View allAll Photos Tagged Compact,
BMW added a truncated three door hatchback of the E36 in 1994. This one is powered by the 1596 cc engine. Supplied by local dealer Chandlers or Hailsham and looks like to be still wearing its original dealer number plates.
Customized Canik-55 Stingray-C with a Streamlight TLR-1s, Remora mag pouch, one-off competition sight set, Cajun Gun Works (CGW) race hammer, trigger and sear upgrades, and Tungsten Cerakote.
Shooting film in the old Compact 35. It’s not been the same since it got wet. (Don’t ask) which killed the light meter so I’m running a seperate light meter from AliExpress which works well. For a camera that’s over 50 years old it works
Compact 24x36 autofocus, motorisé courant en France. Exemplaire n° 6718413. Appareil entièrement automatique, ne déclenche qu'en présence d'un film. Zoom 38-110 mm f:3,6~10,6. Un écran LCD sur le dessus permet le choix des différents modes programme. Alimentation par une pile CR123. Variante sans dos dateur.
H x l x p : 68 x 119 x 55-106 mm, 265 g. Fiche "SH".
Vide-grenier du 20 novembre 2016 à Fleurieux-sur-l'Arbresle (Rhône)
Pentacon Penti I with 3.5/30 Meyer-Optik Domiplan
(and lens protection)
Very compact camera for 35 mm film in SL-cassettes (Rapid cassette, Agfa Karat cassette), for 24 exposures of 18 x 24 mm frame size per film. It looks like made for users attracted to stylish stuff, it was even available in different colors. But the Penti is not just only stylish, it is a serious, solid camera and it was very successful in the German Democratic Public: the different versions were produced from 1958 to 1977, 800,000 units were made all in all.
The development of the Penti began in the years before the consolidation of the VEB Pentacon, so several companies were involved. It was designed at Zeiss Ikon, mainly by Walter Hennig, and produced at the Welta Kamerawerk, the first model was called "Welta Orix". Shortly after its introduction it was renamed in "Penti" (this version has a small viewfinder window on the front side, to distinguish it from later versions it is sometimes called "Penti 0"). In 1961 the Penti II followed, it became the most successful version. The main innovation was a coupled exposure meter with a Selenium cell, it is controlled with a needle in the viewfinder, which has an also new bright frame. The Penti I, the camera above in the picture, was exactly like the Penti II, but just without exposure meter. It has also the wide window on the front, but instead of the Selenium cell it has only a black covering. It even has the lever for setting the film speed, but it has no true meaning, it can be used as a reminder. It is also possible that the ring with that lever is required for a proper function of that set of rings, because it acts like a spring. Furthermore, if you could look inside the camera, you would find the empty housing which bears the coil instrument in the Penti II. Afaik the Penti I was only offered for some years in the mid-sixties.
The design of the camera is fantastic, all parts are integrated in the massive aluminium frame, which lays between two golden shells. The "lens barrel" protrudes less than 10 mm and contains the controls for shutter speed, f-stop, focus distance and film speed. Furthermore a DOF-scale, marks for the flash-synchronization and a filter thread with 18 mm diameter, a suitable (golden colored) sun shade was available. The film is advanced by a plunger, it is the rod you can see protruding on the right side of the camera. After an exposure it will spring out, for the next one you just push it back. A simple layout, since the film just must be pushed from one cartridge into another, there is no need for rotating parts like a film advance wheel or rewind crank. And, similar to the Taxona, you can use one hand for the shutter button and the other one for the film transport, so you can shoot continuously very quickly.
Some hints on operation:
* To open the camera pull the back straight away from the camera.
* The frame counter is not self-resetting, the according thumb wheel is in the film chamber
* About the DOF-scale: you can see the two "M" above the distance scale, from inside to outside the three prongs indicate the range of sharpness for f/5.6, f/8 and f/11.
* The knuckle in the accessory shoe is not an x-sync contact. It is springy, to hold accessory better.
* Flash sync: there are two icons on the shutter speed ring, a bulb and a flash (for x-sync), the according index is placed on the ring with the Penti name. For "bulb" the shutter speed is automatically set to 1/30 s, for "flash" to 1/60 s, but 1/125 s and 1/30 s should do it also.
* The camera has a cable release thread and a tripod bush, appropriate to the B-setting.
* The designers even didn't forget the snapshot setting. f/5.6 and the distances 2 and 5 m are enclosed in tiny strokes. If you match them you'll have sharp pictures from 1.5 to 3 m for f/5.6 & 2 m, and from 2.7 m to infinity for f/5.6 & 5 m.
* There are parallax marks in the viewer, they are intended for taking pictures with close-up lenses and indicate the correct position of the frame at a distances of 0.33 m.
If you can live without a full range of shutter speeds, a self-timer and a focusing aid you have a pretty good camera you can work with.
And, like so often, trouble with my exemplar: the bright frame was utterly askew. Someone has pressed to much onto the knuckle in the accessory shoe, so the other side of its spring broke through and damaged the viewfinder. You can open the front of the camera by removing all those rings from around the lens, which requires a good organization to put them aside. You have to start with the focus ring, and there are only two positions of the ring you have access to the screws, at infinity and at 1 m, and you need both. You have to remember the order when reassembling, and it is also somewhat difficult to adjust the focus without focus ring (you can hardly grab the lens), so don't play with the lens when all the rings are removed.
First Group Volvo B9TL / Wright Eclipse Gemini reg: MX58DZC fleet: 37430 in Lancashire United livery on Corporation St., Manchester 18-4-16
Olympus mju-1 compact
Agfa Vista Plus ASA200
CanoScan 9000F
Instructions at rebrickable.com/mocs/MOC-75232/thirdwigg/compact-loader/#...
Video at www.youtube.com/watch?v=kG1uzeS50ak
Just wow! What a great little cam! Aperture priority and manual focus in a super sturdy and heavy all metal package.
Never knew it existed, found it "by accident" but i am very happy with it already.
Macro 4:1. Use Fujinon SW 105mm.
The bellows is 510mm.
Kodak Tri-X 320@EI 200, D-76(1:1)
FNumber: f/32
Exposure: 1/8
Just got some daylight CFs . . . I love the light, and of course they're the sexiest bulbs out there!
Crews working for WSDOT are creating a new roadway on SR 203 between Stillwater Hill Road and NE 88th Street. Here you can see the asphalt roller flattening new pavement. This is part of making repairs to an unstable slope between Carnation and Duvall. All lanes of SR 203 are expected to reopen by Monday, Jan. 25.
It's black background and large innit?
So here we are at the Barbican development in the heart of London – I have a love/hate relationship with the Barbican since I love the architecture and the cohesive design across a vaste area, but I dislike it for the high position it holds in the architectural ranking (it’s Grade II listed)… it seems unreasonable that it the same genre of Brutalism should be condemned elsewhere for no reason other than “it’s not the Barbican”.
Baynard House is one example of the same genre as the Barbican but was described by George Ferguson of the Royal Institute of British Architects as "more akin to a car park than an office building" – he disliked it so much that he wanted it included in the so-called "Grade X" listing of buildings which should be demolished. At the same time George is campaigning to preserve the Barbican against the proposed development on the site of St Alphage House…. clearly a man inclined to level-headed thinking and avoiding extremes he’s quoted as saying “Canary Wharf is there to take these bloody great buildings out of the City of London, much as La Défense does for Paris”.
So three cheers for saving St Alphage House and the surrounds, but yah boo sucks for disliking Baynard House.
Anyway… the picture is from one of the walkways which curve up to the high-level piazza at the north of the site towards the Golden Lane Estate, which was kind of a pilot-phase for the whole thing – it’s rather pleasing to see curves of this type in the Barbican as the patterns on the brick floor are quite a treat. I should note that while taking this I was approached by a security guard who told me to bugger off – when I asked what the problem was his conclusion, after some discussion, was that I could have been a terrorist gathering information… his opinion is that compact cameras aren’t used by nasty people, so tourists are OK. Crumpled logic.
The Barbican estate was built between 1965 and 1976 on what was a huge 35 acre bomb site – old pictures show a wasteland of nothingness. It was designed by Chamberlin, Powell and Bon who had already built the Golden Lane Estate mentioned above and is now a site of special architectural interest for its scale, its cohesion and the ambition… and it is truly awesome in scale and is one of the few places you can see a theme carried out to completion.
The 1950’s saw developments focus on precincts – people areas with shops around the edges, but these inevitably required service roads which invariably ended up being grotty, dingy hideaways for n’er do wells. The Barbican is and example of the change in thinking to vertical development – cars at the bottom, along with carparks and service areas, then the people space for walking around and finally the housing/offices. While it’s nice that people are placed above cars it did lead to somewhat barren pedestrian areas which in many cases turned into grotty, dingy hideaways for n’er do wells again, particularly on the walkways.
However the Barbican escaped this fate, probably because it’s maintained so well and houses wealthy people – the flats change hands for megabucks and I would imagine the service-charge runs into several thousand a year… which is why they can afford to polish and stroke the brick floors so nicely; leading us back to the subject of the photograph above.
Taken early shmurly, hence the blue light visible on the flats on the right.
Enjoy.
München/Guangzhou. Auf der Auto Guangzhou 2015, einer der größten, internationalen Automobilmessen in China, präsentiert die BMW Group der Weltöffentlichkeit ein besonderes Highlight: die eigene Vision einer viertürigen Limousine für das Kompaktsegment – den BMW Concept Compact Sedan. „Welches Po...
www.motorholic.de/automobil-news-neuigkeiten/bmw-concept-...