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It was a lovely late May day in Ottawa, so I decided to search for things that are red, Italian, and fast in the Byward Market area.
I didn't spot any Ferraris, but I did see one expensive supercar, a Ford GT. I had already photographed a Ford GT at the 2007 Ottawa-Gatineau Autoshow, but I've never got a good chance to photograph one in the "wild" until now.
It is a very high-performance, two-seater vehicle with a strong styling resemblance to its racing ancestor and performance to match. The powerplant is a mid-mounted supercharged 5.4 litre V8, producing 550 horsepower (410 kW) and 500 foot-pounds force (680 N·m). Top speed is 212 mph (341 km/h)(electronically limited).
The GT is similar to the original Ford GT40 cars, but bigger, wider, and three inches (76 mm) taller than the original 40 inches (1.02 m)—as a result of which, a potential name for the car was the GT43. Three production prototype cars were shown in 2003 as part of Ford's centenary, and delivery of the production Ford GT began in the fall of 2004.
The Ford GT features many new and unique technologies, including super-plastic-formed aluminum body panels, roll-bonded floor panels, a friction-stir welded center tunnel, a “ship-in-a-bottle” gas tank, a capless fuel filler system, one-piece door panels and an aluminum engine cover with a one-piece carbon-fiber inner panel.
Brakes are four-piston aluminum Brembo calipers with cross-drilled and vented rotors at all four corners. When the rear canopy is opened, the rear suspension components and engine are visible.
The 5.4L Modular V8 powerplant is all-aluminum and fed by a Lysholm twin screw-type supercharger. It features a forged rotating assembly housed in an aluminum block designed specifically for the GT program. A dry sump oiling system is employed, allowing the engine to sit very low in the frame. The DOHC 4-valve heads are a revision of the 2000 Ford Mustang SVT Cobra R cylinder heads (with slightly increased wall casting thickness in the exhaust port). The camshafts have unique specifications, with more lift and duration than those found in the Shelby GT500 or 2003–2004 Ford Mustang SVT Cobra. Power output is 550 horsepower (410 kW) and 500 foot-pounds force (680 N·m) of torque. A Ricardo six-speed manual transmission is fitted featuring a helical limited-slip differential.
The Audi 100 C1 was shown to the press on 26 November 1968. Its name originally denoting a power output of 100 PS (74 kW; 99 hp), the Audi 100 was the company's largest car since the revivial of the Audi brand by Volkswagen in 1965. The C1 platform spawned several variants: the Audi 100 two- and four-door saloons, and the Audi 100 Coupé S, a stylish fastback coupé, which bore a remarkable resemblance to the Aston Martin DBS released a year earlier, especially at the rear end, including details such as the louvres behind the rear side windows and shape of the rear light clusters.
(Wikipedia)
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Der Audi 100 C1 ist ein Pkw der Auto Union GmbH (ab 1969: Audi NSU Auto Union AG). Die Limousine mit längs eingebautem Vierzylinder-Reihenmotor und Frontantrieb wurde ab März 1968 als viertürige Limousine angeboten, eine zweitürige Version folgte im Oktober 1969. Die Produktion des im September 1969 vorgestellten Audi 100 Coupé S begann Mitte 1970.
Nach ca. 880.000 produzierten Wagen kam im Sommer 1976 der Nachfolger Audi 100 C2.
(Wikipedia)
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Mercedes-Benz is a German manufacturer of luxury automobiles, buses, coaches, and trucks. It is currently a division of the parent company, Daimler AG (formerly DaimlerChrysler AG), after previously being owned by Daimler-Benz. Mercedes-Benz has its origins in Karl Benz's creation of the first petrol-powered motorcycle in January 1886, ] and by Gottlieb Daimler and engineer Wilhelm Maybach's conversion of a 1873 Bollée steam-engine automobile by the addition of a petrol engine the same year. The Mercedes automobile was first marketed in 1901 by Daimler Motoren Gesellschaft. The first Mercedes-Benz brand name vehicles were produced in 1926, following the merger of Karl Benz's and Gottlieb Daimler's companies into the Daimler-Benz company. Mercedes-Benz has introduced many technological and safety innovations that have become common in other vehicles several years later.
In 1925, in Germany, 80 manufacturers produce 144 different cars mostly in small numbers. The merger in 1926 of two manufacturers and Daimler Benz gave birth to a group of considerable power. Therefore, the Stuttgart firm would offer a range of models that would often be admired the world over. Since 1928, the S Series would give birth to the famous SS and SSK (1929). This series would soon lead luxurious famous 380K (1932), 500K (1934) and 540K (1936) all featuring an 8-cylinder engine compressor. The range was crowned by the Grosser 770K (1937), featuring a large limousines 8-cylinder engine compressor 7.7 liters of displacement, which were the official cars of dignitaries of the regime. The average range was composed of 170 (1930), 200 (1932) and 230 (1936) in all 6 cylinders. The 230 is also available with a diesel engine (the first diesel car series). These cars were the first to be equipped with wheel suspension.
At the beginning of the 1930s, inspired by the modern streamlined shape, there were attempts to move the engines from the forward compartment to the rear of the car. Such a move allows to decrease the volume of the front compartment. At the same time, the voluminous rear provides a lot of space above and behind the rear axle. Moreover, when fitted on the drive axle shaft were eliminated. The most famous such development was with the Tatra cars under the leadership of Hans Ledwinka.
In 1930, Daimler-Benz AG entrusted Hans Nibel with the development of a small rear engine car based on the same principles. In 1931 the type W17 or 120 was created, a four-seat, equipped with two doors, vertical front and rear wheels and a four-cylinder boxer engine in the rear, with a displacement of 1200 cc and a power of 25 hp (18.4 kW). There were also attempts to row across built four-cylinder engines. In 1933 Mercedes built a vehicle with a front similar to the VW Beetle later and a far extensive tail. The front wheel of the type W25 D or 175 is slanted or tilted backwards, in the middle of the tail fin attached hood divides the oval rear window, so it anticipated the small oval two piece rear window of the Beetles known as "pretzel form". The "D" referred to the three-cylinder diesel engine OM 134 with an output of 30 hp (22 kW), but due to high noise level, this vehicle was again rejected. From this type, 12 test cars were assembled
The Mercedes-Benz 130 was presented in February 1934 at the Berlin Car Show. The car was powered by a four-cylinder 1308 cm³ engine installed longitudinally in the rear compartment. The motor had a power of 26 PS (19 kW) and was able to propel the small two-door coach at a speed of 92 km/h. The synchronised four-speed gearbox (which would be called later 3 + E by VW) is accommodated in front of the rear axle, the balance being provided by coil springs. The front axle was equipped two cross-leaf springs.
The Mercedes-Benz 150 was derived in 1935 from the 130 with only two seats and a more powerful engine, with 1498 cm³ and a power of 55 PS (40 kW). The top speed of the car was 125 km/h.
The car was only offered as a Sport Roadster. The gas tank, which in the case of the Mercedes-Benz 130 was installed over the engine, was transferred to the front compartment, and therefore there was no room for luggage there. The practicality of the 150 was therefore very limited, and the price of the car was quite high at 6600 RM ; as a comparison the Mercedes-Benz 170 V had a price of 5500 RM. The car was discontinued in 1936 due to poor sales.
This one is using some tricks and optimisations found by a new friend of mine who is really really good at realtime graphics....
so a big big thanks to Inigo Iquilez (iq / rgba) for this!
The main optimisation is about the creation of the boxes in opengl... with all the tricks together the frame rate change from 15fps for 1800 cubes to 35 fps for 4500 cubes! (and that on my old crappy computer)
I'll post something on my website as soon as possible for all the boxes junkies that lives around here.
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acrylic and enamel house paint on 40x40 inch canvas.
this one has sold. i do have more paintings for sale at www.hangart.com/art/artist_directory/artist.cfm?ArtistId=...
thanks for all the nice messages.
I admit I disliked fuji when it started. From the X100 to the XPro1, the camera system, despite its completely seducing color science output, was completely out of sync with my practice in terms of autofocus speed and file. Now the X system has matured into something that I find very hard to match for mirrorless camera photography.
The XT1 comes to solve pretty much all the problems I had with the system: AF and Camera Operations (once u get used to the nobs, hard to go back to menus) are reliable and quick, Lightroom 5.7 renders the file beautifully (with Classic Chrome) and the viewfinder is bigger than that of a full frame dSLR. Not only the camera is now a great camera, the lens system is superb in its consistency: the 14, 23 and 56 are great highly recommended lenses and perform equally marvellously in sharpness, colors and BOKEH while also looking darn good with the Fuji design language. Image quality wise, you get clean files at most of the modern ISOs 200-6400 (you can push the 6400 raw up to 12800 if u want without much penalty or color shifts).
The running cost of ownership is also even more interesting. The body goes for around 1K$ and the rest of the "super prime lenses" (you'd want to shoot prime with this one) go for 1k$ or less each. You can get yourself up and running for less than a full frame camera with equivalent quality lenses.The XT1 ain't still sunshine and rainbow though: It requires the extra grip to enjoy shooting with it, it is not light, the battery lasts as much as a film roll, you can't use exposure compensation on "manual" mode to shift the auto-ISO values, the RAW files are HUGE 30-40mb a piece, low-light AF works fast as long as you have a contrast zone to hunt for but then you also have a magnificent manual focus experience. Classic Chrome (also available in LR 5.7) redefines the fuji photography experience by offering a raw file free of color distorsions and true of natural colors as well as a butt load of great micro-contrast off the file.
All in all, I have to say that I fell in love with it. It is truly the best enthusiast mirrorless system I've come across and it's now well matured.
If you use a full frame dSLR: switching to fuji will depend if you want the premium lenses or the full frame IQ but can't afford the steep 2K$ per lens or 2-4K$ per body, also if you want to sacrifice the extensive "flash system" that dSLRs have.
If you are using a crop sensor dSLR: switching to fuji will depend if you want to keep investing in photography lenses and equipment and don't have to shoot unpredictable fast moving subjects, like birdies.
If you use a Sony: switching to fuji will depend if you are fed up with the teenage identity crisis unpredictability of the system's evolution (new tech = new "test" camera = no "conclusion" camera = less lenses for existing cameras = change the name). The A7 system will flourish to lead the mirrorless trend one day but before that day comes, you have at least until 2016.
If you use a m43 camera: switching to fuji will depend if are willing to drop a bunch of practical technical features: super fast AF (fuji is DARN FAST but m43 cameras are INSTANT FAST), video (I don't shoot video) or image stabilisation or clinical sharpness (fuji images are sharp! but not as pixel sharp as m43... I mean no camera is as pixel sharp as the m43 an) or the touchscreen af point selection... all this for an upgrade in image aesthetics that's a compromise of m43 compactness (somewhat) and passionated lens designs (m43's got good lenses but no "omg wow what the heck" lenses, sorry)
If you shoot film: This is IT. Film nobs, Film look, Film grain, Film output… on digital. This is fujifilm making a camera with the color science they apply on their negatives, all of it.