#window tint grand prairie

[ssharpauto]

Choosing the Right Car Window Tint: Factors to Consider Before You Tint Your Windows

Car window tinting has become increasingly popular over the years for several reasons, including improved privacy, reducing glare, and protecting the car's interior from harmful UV rays. However, selecting the right car window tint can be challenging, especially for first-timers. In this article, we'll discuss the essential factors you need to consider when choosing the right car window tint.

The Tinting Laws in Your State

Before you consider window tinting, you need to be aware of the laws in your state regarding the maximum allowed tint percentage. Different states have different laws regarding the darkness of window tinting. Therefore, it's vital to ensure you comply with these laws to avoid getting into trouble with the authorities.

The Type of Tint

There are different types of car window tints available in the market, including dyed, metalized, hybrid, and ceramic tints. Each type of tint has its benefits and disadvantages. For instance, dyed tints are affordable and can block up to 50% of the sun's heat, but they tend to fade and turn purple over time. On the other hand, ceramic tints are more expensive but provide excellent heat rejection and clarity while blocking harmful UV rays. It's essential to understand the advantages and disadvantages of each type of tint before choosing the one that suits your needs.

The Quality of the Tint

The quality of the tint film you choose is crucial in determining the durability and effectiveness of the tint. Cheap tints may peel or bubble over time, leading to the need for frequent replacements. High-quality tints, on the other hand, may be expensive, but they provide better heat rejection, UV protection, and durability.

The Tint Percentage

The tint percentage refers to the amount of light that can pass through the tinted windows. The higher the percentage, the lighter the tint. Most states have specific laws regarding the maximum allowed tint percentage, so it's essential to ensure you comply with these laws. The tint percentage also affects the amount of heat that can pass through the windows, with darker tints blocking more heat than lighter tints.

The Purpose of the Tint

Your reason for installing window tint Grand Prairie will determine the type of tint you need. If you're looking for privacy, you may opt for darker tints that can obscure the view from outside. If you're installing window tinting to protect your car's interior from UV rays, you may opt for ceramic tints that provide excellent UV protection.

Conclusion

Choosing the right car window tint Grand Prairie TX can be a daunting task, but with the right information, you can make an informed decision. Before you consider window tinting, ensure you're aware of the tinting laws in your state, the different types of tint available, the quality of the tint, the tint percentage, and your reason for tinting. By considering these factors, you can select the right car window tint that meets your needs and preferences.

Sharp Auto Shields 1517 W Carrier Parkway, Suite 132, Grand Prairie, TX 75050 469-999-0652 https://sharpautoshields.com/

[thymika]

The Weight of a Crown 5: King of Lies

We were skipping steps as we ran through the prairie. I could feel how the air was trying to lift me up; excitement filled my soul with each step. The skies were showing us tints of blues and oranges with pinks on the horizon. Karina swirled around and finally stared at me with her peculiar eyes. My heart fluttered while my cheeks turned pink. She noticed my shyness and I internally began to panic, but I was at peace. Life felt good, I was glad to be alive at that exact moment. Everything felt like a dream. We were standing right at the front of the Tree of Life, yet everything that happened felt unreal.

A few officers were standing by the gate, inspecting outsiders who needed to cross the border. The old man who helped me leave home was also an outsider, someone who doesn't get to travel deep into the Tree. Karina kept on staring at the entrance, feeling anxious and unsure about everything, "why... people can't get out of the Tree of Life?" She asked while popping her head out from a bush. I hushed her and crawled next to her, ready to give a scientific explanation, "because we must not get mixed with outsiders," "mixed?" "Eighty-percent of our population is descendant of a past King, that's why," "that's it? And how come people can go in?" "They really can't. They only travel through the outskirts of the city," "oh... what if they don't let me in?" "Let's sneak in when they exchange places." While they were exchanging positions, we took the opportunity and sneaked in. We successfully infiltrated the city like little spies.

Karina stared at the walls, the houses, streets, and mansions of the outer layer of the Tree. The Tree of Life is composed of three walls. Each wall contains a specific kind of population. Between the entrance of the Tree and wall Euphoria, the middle class resides. Those are merchants and inside farmers. Philia is the wall that keeps the upper class and some aristocrats. These are the owners of companies and others who managed to reside in the Tree. After wall Philia, there's wall Helios. In between those two walls, the royal children of the King live along with him, the Queen and I. At the heart of it is the peculiar small palace which is my birthplace.

Many stared at Karina, inspecting her skin color and hair. Their glares felt like pinching needles going through our skin. They didn't know how good of a friend she is. We arrived home, "Woah!" My friend exclaimed, "how is it? Nice?" I was ready to show off everything, and give her a grand tour around the house, "it's so big! Amazing! It looks like a castle!" "It is a castle. Let's go in, hopefully, mother isn't angry at me," "let's go!" As soon as my guards saw me, they began to yell. Mother came out from the living room and hugged me tightly, "child! I was so worried about you!" "Mother... I'm fine," "where did you go? What happened to your clothes? Estes!" Mother then stared at my friend and frowned, "don't tell me this is..." "she's Karina, my best friend." Karina widened her eyes and grinned at my mother, but mother frowned and grabbed us by our wrists.

She pulled us to my room and my mother shut the door and windows. She stood in front of us with her hands on her hips, "how dare you bring a Dark Elf into our house? Into the Tree of Life? Do you know that stepping out and bringing people in is treason? Want your father to kill you?" "M... mother. She has nowhere to go. I understand the laws of my land, but I'm trying to help her. I'm convinced that no one is the same." My mother's face softened, she kneeled in front of us and patted my head, "when I was younger... I had a very good friend. He looked just like Karina," "and what happened?" I asked, "I had to let him go... because... the laws of our country are there for a reason. He was very good, but that wasn't enough. Estes, please leave us alone. I would like to have a word with her." I wasn't aware of it, but my mother confessed her first love to me. It wasn't a surprise, hundreds of women are set to marry the King against their will, even if their hearts belong to someone else. I wonder if her lover is still alive.

I stepped out. They talked for ten minutes or so while I kept on staring at the paintings on the walls. Grandmother, grandfather and those that I didn't know were hanging there. All of them looked alike. I kept wondering if the citizens can't step out from the Tree because they are all descendants of a King, or because there's something else I didn't know? Karina interrupted my silly thoughts as she patted on my back, "so? Did mother let you stay?" I asked immediately. Karina's face was sad, but she nodded, "yes, but I won't stay," "why not?" I exclaimed almost angrily, "because this is no place for me. I miss my home, mother, too. I'm not used to... this." I couldn't understand her words, what was wrong with my house? I grabbed on to her hands and pulled her closer, "Karina! You can't leave... we are friends, aren't we? We promised to stick together," "I can visit anyways. Mother must be worried about me," "you said your mother was—" "it's okay. I'm sure she will change. Let's meet on that same hill every month on this day at seven."

We promised to meet each other every month at night, and although I was angry at her choice, I had no other option but to let her go. A guard escorted her out and I waved at her as she slowly vanished into the distance. My heart ached, but I couldn't hold on to her. I was a mere child with no power. Mother snapped both of my hands and brought me in. I knew she was going to ground me, but I was still focusing on Karina's departure.

I remember feeling afraid as I stood in front of my father. I couldn't see his face, but I knew he was angry. "Why?" He asked with his typical raspy voice, "I wanted to see... the sky," "the sky?" He asked, accentuating the word sky, "yes King," "haven't you read enough about it?" "I just wanted to see it with my own eyes." He turned his office chair around and threw a thick book at me. It landed on my shoulder and scratched my collarbone, "you have no idea of the dangers outside of the Tree! You could have died, insolent boy!" My head was almost on the ground, and I couldn't lift my eyes, "why is it... that no one can go out of the Tree?" I dared to ask.

The King stood up and pushed me to the side, "come with me. It's time," he said as I tried to catch up with his long legs, "yes father?" "I'm afraid of the King you might become, but I have no other options. Our Moon God chose you among the tens of brothers that you have, I will have faith." I couldn't understand a thing. We entered his bedchamber which was situated at the top of the castle. He gazed from the window and appreciated the scenery, "there are not enough resources for our nation. Poverty has struck our land and our population has decreased." He looked bothered. I glared at his long cape while I rubbed my hands together, "the Tree is powerful as a whole... more powerful than the rest of Emerald." I dared to sit by his side. With uncoordinated movements I tried to hold on to his finger, looking up as I began to feel anxious, "King... I don't understand," "do you know what a King is?" "An example... to the citizens," "right. What happens if the King isn't a good ruler?" "Citizens... dethrone him," "why would the King not be fit for the position?" "Because..." I didn't know the answer.

Father sat on his bed with a blank expression. He caressed my head for the first time and said, "an Alpha wolf might have a large pack. If the Alpha cannot provide security for his pack... the pack kills him." I stared at him in horror. "Father—" "Estes, Emerald Woodland is coming to an end. The Tree of Life is holding us alive. Alive in ignorance and lies." The realization suddenly hit me. My father's crown would one day pass on to me, but its weight could bury me alive.

[prairiesongserial]

8.2

Friday took in the Grand Hotel.  Being all one level, it extended back a good ways.  In the foyer, she was face to face with the front counter - no one was manning it at the moment, and she was glad of the opportunity to let her eyes wander.  Behind the counter was a cute wooden box with tiny numbered drawers - room numbers, likely.  The box was painted with a childish rendition of an apple tree.

Once you passed the counter, there was a little sitting area with a pair of stuffed chairs and a table, as well as a tea service set against the front window of the hotel.  The sitting area even had a bookshelf.  Val was there already, combing over the titles.

Past that, there was a bar, and past that, a hallway of doors.  The guest rooms.  There was a woman sitting alone at the bar, black hair cascading in waves down her back.  Interesting.

Friday approached the counter and rang the bell, watching the woman at the bar to see if she would get up and come check them in.

Friday was instead startled by the appearance of a tall, slim, middle aged woman behind the counter.  She had straight black hair, salt and pepper with age, brown skin, and Friday’s grandmother’s nose.  Said nose was in a book.

“Andy Barnett, owner and operator of the Oklahoma City Grand Hotel,” the woman said, without looking up.  “How many nights will you be staying with us?”

Friday was exhausted, and this woman looked like her grandmother, God rest her soul.

“I… don’t know.  Sorry, are you Ute?”

Andy snapped her book closed and gave Friday her full attention.

“I’m...my grandmother...I’m Ute,” Friday said.  She had already been feeling uneasy about this town, about how quiet it was, and now she felt her composure slipping.  She really needed to lie down.  “Sorry, I can… one night.”

“Don’t be sorry, honey.  Good to see a familiar face, huh?”  Andy smiled at her, then turned to get one of the room keys from the drawer.  “Do you need two rooms, or are you sharing a bed with your gentleman friend there?”

Oh, Val would certainly not be okay with that.

“Two rooms, please.”

Andy got another key, and handed them both to Friday. “That’ll be 50, love.”

“Uh...Is Utah okay?”

“60 for Utah, 50 Oklahoma, 45 Kansas.”

Friday dug around in her purse for the last of the money she had pinched from Macomber back in Outpost.  Sixty was pushing it.  But she managed to scrape together 50 silver in Utah coins and 10 in Colorado.

“Uh, that’s all I’ve got,” Friday muttered.

Andy gave her a look, but not an unkind one.  “Lucky you dinner is included.”

“Thanks,” Friday said, sparing Andy another glance before wandering over to Val by the bookshelf.

“Miss Barnett has an admirable collection,” Val said, without looking at Friday.  “Look.  Anna Karenina.”

“Cool,” said Friday.  “I’m gonna bring our stuff in.”

Val put his book down.  “I’ll help, sorry.”

They hauled their bags into their rooms.  The rooms were sparse, but nicer than Friday’s room at the Ace.  They were fully furnished with a bureau and bedside table, and the mattresses were plump, draped with a mismatch of hand-crocheted blankets.  Val sat down on his bed and began to unlace his shoes while Friday began the chore of separating their personal effects.

“I’m surprised we could afford two rooms,” Val said.  “That money has lasted a long time.”

Friday laughed uncomfortably.

“Yeah, we may…” She sighed.  “I spent all our money.  I’ll figure it out, though.”

Val was giving her a strong look, but Friday let it bore into her back, rummaging around in their bags for longer than necessary.

“All our money all our money?  Will we have enough for gas?”

Friday paused.  Nope.  The contents of her purse were a couple of weird copper Colorado coins that definitely weren’t worth anything outside of the nearly abandoned gas station at the corner of Colorado and Oklahoma where she and Val had last filled up the tank.

“Friday - ” Val started.  He cut himself off and struggled for a moment, then began again.  “Friday, that was imprudent.  What - what were you thinking?  What’s your plan, here?”

“I’ll ask Andy if she knows of any work in town,” Friday mumbled as she made a stack of her clothes and toiletries.  “I’ll do it now.”

“But, hold on, I mean, why? Can’t you ask for your money back, for at least one room?  I’ll sleep on the floor.”

“You will not,” Friday huffed.

“This is not the time to be gallant, Friday.  If we lose a day working - assuming there is any work for us - ”

“Val!” Friday huffed, voice pitching up. “I need to sleep in a room by myself, and wake up the next day and not get on a motorbike.  I need this.”  Friday felt like a revving engine with nowhere to go, and if she had to sit on that bike for ten hours tomorrow, looking at that same empty prairie, she really might lose her mind.

“...Okay,” Val said.  He looked concerned.  “If you think we can spare the day, then we can spare the day.”

“Sorry,” Friday said, smoothing her hair back from her forehead and holding it still at the base of her neck for a moment.  “Trust me, I’ll figure it out.  I’ll get the gas money.”

Val nodded, thoughtful.

“Okay,” he said again, more confidently.  “Let me know if you find any work, and I’ll help.”

Friday gathered up her stack of clothes and made for the door.  She stopped short.

“Did you want dinner?” Friday asked.  “Apparently it’s paid for.”

“I’m going to lie here and read Anna Karenina.  Can you wait?”

Friday thought of the woman with long black hair sitting alone at the bar.  She could wait.

Friday left Val to his book and closed his door behind him.  She dumped her clothes on her bed, then thought better of it and put them away neatly in the bureau the hotel provided.  This was a really nice place.  No wonder it had cost her every penny in her wallet.  

The woman at the bar was just where Friday had left her, slowly nursing a double whiskey.  She wore a red leather jacket over a black shirt and pants, red-tinted goggles around her neck.  Friday was surprised by how tidy the woman was - there must be a shower here.  The woman didn’t have a lick of dust on her, and her nails were manicured and glossy.  As Friday approached, the woman turned her head and smiled at her.

Friday took the seat next to her.

“Hey there,” Friday said.  “You from around here?”

The woman tittered, toying with her whiskey glass.

“Sure, why not?  And how about you?”

“Nevada, born and raised.  Friday Wilmot,” she said.  “What’s your name?”

“Hm, let’s see,” the woman said, voice low and flirtatious.  “How about Masuyo Ueno.”

Friday raised an eyebrow. “Well, Miss Ueno, care to buy a broke gal a drink?”

Ueno’s lip ticked up in a smile.  Her lipstick matched her red leather jacket.  “Sure, Miss Wilmot.”

Ueno didn’t call for Andy; she walked around the bar herself.

“What are you drinking?”

“Oh, whatever you’re drinking.”

Ueno raised her eyebrows, but poured Friday a double whiskey.  She handed it to her, and Friday’s finger grazed hers in a way that was fully intentional.  Ueno came out from behind the bar and sat beside Friday again.

“Where in Oklahoma are you from?”

“Around,” said Ueno, pinning Friday with her pretty brown eyes.  She took another sip of her whiskey.  She was almost finished.  “Where in Nevada are you from?”

“Vegas.”

Ueno smiled a strange smile, at that.  Like she was holding something back.

“Have you ever been?” Friday said.  Pushing her luck, maybe.  It was beginning to look like Ueno wasn’t interested.  “If you ever pass through, you should look up the Ace of Spades - if I’m there, I’m sure I would show you a good time.”

“Is that a club?”

“That’s my club.  Burlesque, singing, cards - and I owe you a drink, after all.”

“I have to go all the way to Vegas to get my money back?”

Friday smiled at her, toothily.  “I didn’t see you pay.”

Ueno finished her drink and set the empty glass down on the bar.  “Then I guess we’re even, Miss Wilmot.”  

She got up, shot Friday a brief smile, and started down the hallway, toward her room.  Friday got the feeling she wasn’t meant to follow.

Well, little wonder she had struck out.  She hadn’t had a bath in days.  And at least she had gotten a drink out of it - sort of.  She quickly downed her whiskey before Andy noticed she had it.  Hopefully Andy would see the empty glass later and add it to Ueno’s tab.

Andy was reading behind the counter, he feet propped up next to the little bell.

Friday approached, and Andy looked up.

“You hungry, honey?”

“Yes - but I was wonderin’...” Friday cleared her throat.  She was proud, but what was the point, when Andy already knew she was flat broke?  “Do you happen to know of a place in town where I might pick up an odd job or two?”

Andy laughed.  “Oh, I know of a job.  You won’t like it.”

Friday grimaced.

“Head down to Deeproot Orchard early tomorrow morning. There’s a tidy reward if you can get Harry Digby out of the sheriff’s hair, find out who’s taking his apples.”

“Great. Sure,” said Friday.  She had really been hoping that Andy would let her wash dishes.  But sure, an early morning apple mystery, why not?

Maybe Val would do it.

8.1 || 8.3

[autoglass01]

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[photomattjames]

<p><h2><strong><font color="#f79646">Famous Photographs That Inspired Film.</font></strong></h2></p>

There has always been a sibling-like relationship between film and photography. “The Horse in Motion” (1878) was a famous photographic series using an early movie projector called the zoopraxiscope invented by Eadweard Muybridge, a 19th-century photographer who understood the phenomena better than any of his contemporaries. Attempting to capture every muscle movement the horse made Muybridge fired his shutter in quick succession to discern whether horses always keep one hoof on the ground when galloping. He effectively created a very short film by using the zoopraxiscope to project the images in rapid succession.

As they conceive the look and feel of their work directors frequently look to still images and since the time of Muybridge the influence of photography on film has been undeniable. Taking photographs that owed an aesthetic debt to the famous crime photographer Weegee, director Stanley Kubrick actually got his start as a teenage press photographer. When filming the crimes scenes of the movie Dr. Strangelove (1964)Kubrick hired Weegee to take still photographs on the set since he was so captivated by Weegee’s gritty, and lurid style.

In the Library of Congress director Wes Anderson stumbled upon a series of hand-tinted travel postcards, a specific set of photographs that inspired the look of the titular hotel in The Grand Budapest Hotel (2014). Drawing inspiration from the person behind the lens, other directors have taken visual cues from a single image.

Below are 6 famous photographs that have gone on to inspire film …

Her (2013), directed by Spike Jonze.

Plotted as a love story with only one truly sentient lover and a futuristic cautionary tale doused generously with nostalgia, Her was a paradox of a film. When conceiving of his 2013 Academy Award-winning masterpiece it is no wonder that director Spike Jonze drew from photographer Todd Hido’s intriguing, enigmatic image “Untitled #2653” (2000). In the film, Scarlett Johansson voices Samantha, a scary-smart virtual assistant who Joaquin Phoenix, playing disillusioned writer Theodore Twombly, who spends his days composing intimate letters for other people, becomes infatuated with. “It feels like a memory. The mood of a day without the specifics. A memory of this girl,in this beautiful, funny forest,” was how director Jonze described the photo that inspired hi, in an interview with New York Magazine. The subdued colour scheme of Jonze’s film is a reflection of the image’s muted palette.

Theodore’s love for Samantha is implicit in the contradictions captured on a deeper level in Hido’s photograph. With her face being explicitly unavailable to us the image depicts a literal blank slate of a woman. Because of that, and just as Theodore romanticises Samantha into his lover, the viewer can project whatever they want onto her.

The Virgin Suicides (1999), directed by Sofia Coppola.

Through the eyes of young, adoring neighbours the tragic lives and deaths of five adolescent Lisbon daughters are chronicled in The Virgin Suicides, which is screenwriter and director Sofia Coppola’s beloved film, in which an intoxicating, dreamy gloom fills every frame. Aided by the ethereal look of cinematographer Ed Lachman’s work, the film has a distinctly feminine melancholia. Coppola drew inspiration from photographer Bill Owens, and she has pointed to one photograph in particular, “Our eighth-grade graduation dance was really far out” (1973), saying it was “definitely in my mind when I worked on the film.”

Right down to the twinkling cut-out stars dangling from the ceiling in the film’s homecoming dance scene the photograph shares very literal similarities to The Virgin Suicides. With her conservative white prairie dress and blonde curls the girl in the centre of the frame could easily be a Lisbon daughter. Similarly permeating the film is the awkward tenderness to the still image which emphasizes the connection between the two more so. Cinematographer Lachman said: “We wanted to really create the world of adolescence.” The girls’ fervent desire to escape their claustrophobic family life to experience something more as well as the narrators’ youthful desire to know and save the sisters evokes a feeling of wistful teenage longing in the film.

Moonlight (2016), directed by Barry Jenkins.

The life of a black queer person called Chiron coming of age in Miami is captured in Moonlight which won the Academy Aware for Best Picture in 2016. The viewer is immersed in a lush, dreamlike world in this intoxicating film in which three different actors portray the character of Chiron through three extended vignettes. Relying heavily on photographs for inspiration was how the film’s director Barry Jenkins and cinematographer James Laxton achieved this.

The work of Dutch photographer Viviane Sassen and the work of American photographer Earlie Hudnall Jr. was what the pair of film makers looked at specifically for inspiration. With images showing close moments among families, friends and neighbours, they were captivated by Hudnall’s loving, realistic depictions in these themes from within African-American communities in the 1970s south. With a remarkable sense of intimacy and empathy Moonlight tells Chiron’s story. An abstract appreciation for the human form and a deeply decadent saturated colour palette was what Jenkins and Laxton were able to draw from Sassen’s images.

“When I look at still images, my brain becomes actively engaged and I am able to picture a whole experience, a different world … photography enhances my sense of what happened just before or after the frame was captured,” sad Laxton in 2016 when explaining his fascination with photography. A scene in which the camera cuts suddenly to a close-up of Chiron’s hand digging into the sand in moments like the beach kissing scene is evidence of Laxton’s photographic approach. It’s a film brimming with honest and subjective moments such as these.

Carol (2015), directed by Todd Haynes.

For the way he simultaneously captured the grit and beauty of 1950s New York City, photographer Saul Leiter is beloved in his own right. The 2015 film Carol, which took place in Manhattan during that decade, was a work conceived by Todd Haynes conceived from the inspiration drawn from Leiter. In a society hardset against their love a young female shop-clerk and a jaded housewife start a romance. Cinematographer Ed Lachman chose to the film on 16mm film giving it the grainy, electric feel of an old-school photograph, in order to evoke the look of 1950s street photography.

While accurately portraying the chaotic forces of city life, director Haynes praised photographer Leiter’s ability to merge both street photography and abstract art. “While at times you think you're looking at an abstract painting,” he said, “it actually gives such a specific sense of time and place because of the kind of light and how it plays on glass and how it interferes with dust and dirt and grime.” By distancing the viewer from the scene, Leiter was able to obscure the object of his gaze by framing his images through plexiglass or windows, a technique that informed the directorial choice of Haynes’ film.

Nightcrawler (2014), directed by Dan Gilroy.

The photographer known as Weegee (a pseudonym for artist Arthur Fellig), became known in the 1930s as the master photographer of brutal crime scenes on the dirty, dark streets of New York. His life sounds pretty cinematic to begin with, he reportedly slept clothed next to a police radar waiting to wake up and bolt to the latest crime scene, but it was reimagined in Dan Gilroy’s debut film, Nightcrawler, about a similarly determined cameraman, Lou Boom. Played by Jake Gyllenhaal, Lou prowled the streets of Los Angeles, on the hunt for photogenic bloodshed.

Gilroy was first inspired by Weegee when he stumbled upon his book “Naked City” in 1988. The director said he “wanted to tell that story but make it contemporary.” Gilroy maintained the gritty desperation that Weegee so captivating despite using the opportunity with Nightcrawler to update Weegee’s life and his film equipment, giving Lou a digital camcorder rather than a 4 x 5 camera. The film captures the immediacy and luridness of Weegee’s work as much of the film is conveyed through Lou’s viewfinder.

Saving Private Ryan (1998), directed by Steven Spielberg.

Director Steven Spielberg sought to realistically capture the events of World War II’s D-Day through the eyes of a soldier for his wartime epic Saving Private Ryan. Spielberg consulted the photographs captured by the famous Life magazine photojournalist Robert Capa during the D-Day attacks in 1944 in building fidelity to this moment in history. While embedded with Allied soldiers during the landing in Normandy, Capa was a master war journalist, capturing images up-close and with unflinching realism. While discussing Capa as a reference for the film, cinematographer Janusz Kamiński said: “In Saving Private Ryan, I wanted to take a major Hollywood production and make it look like it was shot on 16mm by a bunch of combat cameramen.”

Importantly, Capa followed the maxim that, “If your photographs aren’t good enough, you’re not close enough.” Similarly, Spielberg did everything he could to bring the violence and paralyzing fear of war straight to the viewer, even insisting that the camera shake as a bomb went off, as if the camera itself is also experiencing the impact of the explosions.

Words by Elijah (Content Marketer) via Artsy.

[caveartfair]

6 Films Inspired by Famous Photographs, from “Moonlight” to “Her”

Dolphin, 2018. Viviane Sassen Stevenson

Photography and film have always had a sibling-like relationship. No one understood that better than 19th-century photographer Eadweard Muybridge, who invented the zoopraxiscope, an early movie projector, while creating his famous photographic series, “The Horse in Motion” (1878). To discern whether horses always keeps one hoof on the ground when galloping, Muybridge fired the shutter in quick succession, attempting to capture every muscle movement the horse made. He used the zoopraxiscope to project the images in rapid succession, effectively creating a very short film.

Since then, the influence of photography on film has been undeniable, with directors frequently looking to still images as they conceive the look and feel of their work. Director Stanley Kubrick actually got his start as a teenage press photographer, taking photographs that owed an aesthetic debt to the famous crime photographer Weegee. Kubrick was so captivated by Weegee’s gritty, lurid style that he even hired him to take still photographs on the set of of Dr. Strangelove (1964) years later, and also sought his advice when filming the movie’s crime scenes.

Similarly, the look of the titular hotel in Wes Anderson’s The Grand Budapest Hotel (2014) was partially inspired by photographs, specifically a series of hand-tinted travel postcards that Anderson stumbled upon in the Library of Congress. Other directors have taken visual cues from a single image—or have drawn inspiration from the person behind the lens. Below, we round up six films inspired by famous photographs.

Her (2013), directed by Spike Jonze

Her was a paradox of a film—a futuristic cautionary tale doused generously with nostalgia, a love story with only one truly sentient lover. It’s perhaps no wonder, then, that director Spike Jonze drew from photographer Todd Hido’s intriguing, enigmatic image Untitled #2653 (2000) when conceiving of his 2014 Academy Award–winning masterpiece. In the film, Joaquin Phoenix plays a disillusioned writer, Theodore Twombly, who spends his days composing intimate letters for other people and becomes infatuated with his scary-smart virtual assistant, Samantha, voiced by Scarlett Johansson. In an interview with New York Magazine, Jonze described the photo that inspired him: “It feels like a memory. The mood of a day without the specifics. A memory of this girl, in this beautiful, funny forest.” Indeed, the image’s muted palette is reflected in Jonze’s similarly subdued color scheme.

Untitled #2653, 2000. Todd Hido Wirtz Art

On a deeper level, Hido’s photograph captures the contradictions implicit in Theodore’s love for Samantha. The image depicts a literal blank slate of a woman, her face explicitly unavailable to us. Because of that, the viewer can project whatever they want onto her, just as Theodore romanticized Samantha into his lover.

The Virgin Suicides (1999), directed by Sofia Coppola

An intoxicating, dreamy gloom fills every frame in screenwriter and director Sofia Coppola’s beloved film, The Virgin Suicides, which chronicles the tragic lives and deaths of the five adolescent Lisbon daughters through the eyes of their young, adoring neighbors. The film has a distinctly feminine melancholia, aided by the ethereal look of cinematographer Ed Lachman’s work. Coppola drew inspiration from photographer Bill Owens, and she has pointed to one photograph in particular, Our eighth-grade graduation dance was really far out (1973), saying it was “definitely in my mind when I worked on the film.”

Our eighth-grade graduation dance was really far out, 1973. Bill Owens Etherton Gallery

The photograph shares literal similarities to The Virgin Suicides, particularly the film’s homecoming dance scene, right down to the twinkling cut-out stars dangling from the ceiling. The girl in the center of the frame, with her conservative white prairie dress and blonde curls, could easily be a Lisbon daughter. What’s more, there’s an awkward tenderness to the image that similarly permeates the film. As Lachman has said: “We want[ed] to really create the world of adolescence.” Indeed, the film evokes a feeling of wistful teenage longing—both the narrators’ youthful desire to know and save the sisters, and the girls’ equally fervent desire to escape their claustrophobic family life and experience something more.

Moonlight (2016), directed by Barry Jenkins

Moonlight, which won the Academy Award for the Best Picture of 2016, captures the life of Chiron, a black queer person coming of age in Miami. Through three extended vignettes, in which three different actors portray Chiron, the intoxicating film immerses us in a lush, dreamlike world. In order to achieve this effect, the film’sdirector Barry Jenkins and cinematographer James Laxton relied heavily on photographs for inspiration.

Codex, 2010. Viviane Sassen Atelier Néerlandais

Flipping Boy, 1983. Earlie Hudnall, Jr. Elizabeth Houston Gallery

The pair looked specifically to the work of American photographer Earlie Hudnall Jr. and Dutch photographer Viviane Sassen. They were captivated by Hudnall’s loving, realistic depictions of African-American communities in the south from the 1970s and on, with images showing close moments among families, friends and neighbors. Similarly, Moonlight tells Chiron’s story with a remarkable sense of intimacy and empathy. From Sassen, Jenkins and Laxton drew a decadent, deeply saturated color palette and an abstract appreciation for the human form.

In 2016, Laxton explained his fascination with photography, saying, “When I look at still images, my brain becomes actively engaged and I am able to picture a whole experience, a different world…photography enhances my sense of what happened just before or after the frame was captured.” Laxton’s photographic approach is evident in moments like the iconic beach kissing scene, in which the camera cuts suddenly to a close-up of Chiron’s hand digging into the sand. It’s a subjective, honest moment in a film brimming with them.

Carol (2015), directed by Todd Haynes

Photographer Saul Leiter is beloved in his own right for the way he simultaneously captured the grit and beauty of 1950s New York City. It’s no wonder, then, that director Todd Haynes looked to Leiter’s workwhen conceiving of his 2015 film Carol, which took place in Manhattan during that decade. In the film, a young female shop-clerk and a jaded housewife start a romance in a society hardset against their love.In order to evoke the look of 1950s street photography, cinematographer Ed Lachman chose to shoot the film on 16mm film, giving it the grainy, electric feel of an old-school photograph.

Don't Walk, 1952. Saul Leiter Howard Greenberg Gallery

San Genaro, 1958. Saul Leiter Howard Greenberg Gallery

Haynes praised Leiter’s ability to merge street photography and abstract art, all while accurately portraying the chaotic forces of city life. “While at times you think you're looking at an abstract painting,” he said, “it actually gives such a specific sense of time and place because of the kind of light and how it plays on glass and how it interferes with dust and dirt and grime.” Haynes’s directorial choices were also informed by the way Leiter often framed his images through plexiglass or windows, obscuring the object of his gaze, and distancing the viewer from the scene.

Nightcrawler (2014), directed by Dan Gilroy

The photographer known as Weegee (a pseudonym for artist Arthur Fellig), became known in the 1930s as the master photographer of brutal crime scenes on the dirty, dark streets of New York. His life sounds pretty cinematic to begin with—he reportedly slept clothed next to a police radar waiting to wake up and bolt to the latest crime scene—but it was reimagined in Dan Gilroy’s debut film, Nightcrawler, about a similarly determined cameraman, Lou Boom. Played by Jake Gyllenhaal, Lou prowled the streets of Los Angeles, on the hunt for photogenic bloodshed.

In the Paddy Wagon, 1944/1993. Weegee BAM

Gilroy was first inspired by Weegee when he stumbled upon his book Naked City in 1988. The director said he “wanted to tell that story but make it contemporary.” While he found the opportunity with Nightcrawler to update Weegee’s life and his film equipment, giving Lou a digital camcorder rather than a 4 x 5 camera,he maintained the gritty desperation that made Weegee so captivating. Indeed, much of the film is conveyed through Lou’s viewfinder, capturing the immediacy and luridness of his and Weegee’s work.

Saving Private Ryan (1998), directed by Steven Spielberg

For his wartime epic, Saving Private Ryan, director Steven Spielberg sought to realistically capture the events of World War II’s D-Day through the eyes of a soldier. In building fidelity to this moment in history, Spielberg consulted the photographs captured by the famous Life magazine photojournalist Robert Capa during the D-Day attacks in 1944. Capa was a master war journalist, capturing images up-close, with unflinching realism while embedded with Allied soldiers during the landing in Normandy. While discussing Capa as a reference for the film, cinematographer Janusz Kamiński said: “In Private Ryan, I wanted to take a major Hollywood production and make it look like it was shot on 16mm by a bunch of combat cameramen.”

US troops assault Omaha Beach during the D-Day landings. Normandy, France. , 1944. Robert Capa Magnum Photos

Importantly, Capa followed the maxim that, “If your photographs aren’t good enough, you’re not close enough.” Similarly, Spielberg did everything he could to bring the violence and paralyzing fear of war straight to the viewer, even insisting that the camera shake as a bomb went off, as if the camera itself is also experiencing the impact of the explosions.

from Artsy News

[just-a-re-blog]

The Land of Milk and Honey

Tried my hand at a bit of mythological fantasy because why not?

When Namjoon left everything he knew behind to “find himself,” he never expected to come face-to-face with a girl that lived off the essence of wilderness and sunlight. He didn’t anticipate finding beauty in someone in addition to the picturesque landscape that surrounded him. He never could have predicted that he would find peace in the weeds of your hair, the valleys of your lips, and the ripples of your skin.

He had barely secluded himself for two weeks when you found him, untamed eyes staring through the wild vines stretched across his window and the mess of sun-lightened hair dangling across your face. He opened his door to ask if you were okay, and you almost ran, lithe, muscular legs extended with the threat of retreat. But curiosity and stubbornness were always your strongest weaknesses.

You didn’t speak a word when Namjoon met you. When he asked you questions, you responded with little ticks of the head that were not quite nods of affirmation or shakes of refusal. He couldn’t manage to fish a name from your mouth. Puzzled by your sudden appearance and quirky behavior, Namjoon sat down in the grass outside his door. Bugs hummed incessantly, invading his cabin and claiming tiny strips of his exposed skin as prime real estate. Eventually, you approached him, dropping to your knees among the vegetation across from him.

“What’s your name?” he tried again, smiling softly in encouragement. You stared at him blankly and your expression brought his deep laughter spilling into the air. “Not much of a conversationalist, huh? That’s okay. I haven’t heard the sound of my own voice much either these past few days.”

Your eyes roamed his clothes and face, taking in every wrinkle of his short-sleeve shirt, every stitch on the pockets of his capris, observing the way his tan skin heightened the intensity of the ivory of his teeth. He looked you over as well. You were short, your unruly reddish-brown hair cropped to a layered chin-length. Your skin was light, but it seemed to glow with something like daylight.

Suddenly, your hand darted out to grab his own. Namjoon lost his balance as you pulled him forward onto his knees and inspected his fingers carefully, turning his hand over repeatedly. He chuckled uncertainly.

“You see something you like or is something wrong?” Your eyes stayed fixed on his palms. A few minutes passed in silence as you rubbed at his skin gently. Then, just as suddenly as you sat down, you stood, backing into the treeline with such sure and confident steps, Namjoon was certain you had eyes in the back of your head. “Where are you going?” he called after you. You tilted your head and blinked slowly, and Namjoon took the opportunity to rise with his hands held out in reassuring peace. “You don’t have to leave. You can stay here and...I don’t know, eat something, if you want. Do you want to come in?” You lowered your head in a sort of bow and disappeared into the foliage.

Namjoon rubbed at his head, completely unsure of what to make of the interaction that just transpired. He turned to walk back inside with a backwards glance over his shoulder. In the hand that you had cradled, a feeling of warmth still lingered in his fingertips.

From that moment on, every time Namjoon saw you, there was always a little less apprehension in your expression and a lot more confusion in his own. Your clothes didn’t change; the short dress you wore made of some silky, earth-colored fabric that seemed like an extension of you still danced with your every move. Your silence didn’t change. Namjoon would chatter idly in a soft voice when you visited his cabin, but you never responded beyond a few nods. Most importantly, your behavior never changed. He started to wait outside in the early afternoon in anticipation of you taking your seat increasingly close to him before spreading out his fingers against your own. And you arrived like clockwork each day to do exactly that.

Namjoon was entranced by the pigment of your irises--various shades and tints of dry prairie grass greens playing off one another; he let you spend hours tracing the patterns in the lines of his palms so that he could keep staring into them. Some days you ran your thumbs along the veins winding their ways from the backs of his hands across the expanses of his forearms, and your feather-light touches sent his pulse thrumming faster through the vessels at your fingertips.

He didn’t understand what you were doing or why you had the effect on him that you did, but he quickly learned not to question it. You had a purpose that was lost on him, barely translated in your small motions. To be completely honest, he wasn’t even sure if you carried any sort of friendly affection for him or if he was just a being you observed for some twisted research process. But he let you proceed anyway because of the pleasant tingling that buzzed in his head and hands every time you approached.

Finally, in a moment of Twilight-style bravery, Namjoon confronted you.

“You’re not human, are you?” Your eyes widened, fingers going stiff against his palms. “It’s okay,” he said sincerely, deep voice a gentle whisper. “Really, it’s okay. I won’t run away. And I won’t tell anyone either.”

Your hand was a blur as you reached out to cup the back of his neck, pulling his face inches from yours. He could feel your breath skimming across his lips; even from a distance, you tasted like sweet sap and honey. You searched his eyes intently, expression a cross between cold threat and desperate hope. Finally you pulled away and sat back on your heels.

Namjoon stayed frozen for a few moments, some tangible effect of your proximity lingering in the air. “I-I’ll…” he stammered, “I’ll take that as a no, I guess.” For the first time, you gave him a small smile. You bared no teeth, but the sight still warmed something in Namjoon’s chest. The last of his shock wore off and he returned the gesture.

“So,” he laughed. “Now that we’ve determined that you are not human, I’d rather like to determine what exactly you are.” You tilted your head curiously, eyes narrowing in challenge. “Sprite?” he ventured. You shrugged dismissively. “Oh, so you do understand me?” He wagged a finger in mock disapproval, winking playfully. Your mouth spread in another close-lipped smile. Namjoon was delighted to have made such grand strides in communicating with you in just one day. “What about...a fairy?” You wrinkled your nose in disgust, shaking your head vigorously. His laugh reverberated through the clearing. “Okay, definitely not a fairy. Can you give me a hint?” You parted then, standing and walking backwards into the trees as was customary at the end of your interactions with Namjoon. Your fingers lingered on the rough bark as you affectionately traced a wooden swirl. “Is that my hint?” You nodded before disappearing.

Namjoon combed through endless volumes of anthologies about mythological creatures. After weeks of research, and after witnessing the fainting spell that occurred when he walked with you a mile down the road towards the nearest town, he decided you had to be a nymph, bound to the life force of a tree deep in the heart of the forest.

His thoroughness was rewarded, your eyes lighting up in astonished pleasure when he told you his conclusion. You became far less guarded after that, though the two of you still spoke only silent words. Your smile began to show hints of white teeth and you interacted with him beyond the simple hand rituals your relationship used to revolve around. He reveled in having you as a docent to show him the hollowed out trunks of old sequoias where your tiny animal friends lived and the canopies of leaves you could effortlessly roost yourself among. Once or twice you pulled him into the low branches to lay your head against his chest and listen to the way the beat echoed the calls of woodland birds.

But each night, you leaving became more and more unbearable, something in him feeling not quite whole without your electric fingers pulsing verdant life into his body. One morning as he waited for you outside the door, he found himself unable to catch his breath, heart loping awkwardly beneath his bones as his knees gave out. You were in the grass beside him in an instant, and his body returned to normal just as quickly once your skin found his.

“What have you done to me?” he half-laughed. “I only feel good around you now.” There was a glimmering spark in your irises at his words. You took his face in your hands and gently locked your lips with his. Warmth bloomed in his cheeks and radiated down to his feet. His head spun at the taste of sunshine and carnations. When you pulled away, the oxygen vanished from his lungs with a soft sigh before his vision went black and he collapsed into your arms. You smiled down affectionately and hoisted Namjoon over your shoulder for the journey home.

He opened his eyes for a moment and found himself being carried through the arched branches of hazelnut trees. When he woke up for good--safely on the ground, vision clearing and sharpening slowly--he sat up to take in the most beautiful valley he had ever seen: birds swooping low over bushy fig trees rooted among trilliums, Virginia bluebells, spring beauties, and irises.

And framed by brush and periwinkle mountains, you stood in the center of it all. You crouched before him and brushed a few strands of faded blond hair off his forehead. He looked down when your palm rested lightly on his chest.

“Careful,” he joked. “Don’t want me to pass out again, do you?” But there was no trace of humor in your face--only apprehension. “Hey, what’s wrong? I’m okay. Really.”

You pointed to a grand tree behind him and then to yourself, holding out your other hand. He stared at you in confusion. You stood and gestured for him to mirror you. Your walk was full of confident grace, but he followed you with much less elegance. When you reached the huge olive tree, you tried again to explain your thoughts.

You peeled away a piece of bark with impossible ease and golden sap oozed from the exposed wound. Your hand cupped underneath it and you brought the liquid up to eye level. You made a motion like drinking, pointed at him and then stepped incredibly close to him, linking your fingers. Namjoon shivered involuntarily. He watched as you then backed up and gestured like you were drinking the sap again. You pointed at the archway of trees that led out of the forest and shook your head.

“Oh,” Namjoon said quietly, finally understanding. “So...if I...if I drink that, I can stay with you?” You nodded. “But it means I can never go back? Is that right?” You nodded again, your eyes consumed with a fear he had never seen in you. “If I leave...does it mean I can’t see you anymore?” You gazed at the grass between your toes. “Why?” Namjoon asked defiantly. “We’ve been seeing each other like this for months now. Why do things have to change?” But he knew it had something to do with how much of your power had rubbed off on him, something to do with a law of myth and magic that it was useless to question.

You stepped to the edge of the tree’s shadow, quiet isolation enveloping your movement, your expression, and your figure. His eyes roamed your body, watching the way the dappled light played off the curve of your radiant skin and the soft hue of your prairie grass eyes. He briefly looked back towards the hazelnut branches that led back to his cabin, back towards civilization and all the things he left behind to find peace. Without another second of hesitation, he fell to his knees and let the sap pool in his cupped hands.

It tasted like your lips.

“Namjoon!” you sang happily, your hair dangling in his face as you hung by your knees from a branch. He tapped your nose and grinned.

“Yes, my love?”

“Come sit with me!” You flashed a brilliant smile, teeth sparkling in harmony with your delicate voice. He swung himself into the tree, and for what felt like the thousandth time, thanked the heavens that his abilities were the same as yours now. You scampered higher into the foliage, daring him to catch you. He chased you to the top of the canopy, his deep laugh stirring birds from their nests.

You rested against his shoulder with a contented sigh and looked out over the forest.

“Namjoon?” He hummed in response. “Are you glad you picked this?”

He took in the slopes of the landscape and the colors of the groves before smiling at the shape of your face and the shades of your dress. He grabbed your hand and absently traced the lines of your palm.

“What do you think?”

[dallascraigslistfraudblog]

2008 Nissan Altima (Grand Prairie) $4500

SUPER CLEAN 2008 Nissan Altima special edition, 152k 6 SPEED MANUAL transmission!! Special order super fast, hard loaded Navigation, cruise, sunroof new tires, tinted windows, spoiler, flawless black leather interior, Bose stereo, clean Texas title t ... from Craigslist https://dallas.craigslist.org/mdf/cto/d/grand-prairie-2008-nissan-altima/6836599579.html Fraud Bloggs made possible by: http://circuitgenie.wix.com/techsupport

[asktheexpertsco-blog]

Grande Prairie on Glass Tinting and Paint Protection - Dale Stevenson

Decorative Window Film

Get Creative with Decorative Window Film Decorative window film turns nearly any smooth glass surface – walls, windows, partitions, desktops, doors, panels bordering elevators and escalators – into a blank canvas. And it serves as much more than a retrofit solution for existing buildings; it's a design tool that can be used to achieve the desired look, evoke desired emotions or convey a specific message. It offers all the benefits of etched or decorative glass, but without the potential problems and added costs: special maintenance, high manufacturing and shipping expenses, inordinate labor charges, long lead times and potential inability to recycle. The decorative film lets you add your style to glass in your projects that make them uniquely yours.

Decorative window film serves many functional and aesthetic purposes:

•               Control light transmission

•               Enhance visual appeal

•               Improve visibility of glass to help improve safety

•               Help hold glass together in the event of breakage

•               Convey a message

•               Partition and separation

•               Privacy

•               Wayfinding

For more info check out northamerica.llumar.com

[everlastingwindows]

The Benefits of Getting New Windows in Grand Prairie Tx

  Texas is all about maximizing resources which is good for consumers and the state as a whole. As a deregulated state, Texans have many opportunities to improve and upgrade their property, with some the cities offering individual incentives and programs along with an available Federal Tax Credit for certain home improvement upgrades. Both the Public Utility Commission of Texas and investor-owned electric providers aim to reduce the amount of energy used by homeowners and commercial business owners. With this kind of support, it encourages more property owners to make the decision to upgrade to new products including single or double-paned windows.

Texas’s Stand on Energy Efficient Windows

In an on-going effort to encourage homeowners and business property owners to be energy efficient, Texas incentivizes solar systems. Incentives and rebates are subject to change, renewal, or cancellation so, if you are anticipating an upgrade, replacement, or have new construction in the near future, these money-saving programs can help defray the cost.

Benefits of Upgrading Windows in Texas

If you’re interested in cutting the cost of your utility bill dramatically, new windows are the perfect place to start. Not only will you save money each month and add a new look to your property, with upgraded filters on windows such as glazing on glass or the application of plastic film, you’ll also avoid hot spots during the summer. These uncomfortable hot spots can cause your air conditioner to work harder by as much as two to three times its normal usage according to the Texas Home Energy Rating Organization. These types of windows also decrease the problem of too much direct sunlight that cause fading in furniture, drapes, silk flower arrangements and carpets.

When it comes to the performance of your heating and cooling system, new windows have a direct effect. With protected windows filtering the sun’s ultraviolet rays, the air conditioning system does not need to work as hard, or as often, to cool your home.

For the best views, new glazing techniques provide better clarity, eliminating the need for tinted film products. New windows also reduce the chance of mold, mildew, and structural damage due to moisture build-up.

Benefits to the Environment When Installing New Windows

The main benefit of new single or double-paned windows is to the environment by requiring less home energy use. Not will this save you money each month in utility costs, it also means a reduction in harmful greenhouse gases that directly improves the air we breathe, less dependence on fossil fuels, less need for expensive power plants, and a lesser need for importing foreign oil.

Types of Window Frames Suitable for Texas

To get the most out of single or double-paned windows, it’s important to choose the right design and type of window for your property, and what energy performance rate is necessary for your area.

Next, choose a frame. Some are more energy-friendly than others. Before buying window frames, read the information available at Energy.gov for a breakdown of frames and glazing options. On the website, you’ll find information covering the pros and cons about the following types of frames and glazing.

Frames:

Metal or Aluminum

Fiberglass

Vinyl

Wood

With new windows properly installed, you’ll maximize your monthly savings through a decrease in cooling, heating and lighting costs.

  For more information, contact our local expert online

Or Call us at (214) 717-6870

http://everlastingwindows.com/grand-prairie-tx

    (Source : Modernize)

The post The Benefits of Getting New Windows in Grand Prairie Tx appeared first on Everlasting Windows.

[rocknutsvibe]

A Perfect Circle Announce Spring Tour, Begin Work On New LP

A Perfect Circle will trek across North America this Spring in the outfit’s first tour since 2011, with the month long outing kicking off at The Pearl in Las Vegas (April 7 and 8).

The band previously announced a May 7 performance at the Hollywood Bowl as well as a trio of festival dates: Welcome to Rockville (April 29), Fort Rock (April 30) and Carolina Rebellion (May 5).

The tour news arrives as the band begins work on their first new album since 2004’s eMOTIVe. “Getting back to writing music with A Perfect Circle is a great way to start the new year,” APC co-founder and guitar player Billy Howerdel said.

A Perfect Circle’s current line-up is Maynard James Keenan (Tool, Puscifer), Billy Howerdel (Ashes Divide), James Iha (Tinted Windows, ex-Smashing Pumpkins), Jeff Friedl (Puscifer, The Beta Machine) and Matt McJunkins (Eagles of Death Metal, The Beta Machine).

Tour dates:

April 7 & 8 Las Vegas, NV The Pearl April 10 Phoenix, AZ Comerica Theatre April 11 San Diego, CA Open Air Theatre April 13 San Francisco Bill Graham Civic April 14 Reno, NV Reno Event Center April 15 Salt Lake City Maverik Center April 17 Denver, CO 1st Bank Center April 19 Kansas City, MO Starlight Amphitheatre April 20 St. Louis, MO Chafietz Arena April 22 Tulsa, OK BOK Center April 23 Grand Prairie, TX Verizon Theatre April 25 Austin, TX HEB Center at Cedar Park April 26 San Antonio, TX Freeman Coliseum April 27 Houston, TX Smart Financial Center April 29 Jacksonville, FL Welcome to Rockville April 30 Ft. Myers, FL Fort Rock Festival May 2 Atlanta, GA Verizon Wireless Amphitheatre May 3 Nashville, TN Bridgestone Arena May 5 Charlotte, NC Carolina Rebellion May 7 Los Angeles, CA Hollywood Bowl

from Rocknuts http://ift.tt/2jkUaYY via IFTTT

[autoglass01]

Auto Glass Repair Cost in Grand Prairie | Autoglassgrandprairie.com

Looking for auto glass repair at a convenient cost in Grand Prairie? Autoglassgrandprairie.com offer a full line of auto glass services, including windshield replacement, chip repair, and window tinting. Our experienced team is committed to quality service and always strives to provide the best customer experience possible. Visit our website for more details.

auto glass repair cost in grand prairie

[autoglass01]

Searching for auto glass repair in Grand Prairie? Autoglassgrandprairie.com offer a full line of auto glass services, including windshield replacement, chip repair, and window tinting. Our experienced team is committed to quality service and always strives to provide the best customer experience possible. Visit our website for more details.

[dallascraigslistfraudblog]

2008 Nissan Altima (Grand Prairie) $4500

SUPER CLEAN 2008 Nissan Altima special edition, 152k 6 SPEED MANUAL transmission!! Special order super fast, hard loaded Navigation, cruise, sunroof new tires, tinted windows, spoiler, flawless black leather interior, Bose stereo, clean Texas title t ... from Craigslist https://dallas.craigslist.org/mdf/cto/d/grand-prairie-2008-nissan-altima/6836599579.html Fraud Bloggs made possible by: http://circuitgenie.wix.com/techsupport

[dallascraigslistfraudblog]

2008 Nissan Altima (Grand Prairie) $4500

SUPER CLEAN 2008 Nissan Altima special edition, 152k 6 SPEED MANUAL transmission!! Special order super fast, hard loaded Navigation, cruise, sunroof new tires, tinted windows, spoiler, flawless black leather interior, Bose stereo, clean Texas title t ... from Craigslist https://dallas.craigslist.org/mdf/cto/d/grand-prairie-2008-nissan-altima/6836599579.html Fraud Bloggs made possible by: http://circuitgenie.wix.com/techsupport

[everlastingwindows]

The Benefits of Getting New Windows in Grand Prairie Tx

  Texas is all about maximizing resources which is good for consumers and the state as a whole. As a deregulated state, Texans have many opportunities to improve and upgrade their property, with some the cities offering individual incentives and programs along with an available Federal Tax Credit for certain home improvement upgrades. Both the Public Utility Commission of Texas and investor-owned electric providers aim to reduce the amount of energy used by homeowners and commercial business owners. With this kind of support, it encourages more property owners to make the decision to upgrade to new products including single or double-paned windows.

Texas’s Stand on Energy Efficient Windows

In an on-going effort to encourage homeowners and business property owners to be energy efficient, Texas incentivizes solar systems. Incentives and rebates are subject to change, renewal, or cancellation so, if you are anticipating an upgrade, replacement, or have new construction in the near future, these money-saving programs can help defray the cost.

Benefits of Upgrading Windows in Texas

If you’re interested in cutting the cost of your utility bill dramatically, new windows are the perfect place to start. Not only will you save money each month and add a new look to your property, with upgraded filters on windows such as glazing on glass or the application of plastic film, you’ll also avoid hot spots during the summer. These uncomfortable hot spots can cause your air conditioner to work harder by as much as two to three times its normal usage according to the Texas Home Energy Rating Organization. These types of windows also decrease the problem of too much direct sunlight that cause fading in furniture, drapes, silk flower arrangements and carpets.

When it comes to the performance of your heating and cooling system, new windows have a direct effect. With protected windows filtering the sun’s ultraviolet rays, the air conditioning system does not need to work as hard, or as often, to cool your home.

For the best views, new glazing techniques provide better clarity, eliminating the need for tinted film products. New windows also reduce the chance of mold, mildew, and structural damage due to moisture build-up.

Benefits to the Environment When Installing New Windows

The main benefit of new single or double-paned windows is to the environment by requiring less home energy use. Not will this save you money each month in utility costs, it also means a reduction in harmful greenhouse gases that directly improves the air we breathe, less dependence on fossil fuels, less need for expensive power plants, and a lesser need for importing foreign oil.

Types of Window Frames Suitable for Texas

To get the most out of single or double-paned windows, it’s important to choose the right design and type of window for your property, and what energy performance rate is necessary for your area.

Next, choose a frame. Some are more energy-friendly than others. Before buying window frames, read the information available at Energy.gov for a breakdown of frames and glazing options. On the website, you’ll find information covering the pros and cons about the following types of frames and glazing.

Frames:

Metal or Aluminum

Fiberglass

Vinyl

Wood

With new windows properly installed, you’ll maximize your monthly savings through a decrease in cooling, heating and lighting costs.

  For more information, contact our local expert online

Or Call us at (214) 717-6870

http://ift.tt/2x0LHmX

    (Source : Modernize)

The post The Benefits of Getting New Windows in Grand Prairie Tx appeared first on Everlasting Windows.

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