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Running a little blonde. A bit of a cone on this one, I hadn't seen this sort of shape before.
Roastco espresso beans, 20g VST basket.
Tri-colored Heron feeding on menhaden on Horsepen Bayou. Unusual in that the first strike apparently missed but instead of hitting reset, the bird pursued its target until almost its whole body was submerged. Came up with the fish and never lost its grip on the pole.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 128/69, 1969. Photo: Unifrance-Film.
French actor of Spanish origin Louis de Funès (1914-1983) was one of the giants of French comedy alongside André Bourvil and Fernandel. In many of his over 130 films, he portrayed a humorously excitable, cranky man with a propensity to hyperactivity, bad faith, and uncontrolled fits of anger. Along with his short height (1.63 m) and his facial contortions, this hyperactivity produced a highly comic effect, especially opposite Bourvil, who always played calm, slightly naive, good-humored men.
Louis de Funès (French pronunciation: [lwi də fynɛs]) was born Louis Germain David de Funès de Galarza in Courbevoie, France in 1914. His father, Carlos Luis de Funès de Galarza had been a lawyer in Seville, Spain, but became a diamond cutter upon arriving in France. His mother, Leonor Soto Reguera was of Spanish and Portuguese extraction. Since the couple's families opposed their marriage, they settled in France in 1904. Known to friends and intimates as ‘Fufu’, the young De Funès was fond of drawing and piano playing and spoke French, Spanish, and English well. He studied at the prestigious Lycée Condorcet in Paris. He showed a penchant for tomfoolery, something which caused him trouble at school and later made it hard for him to hold down a job. He became a pianist, working mostly as a jazz pianist at Pigalle, the famous red-light district. There he made his customers laugh each time he made a grimace. He studied acting for one year at the Simon acting school. It proved to be a waste of time except for his meeting with actor Daniel Gélin, who would become a close friend. In 1936, he married Germaine Louise Elodie Carroyer with whom he had a son, Daniel (1937). In 1942, they divorced. During the occupation of Paris in the Second World War, he continued his piano studies at a music school, where he fell in love with a secretary, Jeanne Barthelémy de Maupassant, a grandniece of the famous author Guy de Maupassant. They married in 1943 and remained together for forty years until De Funès' death in 1983. The pair had two sons: Patrick (1944) and Olivier (1947). Patrick became a doctor who practiced in Saint-Germain en Laye. Olivier was an actor for a while, known for the son roles in his father's films, including Le Grand Restaurant/The Big Restaurant (Jacques Besnard, 1966), Fantômas se déchaine/Fantomas Strikes Back (André Hunebelle, 1965) starring Jean Marais, Les Grandes Vacances/The Big Vacation (Jean Girault, 1967), and Hibernatus (Edouard Molinaro, 1969) with Claude Gensac as De Funès’ wife, a role she played in many of his films. Olivier later worked as an aviator for Air France Europe.
Through the early 1940s, Louis de Funès continued playing piano at clubs, thinking there wasn't much call for a short, balding, skinny actor. His wife and Daniel Gélin encouraged him to overcome his fear of rejection. De Funès began his show business career in the theatre, where he enjoyed moderate success. At the age of 31, thanks to his contact with Daniel Gélin, he made his film debut with an uncredited bit part as a porter in La Tentation de Barbizon/The Temptation of Barbizon (1945, Jean Stelli) starring Simone Renant. For the next ten years, de Funès would appear in fifty films, but always in minor roles, usually as an extra, scarcely noticed by the audience. Sometimes he had a supporting part such as in the Fernandel comedy Boniface somnambule/The Sleepwalker (Maurice Labro, 1951) and the comedy-drama La vie d'un honnête homme/The Virtuous Scoundrel (Sacha Guitry, 1953) starring Michel Simon. In the meanwhile, he pursued a theatrical career. Even after he attained the status of a film star, he continued to play theatre. His stage career culminated in a magnificent performance in the play Oscar, a role which he would later reprise in the film version of 1967. During this period, De Funès developed a pattern of daily activities: in the morning he did dubbing for recognized artists such as Renato Rascel and the Italian comic Totò, during the afternoon he worked in film, and in the theater in the evening. A break came when he appeared as the black-market pork butcher Jambier (another small role) in the well-known WWII comedy, La Traversée de Paris/Four Bags Full (Claude Autant-Lara, 1956) starring Jean Gabin and Bourvil. In his next film, the mediocre comedy Comme un cheveu sur la soupe/Crazy in the Noodle (Maurice Régamey, 1957), De Funès finally played the leading role. More interesting was Ni vu, ni connu/Neither Seen Nor Recognized (Yves Robert, 1958). He achieved stardom with the comedy Pouic-Pouic (Jean Girault, 1963) opposite Mireille Darc. This successful film guaranteed De Funès top billing in all of his subsequent films.
Between 1964 and 1979, Louis de Funès topped France's box office of the year's most successful films seven times. At the age of 49, De Funès unexpectedly became a superstar with the international success of two films. Fantômas (André Hunebelle, 1964) was France's own answer to the James Bond frenzy and lead to a trilogy co-starring Jean Marais and Mylène Demongeot. The second success was the crime comedy Le gendarme de Saint-Tropez/The Gendarme of St. Tropez (Jean Girault, 1964) with Michel Galabru. After their first successful collaboration on Pouic-Pouic, director Girault had perceived De Funès as the ideal actor to play the part of the accident-prone gendarme. The film led to a series of six 'Gendarme' films. De Funès's collaboration with director Gérard Oury produced a memorable tandem of de Funès with Bourvil, another great comic actor, in Le Corniaud/The Sucker (Gérard Oury, 1964). The successful partnership was repeated two years later in La Grande Vadrouille/Don't Look Now - We're Being Shot At (Gérard Oury, 1966), one of the most successful and the largest grossing film ever made in France, drawing an audience of 17,27 million. It remains his greatest success. Oury envisaged a further reunion of the two comics in his historical comedy La Folie des grandeurs/Delusions of Grandeur (Gérard Oury, 1970), but Bourvil's death in 1970 led to the unlikely pairing of de Funès with Yves Montand in this film. Very successful, even in the USA, was Les aventures de Rabbi Jacob/The Mad Adventures of Rabbi Jacob (Gérard Oury, 1973) with Suzy Delair. De Funès played a bigoted Frenchman who finds himself forced to impersonate a popular rabbi while on the run from a group of assassins. In 1975, Oury had scheduled to make Le Crocodile/The Crocodile with De Funès as a South American dictator, but in March 1975, the actor was hospitalised for heart problems and was forced to take a rest from acting. The Crocodile project was canceled.
After his recovery, Louis de Funès collaborated with Claude Zidi, in a departure from his usual image. Zidi wrote for him L'aile ou la cuisse/The Wing and the Thigh (Claude Zidi, 1976), opposite Coluche as his son. He played a well-known gourmet and publisher of a famous restaurant guide, who is waging a war against a fast-food entrepreneur. It was a new character full of nuances and frankness and arguably the best of his roles. In 1980, De Funès realised a long-standing dream to make a film version of Molière's play, L'Avare/The Miser (Louis de Funès, Jean Girault, 1980). In 1982, De Funès made his final film, Le Gendarme et les gendarmettes/Never Play Clever Again (Tony Aboyantz, Jean Girault, 1982). Unlike the characters he played, de Funès was said to be a very shy person in real life. He became a knight of France's Légion d'honneur in 1973. He resided in the Château de Clermont, a 17th-century monument, located in the commune of Le Cellier, which is situated near Nantes in France. In his later years, he suffered from a heart condition after having suffered a heart attack caused by straining himself too much with his stage antics. Louis de Funès died of a massive stroke in 1983, a few months after making Le Gendarme et les gendarmettes. He was laid to rest in the Cimetière du Cellier, the cemetery situated in the grounds of the château. Films de France: “Although fame was a long time coming, Louis de Funès is regarded today as not just a great comic actor with an unfaltering ability to make his audience laugh, but practically an institution in his own right. His many films bear testimony to the extent of his comic genius and demonstrate the tragedy that he never earned the international recognition that he certainly deserved.”
Sources: Steve Shelokhonov (IMDb), Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Collaged monotypes on paper
60 x 30cms approx
Part of Rich Seams exhibition work.
See album for details of inspiration.
And more monotypes here
Texas National Guard's CERFP Extraction Team Training for their certification in Volk Field, Wisconsin. Once certified, the unit will be 1 of only 17 Mass Casualty Response teams in the United States. Photo by SSG Malcolm McClendon
14/10/09
".....this won't hurt a bit... now say Aarghhh!!!"
Many thanks to my dentist Jane for being such a good sport and posing this shot for camera with a nasty big pair of tooth extraction forceps :D
I personally prefer the old fashioned method of extracting teeth.. although this way does look a little more hygienic!
As you have probably guessed I had a Dentists appointment today, the good news is that everything was generally ok... the bad news was that I have a chip in the enamel of one of my teeth and that's going to need a filling next week :(
A venom extraction demonstration at the Queen Saovabha Institute Bangkok (Red Cross Snake Farm) for the purpose of antivenom production.
MC-Helios 81H 50mm f/2.
The MH-60S Knighthawk returns to pick up the SEALs. Photographed during the Air Power Demo on Sunday morning.
To view a hi-res version and for more information visit my website:NAS Oceana Air Show 2015
This is how I make coffee in the morning. As one would hope with routines, both the speed and the results of this one are improving with time.
Espresso is the result of almost-boiling water at high pressure (~8 bars or 116 PSI) being forced at a consistent rate through coffee beans ground to a specific range of fineness.
This video doesn't show the grinding of the beans, distribution and tamping - basically, the first two-thirds of the process. This is just about brewing, the "fun" part.
What you're seeing here is a bottomless or "naked" portafilter (the tool which holds the coffee grounds) versus a traditional model with spouts. The bottomless PF is a great debugging tool for making espresso because you can gauge the quality of your grind, distribution and tamping by watching the brewing process.
When things go right, "pulling a shot" can be a beautiful and somewhat mesmerizing thing to watch. While practically impossible to perfect, the extraction in this video turned out pretty well in regards to the visuals.
Grouphead Flushing
Before extraction, it's recommended to "flush" the grouphead by running water through it. This brings its temperature down toward the target (roughly 200° F, in this case.) Additionally, the water pre-heats the cup.
There should be a minimal delay between flushing and extraction, since the grouphead temperature will quickly rise again if the boiler (heater) is on. I was relatively slow here, as I shot this video a few months ago. These days, I'm faster and there is much less idle time.
Brewing / Extraction
During extraction, it's good to see a deep reddish color, striations or "tiger striping" from the coffee coming out of the portafilter. It shouldn't be glacial, nor gushing in terms of "flow rate" - extremes on either end are undesirable.
Brewing should typically be stopped between 25-30 seconds, or when "blonding" occurs. There are also targets for ratios of extraction, i.e., 20 grams of espresso in 30 seconds and so forth.
I watch extraction runtime, but don't weigh the results to determine extraction ratios etc. Some roasters provide recommended parameters for their beans; e.g., 18.5 grams, with an extraction time of 28 seconds at 200° F.
In this case you're seeing Roastco "Oscuro Nuevo" espresso roast beans, perhaps 19 grams, being used in a 20g VST basket.
Results, Observations and Miscellany
There's a memorable 15:15:15 rule about espresso that I've heard.
• Coffee used within 15 days of roasting
• Grounds used within 15 minutes of grinding
• Espresso tasted within 15 seconds of extraction
In regards to appearance, good espresso should have deep color with some mottling, minimal bubbles and a solid layer of crema (an emulsification of oils from the beans) on the top; good crema should maintain its structure for around two minutes. If you're using a glass cup, you can also observe the layers as they swirl and settle within the glass.
In regards to taste, good espresso should be almost sweet, typically with hints of chocolate, butterscotch and whatever other colourful language roasters like to use to describe their products. What I look for is a natural sweetness, light acidity and ultimately an absence of excessive bitterness (water temperature too high) or sourness (too low). A one-second difference in extraction time can also have a notable effect on your results, in terms of balance and strength of taste.
I've heard people recommend consuming a shot in three sips, to enjoy the separate layers. Crema is unique in that it's a concentrated mix of the oils in the beans, and can be fairly different than the underlying coffee.
A fresh roast is critical to quality. From my experience, the consistency and quality of extraction goes downhill toward the two week mark. Then again, the last beans from my grinder always seem to produce fairly-runny extractions; perhaps there's something to the weight applied by the beans stacked above during grinding. At present, I go through an 8-oz bag of beans in about a week.
This is effectively what I've learned thus far about making espresso. I get pretty consistent results, and ideally, espresso that is quite tasty. I don't plan on opening a coffee shop any time soon, but I'd like to think I can make something close to my professional neighbours in terms of taste. I think I still make stuff that's a bit on the acidic / bitter side, but I'm working on it.
To close, quoting former comedian Dennis Miller, "'Course that's just my opinion, I could be wrong."
this is an artificial human face blended with one of a Tiger.....
thanks for looking in....appreciated....best bigger......hope you have a Great Week
© Jim Gilbert 2015 all rights reserved
Interesting that the Oriole clearly knew what a rolled up leaf means. The approach on this end didn't work, but he didn't give up.
New Jersey Audubon Scherman Hoffman sanctuary, Bernardsville, NJ
Day: 044/365
Hit n Run's feet barely even seem to touch the ground as he races toward the Blackhawk with Cobra troops hot on his heels.
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The catalog styled stuff is cool but I've been dying to do a story-shot lately! That's really were my passions lye.
MOC WARS 2020! Clunkers! Fellowship Of The Brick!
A small utility ship sent into "uncharted" asteroid fields to measure their richness in valuable minerals, prior to company acquisition.
A dangerous job for the pilot, given the lack of basic safety features, and the constant threat of inhospitable "natives". Fortunately, the company fitted a gatling gun on the rear of the ship, so the pilot can protect the valuable cargo from pursuers, even if they have to climb to the back of their moving ship to use it.
Demonstration of extendable drill.
Literally... Brushing everyday will help keep the dentist away.
ps: To replace blood i used the one and only Heinz Ketchup (Yummy) :)
Explored: Best Position= 182
Apollo 10 Hasselblad image from film magazine 34/M - LM extraction, Lunar orbit, LM undocking & return