of each other so they can also be pressed into service to change the OVERALL COLOUR SPACE to create a certain MOOD - so EXPERIMENTATION is the way forward to bring your own ‘colour space expression’ by MIXING the filter colours – both top and bottom and overlaid over each other – whilst also experimenting with the colour palettes of the COSTUMES and SETS just as Jack Cardiff did back in the nineteen forties

ASIDE: Purchase The boxed set of Powell and Pressburger DVD’s and check out the differing moods of ‘The Red Shoes’ (now fully restored from the original ‘Technicolor’ negatives by Martin Scorsese and available on BluRay); ‘Black Narcissus’; and ‘Tales of Hoffman’ (beautifully sung in English and featuring the extraordinary balletic talents of Moira Shearer) – all done by changing the COLOUR SPACE.

You also receive a ‘blue’ MIRAD CORRECTION FILTER.

Before I describe it to you and how to get the best from it, here is a little insight into MIRAD SHIFT.

MIRAD CORRECTION is all about changing the COLOUR TEMPERATURE (shade AND hue) of ALL of the colours in the scene to bring the colours observed under different ARIFICIAL LIGHTING conditions to their ‘correct’ ‘daylight’ colours when shooting under various types of artificial lighting.

Mirad ‘colour shift’ is expressed in ‘Wratten numbers’ – a word here that means ‘filter classification’ (developed by Eastman Kodak).

In a nutshell: ‘80 series’ ‘Wratten’ are BLUE COLOUR TEMPERATURE CONVERSION FILTERS to INCREASE the temperature of ‘warm’ light sources such as tungsten (3200 Kelvin - yellowish) so that the subjects look like they are filmed in DAYLIGHT (blue sky is around 5500 Kelvin) – so reds become more purple; oranges become green; greens becomes turquoise; and dark blues become light blue.

Conversely: the ‘85 series’ Wratten are AMBER COLOUR TEMPERATURE CONVERSION FILTERS to DECREASE the temperature of ‘COOL’ light sources such as blue skies (5500) or FLOURECENTS (4200 Kelvin) so that the subjects have a ‘warmth’ that looks like they are filmed INDOORS, so the CONVERSE happens - reds become blacker; purples turn red; yellows become orange; turquoise becomes green; and blues become darker.

Here are a few Wratten values to bring comprehension.

To achieve a MIRAD SHIFT to convert the yellow light of TUNGSTEN lamps (3200 Kelvin) to DAYLIGHT (5500 Kelvin) when shooting under a TUNGSTEN light source requires a WRATTEN 80A.

To achieve a MIRAD SHIFT to convert the greeny-yellow light of a FLUORESCENT (4200 Kelvin) light source to DAYLIGHT (5500 Kelvin) when shooting under FLUORSECENT lights requires a WRATTEN 80D.

Conversely:

To achieve a MIRAD SHIFT to convert DAYLIGHT into TUNGSTEN light when shooting in DAYLIGHT using ‘INDOOR’ film, requires a WRATTEN 85B.

Euston we have a problem!

The ‘funny blue colour’ filter that you receive does NOT have the Wratten value marked on the filter so although it is a colour correction filter for correcting ARTIFICIAL lighting – supermarkets, indoor venues, your home, and so on – I am ‘best-guessing’ that this is a WRATTEN 80D filter for correction of FLUORESCENT (4200 Kelvin) to DAYLIGHT (5500), so should you have need to convert the yellow light of TUNGSTEN to DAYLIGHT when shooting under a TUNGSTEN light source, you will require a WRATTEN 80A!

Should you use this filter to shoot under TUNGSTEN lighting the MIRAD SHIFT will be INCORRECT – your photos will have a ‘green’ look to them and the skin tones will look awful – as though the people have DIED and become ZOMBIES (which may appeal).

From harsh swashbuckling blues to soft romantic oranges and purples – armed with this ‘must have’ kit there is PLENTY of scope for you to get SERIOUSLY creative dear reader. On top of that, you also receive a LENS HOOD (used to cast shadows over the lens so that you can eliminate ‘flaring’ when shooting ‘against the sun’ in strong sunlight); a LENS CAP to protect the filters when mounted on the camera; and a LENS CLEANING CLOTH to maintain your filters in tip-top condition, as well as a superb carrying case.

If you are entering the world of photography or cinematography and you aspire to be like JACK CARDIFF, then two publications that will really ‘bring on’ your photography are:

‘The working camera – the world’s first pop-up guide to photography’ by Professor John Hedgecowe and the celebrated pop-up artist Ron Van Der Meer. ISBN 0 – 207 – 15340 – X (available from Amazon). There isn’t a BETTER guide to taking photographs ANYWHERE! Here, through imaginative amazing FULLY-ANIMATED pop-ups of STUDIOS and more, you will learn pretty much EVERYTHING you need to know about taking STUNNING pictures with vibrancy and attitude.

‘Cinematography theory and practice’ by Blain Brown, ISBN 978 – 0 – 240 – 81209 – 0 (available from Amazon). Here you will find pretty much EVERYTHING you could wish to know about cinematography in one handy volume – and it comes with a great DVD that shows you HOW TO DO IT – covering everything from composition to lighting. It doesn’t get any better!

A cautious warning dear reader. Should you own a DIGITAL camera, with this filter set you will swiftly discover the HUGE limitations of the digital medium. These include: totally confusing the FOCUSING MECHANISM when attaching the polaroid filter to subdue unwanted reflections; bring sparkle to the eyes, or bring up ‘bling’ on jewellery and so forth; not having the facility to MANUALLY SET the all-important ‘hyper-focal’ distance to obtain stunning pin-sharp pictures; not having the facility to SEE (preview) the depth-of-field PRIOR to pressing the shutter; not being able to see the image on the screen in bright sunlight; and ‘missing’ fast-action shots because of the slow speed that the camera takes to capture and SAVE the image to the memory card.

To overcome ALL of this nonsense, for a VERY modest outlay, all you need to do is purchase a HIGH QUALITY 35mm ANALOGUE (film) camera such as a CANON A1 (fabulous) or a CANON AE1 (superb), together with a 25mm-to-70mm ZOOM lens so that you can ACURATELY set the CORRECT focal length for the image as well as PREVIEW the shot.

A superb BOUNCE-FLASH (so that you can bounce the light off the ceiling so everything looks natural and Mirad Shift filtration isnt required) is the CANON SPEEDLITE 199A – and to learn how to get the best from it, obtain a copy of ‘Mastering flash photography’ by Susan McCartney (ISBN 0-8174-4545-5 – available from Amazon)

Once you have familiarised yourself with such a camera and used the amazing publications to guide you all the way whilst you learn how to ‘drive’ the camera and practice composing, all you then need to do is purchase a roll of 200 ASA FUJI film (Jessops – who will also process the film for you in under an hour); load it into the camera; set the camera ASA to match the film ASA (200) to get correct exposures, and start CREATIVE photography.

Oh – the anticipation as you wait for your beautiful photographs – photographs that you can then have printed on CANVAS (A3 is good – A2 is FABULOUS) so that the light shines THROUGH the canvas when its hung on the wall and then ‘bounces back’ to bring YOUR beautiful image ALIVE!

BE WARNED! Once you ‘go analogue’ you will find it VERY addictive – and you will be hooked for LIFE. Please don’t blame me – I am merely the messenger!

Have FUN and happy shooting!


BestDealUK Golden Fashion Lady Girl Bracelet Quartz Movement Wrist Watch
BestDealUK Golden Fashion Lady Girl Bracelet Quartz Movement Wrist Watch
Offered by GLOBALOMOUK (Ships from HK 11-18 Business Days Delivery)
Price: £6.39

3.0 out of 5 stars Nice bracelet - shame about the watch!, 1 Aug 2014
KITCH watch - remove it and use the strap as a bracelet.


AOYI Lady Women Rose Gold Tone Stainless Steel Bracelet Bangle Quartz Wrist Watch WK1034
AOYI Lady Women Rose Gold Tone Stainless Steel Bracelet Bangle Quartz Wrist Watch WK1034
Offered by AMPM24
Price: £8.49

5.0 out of 5 stars A modern timepiece for woman with style and attitude, 1 Aug 2014
Verified Purchase(What is this?)
A STUNNING timepiece that keeps perfect time.


XCSOURCE® Graduated Color Filter Set Yellow Red 52mm for Nikon D7100 D7000 D5200 D5100 D3200 D3100 D3000 D90 D4 D3X D800 D700 D600 D300S D300 D7100 D7000 D5200 D5100 D5000 D3200 D3100 D3000 D90 D80 D70 D60 D50 D40 LF139
XCSOURCE® Graduated Color Filter Set Yellow Red 52mm for Nikon D7100 D7000 D5200 D5100 D3200 D3100 D3000 D90 D4 D3X D800 D700 D600 D300S D300 D7100 D7000 D5200 D5100 D5000 D3200 D3100 D3000 D90 D80 D70 D60 D50 D40 LF139
Offered by XCSOURCE
Price: £9.99

2 of 2 people found the following review helpful
5.0 out of 5 stars This set of filters are amazing and a ‘must have’ in your filter armoury., 1 Aug 2014
Verified Purchase(What is this?)
If you have ever viewed the work of JACK CARDIFF - the British genius cinematographer who filmed such notables as Marlene Dietrich; Marylyn Monroe; and Audrey Hepburn - and changed cinematography forever - and you wonder how he achieved the ‘vividness’ of colour (watch ‘The red shoes’; ‘My Fair Lady’; or ‘Breakfast at Tiffanies’), well – with THIS fabulous collection of six GRADATION FILTERS – a word that here means a colour filter that GRADUALLY FADES FROM THE COLOUR at the EDGE of the filter down to CLEAR at the half way point of the filter - you will be able to apply his secret of ‘colour space’ and ‘colour harmony’ to create truly STUNNING photos.

The filters are used by screwing the filter mount onto the front of your camera lens and then rotating the filter to place the selected colour gradation where you want it, so as to create the effect that you seek. You can also add other colour filters and ‘blend’ them to create some spectacular imagery.

As a ‘rule of thumb’:

- BLUE filters absorb (remove) GREEN and RED light
- YELLOW filters absorb BLUE light
- GREEN filters absorb BLUE and RED light
- MAGENTA (purple) filters absorb GREEN light
- CYAN (turquoise) filters absorb RED light

The set comprises:

- A 'NEUTRAL DENSITY' (grey) filter to bring out clouds.

- A ‘YELLOW’ filter to enhance greenery and for shooting on ‘INDOOR’ FILM when shooting OUTDOORS.

- A ‘GREEN’ filter to create ‘Tuscany coloured’ (continental) skies, which can also be pressed into service on monochrome (black and white) panchromatic (sees all colours) film to enhance contrast.

- An ‘ORANGE’ filter to enhance skin-tones and capture truly stunning sunsets when shooting outdoors – which can also be pressed into service to bring ‘warmth’ to the pallid skin tones of ELDERLY people whilst allowing younger members in the frame to be left ‘unfiltered’ (set the filtration to the right or left side of the frame and then compose your people accordingly).

- A ‘RED’ filter for enhancing fireworks; firelight; bonfires; and candle-lit scenes, which can also be pressed into service on monochrome panchromatic film to enhance contrast.

- A ‘PURPLE’ filter to add drama to your colour photos; enhance reds and oranges; and bring contrast to skies on monochrome panchromatic film.

Filter COLOURS work INDEPENDANTLY of each other so they can also be pressed into service to add TINT to a photo so as to change the OVERALL COLOUR SPACE to create a certain MOOD - so EXPERIMENTATION is the way forward to bring your own ‘colour space expression’ by MIXING the filter colours and experimenting with the colour palettes of the COSTUMES and SETS just as Jack Cardiff did back in the nineteen forties

ASIDE: Purchase The boxed set of Powell and Pressburger DVD’s and check out the differing moods of ‘The Red Shoes’ (now fully restored by Martin Scorsese and available on BluRay); ‘Black Narcissus’; and ‘Tales of Hoffman’ (beautifully sung in English and featuring the extraordinary balletic talents of Moira Shearer) – all done by changing the COLOUR SPACE.

From harsh swashbuckling blues to soft romantic oranges and purples – armed with this ‘must have’ kit there is PLENTY of scope for you to get SERIOUSLY creative dear reader.

If you are entering the world of photography or cinematography and you aspire to be like JACK CARDIFF, then two publications that will really ‘bring on’ your photography are:

‘The working camera – the world’s first pop-up guide to photography’ by Professor John Hedgecowe and the celebrated pop-up artist Ron Van Der Meer. ISBN 0 – 207 – 15340 – X (available from Amazon)

There isn’t a BETTER guide to taking photographs ANYWHERE! Here, through imaginative amazing FULLY-ANIMATED pop-ups of STUDIOS and more, you will learn pretty much EVERYTHING you need to know about taking STUNNING pictures with vibrancy and attitude.

Another 'must read' book is ‘Cinematography theory and practice’ by Blain Brown, ISBN 978 – 0 – 240 – 81209 – 0 (available from Amazon)

Here you will find pretty much EVERYTHING you could wish to know about cinematography in one handy volume – and it comes with a great DVD that shows you HOW TO DO IT – covering everything from composition to lighting. It doesn’t get any better!

Have FUN and happy shooting!


58mm Graduated Color Filter Kit Set for Canon EOS70D 60D 700D 650D 1100D 1000D 600D 50D 550D 1DX 5D Mark 5D2 5D3 6D 7D 70D 60D 700D 650D 1100D 1000D 600D 50D 550D 500D 40D 30D 350D 400D 450D 30D 10D LF140
58mm Graduated Color Filter Kit Set for Canon EOS70D 60D 700D 650D 1100D 1000D 600D 50D 550D 1DX 5D Mark 5D2 5D3 6D 7D 70D 60D 700D 650D 1100D 1000D 600D 50D 550D 500D 40D 30D 350D 400D 450D 30D 10D LF140
Offered by XCSOURCE
Price: £9.99

4 of 4 people found the following review helpful
5.0 out of 5 stars This set of filters are amazing and a ‘must have’ in your filter armoury, 1 Aug 2014
Verified Purchase(What is this?)
If you have ever viewed the work of JACK CARDIFF - the British genius cinematographer who filmed such notables as Marlene Dietrich; Marylyn Monroe; and Audrey Hepburn - and changed cinematography forever - and you wonder how he achieved the ‘vividness’ of colour (watch ‘The red shoes’; ‘My Fair Lady’; or ‘Breakfast at Tiffanies’), well – with THIS fabulous collection of six GRADATION FILTERS – a word that here means a colour filter that GRADUALLY FADES FROM THE COLOUR at the EDGE of the filter down to CLEAR at the half way point of the filter - you will be able to apply his secret of ‘colour space’ and ‘colour harmony’ to create truly STUNNING photos.

The filters are used by screwing the filter mount onto the front of your camera lens and then rotating the filter to place the selected colour gradation where you want it, so as to create the effect that you seek. You can also add other colour filters and ‘blend’ them to create some spectacular imagery.

As a ‘rule of thumb’:

- BLUE filters absorb (remove) GREEN and RED light
- YELLOW filters absorb BLUE light
- GREEN filters absorb BLUE and RED light
- MAGENTA (purple) filters absorb GREEN light
- CYAN (turquoise) filters absorb RED light

The set comprises:

- A NEUTRAL DENSITY (grey) filter to bring out clouds.

- A YELLOW filter to enhance greenery and for shooting on ‘INDOOR’ FILM when shooting OUTDOORS.

- A GREEN filter to create ‘Tuscany coloured’ (continental) skies, which can also be pressed into service on monochrome (black and white) panchromatic (sees all colours) film to enhance contrast.

- An ORANGE filter to enhance skin-tones and capture truly stunning sunsets when shooting outdoors – which can also be pressed into service to bring ‘warmth’ to the pallid skin tones of ELDERLY people whilst allowing younger members in the frame to be left ‘unfiltered’ (set the filtration to the right or left side of the frame and then compose your people accordingly).

- A RED filter for enhancing fireworks; firelight; bonfires; and candle-lit scenes, which can also be pressed into service on monochrome panchromatic film to enhance contrast.

- A PURPLE filter to add drama to your colour photos; enhance reds and oranges; and bring contrast to skies on monochrome panchromatic film.

Filter COLOURS work INDEPENDANTLY of each other so they can also be pressed into service to add TINT to a photo so as to change the OVERALL COLOUR SPACE to create a certain MOOD - so EXPERIMENTATION is the way forward to bring your own ‘colour space expression’ by MIXING the filter colours and experimenting with the colour palettes of the COSTUMES and SETS just as Jack Cardiff did back in the nineteen forties

ASIDE: Purchase The boxed set of Powell and Pressburger DVD’s and check out the differing moods of ‘The Red Shoes’ (now fully restored by Martin Scorsese and available on BluRay); ‘Black Narcissus’; and ‘Tales of Hoffman’ (beautifully sung in English and featuring the extraordinary balletic talents of Moira Shearer) – all done by changing the COLOUR SPACE.

From harsh swashbuckling blues to soft romantic oranges and purples – armed with this ‘must have’ kit there is PLENTY of scope for you to get SERIOUSLY creative dear reader.

If you are entering the world of photography or cinematography and you aspire to be like JACK CARDIFF, then two publications that will really ‘bring on’ your photography are:

‘The working camera – the world’s first pop-up guide to photography’ by Professor John Hedgecowe and the celebrated pop-up artist Ron Van Der Meer. ISBN 0 – 207 – 15340 – X (available from Amazon)

There isn’t a BETTER guide to taking photographs ANYWHERE! Here, through imaginative amazing FULLY-ANIMATED pop-ups of STUDIOS and much much more, you will learn pretty much EVERYTHING you need to know about taking STUNNING pictures with vibrancy and attitude.

The second 'must read' publication is ‘Cinematography theory and practice’ by Blain Brown, ISBN 978 – 0 – 240 – 81209 – 0 (available from Amazon)

Here you will find pretty much EVERYTHING you could wish to know about cinematography in one handy volume – and it comes with a great DVD that shows you HOW TO DO IT – covering everything from composition to lighting. It doesn’t get any better!

Have FUN and happy shooting!


A Room With A View [Blu-ray] [Region Free]
A Room With A View [Blu-ray] [Region Free]
Dvd ~ Maggie Smith
Price: £6.10

1 of 2 people found the following review helpful
5.0 out of 5 stars Only a person with a heart of stone would not openly weep when they watch this classic film, 30 July 2014
Verified Purchase(What is this?)
For me, this classic film is a very good example of how bravery and strength of character sprinkled with determination and fortitude against a backdrop of snootiness, pomposity, and pretentiousness will ALWAYS win the day.

Here we have an ‘Inner Realism’ film that focuses on ‘the observer within’ and explains that WE are our own OBSERVERS – but we do not know HOW to OBSERVE because we are so addicted to the external now-world that we haven’t mastered the SKILL of observation – and all the brain does is function out of RESPONSE instead of out of RATIONALITY and REASON.

Although ‘Inner Realism’ has been used as a sub-text in opera and ballet for centuries to make strong points and deliver lessons in life through emotional turmoil, Chaplin was the very first to use the CINEMATIC medium to explore and exploit the ‘Inner Realism’ idea and you can experience this in ‘The Kid’; ‘City Lights’, and the timeless classic ‘Limelight’ - a style of film making far removed from Chaplin’s ‘The Circus’, ‘Gold Rush’, and the time-honoured satirical classics ‘Modern times’ and ‘The Great Dictator’.

ASIDE: ‘Theme from Limelight’ is one of Chaplin’s best loved musical scores and it sits alongside ‘Smile’ from ‘Modern Times’ – sung by thousands and revered by millions.

The hit shows ‘Les Miserables’ and ‘Phantom of the Opera’ (both coming up to their thirtieth year in the West End) use the potency of ‘Inner Realism’ - and the emotional ‘roller-coaster’ ride the spectator is taken upon probably explains why these shows are so compulsive and have run for so long.

The film introduces us to Miss Lucy Honeychurch – a rich socialite wanting for nothing, displaying her passion for life (which she expresses at the piano), being stifled by Miss Charlotte – Lucy’s dictatorial cousin; nanny; governess; and now chaperone – a sad devious spinster who uses her scheming underhand tactics to enjoy a life of luxury; and uses her prowess to dominate Lucy – including breaking confidences to an ungifted but mercenary ‘pulp fiction’ writer who uses every opportunity to develop a storyline to sell books to the masses – even though her grammar and ability to write is atrocious – as witnessed later in the ‘book reading’ scene in the garden - a scene that is a gamechanger for what follows.

On the way we meet Reverend Bebe - a gay vicar who uses his ministerial influence to gain access to Lucy’s gay brother Freddy; Mr Emerson - a wise and gentle, generous working-class man who speaks from the heart with no airs and graces, who graciously gives up his ‘room with a view’ to Lucy and her chaperone; his son George – a lost gentle soul who falls passionately in love with Lucy - and expresses himself with tenderness, compassion, and verve; and Cecil – a pompous useless ‘free-loading’ idiot who lacks strength and vivacity, who is seeking out a wealthy woman – any wealthy woman – whom he can marry so as to gain access to her fortunes and live the life that HE chooses – whom Lucy is set to marry – despite being passionately in love with George.

The performances are sublime (Denholm Elliot is on fire and a very young Helen Bonham-Carter delivers a truly stunning performance as Lucy Honeychurch) and there is so much depth to this film.

In it we see the deceit of people with hidden agendas and we learn that for the most part, people are wired to victimisation and suffering; people are wired to gloom and misery; and people are wired to stress and despair – and these feelings become their EMOTIONAL AGREEMENTS, and these emotional agreements become the BAROMETER OF THEIR REALITY – because one’s MENTALITY is ‘attuned’ to accepting that THIS IS THE WAY THAT LIFE IS because THAT is all that they know – unless they (we) are willing to CHANGE to bring POSITIVE outcomes to our lives through the DECISIONS we make and the ACTIONS we take!

A LOT is said about the importance of having a POSITIVE attitude and treating people fairly to bring about a positive experience as we live our lives by always being BRAVE, facing adversity with positivism; and always remembering to evaluate opinions and situations and to ‘look before you leap’.

There are so many fabulous scenes – the scene when Mr Emerson puts cornflowers into the hair of an elderly woman; the scene when George kisses Lucy in the barley field; the scene when Charlotte tries to get out of paying for a taxi; and the touching scene when George kisses his father as George prepares to move to London are just a few of the many many memorable bitter-sweet scenes that await you as the story unfolds.

How does it all turn out? Well you will have to watch it to find out!

To sum up dear reader: just get this fabulous film and watch it with a big box of tissues at hand!


Criterion Collection: Days of Heaven [Blu-ray] [1978] [US Import]
Criterion Collection: Days of Heaven [Blu-ray] [1978] [US Import]
Dvd ~ Richard Gere
Offered by Moref Designs
Price: £23.54

1 of 1 people found the following review helpful
5.0 out of 5 stars Watch this stunning classic film and openly weep!, 29 July 2014
Verified Purchase(What is this?)
In ‘Days of heaven’ we meet a anti-hero working in a foundry spending his life with a group of men, all of whom are aimlessly walking round and round in circles all day stoking a blast furnace – the furnace representing ‘Hell’ and the ‘circles’ signifying that he was trapped in a repetitive rut and could not see a way out of his dilemma.

We then see the anti-hero ‘miss’ a few ‘turns’ so as to ease his daily toil and get some respite from the constant shovelling of coal into a blast furnace to make someone else rich, and from this we learn that this person is an ‘opportunist’.

Seeing the anti-hero is in the wrong position in the ‘line’, and realising that the anti-hero has been ‘skiving’ off work by malingering, the Foreman comes over and orders the anti-hero back to work.

The anti-hero stands up to the foreman, a fight breaks out, we then see that the anti-hero is EXTREMELY aggressive and will not be ordered around – and he unintentionally KILLS the foreman and then runs away.

What we have just witnessed is ENSLAVEMENT.

Hearing that there might be work available harvesting corn on the wide open prairies of the American Pan Handle, the anti-hero ‘cons’ the person employing staff into giving the anti-hero a ‘sacking’ job – a labour intensive job bailing corn and packing it into sacks ready for distribution – a job the anti-hero has no idea how to do.

Arriving at the massive farm we see the extreme hard labour involved working each and every day from dawn till dusk bailing and bagging the corn for a pittance of a wage. We then meet the owner of the farm – a young hard-nosed ‘hire-and-fire’ capitalist who uses his work-force merely as machines to ‘get the job done’ and does not have any consideration for their welfare – a single bail of corn being all that was required to be sold to pay a labourer for his daily toil.

Again, we have just witnessed ENSLAVEMENT on a GRAND SCALE.

A foreman ‘docks’ the anti-hero an hours pay for allegedly creating ‘waste’ and the anti-hero rebels at the injustice and is dismissed on the spot, but a dark-haired woman advises the anti-hero to ‘back off’, and together the shrewd quick-thinking pair work a ‘con’ by saying that the anti-hero is her ‘brother’, and she is widowed and has a ‘daughter’; and they would all starve if the anti-hero lost his job.

Worried that the woman might report the foreman to the owner of the plantation and in so doing, reveal the foreman is actually pulling a ‘scam’, the foreman permits the anti-hero to stay. We see later that everyone is paid their dues for the day, and there isnt any ‘docking’ of pay; and the Foreman is working a ‘sharp practice’ by ‘fining’ people and pocketing the ‘fines’ as a ‘perk’.

This is EXPLOITATION on a GRAND SCALE.

The anti-hero and the woman sleep together and the next day a worker rudely asks if the anti-hero’s sister ‘keeps him warm’ at night (in other words, the worker is implying that as they are brother and sister, they are committing incest) and we once again see the anti-hero’s aggression as he stands up for the woman - which leads to the pair forming a relationship.

Now as luck would have it, there are several turns of events that fall in the couples favour; the first being that the young plantation owner has seen the ‘dark haired beauty’ and begins to ‘court’ her. This gets the ‘brother’ close to the plantation owner.

The second event is when the ever opportunist ‘brother’ helps himself to some ointment to soothe the cuts to the woman’s hands caused by the chaffing of the straw, and the anti-hero overhears a doctor say that the plantation owner has LESS THAN A YEAR TO LIVE.

Seeing how the plantation owner is exploiting everyone by working them to death for his own gain, and being victims of the corruption that is taking place with the foremen, the couple plan to work a ‘big con’ as RETRIBUTION by persuading the plantation owner to marry the woman so that when he dies in a few months time, the woman would inherit a business worth over a $1 million a year and then THEY can then get married.

The sham wedding leads to the third event - the brother getting to live in the plantation owner’s house along with his ‘widowed sister’ and her ‘daughter’; which ensues in a close ‘friendship’ forming between the two men – which gives the anti-hero direct clandestine access to the woman – making for a thrilling sexual relationship as the woman exploits the plantation owner for all that she can ‘milk’ from him - which as we see by the woman’s jewellery and gowns - is LOTS.

One scene shows the two men out hunting with gun dogs and ‘twelve-bore’ rifles – rifles that fire a shower of lead shot ‘pellets’ that ‘spread out’ into a wide ‘ring of death’ as the pellets travel through the air – making it almost impossible to ‘miss’ when shooting at a slow-moving game bird.

The two men come upon a pair of grouse and a ‘beater’ persuades the male bird to take flight so as to provide ‘sport’ for the plantation owner – who promptly shoots at the fleeing bird and kills it. We then see the sadistic character of the anti-hero – who chooses to shoot the next bird dead as it quietly pecks the corn, rather than give the bird a reasonable chance to escape.

What then follows is through better medication, the plantation owner’s condition is halted and the couple realise that they are never going to get their hands on the vast fortune – and it all goes from bad to worse as the four horsemen of the Apocalypse make their appearance:

A plague of locusts turns up and we see the crop being swiftly eaten by the millions of insects.

We see the insects copulating and spraying their larvae everywhere – so that subsequent harvests would now be eaten the moment the corn was ripe – bringing doom to the farm unless the locusts and their larvae are destroyed. Then in a sensational scene, seeking to disfigure the anti-hero, the plantation owner torches the corn that has not yet been harvested – and we see the anti-hero’s anger emerge - which brings about devastating results that has you riveted to your seat as the twists and turns of the tragedy unfold.

So loved the 'love triangle' – the 'roper' in love with the con artist and the 'mark' in love with the 'roper' as she prepared to 'sting' him for everything that he possessed - both while he was alive - and afterwards when the 'death-sting' would give the two con artists everything they sought.

The question now arises - did the 'roper' fall in love with the 'mark' or was the ultimate objective ALWAYS to inherit a HUGE farm on the American Panhandle that was netting a profit of $1 MILLION a YEAR in the early part of the twentieth century – and she put on a convincing act in an attempt to land the fortune.

The film is full of twists and turns and it has a BRILLIANT ending that will STUN you.

Three worthy things of note:

The first is how the director contrasted the carriages and the steam driven farm machinery with the 'modern' cars and aircraft that were now 'making their mark' in America to help us to realise that the 'mark' was receiving much better treatment from more advanced medicine, and he was going to live a LONG time.

The second is the STUNNING cinematography - especially the strong use of 'autumnal' colours to show an age that was rapidly fading away.

And the third is the 'stills' at the beginning depicting early American life as the Industrial Revolution arrived from Britain and revolutionised everything in a matter of just THREE YEARS; and the 'time-lapse' photography of the corn growing, to show the YEARS passing by; and the close-ups of the locusts devouring the corn - which the locusts smell from HUNDREDS of miles away from where they hatch - shown by the owner of the farm smelling the corn to see when it was 'green' so that he would know when the corn was 'ripe' for harvesting. Just BRILLIANT!

Have a LARGE box of tissues on hand when you watch it!
Comment Comment (1) | Permalink | Most recent comment: Aug 4, 2014 5:19 PM BST


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