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Furano, Hokkaido.
Canon AE-1, NFD 50mm F1.8, negative ISO 400 from Fuji expired, exposed as ISO 1600 ( the light meter is broken ), developed with reversal processing as described before ( 1st: H&W control phenidone2x 26 Deg.C 105 minutes, a lttle too long, 2nd: BAN1 1/3 ), scanned with plustek OpticFilm 120, edited with GIMP.
Lomography LC-A120
MINIGON_XL 38mm F4.5
Arista EDU Ultra 400
Self_developed Stearman_Press SP-110EC_Dev (1+63@20˚C)
EPSON GT-X980
Contrary to the narrative that is being pushed by the mainstream that the COVID 19 virus was the result of a natural mutation and that it was transmitted to humans from bats via pangolins, Dr Luc Montagnier the man who discovered the HIV virus back in 1983 disagrees and is saying that the virus was man made.Professor Luc Montagnier, 2008 Nobel Prize winner for Medicine, claims that SARS-CoV-2 is a manipulated virus that was accidentally released from a laboratory in Wuhan, China. Chinese researchers are said to have used coronaviruses in their work to develop an AIDS vaccine. HIV DNA fragments are believed to have been found in the SARS-CoV-2 genome. We knew that the Chinese version of how the coronavirus emerged was increasingly under attack, but here’s a thesis that tells a completely different story about the Covid-19 pandemic, which is already responsible for more than 110,000 deaths worldwide. According to Professor Luc Montagnier, winner of the Nobel Prize for Medicine in 2008 for “discovering” HIV as the cause of the AIDS epidemic together with Françoise Barré-Sinoussi, the SARS-CoV-2 is a virus that was manipulated and accidentally released from a laboratory in Wuhan, China, in the last quarter of 2019. According to Professor Montagnier, this laboratory, known for its work on coronaviruses, tried to use one of these viruses as a vector for HIV in the search for an AIDS vaccine! “With my colleague, bio-mathematician Jean-Claude Perez, we carefully analyzed the description of the genome of this RNA virus,” explains Luc Montagnier, interviewed by Dr Jean-François Lemoine for the daily podcast at Pourquoi Docteur, adding that others have already explored this avenue: Indian researchers have already tried to publish the results of the analyses that showed that this coronavirus genome contained sequences of another virus, … the HIV virus (AIDS virus), but they were forced to withdraw their findings as the pressure from the mainstream was too great. To insert an HIV sequence into this genome requires molecular tools. In a challenging question Dr Jean-François Lemoine inferred that the coronavirus under investigation may have come from a patient who is otherwise infected with HIV. No, “says Luc Montagnier,” in order to insert an HIV sequence into this genome, molecular tools are needed, and that can only be done in a laboratory. According to the 2008 Nobel Prize for Medicine, a plausible explanation would be an accident in the Wuhan laboratory. He also added that the purpose of this work was the search for an AIDS vaccine. The truth will eventually come out In any case, this thesis, defended by Professor Luc Montagnier, has a positive turn. According to him, the altered elements of this virus are eliminated as it spreads: “Nature does not accept any molecular tinkering, it will eliminate these unnatural changes and even if nothing is done, things will get better, but unfortunately after many deaths.” Luc Montagnier added that with the help of interfering waves, we could eliminate these sequences and as a result stop the pandemic. This is enough to feed some heated debates! So much so that Professor Montagnier’s statements could also place him in the category of “conspiracy theorists”: “Conspirators are the opposite camp, hiding the truth,” he replies, without wanting to accuse anyone, but hoping that the Chinese will admit to what he believes happened in their laboratory.
www.pourquoidocteur.fr/Articles/Question-d-actu/32184-EXC...
To entice a confession from the Chinese he used the example of Iran which after taking full responsibility for accidentally hitting a Ukrainian plane was able to earn the respect of the global community. Hopefully the Chinese will do the right thing he ads. “In any case, the truth always comes out, it is up to the Chinese government to take responsibility.”
www.gilmorehealth.com/chinese-coronavirus-is-a-man-made-v...
Back in January, when the pandemic now consuming the world was still gathering force, a Berkeley research scientist named Xiao Qiang was monitoring China’s official statements about a new coronavirus then spreading through Wuhan and noticed something disturbing. Statements made by the World Health Organization, the international body that advises the world on handling health crises, often echoed China’s messages. “Particularly at the beginning, it was shocking when I again and again saw WHO’s [director-general], when he spoke to the press … almost directly quoting what I read on the Chinese government’s statements,” he told me.
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The most notorious example came in the form of a single tweet from the WHO account on January 14: “Preliminary investigations conducted by the Chinese authorities have found no clear evidence of human-to-human transmission of the novel #coronavirus.” That same day, the Wuhan Health Commission’s public bulletin declared, “We have not found proof for human-to-human transmission.” But by that point even the Chinese government was offering caveats not included in the WHO tweet. “The possibility of limited human-to-human transmission cannot be excluded,” the bulletin said, “but the risk of sustained transmission is low.”
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This, we now know, was catastrophically untrue, and in the months since, the global pandemic has put much of the world under an unprecedented lockdown and killed more than 100,000 people.
Read: The pandemic will cleave America in two
The U.S. was also slow to recognize the seriousness of this new coronavirus, which caught the entire country unprepared. President Donald Trump has blamed the catastrophe on any number of different actors, most recently, singling out the WHO. “They missed the call,” Trump said about the body at a briefing this week. “They could have called it months earlier.”
Trump may well be looking to deflect blame for his own missed calls, but inherent structural problems at the WHO do make the organization vulnerable to misinformation and political influence, especially at a moment when China has invested considerable resources cultivating influence in international organizations whose value the Trump administration has questioned. (Trump just in March announced he would nominate someone to fill the U.S. seat on the WHO’s Executive Board, which has been vacant since 2018.)
Even in January, when Chinese authorities were downplaying the extent of the virus, doctors at the epicenter of the outbreak in Wuhan reportedly observed human-to-human transmission, not least by contracting the disease themselves. In the most famous example, Dr. Li Wenliang was censured for “spreading rumors” after trying to alert other doctors of the new respiratory ailment; he later died of the virus himself at age 33. China now claims him as a martyr. Asked about Li’s case at a press conference, the executive director of the WHO’s Health Emergencies Programme, Michael Ryan, said, “We all mourn the loss of a fellow physician and colleague” but stopped short of condemning China for accusing him. “There is an understandable confusion that occurs at the beginning of an epidemic,” Ryan added. “So we need to be careful to label misunderstanding versus misinformation; there's a difference. People can misunderstand and they can overreact.”
Those lost early weeks also coincided with the Chinese New Year, for which millions of people travel to visit family and friends. “That’s when millions of Wuhan people were misinformed,” Xiao said. “Then they traveled all over China, all over the world.”
Read: China hawks are calling the coronavirus a ‘wake-up call’
The WHO, meanwhile, was getting its information from the same Chinese authorities who were misinforming their own public, and then offering it to the world with its own imprimatur. On January 20, a Chinese official confirmed publicly for the first time that the virus could indeed spread among humans, and within days locked down Wuhan. But by then it was too late.
It took another week for the WHO to declare the spread of the virus a global health emergency—during which time Dr. Tedros Adhanom Ghebreyesus, the WHO’s director-general, visited China and praised the country’s leadership for “setting a new standard for outbreak response.” Another month and a half went by before the WHO called COVID-19 a pandemic, at which point the virus had killed more than 4,000 people, and had infected 118,000 people across nearly every continent.
The organization’s detractors are now seizing on these missteps and delays to condemn the WHO (for which the U.S. is the largest donor), call for cutting the organization’s funding, or demand Tedros’s resignation. At the White House, Trump’s trade adviser Peter Navarro has been a sharp critic.
“Even as the WHO under Tedros refused to brand the outbreak as a pandemic for precious weeks and WHO officials repeatedly praised the [Chinese Communist Party] for what we now know was China’s coordinated effort to hide the dangers of the Wuhan virus from the world, the virus spread like wildfire, in no small part because thousands of Chinese citizens continued to travel around the world,” Navarro wrote to me in an email. Secretary of State Mike Pompeo recently said the administration was “reevaluating our funding with respect to the World Health Organization;” Trump has said an announcement on the matter will come next week. On the Hill, Republican Senators Martha McSally of Arizona and Rick Scott of Florida are both seeking an investigation of the WHO’s performance in the crisis and whether China somehow manipulated the organization. “Anybody who’s clear-eyed about it understands that Communist China has been covering up the realities of the coronavirus from Day 1,” McSally, who has called for Tedros to resign, told me. “We don’t expect the WHO to parrot that kind of propaganda.” Scott told me he wants to know whether the WHO followed their own procedures for handling a pandemic and why the organization hasn’t been forceful in condemning China’s missteps.
Asked for comment, a representative from the WHO pointed to a press conference Tedros gave this week. “Please quarantine politicizing COVID,” Tedros said then. “We will have many body bags in front of us if we don’t behave … The United States and China should come together and fight this dangerous enemy.” Even in early January, when it was still describing the disease as a mysterious new pneumonia, the WHO was publishing regular guidance for countries and health-care workers on how to mitigate its spread. And the organization says it has now shipped millions of pieces of protective gear to 75 countries, sent tests to more than 126, and offered training materials for health-care workers.
In any case, it’s not the WHO’s fault if China obscured the problem early on, says Charles Clift, a senior consulting fellow at Chatham House’s Center for Universal Health who worked at the WHO from 2004 to 2006. “We’d like more transparency, that’s true, but if countries find reasons to not be transparent, it’s difficult to know what we can do about it.” The organization’s major structural weakness is that it relies on information from its member countries—and the WHO team that visited China in February to evaluate the response did so jointly with China’s representatives. The resulting report did not mention delays in information-sharing, but did say that “China’s bold approach to contain the rapid spread of this new respiratory pathogen has changed the course of a rapidly escalating and deadly epidemic.” The mission came back telling reporters they were largely satisfied with the information China was giving them.
Read: The problem with China’s victory lap
If this is something short of complicity in a Chinese cover-up—which is what former National Security Adviser John Bolton has alleged of the WHO—it does point to a big vulnerability: The group’s membership includes transparent democracies and authoritarian states and systems in between, which means the information the WHO puts out is only as good as what it’s getting from the likes of Xi Jinping and Russian President Vladimir Putin. North Korea, for instance, has reported absolutely no coronavirus cases, and the WHO isn’t really in a position to say otherwise.
The structure also gives WHO leaders like Tedros an incentive not to anger member states, and this is as true of China as it is of countries with significantly less financial clout. During the Ebola epidemic in 2014, Clift said, WHO took months to declare a public-health emergency. “That’s three very small West African countries, and WHO didn’t want to upset them,” Clift said. “WHO didn’t cover itself in glory in that one.” The response this time has been much faster and better, in Clift’s observation. “It doesn’t mean it shouldn’t be examined afterwards to see what they could have done better,” he said. “And one should really investigate the origins of what happened in China.”
The WHO has also shown, however, that it can walk the line between the need for cooperation and information-sharing from member states and the need to hold them accountable for mistakes. During the SARS outbreak in 2003, a WHO spokesman criticized China for its lack of transparency and preparation, which had allowed the virus to spread unchecked. China even later admitted to mistakes in handling the outbreak.
No such critique has been forthcoming this time. One study found that China could have limited its own infections by up to 95 percent had the government acted in that early period when doctors were first raising the alarm and the Chinese Communist Party was still denying the extent of the problem. “The WHO at that time didn’t do their job,” Xiao said. “The opposite: They actually compounded Chinese authorities’ misinformation for a few weeks. That is, to me, unforgivable.”
We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.
www.theatlantic.com/politics/archive/2020/04/world-health...
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. It was preceded into production by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible.
After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I, and was the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentradi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment. The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie and FAST Pack "Super" Valkyrie weapon systems.
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary VF of the UN Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters.
The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
Equipment Type: all-environment variable fighter and tactical combat battroid
Government: U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation: pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (fully extended)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18 x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features: 3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1 x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1 x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 rds fired at 1,200 rds/min
4 x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs
Optional Armament:
Shinnakasu Heavy Industry GBP-1S ground-combat protector weapon system, or
Shinnakasu Heavy Industry FAST Pack augmentative space weapon system
The kit and its assembly:
This is one more 1:100 Bandai VF-1, IMHO a design masterpiece created by Shoji Kawamori and one of my favorite mecha designs ever, because it was created as an late 70ies style jet fighter that could transform into a robot in a secondary role, a simple, purposeful military vehicle.
I’ve built more than a dozen of these kits over the last 25 years, so I know it pretty well, especially its weaknesses. But the small Valkyries, originally manufactured by IMAI and now still on sale through Bandai (they pop up every 5 years when another Macross anniversary occurs…) are simple and easy to modify, and to me a kind of clean canvas for weird and colorful ideas. The VF-1 carries a huge creative potential.
This VF-1A was built almost OOB. I just made some minor mods, partly based on the design benchmark (see below). These include a pilot figure for the cockpit – actually a modified, HO (1:87) scale sitting soldier from Roco Minitanks; 1:100 pilot figures are hard to find, but I found that these squatted figures fill the cockpit and the relatively flat seat pretty well. A few characteristic blade antennae (four under the lower front fuselage and two behind the cockpit) were added.
Since this VF-1A was to be displayed in flight, the landing gear could be omitted and the covers mounted in closed position. The underwing ordnance was omitted and the pylons’ attachment points faired over. The handgun, hanging under the fuselage in flight mode, was replaced by a smoke generator and an associate tank - actually a drop tank from an Airfix 1:72 Saab Viggen. It also holds an adapter for a scratch-built display, which is taller and less obvious than the OOB offering.
Painting and markings:
This is where the actual work took place – and this Canadian VF-1 is a personal interpretation of a fictional custom Valkyrie profiles by CrazyCanuck, posted at macross.net in the fan art section (check
www.macross2.net/m3/forfansonly/crazycanuck/layouts-snowb... for reference).
There’s hardly a livery that does not suit the elegant VF-1, and I found the Snowbirds scheme very pleasing. I also liked the idea that the VF-1 would be used all over the world, with national adaptations like a Royal Navy(!) variant backed by official publications and source books. So, why not a Canadian Valkyrie?
For easy painting the kit was built in separate section (cockpit, fuselage with wings and butterfly tail, legs, head and the smoke generator), and the use of white AND red –together with yellow IMHO the most challenging tone to work with on models – scared me.
Due to the kit’s tininess I painted everything by brush with enamels. The basic tones are Humbrol 130 and 19, the latter turned out to be a very good representation of the Snowbirds’ deep scarlet red tone.
The cheatline all long the VF-1, literally from nose to feet, was created with decals. Most come from an 1:72 Snowbirds CL-141 Tutor sheet from Victoria productions in Canada (excellent stuff!), part of the trim had to be improvised and extended with generic blue and white decal sheet.
In contrast to the CrazyCanuck illustration, I decided to add Macross insignia instead of Canadian roundels – keeping in line with similar “nationalized” VF-1s in official source books. Some Canadian symbols like the flags on the fins, the roundels in the round depressions at the ankles and the huge Canadian flag on the starboard wing (a personal addition, the maple leaf is a decal while the rest was done with paint) were adopted, though, and they suit the Valkyrie well.
After basis painting was done I followed the engraved panel lines with a fine, very soft pencil. An experiment, because I just wanted a subtle emphasis esp. on the white surfaces, not the 2D/comic-style full black panel lines of former builds.
No other weathering was done, since this VF-1 was to look clean and bright. Finally, everything was sealed with a coat of gloss acrylic varnish, and the characteristic clear parts (visor on the head, position lights on the legs, laser muzzles, position lights) were laid out with acrylic silver and filled out with various shades of clear paint. Just small things, but they enhance the overall impression of the simple model kit a lot.
After a long time it’s a good feeling to build an VF-1 again, and creating a rather bright one was fun, even though the paint job was challenging. But patience and clever improvisation paid out: that Snowbird really stands out, the Snowbirds livery suits the VF-1 well! :-D
Being one of the developing country , Bangladesh has showed some extreme success on root level of Education . Primary Education is one of the basic need which drives country's future with a different way . The access of primary education is maintained mainly by "Primary education board" . This story has been documented on one of the remote place in Bangladesh , Tekerhat .
Check out the story here : www.demotix.com/news/1675866/quality-primary-education-re...
canon es3000v 28-90mm zoom. Kentmere 100 in xtol 1+1
10 mins. Finishing off a film for something to develop.
Scientists at the Defence Science and Technology Laboratory (Dstl) are continuing to work with a range of industry partners to develop the Army’s Future Soldier Vision (FSV), showcasing the personal equipment that soldiers could be using by the mid-2020s.
As well as the design of advanced combat clothing, which includes new materials like four-way stretch fabric and silent hook and loop pockets, new body armour will be lighter, and a new high-tech helmet will have state-of-the- art built-in communication systems.
The Vision is part of the Ministry of Defence’s (MOD) plan to ensure that British Soldiers have high-quality equipment utilising the latest technologies, as part of an integrated system. Future Soldier Vision (FSV) gives companies an aim point – an example of an integrated soldier system that balances military need with technology that delivers distributed power to data, scaleable and integrated protection, augmented surveillance and target acquisition, and a range of functional fabrics incorporated into the clothing.
Partners include The Royal College of Art (RCA) who provided professional designers, who – when they weren’t working in London on high-end jewellery – spent months working on the clothing to ensure prototypes were fitted to the body, were easy to run in and comfortable to wear.
-------------------------------------------------------
© Crown Copyright 2014
Photographer: DSTL Porton Down Photographer
Image 45163929.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45163929.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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When I first stumbled on this barn last year it was badly bowed in the center of the roof. After last Winter's severe weather and heavy snowfalls the roof collapsed on the left end. I imagine it will be fully collapsed after next Winter's snow. I've seen this barn labeled as the "Bull Barn" on old maps of Lusscroft Farm which begins directly across the road but it was not clear if it was actually part of that farm or a barn on another independent farm.
Technical details:
1947 Pacemaker Speed Graphic 4x5 large format film camera.
15" (380mm) Wollensak/Graflex Tele-Optar lens used with focal plane shutter of Speed Graphic.
Arista EDU Ultra 200 B&W film, shot at ISO 160.
1/30th second at F32.
Developed in Adox Rodinal 1:50 dilution for 6 minutes @ 20 degrees Celsius in Jobo Multitank 5 with 2509N sheet film reels with drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600.
Been working more on developing this Lego "GartenBahn" concept... This is just too much fun because it's more or less an instant layout. It's also more portable and less parts-intensive than MILS.
Featured here is a mere teaser to a much, much larger setup-- Like 7'x27' large...
Like the tracery, not the flower. Though I suppose one must be named for the other. Like the others, but using absolute values of sine. makes scallops.
Ein Foto mit historischer Kamera gemacht.
A photo taken with historical photographs.
Aufnahme, picture: 2013;
Fotoapparat, camera: Certo Dolly, Baujahr, year of manufacture: 1935;
Objektiv, lens: Steinheil Cassar 2,9/7,5;
Film, film: Kodak TMax 400, Rollfilm, rolls ch120 6x6 cm;
Entwickelt, developed: Kodak XTOL;
Scann: Negativ, negative;
Bearbeitet, edit: Tonwertkorrektur, levels;
Das Foto wurde mit dieser Kamera gemacht:
The picture was taken with this camera:
www.flickr.com/photos/74455234@N04/11401818553/in/photost...
Hier mein Album - Fotos mit historischer Kamera:
Here is my album - photos of historical Camera:
Camera: Yashica Mat 124 G,
Lens:Yashinon 80/3.5,
ight meter: Sekonic L-308B reading the incident light,
Film: Ilford FP4+,
Film Developing: PYROCAT HD 1+1+100
Time: 20C° - 20 min,
scanned with Epson Photo V 500
A spontaneous moonlit shoot grabbing the only film I had left in my bag... Rollei Superpan 200. Pushed right to the very end of its sensitivity. Not the ideal film for the job. Wild! haha
Film: Rollei Superpan 200
120 Format
Camera: Rolleiflex Automat Model 2 1938
Tripod
Shutter Release Cable
Metering: Weston Master V
f22 and 10 seconds
I didn't have time to consult the datasheet to compensate for the reciprocity of the film.
Infinity focus. Couldn't see a thing through the focusing screen of course. 😂.
No filter, Post Edit in Photoshop to bring back a bit more of the highlights.
Development:
Ilford HC 1+31 8 minutes at 20c
Ilford Fixer 4 Minutes 20c
Ilford Wetting Agent 1 minute
I'm chuffed with the results to be honest because I know what a mad rush I had after deciding to shoot in the low light conditions. Changing the roll in cold frosty temperatures, in almost darkness. And setting up the tripod. I expected to maybe have no results at all. But i'm crazy like that so 'rolled with it'.
I also wasn't sure on my development of this film in Ilford HC developer (my only current developer) as I couldn't see a clear mix suggestion for it anywhere online. I assumed it wasn't ideal for the fine grain of superpan 200 haha but, I knew this film shot at low light would have some heavy grain anyway. I wasn't needing fine development results. So I totally winged it using the recipe mix for supposed predecessor to Superpan 200 -Agfa Aviphot Pan 200!! when it is developed in Kodak's similar HC-110 developer. Formula of 8 Minutes at 20c. Dilution B 1+31. I think it worked out ok.
Developed by St. Louis based May Centers and designed by Victor Gruen Associates, South County Center opened on May 16, 1962 as the second enclosed mall in St. Louis.
A micro (macro) photograph of a tomato flower which has produced a baby tomato, near a larger cherry tomato in the process of ripening.
Experience more such delights with me in my set, "Reminisces of an Old Gardener:"
www.flickr.com/photos/motorpsiclist/albums/72177720306515483
two-section articulated streetcar model 71-421R "Dovlatov" was developed specially for St. Petersburg at Uraltransmash of Rostec State Corporation. Uraltransmash is a subsidiary of Uralvagonzavod, one of the leading companies in the field of locomotive and railcar construction in Russia. The enterprise is known primarily for its military products - artillery systems, the production of streetcars is part of the conversion program. Two versions of streetcars are produced, which are named after famous Russian and Soviet writers: three-section model 71-431R "Dostoevsky" and two-section model 71-421R - "Dovlatov". They operate on route No. 6, which runs through the center of St. Petersburg. A total of 76 units of retro streetcars were ordered - 42 model 71-431R "Dostoevsky" and 34 cars of model 71-421R "Dovlatov". The design of the new streetcars echoes the famous Leningrad streetcar LM-57 informally named "Stilyaga" (the mod) but uses the most advanced technologies. In particular, it integrates an active safety system that can independently perform braking, as well as a system for monitoring the driver's condition.
For a long time the progress in city tram design was retarded by the absency of low-level bogie. Old Soviet bogie model can not allowed to develop really modern low-floor tram models. Old type can be seen see here www.flickr.com/photos/cetus13/50020591482/in/album-721577...
At early 2000s the one of the leaders in streetcar production in the USSR and Russia, The Ust-Katav Wagon-Building Plant named after S. M. Kirov (Ust-Katavskiy Carriage Works, UKCW; Усть-Катавский вагоностроительный завод имени С. М. Кирова) located in Ust-Katav, Chelyabinsk Oblast, Russia started to develop modern model of city tram with all low-level floor that needed design of new special bogies. But the innovation tram of the model 71-625 has never been produced. After the design of the new tramway bogie was completed, the UKCW unexpectedly broke off relations with its Trading house that had sponsored the development. In 2013 the chief engineer of UKCP moved to a new company founded by Felix Vinokur which bought the rights for the bogie after his leaving the founders of the Trading house Ust-Katav Wagon-Building Plant LLC. Thus, a new tram manufacturer appeared in Russia, The PC Transport Systems LLC. Example of their bogie see here www.flickr.com/photos/cetus13/52962023548/in/album-721577...
It seems that another type of modern bogie was redeveloped by Ust-Katavskiy Carriage Works or even Uraltransmash (?) that utilise simplified Chevron rubber primary suspension instead of helical spring and swing arm.
So I've now developed my first test roll of FP4+ for 510-Pyro, using RZ67.
This was at box speed, following published dev time of 10mins at 20ºC. I screwed up the last frame in the sequence, so the bottom row frames here are the same (the last one should be a stop darker for Zone 10).
I was hoping to make an argyrotype of this today to confirm, but I've compared this against my set of test negs for Pyrocat HD and I think the film speed is OK actually, at 125 (as opposed to 64 which I used for PyrocatHD) but, even with the extra zone 10 exposure here, I still think I could go a stop up in the development time, so N+1 would be N for a bit more expansion in the highlights. So perhaps 12'15".
Will try to expose and process some 10x8 sheets and see. Not a particular hardship if they don't quite work for argyrotype because they'll scan fine.
Quick thoughts on the difference in use between the two developers.
1) I'm v glad to not have to do the extra steps that I've been doing with PyrocatHD, e.g. using a v weak acetic acid stop bath, and a hypo clear step (though tbh I don't think either of these were either totally necessary or desirable).
2) I wish 510-Pyro was less gloopy and messy and more easily mixed in (for Pyrocat HD in glycol I happily used a 5ml measure for both parts as opposed to a cumbersome syringe process, which I started with for Pyrocat but ditched. 510 is far too gloopy to afford this convenience it seems).
3) The stain seems good to me!
4) Looking forward to making a better fixer. Since I've run out of TF4, I've been using my own alkali hypo+soda mix, but this easily runs past 10mins fixing time (this was the second run for this lot of fixer and the clearing time was 7 minutes, starting at 5mins). I could use Ilford Rapid Fixer but don't want to reduce the stain particularly.
Also NB pink tinge is a reminder to wash the negs properly (I just did these using Ilford method, which isn't enough, clearly). If the tinge is still there after 10 cycles of water, then I'll reintroduce the hypoclear step maybe.
Galle Face | West Coast, Sri Lanka
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Leica M3 Zeiss Planar 50mm f2 ZM
Long Expired Ektachrome 100 Professional
Arista Rapid E6 Slide Developing Kit
A big success by any standard both in and out of competition, the Lancia Stratos was developed as a homologation Special for European rallying. After production ceased it became a cult car and is now highly priced as the ‘modern classis' it is. Conceived strictly for rallying, the Lancia Stratos however makes an exciting road car, though it is very far from GT standards in both luxury and refinement.
The concept vehicle responsible for providing the inspiration for the Lancia Stratos Rally car is the Lancia (Bertone) Stratos. The Stratos featured a 1584 cc V4 DOHC with 115 bhp horsepower at 200 rpm. Designed by Marcello Gandini, the same designer responsible for the Lamborghini Countach and Lamborghini Miura, the Stratos concept was a development of the Bertone designed Alfa Romeo Carabo concept from 1968. The Carabo concept was also a Gandini creation.
First revealed at the Turin Motor Show in October of 1970, the Lancia Stratos HF prototype was a styling exercise for Bertone. A futuristic design, the Stratos featured a wedge shaped profile that stood just 33 inches from the ground. Since the vehicle was so low, conventional doors could not be used and instead one accessed the interior of the Stratos by a hinged windscreen. Drivers had to flip up the windscreen and walk into the vehicle. Once inside, visibility was quite restricted since the front windscreen was narrow. The cockpit of the Lancia Stratos was designed specifically for fast forest flying.
The body design was predictably minimal to hold down weight and bulk with its most distinctive features being semi-concealed A-pillars and a door beltline that sharply upswept to the top of the daylight opening. The shape of the resulting unbroken expanse of glass gave the tunnelback roof the appearance of a futuristic crash helmet.
The main body structure was steel, like the chassis, and weight-saving fiberglass was used for tilt-up nose and tail sections. A small box above and behind the powertrain was where cargo space was held. Bins were also molded into the interior door panels for storing helmets.
The same engine utilized on the Lancia 1600 HF Fulvia was used on the Bertone designed Lancia Stratos Zero prototype. A triangular shaped panel hinged upwards to allow access to the mid-mounted engine. Developed for rallying purposes, the legendary Lancia Stratos was unveiled in 1974. The production vehicle Stratos was powered by a 2.4 liter mid-mounted V6 from the Ferrari Dino.
Like no other Lancia before or after, the Lancia Stratos was a shock that left enthusiasts and rally fans breathless. For almost a decade the Stratos streaked across the rally landscape much like a brilliant comet, while discarding past principles, it also fearlessly represented something undeniably new. A phenomenal rally car, the Lancia Stratos set an example to every other car manufacturer in the world. The first viable purpose-built rally car ever built, the Stratos was probably the last purpose-built rally car.
Created by the Bertone coachbuilding company, the Stratos was both radical, yet fully functional. Fiorio realized that for Lancia to continue to compete in the World Rally Championship, the Fulvia HF would need a much more powerful replacement. A the time, four-wheel drive was not an option, so a mid-engined configuration seemed ideal. To reinforce Fiori's convictions, the Bertone show car was featured soon after with a mid-engine Fulvia V4.
The introduction of the Ford mid-engine purpose-built GT70 rally car at the 1971Brussels Motor Show was what truly inspired the impetus behind the Stratos proect. It was after this appearance that Lancia's general manager, Pierugo Gobbato contacted Nuccio Bertone. Though the GT70 was actually never put in production by Ford, it was this that sparked the inspiration of the Lancia Stratos.
As always, there was a minimum production requirement, 500 units for the Lancia Stratos. This was an awkward figure that would necessitate funds for at least semi-permanent tooling as well as design and development. This was a job well suited to the Italian industry. Fiorio masterminded the project, and he envisioned a short, wide coupe with transverse midships drivetrain. Bertone was immediately contracted to style the vehicle and built its unit body/chassis structure.
43 months passed in between the time of conception to the actual birth of the Lancia Stratos. The vehicle was developed to take over and make Lancia the outright world rally champ. The Stratos was both short and wide, with a wheelbase of only 7 feet 1.8 inches, the width of the vehicle was only 5 feet 8.9 inches. Weighing only 1958 lbs, the Stratos was only 3 feet 7.9 inches high. Able to easily exceed 140 mph, the Stratos featured 190 horsepower in roadgoing trim.
Having studied every possible powerteam in the Fiat/Lancia group, Fiorio secured 2.4 liter V-6s and 5-speed transaxles from Ferrari, which was an ideal chouse as they'd be installed exactly as the Dino 246. All-independent suspension, rack-and-pinion steering and four-wheel disc brakes were all specifically designed for the Lancia Stratos.
After 1978 the Stratos was officially retired and no longer was officially entered by the Lancia factory, the vehicle was still going strong. The Lancia team was headed by by Sandro Munari who won its first event as a homologated entry in October of 1974. Mun ari entered alone 40 events with the Lancia Stratos and won 14. The Stratos also won the World Rally Championship in 1974, 1975, and 1976 and remained competitive for another four years. The final major win came in 1979 when a Lancia Stratos entered by the Monaco importer won the famed Monte Carlo Rally. Finally the factory retired the Stratos.
By Jessica Donaldson
[Text from ConceptCarz.com]
www.conceptcarz.com/z21737/Lancia-Stratos-HF.aspx
This Lego miniland-scale Lancia Stratos Rally Racer has been created for Flickr LUGNuts' 100th Build Challenge - our Centenary, titled 'One Hundred Ways to Win!'. In this challenge, a list of 100 challenges is available, kept by the admins. Individuals wishing to enter, request a number from 1-100 (so long as it has not already been requested) - and the admins assign the individual build challenge associated with that number.
In the case of admins entering models - they request that a general LUGNuts member assigns a number - and the admin must build to that challenge number.
In this case, the number 78 was chosen for me, corresponding to the challenge: '78.Any vehicle from the year you were born'. I was born in 1972, the year that the first Stratos rally cars were built, entering in the Rally Championship as Group 5 (un-homologated) entries.
The road cars required to homologate for Group 4 were built through 1973 to 1978.
Yesterday I saw a bag waste coffee grounds from the coffee machine in the office... I had been thinking about caffenol developing for a while so took this as too good an opportunity to pass up.
I roughly follwed the caffenol lc recipie at caffenol.blogspot.co.uk/2010/08/caffenol-c-l.html after making up a filtered coffee ground extract from 125g of coffee grounds dissolved in some almost boiling water. The developer solution was made up to 1 litre.
I then took a couple of test shots on Shangai 4x5 film. This negative came out pretty thin but scannable, with no base fog at all. Next time I'll reduce the amount of KBr and bump up the amount of coffee grounds I use for the extract.
The camera is a 35mm Gnome with an Isonar f/2.8 45mm lens. I guess it must be the same company that used to make a popular range of enlargers. Looks like it a rebadged Adox Polo. Taken with a Bush Pressman