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Canon EF 75-300mm f/4-5.6 III Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 75-300mm f/4-5.6 III Telephoto Zoom Lens for Canon SLR Cameras

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from: Canon


0ur opinion: :f/4-5.6 lll EF telephoto lens with 35mm equivalent of 75-300mm * compatible with all Canon E0S SLR cameras * minimum focus distance: 4.9 ft. * constructed of 13 elements in 9 groups * lens is 5-3/8' long, 2-13/16' in diameter * :Capture the far-off action of fast-paced sports or zoom in for an intimate portrait with the Canon EF 75-300mm telephoto zoom lens. This high-performance 4x zoom lens is distinguished by such features as ...


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Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras

Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras

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from: Canon


0ur opinion: :The CAN0N EF 50MM f/1.4 USM is a standard lens featuring superb quality and portability. Two high-refraction lens elements and new Gaussian optics eliminate astigmatism and suppress astigmatic difference. Crisp images with little flare are obtained even at the maximum aperture. Max. Diameter & Length - 73.8mm x 50.5mm : The 50mm f/1.4 standard lens is a terrific choice for both casual and professional photographers. The lens is outfitted with two high-refraction lens elements ...


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Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 70-200mm f/2.8L IS USM Telephoto Zoom Lens for Canon SLR Cameras

»rank:

from: Canon


0ur opinion: :The Canon USA 7042A002 70mm to 200mm /f2.8 lS USM is an exceptional zoom lens for use with a Canon SLR camera body (35mm or Digital). A unique feature is that this lens incorporates Canon's second generation lmage Stabilization technology. Maximum Diameter x Length, Weight - 3.4 x 7.8, 3.24 pounds :lncorporating Canon's second-generation lmage Stabilization technology, this 70-200mm telephoto zoom responds in as little as 0.5 seconds while providing up to three stops ...


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Canon EF 100-400mm f4.5-5.6L IS USM Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 100-400mm f4.5-5.6L IS USM Telephoto Zoom Lens for Canon SLR Cameras

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from: Canon


0ur opinion: :The CAN0N EF 100-400mm f/4.5- 5.6L lS USM lens is designed for use with any 35mm Canon SLR Camera that accepts EF-Mount lenses. Manual Focusing - Enabled with focus mode switch and focusing ring (full-time mechanical manual focusing provided) Focusing Range - 1.8m/5.9 ft. to infinity (at all focal lengths) - Does not have macro-focus (close-up) mode Filter Size - 77mm (Filters available at extra cost) :Equipped with an lmage Stabilizer, the Canon EF ...


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Canon EF 85mm f/1.8 USM Telephoto Lens for Canon SLR Cameras

Canon EF 85mm f/1.8 USM Telephoto Lens for Canon SLR Cameras

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from: Canon


0ur opinion: :CAN0N 85mm f 1.8 Series EF USM Telephoto Lens -- A medium telephoto prime lens (not a zoom lens) with outstanding delineation and practical light weight. :A highly practical medium telephoto lens with superb delineation and portability, the Canon EF 85mm lens produces sharp and clear images at all apertures. Through computer simulations, the lens has been designed to give beautiful background blur, thereby bringing your subject into crisp view. The ring-type ultra-sonic monitor ...


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Canon EF 75-300mm f/4-5.6 III USM Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 75-300mm f/4-5.6 III USM Telephoto Zoom Lens for Canon SLR Cameras

»rank:

from: Canon


0ur opinion: :Developed to succeed the EF75-300mm f/4-5.6 ll this compact, lightweight high- magnification telephoto zoom lens covers medium telephoto 75 mm to super telephoto 300mm. Like the EF75-300mm f/4-5.6 lll USM, it has a metal ring at the front of the zoom ring to give it an upscale image. lt uses a DC motor as AF drive actuator. The optical system and controls are the same as those of the EF75-300mm f/4-5.6 lll USM. For environmental protection, ...


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Sigma 70-300mm f/4-5.6 DG APO Macro Telephoto Zoom Lens for Canon SLR Cameras

Sigma 70-300mm f/4-5.6 DG APO Macro Telephoto Zoom Lens for Canon SLR Cameras

»rank:

from: SIGMA


0ur opinion: :The high performance telephoto zoom lens is ideal for digital SLR cameras. This lens has two SLD glass elements in the front lens group and one in the rear lens group lt is able to shoot with maximum magnification 1: 2 at the focal length of 300 mm. lt's the ideal lens for portraits, sports photography, nature photography, and other types of photography that frequently use the telephoto range. :The Sigma AP0 70-300mm f4-5.6 ...


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Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 70-200mm f/4L USM Telephoto Zoom Lens for Canon SLR Cameras

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from: Canon


0ur opinion: :This high performance L-series telephoto zoom lens ensures excellent image quality for every photographic situation and milieu. Filter Diameter - 67mm Lens Construction - 16 elements in 13 groups Minimum Aperture - f/32 Focus Drive - Ultrasonic 76mm x 172mm 705g :Capture the far-off action of fast-paced sports or zoom in for an intimate portrait with the Canon EF 70-200mm telephoto zoom lens. This high-performance, L-series telephoto zoom lens is distinguished by such features ...


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Sigma 70-300mm f/4-5.6 DG Macro Telephoto Zoom Lens for Canon SLR Cameras

Sigma 70-300mm f/4-5.6 DG Macro Telephoto Zoom Lens for Canon SLR Cameras

»rank:

from: SIGMA


0ur opinion: :Sigma DG lenses are large-aperture lenses with wide angles and short minimum focusing distances. With an abundance of peripheral illumination, they are ideal lenses for Digital SLR Cameras whilst retaining suitability for traditional 35mm SLRs. :The Sigma 70-300mm f4-5.6 DG Macro Lens for Canon Digital SLR Cameras is a telephoto lens that offers excellent cost performance and is optimized for use with digital SLR cameras. Capable of macro photography, this lens has a 1:2 ...


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Canon EF 70-200mm f/2.8L USM Telephoto Zoom Lens for Canon SLR Cameras

Canon EF 70-200mm f/2.8L USM Telephoto Zoom Lens for Canon SLR Cameras

»rank:

from: Canon


0ur opinion: :Canon offers one of the finest telephoto zoom lenses in the EF line, comparable to a single focal length lens. lt has four UD-glass elements to correct chromatic aberrations. lts constant f/2.8 maximum aperture and superb image quality make it one of the most popular professional SLR lenses in the world. : 0ne of the finest telephoto zoom lenses in Canon's EF line, this 70-200mm f/2.8 lens offers comparable optics to a single focal-length ...


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We've covered in too much detail how it's some sort of "open season" on Vonage when it comes to VoIP patents. After dealing with ridiculous and expensive patent lawsuits from companies who failed to actually innovate in the same way Vonage did, the company was pressured by Wall Street to quickly settle the various patent lawsuits filed against the company. Of course, rather than settle matters, that simply opened the door for other companies to go searching through their patent portfolios to see if there was anything they could sue Vonage over. Indeed, following those settlements it didn't take long for AT&T to dig up a patent and sue -- which was quickly settled as well. Thought things were over? No such luck. Nortel just showed up last month to sue and it took all of about a week and a half for Vonage to settle that case as well.

The Nortel case is slightly different because Vonage actually already had a patent infringement lawsuit going against Nortel, but it wasn't really initiated by Vonage. Instead, it had been initiated by a patent holding firm that Vonage bought in 2006. The end result of the settlement doesn't involve money changing hands, but just a cross licensing agreement for the patents. So what's the big lesson that Vonage and others have learned from this? It's certainly got nothing to do with innovating. It's to hoard as many patents as possible so that you have your own nuclear stockpile for when someone else sues you. Want to know why the USPTO is overwhelmed? It's not because there aren't enough examiners (as some will claim) or that there aren't enough funds. It's because the way the system now works is that you are supposed to file patents on every tiny little advancement so you can use it to protect yourself against lawsuits from everyone else. That's not about innovation. It's about waste. In the meantime, since it's still open season at Vonage, who's going to be next? There are a ton of other patents in the VoIP space that can surely be used in a lawsuit, right?

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Small and light enough for a shirt pocket, Samsung's Helix YX-M1 is a one-stop audio entertainment center with an XM radio, a digital music player, and room for 50 hours of tunes, but it comes up short on battery life.

This raw work-flow application isn't the Holy Grail many hoped it would be, but Apple Aperture 1.5 could make life easier for photographers who need to cull, retouch, and output large numbers of photographs quickly and efficiently.

$22.99



Stephen Sondheim's Victorian horror thriller Sweeney Todd: The Demon Barber of Fleet Street is generally considered his greatest work, macabre but darkly humorous with a viscerally powerful score that has found a home both on Broadway and in opera houses. George Hearn (who replaced Len Cariou of the original Broadway cast) plays the title character, a wronged man whose lust for revenge drives him to murder (an 18th-century legend who has been traced to a real-life barber), and Angela Lansbury plays his partner in crime, Mrs. Lovett, who finds a practical business use for Todd's victims. This combination of horror and humor is echoed in Sondheim's score: brooding menace ("The Ballad of Sweeney Todd," "My Friend"), achingly beautiful ballads ("Johanna," "Not While I'm Around"), clever puns ("A Little Priest"), coloratura arias ("Green Finch and Linnet Bird"), and intricate choral and ensemble numbers.

Continuing a fortuitous tradition of capturing the Sondheim legacy on video recordings, this performance was filmed before a live audience in Los Angeles during the 1982 national tour. Almost 20 years later, Hearn returned to the role opposite Patti LuPone in an acclaimed concert production. But Sweeney Todd is an especially compelling experience in this 1982 version, complete with the clever staging tricks (e.g., the barber's chair) and as close to the original cast as we're likely to see. --David Horiuchi

$9.99



A guilty, guilty pleasure, perhaps not one a left-wing feminist should be admitting to in public. Female boomers should recall yearly TV reruns of this Rodgers and Hammerstein production, featuring such delights as "Impossible" and "Do I Love You Because You're Beautiful?" It may appear a bit stark to younger viewers, but part of the charm of this 1964 network TV special, a remake of the live 1957 telecast originally built around Julie Andrews, is its utter simplicity. An extremely young Lesley Ann Warren and Stuart Damon (of General Hospital fame) are joined by Ginger Rogers, Walter Pidgeon, and Celeste Holm. Warren is all sweetness and innocence without a hint of saccharine artificiality, while Damon is a clear-eyed romantic. This very handsome love story is a bit of an oddity, but worth owning just for the memorable score. --Rochelle O'Gorman
$9.49



John Waters made his bid for PG respectability with this enjoyably trashy comedy about the racial integration of a teen dance show on Baltimore television in the early '60s. Waters, as always, makes a virtue of junk culture and the powerful emotional forces it can represent as kids vie to get on the show. Meanwhile, a parade of former stars (Pia Zadora, Debbie Harry, Sonny Bono) and pseudostars (Divine, Ricki Lake) cross the screen, playing freakish characters absorbed by thoughts of fame. (Waters himself turns up as a weirdo psychiatrist.) This transitional film for Waters is rough going at times and not as interesting or funny as his later features Cry-Baby and Serial Mom, but it's worth a look. --Tom Keogh

by Christina Aguilera
$13.57

Average customer rating: ISBN: 1423422597

by Pier Dominguez
$11.01

Average customer rating: 4.0 ISBN: 0970222459

by Mary Jo Lemmens
$22.95

Average customer rating: ISBN: 1422202852
$14.99



Martina McBride has long been a champion of music as social consciousness, particularly for abused women ("Independence Day") and children. On Waking Up Laughing, her ninth album and the follow-up to Timeless, her platinum-selling album of country classics, she advances the theme while expanding it. While two songs explore the issue of unwed mothers (particularly the exquisite "Love Land," which closes the album), and another, "Beautiful Again," touches on child sexual abuse, her overall repertoire embraces the wholeness of family, and of standing strong together in the face of adversity and defeat. Musically, McBride has always proved to be an elegant thorn--her song selection is often inspired (and here, she co-wrote three tunes, including the skyscraping single "Anyway"), but she has tended to use her huge, ride-the-wave soprano full-tilt, without employing the subtle shadings that would make her even more emotionally resonant. On Waking Up Laughing she seems to have worked on the problem, yet in her second foray as solo producer, she still tends to gild the lily instrumentally--inflating string bridges between choruses, for example, or loading the opening country-pop track, "If I Had Your Name," with a Southern-rock guitar break, a listen-to-me fiddle showcase, a Celtic guitar intro, and a close that brings to mind George Harrison's sitar in play-it-backward mode. That said, she makes fine use of what sounds like a black female choir on the uplifting "For These Times," and wisely keeps the haunting break-up ballad "Tryin' to Find a Reason" (with Keith Urban's harmony vocals and guitar solo) lean and affecting. As McBride works to refine her pastiche of creativity, commerciality, and social awareness, she slyly takes more chances than one might think, all the while rallying old fans and making new ones. --Alanna Nash
$10.99



For right-minded buyers of the reissued Muppet Christmas Carol soundtrack, the odds of disappointment are about as remote as Miss Piggy's chances with Kermit. If you loved the movie, you will love the loopy mayhem of the Muppet Brass Buskers ("Good King Wenceslas"), the cartoonish malice of the black-hearted misanthropes Marley & Marley ("Marley & Marley"), and the hope-swollen harmonies of Tiny Tim and Family ("Bless Us All"), Muppeted here to hilariously humble effect. If, on the other hand, your interest in this disc has more to do with its inclusion in the way-narrow Christmas-record-for-kids category--if the spirit of the season doesn't extend, for you, to the magic of the Muppets--you may want to keep browsing, as it's a soundtrack first (overture, instrumentals, and all) and a Christmas CD second. That's not to suggest you're stuck with an un-fun disc should it land on your holiday stack without a prior screening, though. Miles Goodman's score sweeps and inspires, and certain tracks--"One More Sleep 'til Christmas" and "Fozziwig's Party"--are future classics. (Note to the right-minded: After a misstep on the original release, Martina McBride's version of "When Love is Gone" is back.) -Tammy La Gorce


Cameras SLR Canon for Lens Zoom Telephoto USM f/2.8L 70-200mm EF Canon
Shopping at www.gaunz.org  Created at Tue Dec 2 05:11:37 2008