Fred Weick ERCO Ercoupe
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Configuration: Mid-Engine
Engine: 400 C.I. V8 (6.6 L)
Transmission: 3 speed automatic
Original Engine: 4 rotor Wankel
Weight: 2600 lbs
The Aerovette started life as the XP-882, a mid engined Corvette, with a 6.2L Wankel rotary engine with four chambers that developed around 400hp. Under the design team of Bill Mitchell, the car was first unveiled as “The Four Rotor Corvette” during the 1970 New York Auto Show. The car featured bi-folding gull-wing doors and a clear cover showcasing the engine bay. Eventually, GM abandoned their rotary technology and replaced the four rotor with a small block Chevy V8, because they anticipated the gas crisis of the 1970s.
The Aerovette’s styling was formed through a wind tunnel to give it a streamlined form. The body of the car was constructed with fiberglass along with a steel and aluminum tubular frame. The Aerovette had an advanced rectangular headlight design that allowed the driver to see the road from further away, while remaining aerodynamic and in a low position. The Aerovette’s doors were a bi-folding gullwing
design that allowed the driver and passenger to enter and exit the vehicle quickly. The “V” design on the windshield was angled at 72° and wrapped around the doors to conceal the front pillars of the car. Glass louvers were placed on the rear quarter panel to aid with vision, and allow heat to be dispersed from the engine compartment. Cool air was channeled into the carburetors from the apertures that were located in front of the rear wheels. The engine’s radiator and air conditioning unit were mounted at the front of the car near the wheels to ensure maximum cooling and efficiency.
The technology in the Aerovette was quite advanced for the time. The interior of the car featured a telescopic steering wheel and digital display that allowed the driver to adjust it to their comfort level. The seats of the car were in a fixed position for weight distribution, but could be adjusted up and down. The driver would press a lever to move the pedals further away or closer to them. The Aerovette came with a number of safety and digital features as well. These included, a warning system that alerted the
driver if the doors were open or closed, if the seatbelts were unfastened, and front and rear energy absorbing bumpers that provided protection in car-to-car impacts up to 10 mph. A button could also be pressed to check on the fuel supply, water temperature, oil pressure, and voltage. The dashboard of the car had small lights to indicate what rpm the engine was spinning at, and would change from green to red when the driver was approaching redline. Additionally, the car had a built in lap timer, clock, calendar, and an am/fm radio.
Source: Audrain Auto Museum
First introduced in the 8C 2300, the Vittorio Jano designed eight cylinder engine scored at least one victory in every major race and championship. In its initial 1931 configuration, the engine displaced 2336 cc, it grew gradually to 2905 cc, primarily by increasing the stroke. The engine was created by mounting two alloy blocks of four cylinders on a single crankcase. On top of the two blocks an alloy head was installed, housing two camshafts. Aspiration was forced, through two Roots-Type Superchargers.
Although the engine increased in size throughout its career, its layout and auxiliaries remained very much similar to Jano's 1931 design. One of the best known racing cars powered by the 8 cylinder engine was the Tipo B or P3 of 1932, which is to date considered as one of the finest Grand Prix racers ever constructed. Run by Enzo Ferrari's Scuderia Ferrari, the Alfa Romeos were almost unbeatable.
From its 1931 introduction, the 8C 2300 took four straight victories in the 24 Hours of Le Mans, driven by talented drivers like Tazio Nuvolari and Luigi Chinetti. Tazio Nuvolari's brilliance was even more visible when driving the P3, the first single seater racer ever. The P3 was unbeaten in 1933, but eventually succumbed to defeat by the greater budgets being spent by Mercedes-Benz and Auto Union.
With the rise of the German Grand Prix teams, Alfa Romeo focused more of its attention on sportscar and road racing. Designed specifically for Italy's most legendary road race, the Mille Miglia, was the 8C 2900. Much like the contemporary Grand Prix racers, the 8C 2900 featured all-round independent suspension, with wishbones at the front and swing-axles at the rear. Installed in the chassis was a 220 bhp version of the 2.9 litre eight cylinder engine.
A total of six of these road racers, later known as 8C 2900A, were constructed. Three of these were entered in the 1936 running of the Mille Miglia. The new cars were immediately successful and occupied the first three places at the finish with the Brivio and Ongaro driven 8C on top. A year later a second victory was scored. With the winning cars as a base, a road going customer version was constructed. Dubbed 8C 2900B, the road car featured a de-tuned engine, but other than that is very similar to the racer.
Two versions were available, the 2800 mm short wheelbase (Corto) and 3000 mm long wheelbase (Lungo) versions. Most of these were sent to Touring to be fitted with Berlinetta, Spyder and Roadster bodies. With its competition chassis and high top speed it was faster and quicker than anything its competition had to offer. Due to its high price, only a very few of these supercars were constructed (10 Lungo and 20 Corto chassis).
Being very similar to the competition 8C 2900A, it came as no surprise the 8C 2900B was used as a racer as well. To suit this purpose Alfa Romeo constructed a further 13 8C 2900B chassis fitted with the 220 bhp engine. Many of these were fitted with roadster bodies and were competed in road races like the Mille Miglia. After the two 8C 2900A victories in 1936 and 1937, another two victories were scored by the 8C 2900B in 1938 and 1947. No other Alfa Romeo has scored as many 'MM' victories as the 8C 2900.
Although it was noted that a small number of these were produced, but the data on the car stated that this particular one was a one off, and I suspect it was by virtue of who custom bodied the car.
I love to catch Monarch Butterflies in flight. This is probably the strangest wing configurations that I have ever captured.
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This curious configuration in the landscape caught my eye as I was driving past... the light over the fields, the hedgerow adds interest, the tree to the left, lines in the crops in the foreground. Not much more to say really.
Damselflies and Dragonflies adopt this configuration when mating. They will stay together for hours, often flying around from perch to perch. When the female is inseminated, they will crawl down the reed until the female is almost submerged. She will deposit her eggs which can take up to five years to develop, going through several metamorphoses. The nymphs are extremely voracious, literally eating anything that moves. When ready, the nymph will climb out of the water and when dry, the back will split and a new damsel or dragonfly will emerge. Taken at Sidings Lane Nature Reserve, Rainford, UK
Captain Davie described the configuration of the great banking room. "Before conversion, three sets of four teller stations were placed between the square pillars on the right side. Each station included the main parts of classical architecture in reduced size, the horizontal entablature resting on the two vertical columns and consisting of cornice, frieze, and architrave. Strong structures supported a bronze hinged wicket at each of the 16 positions. Some of these groupings have been rearranged to accommodate hotel design requirements."
Although the use of the San Diego Trust & Savings Bank building changed ten years ago, from a bank and offices to a hotel with 245 guest rooms, the original features of the structure remain remarkably intact. The Courtyard-Marriott Hotel, located in the heart of a vibrant downtown San Diego, is a spectacular example of successful readapted use. The hotel stands proud in the bank's place, as the sentinel of an important piece of San Diego history.
Courtyard by Marriott - This excellent example of adaptive reuse was a 1999 People In Preservation award winner. 224
Structural configuration: The tower has a square base with a shoe base. The mixed stone walls are punctuated by angular bands in square stone. The upper cell is characterised by four three-light windows with terracotta frames. The terminal crowning is underlined by a series of blind arches on shelves and a dentil terracotta frame.
Property of Catholic religious body.
Indirizzo: via Guido Cagnola 21 - Gazzada Schianno (VA)
Tipologia generale: architettura per la residenza, il terziario e i servizi
Tipologia specifica: torre
Configurazione strutturale: La torre ha una base quadrata con un basamento a scarpa. Le pareti in pietrame misto sono scandite da fasce angolari in pietra squadrata. La cella superiore è caratterizzata da quattro trifore con cornici in cotto. Il coronamento terminale è sottolineato da una serie di archetti ciechi su mensole e da un cornice in cotto a dentelli.
Uso storico: intero bene: torre
Condizione giuridica: proprietà Ente religioso cattolico
Looking towards the old windmill tower which apparently had a 5 sail configuration (circa 1878.) and was one of the few to do so at the time...as it made full use of the high winds there......Tell me about it.
An orderly configuration of tinted corrugated fiberglas, weathered paint, partially blocked-in windows, rust stains, and asphalt, but not too orderly, which might be a bit boring, even if somewhat more satisfying. I meditated for a while on the shapes and patterns of the gray cinderblock filling in the bottom half of the windows, like pieces of a puzzle that don't fit. I can also zone out on the white area with its various crack patters, stains, and worn-down spots.
The Royal Palace of Madrid is the official residence of the King of Spain; However, the royal family does not live there, but rather in the Zarzuela Palace, which is why it is used for state ceremonies and solemn events.
With an area of 135,000 m² and 3,418 rooms (almost double that of Buckingham Palace or the Palace of Versailles, it is the largest royal palace in Western Europe and one of the largest in the world. It houses a valuable historical heritage- artistic, highlighting the set of musical instruments known as the Stradivarius Palatinos, and very relevant collections of other disciplines such as painting, sculpture and tapestry. The State rooms and artistic ,collections are open to visits as long as there are no official events.
The palace was built by order of King Philip V, on the site left by the Royal Alcázar, almost completely destroyed by a fire in 1734. Both the foundations of the old fortress and some of its structures were used for the construction of the new palace. The fire episode served to justify the replacement of the old building with a palace in accordance with the taste of the time. Its construction began in 1738, according to plans by the architect Filippo Juvara, who proposed a larger palace, but in a different location. When Juvara died, the project was entrusted to his disciple Juan Bautista Sachetti, who was required to adapt Juvara's plans to the site of the old Alcázar. Other distinguished Spanish architects such as Ventura Rodríguez participated and were trained in the quarry of the new palace; the configuration of the Royal Chapel is due to him. Francesco Sabatini was in charge of the completion of the building, as well as secondary renovation, expansion and decoration works. Charles III was the first monarch to continuously inhabit the palace.
Second Incarnation...
First photographed in 2013, this image was assigned a five-star rating due to the 1-1-3 configuration of the elk, but the original has little going for it in overall image quality. Much progress has been made since in terms of post-processing software and my ability to use it.
Recently I have been working to master the tools in Photoshop that allow me to create appropriate frames for my images (it's not a picture unless it's framed, and it's not a "photograph" until it hangs on a wall) - or so somebody once said.
Early on I used Topaz ReMask to seperate the foreground from the featureless gray background, but since Photoshop introduced Sky Replacement that's no longer needed.
The tule elk (Cervus canadensis nannodes) is a subspecies of elk found only in California, ranging from the grasslands and marshlands of the Central Valley to the grassy hills on the coast. The subspecies name derives from the tule, a large New World bulrush on which it feeds and which grows in the marshlands.
🇫🇷 Sa première configuration en forme de croix latine avec un plafond en bois était composée de trois nefs.. Au fil du temps elle a subi de nombreuses restaurations, les plus importantes sont celles du XVIIème siècle.
on a modifié la structure romano-pisane de l'église en élevant les murs portants, en créant des voûtes et des coupoles pour remplacer le plafond en bois, et donner une forme baroque à toute la structure.
🇬🇧 Its original layout, in the form of a Latin cross with a wooden ceiling, consisted of three naves. Over time it has undergone numerous restorations, the most important of which took place in the 17th century.
The Romanesque-Pisan structure of the church was modified by raising the supporting walls, creating vaults and domes to replace the wooden ceiling, and giving the whole structure a Baroque form.
🇮🇹 La sua configurazione originaria, a croce latina con soffitto ligneo, era a tre navate. Nel corso del tempo è stata sottoposta a numerosi restauri, i più importanti dei quali sono stati effettuati nel XVII secolo.
La struttura romanico-pisana della chiesa fu modificata alzando i muri portanti, creando volte e cupole in sostituzione del soffitto ligneo e dando una forma barocca all'intera struttura.
🇩🇪 Ursprünglich hatte sie die Form eines lateinischen Kreuzes mit einer Holzdecke und bestand aus drei Schiffen. Im Laufe der Zeit wurde sie zahlreichen Restaurierungen unterzogen, von denen die wichtigsten im 17.
Jahrhundert. Die romanisch-pisanische Struktur der Kirche wurde verändert, indem die tragenden Mauern erhöht, Gewölbe und Kuppeln errichtet wurden, um die Holzdecke zu ersetzen und der gesamten Struktur eine barocke Form zu geben.
🇪🇸 Su configuración original, en forma de cruz latina con techo de madera, constaba de tres naves. Con el tiempo, sufrió numerosas restauraciones, las más importantes de las cuales se llevaron a cabo en el siglo XVII.
La estructura románico-pisana de la iglesia se modificó elevando los muros de carga, creando bóvedas y cúpulas para sustituir el techo de madera y dando una forma barroca a toda la estructura.
Different configurations of collected steel sculptural forms. Two being magnetic allowing for reconfiguration at the whim of the owner/curator. The diameter of the round base is about 200mm.
LMS 5596 Bahamas
45596 Bahamas (46988770322).jpg
45596 Bahamas on the Settle-Carlisle Line in 2019
hideType and origin
Power typeSteam
DesignerWilliam Stanier
BuilderNorth British Locomotive Company, Glasgow
Order numberL885
Build dateJan 1935
hideSpecifications
Configuration:
• Whyte4-6-0
• UIC2′C h3
Gauge4 ft 8+1⁄2 in (1,435 mm)
Leading dia.3 ft 3+1⁄2 in (1.003 m)
Driver dia.6 ft 9 in (2.057 m)
Length64 ft 8+3⁄4 in (19.73 m)
Loco weight79.55 long tons (89.10 short tons; 80.83 t)
Tender weight54.65 long tons (61.21 short tons; 55.53 t)
Fuel typeCoal
Fuel capacity9.0 long tons (10.1 short tons; 9.1 t)
Water cap4,000 imp gal (18,000 l; 4,800 US gal)
Firebox:
• Firegrate area29+1⁄2 or 31 sq ft (2.74 or 2.88 m2)
BoilerLMS type 3A
Boiler pressure225 psi (1.55 MPa)
Heating surface:
• Tubes and flues1,372 to 1,470 sq ft (127.5 to 136.6 m2)
• Firebox162 or 181 sq ft (15.1 or 16.8 m2)
Superheater:
• Heating area228 to 331 sq ft (21.2 to 30.8 m2)
CylindersThree
Cylinder size17 in × 26 in (432 mm × 660 mm)
Valve gearWalschaerts
Valve typePiston valves
hidePerformance figures
Maximum speed75 mph (121 km/h) certified
Tractive effort26,610 lbf (118.4 kN)
hideCareer
Power class
LMS: 5XP
BR: 6P
Numbers
LMS: 5596
BR: 45596
Axle load classBR: Route Availability 8
WithdrawnJul 1966
DispositionOperational, Mainline Certified
London Midland and Scottish Railway (LMS) Jubilee Class 5596 (BR number 45596) Bahamas is a preserved British steam locomotive. It is named after The Bahamas.
The locomotive was built as a standard Jubilee Class in 1934 by the North British Locomotive Company for the London Midland & Scottish Railway (LMS). In May 1961, under the ownership of British Railways, Bahamas was the recipient of several experimental modifications aimed at improving the steam engine. In July 1966, Bahamas was withdrawn from traffic. A preservation society was founded and raised the money to purchase it from British Rail to prevent it from being scrapped. After repairs by the Hunslet Engine Company in Leeds Bahamas was transported to Dinting Railway Museum, near Glossop, Derbyshire
One arm of (please forgive me...) a four-armed third hand bent into this week's thematic shape.
From a bit of web research, I found out it is made from modular hose, a product normally used in metalworking and woodworking machinery but adaptable to other applications.
Linked picture now available!
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South Clerk Street, Edinburgh, Scotland
Architect: Robert Brown (1823–24)
Original use: Hope Park Chapel of Ease
Conversion architect: Larry Rolland, Robert Hurd & Partners (1978–79)
Opened as The Queen’s Hall: 6 July 1979
Architectural style: Georgian Neoclassical
Listed status: Category A
Audience capacity: Up to 800 seated or 900 standing, depending on configuration
HISTORY — TWO CENTURIES OF PUBLIC LIFE
Standing prominently on South Clerk Street, The Queen’s Hall is one of Edinburgh’s most significant examples of the successful adaptation of a historic ecclesiastical building for modern cultural use.
Its origins lie in the rapid expansion of Edinburgh’s southern suburbs during the early nineteenth century. As the population of Newington and the surrounding districts increased, additional accommodation for public worship became necessary.
The building was commissioned as Hope Park Chapel of Ease, designed by Edinburgh architect Robert Brown, with construction beginning in 1823 and the chapel opening in 1824.
It was originally associated with St Cuthbert’s parish and provided worship accommodation for approximately 1,700 people — an indication of the scale of Edinburgh’s expanding population.
In 1834 the chapel became Newington Parish Church, acquiring a more independent ecclesiastical identity.
Following the union of congregations in the twentieth century, it became Newington and St Leonard’s Parish Church in 1932.
For more than 150 years, the building served successive generations of worshippers, until the congregation was dissolved and the church closed in 1976.
THE TRANSFORMATION INTO A CONCERT HALL
The church’s closure coincided with a growing need for suitable rehearsal and performance facilities among Edinburgh’s professional musical organisations.
The Scottish Baroque Ensemble, Scottish Philharmonic Singers and the recently established Scottish Chamber Orchestra were among those seeking a permanent or regular performance base.
The former church offered an unusually promising opportunity. Its generous internal volume, galleries and favourable acoustic properties made it particularly suitable for orchestral and chamber music.
A fundraising appeal was launched in 1977, ultimately raising approximately £850,000 for the conversion.
The architectural work was undertaken in 1978–79 by Robert Hurd & Partners, with Larry Rolland responsible for the adaptation.
The project retained the building’s essential Georgian architectural character while introducing the facilities necessary for a modern concert venue.
The Queen’s Hall was officially opened by Queen Elizabeth II on 6 July 1979, giving the building its present name.
It subsequently became particularly associated with the Scottish Chamber Orchestra and established itself as an important venue in Edinburgh’s year-round musical and festival programmes.
ARCHITECTURE — GEORGIAN CLASSICISM
The exterior is an impressive example of restrained Scottish Neoclassical architecture.
Unlike the elaborate Gothic Revival churches that became fashionable later in the nineteenth century, Robert Brown’s design draws upon the classical vocabulary of symmetry, proportion and architectural order.
The principal elevation facing South Clerk Street is constructed in dressed sandstone and arranged as a broad, symmetrical composition.
Its architectural features include:
* A central projecting pedimented section, establishing the principal axis of the building.
* A carefully ordered arrangement of tall, round-headed windows.
* Pilasters and strongly expressed horizontal stringcourses dividing the façade.
* A restrained classical entablature and parapet.
* A series of ground-floor entrance openings beneath the principal windows.
* A prominent central clock tower rising above the roofline.
The tower is the building’s most conspicuous architectural feature.
Its substantial lower stages rise into an open, columned belfry surmounted by a slender, metal-clad spire and finial.
The combination of a classical church façade and a tall steeple is characteristic of Scottish ecclesiastical architecture of the Georgian period, blending the architectural language of the classical temple with the traditional visual prominence of a parish church.
The tower also provides an important vertical landmark in the densely developed streetscape of Edinburgh’s Southside.
Although the building has undergone alterations and adaptation, its external architectural identity remains remarkably legible.
INTERIOR AND ACOUSTICS
The auditorium retains the essential spatial character of the former church.
Rather than a conventional theatre with a proscenium arch, fly tower and backstage scenery facilities, The Queen’s Hall is principally an open concert auditorium arranged around a performance platform.
The original ecclesiastical proportions contribute significantly to its character.
Its relatively intimate relationship between performers and audience is particularly appropriate for chamber orchestras, solo recitals, vocal performances and smaller musical ensembles.
The galleries, high ceiling and enclosed volume create a distinctive acoustic environment.
The building is widely admired for its clarity, warmth and natural resonance, qualities particularly valued in performances of classical and acoustic music.
Importantly, the conversion did not attempt to disguise the building’s ecclesiastical origins.
Historic decorative elements survive, including painted eighteenth-century religious panels depicting the Lord’s Prayer, Creed and Ten Commandments, transferred from the former Buccleuch Parish Church during the twentieth century.
An early nineteenth-century chamber organ, associated with the organ builder William Gray, also forms part of the hall’s musical and architectural heritage.
The result is an interior that retains the atmosphere of a historic place of worship while functioning as a concert venue.
TECHNICAL CHARACTERISTICS
The Queen’s Hall is a flexible performance space rather than a purpose-built opera house or conventional theatrical auditorium.
Its principal technical characteristics include:
Audience capacity: A maximum of approximately 800 seated, depending on sightlines and seating arrangement, or 900 standing.
Auditorium configuration: Adaptable for formal concert seating, standing events and cabaret-style arrangements.
Performance area: An open platform suitable for orchestras, chamber ensembles, soloists, amplified groups and spoken-word presentations.
Acoustics: A naturally resonant auditorium particularly suited to unamplified music, supported by professional sound reinforcement for amplified performances.
Lighting and sound: Modern concert lighting and audio systems allow the venue to accommodate a wide variety of musical and other performances.
Architectural limitations: As an adapted Georgian church, the building does not possess the conventional stage machinery, extensive wing space or fly facilities associated with a purpose-built theatre.
These characteristics have helped establish The Queen’s Hall as a versatile venue without sacrificing its historic architectural identity.
THE QUEEN’S HALL AND EDINBURGH’S FESTIVALS
Since 1979, The Queen’s Hall has played an important role in Edinburgh’s cultural life.
It is especially associated with the Scottish Chamber Orchestra, while its programme embraces classical music, jazz, folk, traditional Scottish music, contemporary music, rock, comedy and spoken word.
The venue also contributes to the Edinburgh International Festival, Edinburgh Festival Fringe and Edinburgh Jazz & Blues Festival.
Its comparatively intimate scale offers an alternative to Edinburgh’s larger performance venues, including the Usher Hall and Festival Theatre.
Among the internationally recognised performers who have appeared at The Queen’s Hall are Nina Simone, Nick Cave and Adele.
The building celebrated forty years as a concert hall in 2019, followed by celebrations marking its bicentenary in 2023–24.
ARCHITECTURAL AND CULTURAL SIGNIFICANCE
The Queen’s Hall is protected as a Category A listed building, having been designated on 14 December 1970, before its conversion to musical use.
Its importance lies in two complementary aspects of Edinburgh’s history.
Architecturally, it represents the expansion of Georgian Edinburgh beyond the Old Town and New Town into the developing residential districts of the Southside.
Culturally, its conversion demonstrates how an important historic building can be given a sustainable new purpose without losing the architectural qualities that make it significant.
The transformation from a nineteenth-century chapel into a twentieth-century concert hall was not merely an exercise in preservation. It created a new cultural institution while retaining the historic fabric of an established Edinburgh landmark.
More than two centuries after its construction, the building continues to bring people together — originally for religious worship and now principally for music and performance.
Photograph: The Queen’s Hall, South Clerk Street, Edinburgh, showing its symmetrical Georgian façade and prominent clock tower rising above the busy street.
Le site des dunes de Tadoussac offre une configuration idéale pour l'observation de la migration des oiseaux. En raison de la largeur du fleuve Saint-Laurent, les oiseaux ne se risquent pas à le traverser à cet endroit. Il se crée des couloirs de vents favorables compte tenu de la configuration particulière du fleuve avec le Saguenay et son fjord, Le site des dunes est dégagé et offre à l'observateur un point de vue unique. On voit les oiseaux de proie arriver par-dessus la montagne, quand on regarde vers l'est-nord-est. Un premier couloir passe côté fleuve, à main droite, et on y voit souvent les oiseaux glisser le long de la dune avant de remonter. L'autre corridor passe plutôt côté terre, à main gauche. Ils suivent ensuite le fleuve jusqu'à ce que ce leur soit facile de le franchir, à partir de Québec et plus au sud. Ces temps-ci, un ornithologue professionnel fait le décompte des migrateurs. Sa connaissance des oiseaux est formidable. Il identifie les espèces à distance à leur silhouette et à leur vol. Il peut facilement statuer sur leur âge. Grâce à lui nous avons observé de nombreuses espèces qui nous auraient échappé.
Il y avait activité de baguage des passereaux, le jour, et des nyctales, la nuit, au pavillon des dunes. L'observatoire des oiseaux de Tadoussac, l'OOT, organisait et gérait tout ça.
The Tadoussac Dunes site offers an ideal setting for observing bird migration. Because of the width of the St. Lawrence River, birds do not risk crossing it at this point. Corridors of favorable winds are created given the particular configuration of the river with the Saguenay and its fjord. The site of the dunes is clear and offers the observer a unique point of view. We see the birds of prey coming over the mountain, when we look to the east-northeast. A first corridor passes on the river side, to the right, and we often see the birds gliding along the dune before going up. The other corridor passes rather on the land side, to the left. They then follow the river until it is easy for them to cross it, starting from Quebec and further south. These days, a professional ornithologist is counting the migrants. His knowledge of birds is tremendous. He identifies species at a distance by their silhouette and flight. He can easily decide on their age. Thanks to him we observed many species that would have escaped us.
There was banding activity for passerines during the day and owls at night at the pavilion des dunes. The Tadoussac bird observatory, the OOT, organized and managed all of this.