View allAll Photos Tagged compactor
Compact is a neat little studs up font. Basic, but gets the job done. Perfect for signing mosaics.
Try writing with the font or check the details on Swooshable.
München/Guangzhou. Auf der Auto Guangzhou 2015, einer der größten, internationalen Automobilmessen in China, präsentiert die BMW Group der Weltöffentlichkeit ein besonderes Highlight: die eigene Vision einer viertürigen Limousine für das Kompaktsegment – den BMW Concept Compact Sedan. „Welches Po...
www.motorholic.de/automobil-news-neuigkeiten/bmw-concept-...
Start of my little summergirls project.. hope i can work the Analog... this one is compact though. oja en ik like haat al mijn fotos.. ik weetookdattlike8327592043keerbeterkanokdankjeweljadoei.
this model came out August 1963 the original model was made up until 1966 by popular demand of its originality this example i have ..yes you guest it is from september 1966 the last of the originol edition the desighn was never used again after 1966 its exacly the same as the 1963 machine IT SAYS THE DATE OF MANUFACTURE INSIDE OF THE BATTERY COMPARTMENT the last edition of the original model from August 1963 it would have cost about £175-£200 in todays money the original has a unique desighn a white base and no peep hole window in the cassette door to view the tape and no AC adapter battery only you was maybe wondering why they always use to sell that table top compact cassette at Argos maybe a Sony its becouse that is how the original machine looked all them years ago in 1963 and it comes with microphone and leather case WICH THE LEATHER IS IMACULATE NOT EVEN A AGEING CRACK BETTER PUT SOME DUBBING ON IT HO HO the 2 hour cassettes came out in 1967 along with the mini compact cassette recorder used for dictation machines pictured with the large player wich also dates back to 1967 THIS MACHINE USES A CLASSIC ONE BUTTON DOES IT ALL APART FROM A SEPERATE RECORDER BUTTON fast farward,stiop and rewind and play is done with just that little white button the Sony Walkmans came out in 1968 they are named the walkman becouse they was took on the Apollo mission and becouse of man walking on the moon they was called walkmans they are pricey! £500 in todays money its a super little silver machine look out for them they are called the Sony TC-50 with super scope written on the side it is more mythology that stack systems came out in the 60s the closest you are going to get to a stack is a 8 track better known as the stereo YES THAT WAS 8 TRACK THE STEREO compact cassettes not a stereo untill maybe the mid 1970s 8 track is a stack system becouse of its desighn wich is a front loading machine compact cassette is a top loader and resembles nothing like the stack systems of later years you could maybe assemble a home made seperates system with a record deck and a seperate amp and speekers but it would more resemble a music centre hense to popular fad lasting into the early 80s of the top loader audio desighn- Yes you can get a stack hi fi seperates in the 60s easy but it will only be 8 track machine domesticaly 8 track was discontinued in 1988 the last title released on 8 track was Fleetwood Mac LP BUT radio stations continued to use 8 track machinery into the 1990s there was two versions of 8 track recording devices a reel too reel and catridge but are not linked like Betamax Beta is still on sale today its used by the BBC and ITV camcorders and video recorders Betamax tured 36 years old in April 2011 it first went on sale April 16th 1975 Check it out i have it listed in a photo entitled the worlds most expensive camcorder the Betacam DVW-970 HAY! lets take them all back to Argos anyway and ask for a refund else we play hell YUMMY SMELL THEM CHIPS SPENT ALL MY MONEY ON IT AND LEFT MYSELF WITH NOTHING TO EAT good old Argos understand that the custormer is always right god bless you lovely and a coke please PS if you are looking for one they are rare to find but you will find one it can take up to four weeks to find one
I currently use the following digital compact cameras:
Olympus E-p1 (front left)
Olympus E-p3 (front right)
Canon G11 (back left)
Canon G15 (back right)
These four compacts have many of the features I desire. However, some have only some of the features; none have all of the features; and some features are completely missing from all four.
My ideal compact digital camera would meet the following specifications:
1.Built to withstand daily usage.
2.Manufacturing quality of the Leica MP or M6 film camera
3.Body and controls are ergonomically designed.
4.Has a simple user interface like the Nikon SP, Leica MP, or Leica M6 film cameras rather than relying on menus, toggle switches, and fly-wheels
5.About the size, weight, and style as the Leica MP or M6 film cameras
6.High quality, fast, interchangeable lenses
7.Live-view LCD screen
8.Ability to hide the LCD screen so that it is not visible.
9.LCD screen swings and rotates
10.Fast and accurate auto focus control
11.Fast and accurate manual focus control
12.Manual and auto exposure control
13.Choice of built-in spot, zone, and center-weighted light metering patterns
14.Offers shutter priority, aperture priority, manual, and program exposure modes but no scenic modes like portrait, landscape, children, sunsets, etc.
15.Provides “B” (bulb) and “T” (timed) exposure options
16.Resolution equal to or greater than 35mm film
17.Minimum of 12 megapixel resolution
18.Creates RAW and standard jpeg image files
19.Dynamic range similar to the Fuji S5 dSLR
20.Uses CompactFlash and/or SD memory cards
21.Uses standard-sized generic batteries rather than proprietary batteries
22.Uses rechargeable batteries that can be recharged outside of camera body
23.No built-in flash
24.Has both hot shoe and PC flash connections for external flash units.
25.Uses a digital sensor that allows the user to select a horizontal rectangular format, a vertical rectangular format, or a square format.
26.Digital sensor is user upgradeable.
27.Camera software is user upgradeable.
28.Body cost $600 or less
29.Digital sensor is protected from dust and/or is self-cleaning.
30.Provides custom color, contrast, saturation, dynamic range, white balance, and noise reduction controls.
31.Has totally silent mode (no clicking, beeping, or whirling sounds during picture taking).
32.Minimal warm-up time when unit is turned on.
33.Minimal delay when shutter is pressed
34.Ability to shoot at least 2.5 images per second
35.Ability to shoot at least 24 consecutive images
36.ISO light meter range from 50 to 3200 or greater.
37.Produces high quality video images
38.Has microphone jack
39.Camera does not have stupid sounding name like “CoolPix” or "FinePix.”
Until my perfect digital compact comes around, I will continue to use the four digital compacts I have.
Thus far, I have been very pleased using the Canon G15 compact and the Olympus micro 4/3 as monochrome cameras.
I use the G15 as a black & white test camera when shooting with a 4x5 view camera because the G15 can give me a 4x5 aspect ratio for composition.
The Olympus micro 4/3 camera with Panasonic 20mm f/1.7 normal lens, Olympus 45mm f/1.8 telephoto lens, and Panasonic 14mm f/2.5 wide-angle lens produces excellent monochrome images.
Shaped like a little bunker, nice automatic camera from Agfa, with the Orange Dot. The camera has 2 sliding pieces of plastic : one for the viewer, when opened the lens pops out with a slow and painful electric motoric noise, and another slider to protect the Orange Dot, Agfa is very protectfull...
Solinar lens, to reffer to the...sun...maybe...
Any hallway in a train is usually quite narrow and small to begin with, but the corridor in Moonlight Dome added the height constraints imposed by the dome above, resulting in quite a tight space.
Dawson City on Christmas Day 1976 (with texture) - 35mm Compact Film - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
ALMA antenas packed all close to each othe in the Compact Array configuration after a snowfall during December 2019
The only Jaguar XJ220 in the world that lived up to its name, being fitted with a stunning V12 engine and making it the world's fastest production car. However, costs, setbacks, a recession or two and a myriad of other problems resulted in the dream becoming a nightmare, and the match of styling and power made in heaven being turned quickly into a BDSM session in hell!
The proposal for the Jaguar XJ220 seemed to come right out of nowhere. In 1986 the company was sold to Ford after ownership under British Leyland, and was producing a selection of strange luxury motors including the XJS and the XJ, which, although were very good and highly luxury machines, weren't exactly setting the world on fire.
But racing had been put forward to the company before, and racing team owner Tom Walkinshaw encouraged Jaguar to put one of their XJS's into the 1981 European Touring Car Championship, in which they succeeded in winning the competition in 1984. Jaguar had started to provide factory support to racing team Group 44 Racing, who were using the Jaguar-engined XJR-5 in the IMSA GT Championship, supplying V12 engines from 1983 onwards and supporting a Le Mans entry in 1984. Tom Walkinshaw and Jaguar agreed to entering the FIA Group C World Sportscar Championship and developed the XJR-6, which was powered by the Jaguar V12 engine; the car was launched during the 1985 season.
TWR took over the IMSA GT Championship operation in 1988 and one model – Jaguar XJR-9 – was launched to compete in both series. The XJR-9, which retained the Jaguar V12 engine, went on to win the 1988 24 Hours of Le Mans and World Sportscar Championship in the same year. The poor fuel consumption of the Jaguar V12 combined with new rules restricting refuelling during races forced the replacement of the V12 engine in the XJR-9s successors, the XJR-10 and XJR-11. The normally-aspirated Austin Rover V64V engine, designed for the MG Metro 6R4 had recently been made redundant thanks to the Group B rally ban in 1987, and the design rights were for sale. The compact, lightweight and fuel efficient nature of the small-displacement, turbocharged engine was investigated by TWR, who considered it an ideal basis for a new engine to power the XJR-10 and purchased the design rights from Austin Rover Group.
Jaguar and their Director of Engineering, Jim Randle, felt these racing cars were too far removed from the product available to the general public, especially with the rule changes that mandated the replacement of the Jaguar V12 engine in the forthcoming XJR-10 and XJR-11 racing cars. Therefore a project was initiated to design and build a car capable of winning Le Mans "in house", just as the Jaguar C-Type and D-Type had done. The groundwork for the project was undertaken by Randle over Christmas 1987, when he produced a 1:4 scale cardboard model of a potential Group B racing car.
The cardboard model was taken into the Jaguar styling studio and two mock-ups were produced. One was said to be reminiscent of the Porsche 956, the other took elements of the then current Jaguar XJ41 project and Malcolm Sayer's work on the stillborn Jaguar XJ13 racing car.
The project still had no official support, leaving Randle no option but to put together a team of volunteers to work evenings and weekends in their own time. The team came to be known as "The Saturday Club", and consisted of twelve volunteers. To justify the resources consumed by the project, the XJ220 needed to provide meaningful data to the engineers on handling, aerodynamics, particularly at high speeds, and aluminium structures. These requirements, together with FIA racing regulations and various government regulations governing car design and safety influenced the overall design and engineering direction of the car.
The FIA Group B regulations steered the concept towards a mid-engine, four-wheel drive layout, with a Jaguar V12 engine as the power source. The concept car was designed and built at very little cost to Jaguar, as Randle called in favours from component suppliers and engineering companies he and Jaguar had worked with in the past. In return he offered public recognition for their assistance and dangled the possibility of future contracts from Jaguar.
The name XJ220 was chosen as a continuation of the naming of the Jaguar XK120, which referred to the top speed of the model in miles per hour. The concept car had a targeted top speed of 220 mph so became the XJ220. The XK120, like the XJ220, was an aluminium-bodied sports car, and when launched was the fastest production car in the world.
Jaguar and engine designer Walter Hassan had previously created a 48-valve variant of their V12 engine specifically for motorsport use. It featured a double overhead camshaft layout with four valves per cylinder, compared with the single overhead camshaft and two valves per cylinder of the production engine, which was used in the Jaguar XJ and Jaguar XJS models at the time.
TWR and Cosworth had manufactured a number of these racing V12 engines during the 1980s and they had been raced competitively, with a 7-litre version of this engine featuring in the Le Mans winning Silk Cut Jaguar XJR-9. Five of these engines still existed, all of which were fitted with dry sump lubrication. These engines were chosen and considered to be especially useful as the dry sump would lower the vehicle's centre of gravity. The displacement of the V12 was set at 6.2L for the XJ220.
Jaguar had little experience with four-wheel drive systems at the time, having previously only produced rear-wheel drive cars. Randle approached Tony Rolt's company, FF Developments to design the transmission and four-wheel drive system for the XJ220, with Rolt's son Stuart running the project. Tony Rolt was the Technical Director of Ferguson Research, where he was heavily involved in the design of the four-wheel drive system used in the Jensen FF, the first sports car to be fitted with such a transmission. Tony Rolt also had a long involvement with Jaguar, winning the 1953 24 Hours of Le Mans with the factory works team driving the Jaguar C-Type.
The mid-engine complicated the design of the four-wheel drive system, and an innovative solution was needed to get drive from the rear of the engine to the front wheels. The chosen design took the front-wheel drive from the central differential on the rear transaxle and sent it through the V in the centre of the engine using a quill drive, before joining an inverted differential. The clutch was a twin-plate unit designed by AP Racing.
The design brief for the exterior restricted the use of aerodynamic aids, and aimed for a stylish yet functional body similar to the Jaguar D-Type. Drag and lift were limited at the envisioned ground clearance for road use, but the design allowed for additional downforce when the car was set up for racing; the body produced around 3,000 lb of downforce at 200 mph. The design was also intended to have a variable rear wing that folded into the bodywork at lower speeds. Aerodynamic work was undertaken at the Motor Industry Research Association wind tunnel using a 1:4 scale model, as the project was unable to budget for a full-scale mock-up.
The bodywork for the concept car displayed in 1988 was hand built from aluminium by Park Sheet Metal, a specialist automotive engineering company that manufactures concept cars and low-volume, niche models for various manufacturers, including Bentley. QCR Coatings undertook final painting of the bodyshell in silver. The concept also featured electrically operated scissor doors and a transparent engine cover to show off the V12 engine.
The concept car had a Connolly Leather-trimmed interior produced by Callow & Maddox, and was fitted with front and rear heated windscreens, electric windows, air conditioning, heated electrically adjustable seats with an Alpine Electronics CD player. The dashboard was supplied by Veglia.
The concept car was completed in the early hours of 18 October 1988, the day it was due to be unveiled at the British International Motor Show, being held at the National Exhibition Centre, Birmingham.
Jaguar's marketing department had allocated space on their stand at the motor show for the XJ220, but had not seen the vehicle until its arrival. Jaguar chairman John Egan and Roger Putnam, who was in charge of Jaguar's racing activities, were shown the vehicle the week before the motor show and signed off on the concept, allowing its unveiling. The car received an overwhelmingly positive reception by public and press, and a number of wealthy Jaguar enthusiasts handed over blank cheques to secure a purchase option should the XJ220 concept go into production. Ferrari displayed their F40 model at the same event; an estimated 90,000 additional visitors came to see the Jaguar and Ferrari cars.
The XJ220 was not initially intended to be a production car, but, following the reception of the concept and financial interest from serious buyers, a feasibility study was carried out by teams from TWR and Jaguar. Its conclusion was that such a car would be technically feasible, and that it would be financially viable. The announcement of a limited production run of 220 to 350 cars came on 20 December 1989. The list price on 1 January 1990 was £290,000 exclusive of value added tax, options and delivery charges, but by 1992 that had increased considerably owing to indexation of contracts. The offer was four times oversubscribed, and deposits of £50,000 exclusive of Value Added Tax (VAT) were taken from around 1400 customers; first deliveries were planned for mid-1992.
What Jaguar didn't reckon on was that the 1990's were going to get off to a very bad start, with a good old fashioned recession to usher in the new decade. This, combined with the various downgrades that would have to follow to make the car road legal, would result in the Jaguar XJ220 giving the company and the customers headaches in more ways than one.
In 1991, the company constructed a new £4 million factory at Wykham Mill, Bloxham, for the single purpose of building the XJ220, the plant being opened by the late Princess Diana. But, in order to comply with a variety of road legislation, engineering requirements resulted in significant changes to the specification of the XJ220, most notably replacement of the Jaguar V12 engine by a turbocharged V6 engine.This downgraded engine made that desirable rocket car more run-of-the-mill, and many pulled back their deposits.
At the same time the economy collapsed and when the first production cars left the factory in 1992, many of the original potential buyers who had put down their hefty deposits found that they couldn't afford it, and wanted their money back. Many of them cited the fact that the four wheel drive, V12 had been downgraded to a two wheel drive, V6, and thus they weren't getting what they paid for. The result was that Jaguar went so far as to take their customers to court, and forced them to buy a car they no longer wanted, the problem being exacerbated by the fact that in 1993, the McLaren F1 took the title of world's fastest production car, was available with the V12 and all things it promised, and was much smaller and more manageable than the bulky XJ220.
A total of just 275 cars were produced by the time production ended, 22 of their LHD models never being sold, each with a retail price of £470,000 in 1992, probably one of the biggest automotive flops in motoring history, right up there with the DeLorean and the Edsel. But this would later be advantageous for many, as this pedigree 'worlds-fastest-car' machine would go in later years for a much lower price. £150,000 mind you, but it's a lot better buying the one's that weren't sold at this reduced price, than at the initial asking price back in 1992. Therefore buyers were able to procure themselves a first-hand XJ220, for half the price, a representative saving of nearly £250,000.
Today the XJ220's are rare beasts indeed, rarely coming out to play due largely to their expensive upkeep, heavy fuel consumption and sheer size. But keep your eyes open in some of the more affluent neighbourhoods, be they Dubai, Beverley Hills, or the South of France, and chances are you'll be able to find one.
Minhas impressões
Realmente a sensação que sinto quando uso esse pó-base é de uma pluma, como se não tivesse usado nada, porém a pele fica linda.
Hoje fiz a prova de fogo. Apliquei às 09h e fui trabalhar. Uma observação - trabalho o dia todo na rua, dentro de um carro (sem ar condicionado), sujeita a pó, calor, vento, chuva. Fez um calor dos infernos e, às 16h, quando me olhei no espelho, estava um pouco suada, mas apenas levemente/quase nada oleosa. Na verdade, a aparência estava bem digna. Gostei, gostei muito!
Ah, ela tem FPS 15.
No momento minhas bases preferidas são:
- ArtDeco Matificadora (compacta, cremosa)
- Shiseido Pureness, Dior Forever e Lancôme Teint Idole Ultra (compactas, em pó)
- Mary Kay de cobertura média (líquida).
PS - Seja qual for a base, sempre uso em pouca quantidade. Odeio base que aparece mais que eu....rsrs