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!GHT: KEN’S COAT – DUSTER
Time to get dressy in this great mesh duster coat! Defined stitching with a distinct collar and buttons, this leather duster will make you stand out in the crowd.
Colors: Dark Black, Light Black, Dark Brown, Light Brown
Back textures: Plain (none), City Skylines Beat, Heart Beat, Equalizer
Two failover pairs of Coyote Point Equalizer E670LX Application load balancers and a Cisco 2900 series switch.
Time to get dressy in this great mesh duster coat! Defined stitching with a distinct collar and buttons, this leather duster will make you stand out in the crowd.
Colors: Dark Black, Light Black, Dark Brown, Light Brown
Back textures: Plain (none), City Skylines Beat, Heart Beat, Equalizer
Sacramento, California, with the snowcapped Sierra Nevada mountains in the background. This view is looking eastward; in the foreground is the Vic Fazio Yolo Wildlife Area, located between Sacramento and Davis along Interstate 80.
A modular computer with an A/V equalizer? Only Japan, only Sony, only the early 1990s!
« source: www.flickr.com/photos/26934921@N03/6852705056/ »
A journey to reduce noise and increase bit depth…. See the end of this description for links to before and after pictures. The JPEG pictured is only 8 bit and reintroduced a bit of banding in the lower left, so it doesn't fully show what is possible.
For a while I have been enamored with the quality of color that can be had from a properly exposed large format color negative. There is something almost hyper-realistic about it. I have been thinking about why this might be the case. What is it specifically that gives it that specialness when compared to dSLR's? I have noted that pictures taken in subdued light and flat lighting tend to exhibit the greatest difference between the two. So this might be the best place to start in answering this question. Over time and looking at many photos, it seems that increase in noise and continuous tones break down in dSLR pictures more quickly, especially under suboptimal lighting conditions.
There are two kinds of general noise that can be found in pictures. One is luminance and the other is chromatic. Most would concur that humans find luminance noise less distracting and irritating compared to a similar amount of chromatic noise. For some background on what these two things are, take a look here. www.cambridgeincolour.com/tutorials/image-noise-2.htm . (I'm linking to the second page, but the pictures on this page are more useful if you aren't going to read the article.)
Let's focus on chromatic noise. It increases as the ISO speed increases for both film and digital cameras. It increases as a digital sensor gets smaller. And chromatic noise increases when a bayer pattern is used to construct a full color image as opposed to measuring a red, green, and blue value at every pixel. The vast majority of dSLR's use a bayer pattern on the CCD/CMOS. The current exceptions are Foveon based CCD cameras, such as the sigma SD1. With a given dSLR, we can't control the last two variables, but we can set our dSLR's to the lowest ISO setting. This is usually ISO 100 and sometimes ISO 50 in higher end cameras.
Although film scanners also use a bayer pattern to acquire a color image, they typically can acquire the image at a bit depth of 16 bits as opposed to 12 or 14 bits, which is a benefit. But most would agree that film is inherently more noisy than a digital sensor, which includes both chrominance and luminance noise. One would likely come to this conclusion by taking a similar picture with a film camera and a digital camera. Then scan in the film at 6,400 dpi at 16bit. Next compare both images on your monitor side by side at 100%. You might wonder why I suggested 6,400dpi. The reason why is that going much more beyond this, even with a drum scanner and perfect focus, you are probably just imaging individual silver halide crystals as opposed to picking up more real image information. It's like taking a picture of your monitor. Imaging the individual pixels on your monitor with a microscope isn't going to get you very far in bringing down noise. Or increasing resolution for that matter! :)
To my knowledge, noise is basically constant in film on a per square mm basis. The trick with bringing down the apparent noise in a film based image is to use a larger piece of film to capture an image. The bigger the square area of film used to capture the image, the less relative noise there is when viewing the image at a given size. In practical terms, compare a dSLR image sized to FIT on your monitor versus a large sheet of film that has been scanned in and downsized to fit on your monitor. The noise is going to be buried and imperceptible in the film based image taken with a large sheet of film even though it has a whole lot more noise when compared to the digital based image viewed at 100%. Because of this property and because 35mm film is so small, at this point in time I find 35mm color images to be subpar in terms of color quality compared to recent dSLR's. This has been the case for a while. But I find that 4x5 or larger sheets of film hold more opportunity for keeping noise at bay compared to current dSLR's.
We've looked at chromatic noise, so what about continuous tones? Continuous tones typically break down in pictures either because of a limited bit depth or manipulations to the image. Usually limited bit depth is not a problem under normal circumstances by itself. Most dSLR's now capture images natively at 12 or 14 bits per channel, which is more than plenty. Unless your image is highly biased to one particular color, this won't inherently be a problem. However, common image manipulations can easily break continuous tones and cause posterization. One of the easiest ways to improve continuous tones from digital cameras through the editing process is to start with RAW images. JPEG's fall apart much more quickly in the editing process because they only have a bit depth of 8. RAW images give you the native bit depth of the camera, which is typically 12 or 14 bits. But recall that the typical film scanner is capable of delivering 16 bits. The extra two bits of information can represent a lot more nuances in the shades of colors. It is worth pointing out that image editing programs cannot typically edit images in 12 or 14 bits. They will typically edit RAW images at a bit depth of 16 bits. Even though the image is being edited in a bit depth of 16 bits, there is really no more bit depth than what the camera natively captured the image at. So if your camera captures images at 14bits per channel and you notice you are editing the image at a 16 bit depth in photoshop, you are not magically gaining two bits worth of real information.
In my own work, I have noticed at times that there is simply not enough information to make the kinds of manipulations that I want in color dSLR images without the image falling apart. This is even with shooting at RAW and my camera having a native bit depth of 14 bits.
In a quest to better understand what can be done about these two problems with, limited bit depth and noise, I wondered how photographers in the most extreme situations deal with these two problems with digital cameras. The most extreme conditions can be found in astrophotography. It can take HOURS to acquire sufficient light of a particular celestrial body. And even worse, that object is often strongly biased to the red or blue sensors. This means that the apparent bit depth of the image is much smaller than in normal photography. I'm probably making this "apparent bit depth" term up. But basically it is a qualitative term relating the bit depth of the individuals channels to the relative amounts that those channels are used in describing color in the overall image. To make this more clear, imagine the apparent bit depth of an object that was only illuminated with a red laser. The green and blue channels are hardly going to be used if at all. If your camera had 14bits per channel or a combined 42 bits, it would have an apparent bit depth that is much less than the combined 42 bits of the camera because the colors used are limited to being defined primarily by only one color channel.
Anyway, so what can be done to remove noise in general? One technique that can be used, is to take several exposures of the same picture. Then combine them and take the medium or average of each pixel. A second technique is to use special software to detect and remove noise from areas of low detail in the picture. For a detailed look at these two options and how they can be combined together, take a look at this page. It has some example side by side pictures. www.cambridgeincolour.com/tutorials/image-averaging-noise...
But what about limitations on bit depth? It appears that one can increase bit depth too. Craig Stark has made an analysis of this subject with some math to back up his claims on how someone can increase bit depth beyond the limitations of their hardware. See his analysis in this PDF www.stark-labs.com/craig/articles/assets/BitDepthStacking... . It comes down to combining multiple pictures taken at different exposures. This is not an attempt to create an HDR image for the sake of an HDR image per se. He suggests that adding 1 f-stop adds one bit of bit depth and adding -1 f-stop adds another bit worth of bit depth. Sadly, he does not go into great detail about how to accomplish this. The link in the PDF is dead. On the surface it seems reasonable, but I'd like to try it out.
I wanted a convenient place to try all this out and I wanted some of the worst light I could find. So I choose my bedroom at night that was only lit from the office on the other side of the hall. With low flat light and very subtle shadows, I knew from experience that this would be difficult to image technically well. All test pictures were taken on a tripod, triggered with a remote, taken at ISO 200, and captured in 14bit RAW files. I choose ISO 200 so I could get a (approximate) +1 f-stop exposure at 30 seconds. I took an initial comparison and control picture at ISO 200. As I expected, there was quite a bit of noise at 20 seconds even at ISO 200 and the graduations broke into banding when I tried to move up the contrast to an acceptable level. And the subtle shadows were not as pleasing as viewing them in person. The delicate light was not well preserved in the capture and I was hardly pleased with it.
Next I took 10 pictures at ISO 200 and averaged them together. This markedly reduced the noise present in the picture. To reduce the noise further, I used the second technique of special noise reducing software. There are a few options when it comes to specialized noise reducing software, but I choose Neat Image for testing purposes. You can find their software for demo here -- www.neatimage.com/ . (If you would like to see some example of Neat Image check here www.neatimage.com/mac/standalone/examples.html .) The two techniques combined together significantly reduced the overall noise. However, there was still some banding issues trying to bring up the contrast to an acceptable level. And my perception of the overall quality of the color wasn't anything too special. It might be worth noting that noise reduction software does not make up for a bad image with lots of noise. As someone put it, "It's like scraping the burnt parts off of a burnt pancake." Natively reducing the noise by taking the median of several pictures together is the more important technique to apply FIRST if it is an option.
For a third test, I wanted to combine averaging pictures together and software noise reduction. But I also wanted to attempt to use some form of HDR to improve the actual or apparent bit depth without any real change in local contrast. I was a little hesitant that this would help considering the image was fairly constrained already in terms of the histogram; meaning that there was not a huge inherent dynamic range. I took 30 images all together. 10 images were -1 f-stop. 10 images were at the metered exposure. And 10 images were +1 f-stop. I averaged the first 10 images together and exported the resultant image as a 16bit TIFF. I repeated this twice more for the other two sets. Then I used Photoshop's HDR Pro to merged the three images together and chose a mode of 32 bits. Equalize Histogram was selected in the algorithm field and was greyed out. I now believe that this grayed out option isn't being used during the conversion. No options are given but sitting the White Point Preview when selecting the 32 bit mode. It appears, but I haven't been able to confirm that selecting the 32bit option does little more than create an extended histogram as if you had taken a single picture with a super high dynamic camera. This resultant image is very flat. After working with the image CS5 allows you to convert to a bit depth of 16bits without going through the HDR Pro dialog.
I altered the contrast and corrected the overall color cast caused by light reflecting off colored objects and illuminating the room. Then I converted the image to 16bits, applied a bit of unsharpened mask, and saved the image back out as a 16bit TIFF file. Finally I used Neat Image to reduce the noise in low detail areas. This is the picture that you are looking at above! I might note that the demo version of Neat Image only allows you to save the resultant image as a 8bit high quality JPEG. This is part of the reason that I made it last in the process, but it seems that it should be last in the process anyway.
Applying all three techniques together has yielded a picture that even LESS noise, especially luminance noise. The subjective color quality is markedly better. The graduations in the shadows have improved significantly. They are great, but not perfect. The overall image is far more pleasing and it has seemingly captured the subtle colors and shadows of the original scene. It subjectively seems to be much closer to what I would expect from a large format color negative. As a combined technique, this is a lot of work. But on the other hand, so is working with large format. There are minutes worth of computer time doing all of this processing. The bigger problem is that many scenes and subjects would not tolerate the length of time necessary to take so many pictures without movement. But it is something that I may have to experiment with outside during an evening with little wind. I have an idea or two. :)
If I have made some technical mistake in describing something, please let me know and I'll correct it. I don't claim to be an oracle of knowledge on this subject. I do feel that after some research and this experiment, I have a better understanding of why I like large format color negatives and how I can come closer to it with my digital camera when the opportunity is right.
As an aside, I have a large format camera, but I don't tend to take many color images. I find that my hit rate with color is far less than with black and white. It's a different subject as to why, but I think it comes down to the fact that black and white images can be pushed much further in post processing than color images. Color images in general tend to fall apart much faster.
If you found this interesting and helpful about this adventure, let me know. Thanks! :)
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I have repeated this process again with the same images, but with a goal of creating a before and after picture that are as close to each other as possible. This way you can flip back and forth between the two images and see the differences in noise and apparent bit depth and not other changes.
The only processing I did on the original reference image was to increase the contrast by 13% in CS5. In the picture shown on Flickr above, I did further modifications which were somewhat hard to duplicate across two images.
You can download the source reference image here … ORIGINAL . The final processed comparison image can be found here … PROCESSED . Both images are 16 bit TIFF files, so there will be no issues with the images being degraded, which was a problem in the uploaded image to Flickr. You will most likely want to save these to your hard drive as opposed to viewing them in your browser. They are huge.
The evaluation should be done at or near 100% because virtually all of the noise and bit depth differences that are under scrutiny will be evident for evaluation. These two pictures shouldn't be compared to the posted Flickr image. A significant amount of post processing was done on the posted picture to Flickr that was not done in the two linked pictures.
my identifier: hdr_filtered_plus
Following the NewArea51 around to the photo spots outside Nellis worked out really well. Great job on the intel Franz!
Lucknow, where I live, was reeling under scorching max temp of approx 40 °C yesterday. Today we had sharp showers, bringing it down to almost 25°C. Reminds me of-
Mother Nature is the great equalizer. You can't get away from it.
Christopher Heyerdahl
"http://www.brainyquote.com"
Went into "enemy territory" yesterday to shoot HJK play against Ilves to test out a few software related things during the whole process of shooting a match. Everything went well and managed to get few decent pics in the process as well. Here's HJK's Mikael Forssell heading in the 1-1 equalizer for HJK and his first of two for the evening.
Steamtown Museum display of old Rutland Railroad heavyweight baggage car # 129 at Scranton, Pennsylvania, October 1996. This car needs more than just a sandblasting job, primer and new paint. It need some of its side plate steel replaced, along with door and roof rebuilding to make a nice display piece. This is a shorter style baggage car that rides on drop equalized four wheel trucks and contains a double door and a single door on each side.
“Perfection is not an equalizer humility is, always have strength to ask for forgiveness to heal the ego. Strength in it's perfection is not rude ~”
― PAtricio telman chincocolo
White: 1983 Ferrari 512 BBi
$268,800 USD | Sold
Red: 1992 Ferrari F40
$3,855,000 USD | Sold
Black: 1995 Ferrari F512 M
$780,500 USD | Sold
Yellow: 1965 Ferrari 275 GTB/6C by Scaglietti
$2,810,000 USD | Sold
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1983 Ferrari 512 BBi
In 1981, Ferrari updated the 512 Berlinetta Boxer with a fuel-injected version of the venerable flat-12 engine that delivered a dividend of an additional 20 pound-feet of torque. Capable of reaching 60 mph from standstill in 4.7 seconds and a top speed of 174 mph, the 512 BBi primarily remained a European-delivery model due to emissions standards in the United States, although an official federalization program eventually eased the import process for American buyers. By the time the BBi was supplanted by the Testarossa in 1984, just 1,007 examples were built; the model remains a favorite of many enthusiasts who treasure its careful development from the roaring 512 racecars of the early 1970s.
Chassis number 44993 is one of approximately 27 examples appointed with a special interior design by Italian fashion house Ermenegildo Zegna, a unique treatment of wool seat and door inserts with complementary carpeting that was available in several colors. Here, the Ferrari was finished in a stunning color combination of white paint over a cream leather interior with red wool inserts and carpets, and it was equipped with air conditioning and the special Pioneer stereo system with proprietary equalizer. The 512 was reportedly owned by the family of the original buyer through 1996, when it was acquired by John Anton of Minnesota, who retained possession for two decades while treating the car to a life of modest driving use and dutiful upkeep.
Sold to a third owner in 2016, the BBi was treated to a cosmetic restoration in the original color combination that reportedly included a refurbishment of the original Cromodora wheels, which were shod with proper metric Michelin TRX tires. The car was then exhibited at the Cavallino Classic in early 2017.
As reflected by invoices on file, the Ferrari received a significant bout of mechanical work in 2018 from the respected Foreign Cars Italia in Greensboro, North Carolina, including a comprehensive engine-out belt service costing nearly $12,000. Acquired by the consignor in January 2019, the 512 has since been maintained as needed by Ferrari of Las Vegas, including clutch and electric system work performed in 2020 and 2021. It displays fewer than 33,600 kilometers (~20,880 miles) at time of cataloguing.
Offered with a toolkit and owner’s manual, radio manual, and dealer service booklet in the proper pouch, and documented with service invoices from 2018 to 2021, this sparingly driven 512 is a particularly fetching example of the final Berlinetta Boxer. It is further distinguished by the rare and sumptuous Zegna interior livery. Ideal for any enthusiast of modern Ferraris, this beautiful BBi would make a distinctive addition to any marque gathering or supercar collection, poised for further display at FCA events or enjoyment on the open road.
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1992 Ferrari F40
Engineered to celebrate the 40th anniversary of Maranello’s first model, the 125 S, the F40 to this day remains one of Ferrari’s most captivating and impressively specified supercars. The model was originally conceived to be an FIA Group B competitor, and it was consequently developed from the superlative 288 GTO to take on the likes of the Porsche 959. Enthusiasts can be grateful that the F40’s nearly stillborn gestation continued forward even after the racing class was canceled. Rather than scrap the program entirely, Ferrari used the five initial 288 GTO Evoluzione examples as the basis of a new 40th-anniversary road car that would be the last supercar devised under Enzo Ferrari’s stewardship.
As it was designed for competition purposes, the F40 featured a race-developed steel tube-frame chassis with four-wheel double-wishbone independent suspension, coil-over Koni shock absorbers, and four-caliper ventilated disc brakes. Leonardo Fioravanti’s coachwork design, which was aerodynamically perfected in Pininfarina’s wind tunnel, was built with paneling woven of Kevlar and carbon fiber, reducing the curb weight by approximately 20 percent while simultaneously tripling the car’s structural rigidity.
The 288’s twin-turbocharged V-8 was bored to displace 2.9 liters and equipped with IHI turbochargers and Behr intercoolers; this powerplant was married to a five-speed transaxle actuated by a gated shifter. The resulting performance was nothing short of astounding, as the type F120 040 engine developed 478 horsepower and 425 pound-feet of torque, capable of launching the F40 to 60 mph from standstill in just 3.8 seconds and achieving a top speed of 201 mph (thereby eclipsing the Porsche 959 and Lamborghini Countach).
Cosmetically, the F40 amply reflected its basis in racecar development, with the lightweight body echoed by numerous interior considerations. Weight was further reduced with the use of cloth upholstery on plastic-composite racing seats, pull-strap door releases, drilled pedals, and Perspex windows.
Publicly introduced at the 1987 Frankfurt Motor Show, the F40 was initially earmarked for a low production run of 400 examples, but skyrocketing customer interest prompted Ferrari to ultimately build 1,315 cars. The commemorative supercar was initially only available in Europe, and early examples were built without catalytic converters or adjustable suspensions. In 1990, deliveries of a more developed version began in the United States; these were standard-equipped with air-conditioning and catalytic converters. By the model’s production conclusion in summer 1992, just 213 examples had been specified and delivered to America, and it remains notable for being the last supercar developed under the watchful eyes of Il Commendatore himself, the legendary Enzo Ferrari.
Occupying such an important position in Maranello’s supercar lineage, it is hardly surprising that many F40 examples were initially purchased by astute collectors and largely restricted to showroom viewing and concours exhibition. Relatively few cars were driven in anger on a track, but a handful of drivers were lucky enough to experience the F40 under such conditions.
Case in point, five-time Le Mans champion Derek Bell was allowed to push the car’s limits during a test drive for Classic & Sports Car magazine conducted during the mid-2000s. His verdict: “It’s just magnificent…This is a car to make your hair curl. The power delivery is sensational, and I love the way the turbos come on with such a rush. Very quickly the situation changes from neutral understeer to amazing oversteer, but it’s all superbly predictable.”
But the endorsement of a pedigreed championship driver was no requirement for the F40 to attract an ardent fanbase, as illustrated by an entire generation of teenage gearheads who proudly displayed posters of the 40th anniversary supercar on their walls. Many of these same children have grown up to be today’s respected collectors, and their continued devotion to the F40 testifies to just how iconic the seminal model truly is.
This desirably documented and modestly driven F40 is one of the finest examples to be publicly offered in recent memory. One of just 60 examples delivered to the United States in 1992, chassis number 91097 completed assembly in September 1991, finished in Rosso Corsa and trimmed with Stoffa Vigogna (vicuña cloth) seat upholstery. According to a copy of an original window sticker on file, the car was shipped for import to Newark, New Jersey, and an entry in the F40’s warranty booklet demonstrates the car was distributed for retail to Monterey Ferrari in Seaside, California, just north of Pebble Beach.
Officially sold in October 1991, the Ferrari was delivered in January 1992 to the first owner, Putra Masagung of Hillsborough, California. The impressive supercar passed through one other California-based ownership over the following 13 years before being acquired circa late 2005 by another enthusiast in California. Throughout this period, the F40 enjoyed steady maintenance and gradually accrued occasional miles before being sold to the consignor more recently.
In February 2020 the F40 was issued certification from Ferrari Classiche, including a Certificate of Authenticity and a Red Book that clarifies the car desirably retains its major original mechanical equipment, including engine and gearbox, and is equipped to proper factory specifications. The Ferrari was also issued a Classiche Libretto Manutenzione, a Classiche-issued maintenance log that is stamped with a factory-conducted service at that time. In preparation for the current offering, the supercar was serviced in February 2022, as reflected by an invoice on file from Ferrari Los Angeles. This attention included a belt service, a rebuild of the fuel injectors and alternator, and a re-sealing of the valve covers with new gaskets and rings. The phase sensors were replaced, the wheels were re-torqued, and a new fuel filter and spark plugs were installed.
Still benefiting from the gentle care of four faithful custodians, this F40 displays the preservative effects of many years in California, and it displays 9,447 miles at time of cataloguing. It is fitted with a Tubi exhaust (though still accompanied by the original factory unit) and shod with correct Pirelli P-Zero tires.
The celebrated Ferrari presents very well cosmetically, and the Red Book certification assures the car is mechanically numbers-matching. Accompanied by a toolkit in pouch, owner’s manuals in the familiar beige leather pouch, and a can of factory-branded fix-a-flat, it is documented with the window sticker copy, warranty booklet, Ferrari Classiche Red Book, and an invoice for the recent servicing. This wonderful F40 should command the attention of any supercar enthusiast or marque aficionado, offering a future highlight to any collection of advanced top-shelf sports cars.
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1995 Ferrari F512 M
The Ferrari F512 M, or “Modificata,” was launched in 1994 as the final version of the legendary Testarossa. Ultimately, it was to be the last flat-12-powered Ferrari produced. The marque refined all aspects of the model’s development with particular attention paid to the chassis, engine, and cosmetics. Numerous internal engine upgrades, including titanium rods and other lightened components, along with increased compression, helped bump engine output to 446 horsepower—a boost of nearly 60 units up from the preceding 512 TR.
Coupled with refinements such as a new stainless exhaust, updated suspension, and a new Bosch ABS braking system, the F512 M offers impressive power and fantastic handling assisted by a near 50:50 weight distribution. Styling cues enhancing the model’s design include a unique set of taillights, three-piece alloy wheels, and a completely revised front fascia which combined the striking lines of the F40 and 512 BB/LM. In total, just 501 F512 M examples were manufactured for worldwide distribution, making it one of the rarest road-going models of Luca di Montezemolo's reign at Ferrari.
MODIFICATA NUMERO SESSANTOTTO
This “triple black” F512 M on offer is the 68th of just 75 US-market examples of the model produced by Ferrari. Just four examples of those 75 US cars are recorded to have been specified in this color combination. Having been completed at Maranello in late October 1995, it was thusly distributed to Ferrari of North America in Montvale, New Jersey for dealer assignment. By 8 December it was procured by Algar Ferrari of Philadelphia, Pennsylvania and promptly sold to its first Pennsylvania-based owner. The car’s accompanying window sticker and original sales documentation from 31 January 1996 show that its first owner further specified a suite of dealer-installed accessories, including a pair of black floormats bearing the famous “Cavallino Rampante” logo in red, an alarm system, and a hi-fi stereo system with amplifier, CD player, and set of MB Quart speakers.
Modificata number 68 remained with its original owner until 8 July 2008, when it was acquired by the consignor in a deal brokered by Algar Ferrari. Documentation and invoices on file show that Algar Ferrari were exclusively responsible for the car’s maintenance up to that point—and also that its odometer then indicated just 8,003 miles at time of sale.
In April 2010, the consignor engaged Ferrari of New England to complete some minor sorting of the air conditioning system and recalibrate the engine-speed sensor/tachometer. All told, this F512 M has since lived an exceptionally pampered life under the consignor’s careful stewardship, and it now exhibits just under 9,000 miles at time of cataloguing. In April 2022, the consignor again submitted this well-kept Modificata to Ferrari of New England for a comprehensive servicing regimen, which included a major engine-out belt service, plugs, points, gaskets, filters, and four new Michelin Pilot Sport tires to the cost of $21,987.
As the most exciting and refined iteration of the Testarossa platform, the F512 M is considered by many to be the most desirable model in the series. A very rare sight in the United States, they remain highly collectible and prized for all their unique qualities. Featuring just two recorded owners from new and fewer than 9,000 miles on its odometer, this would be an excellent example for the individual looking to enjoy the thrills of flat-12 Ferrari ownership on the open road.
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1965 Ferrari 275 GTB/6C by Scaglietti
GIVE IT TWICE AS MANY
At the Paris Salon in October 1964, Ferrari unveiled the replacement for the 250 GT platform. Powered by a 3.3-liter development of the long-running “Colombo” short-block V-12 engine, the 275 GTB was clothed in Pininfarina-designed and Scaglietti-built coachwork that bore more than a passing resemblance to the celebrated 250 GTO. The model was the first Ferrari road car to feature independent rear suspension and a five-speed transaxle, as well as the GTB (Grand Touring Berlinetta) nomenclature that remains in use today.
Only a year after the 275 GTB’s 1964 debut, a second series was unveiled that featured a longer nose, a modification intended to aid aerodynamic downforce at high speeds. By October 1966 the twin-cam engine was replaced with a four-cam arrangement, and the prior model became regarded as a distinct entity, produced in a modest quantity of just 454 examples, of which the early short-nose (first series) design accounted for slightly more than half.
While a majority of these early 275s were equipped with the standard three-carburetor manifold, six carburetors were, in fact, optioned on a relatively small number of cars. Considered the very best of the best, these six-carburetor (6C) short-nose examples are now regarded as the purest and most powerful iteration of the striking 275 GTB, and they are prized by today’s enthusiasts and found in exceptional collections the world over.
275 GTB/6C BERLINETTA 06779
This beautifully maintained six-carburetor 275 benefits from a well-documented chain of ownership that includes just two owners since new. According to the research of marque expert Dyke Ridgley, chassis number 06779 is one of approximately 60 short-nose 275 GTB’s originally equipped with six carburetors.
Originally finished in the handsome shade of Rosso Cina over a cockpit trimmed in beige Connolly leather, this short-nose GTB was further specified with standard steel bodywork, left-hand drive, and instrumentation in miles. The car was “completed” at the factory on 24 February, with an additional note specifying that the six-carb setup was added two weeks later on 15 March. 06779 departed Maranello with that desirable upgrade and had passed through Chinetti on to its first recorded owner—the Canadian retail heir John Craig George Eaton II—by late May 1965.
Eaton greatly enjoyed this impressive berlinetta for several years until around 1970, by which time he had it removed to storage then indicating approximately 24,000 miles. Interestingly, Massini notes that the car’s storage location was, in fact, the racing offices for John Craig’s brother George Ross Eaton, Canada’s first full-time Formula One driver (with BRM) and proprietor of George Eaton Racing.
LIFE WITH THE CONSIGNOR; OWNER NUMBER TWO
The car would remain in a state of static display until 1997, when Eaton sold it to the consignor in a deal brokered by Ferrari of Ontario. Part of the sales agreement on file notes that 06779 was to be completely restored by the dealer, and so the next four years were spent returning this fascinating 275 GTB/6C to a state befitting its formidable factory specifications. At this time, its original color scheme was replaced by its present Giallo Fly exterior and Pelle Beige leather upholstery. Freshly reborn and entirely road-ready, the consignor first took possession of 06779 upon completion of its exhaustive restoration in late 2001, then indicating just shy of 24,900 miles.
The consignor initially procured much enjoyment from his ownership experience by driving this freshly restored car, but after a move to Arizona in 2005, he subsequently decided that 06779 was such an important prize that he had it installed for static display in his living room for the next 17 years.
Recent research has shown that at some point in the distant past, possibly as early as when the car was handled new by Chinetti, the identity of 06779 and 07177 were swapped by someone outside of the factory. Both were sold new by Chinetti, and both were born a shade of red with beige interior and six carburetors. The original 07177 headed out to the US West Coast while the original 06779 was sold new to Mr. Eaton in Canada. However, it was uncovered much later on that each car had been superficially stamped with the other’s identity. Half of this mystery was rectified in 2010, when the Belgian owner of the original 07177 brought the car to Ferrari Classiche (then stamped as 06779) and confirmed that all its equipment matched Ferrari’s internal records for the components recorded in chassis 07177, and its identity was properly returned to original.
After confirming the situation with Ferrari, the consignor similarly returned our subject lot to Ferrari Classiche headquarters in Maranello in early 2022 so that they could issue a Classiche Red Book and properly return the car to its original identity. Accordingly, 06779’s major components were certified as those bearing the correct “internal” numbers, and its Ferrari Classiche Red Book confirms it to be a full numbers-matching 275 GTB/6C, with its identity now correctly restored to 06779.
Just prior to this sale, 06779 has been returned to its high-performance 6C specification and fully certified by Ferrari Classiche. Chassis number 06779 is a rarified 275 GTB that is truly worthy of inclusion in any of the world’s most exclusive Ferrari collections. Having just two owners since 1965 and offered today with an additional set of Campagnolo “starburst” alloy wheels, tools, manuals, circa 1997 restoration invoices, and new Classiche Red book, this stunning berlinetta would be a brilliant car to drive and enjoy—and one that would surely attract plenty of attention at the world’s most exclusive concours events.
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Kristina and I headed over to RM Sotheby's at the Monterey Conference Center to view some glorious cars at their auction preview.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
VL60, first soviet mass-built a.c. electric locomotive designed by NEVZ has ALSTOM type of primary wheelset suspension using two diagonal link arms in combination with helical and leaf springs. ВЛ60 (VL60) was the first soviet mass-built a.c. electric locomotive, it was universal designed both for cargo and passenger transportation. The model was developed by NEVZ and produced in 1957-67 in large seria of 2618 ones. Initially they had ignitron rectifiers that were later replaced by silicone ones (that indicated by "К").
Taken several blocks away from Independence Hall in Old City Philadelphia, this man claims that it is he that keeps America free. Very interesting arguments and just generally a nice man. It was mid-day when I stumbled upon this gentlemen and unfortunately the light was harsh.
Shot with:
Leica M9
Noctilux 50mm f1 E58 @ f1.4
Processed in Aperture
These photos are from a 2013 county fair. The fair layout was much smaller than the stadium layouts on TV. It was great to see them up close outdoors and fun to take photos from a low angle with a clear view.
This photo is from a backflip Equalizer executed. He completed the backflip OK but landed on his front wheels a little short. He bounced backwards and landed on the roof.
This is my latest machine, just finished yesterday.
I am calling it The Piano Player. It was made for my father's 75th birthday party which is tomorrow. He taught himself to play piano when I was a kid, and I remember him sitting with his earphones on playing away with no music to hear. I thought it would be fitting for me to make this for him since I am a self taught woodworker.
When the handle is turned, the keys that the fingers rest on move up and down and the corresponding equalizer bars in the back move with them. It is made from Cherry (frame), Maple (keys and mechanical parts), walnut (black keys and finishing dowels), Padauk (equalizer bars), and Yellowheart (hands). The final machine took close to 60 hours to finish, including having to make a custom box to transport it in. That does not include the concept and study models I started with. Dimensions are approx. 22"x16"x10"
I hope to have video edited and ready for upload sometime this coming week, along with a bunch more pictures
I have some pens and pencils.
A moleskine.
And a head full of quotes, lyrics and the like.
Come and see them at quoteskine.tumblr.com
McDonnell Douglas AV-8B Harrier II of VMAT-203 "Hawks" from MCAS Cherry Point training during the November 2015 Photocall at Naval Air Facility El Centro. Note the GAU-12 25mm "Equalizer" cannon pod and AIM-9L inert Sidewinder missiles.
BONN, GERMANY Mai 17 - Anlässlich der Veranstaltung "1LIVE Eine Nacht in Bonn" verwandelte sich der Post Tower in einen überdimensionalen Grafischen Equalizer
© 2013 by Marc Oliver John | marcjohn.de - Alle Rechte vorbehalten, Keine kommerzielle Veröffentlichung ohne Genehmigung - All rights reserved, no commercial publishing without permission. marcjohn.de
Impressions of Estate Elswoud near Overveen, county Bloemendaal, Netherlands.
In 1634 the Haarlem merchant Carel Molijn bought this partly equalized 85 hectare large dune area to have an estate created there. He had it further equalized selling the sand to be used for building new quarters in Haarlem. In 1780 the estate got once again new owners, the Borski family, who during three generations changed the estates' outlooks drastically. The large house was put down and they started to have a new large house built. Through the sudden death of Mr Borski III in 1884 the work was stopped. Not only the house but also the gardens and the park were greatly influenced by the changes in ownership. Nevertheless there are still beech trees left from the very beginning; they have meanwhile reached a respectable age of more than 250 years... Nowadays the house, the other buildings and the gardens are protected as cultural historical monuments. And ... the large house is under (re)construction in accordance with the original plans.
GAU-12 25mm "Equalizer" cannon pod and AIM-9L inert Sidewinder missile seen on a McDonnell Douglas AV-8B Harrier II of VMAT-203 "Hawks" from MCAS Cherry Point during the November 2015 Photocall at Naval Air Facility El Centro.
Luminance HDR 2.3.0 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.73
Saturation Factor: 2
Detail Factor: 17.7
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PreGamma: 1
On the left is the Cirio Santiago-helmed "Mad Max" rip "Equalizer 2000" (1987), with plenty of guns 'n' skin. On the right is the now-rare Korean domestic thriller "Toyko Expo 70" (1970), about a North Korean kidnapping plot. Hard-boiled film set in a tough "neighborhood"...
In modern India, the great equalizer is the mobile phone!! Surprised?? Well...dont be!! In a country that has been plagued and defined by its many class systems...based on region, religion, creed, caste and economic levels...mobile technology has emerged as the equalizer!! It might not make sense to a lot of people...but in India, what you do for a living has a lot to do with your 'station' in life....archaic huh??
This man is a migrant construction worker. One of the millions of struggling hordes dreaming the 'Indian Dream'. He does not speak the local language Kannada and communication is difficult. He hardly knows to read. His children dont go to school and run around freely. Some day he hopes to enroll them in the 'English School'. His wife, pregnant with another child, works on the construction site as well, carrying loads of concrete and brick on her head. And yet...he has the same mobile device as the Medical college students down the road and the MNC bank officer in the pink house and the just-returned-from-america-software-pro whose house he is building. In fact his device is way better than the one I carried while I was in India during this vacation!! :-))))
Mobile users are estimated to be at 80 Million users....no one has the exact count. The number apparently grows by 5 million users a month!! It turns out that India is the hottest market for Mo-tech today....
interesting article - www.emergic.org/archives/2006/02/08/index.html#tech_talk_...
Luminance HDR 2.3.1 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 1
Saturation Factor: 2
Detail Factor: 18.1
------
PreGamma: 0.24
In modern India, the great equalizer is the mobile phone!! Surprised?? Well...dont be!! In a country that has been plagued and defined by its many class systems...based on region, religion, creed, caste and economic levels...mobile technology has emerged as the equalizer!! It might not make sense to a lot of people...but in India, what you do for a living has a lot to do with your 'station' in life....archaic huh??
This man is a migrant construction worker. One of the millions of struggling hordes dreaming the 'Indian Dream'. He does not speak the local language Kannada and communication is difficult. He hardly knows to read. His children dont go to school and run around freely. Some day he hopes to enroll them in the 'English School'. His wife, pregnant with another child, works on the construction site as well, carrying loads of concrete and brick on her head. And yet...he has the same mobile device as the Medical college students down the road and the MNC bank officer in the pink house and the just-returned-from-america-software-pro whose house he is building. In fact his device is way better than the one I carried while I was in India during this vacation!! :-))))
Mobile users are estimated to be at 80 Million users....no one has the exact count. The number apparently grows by 5 million users a month!! It turns out that India is the hottest market for Mo-tech today....
interesting article - www.emergic.org/archives/2006/02/08/index.html#tech_talk_...
This is the "five band equalizer". This ten-tube Grundig flagship radio boasts five speakers & the equalizer fingerwheels each make a very noticeable difference in bass, treble and midrange. The one in the middle can very nearly cut the vocals out of any song...karaoke emcees take notice! The overall fidelity rivals any Bella series Loewe Opta and the volume alone can make even era Blaupunkt designers rethink their gameplan. Behind each wheel is an activated panel with a red dot that moves vertically across the musical scale; each dot is connected to the other four by a tensil thread! Clever, eh?!??
It was goals-a-plenty in this West Lancashire League Premier Match with Lostock taking a 24th minute lead but going in at half time level after a late goal. Lostock regained the lead early in the second with Oxley getting his brace but 2 goals from Whitehaven took them in front. Matty Bulcock fired in an equalizer from distance to level once again. LSG finished the game with 9 players after late dismissals for Wilkinson and Riding.