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Some of the compacts that I love. I think these are some of the most fun you can have with a film camera.
Prints and Canvasses Available
A JCB 419S Loading Shovel fitted with an Allbutt Grass Fork playing King of the Castle while compacting the heap.
Yeah, the gun isn't the greatest. The story is the focus here.
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To get past the guards was an easy task. Though there was a part of him that briefly considered using two or three shots to swiftly dispose of the difficulty, his purpose would be better served the less risks he took, and the less evidence left behind the better. The bonus waiting for him if he got in and out unseen helped a lot too.
Cut a wire here, switch a wire there, flip a breaker or two, and a brilliant lightshow across advertisement displays had the two guards gawking like children while while he casually strolled past.
Getting past them wasn't the difficulty in truth, as much as what came next.
In this era only fools kept business closed at night. An age of 24/7 food, love, laughs, and everything else had dawned over most of the civilized and advanced world. The musuem was still open to the public, even if the crowd was virtually nonexistant, the lights dimmed, and janitors were out scrubbing away the battlescars of school field trips. But the museum wasn't his destination, but the facility below.
This is where the guards needed to not be paying attention. The small unimportant door beside the entrance was his goal, and though he could never get passed completely unnoticed, the distraction would keep the guards from seeing which door he went through. He was just another curious pedestrian going for a walk and a browse in the egotistical monument that was named "Tokushima Industrial Historical Museum."
For as long as he had been in the vaguely named "Package Retrieval" business for corporations, there was still a part of him that expected the stereotypical entrance to places like these. The hidden elevator, the multiple massive doors, scanners of all sorts and types, etc.
No, just one scanner, one secure door, all very low key. If need be, the whole facility could be cleansed and emptied, with little left to assemble any sort of judicial case against them for whatever secrets were concealed under the museum.
He had seem similar systems before, difficult to crack without practice, but this was his livlihood and practice he had plenty.
A holo projector aimed just so at just the right time, enter an old backdoor failsafe code into the keypad, and the door clicked unlocked.
It was an unnervingly clean light green and white steril environment. It would take very little imagining to believe he was in an old hospital like those out of old movies from the years when man was still locked in his desperate battle with cancer.
But there were more computers and synthetic driods here than there were flesh and blood humans. More harmful devices than helpful.
He carefully strode down the brightly light halls. Stealth wouldn't avail him much here, and his cloaking device didn't have very long of a charge, it was for emergencies mostly.
So instead he snagged the first white labcoat he passed and did his best to look like he belonged. He adopted a superior manner, found a pair of holo lensed glasses to wear, and a touchpad to complete the look. He avoided other scientists as best he could without making it obvious, doing his best to appear too engrossed in the data on his touchpad to be bothered.
A data link from his own PDA to the touchpad allowed him to use it to steer towards the package.
Ideally he would acquire a third device to triangulate, but he didn't have the time to risk it. For now his PDA and touchpad would have to make due.
It took longer than he expected. He could blame it on the bewildering turns and abstract angles of the facility that without a doubt were designed to steer infiltrators away from the most dangerous and valuable projects towards the pointless rooms set up as covers.
He was Jacob Salem, one of the best in the business, and he was being beaten by mere corridors. Not doors, not guards, not sophisticated AI programs or elaborate cyphers. A freakin' hallway.
As if to make up for it, after a rather uneventful download and extraction of the targeted prototype code, he swiftly found an alternate exit that dumped him right...
...into one of the main museum displays.
A bewildered tourist and the two museum guards who he had been heatedly arguing with about the historical inaccuracies of a nearby holodisplay turned to see the stranger who just popped out of a wax display of workers dress of the factory that would later become Tokushima Industrial.
Jacob was faily certain his cover was very -ripped, smashed, stabbed, shot, and thoroughly good and properly- blown.
*NOTICE: The above text is a work in progress trail run for a planned
literary work. Though subject to change and alteration, it represents
the majority of planned content for the final product. As such, the
ideas, characters, setting, and story written above is reserved as
intellectual property of C. J. King.*
Feedback and comments on the story are more than welcome, wanted in
fact.
IN ENGLISH BELOW THE LINE
Les càmeres de cinema Siemens Kino de 16mm foren unes de les més complexes i compactes del món abans de la II Guerra Mundial. Oferien moltes opcions, incloent diverses velocitats o visor telemetric. També eren extraordinariament petites per a ser de format 16mm, però això era perquè feien servir casets intercanviables propis de 15m. (en comptes de les bobines usuals de 30m.) amb l’unic inconvenient de tenir menys pel•licula. Però al ser intercanviables, es podia, teoricament, anar canviant de emulsió (com després faran les càmeres Hasselblad).
El model F-II és el més evolucionat de tots, i va sortir el 1938. Es fabricà de 1938 a 1940, acabant la producció durant la guerra, i reiniciant-se breument a la postguerra, entre 1947 i 1950. Tant el model F com el F-II destacaven sobre els altres per tenir objectius intercanviables (del tipus “C”, compatibles amb la majoria de càmeres de 16mm). En aquesta càmera en concret he obtingut el objectiu standard per a les F, el Jos. Schneider Kreutznach Xenon f1.5 / 25mm. L’altre caracteristica avançada de la F-II era el visor regulable tant per paralatge (movent tot el visor depenent de la proximitat de la escena enfocada a la càmera, ja que no és reflex) com multifocal, poguent-se adaptar a objectius de entre 25 i 100 mm. De fet, per a aquesta càmera es desenvolupà el primer objectiu zoom del cinema amateur (Vario-Glaukar-Anastigmat), que es conectava al visor i movia la focal d’aquest de manera coordinada.
Aquesta càmera en concret, que venia amb diversos cassets Siemens (alguns carregats i altres buits) funciona prou bé. Com a curiositat dir que té diverses modificacions (fetes de manera profesional) al frontal i els laterals, com si es pogués conectar amb altres aparells. Per això penso que potser es va fer servir en algun tipus de laboratori o industria.
A tot això, hi ha encara una altra derivada historica rellevant d’aquest model Siemens Kino F-II, i és que fou un dels dos models de càmeres Siemens que emprà Eva Braun, la “amiga intima” del Führer (i esposa per menys de 24h) per a les filmacions casolanes del entorn de Hitler. Filmacions que varen sobreviure a la guerra i que son una molt interesant vista al dia a dia del dictador sobretot en l’idilic entorn del Berghof del Obersaltzberg. Pel que he pogut investigar per internet, sobretot amb les fotos que es conserven, sembla que Eva Braun va fer servir una Siemens C des del 1934 fins 1938, any en que canvià a una Siemens F-II fins al final. Les dues serien logicament regals de Hitler.
www.vintagecameras.fr/siemens/type-f-ii
www.bitacora.com.uy/auc.aspx?7257,7
www.theguardian.com/world/2013/jan/27/hitler-home-movies-...
www.youtube.com/watch?v=5HZEr9qCBVc
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Siemens Kino 16mm film cameras were some of the most complex and compact in the world before World War II. They offered many options, including various speeds or rangefinder viewer. They were also extraordinarily small for 16mm format, but that was because they used proprietary 15 m. interchangeable cartridges. (instead of the usual 30 m. reels) with the only drawback of having less film. But being interchangeable, it was possible, theoretically, to change the emulsion (as the Hasselblad cameras will later do).
The Model F-II is the most advanced of all, and came out in 1938. It was manufactured from 1938 to 1940, ending production during the war, and restarting briefly in the postwar period, between 1947 and 1950. Both the Model F like the F-II stood out from the others for having interchangeable lenses (of the “C” type, compatible with most 16mm cameras). On this particular camera I got the standard lens for the Fs, the Jos. Schneider Kreutznach Xenon f1.5 / 25mm. The other advanced feature of the F-II was the adjustable viewfinder for both parallax (moving the entire viewfinder depending on the proximity of the scene focused on the camera, since it is not reflex) and multifocal, being able to adapt to objectives of between 25 and 100 mm. In fact, the first amateur cinema zoom lens (Vario-Glaukar-Anastigmat) was developed for this camera, which was connected to the viewfinder and moved its focal point in a coordinated manner.
This particular camera, which came with several Siemens cassettes (some loaded and some empty) works well enough. As a curiosity to say that it has several modifications (made professionally) on the front and the sides, as if it could be connected to other devices. That's why I think that maybe it was used in some kind of laboratory or industry.
In addition to all this, there is still another relevant historical derivative of this Siemens Kino F-II model, and that is that it was one of the two Siemens camera models used by Eva Braun, the "intimate friend" of the Führer (and wife for less of 24h) for the home filming of Hitler's entourage. Footage that survived the war and is a very interesting view of the dictator's day-to-day life, especially in the idyllic surroundings of the Berghof in the Obersaltzberg. From what I've been able to research online, especially with surviving photos, it appears that Eva Braun used a Siemens C from 1934 until 1938, when she switched to a Siemens F-II until the end. Both would logically be gifts from Hitler. There are photos of her with both models:
www.google.com/imgres?q=Eva%20Braun%20movie%20camera&...
www.google.com/url?sa=i&url=https%3A%2F%2Fwww.gettyim...
www.vintagecameras.fr/siemens/type-f-ii
www.theguardian.com/world/2013/jan/27/hitler-home-movies-...
Huile sur toile, 81 x 100 cm, 1940, museo Nacional Thyssen-Bornemisza, Madrid.
"Mon travail est comme mon comportement, pas harmonieux au sens des compositeurs classiques et pas même au sens des révolutionnaires classiques. Subversif, inégal et contradictoire, pour les spécialistes de l'art, de la culture, des mœurs, de la logique, de la morale, il est inacceptable". Cette citation d'Ernst, publiée par Werner Spies, montre son refus des normes artistiques et témoigne de la nature changeante de son travail, qui oscille entre agressivité et exaltation.
Pendant la Seconde guerre mondiale, sa vie mouvementée est devenue l'intrigue parfaite pour un roman. En 1938, après avoir quitté le groupe surréaliste par solidarité avec Paul Éluard, il part vivre chez Leonora Carrington à Saint-Martin d'Ardèche, où le couple restaure ensemble une maison, la remplissant de reliefs et de peintures. Sa retraite paisible et créative est interrompue par le déclenchement de la guerre lorsqu'il est emprisonné en raison de sa nationalité allemande. Après plusieurs tentatives d'évasion et sa libération éventuelle grâce à l'intervention de Paul Éluard, il revient à Saint-Martin pour se retrouver seul, Leonora, souffrant d'une profonde dépression, ayant été internée dans un hôpital psychiatrique en Espagne.
Avec l'Europe en guerre et la France occupée, Ernst, comme d'autres artistes et intellectuels européens, décide d'émigrer aux États-Unis. Après avoir surmonté toutes sortes de difficultés, il arrive en juillet 1941 à New York, où il épouse peu après la collectionneuse Peggy Guggenheim.
Arbres solitaires et conjugaux a été exécuté avant le départ de l'artiste pour l'Amérique, à un moment où une nouvelle direction est évidente dans son travail. Les villes dévastées qu'il avait peintes au milieu des années 1930 avaient laissé place à des paysages fantasmagoriques peuplés de figures anthropomorphes, comme l'apocalyptique L'Europe après la Pluie, qu'il acheva aux États-Unis. Ces paysages avaient été exécutés à l'aide de la décalcomanie, une technique semi-automatique basée sur la répartition aléatoire des couleurs appliquées au hasard, d'abord sur du verre ou une autre surface lisse, qui était ensuite plaquée contre la toile. Elle avait été employée par Victor Hugo, grand précurseur des surréalistes, et reprise par Óscar Domínguez dans ses gouaches de 1935, et appliquée par Max Ernst dans ses peintures à l'huile de la fin des années 1930.
Ces Arbres imposants ressemblant à des cyprès compacts dont la porosité rappelle parfois les marbres ou les formations volcaniques, ou peut-être même les stalagmites qu'Ernst a pu voir à l'Aven d'Orgnac, une grotte près de Saint-Martin d'Ardèche, sont peints selon la même technique . Certaines images se distinguent au milieu de formes pétrifiées empreintes d'une symbolique complexe, comme un nu féminin en proie à un oiseau menaçant, une tête de cheval et plusieurs visages de profil. Ernst propose une double vision, paradisiaque et apocalyptique, du monde et atteint la "beauté convulsive" dont parle Breton dans ses écrits et qui rappelle la peinture de Gustave Moreau ou d'Arnold Böcklin, mais aussi des images de la littérature romantique.
Christopher Green rapproche ce tableau du roman Little Francis de Leonora Carrington, écrit en 1937, notamment le passage qui raconte comment le petit Francis (Leonora) et sa tante Ubriaco (Ernst) arrivent à Saint-Roc (Saint-Martin) : "Ils se sont assis là où ils pouvait voir la rivière et les hautes falaises calcaires d'en face. Les rochers ont été façonnés après une centaine de créatures différentes. J'ai connu un homme qui a passé toute sa vie à transformer le paysage en zoo", dit oncle Ubriaco rêveusement. "Il a travaillé pendant des années pour transformer des pierres en lions et en tigres, en ministres, en centaures, en personnages historiques, etc. C'était un homme charmant, mais il travaillait trop dur. Je trouve que les cyprès sont ravissants, ils me rappellent les perruques et comme ils poussent habituellement dans les cimetières, on imagine en dessous la tête de mort d'une belle dame" (cf. Paloma Alarco, museo Nacional Thyssen-Bornemisza).
This compact car is strongly related to the Dodge Dart and the Chrysler Valiant.
Available with three different engines, this one has the 2790cc 6 cylinder engine.
Overall production Valiant: 1960-1976 over four generations.
This is the 2nd 1962-1966 generation.
In the back we see the body of a Peugeot 403, hopefully waiting to be restored.
Number seen: 1.
Paisa, Val-Sonnette (Jura, Fr.), Route Nationale D1083, Aug. 3, 2016.
© 2016 Sander Toonen Amsterdam | All Rights Reserved
Perhaps Grand Central don't expect many passengers on their Sunderland to Kings Cross service. 22.03.2017
Ground disc signal facilitating reversal from the up line towards the trailing crossover at Brampton Fell on 7 May 2008.
The A100 is a range of American compact vans and trucks manufactured and marketed from 1964 to 1970 by Chrysler Corporation under the Dodge marque in the United States and the Fargo marque in Canada.
The A100 competed with the Ford Econoline and Chevrolet Van and Chevy Corvair Greenbrier, as well as the Volkswagen Type 2. The range included a pickup truck and van, both with a "forward control" design. Placing the driver on top of the front axle with the engine near the front wheels is called a "cab over" vehicle. The nose was flat, with the engine placed between the driver and passenger, who sat above the front axle. The unibody vehicles used a short, 90 in (2,300 mm) wheelbase. An A108 was also available from 1967 to 1970, with a longer 108 in (2,700 mm) wheelbase. The A108 was popular with camper conversion companies.
Le Manx est un chat de taille moyenne à grande et au corps musclé, compact, puissant mais tout en rondeur. L'ossature et la musculature sont fortes, le dos droit. Les pattes sont de taille moyenne à courte, là aussi avec une bonne ossature et musculature. Les pattes postérieures sont légèrement plus hautes que les antérieures et les pieds ronds et fermes. La principale caractéristique du Manx est sa queue... ou plutôt son absence de queue (causée par une mutation du gène M.) On distingue plusieurs types de longueurs de queue :
Rumpy : absence totale de queue.
Rumpy riser : la queue est réduite à une excroissance de cartilage, 1 à 3 vertèbres sacrales, au bout de la colonne vertébrale. Ce nom vient du fait que le moignon est visible uniquement quand le chat tente de le lever (en anglais « lever » se dit to rise).
Stumpy : la queue ne mesure que quelques centimètres et est composée de 1 à 3 vertèbres caudales.
Longy : certains chats de race Manx peuvent avoir une queue de longueur pratiquement normale, mais elle peut être tordue et n'est pas acceptée en championnat.
On peut trouver dans une même portée Manx des chatons ayant des longueurs de queue différentes. On ne rencontre généralement en concours que des Manx rumpy. La tête est large et arrondie avec des pommettes saillantes et un nez court, large et bien incurvé. Les yeux sont grands, bien ouverts et ronds d'une couleur accordée à la robe. Les oreilles, de taille moyenne à petite, sont larges à la base avec le bout arrondi et sont placées bien espacées sur le crâne. La fourrure est courte, dense et avec un sous-poil épais. Toutes les couleurs et robes sont acceptées pour cette race.
Really lovely machine - my J.Guillem Orient in it’s Bikepacking Setup at the River Rhine.
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Wirklich tolle Maschine - mein J.Guillem Orient im Bikepacking Setup am Rhein.
(not the lens...)
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Canon EOS 5D MkII + EF 1.4/50mm
ISO 3200 1/60 f3.2 -2EV
I took this for work the other day.
I think it captures the movement of the machine and the care and skill of the operator... more than I hoped for.
Chuffed with it :)
Agfa Compact, with Agfa Solinar 2.8/39. Introduced in 1980, it has a winder for film advance and the motor also moves the lens out and in, a very advanced feature in those days.
I bought this copy with jammed main switch, the shifter on the right side which also covers the viewer window. "Jammed main switch? Easy to repair!" I thougt. A complete misjudgement. This small camera (it is really compact) is jam-packed with tooth wheels, rods and levers, mostly unsecured, they just fall out if the camera is tilted at the wrong moment. You'll get a sophisticated puzzle.
Perhaps you know that some Agfa Sensors have a peculiarity: the rewinding is done with the advance lever. When you open the back, a part the bottom pops out and you can see the complicated mechanism. The coupling to the film cartridge also swings out, so the camera can be made more compact. Though the Agfa Compact has a winder for rewinding the film, it has that complex mechanism. No wonder, that most Compacts are out of order.
End of the story: I assembled the rest of the camera to take this picture, I have lots of small parts left ...
UPDATE: found a working copy and loaded it immediately with a roll of film. It's really a special model; it's nice, but I have to fight a little bit with the viewfinder and its brilliant frame, and every time the motor driven lens extended I thought, it could be the last time. The exposure meter is very sensitive to back light, only a small source of light in the picture causes underexposure, a button for back light compensation would be really appropriate. On the other hand, the lens itself can handle strong back light very confident.
The results were somewhat disappointing, colors were dull and the contrast low, but I blame the film for it, a Kodak Farbwelt 200 (although "Farbwelt" means "world of colors"). Sharpness is a mixed bag: some pictures taken under cloudy conditions are very sharp, some pictures at bright sunlight are not.
Examples:
For sharpness: you can easily read the "10" on the signs in the background.
For back light
Source: en.wikipedia.org/wiki/Sandugo
The Sandugo was a blood compact, performed in the island of Bohol in the Philippines, between the Spanish explorer Miguel López de Legazpi and Datu Sikatuna the chieftain of Bohol on March 16, 1565, to seal their friendship as part of the tribal tradition. This is considered as the first treaty of friendship between the Spaniards and Filipinos. "Sandugo" is a Visayan word which means "one blood".
The Sandugo is depicted in both the provincial flag and the official seal of the government in Bohol. It also features the image of the blood compact. The top of the seal explains the history behind the Sandugo event that occurred in Bohol, the fleet and the location where the Spaniards anchored and the place where the treaty was conducted which was dated on March 16, 1565