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Description
Yasaka Offset Cutting & Thinning Shears SetATS314 : 4. 5" 5"5. 5"6" & : 6" 16203040 FINISH MODEL SS 450S 500SM550M600 YS 160YS 200YS 300YS 400 EXTRAS Yasaka ATS314 : : YS YS 160163040 YS 200203040 YS 300302035 YS 400404050 : : 4. 555. 56 20% 50% : SS 450 S 500 SM 550 M 600 YS 160 YS 200 YS 300 YS 400
- 特長
| ハンドル位置 | オフセット |
| 鋼 | ATS314コバルトステンレス鋼 |
| サイズ | 刈り込み: 4.5" 5"、5.5"、6" & 間伐: 6" |
| 最先端 | スライス最先端 |
| 刃 | アサリの形をした凸状のエッジ |
| ティース | 16歯、20歯、30歯、または40歯 |
| FINISH | 洗練された |
| MODEL | SS-450、S-500、SM550、M600、切断 / YS-160、YS-200、YS-300、YS-400 |
| EXTRAS | |
| 可用性 | 在庫あり！ |
- 詳細説明
Yasaka オフセット ヘアドレッシング シザー セットは、こだわりのあるヘアスタイリングのプロや理容師のために設計された日本製の高級器具のコレクションです。この包括的なセットには、カット シザーとセニング シザーがシームレスに統合されており、幅広いヘアスタイリング アプリケーションに対応する多目的ツールキットを提供します。
- プレミアム素材： 優れたATS314コバルトステンレス鋼から鍛造されており、並外れた硬度、鋭い刃先、比類のない耐久性を保証します。
- 切断鋏: 滑らかで正確な切断を可能にする、細心の注意を払って作られたハマグリ形の凸型エッジを備えています。
-
すきばさみ: YSシリーズは、精密な間引きとテクスチャリングのための多様な歯構成を提供します
- YS-160（16歯）：推定30～40％カット
- YS-200（20歯）：推定30～40％カット
- YS-300（30歯）：推定20～35％カット
- YS-400（40歯）：推定40～50％カット
- 人間工学に基づいた設計： 革新的なオフセットハンドル構造により、指と親指が自然で快適な位置に配置され、長時間の使用によるストレスが最小限に抑えられます。
- 軽量構造: 手首と肘への負担を軽減し、疲労を大幅に軽減するように設計されています。
- 複数のサイズ: 多様な切断要件に対応するために、4.5インチ、5インチ、5.5インチ、6インチのバリエーションを用意しています。
- 日本製ハンドメイド： すべてのハサミに比類のない品質と精度を保証するために細心の注意を払って作られています
- 専門家の意見
「ヤサカ オフセット ヘアドレッシング シザー セットは、カット シザーとセニング シザーの調和のとれた組み合わせにより、精密なカットとテクスチャリングにおいて並外れた能力を発揮します。20% から 50% の脱毛をカバーするセニング機能を備えたこの多用途のシザーは、幅広いカット方法とテクスチャリング要件にシームレスに適応します。髪のボリュームと質感を正確にコントロールすることを要求するプロにとって、欠かせない資産としての地位を確立しています。」
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4.0 ★★★★★
Based on 20 reviews
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Product Reviews
★★★★★ 5
Displeasure And Distance
The movie 'Point Blank' is like staring at a visual of Alcatraz prison from the opposite shore. Meaning accumulates over landmarks when we are suspicious about the details. On such a sound the channel of moving water has a stationary dock. A metal walkway connector bridge glows in unnatural radiances; the sun seems set on it, at dusk. These sea shore implements, at Alcatraz or at another bay denote civility and schedules of operation. When money and it's acquisition exist in our brains as enticements the places become spectrums with loose enthusiasms and burnished red-glows.
Walker(Lee Marvin) the anti-hero of the movie 'Point Blank' is a tall, laconic, dark-suited figure. Walker's parted white hair gets swept up in the wind, unstraightened, but his bushy eyebrows are solid supports of displeasure and distance. 'Point Blank' directed by John Boorman is a 1967 classic crime film and is the story of a solo struggle-Walker's-to reconnect and recover the money that was stolen from him by his ex-partner Mal Reese(John Vernon). Walker importunes abandoned places, like an Alcatraz prison cell with questions: "How did it happen?" He is ruminating over incidents that are seen in flashback entries, but these brief remonstrance are also plot points on a scheme of surreal adventuring.
Lynne(Sharon Acker), Walker's wife, has reproachments about herself, her 'past', but the enviable story is told. Lynne's monotonous sentiments recall a walk on the pier in the rain, with herself and Walker in mild drunkeness. Lynne's voice is synthesized to a soft, dreamy intercession; another vision from Walker's life, also an evocative impression of a stoic wanderer's accentuated provocateur encounters.
In his film direction Boorman takes the novel "The Hunter" written by Donald Westlake and gives weight to a story about the cavorting of a slick, popular, caper anti-hero named Parker (From "The Hunter" , also other serial books written by Hunter under pseudonyms like Richard Stark). This story is recreated by Boorman for Parker of the novel and his hyperbolic lurid situations. 'Point Blank' invests visuals with sensual revelations of mystery. The breaths of relaxed reflection give toxicity to moods and the imagination has righteous experience of titillation. The viewer is invited to understand the whisperings of breezes brushing against one another at random convexes-these are soft exposing indescrepancies.
At a reunion, another recounting of Walker being hailed over by Mal Reese is one twist. At another rally, in a room in San Francisco, that is similar, Walker warns his target bluntly: "If you don't, I'll kill you." There is an abrupt appearance, also in a semi-populated venue, of assistance made towards Walker. This inviting frenemy says: "If you're looking for Carter, I may be able to help you." This is Yost played by Keenan Wyn.
The themes of thrifty fantasy contrive to bounce off Walker. In sunlit rooms and concrete runs ambush attacks set by Walker realize glib confrontations. One such scene involves Brewster(Carroll O'Connor) in an amorous exchange with Walker that suggests that the veritable energies of excitement between Walker and Brewster were procured and transcribed for 'Point Blank' from other products of fictitious dealings. 'Point Blank' co-stars Angie Dickinson as Chris and Lloyd Bochner as Frederick Carter.
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Reviewed in the United States on July 17, 2025
★★★★★ 3
Dated, but....
Compared to the novel on which it is based, this movie is a complete letdown, so fans of the Parker series of novels who are drawn to this book may want to think twice about watching the film if they are looking for a faithful adaptation of the first Parker novel. That being said, it was not the intention of the director John Boorman to adapt Richard Stark's excellent novel, "the Hunter" to film, but rather to create an entirely new piece of fiction from the skeleton of the original story, so one most try to judge the movie on its own merits, which is difficult to do.
As in other reviews, I must commend the directing. The style of the film is way ahead of it's time, with stark visuals, stylized fight scenes, and prolonged moments of silence. I love the long Walk lee Marvin takes thru the a multi-colored corridor where his footsteps drown out all other sound. Marvin's performance is also very strong, and he shows himself to have been an actor who took chances with his image and, in this case, used his clout to make a movie which otherwise would not have been so memorable.
In the end, one must ask the question "Why?" Why not faithfully adapt "The Hunter" into film? It certainly would not have stifled the film's creativity, and nothing in the movie's script was any better than what was in the book. There is also the annoying occurrence of changing the protagonists' name from Parker to something else; in this case, Walker. This trend continued in another six film adaptations of the Parker novels, the last of which was 1999's Payback, starring Mel Gibson as Porter.
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Reviewed in the United States on July 1, 2011
★★★★★ 5
A stark, brutish "Petulia" with a pistol in its pocket
It's about time this movie got released on DVD.
It's odd that a film could spawn a remake ("Payback"), a glib nod ("Grosse Pointe Blank") and countless homages ("The Limey," among others) and still be as underseen as "Point Blank."
The lack of a disc certainly didn't help its low profile, but of course this is a challenging, idiosyncratic movie, even three decades later. The plot is simple -- a crook is betrayed by his wife and partner and spends the rest of the movie trying to get what he's owed -- but the editing and narrative structure is unusual. What in the world did audiences possibly make of this back when it was first released?
It's a remarkable film, as startling and innovative as Richard Lester's "Petulia," although admittedly it's thematically much less complex.
This edition is excellent, too. Great sound, great picture and a fantastic commentary by director John Boorman and big-time "Point" fan Steven Soderbergh, who laughingly admits to Boorman that he's ripped this movie off more than a few times. Their chat is more technical than gossipy and deals heavily with the editing, the production (the script was only 70 pages long), the studio's concerns about the picture, the actors, violence, surrealism (is it all a dream?) and Boorman's elaborate use of color (the tones of clothing and sets intensify over the course of the film).
I've gotten a lot of good DVD's this year but in terms of content, presentation and extas, this is one of the best.
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Reviewed in the United States on August 1, 2005
★★★★★ 4
One of Marvins better offerings
Like the Killers before marvin was almost destined to play the part of Walker in this fast moving gut wrenching but always realistic thriller brilliantly collaborated by Marvin and Boorman who had no peer in this type of film.For those unenlightened souls who downplay Marvins career this was the one that to my mind surpassed most of his prior efforts with the exception of the Killers which was above par in all respects.Marvin was ahead of the pack in the 60s playing this type of hard nosed no nonsense gangster type, no other actor came close and type casted him to some extent in this type of role which unlike may actors became a positive in his career. Just to show his brilliance as an actor he gave us later comedy roles which produced more acting accolades than that material for which he was better known namely what we see in Point Blank.He carries the whole movie as did all the great actors of that era and many since which in itself is the hallmark of greatness. Marvin was a man who so perfectly personified the parts he was playing that often other actors looked wooden in comparison.He was one of the rare individuals who could take a small co starring role and end up being the star of the movie, no mean feat when you were up against the best in the business at that time and there were plenty in the 60 and 70s.To my mind Point Blank will always be a MARVIN film and this is not to downplay other good workmanlike performances in the film but it will always rank highly in Marvins body of work which is a cut above his contemporaries in the roles for which he was known and appreciated.As for the film it played out in fairly predictable fashion until the final scenes under the golden gate brige which gave a nice twist and left the viewer unsure whether Walker did in fact take his money or simply leave the scene of the set up empty handed. The obvious answer is that he waited till the coast was clear and took his money. It is hard to accept that he did otherwise.In retrospect a movie that stands up 40 odd years later and is just as watchable as it was in 67. No mean feat.
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Reviewed in the United States on May 20, 2010
★★★★★ 5
A forerunner to Dirty Harry and Lee Marvin shining...
If you liked "The Getaway" or "Dirty Harry", then meet their forerunner.
"Point Blank" is explosive, fast-paced, and still the acting is there.
Good acting that is.
Lee Marvin is at his best. Angie Dickinson. in her strong performance, is as beautiful as ever. Keenan Wynn and Carroll O'Connor play their parts to the hilt and it truly shows. John Vernon (who was The Mayor in "Dirty Harry") plays a slimy type with diligence and very believable.
Add the killing pace of the entire picture, and you have a hot item, as sharp and cutting as "Film Noir" can be.
Yes, because this is still a "Film Noir", despite the fact that it was filmed in Color and in the mid-sixties.
John Boorman ("Hell in the Pacific", "Deliverance" and "The Emerald Forest"), skillfully "color coded" the entire movie, bringing it from absolute colors at the beginning, to more red-tinted ones towards the end.
The only difference from a true "Film Noir" is its fast-paced storyline, that would lead us to movies as I have mentioned above.
Marvin's minimalistic acting, but forceful presence, is enough to fill every frame of the movie with tension, action and complete mayhem.
Compare him in "The Dirty Dozen" and "The Big Red One" and you will see what I mean.
A big plus was the release on DVD. An excellent transfer with a sharp picture resolution, a clearcut sound, make it a very enticing experience to watch it at home.
This is not just a Highly Recommended title. It is simply a Must!
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Reviewed in the United States on April 20, 2007
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