View allAll Photos Tagged foolproof
SCISSOR CLAMP STUDIO.
Using ceiling mounted scissor clamps, 3 vivitar285HV's, a couple of Honl grids and 4 pocket wizards. I have the ultimate corporate headshot setup. This system sets up in about 5 minutes and is nearly foolproof. If you do this regularly just mark the clamp locations and the strobe power settings and you are ready. Once I am powered up a single flash meter reading and I am good to go!
www.bhphotovideo.com/c/product/3569-REG/Avenger_C1000_C10...
Mercury-Redstone Launch Vehicle
The Mercury-Redstone Launch Vehicle, designed for NASA’s Project Mercury, was the first American manned space booster. It was used for six sub-orbital Mercury flights from 1960–61; culminating with the launch of the first, and 11 weeks later, the second American (and the second and third humans) in space.
A member of the Redstone rocket family, it was derived from the U.S. Army’s Redstone ballistic missile and the first stage of the related Jupiter-C launch vehicle; but to human-rate it, the structure and systems were modified to improve safety and reliability.
The four subsequent Mercury human spaceflights used the more powerful Atlas booster to enter low Earth orbit.
•General Specifications:
oFunction: Human-Rated Sub-Orbital Launch Vehicle
oManufacturer: Chrysler Corporation
oCountry of Origin: United States
•Size:
oHeight: 25.41 m (83.38 ft)
oDiameter: 1.78 m (5.83 ft)
oMass: 30,000 kg (66,000 lb)
oStages: 1
•Capacity:
oPayload to Sub-Orbital Trajectory: 1,800 kg (4,000 lb)
•Launch History:
oStatus: Retired
oLaunch Sites: Launch Complex 5, Cape Canaveral, Florida
oTotal Launches: 6
oSuccesses: 5
oFailures: 1
oFirst Flight: November 21, 1960
oLast Flight: July 21, 1961
oNotable Payloads: Mercury Spacecraft
•Single Stage:
oEngines: 1 Rocketdyne A-7
oThrust: 350 kN (78,000 lbf)
oSpecific Impulse: 215 sec
oBurn Time: 143.5 seconds
oFuel: LOX/ethyl alcohol
Modifications from the Redstone Missile
NASA chose the U.S. Army’s Redstone liquid-fueled ballistic missile for its suborbital flights as it was the oldest one in the US fleet, having been active since 1953 and had many successful test flights.
The standard military Redstone lacked sufficient thrust to lift a Mercury capsule into the ballistic suborbital trajectory needed for the project; however, the first stage of the Jupiter-C, which was a modified Redstone with lengthened tanks, could carry enough propellant to reach the desired trajectory. Therefore, this Jupiter-C first stage was used as the starting point for the Mercury-Redstone design. The Jupiter-C’s engine, however, was being phased out by the Army, so to avoid potential complications such as parts shortages or design revisions, the Mercury-Redstone designers chose the Rocketdyne A-7 engine used on the latest military Redstones. Hans Paul and William Davidson, propulsion engineers at the Army Ballistic Missile Agency (ABMA), were assigned the task of modifying the A-7 to be safe and reliable for manned flights.
During 1959, most of ABMA were preoccupied with the Saturn project, but those engineers who could find enough free time in their schedule were invited to work on man-rating the Jupiter-C. As a starting point, the most obvious step was getting rid of its staging capability as the Mercury-Redstone would not utilize upper stages. Many of the more advanced Jupiter-C components were also removed for reliability reasons or because they were not necessary for Project Mercury.
The standard Redstone was fueled with a 75 percent ethyl alcohol 25 percent water solution, essentially the same propellants as the V-2, but the Jupiter-C first stage had used hydyne fuel, a blend of 60 percent unsymmetrical dimethylhydrazine (UDMH) and 40 percent diethylenetriamine (DETA). This was a more powerful fuel than ethyl alcohol, but it was also more toxic, which could be hazardous for an astronaut in a launch pad emergency. Furthermore, hydyne had never been used with the new A-7 engine. The Mercury-Redstone designers rejected hydyne and returned to the standard ethyl alcohol fuel. The lengthened propellant tanks were thus also necessary in lieu of using less powerful fuel.
Use of alcohol created a problem with the Mercury-Redstone in that the graphite thrust vector vanes could be eroded due to the significantly longer burn time, hence NASA put out a requirement that the launch vehicles needed high quality vanes.
Because Mercury-Redstone had larger propellant tanks than the Redstone missile, an additional nitrogen bottle was added for tank pressurization, and an extra hydrogen peroxide tank for powering the turbopump due to the longer burn time.
The most important change in making the Mercury-Redstone a suitable vehicle for an astronaut was the addition of an automatic in-flight abort sensing system. In an emergency where the rocket was about to suffer a catastrophic failure, an abort would activate the launch escape system attached to the Mercury capsule, which would rapidly eject it from the booster. Either the astronaut or the ground controllers could initiate an abort manually, but some potential failures during flight might lead to disaster before an abort could be manually triggered.
The Mercury-Redstone’s automatic in-flight abort sensing system solved this problem by monitoring the rocket’s performance during flight. If it detected an anomaly which might threaten the astronaut, such as loss of flight control, engine thrust, or electrical power, it would automatically abort, shutting down the engine and activating the capsule’s escape system. The abort system could not shut off the engine until at least 30 seconds after liftoff in order to prevent a malfunctioning launch vehicle from coming down on or near the pad; during the initial 30 seconds, only the Range Safety Officer could terminate the flight. Review of flight data from the more than 60 Redstone and Jupiter C launches since 1953 was used to analyze the most likely failure modes of this launch vehicle family. In the interest of simplicity, the abort sensing system had to be kept as simple as possible and only monitor parameters that were vital to booster operation. An automatic abort could be triggered by any of the following conditions, all of which could be indicative of a catastrophic launch vehicle malfunction:
•Pitch, yaw, or roll angle deviating too far from the programmed flight profile,
•Pitch or yaw angle changing too rapidly,
•Pressure in the engine’s combustion chamber falling below a critical level,
•Loss of electrical power for the flight control system, or
•Loss of general electrical power (including power for the abort sensing system itself), which could indicate a catastrophic failure.
Instant abort capability was important because certain failure modes such as loss of thrust upon liftoff (for example the third Redstone test flight in May 1954) could result in an immediate catastrophic situation. Other failure modes such as deviation from the proper flight path or a drop in engine chamber pressure during ascent did not necessarily present an immediate risk to the astronaut’s safety and he could either initial a manual abort by pulling a lever in the capsule to activate the Launch Escape System or ground control could send a command to activate it.
The range safety system was modified slightly in that a three-second delay would take place between engine cutoff and missile destruct so as to give the escape tower enough time to pull the capsule away.
Schematic View
The most visible difference between the Jupiter-C first stage and the Mercury-Redstone was in the section just below the Mercury capsule and above the propellant tanks. This section was known as the aft section, a term which was inherited from the military Redstone. (The actual rear end of the rocket was called the tail section.) The aft section held most of the Mercury-Redstone’s electronics and instrumentation, including the guidance system, as well as the adapter for the Mercury capsule. In the military Redstone and the Jupiter-C first stage, when the rocket had burned out, its lower portion, containing the rocket engine and propellant tanks, would separate from the aft section and be discarded, and the aft section, with its guidance system, would direct the top half of the rocket during its unpowered ballistic flight. However, in the Mercury-Redstone, the aft section was permanently attached to the lower portion of the rocket. When the rocket had shut down, the Mercury capsule would separate from the aft section and would rely on its own guidance.
Other changes were made to improve the Mercury-Redstone’s reliability. The standard Redstone’s ST-80 inertial guidance system was replaced in the Mercury-Redstone with the simpler LEV-3 autopilot. The LEV-3, whose design dated back to the German V-2 missile, was not as sophisticated or as precise as the ST-80, but it was accurate enough for the Mercury mission and its simplicity made it more reliable. A special instrument compartment was built in the “aft section” to hold the most important instrumentation and electronics, including the guidance system, the abort and destruct systems, the telemetry instrumentation, and the electrical power supplies. To reduce the chance of failure in this equipment, this compartment was cooled before launch and kept pressurized during flight.
The fuel prevalves were deleted from the Mercury-Redstone in the interest of improved reliability, since if they closed during a launch, an abort condition could be triggered. On the three unmanned flights, it was discovered that the Mercury-Redstone exhibited a roll transient of 8° per second versus 4° for the Redstone missile. Although this was below the 12° per second roll transient required to trigger an abort, the roll rate sensor was removed from the two manned flights to reduce the chances of an accidental abort (the booster still retained the roll attitude angle sensor which would be triggered at 10°).
Mercury-Redstone 1A and Mercury-Redstone 2 both experienced overacceleration in flight, the former due to a problem with an accelerometer, the latter due to a problem with the LOX regulator which oversupplied the engine with oxidizer and caused thrust termination to occur 1.2 seconds early. The ASIS system activated and the escape tower yanked the capsule away, subjecting its chimpanzee passenger to high G loads. The third flight, Mercury-Redstone BD, was designed as an engineering test to correct these problems before the booster could be considered man-rated.
The space between the pressurized instrument compartment and the capsule was originally intended to hold a parachute recovery system for the rocket, but it had been left empty after this system was abandoned. The three unmanned Mercury-Redstone flights exhibited high vibration levels and structural bending in the adapter area, so Alan Shepard’s flight included 340 pounds of lead-infused plastic in the adapter section along with additional bracing and stiffeners. After Shepard still reported noticeable vibration during launch, Gus Grissom’s booster included even more ballast. The Atlas booster used for orbital Mercury flights had also experienced this issue, but with more catastrophic results as Mercury-Atlas 1 was destroyed in-flight due to structural failure caused by excessive flexing at the point where the booster mated with the capsule adapter.
In total, some 800 modifications were made to the Redstone design in the process of adapting it for the Mercury program. The process of man-rating Redstone was so extensive that NASA quickly found themselves not using an off-the-shelf rocket, but what was in effect a completely new one and thus negating all of the hardware and flight test data from previous Redstone and Jupiter-C launches. This created a series of disputes between Von Braun’s team at ABMA and NASA, as the former preferred simply making the abort system as foolproof as possible so as to guarantee that the astronaut would be bailed out of a malfunctioning launch vehicle, while the latter favored maximum booster reliability to minimize the chance of aborts happening at all.
Proposed Parachute Recovery System
The Mercury-Redstone designers originally planned for the rocket to be recovered by parachute after its separation from the Mercury capsule. This was the first significant effort to develop a recoverable launch vehicle and the first to reach the testing phase.
The recovery system, at the top of the rocket, would have used two stages of parachutes. In the first stage, a single parachute, 17 feet (5.2 m) in diameter, would stabilize the rocket’s fall and slow its descent. This parachute would then draw out a set of three main parachutes, each 67 feet (20 m) across. The rocket would come down in the Atlantic Ocean, to be recovered by ship.
To determine the feasibility of this system, several tests were performed on full-sized Redstones, including water impact and flotation tests, and an exercise at sea in which a floating Redstone was picked up by a Navy recovery ship. All these tests showed recovery of the rocket to be workable. Further development was halted, however, due to lack of funding, so the parachute system was not tested.
Flights
Mercury-Redstone flights were designated with the prefix “MR-”. Confusingly, the Mercury-Redstone boosters used for these flights were designated in the same way, usually with different numbers. (In photographs, this designation can sometimes be seen on the rocket’s tail end.) Two rockets, MR-4 and MR-6, were never flown. Although there had been rumors that NASA in the very beginning of Project Mercury had intended to launch each astronaut on a suborbital mission before beginning orbital Atlas flights, they only purchased eight Mercury-Redstone boosters, one of which was damaged in the unsuccessful MR-1 launch and not reused, and another used for the MR-BD flight (the original schedule was for one unmanned Mercury-Redstone flight, one chimpanzee flight, and six manned flights). Since Alan Shepard and Gus Grissom’s flights were successful and since the Soviet Union had flown two orbital manned space flights by the late summer of 1961, there was no need to continue with Redstone missions.
•MR-1
oRocket Designation: MR-1
oLaunch Date: November 21, 1960
oComments: Empty capsule; launch abort; rocket shut down at liftoff due to electrical fault.
•MR-1A
oRocket Designation: MR-3
oLaunch Date: December 19, 1960
oComments: Empty capsule.
•MR-2
oRocket Designation: MR-2
oLaunch Date: January 31, 1961
oComments: Carried chimpanzee Ham.
•MR-BD
oRocket Designation: MR-5
oLaunch Date: March 24, 1961
oComments: Empty nonfunctional “boilerplate” capsule.
•MR-3
oRocket Designation: MR-7
oLaunch Date: May 5, 1961
oComments: Carried astronaut Alan Shepard.
•MR-4
oRocket Designation: MR-8
oLaunch Date: July 21, 1961
oComments: Carried astronaut Gus Grissom.
This species is a regular visitor... likely the most numerous species up here. It likely wants to bathe or feed, and is checking out the surroundings before proceeding lower. These birds are usually spotted in large flocks; they swarm over my thistle feeder in a tumbling mass, and usually perch close enough to permit great photo ops. They are plentiful during high summer and typically ignore my presence. Sexes are determinable... but it's not foolproof. I believe this one to be female.
IMG_4877; Pine Siskin
This Sabudana Kheer Recipe is indeed the most basic and simple payasam that is prepared on all occasions may be a pooja, festival or with full meals too. The method I have shared here is a quick version, as it does not require any soaking time, and even beginners in kitchen can try this sago kheer as it's a foolproof recipe. In Tamilnadu cuisine, a full meals is served with rice, drumstick sambar, rasam, potato curry, carrot beans stir fry, drumstick leaves poriyal, medhu vadai, appalam, pickle and ended with this Javvarisi payasam.
Weathervane Playhouse in Akron, Ohio, presents " Don't Dress for Dinner" -- a comedy by Marc Camoleti and adapted by Robin Hawdon
Directed by Marc Moritz
See it live on stage May 1 to 18, 2014
For more information, visit www.weathervaneplayhouse.com/dont-dress-for-dinner-2014-0...
ABOUT THE SHOW
Bernard is planning a romantic weekend with his chic Parisian mistress in his charming converted French farmhouse, whilst his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights, and has invited his best friend, Robert, along, too, to provide the alibi. It's foolproof! What could possibly go wrong? Well…suppose Robert turns up not realizing quite why he has been invited? Suppose Robert and Jacqueline are secret lovers, and consequently determine that Jacqueline will NOT leave for the weekend? Suppose the cook has to pretend to be the mistress and the mistress is unable to cook? Suppose everyone's alibi gets confused with everyone else's? In this hilarious farce, an evening of hilarious confusion ensues as Bernard and Robert find that they must improvise at a break-neck speed!
THE CAST
RICHARD WORSWICK
Bernard
SCOTT DAVIS
Robert
MITCH MANTHEY
George
BERNADETTE HISEY
Jacqueline
DEDE KLEIN
Suzanne
ASHLEY BOSSARD
Suzette
(All photos in this Flickr set were shot for Weathervane Playhouse on April 30, 2014, by Scott Diese.)
Minolta Dynax 7 & Konica Minolta Dynax 7D
(Aka Maxxum or Alpha 7 and 7D)
Two very remarkable camera models, one is a late analog SLR from 2000, the other one is supposed to be its digital version and was introduced in 2004. Both have innovative features which consolidated Minoltas position at the cutting edge.
I won't trouble you with the detailed specifications, the instruction manual of the 7 alone has more than 200 pages.
So I start with just the specialities of the 7:
* The camera meters the exposure with 14 segments in a honeycomb layout, which can be used very versatilely. You can select the segment in the center for spot metering. You can add the weighted segments around for center weighted metering. The segments can be coupled to the AF: the camera can automatically choose one of 9 AF-points and then the segments near to that point are used for metering. And the camera sports the incredible "Brightness Distribution Display": on the big display on the back the entire honeycomb pattern is shown, each segment with exposure value, from -3 to +3, higher or lower values are indicated with + and -. That is foolproof for landscape photography, greetings from Mr. Adams.
* The camera can store the exposure data for each frame like in an exif-file for the last 7 films. Values are shutter speed, aperture, focal length, exposure mode, date and time and some more. The ISO value is stored only once for a roll of film. In addition, a "data number" is stored, that number is also imprinted by the data back on the tip of the film, so that you can find the correct film for a set of data. You can recall the data analog via the display on the back. Unfortunately the camera has no USB socket to transfer the data into your computer (but I wouldn't have been surprised, if), for that you need a very special accessory, the "data saver DS-100". It is mounted like a lens on the bayonet mount and can save the data on a Smart Media card.
* The camera can display the depth-of-field (front and rear) in meter and feet in a small sketch, if a D-lens is used.
* The camera can take soft focus images of still subjects with the "Smooth Trans Focus" mode (STF). For this it makes a 7x multi exposure with different distance settings.
* You can't open the camera back if the film is not rewound. In case of emergency you can switch on the camera while pressing the ISO and the AE-lock button. In case of a real emergency (no batteries) you can remove the small panel next to the unlock lever by removing the screw.
* You can rewind the film to any frame you like. This makes it possible to do "Multiple Exposure Bracketing".
* Sony A-mount lenses with built-in AF-drive can be used.
The Dynax 7D has at least one highlight, but it was a true milestone:
* The 7D was the first camera which moves its sensor to prevent blur from camera shake.
Konica Minolta entered the mass market for DSLRs comparatively late, as far I know it was the last one of the great manufacturers, though they made a somewhat unique DSLR already in 1995, the RD-175. Only two DSLRs were made, the 7D and the lower specified 5D, then the photo domain of Konica Minolta was sold to Sony, which continued the line with the A-100.
Lenses with the designation "DT" are especially made for DSLRs with A-mount and APS-C sized sensor.
for 7DoS: I'm going for the healthy eating one on this - dark chocolate being good for you :)
I should probably consider not buying anymore chocolate as a resolution though, as I think I still have enough to last me most of 2016!
Here are some fun tips for you to help with those resolutions: www.theguardian.com/lifeandstyle/2015/dec/30/12-foolproof...
"I'm afraid. I'm afraid, Dave. Dave, my mind is going. I can feel it.
I can feel it. My mind is going. There is no question about it. I can feel it.
I can feel it. I can feel it. I'm a... fraid.
Good afternoon, gentlemen. I am a HAL 9000 computer. I became
operational at the H.A.L. plant in Urbana, Illinois on the 12th of January
1992. My instructor was Mr. Langley, and he taught me to sing a song.
If you'd like to hear it I can sing it for you.....
"DAISY...DAISY..."
Donated by Rick von Holdt of the Foolproof Press for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
According to Blackadder this is a foolproof way of getting yourself sent home from the trenches.
Flaunting My Undies for TRP.
Lower trade barriers and greater openness to trade have been historically associated with higher income growth in many countries, but this relationship has not been foolproof. For instance, some countries with the highest growth of exports and GDP during the heyday of the “Washington Consensus” followed heterodox development policies involving sizable trade barriers and hefty subsidies to domestic industries, and some of them still closely control the flow of capital across their borders. What have we learned from those distinct development policies? Should countries identify external “competitiveness” and avoidance of de-industrialization with maximization of social welfare? Under which circumstances is unfettered globalization incompatible with political stability and well-functioning democracies? Should we expect large emerging market economies to take the lead in the trade liberalization agenda going forward? This session will shed fresh light on these important policy issues.
Healthy Grilled Salmon Recipe: Baked in Foil
When it comes to fish, I’m not very skilled on how to cook it but this Healthy Grilled Salmon Recipe is foolproof! I’m going to show you how to make salmon that is Baked in Foil. Full of flavor and nutrition!
How to prepare ...
slickhousewives.com/healthy-grilled-salmon-recipe-baked-i...
This year, 2026 is the centenary of the formation of Zeiss Ikon, a major player in European camera manufacture in the 2nd and 3rd quarters of the 20th century.
To mark this anniversary, I've decided to use a different Zeiss Ikon camera every two weeks throughout the year, a project I'm calling “Twenty-six in Twenty-six”.
Zeiss Ikon launched their series of Contaflex cameras in 1953. Over the following 20 years or so, twelve versions were made with ever increasing degrees of sophistication and indeed weight. A wide range of accessories was available, and these precision made leaf shuttered SLRs proved very popular. The Contaflex 126 is a different beast altogether, it may share the name and bear a superficial resemblance to the rest of the family, but it's something of a cuckoo in the nest.
Kodak introduced the 126, or Instamatic cartridge in 1963. It was intended to provide a simple, foolproof way for a growing numbers of less technically savvy users to load film into their cameras. Although the film is 35mm wide, the format is not the same. The film, which has one perforation per frame and sits within a plastic cartridge, is backed by a roll of paper, and gives square negatives measuring 28 x 28mm. Until very recently Instagram's native format was square, and it may be that the name itself was riffing on the Instamatic brand.
While the format was unashamedly aimed at the amateur snapshot market, many of the major manufacturers added a token higher end SLR 126 model to their range. This is a bit of a puzzle to me, one criticism of the 126 cartridge is that the absence of a pressure plate to keep the film absolutely flat might theoretically impair the image quality, yet surely any photographer with such technical concerns wouldn't be put off by the easily learnable step of loading a 35mm cassette into a camera. Nonetheless, Rollei, Kodak, Ricoh and of course the prestigious Zeiss Ikon, felt the need to pitch in.
Unlike the “normal” Contaflexes, which at best have interchangeable front elements, the 126 version has fully interchangeable lenses,though with a mount which is unique to this one model. Optical physics dictate that the longest practical focal length that can be achieved by swapping the front element is 115mm, but the 126 range of lenses went up to 200mm, though it seems that very few of these lenses were actually made. The other key difference between the 35mm and 126 Contaflexes, is that the latter employ a focal plane shutter rather than the traditional leaf shutter.
Today, with the only 126 film available being long expired, it's actually quite useful to be able to set the camera manually. The oft quoted rule of thumb that film loses sensitivity at a rate of one stop per decade, means that an ISO 100 film made in the 1970s would need to be exposed at around ISO 3 today. Most consumer Instamatic cameras won't allow this, but using an aperture of f2.8, and the shutter speed of 1/30th, it's practical to use the Contaflex 126 in reasonable daylight. The film is very expired Fujicolor Super HR 100, developed in the Bellini C41 kit.
This was taken with the 135mm f4 lens
Donated by Rick von Holdt of the Foolproof Press for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
Lower trade barriers and greater openness to trade have been historically associated with higher income growth in many countries, but this relationship has not been foolproof. For instance, some countries with the highest growth of exports and GDP during the heyday of the “Washington Consensus” followed heterodox development policies involving sizable trade barriers and hefty subsidies to domestic industries, and some of them still closely control the flow of capital across their borders. What have we learned from those distinct development policies? Should countries identify external “competitiveness” and avoidance of de-industrialization with maximization of social welfare? Under which circumstances is unfettered globalization incompatible with political stability and well-functioning democracies? Should we expect large emerging market economies to take the lead in the trade liberalization agenda going forward? This session will shed fresh light on these important policy issues.
Lower trade barriers and greater openness to trade have been historically associated with higher income growth in many countries, but this relationship has not been foolproof. For instance, some countries with the highest growth of exports and GDP during the heyday of the “Washington Consensus” followed heterodox development policies involving sizable trade barriers and hefty subsidies to domestic industries, and some of them still closely control the flow of capital across their borders. What have we learned from those distinct development policies? Should countries identify external “competitiveness” and avoidance of de-industrialization with maximization of social welfare? Under which circumstances is unfettered globalization incompatible with political stability and well-functioning democracies? Should we expect large emerging market economies to take the lead in the trade liberalization agenda going forward? This session will shed fresh light on these important policy issues.
This is southbound on either Sunset Cliffs Blvd or West Mission Bay Drive both of which cross the San Diego River. Cones are a powerful traffic direction tool. But a patorl car blocking the lane is foolproof.
From Barefoot Contessa's Foolproof cookbook the Winter Minestrone Soup. Just like all of her other soups- Yum!
I'm always losing things on the beach, me. Keys, wallet, loose change. I don't think I've ever lost my own feet though. It's the alcohol that does it. THE ALCOHOL I TELL YOU.
Despite trying to convince us he is an unremitting wanker, Rob is really a very nice boy who listened carefully in food technology class.
Planning routes on Google Earth isn't always foolproof... This road we wanted to take turned out to be a private road in Mina Londres. These guys were willing to let us pass through, but then the angry security boss arrived and told us very firmly that this would not be possible. Cue return climb back over Punta Seis Lagos and the normal route to the Carretera Central. I don't know why I'm looking so happy - this lost us more than half a day.
Please take a look at our website www.pikesonbikes.com for tales from our current trip in the Andes, or at www.andesbybike.com for lots of dirt road route information.
Weathervane Playhouse in Akron, Ohio, presents " Don't Dress for Dinner" -- a comedy by Marc Camoleti and adapted by Robin Hawdon
Directed by Marc Moritz
See it live on stage May 1 to 18, 2014
For more information, visit www.weathervaneplayhouse.com/dont-dress-for-dinner-2014-0...
ABOUT THE SHOW
Bernard is planning a romantic weekend with his chic Parisian mistress in his charming converted French farmhouse, whilst his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights, and has invited his best friend, Robert, along, too, to provide the alibi. It's foolproof! What could possibly go wrong? Well…suppose Robert turns up not realizing quite why he has been invited? Suppose Robert and Jacqueline are secret lovers, and consequently determine that Jacqueline will NOT leave for the weekend? Suppose the cook has to pretend to be the mistress and the mistress is unable to cook? Suppose everyone's alibi gets confused with everyone else's? In this hilarious farce, an evening of hilarious confusion ensues as Bernard and Robert find that they must improvise at a break-neck speed!
THE CAST
RICHARD WORSWICK
Bernard
SCOTT DAVIS
Robert
MITCH MANTHEY
George
BERNADETTE HISEY
Jacqueline
DEDE KLEIN
Suzanne
ASHLEY BOSSARD
Suzette
(All photos in this Flickr set were shot for Weathervane Playhouse on April 30, 2014, by Scott Diese.)
Donated by Rick von Holdt of the Foolproof Press for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
Packed the bike airline-friendly: everything fastened together with zip-ties or tape as one unit. Makes sliding the whole bike into and out of the box easy and foolproof for TSA handlers. (Ok, the bags were packed separately).
Had the bike fully assembled in 20 minutes.
Donated by Rick von Holdt of the Foolproof Press for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
It's Friday, the sun is shining and the art is free. Come on down! We have prepared a whole load of stuff which is hopefully already in the clutches of our good man My Dog Sighs for his upcoming Free Art Friday event in Southsea this Sunday. As far as i'm aware he has hundreds of pieces from a wide variety of artists and all you have to do to snag one is head to Southsea and grab one for yourself. It's a foolproof plan! We've provided a variety of pieces (mainly on cardboard) and all come complete with the 'id-iom certified' stamp that guarantees authenticity. My main concern is whether i'll be able to get down in order to snag something for myself...
Cheers
id-iom
Donated by Rick von Holdt of the Foolproof Press for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
Sunday afternoon I went for a hunt, but these shots haven’t hurt a single animal! For the first time, I had to settle for one single deer from behind, but for the second time, I got a foolproof tip. In the first thirty minutes, I haven’t me a single soul, then suddenly I caught a glimpse of a herd of 30-40 deer and I couldn’t believe my eyes! They were on their way fast, as you can see on the photo below.
Then I decided to go around the fishpond, so we can meet halfway, since the herd went towards the pond. However, soon I had a big surprise once more, as I found another group of 20-30 individuals.
I was planning to get closer to them and luckily, my clothes seemed suitable, since I was wearing a light gray jacket with a hoodie and a pair of jeans, and my patience proved to be effective. I’ve spent about three hours in the -4°C weather in the wilderness and I enjoyed every single moment of it, so much so, that I didn’t have time to feel the cold, if anything, I was feeling warm because I had to do one fourth of the trip squat walking. So yeah, hello, muscle soreness, but who cares after an amazing experience like this?!
When one group got scared and ran away, I started to approach the other, and yes, first I had to sneak and stealth in the snow-white field, then, as I was getting closer to the herd, I switched back once again to the beloved squat walk. After that I was trying to reduce the distance between us, meter by meter.
The real miracle happened when I was squatting and one of the deer started to gallop towards me. I couldn’t even dream of something like this, that instead of receding from the lenses of the camera, one curious individual would come closer in a rush. I was squatting in an ideal position, totally still, waiting for what will happen next as I was already seeing the headlines in front of me: „deer attacked a Hungarian photographer”. Only my clicking finger was moving – it was a truly incredible moment!
In this moment, the deer could be about twenty meters from me, but it is hard for me to remember the exact details, as I became quite emotional because of its honorific visit. After a couple seconds, it perceived the possible danger, stroke a pose from the side as well, and then, in a flash, turned its back on me and ran away.
While I was switching between the herds, I saw something on the field that looked like a tussock, but turned out to be a rabbit, a beautiful hare, to be exact. Obviously, it hasn’t hesitated for long, and went down the rabbit hole.
I found a spot on the field where the undergrowth was a bit higher and provided a perfect cover for me, even though we are talking about a 30-40-centimeter long grass, but it allowed me, for yet another time, to get incredibly close to the herd.
Thank you for your attention and for the opportunity. I apologize for the quality of certain photos, but my equipment was nowhere near a wildlife photography one – more experienced photographers simply called me determined. If you liked to pictures, please follow Gabor Matesz Photos on Facebook where I offer a diverse scale of nature photos.
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My Minolta S-1 kit. I think APS is a great snapshot format, foolproof really, with 3 image sizes to chose from. The S-1 is a fun camera to use, especially with the 17mm.
I got this idea from a video on You Tube,and it's foolproof and very quick.Put 125ml of COLD water into a small bowl,add the egg and microwave for 60 seconds(using an 800w microwave).No need to cover it,the egg will not explode because the cold water protects it. The yolk stays runny for over 10 minutes.
Insurance Services Outsourcing has a number of benefits including improvements in the services provided by the insurance companies, cost curtailment and the most important – significant reduction in the fraudulent practices associated with insurance.
Now here's a garden folly for you, folks!
The form of this 64-square-meter ant farm is an adaptation of a building-skinning scheme Herzog & de Meuron had developed for an unrealized new-town-center project here in Jinhua. The pattern, inspired by Chinese paving and vaguely evocative of "a molecular structure or a genetic code," was to cover the facades of the district's buildings and also inform the street layout. For the park pavilion, though, this two-dimensional pattern was first set at a scale roughly corresponding to human seating requirements, then extruded through the depth of the structure. The repetition of this process on multiple faces of the cube produced strange overlaps, and ultimately most of the volume of the cube was hollowed out. Even so, the flat planes at the edges look curiously solid, an effect enhanced by the plain surface of dyed concrete - from some approaches this would appear to a big block of red cheese, after some tentative gnawing by giant rats. But actually, there's very little volume there - it's all folded surface and air. The concrete work, by the way, was done in several pours, with the aid of a retiree who was the only local craftsperson with the requisite skills.
While H & de M have elsewhere explored the spatial-overlap strategy (for example at VitraHaus), here the labrynthine section recalls no recognizable forms or types. Naturally, from a distance it approaches total scalelessness, continuing the firm's ongoing investigation into scalar and perspectival trickery, and meanwhile fulfilling the Architecture Park agenda brilliantly. Not to mention that it's a great piece of playground equipment, with the usual Jinhua caveat that you have to be comfortable with having your kids clamber around on this broken-limbs factory. I'm starting to wonder if the neglect of the park can be put down simply to parental concern....
But seriously, this thing is great. Fun but decidedly weird, it straddles the line between a cerebral, indexical project (one struggles to reconstitute the "original" faces), and just being deadpan odd in this way that refuses interrogation. Magic!
I'm also reminded of Herzog's remarks in El Croquis a few years back, to the effect that all of their projects are somehow about urban effects - or something like that. At first a head-scratcher, the claim starts to come into focus if you take a broad definition of urbanism as being the recognition by a given building that other buildings exist and that relationships can be set up between them. So rather than try to complicate or camouflage the park's axes (which they had a hand in drawing, anyway), the architects make sure to orient their cube directly on-axis with the other pavilions. They might not have even known what exactly those pavilions were going to be, but it's a sort of foolproof gambit: have a bunch of figural openings facing an inevitably weird, cool building and it'll end up looking like an intentionally framed bit of picturesque planning, especially since the frames cut off the foreground paving around the Herzog pavilion and turn the nearby LAR and Maltzan buildings into the garden follies they were always meant to be.
Evan, of course, has some great points to make about how this can be fit into the firm's ongoing development. To my knowledge, a comprehensive study of the firm's working relationship with Ai Weiwei, and the cross-pollination of ideas between the two practices, has yet to be undertaken.