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Develop: Paterson FX-37
Planfilm: X-ray Fuji HR-U (green)
Zeiss Ikon Donata 9x12, Tessar 1:4,5/135 ( 1928 )
Chevrolet’s arch-rival, Ford, was keenly aware of the importance of Chevrolet’s new Corvette. Henry Ford II lured former GM executive Lewis Crusoe to help develop the new car for Ford. Crusoe was joined by several others including Ford chief designer, Frank Hershey.
Franklin Quick "Frank" Hershey (1907–1997) was an American automobile designer and student of General Motors Vice President of Design Harley Earl. Hershey is known for his 1932 Peerless V-16 prototype, 1949 Cadillac tailfins, and the 1955 Ford Thunderbird. Hershey was born in Michigan, and raised in Beverly Hills and La Puente, California. He attended Occidental College where he majored in forestry. Hershey served in the Navy during World War II.
In 1952, Frank Hershey was hired to head the Ford Division studios. After several years with Packard, he went to Ford where he designed the 1953-1957 full sized Fords. According to an interview given by Hershey to James W. Howell in 1995, George Walker had been hired as the public face of Ford design. Hershey designed the landmark Ford Thunderbird, and admitted so in a 1954 interview, which created friction between Walker and Hershey.
Hershey began working on a two-passenger open vehicle with a Ford Interceptor V8 engine, based on the upcoming Ford overhead-valve V8 engine, slated for introduction in the 1954 models. Hershey based his two-seater on one of his favorite English sports cars, the Jaguar XK120. The car would have the same wheelbase, interior seating position, steering wheel angle, and pedal angles.
On 18 May, 1953, Crusoe was shown a painted clay model that closely resembled the final car after comparing it favorably with the current European trends. Henry Ford II approved the final design concept and Crusoe gave the go-ahead for production in September.
Even as the 1957 Ford Thunderbird went on sale, its future was in doubt. Frank Hershey assigned Rhys Miller and Bill Boyer to prepare facelifts for 1956 and 1957, but its long-term prospects were murkier. If the Thunderbird was indeed a promotion, as Tom Case said, there was little reason to continue it once its tooling costs were paid off.
Lewis Crusoe understood that the main impediment to Thunderbird sales, aside from price, was the car’s limited practicality. With no rear seat and almost no trunk space, it was for customers who could afford two or more cars. In the fall of 1954, he asked Boyer and crew to explore the possibility of a stretched, four-seater Thunderbird, known internally as project 195H (the H standing for the number 8, meaning the 1958 model year).
If Frank Hershey was truly the father of the Thunderbird, he was not well rewarded for his efforts. In May 1955, George Walker became vice president of Ford Styling, the first time the Ford Motor Company had such a position. Hershey had never cared for Walker’s team and being passed over in favor of Walker was a bitter pill to swallow. Shortly after Walker’s ascendancy, Hershey was gone; Dick Samsen says that McNamara fired him, but Hershey later claimed that he resigned to avoid being fired by Walker. Hershey went on to work at Kaiser Aluminum.
Shortly before Walker’s promotion, Ford established a separate Thunderbird design studio. Headed by Bill Boyer, the Thunderbird studio had its own stylists and body engineers, allowing it a surprising degree of independence from the rest of the Styling department. The studio’s first challenge was to turn the 195H four-seater concept into a production car.
Developed in Canada by Ed Robinson in 1972. Once blooming rose. Grows to 8 feet (2.5m). Not commercially available. Very cold hardy.
patrickjoust | flickr | tumblr | IG | prints for sale
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Konica Hexar RF and Voigtlander Color-Skopar 21mm f/4
Kentmere 400 developed in Xtol (1:1)
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Ogre Tribe:
Over the centuries upon centuries of a brutal lifestyle on the vast, fetid wastes of the Burnlands, the orcs have developed many different physical characteristics to survive in their harsh environment.
The orcs of the northern bogs developed a skin that was green of hue to blend with the putrid marshes and have a greater affinity for the shamanic powers. The orcs that have a burnt orange color are said to be blessed by the fires that plague the Burnlands and are more physically impressive.
The common brown orcs are a product of the brown, lifeless ground that encompasses their land. One species of orc, however, has become so different that they have been given their own designation, the Ogres.
The Ogres were separated from the other orcs centuries ago during a abnormal cataclysmic even that broke a vast section of the Burnlands into a mountain range. This land became a hellscape for any orcs that survived, and those that did became exquisite physical specimens. Larger than their distant kin, the Ogres have impressive physical strength but a lowered intelligence capacity.
They charge into battle wielding crude but effective axes that have multiple blades. The oldest and strongest Ogres grow thick tusks that they use for tearing apart meat and bashing enemies. Able to crush a mans skull with a well placed head-butt, the Ogres are the epitome of brute stupidity and ferociousness.
When The Horde gathers, the Ogres climb down from their mountain camps and form the shock infantry focus that is able to crash into enemy lines and deal grotesque amounts of damage.
Here's a shot of a developing wall cloud/tornado on May 29th, 2018. Despite it being a little blurry because our car was being slammed by 60+ mph RFD winds, I like this picture for two reasons: 1) The developing wall cloud was rotating so quickly. It was heavily rain wrapped for most of the development, but appeared for about 2 minutes before being obscured again, and 2) You can see the prominent inflow jet racing along the ground. A great day.
Namako ridge, Mt.Sandan, Kamifurano, Hokkaido.
Fuji-Holga 120S ( www.flickr.com/photos/threepinner/22015924430/ ), EBC Fujinon 75mm F3.4, T-Max 100, developed with Finedol for 6 minutes at 20 Deg.C.
Bigger sizes: www.flickr.com/photos/threepinner/23924390104/sizes/l up to 6882 x 6773.
1)A doodle and an idea.
2) work out and price calculations
3) first concept and building
4) finished a powerstation.
Is a project to save and use energy ,a solar powerpanel conected to a powerstation and everything gooes to usb ( Mp 3 ,loadstations,light,loaders)
12 Volt , heating,ventilators,light
More film from Poland
Dagmara @ Malva Models
Clothes: ATR Wear
Using the low winter sun..
Leica M4-P (2) + Voigtlander Nokton 35mm f1.4 + Kodak Vision3 50D / Cinestill 50D
Film was developed and scanned at home - mrleica.com/2016/11/04/c41-colour-film-developing/
www.MrLeica.com - blog post for Poland very soon! sorry
Taken on my Nikon F100 on Fomapan 400, shot at 400. Developed using 510 Pyro. Digitised with my Nikon Z7 with the Micro Nikkor 60mm lens.
Rollei 35 LED Triotar 2.8 40 mm
ORWO WOLFEN NC500
Film was exposed at normal 400 ISO
Negativ self-developed with Adox C-41 Kit
Negative photographed with Pentax KP + SMC Macro Limited 28 mm 2.8
Sparte 4 New theater performance
During the Seventies, Yugoslavia joined efforts with Romania to develop a modern high speed fighter-bomber; the resulting Aircraft was known as the J-22 Orao in Yugoslavia and as the IAR-93 Vultur in Romania. The aim was to build a supersonic jet powered by a single jet engine but since Romania was part of the Warsaw Pact, the UK refused to sell them the desired power-plant.
To evade this problem and since Yugoslavia had the license to produce the older Rolls-Royce Viper engine, they used two of these engines while launching at the same time the development of a newer indigenous version equipped with afterburners. Early variants without the afterburner were mostly used as reconnaissance platforms. A two-seat trainer version was also built.
The Orao resembled the British Sepecat Jaguar but was actually much smaller and slower. Still, it could carry and fire the American Maverick anti-tank or the Soviet AS-7 'Kerry' missile.
To know more about this plane, click here for the next picture:
www.flickr.com/photos/einon/52864421625
Eínon
Brighton
Leica M3 , 35mmf2 Summicron and Rollei Retro 400S , stand developed in Rodinal 1 +100 for 1 hour.
Decided just to make it 4 shots rather than 5 so you don't get bored😀. So here is shot 3 of 4. The rainbow is quite intense now and still holding that weird shape. There's probably a name for it.
Brighton
Leica M3, 35mm f2 Summicron, and Rollei Retro 400S stand developed for 1 hour in Rodinal 1 + 100.
I should not be allowed to browse on Rightmove.com, or Globrix, or Gumtree or Redtube.
When animals are caged they develop pacing behaviours. When I am caged in an office, tethered to a desk I develop browsing behavior on the internet for the ideal flat.
I should be blocked from all letting agents’ websites.
I am a heinous, time wasting browser.
I see a flat that I can immediately imagine myself living in; I picture myself slobbing around in dusky pink cashmere pyjamas, trailed by a kindle of kittens. I imagine where exactly I would install my fantasy piece of furniture – a pole dancing pole, flanked by antique Venetian mirrors. I imagine bringing my dream man to this perfect dwelling, plying him with wine, before slowly undressing him and laying kittens nose to tail along his naked body and, like a plate spinner on Paul Daniel’s Magic show trying to keep them all purring simultaneously.
All these thoughts flash through my mind as I stare at a blurred, and badly lit photograph of half a doorway, a 50 quid Ikea wardrobe made of corrugated cardboard and a 3 bar electric fire all at a jaunty angle.
In those 30 seconds of pondering my whole future happiness has become dependent on me living in that flat. Suddenly my life cannot go on until I have arranged a viewing.
I ring up.
I book a viewing.
In the thirty seconds it has taken to do this I have changed my mind.
Suddenly I imagine all of the wine I will no longer be able to afford. The bars I will not be able to go to in order to meet the man who I will spread with kittens. The silk ties I won’t be able to hoard, the amount of cashmere pyjamas I will probably need to be wearing as I won’t be able to afford to put the heating on.
I go to bed as two people, on my left side in a cold sweat that I won’t get to live in that flat, on my right side a cold sweat that I will. I have read the same page of The Shining ten times whilst thinking about sofas and it is the bit where Danny is saying RED RUM a lot – and instead of revelling in the horror I am thinking about evenings spent spinning round a pole to Shakira whilst glugging on cocktails.
This week my perfect property was a live/work studio in a huge industrial warehouse. I spent two hours leading up to the viewing imagining the eclectic, battered furniture, huge unpainted canvases, bare pipes, the dappled light through the gaffer taped windows, the deep-thinking, long eyelash’d artists who I would run into on the rusty iron staircase who are pondering just how much they love kittens and women in gasmasks as they toy with a tiramisu.
As I got to the viewing there were two other couples circling the agent predatorily. We eyed each other suspiciously and growled. We had clearly each been having our very separate, personal fantasises about this apartment, had imagined all of the ways our lives would change once we start flushing the toilet of this place rather than the one we currently flush. It’s like getting a new mobile phone and feeling as if a whole new set of people must surely come as a package with the phone that will text
and phone you and invite you to a whole new world of ring tones and buttons configurations.
I look around the various warehouses and I am starry eyed in wonder and love as if Jeremy Clarkson has just walked up to me and handed me six bunches of supercar keys and said, “Here, have my life, I don’t want it anymore.”
It is as I am leaving the industrial yard that reality hits and I realise that I probably wouldn’t even make it up the three flights of external stairs on my first night without being mugged. And what would I do if I even made it home to this vast empty space? I couldn’t then afford wine or food or friends or clothes.
If I met Jeremy Clarkson he too would probably be a massive waste of money with no heating, a funny damp smell and would threaten to kick my back door in all night.
So every agent who I email should get a warning at the end saying, ‘this applicant is a flippertigibbet, a fantasist’ give her a night to toss and turn over this, there will be no viewing, no kittens.
But it is jolly nice to receive those chummy emails updating you on new properties. It’s as if a very thoughtful friend is writing to you, trying to better you, move you forward in life. It certainly makes a change from reading emails from the health and safety department demanding that I take the temperature of all the toilet bowls in the office and put up signs asking employees not to trim their pubic hair over the sink in the kitchen.