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Here's a tip for transportation spotters: If you're trying to figure out how old a bus is and you don't have access to registration information, fleet information, or a VIN...check the safety glass. The windows will almost always have a date code on them: 12-85, in this case.
This method isn't foolproof: School bus body factories sometimes stockpiled items like storm windows and emergency doors, installing them on new buses two or three years after the glass was manufactured. Windows can be replaced. Plus there are the usual discrepancies between calendar year and model year, chassis build date and completed vehicle date, and so on that make year-by-year distinctions fuzzy at best. But it's usually a good rule of thumb.
Sour Cream Pumpkin Pie with Foolproof Pie Dough
Came out really good except for some reason I had to bake it for an hour (maybe my oven sucks ass). The crust was AWESOME. Definitely try it. Worth buying the vodka for, even if you have no other use for it..(I'm not gonna drink it!)...
Hailing from Mulberry, Florida, it's the skillful videographer, Vivien “Video” Montgomery! Life on the A-list has been kind to this warm and friendly filmmaker who's known as one of the greatest producers in Hollywood. Many of the leading men in the industry know Video for her distinctive “camera-holding” silhouette, and have all placed their bids for the chance to court her. Praised as the hottest, brightest video star around, Vivien is a workaholic with the knack for pushing herself to the extreme limit for perfection while maintaining her positive image with one successful project after another. Her work has a way of seeping through the lens of her camera to the larger population and catching on like wildfire. She taps into what people want to be on video, and prefers to film with a lifestyle in mind, not necessarily a realistic lifestyle, but the lives that most people want to live. Ms. Montgomery is always on the move, but she also manages to find the time to relax and unwind, preferably at her beachfront home, in Anguilla! The jewel of her father's eye, Vivien has a close connection with both her parents, and she makes certain to put her work aside for monthly trips to visit them. Some things are better left unsaid, like the fact that she's the cousin of Misfits groupie, Clash! As children, the two grew up together, sharing holidays, celebrations, vacations and special moments alike. First cousins, yes, but the Bobbsey Twins they're not! No one knows for sure the age difference between both cousins. Video says that she is two years older than Clash, but Clash exclaims that their birthdays fall on the same day. Whatever the case, Video has the most talent and carries herself with style and grace. Popular, prestigious and chic, she is everything that Clash is not, and more! Video is associated with the best of the best in music and film, particularly with Lin-Z Pierce, and close friend/collaborator, Anthony Julian, and she values her friendships with each of them as depicted in her first debut of the series, “Starbright, Part One.” Her introduction to Jem and the Holograms held much significance in her career as she went on to introduce the Pop stars to dance choreographer, Danse Dvorak, and has since collaborated together with the six of them on a list of music videos. The only people alive who come close to ruffling her feathers are the Misfits! From day one, Video has struggled with repressing her composure against the four undomesticated animals of Rock 'n' Roll! In “Father's Day”, while watching a home movie of herself and Constance's childhood with their fathers, Clash and Jetta suddenly attacked her by dumping a bowl of popcorn on top of her head and removing her chair from underneath her, causing the delicate beauty to crash to the floor rather violently! This is the first time Video ever displayed her temper as she almost came close to fisticuffs with both ill-mannered rowdies. Everyone knows just how annoying Clash is, and it's no secret that she's a thorn in her dear cousin's side. Not a day goes by when Constance is not formulating a plan to obliterate her work and horn in on her accomplishments. But Vivien is wise. She is well aware of the true pain that her tainted cousin harbors inside just knowing that there's only ONE success story in the Montgomery family, a story of success that is FOREVER written in stone!
Constance “Clash” Montgomery is the sneaky, conniving, despicable first cousin of film guru, Video Montgomery, and the Misfits' biggest fan. To be a “fan” is one thing, but being a glutton is a whole other story, and Clash has always had a hard time differentiating the two. Movie-wrecker/impersonator/criminal...the list is endless! Still, Clash prides herself on the thought of hopefully becoming the fifth Misfit, and she'll bite, scratch, claw and KILL her way to the top if need be. It doesn't matter if she's basking on the most popular beach in California with the famous, glamorous women of Rock 'n' Roll or lounging around in Pizzazz's mansion dreaming up foolproof plans to destroy Jem and the Holograms, Clash always has one thing on her mind and that is to become apart of Rock history. A true snob through and through, Clash feels superior to her cousin and tries to compete with her in every way conceivable, like when she brought the Misfits to her hometown of Mulberry in an attempt to upstage Video and brag to her friends and family. The desire to outdo her cousin was like waking the beast and Clash went on to badmouth her to half the town regarding her plan to have Jem and the Holograms perform for Father's Day. Like Video, Clash is also her father's little princess. The rivalry between both siblings is often the centerpiece of hot topics from her father who, because of his greedy and over competitive nature, often brags to Video's father about his daughter being “better” than her, when in reality, Clash is the one who's extremely jealous of Video! Even as toddlers, Constance would attack Vivien out of anger. On one of her birthdays, Constance received a pair of large cymbals as a gift, then decided to pester Vivien by smashing both instruments together loudly in her ear, which scared her to the point where she lost grip of her brand new camera and dropped it to the floor, destroying it upon impact. The girls' animosity for each other inevitably carried over into adulthood. And now, Constance uses their rivalry as a bartering tool to perform tasks for the Misfits. A master in disguise, Clash enjoys posing as other people to get the job done, including her own flesh and blood...it really doesn't get any lower than that! Though she wears a pair of cymbals around her wrists, she doesn't play any instruments or sing, yet she has grand illusions of being in a musical group. Pizzazz has never considered her a close friend, much less a Misfit, and she never cared to entertain the thought. However, Pizzazz knows that she'd do anything to desperately belong in some way, shape or form to her hot-shocking all-girl group, so she allows her to hang around her mansion, and is willing to accept most of her schemes and scams against their enemies. Her talent for disguising herself to spy on Jem and the Holograms came undone, and the situation almost reached a deadly end, in “Starbright, Part Three”, as Constance displayed her inconsiderate nature by risking the lives of innocent pedestrians and other drivers while bolting erratically down the highway to flee from trouble! The colorful, careered criminal was running wild as usual, but there was something about that episode and the climax of her getaway that always bothered me. Just watching how desperate she was to make a clean break from her sneaky, messy actions, all while leaving a path of immeasurable destruction in her rear view mirror...it was disturbing and shameful! I remember thinking that she had finally reached the end of the road in the show. I mean, how much further could one go after grand theft auto and possible vehicular manslaughter?! Clash should have been hunted down and jailed long ago, but she deserved the book thrown at her for committing a total of four crimes back to back! Seriously, that episode was an eye-opener and a re-evaluation into who this character is and what she's capable of. The truth here is that she has no concern for others and doesn't care who she hurts. The law doesn't pertain to her, property damage and severe injuries are the least of her worries, and if someone loses their life in the midst of her savage behavior, then that's just fine as long as there's no trail leading back to her or a shadow of consequence darkening her doorstep! I have come to the understanding that Clash is wounded internally, and also has serious issues with self-identity. It's rather sad when you really think about it. The same rings true, in “Video Wars”, when she disguised herself as a film student to finagle her way into the lives of who else?...Jem and the Holograms! As the tide turned, Clash began to show just how sensitive and kind she could be towards others. Unfortunately, for her, it was too late, and by the end of her “documentary”, she was exposed by Pizzazz! Her actions prompted the attention of Jem AND Jerrica who both offered advice, but she confronted her defeat in deep denial, and was even reduced to tears, when Pizzazz mentioned her becoming a Misfit. It's clear to me that Clash, while rotten to the core, is, in literary terms, a tragic/sympathetic character in the show. Just think about it. She spent several years performing grunt work and chasing a pipe dream, but when it was all said and done, Constance still never became a Misfit. How pitiful is that?! Too bad she didn't get a proper sendoff in the series finale because I think she would have been worth the time and effort. In my opinion, a well-deserved conclusion showing her coming to terms with her true mission in life, and maybe a stern lesson in self-love, acceptance and pride would have sufficed!
There is no doubt that Integrity hit the nail on the head with the fourth wave of the Jem collection! It's also safe to say that I am indulging in this grand moment of excess, and I'm not one bit ashamed of it either. Clash is a great addition, and she comes with the goods. But it's Video who I'm bouncing off the walls for! Integrity gave her pale blond hair with a small section of platinum blond on the left (her left) side of her head, identical to her appearance in a few episodes, and she has loose curls and feathered bangs, all wrapped up in a ponytail and held in place with a violet banana clip. Her makeup appears very soft and almost demure, and I love how her light brown eyebrows stand out against her skin tone. I'm also in love with the three-toned eyeshadow on her eyelids. With her Lancôme cosmetics, she shows how artistic she is by melding a triple swipe of vibrant colors, starting with her bright yellow “Midas Touch” eyeshadow on the inner corners of her eyes and across her eyelids, a blend of violet “Preposterously Prosperous” shadow that covers her brow bones and bottom lash lines, then ending with a rounded sweep of green “Grandeur Success” to the outer areas of her eyes and around to her bottom lash lines. Viv then went on to liven up the creases of her eyelids with a sharp, pointed line of purple “Pin-Up Fox” eyeshadow, then darkened both lash lines with a fairly thick trace of black eyeliner, in “Single Life”, and evened it all out with her long-lasting “Cinderella's Blue Moon” mascara. She's also applied “Dollface” rouge to her cheeks and cheekbones, she moisturized her painterly pout with light pink “Glamour Girl” lipgloss and used matching pink “Uptown Girl” nail polish on her fingernails. One thing I have always adored the most about Video was her wardrobe in the show. Every piece of clothing illustrates a level of maximum comfort—another perfect element to her character! Here she's equipped with her signature outfit which radiates colors identical to her makeup. The first item is her light violet, velvet jacket with silver metallic on both shoulders, glittery turquoise blue pockets/cuffs, and a white embroidered star on the pockets, collar and cuffs. She also has a pair of cute, double-studded white/silver earrings. My favorite item to her outfit is her large silver belt. It's definitely retro with tons of modern appeal! Viv is styling in her yellow leather pants with a singular white stripe down both sides. I was a bit worried that the bottom sections of her pants would look too wide and unflattering around the ankles, but they hold up just fine. She also wears a pair of turquoise blue high heels. My absolute favorite item is her new state-of-the-art VHS camcorder! This expensive machine was manufactured in sleek gray and comes with a silver microphone that attaches to the recorder. The Design Team really upped their game by 100 percent with Video Montgomery! I love this woman in doll form, and in the cartoon itself—always have, and always will!
Next up, Clash! Now, I know she's the most “anticipated” doll in the collection, and I agree to a certain extent, even though I've always had Régine and Video on the brain. Anyway, as I said before, Clash is great. She's simply a fun character with wild, quirky, clown-like colored hair—an escapee straight out of Barnum & Bailey lol! Three heads with three versions of hairstyles and colors...sheesh! Truthfully, the quickswitch heads were cleverly constructed. Besides having to buy two extra bodies for each variation, they're all held in high regard to the collection itself. The “Clash” head that's already attached has orange and teal hair with a long rattail, which I like a lot, but the colors strike my eye in an almost harsh manner! The second version has purple hair and, again, a long rattail dangling down the back. The purple hair is a bit longer in length and colorfully bold. I love it! Clash's makeup stays the same for both heads and begins with dark purple eyebrows, and a violet purple line that runs from her left eyebrow up to her hairline. Her left eye consists of yellow “Lit Fuse” face paint that covers the entire area of her eye, an aqua blue square on the lower side of her eye, in “Borrowed Diamonds”, and a thick, pointed wing of purple “Royal Pain” along both creases and outward towards her brows. The right eye is painted mostly with orange “Poisonous Citrus” on the inner corner, across her eyelid and under her lash line with the same brand of aqua blue on her brow bone. The only direction to go with her “Devilishly Demanding” eyeliner was outward from her eyes in the shape of another wing, and then back around again along her bottom lash lines. She has two slaps of pink “Hello, Goodbye” blush on her cheeks, her lips are coated with pink “Perpetrator” lipgloss, and her nails are polished with matching pink “Invisible Touch” nail polish. Clash is quite settled in her trappings, just as snug as a bug wrapped in her lime green fur jacket with its glittery turquoise blue collar and pink lining! Underneath her furry garment, she wears a black sleeveless dress with black sequins, and it's fastened up with two thin belts, one chrome pink, and the other turquoise blue, both with a silver buckle. There are also two wide golden hoop earrings in her accessories compartment, possibly one of the best pair of earrings in the collection. Her legs are covered with stretchy pale pink tights, and her feet are supported in a pair of black lacquered heels. For this particular set, she has ditched her bitchin' distortion modulator in place for her golden cymbal bracelets, and holds in her possession a miniature copy of Cool Trash Magazine that features, surprisingly, herself on the front cover disguised as Jem. I'd say she's prepared to hijack the collection with a great deal of mischief! Her final version, the “Constance” head, is splendid. She looks exactly like her appearance in the show, wearing a long, tight bleach-blond ponytail mid-level on her head, and eyebrow-length bangs. The makeup is entirely soft and serene and it's quite obvious with one swift glance at her light honey brown eyebrows—such a BIG turn with a Misfits-inspired doll! Constance's aim was to flip the script on each and every prying eye that wanders her way, which is exactly why she's decided to turn down the vibrant colors of her makeup and replace them with muted shades, like her translucent green highlighter, in “Barely There”, her light green eyeshadow in, “Private Eyes”, on the lids of her eyes, and basic green “Crisp Cash” in the creases. Her black eyeliner is kept situated neatly around her purple eyes, in “Vanished”, and her blue mascara illuminates her lashes, in “Electrocution!” The attempted murderess prettied herself up with a faint rub of “Tart With a Heart” blush on her cheeks, and completed her makeup with a double coat of pink “Kisses on His Collar” lipgloss. I just have to be honest and admit that the “Constance” quickswitch head is actually my favorite! My only gripe would be the Kimber Benton head sculpt used for all three. I just don't believe that the Kimber sculpt was the way to go with an associate of the Misfits, but what's done is done, and I'm sure I'll get used to it as time goes on.
With my critiques aside, I give full thanks to the Design Team for their work on this set! And to think, all four characters (Clash, Régine, Video and Danse) almost squeaked through the advertising marketing stage 26 years ago to date. And now, here they stand almost three decades later in preparation for their official debut in my collection! As for Video and Clash, a truce is likely to never occur, for there's an overflow of bad blood between the two...and it's eternal! ☯
This was how we rolled, back in the 50s, on our family trips through the West. A little homebuilt plywood trailer was the portable parental palace, and the "Country Squire" Ford station wagon was the sleeping dorm for my sisters.
It had a great nautical look, with porthole windows. The trunk lid formed a kitchen tool bar that housed a card table. A gravity fed water tank supplied a small sink that sat beside an ice cooler. A fold out hinged table created a space for food preparation. It had a funky fifties futuristic take on the old covered wagons that traveled the same trails we were on.
I'm not saying it was foolproof. We cooked on a Coleman stove (there's a whole genre of jokes about Coleman stoves). One time, the stove fuel seeped into the food storage area, and contaminated a big bag of tollhouse chocolate chip cookies. "Hey kids, we're camping--no complaining"--we ate the cookies anyway, all of them. The White Gas Chocolate Chip Recipe is stomach churning, but in a weird way, the dark chocolate and refined petroleum vapors occupy a weirdly complimentary spot on the flavor spectrum. To this day, chocolate chip cookies have a fuel oil aftertaste for me, courtesy of that trip.
HAL: 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...¡¡¡
HAL: Let me put it this way, Mr. Amor. The 9000 series is the most reliable computer ever made. No 9000 computer has ever made a mistake or distorted information. We are all, by any practical definition of the words, foolproof and incapable of error.
When the wannabe princess showed up at the palace door to escape from a passing rain shower, the Queen offered her a room for the night. While the suspect princess was dining, the Queen went to personally arrange the guest chambers. She made sure to bring along a pea, and then ordered her servant to acquire 20 mattresses. Thus operation Detect-a-True-Princess was begun. The Queen knew her plan was foolproof. The servant wasn’t so sure, but mostly just dreaded having to drag 20 mattresses away again in the morning.
Tenerife
Botanical Gardens Puerto de La Cruz
www.tenerife-information-centre.com/botanical-gardens-pue...
Although known officially as Jardín de Aclimatación de la Orotava, or "JAO", this installation is actually in Puerto de La Cruz (there is a smaller one actually in La Orotava).
Billbergia pyramidalis, commonly known as the flaming torch and foolproof plant, is a species of bromeliad that is native to northern South America and parts of the Caribbean.
I've recently forayed back into Linux distributions with an eye to abandoning windows forever. i think the oncoming Longhorn from microsloth is going to be little more than windows xp service pack 3, and it'll have to pay for the privilege.
So I downloaded five or six Linux live cds, burned them, and ran each off the cd to see if they worked on any of my comps. some did ok, some refused to boot, and one stood out as the easiest to use and most compatible with my hardware.
The beauty of live cds is that you can run Linux without having to install a thing. for permanent install i chose Ubuntu Linux and slapped it onto an ancient gateway p2-333mhz. It booted first time and ran perfectly.
After mucking with it for a day or two to try and learn how to customize it to my liking, I went ahead and installed it on this comp in a dual boot configuration. There were a few minor issues easily solved through the miracle of google, and now it runs.
Fast.
Really fast, and my machine is not slow.
While it is true that Linux is a different environment than windows, and a n00b requires some training and hand holding, two things became abundantly clear: there is an enormous user community that is mostly patient with n00bs; and the learning curve is not *that* steep. Comparatively speaking, while Linux does require a bit of bravery in the beginning using terminal windows and praying you don't hose the install, windows, while appearing simple out of the box, is just as perplexing to a true computer newbie as is Linux.
I've fixed enough windows problems to know that things that seem simple to me aren't to users who want to "turn it on and have it work". Trouble with that attitude is that computers, and especially windows, don't work that way. An entire group of my friends have migrated to Macs, because, as one who writes for his living said, "they just work."
Linux isn't foolproof, but the desktop versions have gotten so much better than they were when i first tried them out in 1999. And, once the initial learning curve is mastered (akin to reading the manual for your windows comp gathering dust in the bottom of a closet somewhere) it is stable and easy to use to do the things most users want to do.
And it's free. :)
For these factors, people aspire to discover the means to eliminate termites. These termites are not hazardous for our health, however they trigger allergic reactions. There are great deals of various sort of residence allergen. There isn't really any kind of remedy, just avoidance. Signs might be much like a dirt allergic reaction episode. Generally, these indexes are gone along with by the growth of condition or locations. Take the needed procedures to stop these reasons and also you will certainly get on your method to get rid of or decrease your dermatitis
My little project from a workshop with Mary Mashuta based on her book "Foolproof Machine Quilting". Variegated Aurifil 12wt on top and 50wt bobbin
BLOGGED: capitolaquilter.blogspot.com/2013/06/so-much-going-on.html
It's not as easy at it might seem to find out which platform your train is going from.
I asked the ticket desk (of which there are many; some for a электричка (elektritchka) trains, some for'поезд' (train). Both are electric, but elektrichka are essentially for shorter or suburban journeys. 'Shorter' is relative when the USSR covers around ten time zones. So whilst the elektrichka ticket desk will tell you quite categorically that there's no 0803 to Gorlowka, that doesn't mean that there's no train at all.
Once you've decoded which flavour of train will take you there, you need to find that train. The first estimate by a primly dressed railway employee didn't work out. Each train has a number, usually three digits which is printed on the ticket and also appears on the display adjacent to each platform. Foolproof, you'd think. In this instance, not so. The train was going somewhere else entirely, and the none of the digits matched. I return to the underpass to look at all of the train numbers. None of them are mine. I ask someone else, they send me somewhere else. I ask an unconcerned policeman in an enormous hat. He's a got a big gun too, and some red Marlboro in his top pocket. He nominated another platform, but with more conviction. I go up on to the platform to the unnumbered train, which is mine. A few minutes left to find my wagon. This gent is waiting for I'm not sure what. I ask if I can take a photo of his bike, he stands up and assume he doesn't want to be in the photograph. Instead he takes off his hat and poses with his spud-laden bike.
A few days later I'm in a similar which-bloody-platform predicament. I had a lot of time to spare so I was chatting with some local students who were awaiting the same train. They didn't know which platform either, so they asked some people who also didn't know. I asked if this was a traditional 'feature' of the excellent Ukraine rail network. They assured me it was, perhaps some kind of test of the citizens' true neighbourly socialist tendencies. We concluded that it's pretty much determined by how many people are on the most likely platform. We couldn't work out how they knew though.
Nigel, it was fun while it lasted but it's time to move on. I'm with Jim now.
I've used a Nigel Slater bread recipe for the last three years, but my allegience has abruptly shifted. One of my hometown papers has come up trumps. "No-Knead Bread", The New York Times (www.nytimes.com 8 November 06) is a foolproof, innovative bread recipe that involves no kneading. It's been created by Jim Lahey of the Sullivan Street Bakery on West 47th in Manhattan. Incredibly generous of him to share the recipe - thank you!
I will miss the kneading (or "knuckle dusting" - I prefer to punch), but I won't miss olive-oil leaking over the oven or the perfectly good, but not great taste of the Nigel recipe. Jim's recipe is so simple and so rewarding. Not many things in life you can say that about.
Jim's recipe allows me to make bread that looks like it comes from Poilâne (but doesn't cost 36 euros to ship from Paris). And although I haven't tasted a Poilâne loaf, this baby was brilliant! A light, crispy crust and tender inside. So bye bye Nigel, and hello Jim! I guess you can take the girl out of America, but you can't take America out of the girl . . .
UPDATE: I've read grumblings on some foodie blogs that this isn't an original recipe and the ancient Greeks were cooking bread in pots. Really? Well since I don't subscribe to any ancient Greek RSS feeds, I'm glad Lahey updated this for a new generation and the NYT printed it .
29 November 2006 - Since posting these pix I've made this recipe about 8 times. I've got it memorised and it is still easy and still completely foolproof. I now use 2/3 organic stoneground wholewheat flour and 1/3 white flour. Bliss!
Devised by a Union farmer looking to thwart coal prices, these vessels took advantage of the frequent winds across the vast prairies. Although their gearing prevented great speed, the freedom from polluting coal smoke and loud pistons created a tranquility perfect for a leisurely pleasure cruise along the jerkwater rail lines. In a storm, the windmill could be disengaged to prevent capsizing. As the Great Steam War caused shortages of coal on the Union home front, many of these vessels were built for commercial purposes. Unlike the Far-Eastern and Imperial sail cars, windmill-powered rail vessels were foolproof; they did not require the knowledge of a seaman to navigate.
A Model Power metal FP7 goes with me to train show. Someday it will get weathering, but never DCC. It's a good runner and the dummy couplers are darn near foolproof for show running.
This is a panorama picture from ten vertical shots. Enjoy the cold view. ;)
Full story: 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.
Enjoy the photos! Thanks for all visits, comments and Favs.
Copyright © Gabor Matesz Photos. All rights reserved. Please don't use without my permission.
Chassis n° 379
Coachwork by Roussile & Fils - Bergerac
Les Grandes Marques du Monde au Grand Palais
Bonhams
Estimated : € 90.000 - 110.000
Sold for € 184.000
Parijs - Paris
Frankrijk - France
February 2018
- Majestic survivor of formal coachwork design
- Simple ownership history
- Sympathetic older restoration retaining original interior
- History of long distance tours
Although it was Karl Benz who first made the motor car a viable proposition with his primitive slow-revving engines and designs, those were left on the starting blocks when Panhard brought in the Système Panhard, a design that was to mould the future of the motor car for the next century, and when De Dion Bouton introduced their fast-revving engines in the last decade of the 19th Century. Early rear-engined De Dion Boutons, gave way to a new generation of front-engined cars for the 1902 season, again single-cylinder models with atmospheric inlet valve and mechanical exhaust valve. De Dion's gearbox was virtually foolproof for the first-time car driver, the fast-revving engines were supremely reliable, and De Dion back-up and service was second-to-none.
But as with modern technology things moved quickly and the company had to move with the times, by the turn of 1904/5 an inline four cylinder was offered, being simply four individual pots on a common crankcase. Next the radiator was moved above the chassis in the style made fashionable by Mercedes and with it the 'alligator' or 'coal scuttle' bonnet was retired. The gearbox too would follow fashion and move to a side control mechanism, by the time De Dion fielded their Peking-Paris team in 1907. The model AX as offered here represented the evolution of the first four that was introduced, on a slightly longer more substantial frame and with magneto ignition. As a bare chassis it cost 11,500 French Francs more than twice the price of their single cylinder car which was still offered, and with formal coachwork, 40-50% could reasonably be expected to be added.
As can be seen from the variety in the collection, Jacques Vander Stappen took great interest in coachwork and its design, particularly in its earliest days as it transitioned from coaches and railway carriages to cars. The De Dion Bouton presented here is one of very few surviving cars of any marque that retain Double Berline coachwork, a design which owes much to railway carriages more than cars, and literally took its name from having two coaches perched together in tandem. Those carriages being separate entities with a fixed division. Perhaps the most famous survivor of this external style is the famed 'Corgi' Rolls-Royce, sold world record price car of the marque sold by Bonhams in 2012, but that differs in that the interior compartments are not separated. Another survives on a Silver Ghost built by Fuller of Bath, there is one in the Mercedes-Benz Museum in Stuttgart on a 60hp, and of course Bugatti would copy this style in convertible form on one of his Royales, but they are certainly few and far between.
The regal De Dion Bouton here is a lesser known example which has resided in Continental Europe all of its life. Very little is recorded about its coachbuilders, Roussille Fils of Bergerac, nor for whom they built this majestic piece, however it is unquestionably a wonderful automobile that would have made quite a statement in its day. From the condition of its interior it is clear that its use was relatively modest and from the documentation on file we know that however brief its original commission was, it was clearly laid up relatively early on, until it was discovered by noted collector Eugene Segers in the early 1960s. Photos of the car show its slumber incarcerated in a French barn, then its subsequent careful refurbishment. Aside from its technical specification which pinpoints its year of construction to 1907, during the sympathetic restoration that it received, a business card was beneath the upholstery in the rear compartment stating that the bodywork was supplied in March 1908.
During its restoration, its headlamps were replaced with large BRC, but it would seem that otherwise the car remained as it had been found and was new. The upholstery appears to have been cleaned at this point rather than replaced. At this point, the bold BRC headlamps it now wears were fitted. Once finished the De Dion was then put on the road and campaigned in and around Europe, including journeys such as the 1961 run from Brussels to Paris and Madrid and The Polar Tour, as attested by plaques in the front cabin.
Segers must have prized the car and it was not until his passing that the car was sold by his son Philippe, in 2001, when Mr. Vander Stappen was able to secure it for his collection. Over the course of the last few years its use has been far more modest than its busy 1960s life and at present the water pump has been removed, suggesting that this needs attention, as well as general recommissioning.
The car is a quite remarkable period piece, in its technical aspect it shows the transitional De Dion Bouton model with separate cylinders as they moved from their ubiquitous hugely successful single cylinder automobiles to multi-cylinder production, while the coachwork is a snapshot of how some chose to be conveyed in the early days of the motorcar and its state of preservation places it in an even rarer category.
One of my favorite flowers freesias. They turned out to be the easiest, absolutely foolproof and most rewarding springflowers in my garden and on the terrace in town.
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Freesien habe ich besonders gern und sie bewähren sich als 100% narrensichere Blumen in meinem Garten auf dem Land und auf der Dachterrasse in der Stadt..
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.
Enjoy the photos! Thanks for all visits, comments and Favs.
Copyright © Gabor Matesz Photos. All rights reserved. Please don't use without my permission.
This is what I will be teaching at ZNE's Convenzione in April '09
It incorporates many techniques including, acrylics with glazing medium,stamping,inking,stencil,image transfer method that is foolproof,charcoal shading/highlighting,journaling,dip-dot heart, water soluble graphite with blending medium
6800. Let's pause first and look carefully at this wonderful old industrial photo of the 7,150 tons [standard]--9000 tons [full load] Modified Leander Class cruiser HMAS HOBART [I] and her dockyard setting. The subject of a botched and eventually abandoned modernization project, the cruiser sits high in the floating dock at the State Dockyard, Newcastle [NSW], which was opened in 1942 for wartime work on the bones of an old dockyard and engineering company closed in the 1930s. The second dockyard itself eventually closed in 1987.
As seen here the dockyard stood on Dykes Point in Newcastle's Hunter River estuary, and there's a gorgeous bucket dredge and two tugboats on the lower left; also a rickety old observation post of some kind on the wharf in the foreground.
In fact, as Photostream followers will know, we have had many superb industrial shots of this the utterly muddled and costly project, but we think this one is undoubtedly the best of them. We found it in the online image archives of the late and celebrated Hunter region Economics professor and researcher Cyril Renwick [1920-2010]. It is likely from a sequence of images taken for the Newcastle Morning Herald in early 1955, eight months before the project was abandoned, after more than three years work and the expenditure of one million pounds, a huge sum in those days.
Laid down as HMS APOLLO at Devonport in Aug. 1933 and commissioned in Jan. 1936, HOBART [I] was not actually that old when planning for this started in 1950 - 14 years old. A veteran of WWII she had been hit by a torpedo in the Coral Sea on July 20, 1943, and had already undergone substantial re-building at Cockatoo Island as a result, returning top service in the last year of the Pacific War.
HOBART served on for two more years after the war ended, mainly on Occupation duties in Japan, but was finally placed in reserve in Dec. 1947.
By 1950 the Cold War was becoming ever-more ominous, and the RAN was looking for a modern cruiser to escort the two aircraft carriers it was bringing into service. Faced with difficulties finding a suitable cruiser [which we don't find reasonable - the New Zealand Navy managed to obtain three Improved Dido Class cruisers from the Royal Navy] a somewhat half-baked decision was made to modernize HOBART. What followed was a fiasco in muddled thinking in the Navy planning offices.
We've written about this in many Entries - not always getting it right [we'd always somehow assumed that industrial troubles at the dockyard, rife on the Australian waterfront in those days, was the main problem]. But the problem it seems was indecision, and changing decisions, and circumstances, in the Navy.
We're going to let an extract from Wikipedia take up their version of the story of what happened "... In 1950, following the failure to find a suitable new British cruiser design, and a dollar shortage preventing the purchase of US vessels, it was decided to modernize HOBART and use her as a stop-gap aircraft carrier escort until the Daring Class destroyers entered service, after which she would serve as a troop convoy escort to the Middle East in the event of a future conflict.This planned role changed in 1952 following a series of financial cutbacks and the realization that the Battle class destroyers were suitable carrier escorts; instead, HOBART was to replace AUSTRALIA [II] as the training cruiser. She was taken to the Newcastle State Dockyard for modification.
During 1953 and 1954, further reductions in the RAN saw one carrier taken off active duty for use as a training vessel, eliminating the need to return HOBART to service. Other options for reactivating the cruiser were explored, including conversion to a guided missile ship, but by April 1955, all proposals were abandoned. Despite the conversion work to date having cost £A1 million, the modification was cancelled..."
While Wikipedia are not foolproof, we've found their work on the RAN and defence issues generally has almost always been both good and thorough, and this is as cogent an explanation for the HOBART muddle as we have found.
What is certain is that the part-modernized HOBART never went to sea under how own power again. Towed back to Sydney by one of the fleet tugs in Dec.1955, she was placed in the reserve fleet at Athol Bight again. As we have seen here on the Photostream many times, she was eventually sold and towed off for scrapping by the Mitsui Corporation in Japan in 1962.
Photo: from the Archives of Professor Cyril Renwick [1920-2010] it appears in the State Dockyard Newcastle sequence of the Cultural Collections of Newcastle University, available on Flick, here:
www.flickr.com/search/?q=State%20Dockyard%20Newcastle%20
A two-part COMPENDIUM of links to the Photostream's 100+ HMAS HOBART [I] images begins at Entry NO. 5464, here:
www.flickr.com/photos/41311545@N05/6734070483/in/photostream
You'll must often quit by tapering off or quiting cold turkey although there are lots of strategies to quit smoking but regardless of your.Tired of having to get outside to smoke in freezing conditions? Here is a foolproof, speedy and surefire method to keep without smelling up the house high.
This is the celebrated female Brewer's that has spent (at least) the past six Winters here in this section of Hernando County Florida. She has a distinctive blotch of white pigment visible in her right eye- which makes a positive ID of her 100% foolproof. Simply Amazing.
LLHEc
The Saint Mystery Library #2, ed. Leslie Charteris
Great American Publications 119, 1959 PBO
Cover art by Art Sussman
Contents:
A Package For Mr. Big, by Frank Kane
Witness To Death, by Wenzell Brown
For the Good of the City, by Arthur Somers Roche
City in the Bottle, by Hayden Howard
I Want It Foolproof, by Richard Deming
A typical aisle at The Bookery, longtime bookstore in Lexington, Virginia. Over 50,000 new and used books in one small store. Sign: “We have a foolproof filing system here. Any fool can find it if he looks hard enough..” Photo: 17 June 2021
The Pouva Start is made of bakelite and takes type 120 roll film. Its lens is of a simple two-element design. It was manufactured in Freital, near Dresden, in the German Democratic Republic.
The camera is very compact. The lens can be screwed in so it lies almost flush with the body. Then the shutter cannot be triggered. This is possible only when the lens barrel is completely extended.
At the front of the lens the user can select the exposure time: "Moment", which is around 1/30 s and "Zeit" (time), which is B - the shutter will then stay open as long as the shutter button is pressed.
The use can also select the f-stop. "Sonne" (sun) is around f/22 and "Trüb" (dim) around f/8.
The lens cannot be focused. I assume that everything beyond 1 metre will be more or less in focus.
The shutter is of a foolproof design: a little spring-loaded metal plate with a cut-out moves out of the light path when the shutter button is pressed.
So the user does have some control and skill should make a difference. There is nothing to stop the user from winding beyond the next frame, nor for that matter does the camera force the user to wind. Multiple photos can be shot on the same frame. A peep-hole with a red window shows the frame number printed on the backing paper.
The visor folds up and comprises two bakelite-framed plastic lenses that have to be aligned. Later models had a conventional see-through viewfinder, but I prefer the old model.
Although this is a simple camera, it is surprisingly well-made and conveys a sense of quality. It is not something like a Holga or Diana that never appears to be meant quite seriously. I expect there to be some vignetting and lens flares, but other from that, it should perform.
I'm curious to test the Pouva.
Shot with:
Canon EOS600D
Leica Bellows R (16860)
Leica 100mm f/4 Macro Elmar-R, bellows version (11230)
Nikon N8008s + Nikkor 50mm f/1.8 + Kodak EliteChrome 200
new toy. delicious. love the F100. bought it with 15 rolls of expired Velvia 100F and some assorted other rolls, 20 in all. really excited about the rolls from this weekend that I shot at the wharf.
Not sure if I like kodak anymore. Film's just too difficult to scan. I never have problems with velvia, but it seems like Kodak's thinner emulsion messes with my scanner. I can fix it with vuescan, but it's just annoying. I haven't shot any portra in a while, only this elitechrome and that ektachrome 1600 a while back. both had the same problems, a horrid red cast that I can't find a foolproof way around. I guess I'll just wait and see how the other rolls I have go. If I can't do anything, I'm done shooting kodak, at least their color stuff.
The Moon
Y Lleuad
God hinders us – being wise –
In a multitude of ways.
Lovers, lorn and benighted,
Limp on unrequited.
Longing for woman’s lightness,
Lust-struck, dazzled sightless,
Slave to Ovid’s muse, I stray
Where I dare not go by day:
Lunatic scheme! Sore my plight!
Lost by day and foiled by night!
Luck eludes me, though I swoon,
Love her! Thwarted by the moon!
Waiting in the woods, the murk
Would have aided amorous work
Were it not as bright as day.
Why! Cold moonlight will betray
What seemed a foolproof scheme! Grief
Will get me, like a doomed thief:
Waxen moon, maiden’s minder,
Winter-whitened man-blinder!
Baleful, glowering, candle-white,
Blooming Blodeuwedd of night!
Planet wan, a watery waste,
Parish of the ever-chaste!
Half a month, by her rhythm –
At home in her dark heaven –
Will make her wan, pale to wane:
One fortnight clear to wax again,
Then half and half she wavers –
The maid withdraws her favours –
Tide-stirring, bright and wide:
The ghost-sun, the starlit Bride.
No thief ever found a worse
Gift. Moonlit night: burglar’s curse.
Eiddig slips out of his bed
At the raising of her head:
She assists the churl to scare
This suitor in his twiggy lair.
Fine florin, Eiddig’s friend,
Finding star-strewn ways to wend,
Far too wide, her chalk-white face
Flowering for the wind’s embrace.
Faithless, to this lover’s cost,
Frigid scatterer of frost,
Faceless foe! My love must hide:
Fear will keep her locked inside.
Fickle circle, fair of flight,
Flawless in the moonlit night.
Candle of the world, she’ll know –
Canny creature – where I go,
Compassing the wind-wide world,
Casting light as men are hurled
Callously across the sky,
Careering onward as we die.
Caressed by lightning, bright rim,
Circle of the cauldron’s brim,
Cold lamp in an azure sphere,
Queen of gleaming atmosphere.
Day of a base-metal sun
Drives me out, and I must run,
Dart for shelter, ere the dawn
Draws me down for Eiddig’s scorn.
Darken but a little, moon –
Do but this – I’ll make her swoon
With love-words! Saints, angels, hark!
Would to God that it were dark!
Enough it is that light holds sway
Twelve hours every day.
Good God who made the light,
Grant a lover’s gift of night!
Source material: Poem by Dafydd ap Gwilym, paraphrased by Giles Watson. Of all Dafydd’s poems, this is the one which draws most heavily on the lore and language of the pagan Celts, but with characteristic brilliance, he subverts the tradition by transforming a riddling hymn into a diatribe, and transforms it again at the end into a wickedly wayward Christian prayer. The moon, which might in other circumstances be the subject of Dafydd’s praise, invites his scorn because it has cast its light on his hiding-place in the greenwood, where he had hoped to have his tryst with Eiddig’s wife. The entire poem is, of course, a witty and ironic meditation not only on the rhythmic nature of the phases of the moon, but on the changeability of womanhood, and his skill as a poet is evidenced by the deftness with which he alludes to the relationship between the lunar and menstrual cycles. Indeed, it could be argued that Eiddig himself is more or less superfluous as far as dramatic tension is concerned: there are plenty of hints here that, under the moon’s influence, Dafydd’s beloved is not in an amorous mood tonight in any case. The reference to Blodeuwedd – the miraculous maiden of the Mabinogion, conjured out of flowers and then transformed into an owl as a punishment for an adulterous and murderous affair – is more subtle in the original, where the line in question reads “Blodeuyn o dywyn dydd” (“Is the bloom of the day’s radiance”). In an attempt to echo the incantatory tone of the original, I have preserved the heavy alliteration of Dafydd’s line-openings, although not always with the same sounds. It is worth noting that the longing for darkness to cover one’s misdoings, combined with a similar incantatory tone, is a feature of the speeches Shakespeare attributed to Macbeth and his wife – although their transgressions were of a bloodier nature. This paraphrase was written on the night of the Full Wolf Moon – the brightest full moon of the year – at the end of January, 2010: a happy coincidence which certainly facilitated the work.
Corn bales dot the landscape of this farm in Berks County, Pennsylvania. In my never ending quest to fine tune my film development workflow I switched to a Beseler 8x10 color print developing drum on a Uniroller 352 auto-reversing rotary base for my 4x5 film development. I was getting uneven development always on a single sheet when I was trying the Mod54 insert in the older screw-top Paterson tank on the rotary base. Although the Beseler drum only handles four sheets at a time instead of the Mod54 six sheets, it is nearly foolproof and I've been able to use 80% less developer, stop bath, fixer and distilled water with each batch which is a huge advantage. I also have a Beseler 11X14 drum that takes eight sheets of 4x5 but I think I need to locate or fabricate a missing sheet spacer insert for that drum before I use it for developing. Going forward, the Mod54 insert will be used mostly for processing the double-sided Fuji HRT-30 X-Ray film I still have left.
4x5 for 365 Project details: greggobst.photography/4x5-for-365
Technical details:
Sakai Toyo 4 1/2 x 6 1/2" (half-plate) large format metal field camera with 4x5" film back.
Fujinon-W 210mm F5.6 lens in Copal B shutter.
Arista EDU Ultra 200 (re-branded Fomapan) B&W Film, shot at ISO 160.
1/30th second at F32.
Developed in Adox Rodinal 1:50 dilution for 7 minutes, 20 seconds @ 20 degrees Celsius using Beseler 8x10 color print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
4x5" negative scanned with Epson V600.
"A" is for accident. The road to the left is a swooping curve. Over the years I've seen more than one car up on the bank of the house next door when they keep sliding around the bend. I overheard the van owner say that he was stopped for cars on the road and she came around the corner fast. I ventured out today after all our bad weather and people were driving very fast for the conditions. The road snow is packed down to icy like stuff.
Over-processed look is brought to you by NIK Colour Efex Pro that I downloaded for a trial. It is actually really good and easy to use. Does anyone out there use NIK software???? Comments????
In Ontario there is no such thing as "accidents". They are called collisions as all are preventable.
This saved me from doing a snow angel.
From now on I will likely get my numbers mixed up even with my foolproof labelling system.
6C46 trundles on to Sellafield.
The pyramidial lumps which we can see are solidified slag from the Moss Bay works of the Workington Iron & Steel Co. which were tipped from chauldron wagons worked along the Cleator & Workington Junction Railway's Moss Bay branch and which came in handy as a makeshift sea defence.
Not foolproof though as the erosion which is undermining the former C&WJR embankment testifies.
When the wannabe princess showed up at the palace door to escape from a passing rain shower, the Queen offered her a room for the night. While the suspect princess was dining, the Queen went to personally arrange the guest chambers. She made sure to bring along a pea, and then ordered her servant to acquire 20 mattresses. Thus operation Detect-a-True-Princess was begun. The Queen knew her plan was foolproof. The servant wasn’t so sure, but mostly just dreaded having to drag 20 mattresses away again in the morning.
Is there should be any festive occasions to taste this most famous Indian sweet? not at all. Usually it is prepared during Diwali, Navratri, Raksha bandhan and given as gift pack to others to celebrate the festivals. I can bet that this is the most easiest sweet with very few ingredients, without loads of ghee and very less effort. The most easiest sweet but the costliest ones in shops. I have prepared this kaju katli recipe / kaju barfi recipe so many times, as it’s my daughter’s favourite and it’s always a foolproof recipe for me without any flops. Before trying the recipe, please read the tips carefully and go ahead. Try this sweet for your loved ones during this weekend and have a great time.
Recipe Link: asmallbite.com/kaju-katli-recipe-kaju-barfi-recipe/