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The MR16 pins became loose and no longer make a good contact with the socket. I show the insert with a small tape measure for size comparison.
PXL_7882_cr
*insert a lot of modesty, lol*
This photo reminds me of a car advertisement or commercial screenshot. That's why I've uploaded it.
No group images in my comments please.
Typically, when you buy a medium format roll film holder you buy a case with a winder and an insert that holds the spools. If you only buy the insert then you build your own box, which is what I have done with this RFH from a Fuji GX680. The box is a pinhole.
I was able to make a winder by using a spindle and gear from a damaged Hasselblad RFH. It has to be counted on 15 half-turns to get to frame 1, and then successively 5 half-turns, 4.5 half-turns, 4 half-turns, and so on. I dare say the frame gaps will be quite large the first time I run a film through it.
The Sessantotto pinhole camera is a 6x8 with a 45mm pinfilm distance and a 0.25mm pinhole disk. It equates approximately to the same angle of view as a 20mm lens on a 135 camera. As such, it fills the gap between my other 6x6, 6x7, and 6x9, 120 roll film pinhole cameras.
Unusually for me, I started out with some sketches, but the final details were still completed as a 3D design-as-you-go project.
Plumeria (frangipani) flowers are most fragrant at night in order to lure sphinx moths to pollinate them. The flowers have no nectar, and simply dupe their pollinators. The moths inadvertently pollinate them by transferring pollen from flower to flower in their fruitless search for nectar.
Plumeria species are easily propagated by taking a cutting of leafless stem tips in spring and allowing them to dry at the base before inserting them into soil. They are also propagated via tissue culture both from cuttings of freshly elongated stems and via aseptically germinated seed
2806, 2850 and 2845 charge out of Reid River hauling 9255 Mount Isa to Townsville Mineral Freight. 30/01/20
Please do not add me as a contact without commenting or faving my photos. A non commenting contact is not what I desire and will be deleted. If you add me as a contact please feel free to make any thoughtful comment you wish. Faving a photo will be considered a comment. Thanks for understanding, sharing thoughts and ideas is what I would like to get out of flickr.
Cécile Brünner, the rose, is just about done for this season. Two days of high winds are forecast and they'll probably finish her off. Maybe then she'll get pruned. There's always something going on with Cécile. She's housed the wren's nest, is part of the cottage's windbreak, and climbs up and over the shade house where, despite the "monster who ate everything" frost, she kept the houseplants safe. While she was at it, three ginkgo seedlings arrived in the mail the other day and are in there too, recovering, getting used to their new home ahead of them heading off into the "wild wood" next year.
I picked the last few buds of Cécile on their skinny little stems. They don't make the best cut flowers. But they are pretty enough for a dressing table or vanity for a day or two; then this…
Fortuitously, this little vase and it's posey are roughly the size of the wren's nest, so I know the formula: 42 turns of the focussing rail, front to back. toddkeith533 favoured the notion of a small aperture for close-up photography over stacking. So, taking his advice to enhance my inherent "efficiency", or laziness, I've stopped down to f/11 and reduced the process to just seven exposures — hybridisation, if you like. While I was at it, I turned off the overhead lighting and swapped out the flash I used on the wren's nest for the less powerful 430 EXII. The results? No exposure compensation numbers were harmed, and computer time was far, far less than for however many photos I used at f/4.
What it all amounts to is a pretty little pink thing to insert among the green doom and gloom of a frozen landscape. Even wilted and drying roses are better than that!
In 1953 Chevrolet renamed its series and the Bel Air name was applied to the premium model range. Two lower series, the 150 and 210, also emerged (as successors to the Special and Deluxe series, respectively). The 1953 Chevrolet was advertised as "Entirely new through and through," due to the restyled body panels, front and rear ends. However, essentially these Chevrolets had similar frame and mechanicals to the 1949-52 cars.
The 1953-54 Chevrolet range had a unique and somewhat awkward look about it and much of this stemmed from its role as a transitional model to introduce a raft of changes that were necessary to pave the way for the introduction of the 1955-57 range that really established the Bel Air as a cultural icon. The pre-war technology: such as torque tube drive, six-cylinder splash feed engines, knee action suspension, split windshields, etc., of the early models was phased out and the foundations for the first post war modern Chevrolet passenger car were finalized in this 1953-54 model.
Of all the Bel Air variants available across the 1953-54 range the two door hardtop and convertible remain the stand outs in terms of style. The Bel Air series featured a wide chrome strip of molding from the rear fender bulge, to the rear bumper. The inside of this stripe was painted a coordinating color with the outside body color, and "Bel Air" scripts were added inside the strip. Lesser models had no model designation anywhere on the car, only having a Chevy crest on the hood and trunk.
1953 was the first year for a curved, one-piece windshield. Bel Air interiors had an optional massive expanse of chrome across the lower part of the dashboard (most were painted), along with a deluxe Bel Air steering wheel with full chrome horn ring. Carpeting and full wheel covers rounded out Bel Air standard equipment.
For 1954, the Bel Air stayed essentially the same, except for a revised grille and taillights, and a revised engine that had insert bearings and higher oil pressure, needed for the full-flow oil filtration system that was not available prior to 1954. Prior to 1954, the 235 and 216 cubic inch six cylinder engines had babbit bearings and scoops to create oil pressure at the bottom of each rod and the oil pressure was standard at 15-30 PSI. During these years, there were three engine choices, depending on the transmission ordered. Both 235 cubic inch engines were "Blue Flame" inline six cylinder OHV engines, featuring hydraulic valve lifters (in 1953 with automatic transmissions) and aluminum pistons. The 106 hp (79 kW) 235 cubic inch displacement engine was standard on stickshift models, with solid lifters and splash plus pressure lubrication including babbit bearings. Powerglide cars got a 115 hp (86 kW) version which had hydraulic lifters and full pressure lubrication.
In 1953 and 1954, Bel Airs could be ordered in convertible, hardtop coupe, two- and four-door sedans, and, for 1954, the Beauville station wagon which featured woodgrain trim around the side windows. Many new options, once available only to more expensive luxury cars, became offered starting in 1953, including power steering and the Guidematic headlight dimmer in 1953; and power brakes, power 2-way front seat and power front windows in 1954. All 1954 models equipped with the standard transmission used the 1953 Powerglide engine.
[Text from Wikipedia]
en.wikipedia.org/wiki/Chevrolet_Bel_Air
This Lego Miniland-scale Chevrolet 1953 Bel Air Hardtop has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.
The Challenge theme chosen is number 78 - 'Places, Everyone' - for any vehicle named after a place.
Linde Church (Swedish: Linde kyrka) is a medieval Lutheran church on the Swedish island of Gotland, in the Diocese of Visby.
Linde Church is a homogeneous Romanesque church. Construction of the presently visible church started in the late 12th century and was finished in the early 13th. A single, large Gothic window was inserted in the eastern wall in the 14th century. In 1951-52, the church was renovated, and again in 1973-75.
The external nave and choir portals are both decorated with Romanesque sculptures. Inside, the church is decorated with frescos. On the northern wall is a set of paintings depicting the Passion of Christ, dating from the 15th century. On the western wall is another set, also from the 15th century, depicting women being harassed by devils. Among the church furnishings, the altarpiece from 1521 is especially noteworthy. It depicts God the Father with Christ, with Saint Giles and Saint Olaf on each side of them. Additionally, the doors of the altarpiece contain sculptures of the apostles, Saint Canute, Saint Eric and Saint Bridget. The church furthermore contains a copy of a triumphal cross today kept in the Swedish History Museum. The original dates from the end of the 12th century. The church furthermore rather unusually contains two baptismal fonts. Both are probably from the 12th century, and one may be a work by the stonemason Hegvald.
South-west of the church lie the ruins of a medieval house, probably the former parsonage.
Source: Wikipedia
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Linde kyrka är en kyrkobyggnad i Visby stift. Den är församlingskyrka i Linde församling.
Linde romanska 1200-talskyrka påminner till det yttre om Levide kyrka eller Hangvars och Halls kyrkor i samma stift. Det är lätt att tro att kyrkan uppförts av grå kalksten i enhetligt sammanhang. Istället har det skett etappvis. Allra först vid slutet av 1100-talet eller början av 1200 byggdes kor och absid. Cirka fyra decennier senare uppfördes långhuset, vars kryssvalv bärs upp av en mittpelare. Vid mitten av 1200-talet tillkom slutligen tornet. Under 1300-talet försågs absiden med ett fönster i gotik. Triumfbågen vidgades och fick en spetsig utformning. Medeltida kalkmålningar pryder interiören. Här, liksom i flera andra gotländsk kyrkor, har den flitige 1400-talskyrkomålaren Passionsmästaren varit verksam med sin bildsvit ur Kristi lidandes historia. I tornkammaren och långhuset finns målningar från 1300-talet av apostlar, var och en i ädikula.
Bänkinredningen från 1700-talet utgörs av fyra slutna bänkkvarter .
1858 byggde O N Lindqvist, Visby, en orgel med 5 stämmor. En ny orgel inköptes 1901 från Åkerman & Lund Orgelbyggeri, Stockholm. Orgelhusets fasad är från 1858 års orgel och präglad av nygotik. Orgeln är mekanisk.
Källa: Wikipedia
El puente constituye un vestigio eminente de un tipo de construcción que ilustra una etapa significativa del desarrollo de la ciudad de Santiago. Asimismo, se encuentra inserto dentro de una de las obras hidráulicas de mayor envergadura efectuadas en Chile, como lo es el Canal San Carlos.
Dentro de sus valores históricos, destaca por ser una muestra física de los antiguos trazados y caminos utilizados en el período colonial, los que pertenecieron a las rutas de abastecimiento ganadero, así como también a las misiones religiosas jesuitas.
En el plano arquitectónico, la tecnología aplicada en el puente, corresponde actualmente a tecnología en desuso, sin embargo representan un valioso registro de la capacidad de resolución técnica y del estado del arte de fines del siglo XVIII y principios del XIX en el país.
Una historia de larga data
El puente da cuenta de las obras levantadas en el marco de la construcción del Canal San Carlos, la que fue conocida como una de las proezas de la ingeniería de Chile. El canal posee un trazado que se remonta a 1588, y que vio luz a fines del siglo XVIII, durante la época de transición de la Colonia a la República.
La obra inicial fue concebida por el ingeniero Agustín Cavallero y posteriormente un discípulo de Joaquín Toesca, trazó definitivamente el canal y para calculó los puentes que lo cruzarían. Sin embargo, fue a fines del siglo XIX cuando se concluyeron la totalidad de las obras de la mano de la Sociedad del Maipo.
Another 10 paper inserts advertising Wills's cigarettes & tobacco ~ Capstan, Cut Golden Bar, Gold Flake, Legation, Whiffs & Woodbines
Ursula and the accessories have been deboxed. The display stand is assembled. It consists of a long clear plastic rod that fits snuggly into a black plastic base, with a purple nameplate in front. Ursula is placed on the stand by inserting the rod into the middle of her underside. She is very stable, and her tentacles can be posed in various positions. I decided to leave a tentacle attached to the fork of the trident, to make it more stable. With her sitting a couple of inches above the base, it appears as though she is floating in air. With a blue background, it can be imagined that she is floating or swimming under the sea.
Deboxing Sea Witch Ursula. The backing has been removed from the box, with Ursula and most of the accessories attached. The top of the backing was stuck to the top front of the box with double sticky tape, which I loosened taking care not to damage the box or the backing. The paper Certificate of Authenticity, reply card and 2-year warranty card were all loosely placed behind the backing. The rubberbands securing her necklace to her neck and the trident to her hand and tentacle had deteriorated with age, and basically disintegrated when I tried to remove them during the deboxing. There were wires securing her body and tentacles to the backing, which all came off very easily.
My newly acquired Sea Witch Ursula 9'' Limited Edition Doll (Mattel, 1997). She is the third installment in the Great Villains Collection, and is a Disney Collector Doll. She is the main villain in Disney's The Little Mermaid (1989). She is by far the best and most movie accurate version of Ursula ever made. Although she is only 9'' tall, her tentacles stretch 12'' across and about 9'' deep. When she is placed on her include custom stand, she stands about 12'' tall to the top of her crown, which puts her on an even footing with Classic sized Disney Princesses and Princes. She comes with a golden trident and crown that she took from King Triton and a golden shell necklace holding Ariel's voice. She has rooted golden blonde hair with greenish tint on the sides. Her makeup is bright and bold and her supersized wide open mouth is in an evil toothy smile. She has dark purple seashell earrings and red painted fingernails. Her skin on her face, arms and torso is a light purple. Her lower body is plush, covered in a black velvet ''dress''. The six long tentacles are articulated with internal wires, with their top black velvet and the underside a dark purple satin with purple sequins as suckers. I got Ursula second hand, but in a near mint condition sealed box.
The text of the box notes:
Spilling evil from every tentacle. Spelling trouble for Ariel. Nasty, nautical Ursula from Disney's animated film, The Little Mermaid, has reached the surface -- in epic proportions -- as an authentic collector doll.
Displayed in an ominous setting with her dastardly sidekicks Flotsam and Jetsam, everyone's favorite voluptuous villain is enveloped in a soft, velveteen fashion -- an ironic contrast to her hard-hearted, cunning ways. Only Ursula could pull off such a look!
Sea Witch Ursula is third in a series of collector dolls inspired by great Disney villains. Each doll from the Great Villains Collection(TM) is showcased in surroundings that capture an unforgettable moment from the film.
Certificate of Authenticity, reply card and doll stand included.