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The Owl Shop, 268 College Street, New Haven, Connecticut. The Owl Shop was originally opened as a bookstore by Joseph St. John who came to America from Greece in 1925. Joseph was also selling pipe tobacco, and soon tobaccos and tobacco accessories were the products of choice. Between 1937 and 1950 he and his wife Catherine expanded to five stores throughout New Haven, until in 1951 they chose to consolidate under one roof at this location. After the death of her husband, Catherine kept the shop open and became one of the original tobacconists in the country to sell Avo Cigars and to become a Davidoff Cigars Appointed Merchant.
In 1998, Glen Greenberg bought the Owl Shop, and in 1999 he acquired a liquor license. Since 2004 the Owl Shop has been the only public venue in Connecticut where one can smoke and drink. One of the original employees, Joe Lentine, a Master Tobacconist and true tobacco aficionado continued working at the Owl Shop until his untimely death in 2015. Today the Owl Shop boasts a plush cigar lounge, weekly free live music, full cocktail bar with over 200 whiskies, a coffee bar, light fare served day and night, and a walk-in humidor.
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Manufacturer: Chrysler Group LLC for Plymouth, Auburn Hills, Michigan - U.S.A.
Type: PA Series Phaeton
Production time: June 1931 - July 1932
Production outlet: 528
Engine: 3214cc straight-4 Oldsmobile 196 L-Head
Power: 56 bhp / 2.800 rpm
Torque: 176 Nm / 1.600 rpm
Drivetrain: rear wheels
Speed: 110 km/h
Curb weight: 1220 kg
Wheelbase: 109.4 inch
Chassis: rigid X double drop with full lenght pressed steel box section channels and 4 crossmembers with separate all-steel body
Steering: worm & sector semi-irreversible type
Gearbox: three-speed Selective Sliding manual with free wheeling / floor shift
Clutch: 8.9 inch single dry plate with torsion springs
Carburettor: Carter CK715 downdraft
Fuel tank: 57 liter
Electric system: Delco-Remy 6 Volts 84 Ah
Ignition system: distributor and coil
Brakes front: 11 inch hydraulic internal expanding drums
Brakes rear: 11 inch hydraulic internal expanding drums
Suspension front: I-beam axle, unequal-length A-arms, 7x Amola steel 35-1/2" x 1-3/4" semi-elliptic doubel main leaf springs + telescopic shock absorbers
Suspension rear: beam axle, 7 53-3/8" x 1-3/4" semi-elliptic leaf springs + telescopic shock absorbers
Rear axle: live semi-floating type
Differential: spiral bevel 4.33:1
Wheels: 19 inch steel wire wheels
Tires: 4.75 x 19
Options: radio, flying lady radiator cap, twin horns, twin fog lights, bumper guards, twin side view mirrors, running board step plates, heater, cigarette humidor lighter, windshield defroster, steel “Artillery” wire wheels, dual trumpet horns, dual taillamps, chrome windshield frame, chrome headlamp shells, an interior sun visor, two-tone colouring
Special:
- The Plymouth automobile was introduced on July 7, 1928. It was the Chrysler Corporation's first entry in the low-priced field, which at the time was dominated by Chevrolet and Ford.
- The logo featured a rear view of the Mayflower ship which landed at Plymouth Rock, hence the name "Plymouth" as the brand.
- One of the board members, Joe Frazer, had proposed the name Plymouth. The first settlers had founded the Plymouth Colony after they had come from England on the "Mayflower" to America. The first emblem of the brand also showed the "Mayflower", as on this automobile. Walter Chrysler had wanted a more popular name that people would recognize immediately ☺☺!
- This was Chrysler's official explanation of the name Plymouth: "As a product of Chrysler's engineering and craftsmanship Plymouth was so named because of its durability and strength, the roughness and the boundlessness, the first American settlers as typified".
- The origins of the first Plymouth can be traced back to the Maxwell automobile. When Walter Chrysler took over control of the trouble-ridden Maxwell-Chalmers car company in the early 1920's, he inherited the Maxwell as part of the package. After he used the company's facilities to help create and launch the Chrysler car in 1924, he decided to create a lower-priced companion car. So for 1926 the Maxwell was reworked and re-badged as a low-end Chrysler model. Then at the end of the decade this model was once again reworked and re-badged, this time to create the Plymouth.
- Despite the looming Great Depression, Walter Chrysler re-tooled the Plymouth line and produced the new Type PA with “Floating Power” (a unique system of mounting the engine), the first full redesign of the Plymouth since its introduction with the model Q.
- It offered, as Chrysler claimed, “The Smoothness of a Six with the Economy of a Four”.
- Even though the Great Depression was in full swing, the PA models weathered this difficult point in history with great success.
- After the introduction of the PB models in 1932, a few of the PA body styles were continued with a less expensive trim package as the “Thrift” line. The first PA Thrift Series were only available in black and were all equipped with wood wheels. The PA and second series PA Thrift cars were equipped with wire wheels.
- The 1931/1932 Plymouth PA Series (including the Trift models) was available as this 4-door Phaeton, as 4-door Sedan (49,465 units built), as 4-door DeLuxe Sedan (4,384 units built), as 4-door Taxi Cab (112 units built), as 2-door Business Coupé (12,079 units built), as 2-door Convertible Coupé (2,783 units built), as 2-door Roadster (2,000 units built), as 2-door Rumble Seat (Roadster) Coupé (9,696 units built), as 2-door Sport Roadster (2,680 units built), as 2-door Sedan (23,038 units built and as rolling chassis (131 units built) all assembled at plants in Detroit, Los Angeles and Windsor.
- The PA Phaeton was available in Boone Brown (IM-721), Cloud Gray (IM-869), Granada Jade Gray (IM-782), Imperial Champagne Tan (IM-875), Lockhaven Gray No. 1\ (IM-1098, 246-30263) and State Maroon (246-30268).
- The fenders, beads and moulding were available in Black (LE-30VV), Ravenswood Brown (IM-425), Grebe Gray (IM-870) and Boone Brown (IM-721), while the stripe could be Ivory, Vermillion, Medium Brown or Straw.
Manufacturer: Chrysler Group LLC for Plymouth, Auburn Hills, Michigan - U.S.A.
Type: PB 2-door Sedan
Engine: 3214cc straight-4
Power: 65 bhp / 6.400 rpm
Speed: 110 km/h
Production time: 1932
Production outlet: 38,066
Curb weight: 1340 kg
Special:
- Based in Detroit, Plymouth introduced their first model assigned a model year classification by the Chrysler Corporation in 1932: the BP, also known as the "New Finer Plymouth".
- This was the same year Plymouth introduced one-piece front fenders, free-standing chrome headlamps and a better version of their four-cylinder engine.
- One of the board members, Joe Frazer, had proposed the name Plymouth. The first settlers had founded the Plymouth Colony after they had come from England on the "Mayflower" to America. The first emblem of the brand also showed the "Mayflower", as on this automobile. Walter Chrysler had wanted a more popular name that people would recognize immediately ☺☺!
- This was Chrysler's official explanation of the name Plymouth: "As a product of Chrysler's engineering and craftsmanship Plymouth was so named because of its durability and strength, the roughness and the boundlessness, the first American settlers as typified".
- The Model PB was built for less than a year (the new 1933 Plymouth PC was introduced on 17 November 1932), and was Plymouth's last four-cylinder model.
- By 1932, Plymouth, which had been introduced only a few years earlier (in 1928), was solidly established as one of the "Low-Priced Three", referring to Ford, Chevrolet and Plymouth.
- The engine was called "Floating Power" (a unique system of mounting the engine), first used at the 1931 PA Model.
- It has a three-speed manual sliding gear transmission, rear wheel drive, four-wheel hydraulic drum brakes (brake drums were now fitted with centrifuse), standard oil filters, semi-elliptic leaf springs and a floating rear axle.
- A lot of optionals were available, like a flying lady radiator cap, twin horns, twin fog lights, bumper guards, twin side view mirrors, running board step plates, radio, heater, cigarette humidor lighter and windshield defroster.
- The Plymouth PB's of 1932 were offered as a 4-door Sedan (13,031), Business Coupé (11,126), this 2-door Sedan (38,066), Rumble Seat Coupé (8,160), Sports Roadster (2,163), Business Roadster (325), Phaeton (4,853), Convertible Coupé (4,853), Convertible Sedan 695), Seven Passenger Sedan (2,179), and as rolling chassis (plain chassis 159).
- Even though the Great Depression was in full swing, the PB models weathered this difficult point in history with great success.
Out now at Men Only Monthly, the [RnR] Humidor. Comes with three colour versions. Scripted doors and drawers, for the cigar aficionado in your life.
Demo available in-store.
And don't forget the RnR photography comp - all you need do to enter is take a picture that features any Rhyme nor Reason item and tag us on Flickr by the 28th - voting will be done in-person at the end of month event, with live music and loads of fun giveaways. L$3000 first prize! Happy snapping!
Men Only: maps.secondlife.com/secondlife/Sunset%20Ambiance%20Island...
Rhyme nor Reason: maps.secondlife.com/secondlife/Paracosm/40/194/28
Detroit Style is the exhibition organized by the Detroit Institute of Arts which brings the artistry and influence of Detroit car designers working between 1950 and the present day. It brings together 12 coupes and sedans designed across 70 years. Highlighting significant achievements in style and technology, the 12 cars include unique examples of experimental show cars created for display and iconic production models sold to the mass market. Design drawings enable you to imagine the creative and innovative processes that bring a vehicle from the drawing board to the street.
Chrysler Chronos, 1998
Nearly 25 years ago, designer Isamu Shikado based the curved body shape and round front grille of this show car on Chrysler’s 1953 D’Elegance, designed during Virgil Exner’s time at the company. Shikado appealed to the stability and authority of the past during a period of stylistic uncertainty. He elongated and streamlined the proportion of the earlier car to give the Chronos a modern look.
Although the Chronos was never mass-produced, its form influenced some of the cars Chrysler introduced in the years that followed. At the time, revivals of the past were a powerful trend in fashion, film, architecture, and other media. At Chrysler, nostalgic designs like the 300C, PT Cruiser, Plymouth Prowler, and Dodge Viper explored different moments from automotive history.
For me this car was the most dramatic and has similarities with a modern day Bentley.
From Allpar.com on Concept cars: Clever ideas include wheel emblems that always stay upright, dual centered tailpipes, and an electronically-controlled humidor, which is an ironic addition to come from the first company to abolish ashtrays.
Chronos concept car tires were large for the time, at 20 and 21 inches. The 350-horsepower, six-liter single overhead cam V10 engine was not related to the Viper V10, but was built from components of three 4.7 liter V8s. The suspension was largely borrowed from the Viper.
The interior is certainly more elegant than that of the Chrysler 300, not to mention many luxury cars. It looks like it should be the flagship Chrysler.
Tom Gale wrote: "If you're going for the flagship of the Chrysler brand, and the Chrysler Chronos clearly is, then everything must add up. The look must fit. The quality must be appropriate. And the ride must be exhilarating. It has to totally quench the thirst for perfection."
Why was it not made?
When DaimlerChrysler was formed, key executives within Chrysler (according to published sources) believed that the luxury cars should stay within Mercedes. At the time, brand separation was low, with suspension tuning and minor sheet metal differences separating Plymouth, Dodge, and Chrysler. The Chronos was part of the search for the Chrysler icon that would raise Chrysler back to its traditional place as a cheaper and better alternative to Cadillacs and Lincolns, a search likely led by Tom Gale, who was also seeking a new and different place for Plymouth. Chrysler Corporation would likely be a very different place had Tom Gale been put in charge, rather than Bob Eaton (for one thing, it would exist).
Atelier Ying
Arthur Fellig's notable mobile darkroom would be wonderfully imagined inside of a taxi cab (for my next design) but here divinely transformed into a chinese country kitchen; a way to honor his life (with a more homelike, gourmet touch). Industrial water jugs loaded into the back seat and fresh fowl in a comfortable cage allows him to park in an alley (close to a gutter for cleaning the fowl) for a healthy farm-fresh meal. He can supplant this with live fish and fresh greens from any Manhattan market. In the winter he can grill sesame buns the old-fashioned way and have these with a simple green soup for an invigorating early breakfast just before heading out to the streets with his camera. Chinese condiments are held by a rail and a bamboo brush keeps the mobile kitchen clean. The hobby of country style cooking will not only raise his spirits but extend his life as well.
Re-envisioned for his old age, Weegee would have to rely on Polaroid camera backs for his Speed Graphic, placing them on a custom two-tiered brass and wood shelf at the front seat. Drawers for Nat Sherman's, flash bulbs, film and a pull out 'Weegee board' for the photojournalist's typewriter are all considered here. Strong shock absorbers and larger tires would have to be outfitted particularly to bear the weight of the iron stove.
Design, concepts, text and drawing are copyright 2015 by David Lo.
I reworked one of my pinhole cameras from 2014 - one made from a wooden Humidor I bought from the Humane Society thrift store for $5. - and put in a new, laser-drilled pinhole. It appears the sharpness is greatly improved over previous efforts.
This image was made using Ilford Multigrade RC paper as the negative, and is about a stop underexposed; my miscalculation and changing light conditions this afternoon, dammit! I also used a yellow filter behind the pinhole (in camera) for contrast control of the Multigrade paper.
atelier ying, nyc.
Features of the 1965 James Bond 007 Road Race Set, and Golferino, two rarities in the toy world, are linked closely to the plot of the Ian Fleming novel by this design.
Although not a replica of the fictional Royal St. Marks course in Sandwich, a.k.a. the real life Royal St. George course, this toy set is elevated to work more like an arcade shooting gallery, for golfers. James Bond and Auric Goldfinger play a round over a wager of a gold bullion bar. Various targets are set up on the board for a very precise, challenging game of golf. In fact, it's one of the toughest par-3 executive courses ever imagined, a collection of some of the toughest holes (and hazards) from world famous golf courses. The Royal St. George is recalled by a pot bunker on the lower left, and the famed Swilcan Bridge as the game's water feature provides the humification element for a drawer humidor underneath the game.
With a difficult 18 holes, at par 61, and variable speed greens (but no wind factor) this golfing set is completely outfitted with the most imaginative features, per the design drawing instructions.
Please also see my design no. 101 which is related to this type of golf game.
Design, concepts, text and drawing are copyright 2016 by David Lo.
Bonaire Architects essential item! The BONAIRE - Humidor. This release features an interactive sleek, modern humidor that provides the perfectly humid environment to store your prized cigars. Proper cigar storage is vital to keep your stogie intact, maintaining the cigars flavor. If your SLife experience is lush and extravagant, then you NEED this in your home!
F E A T U R E S :
► 4 color options (Black, Cedar, Pink and White)
► Dispenses 8 cigar types including a Cigar Selection box to serve your guests.
► 25 Li impact
Additional Bonaire Architects decor accent
► BONAIRE - Cornwall Planter - cast iron
►Comes in 3 bush variations including an empty planter
► 1 Li
Available at the Inworld Store
atelier ying, nyc
Henri Murger, who lived in the Hotel Merciol, wrote of his own life in his novel, "Scenes de la Vie de Boheme", which was the basis for the libretto of Puccini's great opera.
This camera bar, for a party of 4 friends, is housed in a replica of the hotel building and its design closely follows the first act of La Boheme's libretto with:
1. Set of small slats of pine wood for a scent of Christmas in the fireplace.
2. A cigar humidor and smoking tools in the garret (right side).
3. Two bottles of Bordeaux, glassware, bar tools and condiments for the food.
4. A coins safe in the shape of a stove in the garret level (center).
5. Tinder material, preferably pages of poetry, held in the chimney which also houses a cigar lighter.
6. Tins of roast beef.
7. A ratatouille tart with plenty of eggplant
8. A dark staircase in the back of the camera
9. The side walls of the building open out, supported by legs. These bar areas are lighted and backed with mirrors. Brass-colored gallery rails hold bar tools, condiments and flatware. The lights of the bar panels are wired together and operated from a switch at the top chimney. Two tiny 1.7 ounce bottles of brandy are reserved for Benoit at the right side of the garret, next to the coin safe.
10. The silhouette of a dark unlighted staircase leading down to the concierge level at the back, which opens to service the film plate. The staircase though narrow serves as a bearing wall with columns in front (only seen when the back is opened).
11. Mimi's key opens the central back staircase panel.
12. A large pinhole camera at the ground floor is flanked by a viewfinder at the side door. The pinhole plate is behind the front glass of the ground floor restaurant. Above the viewfinder eyepiece is a hotel restaurant menu board with pinhole exposure data.
The pinhole exposure is set by an overhanging vacancy sign which slides up and down into place.
13. A tiny restaurant lamp at the front and the single garret bulb as well as all bar lamps are portable lithium battery lights.
13. Two gutter pipes are actually support columns.
14. The garret windows are internal viewfinders that show portrait photos of the real life Musetta and Mimi, taken by Nadar.
15. Amber colored windows of the second floor recall the warmth of Cafe Momus when the central staircase panel is opened and the food and wine are presented. This central staircase also has a small roll of tape for attaching a newspaper 'dining cloth' to the bottom of the camera.
Puccini's masterpiece was coolly received at its premiere, a misconception of critics who dismissed it as lighthearted compared to his previous opera Manon Lescaut. But just as Verdi's Falstaff can be misunderstood as heavy, Puccini's Boheme can be seen as light. The garret scenes carry the dark tragic side of the love story, much as Murger's scenes exposed the plight of real life poverty-stricken artists of his era. When the contents of the camera bar are taken out for consumption, the diners can nostalgically view the empty spaces left inside recalling the contrast of the cold dark garrett with the promise of gaiety at Café Momus. The window of the pinhole aperture recalls the role of Murger's book to record scenes as stories, without any coloring of a lens but as a tiny opening to take in the real world.
Design, concepts, text and drawing are copyright 2015 by David Lo..
The only full service tobacco shop in Carmel. A wide selection of fine pipes, tobacco, humidors, lighters, pipe tools, flasks and the finest cigars on the central coast. They repair pipes and even carry Davidoff cedar matches.
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Location Info...
Old Morris Tobacconist, originally E.A. Morris Tobacconist, was established in 1892 on its present site and is one of Victoria, British Columbia's last remaining examples of pure Victoriana. It is considered one of Victoria's oldest businesses (as well as one of North America's oldest tobacco stores) and serves as a rare surviving example of an of an early twentieth century retail interior of the city. It was commissioned by businessman E.A. Morris. Designed by architect Thomas Hooper, the value of this unique building lies in its Georgian exterior and interior elements and detailing.
As you enter the shop, you can glance overhead at the fine examples of leaded glass in the domed entrance and the Alabaster arch and pillars framing the doorway. In 1910, the interior of the store was completed, including such materials as mahogany, marble and onyx, as well as state-of-the-art fixtures and mirrors. A walk-in humidor was also added. The final result was an excellent representation of a quaint high Victorian 'gentlemen's club' image suited to the typically male patrons of this specialty shop. The shop presents a unique contribution to the Government Street streetscape in its alluring shop front, gentlemanly facade and its masculine interior atmosphere.
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Something a little different today. I have been brushing up on my texture skills in CS5, and this is the best one I've done so far. Old Morris Tobacconist opened it's doors in 1892, and is the second oldest tobacconist in North America still in operation today. I worked in this place for most of this year. It sure was fun! I got to meet people from all over the planet every single day.
Location Info...
Old Morris Tobacconist, originally E.A. Morris Tobacconist, was established in 1892 on its present site and is one of Victoria, British Columbia's last remaining examples of pure Victoriana. It is considered one of Victoria's oldest businesses (as well as one of North America's oldest tobacco stores) and serves as a rare surviving example of an of an early twentieth century retail interior of the city. It was commissioned by businessman E.A. Morris. Designed by architect Thomas Hooper, the value of this unique building lies in its Georgian exterior and interior elements and detailing.
As you enter the shop, you can glance overhead at the fine examples of leaded glass in the domed entrance and the Alabaster arch and pillars framing the doorway. In 1910, the interior of the store was completed, including such materials as mahogany, marble and onyx, as well as state-of-the-art fixtures and mirrors. A walk-in humidor was also added. The final result was an excellent representation of a quaint high Victorian 'gentlemen's club' image suited to the typically male patrons of this specialty shop. The shop presents a unique contribution to the Government Street streetscape in its alluring shop front, gentlemanly facade and its masculine interior atmosphere.
A big thanks to Ewan Thot for the texture.
Thanks for stopping by, and have a great week ahead!
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206808042011-silica Gel-1
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.Description
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Silica gel is a granular, vitreous, highly porous form of silica made synthetically from sodium silicate. Despite its name, silica gel is a solid. It is a naturally occurring mineral that is purified and processed into either granular or beaded form. As a desiccant, it has an average pore size of 2.4 nanometers and has a strong affinity for water molecules.
Silica gel is most commonly encountered in everyday life as beads packed in a vapor-permeable plastic. In this form, it is used as a desiccant to control local humidity in order to avoid spoilage or degradation of some goods. Because of poisonous dopants (see below) and their very high absorption of moisture, silica gel packets usually bear warnings for the user not to eat the contents. If consumed, the pure silica gel is unlikely to cause acute or chronic illness. Food-grade desiccant should not include any poisons which would cause long-term harm to humans if consumed in the quantities normally included with the items of food.
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History
The synthetic route for producing silica gel was patented by chemistry professor Walter A. Patrick at Johns Hopkins University, Baltimore, Maryland, USA in 1919. It was used in World War I for the absorption of vapors and gases in gas mask canisters, as part of his patent. The substance was in existence as early as the 1640s as a scientific curiosity.[3]
In World War II, silica gel was indispensable in the war effort for keeping penicillin dry, protecting military equipment from moisture damage, as a fluid cracking catalyst for the production of high octane gasoline, and as a catalyst support for the manufacture of butadiene from ethanol, feedstock for the synthetic rubber program.
Properties
Silica gel's high surface area (around 800 m²/g) allows it to absorb water readily, making it useful as a desiccant (drying agent). Once saturated with water, the gel can be regenerated by heating it to 120 °C (250 °F) for two hours. Some types of silica gel will "pop" when exposed to enough water.
Preparation
A solution of sodium silicate is acidified to produce a gelatinous precipitate that is washed, then dehydrated to produce colorless silica gel.[4] When a visible indication of the moisture content of the silica gel is required, ammonium tetrachlorocobaltate(II) (NH4)2CoCl4 or cobalt chloride CoCl2 is added.[4] This will cause the gel to be blue when dry and pink when hydrated.[4]
Applications
Desiccant
See also: Desiccant
In many items, moisture encourages the growth of mold and spoilage. Condensation may also damage other items like electronics and may speed the decomposition of chemicals, such as those in vitamin pills. Through the inclusion of silica gel packets, these items can be preserved longer.
Silica gel may also be used to keep the relative humidity (RH) inside a high frequency radio or satellite transmission system waveguide as low as possible. Excessive moisture buildup within a waveguide can cause arcing inside the waveguide itself, damaging the power amplifier feeding it. Also, the beads of water that form and condense inside the waveguide change the characteristic impedance and frequency, degrading the signal. It is common for a small compressed air system (similar to a small home aquarium pump) to be employed to circulate the air inside the waveguide over a jar of silica gel.
Silica gel is also used to dry the air in industrial compressed air systems. Air from the compressor discharge flows through a bed of silica gel beads. The silica gel absorbs moisture from the air, preventing damage at the point of use of the compressed air due to condensation or moisture. The same system is used to dry the compressed air on railway locomotives, where condensation and ice in the brake air pipes can lead to brake failure.
Silica gel is sometimes used as a preservation tool to control relative humidity in museum and library exhibitions and storage.
Other applications include diagnostic test strips, inhalation devices, syringes, drug test kits, bacteria and hospital sanitation kits.
Chemistry
In chemistry, silica gel is used in chromatography as a stationary phase. In column chromatography, the stationary phase is most often composed of silica gel particles of 40-63 μm. Different particle sizes are used for achieving a desired separation of certain molecular sizes. In this application, due to silica gel's polarity, non-polar components tend to elute before more polar ones, hence the name normal phase chromatography. However, when hydrophobic groups (such as C18groups) are attached to the silica gel then polar components elute first and the method is referred to as reverse phase chromatography. Silica gel is also applied toaluminium, glass, or plastic sheets for thin layer chromatography.
The hydroxy (OH) groups on the surface of silica can be functionalized to afford specialty silica gels that exhibit unique stationary phase parameters. These so-called functionalized silica gels are also used in organic synthesis and purification as insoluble reagents and scavengers.
Chelating groups have also been covalently bound to silica gel. These materials have the ability to remove metal ions selectively from aqueous media. Chelating groups can be covalently bound to polyamines that have been grafted onto a silica gel surface producing a material of greater mechanical integrity. Silica gel is also combined with alkali metals to form a M-SG reducing agent.
Silica gel is not expected to biodegrade in either water or soil.[5]
Cat litter
Silica gel is also used as cat litter,[6] by itself or in combination with more traditional materials, such as clays including bentonite. It is trackless and virtually odorless. Silica in this form can be a cost effective way for retail consumers easily to purchase silica gel for application in such things as maintaining the desired relative humidity in humidors, keeping tools rust free in damp environments, long term storage, and preservation of dried food for long term storage.
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Atelier Ying Nyc, a study for Weegee's Portable Lab
moving further in the direction Weegee had started, that of his ingenious mobile photo lab in the trunk of his car, I propose this smaller custom digital camera designed to be reminiscent of Weegee's actual red 1938 Chevy coupe. In my research I was impressed by the height of the car, the length of its rear trunk, and the heft of the car, which must have been attractive indeed considering the clothes style and the modernistic taste of skyscrapers that were just built in that era. The camera body has built-in compartments of highly polished wood veneer, a black plastic shell, chrome and red radiator covers in an art deco stying and an expensive extra large, bright viewfinder with a 'prescient eye' triangle icon. Since every photographer spends most of his time looking at the back of his camera, so this design has two features which are sure to delight the eye of its main user: a back cover styled after the actual glove compartment from the Chevy Coupe, and behind that cover which lifts open like the trunk of car, are built-in compartments of highly polished wood veneer doors which house the pieces of equipment Weegee uses. They are numbered as follows:
1. a reporter's notebook kit with the all-important press card
and a tiny Polaroid printer with USB connection to the digital camera port.
2. a number of long cigars
3. Weegee's famous stamp and inkpad
4. an ultra tiny red USB radio
5. External flashgun attachment with a remote for the digital camera stored inside the grip.
6. Modern digital camera recessed inside the back dashboard. The settings for the digital camera will have to be preset.
This camera design allows Weegee to carry on many of his former work habits as if nothing much had changed at all. Weegee was highly technocratic for his time in the field of photography. He had expertise and the intellectual curiosity to move forward into experimental work in his later life. With this handheld digital camera-lab, he can develop photographs, hand out cigars to contacts, stamp his prints, monitor the police and ambulance radios, keep notes on site information, and be still be reminded of his red coupe, a car that in some ways symbolized the departure from his apprentice days learning tintype to his total independence as an artist.
Please look at my Weegee set below. I created it for you Weegee enthusiasts! www.flickr.com/photos/64011301@N08/sets/72157632995557584/
Design, text and drawing are copyright 2013 by David Lo.
atelier ying, nyc.
This historic Miami Art Deco hotel inspires the design for a post-theatre dinner service for four (here the guests are the original cast of "The Birdcage").
As a camera design it is simple. Camera on the lobby level and the structure's service areas on the upper 2 levels, following the general geometric architectural plan for Miami hotel buildings of this era.
The cast of the film relaxes not only into an imaginative Carlyle Hotel but partakes of an American retro cafeteria–styled worker's meal. The presentation kit would include: black beans and rice, fried plantains with garlic sauce, fried eggs, Guava pastries and café con leche. The enclosure has a grid-work of stilts that transforms it to a serving table for four people (economical portions only, very suitable for the fashion conscious cast of this film).
A unique feature of this camera-cum–diner trolley is that the heating system is an elaborate plastic pipe system mimicking a hotel's service area for the four suites upstairs, except that this heating system runs on cuban cafe and the "room" compartments are holding food. The four food trays fan out to a quasi-spiral formation. The hotel/camera is prepped with heated food and coffee in the central "fireplace"reservoir which has a handle that one can periodically pump to circulate the hot coffee liquid through the rooms. Before the meal is served the heating element is turned on and given the final reheating. A warm to mildly hot temperature is suitable for the tropical Florida climate (this camera is not for New York). Two other minor features are that the brownie-style viewfinder is located at the side "service" entrance to the hotel and that the cable release is hidden in the palm tree. The camera enclosure is located fully in the lobby as opening the front doors uncovers the main lens, otherwise, this is just an analog film camera of typical construction similar to a Kodak Autographic which would be used to take pictures of large numbers of people, like a class or an entire film crew. Plenty of room in this enclosure for a working humidor for strong Cuban cigars, machine-made probably.
Design, text and drawing are copyright 2014 by David Lo.
Also known as "Scarface Al", he spent time in relative luxury at Eastern State Penitentiary. A bad guy with connections.
Best viewed Large on Black
Atelier ying, NYC.
The eccentric, yet classic M5 finally receives an upgrade in the direction of its original design intentions, mainly to become more complete and functional irregardless of size and weight.
In an overlapping configuration, an ornate mahogany bureau with ormolu mounts slides open to the left. Accordion doors on both ends open to reveal an ivory dip pen with gold nib, a very tiny crystal Ink bottle filled with Italian red ink and two rolls of writing paper with a red silk ribbon tie. The main interior space is used to house a paper Noguchi lamp with rosewood stand and battery-operated ambient light source. A custom-sized red Persian rug pulls out from the bottom of the camera to keep the bureau stable as a writing desk.
The writing accessories are kept small and particularly snug so that there is room for a built-in Telex rangefinder. Why an additional rangefinder attachment for a rangefinder camera of this particular pedigree, you might be asking yourself. The doubled rangefinder function allows for a singular focus of a possible ambient déjà vu or presque-vu type of image to be taken within a suitable period of rumination from this sort of moderne lounge atmosphere. It is hoped that the legendary "Leica look" can be further modified with a theoretical "defocused" ( though this is not to be confused with the defocus function of Nikon lenses) sort of look that only can be stumbled upon with long consideration and considerable luck.
Design, text and drawing are copyright 2014 by David Lo.
laboratorio de ying, nyc.
My version of the young busy traveler on-the-go who needs a camera at the place where he crashes, where he puts together his busy schedule, where he keeps all his paperwork together, all in one big pile.
This rugged camera finds it's cozy home right on and old-fashioned clipboard, buried underneath plane tickets, correspondence, stationery, newspaper clippings and luggage tags. This assorted flotsam make an easy camouflage to hide the camera body (which comes with tiny pins to attach paper paraphernalia) and it's very retro-shutter mechanism.
As such, it operates much like my other "lap desk" camera designs.
This camera's portability is assured. Just attach it anywhere. However, perhaps a matchbox pinhole version (coming up in another upload) would even better suit a Midori notebook and a Ricoh GR Digital 3.
Design, text and drawing are copyright 2014 by David Lo.
Detroit Style is the exhibition organized by the Detroit Institute of Arts which brings the artistry and influence of Detroit car designers working between 1950 and the present day. It brings together 12 coupes and sedans designed across 70 years. Highlighting significant achievements in style and technology, the 12 cars include unique examples of experimental show cars created for display and iconic production models sold to the mass market. Design drawings enable you to imagine the creative and innovative processes that bring a vehicle from the drawing board to the street.
Chrysler Chronos, 1998
Nearly 25 years ago, designer Isamu Shikado based the curved body shape and round front grille of this show car on Chrysler’s 1953 D’Elegance, designed during Virgil Exner’s time at the company. Shikado appealed to the stability and authority of the past during a period of stylistic uncertainty. He elongated and streamlined the proportion of the earlier car to give the Chronos a modern look.
Although the Chronos was never mass-produced, its form influence some of the cars Chrysler introduced in the years that followed. At the time, revivals of the past were a powerful trend in fashion, film, architecture, and other media. At Chrysler, nostalgic designs like the 300C, PT Cruiser, Plymouth Prowler, and Dodge Viper explored different moments from automotive history.
For me this car was the most dramatic in the exhibit as it has similarities to a modern day Bentley.
From Allpar.com on Concept cars: Clever ideas include wheel emblems that always stay upright, dual centered tailpipes, and an electronically-controlled humidor, which is an ironic addition to come from the first company to abolish ashtrays.
Chronos concept car tires were large for the time, at 20 and 21 inches. The 350-horsepower, six-liter single overhead cam V10 engine was not related to the Viper V10, but was built from components of three 4.7 liter V8s. The suspension was largely borrowed from the Viper.
The interior is certainly more elegant than that of the Chrysler 300, not to mention many luxury cars. It looks like it should be the flagship Chrysler.
Tom Gale wrote: "If you're going for the flagship of the Chrysler brand, and the Chrysler Chronos clearly is, then everything must add up. The look must fit. The quality must be appropriate. And the ride must be exhilarating. It has to totally quench the thirst for perfection."
Why was it not made? When DaimlerChrysler was formed, key executives within Chrysler (according to published sources) believed that the luxury cars should stay within Mercedes. At the time, brand separation was low, with suspension tuning and minor sheet metal differences separating Plymouth, Dodge, and Chrysler.
The Chronos was part of the search for the Chrysler icon that would raise Chrysler back to its traditional place as a cheaper and better alternative to Cadillacs and Lincolns, a search likely led by Tom Gale, who was also seeking a new and different place for Plymouth. Chrysler Corporation would likely be a very different place had Tom Gale been put in charge, rather than Bob Eaton (for one thing, it would exist).
Nyc
I took a much-needed tiny break from the snowstorm in this teahouse, with my drawing for a design called the Nemean Lion. I love my Koh-I-noor technical pencil and rotary lead sharpener, and my vermillion Moleskine (not shown) and my studio-less studio situation. I get my best thoughts outside, over meals anyway so. My favorite meal (also not shown) is the very simplest: radishes and farmhouse butter sandwiched between white bread and liberally salted, and some Darjeeling with sugar and milk.
atelier ying, nyc.
This fantastic vehicle originated in Octopussy and later was seen again very briefly in Die, Another Day.
The Alligator surveillance device is given an upgrade in this proposed design. Instead of being hung on a wall in Q's laboratory, it is made into a centerpiece, the ultimate humidor--- itself a tiny room or a most beguiling chaise longue for a most elegant smoking room. It is dedicated to the wonderful actor Pierce Brosnan.
Some of my James Bond designs are thoroughly modern enough, but most of them are set in Ian Fleming's era, or more accurately stated, at around time of his novel "Goldfinger", which employed a rather fully equipped Leica M3, by today's standards.
I set the stage this way to make the fantasies more palpable, enjoyable and to be experienced as reveries, kind of as a quasi-mirror image to Fleming, who created his stories under thick clouds of cigarette smoke fueled by many martinis before a manual typewriter inside a room on his island home he named Goldeneye. Fleming admitted in his letters to being a non-communicative husband who only lived for tomorrow, as opposed to his wife who was more of a traditionalist, but his personal style was nothing but escapist. My work is usually finished in a fraction of the time he used to write a novel. In this, I like to employ the metaphor of a camera here: my design is but a tiny viewfinder's image, perhaps taken as a hipshot at times or as a more studied portrait at other times.
The vehicle's base has been expanded and outfitted with a side opening. Mr. Brosnan could fit in the cockpit (which has a Leica M3 with flash gun and a Ricoh GR1, a much more sensible recon device, both perched on a tiny shelf) and look out of its mouth as was originally intended. It has a polished wood floor and pillow so that one could even read a book in this position whilst puffing away inside. For this reason the Cuban Cigars (over 60 boxes of vintage El Rey Del Mundo coronas and robustos) are kept behind glass on shelves. The main door opens with the assistance of a hydraulic lift and the manual from Q has been wisely substituted with a cigar journal. As an electronically humidified aging room inside an alligator, it is without parallel.
PS: my design expansion into vehicles and humidors for street photographers carries on with upcoming designs for Weegee and Mothra.
Design, text and drawing are copyright 2013 by David Lo.
atelier ying, nyc.
Of course you can just conceal a tiny camera inside of a hot dog bun, as was done for detective/spy cameras. Yet how much more sophisticated to have drop bed design with the characteristics of the iconic American sandwich?
Weegee would have loved this variant design for a 2x3 Baby Speed Graphic, where the drop bed forms a ramp nestling a pair of his extra long Nat Sherman custom cigars. A guillotine cutter works by turning the focusing screws. Tiny drawers below hold matches, humidifying element, and a 15-foot long string which pulls out in order to rapidly determine exact distances in dim shooting situations.
A vertical wave of yellow 'mustard' in Bakelite forms a haiku viewfinder exactly as the last design, reminiscent of a summertime Coney Island coaster, and near the location of the annual Hot Dog eating contests.
Design, concepts, text and drawing are copyright 2015 by David Lo.
atelier ying, nyc.
A range of Hasselblad models from the letters C through F and S exist in their catalogue's history. I'm happy to introduce the "HH" model here.
The English idiom, "Hearth and Home" inspires this design.
A custom fitted enclosure replaces the focusing hood of a standard C Hasselblad. It links the cultural history of home and altar. The home from ancient Roman times through Victorian times is represented by a working fireplace (which is centrally located in the camera). The temple is represented by a fitted tabernaculum on the reverse side. Here the sacred material is a cache of cigars produced four years before the camera's construction date on a private plantation of six acres, which make this Hasselblad prohibitively expensive (these cameras to be made every four years, something reminiscent of an Olympian timeline).
To elevate the camera's function in importance, the hearth enclosure is used as a slide viewer that allows the photographer to actively search for the ambient "transportive" moment on a slide transparency. The timer attached with a fader function on a light source with a limited set of filters provides illumination for both the hearth and the humidor. The base of the camera with stilts transforms the camera to recall a treehouse.
The camera design's intended fantasy is as such:
The photographer smokes a cigar by hearthside ruminating over a distant memory whilst staring into the fire. This design belongs to a series I've been collecting that focuses in some way upon the intangible. The design no. 137, dedicated to Stan Lee is another example of this type of strategy and thematic undertow.
This design is dedicated to the Danish scientist Niels Bohr, who made his great discovery staring into the fireplace at the flickering sparks.
The pillars and cornice of the fireplace mantel are decorated with A collection of 2-inch white and blue Delft tiles from Denmark.
Design, text and drawing are copyright 2014 by David Lo.
atelier ying, nyc.
I'm so surprised that since 1963 there hasn't been a James Bond Attaché camera. Well, here it is.
The year is 1964, many months after the release of the now legendary film, "From Russia with Love". Now James Bond embarks on a different mission, a leisurely peaceful one as a street photographer, albeit surreptitiously and shooting long from a distance (in the tradition of the AR-7 sniper rifle no less) as 007 agents can never fully relinquish their secretive nature. Therefore, the attaché now holds two magnum sized bottles of 1964 Taittinger champagne that actually conceal a digitized Hasselblad SWC kit.
The Hasselblad SWC is a legendary camera more suited for portability than it's cousins. The view finder, wide-angle lens and scale focusing, make it wonderful for architectural shots. However the 38mm Biogon lens can now can shoot like a Leica 85mm Summarex portrait lens, with the help of a little bit of digitization. Like the Speed Graphic, the housing of the hasselblad may need a slight modification in order to bring the Micro 4/3 sensor to the film plane, though the goal of my digitizations aren't razor sharp photos. I'm sure Q-branch has a dremel tool somewhere (all kidding aside, a trusty diopter and an optical bench will suffice to make the installment). Although not shown, a short monopod in three sections is also included.
Two further accoutrements of luxury that are part of this camera design are:
1. a soda fountain syrup-styled pump on the left side of the camera that dispenses a rare Kina Lillet for making Bond's "true" drink from his novels, a Vesper Martini. Note that the right side is the shutter release. Both buttons are identical, a more peaceful substitute to the exploding talcum powder canister feature as in the movie.
2. on the side of the briefcase is concealed a humidor with four Cuban Montecristo No. 2 cigars (a homage to my favorite Bond actor & now UNICEF Goodwill Ambassador Roger Moore although he didn't star in this film) releases with a flick of a lever.
There are no weapons in this attache briefcase camera design.
This design drawing is copyright 2013, by David Lo
atelier ying, nyc.
This continues a series for cameras that were quickly made obscure by trends in technology (please also see the Nemean Lion as another example).
The 1947 Speed-O-Matic was extremely slow to use by modern standards and is the spiritual descendant of the Dubroni, an early camera that I have used as a paradigm for some of my designs.
One could consider the Speed-O-Matic as a Mini-Weegee camera or even a 'Toy' Weegee. It certainly does have a secure place in the camera world through my eyes.
I believe Weegee would have seen the Speed-O-Matic as a godsend were it not for the dodging effects he needed for his photojournalistic work. His developing process was also messier than the Speed-O-Matic which truly is a fast Weegee camera. If one had to develop but 30 or so photographs, the slowness of the process would hardly be noticeable. Even the shooting process would adapt itself easily.
My proposed designs for Weegee are a series that approach him from various directions.
By the time he developed photographs in his Chevrolet Coupe, he already had become a skilled darkroom technician and simply transferred this process to the outdoors, to the trunk of his car, as a kind of modern man with a can-do attitude.
This design brings him to a serene setting, and transports his rough and tumble darkroom-in-the-car concept to the smaller scale of a portable Dubroni (and a tiny version of it too), a much more precise and intimate experience. Weegee used his Speed Graphic as an enlarger which I also attempt to transform for the Speed-O-Matic. Indeed the Speed-O-Matic in its cool, sleek Bakelite appearance easily recalls Weegee's shiny coupe.
Using the idea of the Airstream Travel Trailer, this homage aims to please Weegee the automobile fan. The kit is a 1936 Teardrop trailer attachment and table which expands the camera-RV interior as a deluxe slide viewer.
Thus in the Airstream/Teardrop the modern day Weegee views and also displays his work in the same dark surroundings (here the table transforms the alley into an outdoor lounge) where he famously developed photographs for the press.
The design theme is closely related to the following as cameras that transform to gallery spaces or in this particular design a lounge space :
- Gallery Ying (please see my link below).
- 38. The New Gallery Ying
- 94. The Maria Malibran renovation
- 109. The Ozu Photo Studio camera
Gallery Ying link:
www.flickr.com/photos/64011301@N08/7010097557/
Design, text and drawing are copyright 2014 by David Lo.
laboratorio de ying, nyc.
something that I kind of always wanted to do, and I hope it will bring a sparkle to everyone's Inner eye who imagines this along with me.
in this fantasy a very well equipped valise carries an entire miniature charcuterie with the following:
mortadella, livarot, French mustard, pink sea salt, tiny round hot peppers, marinated artichokes, orange-flecked Provence olives, vintage red wine, basil, large raisins still on the vine. This is my initial presentation. I am sure you could add more sausages and cheeses to round out the selection.
the former street photographer in me remembers very well how hungry we can get after a good 2 1/2 hour session on the streets in the cold.
I remember in Tokyo the most delicious meal I had was started simply with a very cold beer and a plate of homemade pickles after five hours of walking.
anyway, the bottom half of the this valise is entirely for the charcuterie, and is handsomely framed behind a glass and chrome lid (to keep out the flies). It also comes with glassware, cutlery (a mini-mandoline) and wooden plates.
the top half of the case is an upgraded pinhole version of the early French Chambre Automatique, except that it too is protected by a glazed modern façade wall with windows of different sizes. An alternate configuration for the cameras is on the bottom which provides similar compartments of different sizes. Either way, one can have a set of assorted pinhole cameras, a "charcuterie of cameras", in effect. The film development can be done on site like the classic early French camera or off-site as is the more modern way. A very French chalkboard framed in dark wood to display the current day's goods rounds out the presentation.
the case is 15 inches wide by 13 inches tall by 8 1/2 inches deep. Of course, this valise in leather must be custom made to measure.
Design, text and drawing are copyright 2014 by David Lo.
atelier ying, nyc.
David Linley, the nephew of Queen Elizabeth II, is a classical furniture designer and maker. My design here is inspired by his work and is dedicated to him.
During World War II, the Waddington's company had an esteemed role to play, that of supplying Allied British POW's with a escape kits fashioned inside of a classic Monopoly board game sets.
My writing table is a one off design piece with representations of English cottage houses that are part of the Monopoly game logo. The one on the left is a cigar humidor. The other on the right houses a mini bar for one, and has a lighted display shelf for a collection of miniature Monopoly game tokens from the 1930s and 40s. Instead of drawers, the tabletop folds down revealing a world map with soft LED lights indicating historic locations of POW camps. The main writing surface has secret compartments housing a list of items (detailed on my drawing) recalling the secret items embedded inside the Monopoly game board by Waddington's craftsmen (who were honored publicly in 2007) for prisoners to use as escape tools. Lastly, a gallery of compartments hold notebook papers and assorted real money, as was used in the board game.
Design, concepts, text and drawing are copyright 2014 by David Lo.
laboratorio de ying, nyc.
A little yet complete traveler's collection.
1. Stainless backscratcher pen extends up to 52 cm.
2. Mint leather pencil case (stores here a cheap Derwent electric eraser, three Muji pens, two Koh-I-noor Technographs in HB and 6H and a Blue Alumicolor Engineer's scale.
3. Young Architects 14: No Precedent, by Princeton Architectural Press 2013
4. Moleskine Reporter's Notepad, unlined
5. Clear lucite box, black scratch board, a very handy way to keep a memento of my top ten books
6. Ricoh GRD3, equally handy with three b&w presets. The jewel EVF is essential to the way this camera can be used, imho.
7. Lead sharpener
8. Harrod's White Label cloth carrying bag, not shown.
Design, photograph and text are copyright 2014 by David Lo.
atelier ying, Taipei Airport
Set into the ambience of 1970 and decades earlier, this Chinese
Gongfu Tea set is for display and meditation. It's in the tradition of Egyptian funerary and Ming Qi items except that it functions also as a working household object.
Cigars go well with Chinese tea. It's also very much a part of past days when a gentlemen wore a suit and tie daily, for both work and leisure.
This miniature city has a fragment of the Nonbei Yokocho (drunkard and pissing alley). The central tower holds a teapot with heating lantern. The traditional public urinal stalls allow you to rinse and pour off your tea cups as you drink. Tea ware and utensils are unobtrusively stored within the bar huts (8 of them) of the drinking alley, whose interior lights provide the all-important ambience for the narrow streets as well as the torii gates at 2 of the 3 entrances to the town. A novelty train dining car is for smoking and small gauge corona-sized cigars are stored underneath as it is a humidor. Smoking tools are built into the old-styled vending machines across from the public bathroom. A corner seafood grilling shack is a sightseeing hut that seats but 3 and stores old fashioned dried seafood to gnaw on and to have with some white rice. Some brandy is hidden in the base of the yakitori grill. A classic 1960's bakery coffee house with two levels has an interior clock whose melodious chimes mark the time, but here there's no last train to catch, only the last vestiges of existing hand drawn carriages and earlier model cabs which are plentiful, so keep drinking. The coffee house also stores valuable cakes of antique teas. Figurines of pedestrians, shopkeepers, carriages, cats are provided to decorate with as you please.
Design, concepts, text and drawing are copyright 2014 by David Lo
Atelier ying, nyc.
Anything about Weegee will inevitably be about Old New York. This camera fantasy is reminiscent of an Edward Hopper painting of a lone diner in the early hours of the morning, yet with a warm inviting appeal. Weegee seems to have had a very poor diet. One anecdote says he ate meals of Uneeda biscuits and Heinz baked beans. I'd like to imagine for this homage a connection to the Automat in Nyc in the 1930's. This camera, a gift for Weegee, combines structurally a Polaroid Land camera and a Graflex National although it is a Ying Digitized classic (as there is ample length to hide it all inside the case, digital micro 4/3rd placed in a 90 degree formation with porro prisms to direct the light path from the Rodenstock lens). It also has a 4-section flip out tray not unlike a Japanese bento box and an opulent side door, like in the Prohibition, to a sizable cigar humidor full of Nat Sherman's line of 'timeless' coronas (an actual cigar band has been attached onto my working notes above. Weegee frequented Nat Sherman's, the famous NY tobacconist. This portable diner-camera serves him a healthier version of his original meal: low sodium beans with plenty of mineral-rich molasses and minced onions, a fried egg, rice, a packet of Starbuck's Instant columbian coffee, and a packet of US Army licorice. Both compartments are lighted from the inside emitting a warm glow not unlike welcome lanterns in the windows of American homes. A lunch box handle puts a less serious spin on things. A handsome black leather encloses the whole camera. There are red silk vanity curtains behind the curved window and the cigar box door can be engraved. Luxurious appointments, something Weegee sorely lacked at this point in his life (ca. 1938). Dinner, coffee, cigars, and licorice. What more could a street photographer want?
The cigar humidor is cedar lined and recalls Nat Sherman's store interior with it's warmly lighted cabinets containing humidors and smoking accessories. An optional set of black and aluminum wheels are offered instead of the wooden legs shown. This would make the camera also into a serving trolley.
As a side note I had the very good fortune to have gone to the Automats in Union Square and at Grand Central Station areas as a young child, as well as other now legendary Nyc places like Mary Elizabeth's, Zum's, Chock full 'o nuts, Woolworth's etc. The Automat had great macaroni and cheese.
Please look at my Weegee set, I created it for you Weegee enthusiasts!
Please view on black