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Bowen Park III HDR (from negative scans) - Method Mantiuk - Pentax PC35AF-M Compact with 35 mm f:2.8 fixed lens using Ilford 400 ISO B&W Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
www.m25audi.co.uk/audi/q3.html
Compact SUV, Paintwork/Monsun Grey metallic.
The Audi Q3 is now available for ordering, you can download the price and specification brochure from the M25 Audi website using the link above. Enquiries welcome.
The Ford Mustang is an automobile manufactured car by the Ford Motor Company. It was initially based on the second generation North American Ford Falcon, a compact car. Introduced early on April 17, 1964, the 1965 Mustang was the automaker's most successful launch since the Model A.
As Lee Iacocca's assistant general manager and chief engineer, Donald H. Frey was the head engineer for the Mustang project — supervising the overall development of the Mustang in a record 18 months — while Iacocca himself championed the project as Ford Division general manager. The Mustang prototype was a two-seat, mid-mounted engine roadster. This vehicle employed a Taunus (Ford Germany) V4 engine and was very similar in appearance to the much later Pontiac Fiero. It was claimed that the decision to abandon the 2 seat design was in part due to the low sales experienced with the 2 seat 1955 T-Bird. To broaden market appeal it was later remodelled as a four-seat car styled under the direction of Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster— in Ford's Lincoln–Mercury Division design studios, which produced the winning design in an intramural design contest instigated by Iacocca.
Having set the design standards for the Mustang, Oros said:
“ I told the team that I wanted the car to appeal to women, but I wanted men to desire it, too. I wanted a Ferrari-like front end, the motif centred on the front – something heavy-looking like a Maserati, but, please, not a trident – and I wanted air intakes on the side to cool the rear brakes. I said it should be as sporty as possible and look like it was related to European design.” Oros added:
“ I then called a meeting with all the Ford studio designers. We talked about the sporty car for most of that afternoon, setting parameters for what it should look like -- and what it should not look like -- by making lists on a large pad, a technique I adapted from the management seminar. We taped the lists up all around the studio to keep ourselves on track. We also had photographs of all the previous sporty cars that had been done in the Corporate Advanced studio as a guide to themes or ideas that were tired or not acceptable to management. Within a week we had hammered out a new design. We cut templates and fitted them to the clay model that had been started. We cut right into it, adding or deleting clay to accommodate our new theme, so it wasn't like starting all over. But we knew Lincoln-Mercury would have two models. And Advanced would have five, some they had previously shown and modified, plus a couple extras. But we would only have one model because Ford studio had a production schedule for a good many facelifts and other projects. We couldn't afford the manpower, but we made up for lost time by working around the clock so our model would be ready for the management review.
” To cut down the development cost and achieve a suggested retail price of US$2,368, the Mustang was based heavily on familiar yet simple components. Much of the chassis, suspension, and drivetrain components were derived from the Ford Falcon and Ford Fairlane (North American). Favorable publicity articles appeared in 2,600 newspapers the next morning, the day the car was "officially" revealed. A Mustang also appeared in the James Bond film Goldfinger in September 1964, the first time the car was used in a movie.
The Shelby Mustang is a high performance variant of the Ford Mustang built from 1965 through 1970.
These cars are often improperly called "Cobras", which was the Ford-powered AC-based two-seat sports car also produced by Carroll Shelby during the same period. The confusion arises from the optional "Cobra" valve covers on many GT350s, part of a marketing tie-in by Shelby. All 1965-66 cars featured the K-Code 271 hp 289, modified to produce 306 hp. 1965-66 GT350s were delivered from Ford's San Jose assembly plant as "bodies in white" for modification by Carroll Shelby's operation, originally in Venice Beach and later at Los Angeles International Airport.
All but one 1965 GT350s were painted Wimbledon White with Guardsman Blue rocker stripes. The one exception was blue with white stripes. Contrary to popular belief, very few GT350s were delivered with the optional "Le Mans" hood, roof, and trunk stripes, an option which was usually installed by the dealer. Today it's difficult to find a GT350 not so equipped. 1965 cars had the battery relocated to the trunk, featured overrider traction bars, relocated A-arms, and other modifications.
1966 saw the introduction of non-white colours—including blue, red, green and black. Other changes include special quarter-panel windows replacing the factory extractor vents, functional brake scoops on each side and optional automatic transmissions, as well as the addition of an optional Paxton supercharger. The battery was no longer relocated to the trunk for 1966, and the over-rider traction bars were discontinued. A fold-down rear seat was now standard. Where early 1965 cars had black engine blocks, 1966 and later cars had the 289 engine painted blue. The first 252 GT-350s for 1966 began as 1965 Mustang K-Code Fastbacks. Often these first 252 1966 GT-350s are referred to as "carry-over" cars, but this is not the case. These 252 1965 Model Mustangs were specifically ordered by Shelby American for conversion into 1966 GT-350 Mustangs. They were not "left over" from the 1965 production, at all. They had the 1965 Ford Mustang Bodies and 1965 Ford Mustang serial numbers under their Shelby serial numbers. They mostly had 1965 features including standard Koni shock absorbers and engines painted black. Blue engines did not appear in 1966 until after these first 252 GT-350s were produced. 1966 production was 1373 fastbacks, including two prototypes and four drag cars, and 252 early production models with Ford Mustang 1965 bodies. 1001 Hertz fastbacks were produced, including two prototypes. Four convertibles were also produced, for a total of 2378 units for 1966. A small number (how many remains unclear) of 1966s were fitted with Paxton superchargers, but not the No-Spin limited slip differential, with an option price of US$670; the engine was rated at 440 hp (330 kW).
Ricoh FF-9s
Looks like 1000 other boring and ordinary 35mm point & shoot cameras, but this one has a mode button hidden beside the strap lug. It is capable of multi exposures, intervall shooting, ..
This was the second time I had visited St Vedast, the first time I just had my compact camera, this time I was fully tooled up.
St Vedast seems to me, like a quire without a church, the pews decked out like misericords, with the lamps for illuminating hymnsheets, has all the appearances of a quire. Then there is the black and white marble floor, the fantastic ceiling, all overlooked by a large gilded organ. Fnar.
It was twenty past nine, and I had the church to myself, whilst a few yards away outside, the rush hour traffic stacked up. Inside, all was peace and quiet.
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The Parish of St Vedast is known from the 12th century, and the church is traditionally claimed to have been established by 1170.
It has been altered, enlarged and restored many times and probably rebuilt at least twice, the last time by Christopher Wren, after the Great Fire of London in 1666. Having been completely burnt out during the Blitz of World War II, the church was restored under the direction of its Rector, Canon Mortlock, and a very influential Parochial Church Council that included Poet Laureate John Betjeman and master organ builder, Noel Mander.
The church is dedicated to a French saint, little known in Britain, who was Bishop of Arras in northern Gaul around the turn of the 6th century.
Vedast, who was called in Latin, Vedastus; in Norman, Vaast; in Walloon, Waast; and in French, GastSaint Vedast Vaast Vastes Fosteron, helped to restore the Christian Church in the region after decades of destruction by invading tribes during the late Roman empire and to convert Clovis, the Frankish king. Remembered for his charity, meekness and patience, he is buried at Arras cathedral.
His name in England has been corrupted from St Vaast, by way of Vastes, Fastes, Faster, Fauster and Forster to Foster, the name of the lane at the front of the church, and the reason that the official designation of the church is St Vedast-alias-Foster. St Vedast was venerated in particular by the Augustinian priors in the 12th century, and they may be responsible for the foundation of the few churches dedicated to him. Only one other church in England is currently dedicated to St Vedast, in Tathwell, Lincolnshire, a third parish in Norwich now being remembered only in a street name.
Some of the works and legends of St Vedast are celebrated in the stained glass windows of the church.
It has been suggested that the original church of St Vedast may have been founded by the Flemish community in London in the 12th or 13th century, possibly by a Flemish ancestor of Ralph d’Arras, who was the Sheriff of London in 1276.
The first church was probably quite small, but additions were made through the centuries. A chapel dedicated to St Dunstan was added in the 15th century, and other altars were added in the 16th century to Mary and to St Nicholas. By 1603, Stow in his Survey of London described St Vedast as ‘a fair church, lately rebuilt’.
Although no complete or accurate account survives for this early church, evidence of its construction can still be seen in the south wall of the church externally. Evidence of earlier openings for doors and windows, as well as the medieval stonework has been examined by archaeological survey and reported in London Archaeologist.
In 1614, St Vedast was enlarged by 20 feet thanks to a gift from the adjacent Saddlers’ company, and ‘beautified’ according to Stow’s Survey.
In 1635 the then Rector, James Batty, petitioned the Archbishop that a rail might be set up around the communion table as there are many “disorders and undecencies” among the parishioners when receiving the Blessed Sacrament. For his loyalty to King Charles I, Batty was “sequestered, plundered, forced to flee, and died” in 1642.
How the church may have suffered during the Civil Wars of the mid 17th century is unrecorded, but given that the Parliamentarians kept horses stabled in the chancel of nearby St Paul’s Cathedral, it is likely to have been badly affected. The current Rectors’ Board lists the years between 1643 and 1661 as under Foulke Bellers, a ‘Commonwealth Intruder’.
The disastrous Great Fire that swept through the City in September 1666 reached St Vedast on the third day. Afterwards, it was thought that although the roof, pews, pulpit and other fittings had been destroyed, the church could be repaired satisfactorily. It was therefore omitted from the original list of 50 churches to be rebuilt by Christopher Wren. B
y the 1690s, however, structural flaws must have become significant enough that rebuilding was begun. Records of those responsible for the detailed design and construction of the church are somewhat sketchy. Other than Wren, it is possible that Robert Hooke and/or Nicholas Hawksmoor were involved (the steeple is said to be particularly Hawksmoor-like), and master mason Edward Strong had been paid £3106:14:7 by the time the church was completed in 1699. He was responsible for the cherubs that grace the west front and bell tower, and for the dove in glory sculpture now situated at the east end of the south aisle.
Many of the minor changes that affected the church through the 18th century may not have been recorded, but we know that an organ was installed in 1773, and that heating was first introduced in 1790 – open stoves that were to be replaced in 1807 by a more satisfactory double fronted one.
Thomas Pelham Dale, Rector from 1847 to 1882, fell foul of the Public Worship Regulations Act of 1874 and was prosecuted for “ritualistic practices”. Although he gave up the practices in question for a time, he was brought before a court in 1880 and, for contempt, sent to Holloway prison.
The greatest change to the building in the 19th century was perhaps to the fenestration. A square headed window was removed in 1848 from the east end, along with the Dove in Glory sculpture by Strong above it. Twelve new stained glass windows were introduced in 1884, making the church much darker. Internal adjustments to pews, screens, pulpit and altar rails were made shortly afterwards.
On 29th December 1940, London was attacked by German air raids that dropped some 24,000 high explosive bombs and 100,000 incendiaries, mostly in the City. Although the Cathedral itself survived thanks to hundreds of volunteer firefighters, much of the area around St Paul’s was utterly destroyed.
As after the Great Fire of 1666, St Vedast was gutted and left a burnt out shell, with roof, pews, pulpit and fittings all ruined. As the structure of the church and its tower were deemed to be safe, plans to restore the church began in 1947. The work itself only started in 1953, under the auspices of its new Rector, Canon Mortlock, and the architect Stephen Dykes Bower. The post war Parochial Church Council that oversaw the work included Poet Laureate and conservation champion John Betjeman and the great organ builder Noel Mander.
To make the church a more appropriate layout for smaller 20th century congregations, Dykes Bower introduced collegiate style seating, and screened off the south aisle. New false walls were constructed within the east and south walls to make the church more rectangular, enabling a strong black and white patterned terrazzo floor to be laid. The ceiling was constructed to a pattern near that of the Wren original and finished with gold leaf and aluminium, donated by the Worshipful Company of Goldsmiths.
An adjacent plot along Foster Lane to the north, formerly the location of the Fountain pub, was purchased for the construction of a new Rectory, and a small secluded courtyard built between this Rectory and the former parish school (now the parish hall of St Vedast).
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The original church of St Vedast was founded before 1308 and was extensively repaired in the seventeenth century.[2]
Although the church was not completely destroyed in the Great Fire of 1666,[3] it was restored by 1662 on parochial initiative. However, the church required substantial reconstruction by the office of Sir Christopher Wren between 1695 and 1701, with only small parts of the older building surviving to be incorporated,[3] most noticeably parts of the medieval fabric in the south wall which were revealed by cleaning in 1992–3. The three-tier spire, considered one of the most baroque of all the City spires, was added in 1709–12[4] at a cost of £2958, possibly to the designs of Nicholas Hawksmoor, whose correspondence with the churchwardens survives. The organ was built by Renatus Harris in 1731, originally for St Bartholomew-by-the-Exchange.
Wren's church was gutted a second time by firebombs during the London blitz([5]) of 1940 and 1941.[6] A proposal by Sir Hugh Casson to leave this and several other ruins as a war memorial was not implemented. The post-war restoration within the old walls was undertaken by Stephen Dykes Bower. He re-ordered the interior in a collegiate chapel style with seating down each side with a side chapel in the former South aisle, and squared the old walls which were not rectangular in plan so that the altar now faces the nave squarely. He made an almost imperceptible taper in the pews and floor pattern, to give a false perspective towards the altar, making the church look longer than it is. The architect also designed the richly decorated 17th-century-style plaster ceiling. He reused fittings from other destroyed City churches, including the richly carved pulpit from All Hallows Bread Street and the font and cover from St Anne and St Agnes. Dykes Bower commissioned the Whitefriars glass windows in the East End, showing scenes from the life of St Vedast. These windows are largely opaque to hide tall buildings behind and to disguise the fact that the East wall is a wedge in plan. The work was completed in 1962. An aumbry by the south chapel altar is by Bernard Merry and the organ is 1955 by Noel Mander, in the re-used 1731 Harris case.
Dykes Bower also built a small Parish Room to the North East of the church in 17th-century style and a Georgian-style rectory, adjacent to the church, on Foster Lane in 1959 – in the first floor room of which is an important mural by Hans Feibusch on the subject of Jacob and the Angel. A niche in the internal courtyard of the building contains a carved stone head[who?] by sculptor Jacob Epstein.[7]
The church is noted for its small but lively baroque steeple, its small secluded courtyard, stained glass, and a richly-decorated ceiling. It also has a set of six bells, cast in 1960, that are widely regarded[by whom?] as being the finest sounding six in London.[8]
The church was designated a Grade I listed building on 4 January 1950.[9] The rectory was listed as a Grade II building on 15 July 1998.
The new name for the Mugen CR-Z!!!
Also at the Coventry Car DAy was a Countach, Ferrari California, Lamborghini Gallardo Spyder, old Rollers and Jags, Merc SLS AMG, Ferrari 330 P4 Replica, Honda NSX, Bentley Flying Spur, Ford Evos and new Peugeot 208!!!
for less than about $15 USD each
Ricoh 500 GX range finder and Minox 35GL zone focus compact with original flash unit.
both working, both in very good condition, The Ricoh is almost mint, apart from some small paint loss from the strap hangers rubbing on it and slight scuffing of the lens cap and ever-ready case it's in as new mint condition
(oh yeh and I'll need to replace the light seal (an easy enough job on these Ricoh cameras (some elbow grease, some isopropyl, a single piece of stick on low pile flocked fabric cut to match... 30 minutes work... tops) )
both of these cameras I've wanted for quite some time
I had to stop myself buying a near mint XA2, already own two of the original XA's (one with original flash), even I have my limits to hording... I mean collecting
The Fujica Compact Deluxe is a 35 mm rangefinder camera made by Fuji Film Japan on the '60. This camera was from a friend of mine. You can read the user's manual at www.scribd.com/doc/30795468/Fujica-Compact-Deluxe-35-mm-r...
The Ford Mustang is an automobile manufactured by the Ford Motor Company. It was initially based on the second generation North American Ford Falcon, a compact car. Introduced 17 April 1964, the Mustang was the automaker's most successful launch since the Model A.
Production of the Mustang began in Dearborn, Michigan on March 9, 1964 and the car was introduced to the public on April 17, 1964 at the New York World's Fair. It is Ford's third oldest nameplate currently in production next to the F-Series pickup truck line (which has undergone major nameplate changes over the years) and the Falcon which is still in production in Australia.
As Lee Iacocca's assistant general manager and chief engineer, Donald N. Frey was the head engineer for the Mustang project — supervising the overall development of the Mustang in a record 18 months — while Iacocca himself championed the project as Ford Division general manager. The Mustang prototype was a two-seat, mid-mounted engine roadster. This vehicle employed a Taunus (Ford Germany) V4 engine and was very similar in appearance to the much later Pontiac Fiero. It was claimed that the decision to abandon the 2 seat design was in part due to the low sales experienced with the 2 seat 1955 T-Bird. To broaden market appeal it was later remodeled as a four-seat car styled under the direction of Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster[18][19] — in Ford's Lincoln–Mercury Division design studios, which produced the winning design in an intramural design contest instigated by Iacocca.
Having set the design standards for the Mustang[20], Oros said:
“ I told the team that I wanted the car to appeal to women, but I wanted men to desire it, too. I wanted a Ferrari-like front end, the motif centered on the front – something heavy-looking like a Maserati, but, please, not a trident – and I wanted air intakes on the side to cool the rear brakes. I said it should be as sporty as possible and look like it was related to European design] ” Oros added:
“ I then called a meeting with all the Ford studio designers. We talked about the sporty car for most of that afternoon, setting parameters for what it should look like -- and what it should not look like -- by making lists on a large pad, a technique I adapted from the management seminar. We taped the lists up all around the studio to keep ourselves on track. We also had photographs of all the previous sporty cars that had been done in the Corporate Advanced studio as a guide to themes or ideas that were tired or not acceptable to management. Within a week we had hammered out a new design. We cut templates and fitted them to the clay model that had been started. We cut right into it, adding or deleting clay to accommodate our new theme, so it wasn't like starting all over. But we knew Lincoln-Mercury would have two models. And Advanced would have five, some they had previously shown and modified, plus a couple extras. But we would only have one model because Ford studio had a production schedule for a good many facelifts and other projects. We couldn't afford the manpower, but we made up for lost time by working around the clock so our model would be ready for the management review.
” To cut down the development cost and achieve a suggested retail price of US$2,368, the Mustang was based heavily on familiar yet simple components. Much of the chassis, suspension, and drivetrain components were derived from the Ford Falcon and Ford Fairlane (North American). Favorable publicity articles appeared in 2,600 newspapers the next morning, the day the car was "officially" revealed.[21][22] A Mustang also appeared in the James Bond film Goldfinger in September 1964, the first time the car was used in a movie.
Original sales forecasts projected less than 100,000 units for the first year.[24] This mark was surpassed in three months from rollout. Another 318,000 would be sold during the model year (a record), and in its first eighteen months, more than one million Mustangs were built. All of these were VIN-identified as 1965 models, but several changes were made at the traditional opening of the new model year (beginning August 1964), including the addition of back-up lights on some models, the introduction of alternators to replace generators, and an upgrade of the V8 engine from 260 cu in (4.3 l) to 289 cu in (4.7 l) displacement. In the case of at least some six-cylinder Mustangs fitted with the 101 hp (75 kW) 170 cu in (2.8 l) Falcon engine, the rush into production included some unusual quirks, such as a horn ring bearing the 'Ford Falcon' logo beneath a trim ring emblazoned with 'Ford Mustang.' These characteristics made enough difference to warrant designation of the 121,538 earlier ones as "1964½" model-year Mustangs, a distinction that has endured with purists
Another flower macro/close-up from our garden. These Dahlia buds have very interesting and beautiful looking colors and patterns on them. Nature has an amazing way of packaging these beauties... one day they are just small buds and the next day you find them in full bloom!
Wishing you all a great start to the week!
My Flowers & Macro set.
The bezel on the Presenter is only 1 1/4" inches. You can learn more about the Presenter multitouch wall at: ideum.com/touch-walls/presenter/
www.m25audi.co.uk/audi/q3.html
Interior view, Cockpit, Steering wheel, Gear lever, Seats.
The Audi Q3 is now available for ordering, you can download the price and specification brochure from the M25 Audi website using the link above. Prices starting at £24,560. Enquiries welcome.
Appareil compact 35 mm bi focal fabriqué à Taïwan en 1991 identique au Sure Shot télé max aux USA et Autoboy mini T au Japon. viseur collimaté avec modification au changement de la focale. 2 objectifs : 3,5/38 mm et 6/70 mm ( changement par curseur). Flash débrayable auto et avec réduction des yeux rouges. Mise au point AiAF à 3 points de 0.65 m à l'infini. film 135 DX en 24x36 et moteur. 1 pile CR 123 A. Retardateur et volet de fermeture. 234 g et 12.8 x 6.6 x 4.5 cm.
I find the issue and move the box that blocked the chute. Frankly the shit must have Piled up all day. I fixed the compactor and it took twenty minutes... but eventually the bag slid down the cute. I did stop the compactor to see if I could grab it. I could not.
Producto:
VITIS® suave compact
Descripción del producto:
El cepillo VITIS® suave compact, de tamaño reducido, cabezal pequeño y filamentos suaves, permite reducir la placa bacteriana (biofilm oral) de manera eficaz.
Propiedades del producto:
- El cabezal pequeño del cepillo VITIS® suave compact permite llegar a zonas de difícil acceso de la cavidad bucal.
- Los filamentos son de dureza suave y con perfil ondulado, que sigue el contorno de las encías y facilita el acceso a los espacios interproximales.
- El cuello es maleable y flexible y el mango anatómico con estrías antideslizantes.
- El mango es anatómico y de tamaño reducido para facilitar su uso y movilidad día tras día fuera de casa.
- Incorpora un capuchón que protege los filamentos y mantiene el cabezal en condiciones óptimas.
- Su uso está indicado para el cepillado diario fuera de casa.
Modo de empleo:
Cepillar los dientes un mínimo de 2 veces al día o después de cada comida.
Presentación:
Disponible en color transparente, azul, rojo, y rosa.
Consulte en nuestra página web más información sobre VITIS® suave compact: