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The town of Charleville was surveyed in 1867 following the surveying of a number of pastoral runs in the district in 1863. Sited on the banks of the Warrego River along a natural stock route from New South Wales to Western Queensland, the town was to develop as the major service centre for the surrounding pastoral industry: bullock teams passed through the town, Cobb & Co established stables (as well as a factory for the construction of mail coaches and buggies and an associated sawmill) and in 1888 Charleville's position as a strategic transport node for the south west was confirmed when it became the terminus for the Western Main [railway] Line (extended south to Cunnamulla 1898 and west to Quilpie 1917).
The first half of the 1920s was a time of economic prosperity in Queensland unrivalled for three decades. The boom was sustained longer in the building sector than in others; and in Brisbane the transformation of the city's central business district was a tangible legacy of the boom. In Charleville the main streets gave an air of solid prosperity to this centre of one of the richest areas of western Queensland ... it has fine hotels, stores, offices of the leading pastoral firms, and a full complement of general business concerns. There is a most attractive School of Arts, Town Hall, [and] three churches ... There is a most excellent club, the "Warrego" ... The fledgling QANTAS commenced their first commercial services from the town in 1922 ("replacing" the last Cobb & Co coach which ran in 1920); in 1924 the town turned on electric lights; and in 1926 a new Town Hall was completed. However a severe drought in 1926 described by the Charleville Chamber of Commerce as the worst season known by black or white man with losses of sheep to the enormous extent of eleven millions was to bring the state's pastoral and agricultural sectors to collapse and many rural towns entered a slow decline into the world-wide depression of the 1930s.
On the cusp of the boom/bust, Harry Corones was to commence building his grand vision of hospitality for the west to rival the capital's best hotels. Born on the Greek island of Kythera, Harry "Poppa" Corones arrived in Australia in the early 1900s coming to Charleville by 1909 when he was recorded in the Post Office Directories as a "fruiterer". Reputedly on the encouragement of a brewing company representative, Corones became in 1912 the licensee of the Hotel Charleville, which he operated until 1924.
In 1926 Corones became the registered owner of the Hotel Norman, a single storeyed hotel established c1895 located a block south of the Hotel Charleville on the corner of Wills and Galatea Street. In an advertisement in Pugh's Almanac for 1905, proprietor DC McDonald claimed the hotel as the leading hotel of the southern western line ... the home of the pastoralist, agriculturalist and tourist with lofty cool bedrooms, hot and cold baths, and good paddocking - claims which would be later repeated and amplified by Corones regarding his own hotel.
Construction of Corone's Hotel Norman (as it was then called) commenced in 1924. Rising phoenix-like on the site of the old Norman Hotel, the ambitious scheme was built in four stages from the south to the north to enable continuation of trade; the construction dates displayed at either end of the building testifying to the five year enterprise. Significantly, given the number of (timber) buildings in the town destroyed by fire including Corone's former hotel the Charleville (actually destroyed by fire twice), Harry Corone's new hotel was a masonry building. The first two stages were of reinforced concrete, the third including the ballroom and final stages of brick. Costing some £50,000 the hotel was built by day labour with preference given to men of the district. By the end of 1926 the new hotel was two thirds complete; only the bar area of the Norman Hotel remained. The mythology of Corones was also well advanced. According to the Australian Pastoralist, Grazing Farmers' and Selectors Gazette the hotel was the topic of conversation from Roma to Eulo, and out to the far west and north ... In every way the new Hotel Corones will be an example of hotel architecture and comfort scarce equalled in the Southern Hemisphere, and will undoubtedly be a great centre for all western men.
The final stage of building was completed in 1929. The hotel now stretched almost an entire block of Charleville's main street. According to the A & B Journal of Queensland it was a magnificent white building ... an outstanding feature in a progressive town ... the best equipped and most up-to-date hotel outside the metropolis ... generally acknowledged as the calling-place of all distinguished tourists and travellers... The Hotel itself produced a 12 page brochure about this time which included black and white photographs of the interior: on the ground floor the lounge had gleaming copper-topped tables, deep leather lounges and chairs and led to a writing room and telephone booth, the dining room enticing in its cleanliness was capable of seating 150; the private bar which gave exclusive service amidst convivial surroundings was screened from the public bar by an ingenious arrangement a French polished oak partition with mirrors; the public bar was very modern and luxurious and a cool cement court-yard formed an entrance to the ball-room. Upstairs all accommodation rooms opened onto the verandah - some were equipped with their own bathrooms designed to please the most fastidious and the upstairs lounge was just the place for a real restful smoke. Corones Hall located on Galatea Street had a floor unexcelled outside Brisbane and was largely in demand for exclusive balls, parties, and banquets. Capable of seating 320 at dinner, the hall was built for coolness with a number of high set windows and electric ceiling fans. The lights with Venetian shades of various hues [were] adjustable either to dimness or the reverse, and an orchestra platform added to its popularity and beauty.
Furnishings throughout including the bedroom furniture, dining room, lounge room, chairs, settees, sideboards, etc were designed and manufactured by that well known Queensland home furnisher F Tritton Ltd George Street Brisbane from that beautiful Queensland wood, the Queensland maple. Carpets, linoleums, floor coverings, curtains, etc (British throughout) were all laid and fitted by Trittons.
The architect of this magnificent modern hotel was William Hodgen jnr (1867-1943). The son of pioneer Toowoomba building contractor William Hodgen, in 1886 he became a cadet in the Colonial Architect's Office and in 1891 enrolled at the Architectural Association in London whilst working with a number of prominent London architects. In December 1896 he returned to Queensland commencing practice the following year in Toowoomba when he immediately received a substantial commission from retailer TC Beirne for works to his newly established Fortitude Valley premises as well as winning a competition for a new wing to the Toowoomba Hospital (the Victoria Wing). In practice until his death in 1943 (from 1935 in partnership with his sons as W Hodgen and Hodgen), Hodgen's practice, like that of contemporary Harry Marks (1871-1939) (who also was a member of one of Queensland's architectural family dynasties) was both extensive and broadranging from domestic (eg the Toowoomba residences "Tor" (1904) [DEH file ref 601325) and Tyson Manor (1905) [Entry in the Heritage Register 600864], institutional (eg Glennie Memorial School (1914), to industrial (eg flour mill and wheat and flour stores for Crisp O'Brien 1911) and a number of hotels in western towns including in Charleville, the Hotel Charleville (1913; rebuilt again after a second fire 1931). Hodgen's second Hotel Charleville was similar but of a smaller scale to the Hotel Corones - both had lost the classical and arts and crafts elements typical of his early hotels, and instead adapted simplified Art Deco decoration on the facade. Both hotels are a dominant presence in Charleville's main street; but it is the Hotel Corones which is regarded as Hodgen's major single work and the highlight of his career.
For over thirty years the Hotel Corones ("The Leading Hotel of the West") flourished as a tourist, pastoral and CTA (Commercial Travellers Association) House. Harry Corones' advertisements and stationery proclaimed vice-regal patronage; and in addition to wealthy local graziers, celebrities such as Amy Johnson, Gracie Fields, and the Duke and Duchess of Gloucester were guests at the Hotel. In 1936 there were on average 133 guests per week and during World War II when "American" servicemen occupied the local aerodrome and hospital, "Poppa" Corones did a roaring trade with dances held "every night" in Corones Hall. In 1959, the state's centenary year, Charleville's civic welcome to its Royal visitor, HRH Princess Alexandra took place in front of the hotel and Corone's advertisement in the town's centenary souvenir book could still proclaim that Charleville Means CORONES because Corones is the centre of Charleville's social activities and the rendezvous where business agreements can be made in surroundings which, by their comfort and restfulness, provide the perfect setting for quiet consideration. People who insist on the best in fine living invariably made Corones their home while in Charleville.
Just a few years later, however, a Licensing Commission Report described Corones as at one time (past tense) the leading hotel in Charleville now overtaken by the new type of hospitality accommodation, the motel in the shape of the newly rebuilt Victoria Hotel-Motel. Drought in the 1960s was also to severely impact on the local (including Corones') economy: the heyday of both the town and the Hotel was over.
In 1972 Harry Corones died; his elder son, Peter and wife Mary who had operated the hotel for some time prior to Harry Corone's death continued its stewardship. In 1982 the hotel was acquired by Doreen and Bob Bishop. It was acquired by the present owners in 1989. In 1990 a motel was erected to the rear of the hotel: in April of that year, the disastrous flood which covered much of the town, entered the ground floor of the hotel. As a result substantial works including the restoration of the main stair were carried out; about this time some bedrooms on the upper floor were also converted into bathrooms and what are believed to be the former Commercial Travellers' sample rooms on Galatea Street were converted into a shop and motel style accommodation. In 1993, the hotel was listed by the National Trust of Queensland. The Hotel Corones is now operated by Gordon and Frances Harding as both a local pub and (in recognition of the hotel's iconic status) a cultural tourist attraction in the state's south west: Corones Hall is regularly used for functions such as weddings and balls, daily tours of the hotel are conducted by Mrs Harding, and the mythology of both the man and his hotel continues.
Source: Queensland Heritage Register.
Youghal, Cork
Fuji GW670III camera
(after repair of the shutter)
Ilford Delta 3200 film
Red25 filter attached, but not too sure
Developed in TMAX (20%, 20 C, 8.5')
About Super Film 16 Lightroom Presets:
Super Film 16 Lightroom Presets has been carefully developed by a team of professional photographers and lightroom experts so they will look good with many different types of photo and camera brand. It should be noted of course that not every preset will work with every photo so please experiment to find the perfect one for your shots. Each preset is also full editable so you can perfect the photo. These lightroom presets brings you back to the film era, Inspired by the classic color from the old years photography, Super Film 16 embrace the nostalgic color tone of classic photography.
Very important features:
16 Premium Presets tested in Lightroom 2017
Professional and unique result achievable in one click
100% non-destructive, we have been tasted them on different photos, and the results is awesome
Easy to use, just one click + Instalation file + powerful support if needed
This presets don’t change the WB (White Balance) of your image, they work with color, exposure, contrast, whites, blacks etc. This means that if your WB is okay, they do almost the same effect as on the preview image, and this is awesome.
No camera calibration profiles needed
Included 16 Super Film Lightroom Presets
1-Into the Forest
2-Warm Lifestyle
3-Lanscape Explore
4-Matte Portrait
5-Sunny Flare
6-Andrew Effect
7-Tucker Grading
8-Portland Magazine
9-Tucker Film
10-Monochromatic Mood
11-Monochromatic Elkins
12-Natural Kearns
13-Cinematic Soft
14-Monochromatic Fade
15-Analogical
16-Adventure
GIFT Grain Master Toolkit!!!
This was a little bit of imaging fun. I photographed this scene at night. It was pitch black out, so I did a 15 second exposure at f/3.2, and ISO 1000. The OM-D E-M1 was set to manual and mounted to a tripod. I employed the 7-14mm f/2.8 Pro at 7mm. I'd chosen the exposure values just to get a sense of the sky colour. I was hoping I'd see some green from the aurora colouring the clouds, at which point, I'd take a real photo. Unfortunately, there was absolutely nothing visible so with the heavy cloud and lack of aurora activity, I packed it in and went home.
While my night photo was never intended to be a finished image, one experiment can often lead to another so I wondered what I could achieve with the new version of DxO PhotoLab if I processed the picture anyway. To make a long story shorter, just getting a reasonably exposed photo was a feat. I had to raise exposure by well over a stop in post in order to get some detail from the darkly underexposed scene. This caused a fair bit of noise to appear, which I subsequently removed using the "DeepPrime" algorithm in DxO PhotoLab 6. The result was acceptable--the noise was essentially gone, but given its extreme prevalence, there was some significant smudging in the darkest areas. In fact, I felt that the image had developed a painterly quality in many respects. This caused me to wonder what I could do with the resulting image if I really went crazy and ran it through a paint program I own?
Well, one thing led to another, and my original photo has been transformed into a faux art painting. In fact, I rather like the result. Which goes to show that you can always achieve something if you're willing to try. Looking at this finished piece, it's hard to imagine that it started out as an almost black image taken on a very dark night with a small micro four-thirds sensor on a six year old camera.
Developed as a small farm and river trade center in the 19th Century and early 20th Century, Rabbit Hash, a census-designated place, sits along the Ohio River in a rural section of Boone County, Kentucky across from Rising Sun, Indiana. The quirky and charming community features many intact historic wood-frame and log buildings and outbuildings, including houses, shops, and sheds, which are remarkably well-preserved and today form a small and quaint historic district that stretches along Lower River Road. Rabbit Hash’s most notable building is the Rabbit Hash General Store, which has operated in some form in the area since 1831, and is considered by many to be one of the best-preserved historic country stores in the United States. The town has also had multiple dogs who have served as “mayor” in its history, though it does not have an actual municipal government. The Rabbit Hash Historic District was listed on the National Register of Historic Places in 2003.
Same model, from the bottom. A downward spiral doesn't have to be ugly -- just the default setting, probably.
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
The VF-1D Valkyries were two-seater variants of the VF-1 Valkyrie and they were used for training. Each features two independent TV camera "eye" systems within their head, one for each crew member, and each visual system was linked to a RÖV-20 anti-aircraft laser cannon, which could be fired independently or as a single weapon station, operated by either crew member. Otrherwise the VF-1D had the same equipment and avionics suite as the single seat fighters, making them fully combat-capable.
The forward fuselage (コクピット・カプセル Kokupitto Kapuseru, lit. Cockpit Capsule) of a VF-1D Valkyrie functionsed as an escape system that was furnished with an independent life support system, rescue transponder, a hypo-metabolic system, and a simple emergency medical system. When a VF-1D transformed into Battroid mode, the head could open, allowing the two seats to emerge at the top, arranged vertically. The back seat emerged first and the front seat, where the pilot sat, emerged second underneath the back seat.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wingtips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68).
However, the fighter was frequently updated, leading to several “re-built” variants, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs and other guided and unguided ordnance
The kit and its assembly:
This started as a quick relief build after the submission for the 2021 "One Week " Group Build at whatifmodellers.com - but progress was so quick that I finished this VF-1 in time to make it a second submission withing the GB's effective run of nine days.
This one was a simple adaptation of one of the experimental "Heather Ferris" low-visibility paint schemes the US Navy tested during the early Eighties on some F-4S "Phantom II"s of VF-301 and 302, before the moere uniform Light Compass Grey/Light Ghost Grey was eventually adapted. However, the Heather Ferris schemes are absolutely comtemporary for the VF-1's medial appearance, and mating them on a model appeared like a suitable combo.
The basis is - as usual - the vintage and very simple ARII VF-1, in this case a double-seater. It was built OOB with the landing gear down, and with the usual improvements: some standard blade antennae, the fins’ tops were modified with RHAWS fairings. However, I neglected to modify the upper torso - The VF-1D Valkyrie has a slightly different forward fuselage in Super Dimension Fortress Macross The First, lacking the dorsal air brake of the single-seat fighters and having a "cleaner" surface with an edgier spine. But the "standard" hull is also fine/canonical, I just missed the opportunity. Maybe on another VF-1D...?
The underwing pylons were deleted (it's just a trainer and maybe used for air combat drill, so extra weight is superfluous). The gun pod was retained and modified to accept a scratched wire display in its tail to hold the Valkyrie in flight scenes. The pilot figures were just guests for the in-flight photo sessions, later the canopy was glued to a mount in open position.
Painting and markings:
As mentioned above, this kit carries an adaptation of one of the three Heather Ferris schemes, namely #2 with a light nose section and a darker tail/starboard side. Since the VF-1's structure, with VG wings at shoulderposition and a twin tail, differs from the benchmark F-4, I drew up a three-side profile view of a VF-1 and laid the paint scheme out - it made painting much easier.
The Heather Ferris warp-around scheme consists of four tones FS 36375 (Light Ghost grey), 36307 (Light Sea Grey, it was a brownish hue), 35237 (Grey bLue AMT-11) and 35164 (Intermediate Blue). The paints I used were Humbrol 127, a 3:1 mix of 64 and 140, 145 and 144, respectively. The cockpit interior became, according to the look in the TV series, medium grey (Revell 47) with black seats and brown cushions. The landing gear became white and the GU-11 gun pod iron metallic (Humbrol 53), for a toned.down look.
After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals were applied. The low-viz "kite" roundels were printed at home, the tactical markings came from an Authentic Decals F-18 sheet (which turned out to be rubbish - very thin but brittle and prone to crack like vintage ESCI decals!!!) and the stencils were taken from the VF-1 OOB sheet. For some contrast to the dull livery, and as a hommage to the "Delta November" markings of the F-4Ss that carried this unique paint scheme, I gave the VF-1D small red markings on the fins and under the cockpit - very subtle, but I think that this improves the overall look a lot. Generic decal material was used to create the grey wing leading edges and some black hull details, e.g. the bands around the nose.
Finally, after some more detail painting (antennae, position lights) , the VF-1 was sealed with a semi-gloss acrylic varnish. The jet nozzles/feet were treated with graphite for a used abnd metallic look.
A small and quick interim project, realized in just three days (plus two more for the pictures). There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Creating a benchmark profile for painting was quite a challenge, but it was IMHO worthwhile because it made adapting the F-4 scheme to the rather different VF-1 easier.
I noticed this gentlemen relaxing on the causeway to Anna Maria Island. We stop there often to enjoy a quiet picnic lunch.
Film - Kentmere 100
Developed In CineStill DF96
camerra Nikon FE / 50mm 1.8
Camera: Yashica Mat 124 G,
Lens:Yashinon 80/3.5,
ight meter: Sekonic L-308B reading the incident light,
Film: Ilford PanF plus 50,
Film Developing: PYROCAT HD 1+1+300
Time: 20C° - 60 min, Stand development. Agitate for first minute only, then allow to stand undisturbed.
scanned with Epson Photo V 500
Numata, Hokkaido.Refer to www.youtube.com/watch?v=lHbSIgZKN_U
School boys and girls entertain people with songs and dances.
Canon AE-1, NFD50mm F1.8, negative ISO400 exposed as ISO1600, developed with reversal processing as described below.
The basic characters are common to ISO 100 to 400 version. Enjoy the peculiar tone, color, and feelings on the original size( www.flickr.com/photos/threepinner/36879935415/sizes/o/ ). You can hardly believe this is from negative film of 135 size shot at ISO1600.
******************************:
Expose as ISO 1600.
1st Dev. Part A: Korectol ( B&W paper developer ) 37Deg.C for 7 minutes and 45 seconds. KSCN added ( 3.0g / 500ml ).
1st Dev. Part B: Korectol ( B&W paper developer ) 37Deg.C for 4 minutes. KSCN added ( 0.3g / 500ml ).
Rinse.
Reexposure
2nd Dev: C41 about 37 Deg.C for about 7 minutes.
Rinse.
Bleach.
Rinse.
Fix.
Rinse and wash
Dry
*****************************
Part A: Dissolve AgBr and develop. This step decide ISO.Elongated from the previous one.
Part B develops what should be done without dissolving AgBr. Shortened.
The weather is grey and cold, it's probably going to snow in the next hours. There's nothing better than staying in and developing film.
Hasselblad 500 c/m
Zeiss Distagon 50mm F4 FLE
Kodak T-max 100 iso
Canoscan 9000f
Developed by me in Caffenol CM
In an idyllic waterfront location overlooking the intracoastal waterway, Palm Beach Island, and the Atlantic Ocean, South Flagler House is the first residential high-rise development in South Florida designed by globally renowned Robert A.M. Stern Architects and developed by Related Ross. Crafted with a meticulous eye for quality and detail, the result is a masterpiece of timeless character and elegance to be enjoyed for generations to come.
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As one of the most anticipated new construction condos in West Palm Beach, this landmark development is redefining luxury living along the Intracoastal Waterway.
As construction progresses, visit the South Flagler House Sales Gallery to explore detailed architectural models, bespoke finishes, and floor plan options. Schedule a private appointment today to experience firsthand the design and craftsmanship that define West Palm Beach's most anticipated waterfront development.
Amenities
Fitness Center, Pickleball Court & Lounge, 24-Hour Attended Lobby with Concierge, Golf Simulator, Hot Tub, Lap Pool, Business Center, Children's Playroom, Outdoor Terrace
Credit for the data above is given to the following websites:
www.related.com/our-company/properties/south-flagler-house
www.southflaglerhouse.com/?gad_source=1&gad_campaigni...
www.google.com/search?q=forte+on+flagler&sca_esv=4a27...
© All Rights Reserved - you may not use this image in any form without my prior permission.
C-41 stand developed -- Fuji 100 film shot at ISO 100 with Voigtlander Bessa T and mostly Voigtlander Nokton 40mm f/1.4 SC classic. This was a test of diluted (1:9) c-41, stand developed at room temp (75 degrees F), for 45 minutes with 2 inversions at 15 and 30 minute marks.
The negatives were a bit funky with a dirty grey mask. I had some problem getting a good image on VueScan for a jpeg scan, however the raw scans worked well in photoshop.
Dngs in photoshop were dull, like the mask, but auto leveling brought the colors right out correctly. I dont have as much hope if one were printing.
I will try this again, I am torn between increasing the development or adjusting the EI down for more light. We will see.
The two mountains and Brith Sholem were shot with a hexanon AR 57mm f/1.4 adapted to the Bessa. There seems to be some difference in how the light landed...
Bleached for 10 minutes at room temp with Potassium Ferricyanide bleach and fixed in home made Ammonium Thiosulfate fixer for 10 minutes.
developed with dandelion.
(...) the duality, the double, the duplicate, the replica, echoes within me. the name of the house endures but only one lake persists."
at Hilla Kurki's art residency collaboration this summer.
OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO
“ 64M High Res Shot ”
Developed by Adobe Photoshop Lightroom CC 2015.5
Image Title: Foggy Winter Commute
Photographer: Manu Torres
Film: Ilford Delta 100 35mm
Developed and scanned by Analogue Wonderland
"I've always wanted to take a foggy shot and while I was cycling to work that morning I found London Fields was gloriously foggy. That point in particular is special to me because every day reminds me there's something to look forward despite these foggy times of crisis and anxiety. I stopped to take the shot despite I was late. I loved this so much."
Beaver pond, Leslie Spit, Toronto.
Not a shining example from this camera and not sure exactly how I messed this one up!
Test roll with my Konica 1 rangefinder made in occupied Japan (1948).
Took me 9 months to finish the roll. Had several blanks and double exposures as I didn't keep record if I advanced the film.
Made in Occupied Japan (MIOJ)
The “Made in Occupied Japan” identification mark is better known to most camera collectors as MIOJ. References to this mark appear often in camera literature dealing with the history of post-war Japan. Aside from the company name and the camera’s serial number, the MIOJ mark was the first post-war foreign mark to appear on early Canon cameras, lenses, and accessories. Early in 1947 the Supreme Commander for the Allied Powers (SCAP) issued Decree 1535, stating that all export items must be identified with an engraving “Made in Occupied Japan.” The first MIOJ-marked base plates appeared on early cameras released after September 9, 1947.
arista premium 400
pre-soak distilled water 5 minutes
in rodinal 1:100
60 minutes stand developed at 20c
initial 60 seconds inversion.
Philadelphia Art Museum - Philadelphia, PA - Minolta X-370 - Ilford HP5 Plus 400 - D76 home developed - scanned on Epson V600.
Newest Video and Blog by Owen M. McCafferty II
Blog (w/ video!)
filmphotographyproject.com/content/howto/2018/09/develop-...
YouTube link
Developed using 55 minute semi-stand in Caffenol CL:
9.6g washing soda
6g vitamin C
4.2g iodized salt
24g instant coffee
600mL water
>Ilford Fixer
Shanghai GP3 100 (type 120) film shot on Agfa Isolette L, 6x6 format.
Scanned on Epson V600 @ 3200dpi
The Blue Dasher (Pachydiplax longipennis) is a dragonfly of the skimmer family. It is common and widely distributed in the United States.
Mature males develop a bluish-white pruinescence on the back of the abdomen and, in western individuals, on the thorax. They display this pruinescence to other males as a threat while defending territories at the edge of the water.
Although the species name longipennis means "long wings", the wings are not substantially longer than those of related species. Females do, however, have a short abdomen that makes the wings appear longer in comparison.
Nymphaeaceae /ˌnɪmfiːˈeɪsiː/ is a family of flowering plants. Members of this family are commonly called water lilies and live as rhizomatous aquatic herbs in temperate and tropical climates around the world. The family contains eight large-flowered genera with about 70 species. The genus Nymphaea contains about 35 species in the Northern Hemisphere. The genus Victoria contains two species of giant water lilies endemic to South America. Water lilies are rooted in soil in bodies of water, with leaves and flowers floating on the surface. The leaves are round, with a radial notch in Nymphaea and Nuphar, but fully circular in Victoria.
Water lilies are a well studied clade of plants because their large flowers with multiple unspecialized parts were initially considered to represent the floral pattern of the earliest flowering plants, and later genetic studies confirmed their evolutionary position as basal angiosperms. Analyses of floral morphology and molecular characteristics and comparisons with a sister taxon, the family Cabombaceae, indicate, however, that the flowers of extant water lilies with the most floral parts are more derived than the genera with fewer floral parts. Genera with more floral parts, Nuphar, Nymphaea, Victoria, have a beetle pollination syndrome, while genera with fewer parts are pollinated by flies or bees, or are self- or wind-pollinated Thus, the large number of relatively unspecialized floral organs in the Nymphaeaceae is not an ancestral condition for the clade.
Huntington Library. San Marino. California.
Mount Pleasant is a neighbourhood in the city of Vancouver, British Columbia, Canada, stretching from Cambie Street to Clark Drive and from Great Northern Way and 2nd, to 16th and Kingsway.
Mount Pleasant owes much of its origins to a former stream and, because of it, developed much of its unique and rich character. The stream attracted a number of breweries from 1888 to 1912, hence it became known as Brewery Creek. In 1890, the first street cars arrived; as far south as 1st and Main. Brewery Creek, in conjunction with the connecting routes of Main and Kingsway, became the centre of industry and commercialism for the district of Mt. Pleasant. By 1897, there was a substantial population growth centred on Broadway and Main Street. The ability to commute to the City Centre and the industries of Brewery Creek and False Creek provided the draw for many working families that now populated the area below Broadway. In a sense, Mount Pleasant can be called Vancouver's "first suburb". The area high above False Creek was named "Mount Pleasant" in 1888, after the Irish birthplace of Jane Fortune Kemp the wife of Henry Valentine Edmonds. Edmonds, clerk of the municipal council in New Westminster, was the original owner of much of Mount Pleasant.
The MOUNT PLEASANT Post Office was established - 1 October 1891 - it became VANCOUVER Sub Office 8 - 1 May 1908.
LINK to a list of the Postmasters who served at the MOUNT PLEASANT Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
- sent from - / MOUNT PLEASANT / AM / OC 13 / 06 / B.C. / - cds cancel - (RF D).
Message on postcard reads: Dear Walter (her brother), Thanks so much for your postcards - I do like them. I am going to send you the photo of our house. I hope you will like it. I had a letter from Eva (Eva Maud Mckay 1878 - 1946). I asked her to send me some postcards of her place. I hope she will. Love to all. Mary E. McKee.
Mary Elizabeth (nee McKay) McKee (1877 - 1953) - she was born in Barnstaple, Devon, England on 23 February 1877 to Douglas William Mckay and Elizabeth Ann Rock. Mary Elizabeth Mckay married Robert Humes McKee. She passed away on 9 December 1953.
Robert Humes McKee (b. February 1859 in Ireland - d. 19 May 1936 in York / Toronto, Ontario) - his occupation in 1906 was the Superintendent of the E.H. (Edward Hewetson) Heaps Lumber Company. In 1907 he was President & General Manager of the Anglo-American Lumber Company Ltd. He was replaced later in 1907 and Mr. McKee was associated with the management of the new North Arm Lumber Company, Limited. His first wife was Ellen (Nellie) Oharra (1858 - 1893).
Addressed to: Walter McKay Esq / 4 Alexandra Place / Barnstaple / North Devon / England
Walter Douglas McKay
(b. 1883 in Barnstaple, Devon, England - d. 9 September 1950 in Llanelly, Carmarthenshire, Wales).
His parents: Douglas William McKay (1855 - 1930) and Elizabeth Ann Rock (1854 - 1925).
His wife - Emily Hoyle (b. 1885 in Barnstaple, Devon, England - d. 1971)
Eva Maud Mckay (1878 - 1946) - she was mentioned in the message on this postcard (Walter's sister) - Born in Barnstaple, Devon, England on April 1878 to Douglas William Mckay and Elizabeth Ann Rock. Eva Maud Mckay married James Partridge. She passed away on J-M 1946 in Barnstaple Devon.
Barnstaple is a town in North Devon, England. It was a river port at the lowest crossing point of the River Taw, flowing into the Bristol Channel. The town centre still preserves a medieval character. From the 14th century, it was licensed to export wool. Great wealth ensued. Later the town imported Irish wool, but its harbour silted up and it developed other industries such as shipbuilding, foundries and sawmills. Its Victorian market survives, with a high glass and timber roof on iron columns. The Parish of Barnstaple had a population of 24,033 at the 2011 census.
Akin to landing lights for aircraft, ESA is developing infrared and phosphorescent markers for satellites, to help future space servicing vehicles rendezvous and dock with their targets.
Developed by Hungarian company Admatis as part of an ESA Clean Space project, these markers would offer robotic space servicing vehicles a steady target to home in on, providing critical information on the line of sight, distance and pointing direction of their target satellite.
Initial testing of these ‘Passive Emitting Material at end-of-life’ or PEMSUN markers took place at the end of March 2019 inside ESA’s GNC Rendezvous, Approach and Landing Simulator, part of the Agency's Orbital Robotics and Guidance, Navigation and Control Laboratory, at its ESTEC technical centre in Noordwijk, the Netherlands.
“The idea itself is not new, but this is the first time we’ve manufactured and tested sample patches, cut into spacecraft multi-layer insulation covering,” comments ESA Clean Space trainee Sébastien Perrault. “For the design we’ve looked into one larger pattern incorporating smaller versions for when the space servicing vehicle comes close enough that its camera’s field of view is filled.
“These markers would be very useful during eclipse states for instance, when Earth obscures the Sun in low Earth orbit, to allow the chaser vehicle to stay fixed on its target, potentially in combination with radio tags.”
ESA is studying space servicing vehicles to carry out a wide range of roles in orbit, from refurbishment and refuelling to mission disposal at their end of life.
Credits: ESA–P. Sebirot
27-02-2016, Połajewo, Turkol do Czarnkowa.
Pentax 6x7
Takumar 105/2.4
Rollei Universal 200,developed in Rodinal 1+25.