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The engine model shown here is based on the 1:21 scale Bugatti Veyron SS model by Mr.Koenigsegg:
Bugatti Veyron EB 16.4
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego (1:24)-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).
The company is a front runner in offering contract manufacturing services to tablet manufacturers across the globe.
For more details: nueranutra.com/
America’s manufacturing base has grown for 11 straight months—with more than 135,000 manufacturing jobs created over the last six months. Durable goods orders rose 0.9 percent in May, excluding transportation. Industrial production, the output at the nation's factories, mines and utilities, rose 1.2 percent in May with factories ratcheting up production for the third month in a row.
Never seen anything like Water Slide manufacturing? Must be a Splashtacular signature ride. Product lines include DrenalineDrop™, DownUnder™, 360 rush™, 360Rush® XT, Double BowlEye, Double BowlsEye XT
Manufactured around 1969 by Minolta Camera Co. of Osaka, Japan. From McKeown’s Guide: “In a sea of inexpensive, basic cameras for 126 cartridges, Minolta stands out for its quality. Although operation was kept simple, it was through complex engineering, not simple design. One outstanding feature of most Minolta Autopak cameras was the ability to keep a flashcube mounted on the camera at all times. The camera would automatically fire the flash only if needed. This later became common with electronic flashes, but was unusual during the age of flashcubes and x-cubes.”
The 800 was the top of the line! It had a coupled range finder with bright-frame marks. A CdS meter selects 1/90 sec or 1/45 sec speeds. It had a Rokkor 38mm f/2.8 lens, a tripod mount and a cable release socket. A fun feature was the spring-motor film advance. You actually wound the camera up with the knob on the right hand side of the camera and it would advance from frame to frame as you shot. The only complaint? The camera uses THREE batteries—two 825 batteries to fire the flash (these were “fun” batteries—they would explode if shorted!) and one PX-625 to run the meter.
See also: members.aol.com/manualminolta/min126.htm
Une manufacture de chaussures établie à Saint-Hyacinthe en 1903...et fermée vers 1915...
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Vous lire est un plaisir.Merci de vos commentaires,votre visite,vos invitations et favoris.
To read your comments is a pleasure.Thank you for your visit,comments,invitations and faves
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Partons à la rencontre de nos ancêtres, remontons le temps à partir de vieilles photos de famille qui dorment dans le fond de nos tiroirs. Portraits, objets de tous les jours, maisons, voitures,... tout ce qui raconte NOTRE histoire et/ou celle de nos parents avant 1985.
The Postcard
A postally unused Philco Series postcard with photography by Claude Harris Ltd.
On the back of the card the publishers have printed: 'Invest in Government Securities'.
The card was posted on Friday the 25th. July 1919 to:
Miss E. Hallam,
43, Oakfield Street,
Altrincham.
The message on the back of the card was as follows:
"Wishing you a very, very
happy birthday and many
more of them.
Love from
Phyllis".
Philco
The Philco Publishing Co. of 1-6 Holborn Place, London were active between 1905 to 1934. They published many different types of artist-signed cards and photo-based view-cards.
They are noted for three large sets representing Faith, Hope, and Charity.
Most of their cards were printed in Germany, although a set of real photo birthday greeting cards were manufactured in Italy.
Miss Gladys Cooper
Gladys Cooper's most noticeable characteristic is that she rarely if ever smiled when being photographed. In some publicity shots she actually looks quite annoyed.
Dame Gladys Constance Cooper, (18th. December 1888 – 17th. November 1971) was an English actress whose career spanned seven decades on stage, in films and on television.
Beginning as a teenager in Edwardian musical comedy and pantomime, she was starring in dramatic roles and silent films before the First World War.
She also became a manager of the Playhouse Theatre from 1917 to 1933, where she played many roles. From the early 1920's, Cooper was winning praise in plays by W. Somerset Maugham and others.
In the 1930's, she was starring both in the West End and on Broadway. Moving to Hollywood in 1940, Cooper found success in a variety of character roles; she was nominated for three Academy Awards, the last one as Mrs. Higgins in 'My Fair Lady' (1964). Throughout the 1950's and 1960's, she mixed her stage and film careers, continuing to star on stage until her last year.
Gladys Cooper - The Early Years
Cooper was born at 23 Ennersdale Road, Hither Green, Lewisham, London, the eldest of the three daughters of Charles William Frederick Cooper and Mabel Barnett.
Gladys Cooper spent most of her childhood in Chiswick, where her family moved when she was an infant.
Gladys made her stage debut in 1905 touring with Seymour Hicks in his musical 'Bluebell in Fairyland'. The young beauty was also a popular photographic model.
In 1906, she appeared as Lady Swan in London in 'The Belle of Mayfair', and then in the pantomime 'Babes in the Wood' as Mavis. The following year she became a chorus girl at the Gaiety Theatre, creating the small role of Eva in 'The Girls of Gottenberg'. That Christmas, she was Molly in 'Babes in the Wood'.
In 1908, she appeared in the musical 'Havana', followed the next year by 'Our Miss Gibbs', in which she played Lady Connie. She was then on tour again with Hicks, in 'Papa's Wife', before playing Sadie von Tromp in the hit operetta 'The Dollar Princess' at Daly's Theatre in 1909.
In 1911, she appeared in a production of 'The Importance of Being Earnest' and in 'Man and Superman'. Among several other plays, the next year she was Muriel Pym in 'Milestones' at the Royalty Theatre. A highlight of 1913 was Dora in 'Diplomacy' at Wyndham's Theatre. That year she also played the title role in 'The Pursuit of Pamela' at the Royalty.
In 1913 Cooper appeared in her first film, 'The Eleventh Commandment', going on to make several more silent films during the Great War and shortly afterwards. She continued full-time stage work, however, including appearances as Lady Agatha Lazenby in 'The Admirable Crichton' in 1916, and Clara de Foenix in 'Trelawny of the Wells'.
In addition, in 1917, Cooper became co-manager, with Frank Curzon, of the Playhouse Theatre, taking over sole control from 1927 until she left in 1933. During these years, she starred several times in 'My Lady's Dress'. She appeared in W. Somerset Maugham's 'Home and Beauty' in 1919, repeated Dora at His Majesty's Theatre in 1920 and elsewhere thereafter, and played numerous roles at the Playhouse Theatre.
Gladys Cooper - The Later Years
It was not until 1922, however, now in her mid thirties, that she found major critical success, in Arthur Wing Pinero's 'The Second Mrs. Tanqueray'. Early in her stage career, she was criticised for being too stiff. Aldous Huxley dismissed her performance in 'Home and Beauty', writing:
"She is too impassive, too statuesque,
playing all the time as if she were Galatea,
newly unpetrified and still unused to the
ways of the living world."
Evidently, her acting improved during this period, as Maugham praised her for:
"Turning herself from an indifferent actress
to an extremely competent one through her
common sense and industriousness".
For both the 1923 and 1924 Christmas shows at the Adelphi Theatre, Cooper played the title character in 'Peter Pan', while also playing several other roles at that theatre during those two years. She appeared in Maugham's 'The Letter' in London and on tour in 1927 and 1928, in 'Excelsior' in 1928, and in Maugham's 'The Sacred Flame' in 1929, also in London and on tour.
Among other roles, Cooper was Clemency Warlock in 'Cynara' (1930), Wanda Heriot in 'The Pelican' (1931), Lucy Haydon in 'Dr Pygmalion' (1932), Carola in 'The Firebird' (1932), Jane Claydon in 'The Rats of Norway' (1933), Mariella Linden in 'The Shining Hour' in 1934 and 1935, in London and New York City and on tour (at the same time making her first "talkie" film, 'The Iron Duke'), also playing Desdemona and Lady Macbeth on Broadway in 1935.
She was Dorothy Hilton in 'Call it a Day', again in both London and New York, from 1935 to 1936. A highlight of 1937 was Laura Lorimer in 'Goodbye to Yesterday' in London and on tour. In 1938, she played Tiny Fox-Collier in 'Spring Meeting' in New York, Montreal and Britain, as well as several Shakespeare roles and Fran Dodsworth in 'Dodsworth'. She repeated 'Spring Meeting' in 1939.
Cooper turned to film full-time in 1940, finding success in Hollywood in a variety of character roles, and was frequently cast as a disapproving, aristocratic society woman, although she sometimes played lively, approachable types, as she did in 'Rebecca' (1940).
She was nominated three times for an Academy Award for Best Supporting Actress for her performances as Bette Davis's domineering mother in 'Now, Voyager' (1942), a sceptical nun in 'The Song of Bernadette' (1943), and Rex Harrison's mother, Mrs. Higgins, in 'My Fair Lady' (1964).
In 1945, after playing the role of Clarissa Scott in the film 'The Valley of Decision' for Metro-Goldwyn-Mayer, she was given a contract with the studio. Her credits there included both dramatic and comedy films, including 'The Green Years' (1946), 'The Cockeyed Miracle' (1946) and 'The Secret Garden' (1949).
Other notable film roles were 'The Man Who Loved Redheads' (1955), 'Separate Tables' (1958) and 'The Happiest Millionaire' (1967) as Aunt Mary Drexel, singing "There Are Those".
Her only stage roles in the 1940's were Mrs. Parrilow in 'The Morning Star' in Philadelphia and New York (1942), and Melanie Aspen in 'The Indifferent Shepherd' in Great Britain (1948).
She returned to theatre (between films) more often in the 1950's and 1960's, playing in London and on tour in such roles as Edith Fenton in 'The Hat Trick' (1950); Felicity, Countess of Marshwood, in 'Relative Values' (1951 and 1953); Grace Smith in 'A Question of Fact' (1953); Lady Yarmouth in 'The Night of the Ball' (1954); Mrs. St. Maugham in 'The Chalk Garden' (1955–56), Dame Mildred in 'The Bright One' (1958); Mrs. Vincent in 'Look on Tempests' (1960); Mrs. Gantry (Bobby) in 'The Bird of Time' (1961); Mrs. Moore in a stage adaptation of 'A Passage to India' (1962); Mrs Tabret in 'The Sacred Flame' (1966 and 1967); Prue Salter in 'Let's All Go Down the Strand' (1967); Emma Littlewood in 'Out of the Question' (1968); Lydia in 'His, Hers and Theirs' (1969); and others.
She received two nominations for the Tony Award for Best Actress in a Play, for her roles in 'The Chalk Garden' and 'A Passage to India'.
She also had various television roles in the 1950's and '60's. These included, among others, three episodes of 'The Twilight Zone'. In the first, titled "Nothing in the Dark" (1962), she played an old lady who refuses to leave her flat for fear of meeting 'Death'. A young policeman (Robert Redford) is shot at her doorstep and persuades her to let him inside.
Her second appearance was in "Passage on the Lady Anne", which aired on the 9th. May 1963.
Her final episode was the 1964 "Night Call", where she portrayed a difficult, lonely old lady who is besieged by late-night phone calls. Cooper starred in the 1964–65 series 'The Rogues' with David Niven, Charles Boyer, Gig Young, Robert Coote, John Williams and Larry Hagman. The series lasted a single season of thirty episodes, most of which featured Cooper as the matriarch of a crime family.
In 1967, at the age of 79, she was appointed a Dame Commander of the Order of the British Empire (DBE). Her last major success on the stage was at the age of 82, in 1970–71 in the role of Mrs. St. Maugham in Enid Bagnold's 'The Chalk Garden', a role she had created on Broadway and in the West End in 1955–56.
Marriages of Gladys Cooper
Cooper was married three times. Her husbands were:
- Captain Herbert Buckmaster (1908–1921). The couple had two children: Joan (1910–2005), who was married to the actor Robert Morley, and John Rodney (1915–83).
- Sir Neville Pearson (1927–36). Sir Neville and Lady Pearson had one daughter, Sally Pearson, aka Sally Cooper, who was married (1961–86) to actor Robert Hardy.
- Philip Merivale (1937–1946), a fellow actor. The couple lived for many years in Santa Monica, California as permanent resident aliens. He died at age 59 from a heart ailment. Her stepson from this marriage was John Merivale.
Death of Gladys Cooper
Gladys lived mostly in England in her final years, and died from pneumonia at the age of 82 in Henley-on-Thames, Oxfordshire.
Woodrow Wilson
So what else happened on the day that Phyllis posted the card?
Well, on the 25th. July 1919, in Paris, delegates to the peace conference formally approved the establishment of a Commission on the League of Nations. United States president Woodrow Wilson insisted on chairing the commission.
The League's task was simple - to ensure that war never broke out again. In this respect the League was a total failure.
This solid factory anchors the scene at the west end of Stevens Point. This area was prime real estate for many years, situated next to the Wisconsin River and the Wisconsin Central. Factories such as this could source logs from a far reaching pinery reaching north to Michigan floated down the river. Finished product would go into waiting boxcars for movement to growing markets in Milwaukee, Chicago and beyond.
The street here is Wood Street, the Green Bay & Western branch from Plover used to follow the street and cross the WC here at grade. July 20, 2024.
Royapuram is well known for it's first railway station of south India and famous fishing harbour but apart from that there is another face for it. Yes, Fishing boat manufacturing unit. If you come to the Royapuram fishing pier area, at the beach side we can see an small area of this boat construction units. There are many small companies involve in constructing fishing boats.
I had been there for many times but this is the first time I am seeing this area, the moment I saw this place, the giant boat and its construction pulls me to watch the entire section and without saying that my eyes and third eye start capture each and every piece of their work...
First I started from an brand new 100% completed fishing boat which was about to pull into the sea, while seeing the finishing of the boat I that that there is an well equipped and modernised lab (!) to build the boats. You know, it was so surprised that there is no any modern equipments and lab to build these giant boats but it's simple as an normal carpenter workshop without any roof (!)
Surprise built more on my mind and started asking the people who was working there, they told very casually that they don't follow any modern techniques other than simple calculation to cut the woods to build the boat. The place is also so simple but they were so keen on their work, I was able to see different stages of the boats, one is very first stage, another one in middle of the stage and one in final stage as coating the fiber on the wood part and finally one completed boat.
While discussing with the people who works there, building the boat by the wooden parts and coating the fiber on top of the wood are two major parts and there are two different team involves in this process. To build an good fishing boat will costs around 50 laks which has very good container to keep the fish and equipped with all modern connectivity devices like GPS, wireless and etc...
It was so nice while interacting with those people, they were so kind and respect everyone and were giving nice reply for all our questions and doubts. If you guys have time, please go there and watch their work and don't forget to appreciate their work.
Here’s an ugly and overlooked fact: Not only did America lose nearly six million manufacturing jobs in the last decade but the decline as a share of total manufacturing jobs (33 percent) exceeded the rate of loss in the Great Depression. Despite this unprecedented negative performance, most economists, pundits and elected officials are remarkably blasé, largely because they attribute this job loss to superior productivity performance of U.S. manufacturers. The notion seems to be manufacturing has just gotten incredibly productive over the last decade, and while it may be tough on the workers who are let go, this is the price of success. All that is needed, if anything, are better programs and policies to help laid-off production workers.
ITIF presented a comprehensive analysis that disputes this sanguine view and reveals the stark truth about the troubling state of U.S. manufacturing competitiveness.
Manufactured by Zeiss Ikon, Dresden, Germany
Model: c.1940, Zeiss catalog no.850/16 (not stamped on the body),
(produced between 1939-51)
TLR film camera, film 120 roll, picture size 6x6cm
Taking Lens: Novar Anastigmat, 75mm f/3.5, filter slip-on, serial no.none
Aperture: f/3.5-f16 setting: via a lever on the lens-shutter barrel
Viewing lens: Teronar-Anastigmat 75mm f/3.5
Focusing: via ground glass screen in the hood, by knob on the left side of the camera, w/ distance and DOF scales
Focus range: 1-10m +inf
Shutter: unnamed, probably Klio, speeds: 1-1/250 +B
setting : ring and scale on the lens-shutter barrel
Shutter release: on the top right of the camera
Cocking lever: on the lens-shutter barrel
Winding knob: on the right side of the camera
Double exposure prevention: Red signal on a small window on the knob like part just above the winding knob reminds that you have advanced the film after each exposure and also automatic lock feature of the shutter release, if film not wind. This features works when the camera loaded.
Frame counter: none
Viewfinder: Waist level viewfinder with ground glass screen and hood,
w/ magnifying loop
Flash PC socket: none
Cold-shoe: none
Self-timer: lever on the lens-shutter barrel
Back cover: hinged, opens with the bottom plate, by a silver knob on the back cover,
w/ red window, engravings on the back cover: Zeiss logo and Made in Germany
Tripod socket: old 3/8''
Strap lugs
Body: metal, Weight: 964g
serial no. none
As to McKeown's p.1051: From 1939 to about 1940, Ikoflex I have black square with Zeiss Ikon logo in the center of finder hood, later ones have chromed square logo, with this and also some other very old features, this one is an early model, c.1940.
When first introduced in 1936, this camera was the Ikoflex II (851/16). In 1939, the Zeiss models were reorganized, and this camera replaced old Ikoflex II, confusingly, and became the Ikoflex I (850/16). The camera underwent some minor changes with its re-naming. Offered with Tessar or Novar lenses, in Compur, Klio or Prontor-S shutters. Made from 1939 until 1951 with many improvements, and the body designs changed, but the box did not.
more info: Zeiss Ikon Ikoflex Contaflex TLRs, Pacific Rim Camera, Peter's Twin lens reflex page
Lean Manufacturing Tools
smartmanagement.info/lean-management.html
Lean manufacturing is the implementation of the concept that anything that does not create value in the product is to be eliminated. It is the concept of more value for less work. As trained industrial engineers, it seems pretty basic to us. Its simplicity iswhat makes it work. While the Japanese are rightfully given credit for re-vitalizing the concept of lean, its roots really go back to Frederick Winslow Taylor of Bethlehem Steel in the 1880s and 1890s.Then it was called “Scientific Management.”
Here’s an ugly and overlooked fact: Not only did America lose nearly six million manufacturing jobs in the last decade but the decline as a share of total manufacturing jobs (33 percent) exceeded the rate of loss in the Great Depression. Despite this unprecedented negative performance, most economists, pundits and elected officials are remarkably blasé, largely because they attribute this job loss to superior productivity performance of U.S. manufacturers. The notion seems to be manufacturing has just gotten incredibly productive over the last decade, and while it may be tough on the workers who are let go, this is the price of success. All that is needed, if anything, are better programs and policies to help laid-off production workers.
ITIF presented a comprehensive analysis that disputes this sanguine view and reveals the stark truth about the troubling state of U.S. manufacturing competitiveness.
Happy 100th Birthday Art Clokey! <3
Cake Time For Art's 100th! (Photo 1 of 4)
After the Tribute Concert, Gumby and his pals were looking forward to eating cake together to continue celebrating Art's 100th Birthday, but unfortunately the Clayboys had to leave right after the concert, so it was just Gumby, Minga, Pokey, Prickle and Goo until the pesky Blockheads showed back up again and ruined Art's birthday cake before Gumby could even dish up the first slice! Pokey tried to grab Blockhead J, but both Blockheads ran off and ended up getting away! Everyone was heartbroken after the Blockheads' attempt to ruin the cake was successful after their unsuccessful attempt to ruin the concert earlier. That is until Gumby called his mom Gumba who came to the rescue! She called the bakery and bought mini cupcakes for each of them and extras after Gumby told her his plan. After talking to his mom, what did Gumby do?! He went to look for the Blockheads and he invited them to join him and his pals for a cupcake! And because the Blockheads loved Art Clokey too, they accepted! All was forgiven and everyone had a good time. Art Clokey is looking down and proud of them all!
I love and miss you Art Clokey! Happy 100th Birthday!
Art Clokey, affectionately referred to by many as "Gumby's dad" would've been 100 years old today, so I'll be posting photos throughout the day to honor his memory here on my Flickr Nature Photostream.
Please note: Gumby bendy toys in photo were manufactured by and for N.J. Croce Co., Inc. Gumby and other Gumby characters were created by Art Clokey and are registered trademarks of Prema Toy Co., Inc. All rights Reserved. Photo © Sally Rae Kimmel. All Rights Reserved. Please contact me if you would like to use any of my photographs. All of my photographs are copyright protected. They are not to be used in any way, in whole or in part, copied, reproduced, downloaded, distributed and/or used in any form of media, publication or print including on the internet without my express written permission. This applies to all of my photos, whether or not this notice appears in the description, and whether or not there is a copyright or watermark on the photo itself.
#gumby #artclokey
1-Cake Time_For Art_By_Sally_Rae_Kimmel_10-12-2021_2301
The Chevette was a supermini model of car manufactured by Vauxhall in the UK from 1975 to 1984. It was Vauxhall's version of the family of small "T-Cars" from Vauxhall's parent General Motors (GM); the family included the Opel Kadett in Germany, the Isuzu Gemini in Japan, the Holden Gemini in Australia, the Chevrolet Chevette in the United States, Canada and Brazil, the AYMESA Cóndor in Ecuador and a badge-engineered Pontiac Acadian/Pontiac T1000 across North America.
(Wikipedia)
Helping to lead the economy out of the Bush recession, America’s manufacturing base has grown with 136,000 manufacturing jobs added in 2010, the first increase since 1997.
Manufactures Building, from Horticultural Hall. Large photographic print from The White City (As It Was), photographs by William Henry Jackson. World's Columbian Exposition 1893.
Digitial Identifier: GN90799d_JWH_002w
BODY
Manufactured by Ihagee Kamerawerk Steenbergen & Co, Dresden, East Germany
Model: 1959, Version 1.5.2, (A&R: 5, Hummmel: 048), (produced between 1959-60, quantity: 38300)
Special feature of Version 5: Exa on the front plate embossed, (not engraved like in all other versions).
Version, manufacturing year, body and lens info are as to Andrzej Wrotniak
The original Exa is known as Exa 0 also.
All Exa 0 produced between 1951-62
35mm SLR film camera
Engraving on the front plate: Ihagee Dresden
Lens release: via a lever on the left of the lens flange
Focusing: via Fresnel matte screen, ring and scalel on the lens, w/DOF scale
Shutter: Mirror acts like a curtain as a part of the shutter, vertical moving, due to this maximum speed is limited to 1/150, speeds: 1/25-1/150 +B
setting: via a lever and scale on the right of the top plate
Shutter release: a knob, on front of the body, w/ a safety locking cap, and cable release socket, it can be pressed with the plunger on the lenses, w/ cable release socket also
Cocking knob: also winds the film, on the right of the top plate
Frame counter: window on the right of the top plate, additive type, manual reset by a thumb ring on front of it
Viewfinder: SLR pentaprism finder , interchangeable with Waist level finder
Finder release: via a knob beneath the Exa logo
Mirror: Stays up after exposure, so viewfinder is dark, cocking the shutter returns the mirror to normal position
Re-wind knob: on the left of the top plate
Re-wind release: by a button just beside the cocking knob
Flash PC socket: two, on the right front side of the camera, F and X
Self-timer: none
Back cover: Hinged, removable, opens by a latch on the left side of the camera
Tripod socket: 378'' w/1/4'' adaptor
Strap lugs
Body: metallic, Weight:557g (wo/ the lens)
serial no. 545089 (inside the camera)
LENS:
Meyer-Optik Görlitz Lydith 30mm f/3,5 (Zebra), 5 elements,
preset type, Mount: Exakta bayonet mount, interchangeable with Exakta Varex lenses,
filter thread: 49mm, serial no. 4082192, (introduced in 1962)
Aperture: f/3.5-f/22, setting: ring and scale on the lens
Focus range: 0.33 - 6m +inf
+Original leather ever ready case
+ Waist level finder, Ihage Dresden, w/original leather case
+Sunlux Tele Converter, (Zebra), with Exacta bayonet mount and lens release, (Made in Japan), w/ original leather case
+ B+W Skylight filter, 49ES KR1,5 1,1x w/leather case
Although Exa is much simpler than the professional Exakta cameras, the workmanship is equally good, finish similar, and the family resemblance obvious. With its lower price, Exa cameras are addressed to the amateur photographers.
Ihagee Kamerawerk Steenbergen & Co, in Dresden, which was the largest independent camera manufacturer in Germany and was founded in 1912 by Johan Steenbergen.
The true Exaktas and Exas are ones made by Ihagee in Dresden.
Ihagee did not produce their own lenses. Instead, they relied on many of the major optical firms of their day to each produce a series of lenses for their cameras, eg. Carl Zeiss (Jena), Meyer-Optik (Görlitz) and Joseph Schneider (Kreuznach). The lenses from these three makers, in terms of the number and variations of lenses produced, are the most plentiful and in most cases the easiest for collectors and users to acquire. Maybe, over 80% of the Exaktas offered for sale are equipped with normal focal length lenses from these three firms.
Notes about Exa/Exakta classification
I use the Exa/Exakta classification of Andrzej Wrotniak. As to me, it is the best.
Some opinions of a serious Exa/Exakta collector, F W Tappe :
Andrzej Wrotniak uses a very sensible classification, listed on his website, which I personally like the best. It is multi dimensional in setup, without being complicated!
Richard Hummel's 1995 book lists an "one dimensional" classification, which is incomplete, but many sources still refer to this.
Aguila and Rouah (A&R) in their 2003 edition of "Exakta cameras 1933 - 1978", come to an improved classification. They built on their previous 1987 edition classification, which was the leading standard among collectors.
Klaus Wichmann, prolific writer of books about Exakta - and Exa cameras, published his classifications earliest.
More info Captain Jack, Maurizio Frizziero, F W Tappe, Exa Original in Camerapedia
Rattling up Rowley Bank at Beamish Museum (as best you can over cobbles) is this 1912 BSA tourer, registered F 1751.
BSA (Birmingham Small Arms Company) was a British consortium company which had many manufacturing strings, but which manufactured cars between 1907 and 1939. The company was, perhaps, much more famous for the production of BSA motorcycles.
The car was at Beamish as part of the Great North Steam Fair of 2019.
Copyright © 2019 Terry Pinnegar Photography. All Rights Reserved. THIS IMAGE IS NOT TO BE USED WITHOUT MY EXPRESS PERMISSION!
Mahindra
Mahindra and Mahindra Limited is an Indian multinational auto mobile manufacturing corporation head quartered in Mumbai, Maharashtra, India.
CEO: Anand Mahindra
Headquarters: Mumbai, India
Founded: October 2, 1945
Subsidiaries: Mahindra Reva Electric Vehicles Private Limited,...
i1.wp.com/www.autocars.asia/wp-content/uploads/2015/11/Ma...
Manufactured by Yashica Co., Japan
Model: 1970s, (Produced between 1970-86)
TLR film camera, film 120/220 roll, picture size 6x6cm
Taking Lens: Yashinon 80mm f/3.5 four elements in three groups,
filter size: 30 mm Bayonet 1, serial no.1119170
Aperture: f/3.5 - f/32, Settings: in a small window on top of the lens system, via a knob, left side of the lens
Focus range:1-20m +inf
Focusing: Fresnel ground glass screen
Focusing knob: distance marks arranged with a f scale for DOF, left side of the camera,
w/ film type reminder window
Finder lens: Yashinon 80mm f/2.8
Shutter: leaf, Copal-SV, Speeds: 1-1/500 +B, Settings: in a small window on top of the lens system, via a knob, right side of the lens
Shutter release: left lower side of the lens system, w/ cable release socket, w/ locking lever
View finder: waist level, w/ magnifying 3x loupe,
w/ a small sports finder hole for eye-level framing on the back wall of the hood acts by pushing the front cover backwards until it clicks in place.
Release button of cover is on the back of hood.
Exposure meter: coupled CdS cell meter
On/off: by opening and closing of the focusing hood
Exposure metering: based on preselection of the shutter speed, coupled match-needles must be coincide, in a window on the front side of the focusing hood
ASA range and settings: 25-400 ASA, via a wheel right front side of the hood and a small window, near the needle window
Winding crank: also cocking the shutter, right side, double exposure prevention,
and a window for 12 or 24 exposure auto-reminder
Frame counter: advance type, auto-resets via opening the back cover
Flash sync. socket: left upper front side
Flash sync.selector: M, X, by a lever coupled with speed setting knob
Self timer: by a lever on the bottom of the lens system, flash synch selector must be on X
Back cover: adjustable sliding film pressure plate,
and film start marks near the film plate, for 120 or 220 rolls
Cold-shoe
Strap lugs
Tripod socket: 1/4''
Weight: 1100 gr
Battery: 1.3v Mercury, PX625/ PX13, (1.5v PX625A or LR9 might be useful, but the better is 1.35v Zinc/air batteries),
only for exposure meter, compartment lid: left lower side of the camera
Engravings on the bottom : Made in Japan
Serial no. 3.075.162
Yashica Mat cameras basically are the Rolleiflex inspired, but their build quality is very good.
Mat-124 G is very similar to the former Yashica-Mat 124, except 124G has gold-plated meter contacts and the finish is a low-chrome, nearly total black finish style.