FUN FASHION GAMES FOR FREE – MENS FASHION JACKETS 2011.
Fun Fashion Games For Free
- gratis: without payment; “I’ll give you this gratis”
for free
- make out of components (often in an improvising manner); “She fashioned a tent out of a sheet and a few sticks”
- characteristic or habitual practice
- Make into a particular or the required form
- Use materials to make into
- manner: how something is done or how it happens; “her dignified manner”; “his rapid manner of talking”; “their nomadic mode of existence”; “in the characteristic New York style”; “a lonely way of life”; “in an abrasive fashion”
fashion
- A form of play or sport, esp. a competitive one played according to rules and decided by skill, strength, or luck
- A single portion of play forming a scoring unit in a match, esp. in tennis
- (game) a contest with rules to determine a winner; “you need four people to play this game”
- A complete episode or period of play, typically ending in a definite result
- (game) bet on: place a bet on; “Which horse are you backing?”; “I’m betting on the new horse”
- (game) crippled: disabled in the feet or legs; “a crippled soldier”; “a game leg”
games
- verbal wit or mockery (often at another’s expense but not to be taken seriously); “he became a figure of fun”; “he said it in sport”
- violent and excited activity; “she asked for money and then the fun began”; “they began to fight like fun”
- activities that are enjoyable or amusing; “I do it for the fun of it”; “he is fun to have around”
- Enjoyment, amusement, or lighthearted pleasure
- A source of this
- Playful behavior or good humor
fun
fun fashion games for free – Barbie: Four
Conceived in 1959 as an “adult” doll to dress for every occasion, Barbie has since become a worldwide cultural and commercial phenomenon. Illustrations reveal her many faces, styles, and incarnations, from the blonde, blue-eyed mainstay to the exotic dolls available around the world. Here too are her most glamorous costumes, and the real-life Hollywood stars-Marilyn Monroe, Audrey Hepburn, and Vivien Leigh-and fashion designers-Christian Dior, Calvin Klein, and Bob Mackie-who inspired them.
Doll expert Marco Tosa presents a wealth of documentation, including a description of how the dolls are made, a family tree, a chart of the dolls’ occupations, the dates of issue of each Barbie doll discussed, and photographs of original packaging. There is also a section on the forthcoming, more anatomically correct Barbie doll.
Marco Tosa, a native of Genoa, Italy, teaches at the Venice Academy of Fine Arts. He is the author of several books on fashion and on the history and culture of dolls.
The Nigerian Team And Korea Republic's Park Chu Young Build A Wall
(Dispatches From The Couch)
I am not a sports photographer/journalist, however, this is definitely something I aspire to. (See my other set from The Master’s Golf Championship. I was actually there for those). I am not a professional nor have I ever been compensated for my work. In no way would I ever take credit for someone else’s images. Kudos to ABC and ESPN camera guys for airing footage from the games this year. These are the memorable images that caught my attention as the games progressed, for that much, I can take credit.
All of the pictures in this particular photo set were achieved by taking photographs of a television screen, or rather two types of television screens, one being a flat screen and the other just a regular, old fashioned, 32 inch, dust attracting, ready for the thrift store/jumble, dinosaur of a set.
I figured since I couldn’t go to South Africa, I’d bring South Africa to me… with an artful twist. I’ve had a lot of fun being creative with these shots by saturating the color, punching up the contrast and highlighting some more of the lighter moments on the pitch. It’s kind of liberating in a way, quite playful really. Who knew that photographing a television screen could be so interesting? I loved the vibrant colors and the abstract quality that many of the photographs conveyed.
"Football" or "Soccer" if you are in America, is a vibrant, colorful and fast paced sport in its own right. I love the game almost as much as I love photography! I hope one day I’ll be able to photograph an actual match instead of just watching it on television. Until then, television will have to suffice.
This was just a fun way to be creative and combine the two things I love the most in life, soccer and photography. Sure, some may scoff at taking pictures of a television screen. That’s okay with me because hey, I’ve at least created my own souvenir pictures with the added luxury of sitting on my own couch, in my own home, cheering right along with the fans in the stadium seats, wearing mismatched pajamas if I chose to. At least I didn’t have an overzealous Vuvuzela wielding spectator assaulting my eardrums. It’s all good.
Ah, The World Cup… Every 4 years the world watches to see what country will step up and grab the FIFA Winner’s Cup. It is a solid month of breath holding, grimace inducing, fist pumping, nail biting and in the case of this year’s games in South Africa, aurally assaulting cacophonies of sound. Think Vuvuzelas, the scourge of stadiums everywhere. The team chants and cheers could scarcely be heard over the din of noise from those blasted instruments of cheap plastic that cost pennies to make and major consumer dollars to buy.
There is the agony of defeat and the exhilaration of victory. The beauty of an emerald green pitch under brilliant stadium lights. The heart-felt and heart-swelling singing of a national anthem. The anticipation of hearing that celebratory word "GOAOOOOOL". The possibility of seeing a joyful victory jig, slide or shirt wave. The spotting of a brilliant Pele’ worthy move. The outrageous spectators in all their fanatical finery of face paint, scarves, capes, hats, flags, etc… The staccato blast of a whistle. The wave of an orange and yellow flag. That tense moment that a Ref reaches into his pocket, and like magic, he reveals a "wait for it" red card or yellow card.
This year there were many surprising outcomes. There were humbling blunders by goalkeepers, ahem, England’s Robert Green, and French team tantrums and meltdowns. The flamboyant and exciting South American teams lost their steam. Brazil, always a faithful entertainer, failed to dazzle and show off (and I’m borrowing this phrase from the awesome music of Fila Brazillia) a little "Brazilification".
The United States played a truly historical game, with Landon Donovan scoring the winning goal over Algeria, 1:0 in the first minute of overtime. A scrappy Uruguay showcased an unstoppable Diego Forlan and a shamed "I’ll Just Stop This Goal With My Hands", Luis Suarez, but they absolutely would not go down without a fight.
Argentina may have lacked excitement on the field, but their biggest fan cheered the loudest from the sidelines, the exuberant and always nattily dressed (including lucky charm bracelets) coach Diego Maradona. Paraguay sweetened up the pitch as they stormed the field in their signature red and white stripey socks, reminiscent of a swirl of candy canes on the move.
The European teams showed their superiority on the pitch. Germany commanded attention with solid midfielders that had mantra inducing names like Schweinsteiger, Oezil, and Mueller. Portugal? Well Portugal features Cristiano Ronaldo right? You know "he’s" famous the world round when he is immortalized as a diamond stud in the ear wearing Simpsons character. In the words of Homer Simpson "Ronal-DOH!".
Ultimat
"Decisive moment" Children at the dog park with little rascals dog
Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism, an early adopter of 35 mm format, and the master of candid photography. He helped develop the "street photography" or "real life reportage" style that has influenced generations of photographers that followed.
Contents [hide]
1 Biography
1.1 Childhood
1.2 The early years
1.2.1 Turning from painting to photography
1.3 The middle years
1.3.1 Formation of Magnum Photos
1.3.2 The Decisive Moment
1.4 Later years
1.5 Death and legacy
2 Technique
3 Quotation
4 Works
4.1 Bibliography
4.2 Filmography
4.2.1 Films directed by Henri Cartier-Bresson
4.2.2 Films compiled from photographs by Henri Cartier-Bresson
4.2.3 Films about Cartier-Bresson
4.3 Exhibitions
4.3.1 Public collections of Henri Cartier-Bresson’s works
4.3.2 Exhibitions of Henri Cartier-Bresson’s works
5 Notable portrait subjects
6 Awards
7 Gallery
8 See also
9 Notes
10 References
11 External links
[edit]Biography
[edit]Childhood
Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the eldest of five children. His father was a wealthy textile manufacturer whose Cartier-Bresson thread was a staple of French sewing kits. His mother’s family were cotton merchants and landowners from Normandy, where he spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, near the Europe Bridge, and provided him with financial support to develop his interests in photography in a more independent manner than many of his contemporaries. He also sketched in his spare time. He described his family as "socialist Catholics".[citation needed]
As a young boy, Cartier-Bresson owned a Box Brownie, using it for taking holiday snapshots; he later experimented with a 3?4 inch view camera. He was raised in a traditional French bourgeois fashion, required to address his parents as vous rather than the familiar tu. His father assumed that his son would take up the family business, but Henri was headstrong and was appalled by this prospect.
[edit]The early years
Cartier-Bresson studied in Paris at the Ecole Fenelon, a Catholic school. After unsuccessful attempts to learn music, his uncle Louis, a gifted painter, introduced Cartier-Bresson to oil painting. "Painting has been my obsession from the time that my ‘mythical father’, my father’s brother, led me into his studio during the Christmas holidays in 1913, when I was five years old. There I lived in the atmosphere of painting; I inhaled the canvases."[citation needed] Uncle Louis’ painting lessons were cut short, however, when he died in World War I.
In 1927, at the age of 19, Cartier-Bresson entered a private art school and the Lhote Academy, the Parisian studio of the Cubist painter and sculptor Andre Lhote. Lhote’s ambition was to unify the Cubists’ approach to reality with classical artistic forms, and to link the French classical tradition of Nicolas Poussin and Jacques-Louis David to Modernism. Cartier-Bresson also studied painting with society portraitist Jacques Emile Blanche. During this period he read Dostoevsky, Schopenhauer, Rimbaud, Nietzsche, Mallarme, Freud, Proust, Joyce, Hegel, Engels and Marx. Lhote took his pupils to the Louvre to study classical artists and to Parisian galleries to study contemporary art. Cartier-Bresson’s interest in modern art was combined with an admiration for the works of the Renaissance—of masterpieces from Jan van Eyck, Paolo Uccello, Masaccio and Piero della Francesca. Cartier-Bresson often regarded Lhote as his teacher of photography without a camera.
Although Cartier-Bresson gradually began to feel uncomfortable with Lhote’s "rule-laden" approach to art, his rigorous theoretical training would later help him to confront and resolve problems of artistic form and composition in photography. In the 1920s, schools of photographic realism were popping up throughout Europe, but each had a different view on the direction photography should take. The photography revolution had begun: "Crush tradition! Photograph things as they are!"[citation needed] The Surrealist movement (founded in 1924) was a catalyst for this paradigm shift. While still studying at Lhote’s studio, Cartier-Bresson began socializing with the Surrealists at the Cafe Cyrano, in the Place Blanche. He met a number of the movement’s leading protagonists, and was particularly drawn to the Surrealist movement’s linking of the subconscious and the immediate to their work. Peter Galassi explains:
The Surrealists approached photography in the same way that Aragon and Breton…approached the street: with a voracious appetite for the usual and unusual…The Surrealists recognized in plain photographic fact an essential quality that had been excluded from prior theories of photographic realism. They saw that ordinary photographs, espec
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