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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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My latest video now, Material Studies part #1, part #2 will be coming soon, probably sunday, I hope you like it everyone, please love and engage with the video it gives me motivation to do more!
Thank you everyone!
Lines & Objects
What comes to your mind when you see a simple line in front of you? Too abstract, right?
Well, what do you say when I show you this photo. The same line, but with much more information.
Sometimes without noticing it, our eyes become attached to a certain point in the photo and all our attention is concentrated on this particular area. All because of the composition and the constant desire of man to balance and harmony. It is these rules what we can see in many works of art, and modern methods of visualization.
The unspoken rules of the guiding lines arise from the rules of compositional balance known as 1/3 and the rule of the "Golden Section". Also known as the Fibonacci numbers, all of you are familiar with these rules and we all try to follow them when creating any composition. These lines create a so-called focal element. It allows the observer to not glance in search of the main thing on the image, but guide lines help us to find in it the main element of the action. Yes, contrast and color, depth of field (DOF), it all works just as well for make attention and its widely used. But with the guides it makes less aggressive and forced.
What draws our attention in portrait photography? These are eyes, eyes a very strong emotional tool, sometimes just a glance is enough to understand a person's emotion. By the way, for this reason the eyes in the anime draw so big. We do not consciously watch the eyes of the actors on the screen when watching a movie. Where and what they are looking at. Β Emotions are one of the most important aspects of communication, and the lines and their turn are direct pointers to important objects in the frame. For the viewer, human-to-human communication is always necessary, which is why adding a person to any human on photo, even if it is a barely visible figure, the frame acquires a completely different meaning and begins to be perceived differently. This is used in the cinema as more often as in photography.
An excellent example is the works of such directors as Joseph Kosinski Stanley Kubrick and Wes Anderson, where the lines and compositions created by them are a constant tool to attract the viewer's attention.
This reception can be observed in scenes and other famous directors. By the way, Kosinski is an architect and at the same time he took place as a great director. I advise you to review his films in a new way by looking at the construction of scenes in terms of architecture and compositional balance.
I will also give an example of a shot of Annie Leibovitz for whose works in my opinion are the masterpiece of using lines for arranging objects in a photo.
Our brain is so fond of complicating things that the simple rule of 1/3 is not enough for us and that's what happens next.
And this is only a small part in fact there are more and more Β lines in almost every artistically created image. But none of them means nothing, if its goal is not to focus on a particular object in the frame. That is why balance is so important in building a composition.
At some point I came to the conclusion that my vision of building a frame is rather strongly connected with the cinematic representation of the frame. The so-called βscene-pauseβ is such a moment where there is a lot of information on the screen so that it would take more time for its perception than for an ordinary frame. That is why the viewer is given this opportunity. Telling him where to look with all the same lines. That is what appeals to me in photography. The ability to focus the viewer's attention on a particular object and direct the view to the object which I, at the time of the shooting, considered as the accent of the whole composition.
These lines create an invisible grid of harmony in the frame, which makes these photos pleasant for the human eye. After all, we should not forget that humanity, like nature, strives for harmony throughout its existence. Our mind works in such a way that we always want to see all parts of the frame in relative balance and interaction with each other.
more info:Β instagram.com/izotovmaksym_film RU (translation) : Β Π§ΡΠΎ Π²Π°ΠΌ ΠΏΡΠΈΡ ΠΎΠ΄ΠΈΡ Π² Π³ΠΎΠ»ΠΎΠ²Ρ, ΠΊΠΎΠ³Π΄Π° Π²Ρ Π²ΠΈΠ΄ΠΈΡΠ΅ ΠΏΡΠΎΡΡΡΡ Π»ΠΈΠ½ΠΈΡ ΠΏΠ΅ΡΠ΅Π΄ ΡΠΎΠ±ΠΎΠΉ? Π‘Π»ΠΈΡΠΊΠΎΠΌ Π°Π±ΡΡΡΠ°ΠΊΡΠ½ΠΎ, Π΄Π°? Π₯ΠΎΡΠΎΡΠΎ, Π° ΡΡΠΎ Π²Ρ ΡΠΊΠ°ΠΆΠ΅ΡΠ΅ ΠΊΠΎΠ³Π΄Π° Ρ ΠΏΠΎΠΊΠ°ΠΆΡ Π²Π°ΠΌ ΡΡΠΎΡ ΠΊΠ°Π΄Ρ. ΠΡΠ΅ ΡΠ° ΠΆΠ΅ Π»ΠΈΠ½ΠΈΡ, Π½ΠΎ Ρ ΠΊΡΠ΄Π° Π±ΠΎΠ»ΡΡΠΈΠΌ ΠΊΠΎΠ»ΠΈΡΠ΅ΡΡΠ²ΠΎΠΌ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΈ. Β ΠΠ½ΠΎΠ³Π΄Π° ΡΠ°ΠΌΠΈ Π½Π΅ Π·Π°ΠΌΠ΅ΡΠ°Ρ ΡΡΠΎΠ³ΠΎ, Π½Π°ΡΠΈ Π³Π»Π°Π·Π° ΠΏΡΠΈΠ²ΡΠ·ΡΠ²Π°ΡΡΡΡ ΠΊ ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΠΎΠΉ ΡΠΎΡΠΊΠ΅ Π½Π° ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ ΠΈ Π²ΡΠ΅ Π½Π°ΡΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ ΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠΈΡΡΠ΅ΡΡΡ ΠΈΠΌΠ΅Π½Π½ΠΎ Π½Π° ΡΡΠΎΠΌ ΡΡΠ°ΡΡΠΊΠ΅. ΠΡΠ΅ΠΌΡ Π²ΠΈΠ½ΠΎΠΉ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡ Β ΠΈ Π½Π΅ΠΈΠ·ΠΌΠ΅Π½Π½ΠΎΠ΅ ΡΡΡΠ΅ΠΌΠ»Π΅Π½ΠΈΠ΅ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ° ΠΊ ΡΠ°Π²Π½ΠΎΠ²Π΅ΡΠΈΡ ΠΈ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ. ΠΠΌΠ΅Π½Π½ΠΎ ΡΡΠΈ ΠΏΡΠ°Π²ΠΈΠ»Π° Π·Π°Π»ΠΎΠΆΠ΅Π½Ρ Π²ΠΎ ΠΌΠ½ΠΎΠ³ΠΈΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡΡ ΠΈΡΠΊΡΡΡΡΠ²Π° ΠΈ ΠΈΠΌΠ΅Π½Π½ΠΎ ΠΈΠΌ ΠΏΠΎΠ΄ΡΠΈΠ½ΡΠ΅ΡΡΡ ΠΈ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΡΠ΅ ΡΠΏΠΎΡΠΎΠ±Ρ Π²ΠΈΠ·ΡΠ°Π»ΠΈΠ·Π°ΡΠΈΠΈ. Β ΠΠ΅Π³Π»Π°ΡΠ½ΡΠ΅ ΠΏΡΠ°Π²ΠΈΠ»Π° Π½Π°ΠΏΡΠ°Π²Π»ΡΡΡΠΈΡ Π»ΠΈΠ½ΠΈΠΉ Π²ΠΎΠ·Π½ΠΈΠΊΠ°ΡΡ ΠΈΠ· ΠΏΡΠ°Π²ΠΈΠ» ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π±Π°Π»Π°Π½ΡΠ° ΠΈΠ·Π²Π΅ΡΡΠ½ΡΡ , ΠΊΠ°ΠΊ 1\3 ΠΈ ΠΏΡΠ°Π²ΠΈΠ»ΠΎ Β«ΠΠΎΠ»ΠΎΡΠΎΠ³ΠΎ ΡΠ΅ΡΠ΅Π½ΠΈΡΒ». Π’Π°ΠΊ ΠΆΠ΅ ΠΈΠ·Π²Π΅ΡΡΠ½Ρ ΠΏΠΎΠ΄ Π½Π°Π·Π²Π°Π½ΠΈΠ΅ΠΌ Π§ΠΈΡΠ»Π° Π€ΠΈΠ±ΠΎΠ½Π°ΡΡΠΈ, Π²ΡΠ΅ΠΌ Π²Π°ΠΌ Π·Π½Π°ΠΊΠΎΠΌΡ ΡΡΠΈ ΠΏΡΠ°Π²ΠΈΠ»Π° ΠΈ Π²ΡΠ΅ ΠΌΡ ΡΡΠ°ΡΠ°Π΅ΠΌΡΡ ΠΈΡ ΠΏΡΠΈΠ΄Π΅ΡΠΆΠΈΠ²Π°ΡΡΡΡ ΠΏΡΠΈ ΡΠΎΠ·Π΄Π°Π½ΠΈΠΈ ΠΊΠ°ΠΊΠΎΠΉ Π»ΠΈΠ±ΠΎ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΈ. ΠΡΠΈ Π»ΠΈΠ½ΠΈΠΈ ΡΠΎΠ·Π΄Π°ΡΡ ΡΠ°ΠΊ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΡΠΉ ΡΠΎΠΊΡΡΠ½ΡΠΉ ΡΠ»Π΅ΠΌΠ΅Π½Ρ. ΠΠ½ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ Π½Π°Π±Π»ΡΠ΄Π°ΡΠ΅Π»Ρ Π½Π΅ ΠΌΠ΅ΡΠ°ΡΡΡΡ Π²Π·Π³Π»ΡΠ΄ΠΎΠΌ Π² ΠΏΠΎΠΈΡΠΊΠ°Ρ Π³Π»Π°Π²Π½ΠΎΠ³ΠΎ Π½Π° ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΈ, Π½Π°ΠΏΡΠ°Π²Π»ΡΡΡΠΈΠ΅ Π»ΠΈΠ½ΠΈΠΈ ΠΏΠΎΠΌΠΎΠ³Π°ΡΡ Π½Π°ΠΉΡΠΈ Π² Π½Π΅ΠΌ Π³Π»Π°Π²Π½ΡΠΉ ΡΠ»Π΅ΠΌΠ΅Π½Ρ Π΄Π΅ΠΉΡΡΠ²ΠΈΡ. ΠΠ°, ΠΊΠΎΠ½ΡΡΠ°ΡΡ ΠΈ ΡΠ²Π΅Ρ, Π³Π»ΡΠ±ΠΈΠ½Π° ΡΠ΅Π·ΠΊΠΎΡΡΠΈ, Π²ΡΠ΅ ΡΡΠΎ ΡΠ°ΠΊ ΠΆΠ΅ Ρ ΠΎΡΠΎΡΠΎ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ Π΄Π»Ρ ΠΏΡΠΈΠ²Π»Π΅ΡΠ΅Π½ΠΈΡ Π²Π½ΠΈΠΌΠ°Π½ΠΈΡ ΠΈ Π΅Π³ΠΎ ΠΏΠΎΠ²ΡΠ΅ΠΌΠ΅ΡΡΠ½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡ. ΠΠΎ ΠΏΡΠΈΠ΅ΠΌ Ρ Π»ΠΈΠ½ΠΈΡΠΌΠΈ ΡΠ²Π»ΡΠ΅ΡΡΡ Π½Π°ΠΈΠΌΠ΅Π½Π΅Π΅ ΠΏΡΠΈΠ½ΡΠ΄ΠΈΡΠ΅Π»ΡΠ½ΡΠΌ ΠΈΠ· ΡΠΎΠ³ΠΎ ΡΡΠΎ ΠΎΠ±ΡΡΠ½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡΡ Π² ΠΊΠ°Π΄ΡΠ΅. Β Π§ΡΠΎ ΠΏΡΠΈΡΡΠ³ΠΈΠ²Π°Π΅Ρ Π½Π°ΡΠ΅ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π½Π° ΠΏΠΎΡΡΡΠ΅ΡΠ½ΠΎΠΉ ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ? ΠΡΠΎ Π³Π»Π°Π·Π°, Π³Π»Π°Π·Π° ΠΎΡΠ΅Π½Ρ ΡΠΈΠ»ΡΠ½ΡΠΉ ΡΠΌΠΎΡΠΈΠΎΠ½Π°Π»ΡΠ½ΡΠΉ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½Ρ, ΠΈΠ½ΠΎΠ³Π΄Π° ΡΠΎΠ»ΡΠΊΠΎ Π²Π·Π³Π»ΡΠ΄Π° Π΄ΠΎΡΡΠ°ΡΠΎΡΠ½ΠΎ ΡΡΠΎ Π±Ρ ΠΏΠΎΠ½ΡΡΡ ΡΠΌΠΎΡΠΈΡ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°. ΠΡΡΠ°ΡΠΈ ΠΈΠΌΠ΅Π½Π½ΠΎ ΠΏΠΎ ΡΡΠΎΠΉ ΠΏΡΠΈΡΠΈΠ½Π΅ Π³Π»Π°Π·Π° ΠΏΠ΅ΡΡΠΎΠ½Π°ΠΆΠ΅ΠΉ Π² Π°Π½ΠΈΠΌΠ΅ ΡΠΈΡΡΡΡ ΡΠ°ΠΊΠΈΠΌΠΈ Π±ΠΎΠ»ΡΡΠΈΠΌΠΈ. ΠΡ Π½Π΅ ΠΎΡΠΎΠ·Π½Π°Π½Π½ΠΎ Π½Π°Π±Π»ΡΠ΄Π°Π΅ΠΌ Π·Π° Π³Π»Π°Π·Π°ΠΌΠΈ Π°ΠΊΡΠ΅ΡΠΎΠ² Π½Π° ΡΠΊΡΠ°Π½Π΅ ΠΊΠΎΠ³Π΄Π° ΡΠΌΠΎΡΡΠΈΠΌ ΡΠΈΠ»ΡΠΌ. ΠΡΠ΄Π° ΠΈ Π½Π° ΡΡΠΎ ΠΎΠ½ΠΈ ΡΠΌΠΎΡΡΡΡ. Β ΠΠ΄ΠΈΠ½ ΠΈΠ· Π³Π»Π°Π²Π½Π΅ΠΉΡΠΈΡ Π°ΡΠΏΠ΅ΠΊΡΠΎΠ² ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠΈ ΠΈ ΠΏΠΎΠ½ΠΈΠΌΠ°Π½ΠΈΡ ΠΏΡΠΎΠΈΡΡ ΠΎΠ΄ΡΡΠ΅Π³ΠΎ Π½Π° ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ ΡΠ²Π»ΡΡΡΡΡ ΡΠΌΠΎΡΠΈΠΈ, Π° Π»ΠΈΠ½ΠΈΠΈ Π² ΡΠ²ΠΎΡ ΠΎΡΠ΅ΡΠ΅Π΄Ρ ΡΠ²Π»ΡΡΡΡΡ ΠΏΡΡΠΌΡΠΌΠΈ ΡΠΊΠ°Π·Π°ΡΠ΅Π»ΡΠΌΠΈ Π½Π° Π²Π°ΠΆΠ½ΡΠ΅ ΠΎΠ±ΡΠ΅ΠΊΡΡ Π² ΠΊΠ°Π΄ΡΠ΅. ΠΠ»Ρ Π·ΡΠΈΡΠ΅Π»Ρ Π²ΡΠ΅Π³Π΄Π° Π½Π΅ΠΎΠ±Ρ ΠΎΠ΄ΠΈΠΌΠ° ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΡ ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ-ΡΠ΅Π»ΠΎΠ²Π΅ΠΊ ΠΈΠΌΠ΅Π½Π½ΠΎ ΠΏΠΎΡΡΠΎΠΌΡ Π΄ΠΎΠ±Π°Π²ΠΈΠ² Π² Π»ΡΠ±ΠΎΠΉ ΠΊΠ°Π΄ΡΠ° ΡΠ΅Π»ΠΎΠ²Π΅ΠΊΠ°, ΠΏΡΡΡΡ Π΄Π°ΠΆΠ΅ Π΅Π»Π΅ ΡΠ°Π·Π»ΠΈΡΠΈΠΌΡΡ ΡΠΈΠ³ΡΡΡ, ΠΊΠ°Π΄Ρ ΠΏΡΠΈΠΎΠ±ΡΠ΅ΡΠ°Π΅Ρ ΡΠΎΠ²Π΅ΡΡΠ΅Π½Π½ΠΎ Π΄ΡΡΠ³ΡΡ Π·Π½Π°ΡΠΈΠΌΠΎΡΡΡ ΠΈ Π½Π°ΡΠΈΠ½Π°Π΅Ρ Π²ΠΎΡΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΡΡΡ ΠΏΠΎ Π΄ΡΡΠ³ΠΎΠΌΡ. Β ΠΡΠΈΠΌ ΠΏΡΠΈΠ΅ΠΌΠΎΠΌ ΠΏΠΎΠ»ΡΠ·ΡΡΡΡΡ Π² ΠΊΠΈΠ½ΠΎΠΈΡΠΊΡΡΡΡΠ²Π΅ ΡΠ°ΠΊ ΠΆΠ΅ ΡΠ°ΡΡΠΎ, ΠΊΠ°ΠΊ ΠΈ Π² ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ.Β Β Β ΠΡΠ»ΠΈΡΠ½ΡΠΌ ΠΏΡΠΈΠΌΠ΅ΡΠΎΠΌ ΡΠ²Π»ΡΡΡΡΡ ΡΠΈΠ»ΡΠΌΡ ΡΠ°ΠΊΠΈΡ ΡΠ΅ΠΆΠΈΡΡΠ΅ΡΠΎΠ², ΠΊΠ°ΠΊ Joseph Kosinski,Β Stanley KubrickΒ ΠΈ Wes Anderson Π³Π΄Π΅ Π»ΠΈΠ½ΠΈΠΈ ΠΈ ΡΠΎΠ·Π΄Π°Π½Π½ΡΠ΅ ΠΈΠΌΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΈ ΡΠ²Π»ΡΡΡΡΡ ΠΏΠΎΡΡΠΎΡΠ½Π½ΡΠΌ ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠΎΠΌ ΠΏΡΠΈΡΡΠ³ΠΈΠ²Π°ΡΡΠΈΠΌ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π·ΡΠΈΡΠ΅Π»Ρ. Β ΠΡΠΎΡ ΠΏΡΠΈΠ΅ΠΌ ΠΌΠΎΠΆΠ½ΠΎ Π½Π°Π±Π»ΡΠ΄Π°ΡΡ Π² ΡΡΠ΅Π½Π°Ρ ΠΈ Π΄ΡΡΠ³ΠΈΡ ΠΈΠΌΠ΅Π½ΠΈΡΡΡ ΡΠ΅ΠΆΠΈΡΡΠ΅ΡΠΎΠ². Π ΡΠ»ΠΎΠ²Ρ Kosinski ΡΠ²Π»ΡΠ΅ΡΡΡ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΠΎΡΠΎΠΌ ΠΈ ΠΏΡΠΈ ΡΡΠΎΠΌ ΡΠΎΡΡΠΎΡΠ»ΡΡ, ΠΊΠ°ΠΊ Π²Π΅Π»ΠΈΠΊΠΎΠ»Π΅ΠΏΠ½ΡΠΉ ΡΠ΅ΠΆΠΈΡΡΠ΅Ρ. Π‘ΠΎΠ²Π΅ΡΡΡ ΠΏΠ΅ΡΠ΅ΡΠΌΠΎΡΡΠ΅ΡΡ Π΅Π³ΠΎ ΡΠΈΠ»ΡΠΌΡ ΠΏΠΎ Π½ΠΎΠ²ΠΎΠΌΡ Π²Π·Π³Π»ΡΠ½ΡΠ² Π½Π° ΠΏΠΎΡΡΡΠΎΠ΅Π½ΠΈΠ΅ ΡΡΠ΅Π½ Ρ ΡΠΎΡΠΊΠΈ Π·ΡΠ΅Π½ΠΈΡ Π°ΡΡ ΠΈΡΠ΅ΠΊΡΡΡΡ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½Π½ΠΎΠ³ΠΎ Π±Π°Π»Π°Π½ΡΠ°. Β Β Π’Π°ΠΊ ΠΆΠ΅ Π² ΠΏΡΠΈΠΌΠ΅Ρ ΠΏΡΠΈΠ²Π΅Π΄Ρ ΡΠ½ΠΈΠΌΠΎΠΊ Annie Leibovitz ΡΡΠΈ ΡΠ°Π±ΠΎΡΡ Π½Π° ΠΌΠΎΠΉ Π²Π·Π³Π»ΡΠ΄ ΡΠ²Π»ΡΡΡΡΡ Π²ΠΈΡΡΡΠΎΠ·Π½ΡΠΌ ΠΎΠ»ΠΈΡΠ΅ΡΠ²ΠΎΡΠ΅Π½ΠΈΠ΅ΠΌ ΠΏΡΠΈΠΌΠ΅Π½Π΅Π½ΠΈΡ Π»ΠΈΠ½ΠΈΠΉ Π΄Π»Ρ ΡΠ°ΡΠΏΠΎΠ»ΠΎΠΆΠ΅Π½ΠΈΡ ΠΎΠ±ΡΠ΅ΠΊΡΠΎΠ² Π² ΠΊΠ°Π΄ΡΠ΅. Β ΠΠ°Ρ ΠΌΠΎΠ·Π³ Π½Π°ΡΡΠΎΠ»ΡΠΊΠΎ Π»ΡΠ±ΠΈΡ Π²ΡΠ΅ ΡΡΠ»ΠΎΠΆΠ½ΡΡΡ, ΡΡΠΎ ΠΏΡΠΎΡΡΠΎΠ³ΠΎ ΠΏΡΠ°Π²ΠΈΠ»Π° 1/3 Π½Π°ΠΌ ΡΠΆΠ΅ Π½Π΅Π΄ΠΎΡΡΠ°ΡΠΎΡΠ½ΠΎ ΠΈ Π²ΠΎΡ, ΡΡΠΎ ΠΏΡΠΎΠΈΡΡ ΠΎΠ΄ΠΈΡ Π΄Π°Π»ΡΡΠ΅. Β Π ΡΡΠΎ Π»ΠΈΡΡ ΠΌΠ°Π»Π°Ρ ΡΠ°ΡΡΡ, Π½Π° ΡΠ°ΠΌΠΎΠΌ Π΄Π΅Π»Π΅ ΠΏΠΎΡΡΠΈ Π² ΠΊΠ°ΠΆΠ΄ΠΎΠΌ Ρ ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΠΎ ΡΠΎΠ·Π΄Π°Π½Π½ΠΎΠΌ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΈ ΠΏΡΠΈΡΡΡΡΡΠ²ΡΡ Π΄Π΅ΡΡΡΠΊΠΈ Π»ΠΈΠ½ΠΈΠΉ. ΠΠΎ Π½ΠΈ ΠΎΠ΄Π½Π° ΠΈΠ· Π½ΠΈΡ Π½ΠΈΡΠ΅Π³ΠΎ Π½Π΅ Π·Π½Π°ΡΠΈΡ, Π΅ΡΠ»ΠΈ Π΅Π΅ ΡΠ΅Π»ΡΡ Π½Π΅ ΡΠ²Π»ΡΠ΅ΡΡΡ ΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠ°ΡΠΈΡ Π²Π½ΠΈΠΌΠ°Π½ΠΈΡ Π½Π° ΡΠΎΠΌ ΠΈΠ»ΠΈ ΠΈΠ½ΠΎΠΌ ΠΎΠ±ΡΠ΅ΠΊΡΠ΅ Π² ΠΊΠ°Π΄ΡΠ΅. ΠΠΌΠ΅Π½Π½ΠΎ ΠΏΠΎΡΡΠΎΠΌΡ ΡΠ°ΠΊ Π²Π°ΠΆΠ΅Π½ Π±Π°Π»Π°Π½Ρ Π² ΠΏΠΎΡΡΡΠΎΠ΅Π½ΠΈΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΈ. Β Π ΠΊΠ°ΠΊΠΎΠΉ-ΡΠΎ ΠΌΠΎΠΌΠ΅Π½Ρ Ρ ΠΏΡΠΈΡΠ΅Π» ΠΊ Π²ΡΠ²ΠΎΠ΄Ρ, ΡΡΠΎ ΠΌΠΎΡ Π²ΠΈΠ΄Π΅Π½ΠΈΠ΅ ΠΏΠΎΡΡΡΠΎΠ΅Π½ΠΈΡ ΠΊΠ°Π΄ΡΠ° Π΄ΠΎΠ²ΠΎΠ»ΡΠ½ΠΎ ΡΠΈΠ»ΡΠ½ΠΎ ΡΠ²ΡΠ·Π°Π½ΠΎ Ρ ΠΊΠΈΠ½Π΅ΠΌΠ°ΡΠΎΠ³ΡΠ°ΡΠΈΡΠ΅ΡΠΊΠΈΠΌ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΠ΅ΠΌ ΠΊΠ°Π΄ΡΠ°. Π’Π°ΠΊ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΠ°Ρ Β«ΡΡΠ΅Π½Π°-ΠΏΠ°ΡΠ·Π°Β» ΡΡΠΎ ΡΠ°ΠΊΠΎΠΉ ΠΌΠΎΠΌΠ΅Π½Ρ Π³Π΄Π΅ Π½Π° ΡΠΊΡΠ°Π½Π΅ Π΄ΠΎΡΡΠ°ΡΠΎΡΠ½ΠΎ ΠΌΠ½ΠΎΠ³ΠΎ ΠΈΠ½ΡΠΎΡΠΌΠ°ΡΠΈΠΈ ΡΡΠΎ Π±Ρ Π½Π° Π΅Ρ Π²ΠΎΡΠΏΡΠΈΡΡΠΈΠ΅ ΠΏΠΎΠ½Π°Π΄ΠΎΠ±ΠΈΠ»ΠΎΡΡ Π±ΠΎΠ»ΡΡΠ΅ Π²ΡΠ΅ΠΌΠ΅Π½ΠΈ, ΡΠ΅ΠΌ Π½Π° ΠΎΠ±ΡΡΠ½ΡΠΉ ΠΊΠ°Π΄Ρ. ΠΠΌΠ΅Π½Π½ΠΎ ΠΏΠΎΡΡΠΎΠΌΡ Π·ΡΠΈΡΠ΅Π»Ρ Π΄Π°ΡΡ ΡΠ°ΠΊΡΡ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ. ΠΠΎΠ΄ΡΠΊΠ°Π·ΡΠ²Π°Ρ Π΅ΠΌΡ ΠΊΡΠ΄Π° ΡΠΌΠΎΡΡΠ΅ΡΡ ΠΏΡΠΈ ΠΏΠΎΠΌΠΎΡΠΈ Π²ΡΠ΅ ΡΠ΅Ρ ΠΆΠ΅ Π»ΠΈΠ½ΠΈΠΉ. ΠΠΌΠ΅Π½Π½ΠΎ ΡΡΠΎ ΠΌΠ΅Π½Ρ ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°Π΅Ρ ΠΈ Π² ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ. ΠΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΡΡΡ ΡΠΊΠΎΠ½ΡΠ΅Π½ΡΡΠΈΡΠΎΠ²Π°ΡΡ Π²Π½ΠΈΠΌΠ°Π½ΠΈΠ΅ Π·ΡΠΈΡΠ΅Π»Ρ Π½Π° ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΠΎΠΌ ΠΎΠ±ΡΠ΅ΠΊΡΠ΅ ΠΈ Π½Π°ΠΏΡΠ°Π²ΠΈΡΡ Π²Π·Π³Π»ΡΠ΄ Π½Π° ΠΎΠ±ΡΠ΅ΠΊΡ ΠΊΠΎΡΠΎΡΡΠΉ Ρ Π² ΠΌΠΎΠΌΠ΅Π½Ρ ΡΡΠ΅ΠΌΠΊΠΈ ΠΏΠΎΡΡΠΈΡΠ°Π» Π°ΠΊΡΠ΅Π½ΡΠΎΠΌ Π²ΡΠ΅ΠΉ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΠΈ.Β Β ΠΡΠΈ Π»ΠΈΠ½ΠΈΠΈ ΠΈ ΡΠΎΠ·Π΄Π°ΡΡ Π½Π΅Π²ΠΈΠ΄ΠΈΠΌΡΡ ΡΠ΅ΡΠΊΡ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ Π² ΠΊΠ°Π΄ΡΠ΅, ΡΡΠΎ ΠΈ Π΄Π΅Π»Π°Π΅Ρ ΠΏΠΎΠ΄ΠΎΠ±Π½ΡΠ΅ ΡΠΎΡΠΎΠ³ΡΠ°ΡΠΈΠΈ ΠΏΡΠΈΡΡΠ½ΡΠΌΠΈ Π΄Π»Ρ ΡΠ΅Π»ΠΎΠ²Π΅ΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π³Π»Π°Π·Π°. ΠΠ΅Π΄Ρ Π½Π΅ ΡΡΠΎΠΈΡ Π·Π°Π±ΡΠ²Π°ΡΡ, ΡΡΠΎ ΡΠ΅Π»ΠΎΠ²Π΅ΡΠ΅ΡΡΠ²ΠΎ, ΠΊΠ°ΠΊ ΠΈ ΠΏΡΠΈΡΠΎΠ΄Π° ΡΡΡΠ΅ΠΌΠΈΡΡΡ ΠΊ Π³Π°ΡΠΌΠΎΠ½ΠΈΠΈ Π½Π° ΠΏΡΠΎΡΡΠΆΠ΅Π½ΠΈΠΈ Π²ΡΠ΅Π³ΠΎ ΡΠ²ΠΎΠ΅Π³ΠΎ ΡΡΡΠ΅ΡΡΠ²ΠΎΠ²Π°Π½ΠΈΡ. ΠΠ°Ρ ΡΠ°Π·ΡΠΌ ΡΠ°Π±ΠΎΡΠ°Π΅Ρ ΡΠ°ΠΊ, ΡΡΠΎ ΠΌΡ Π²ΡΠ΅Π³Π΄Π° Ρ ΠΎΡΠΈΠΌ Π²ΠΈΠ΄Π΅ΡΡ Π²ΡΠ΅ ΡΠ°ΡΡΠΈ ΠΊΠ°Π΄ΡΠ° Π² ΠΎΡΠ½ΠΎΡΠΈΡΠ΅Π»ΡΠ½ΠΎΠΌ Π±Π°Π»Π°Π½ΡΠ΅ ΠΈ Π²Π·Π°ΠΈΠΌΠΎΠ΄Π΅ΠΉΡΡΠ²ΠΈΠΈ Π΄ΡΡΠ³ Ρ Π΄ΡΡΠ³ΠΎΠΌ.
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gorgeous mountain lake in autumn fog-161708

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