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My happy moment was when chef Adrià, at the conclusion of our interview and as we exchanged our parting greetings, told me that it was a good interview. :)
The write up on Toronto Life: www.torontolife.com/daily-dish/people-dish/2014/03/13/fer...
The unabridged version of our conversation below.
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Background:
Although he’s labeled the father of “molecular gastronomy,” celebrated chef Ferran Adrià has been a major culinary influence in the world of food, and whose eponymous restaurant churned out many of the best chefs including Rene Redzepi (Noma), Andoni Luis Aduriz (Mugaritz), Grant Achatz (Alinea), and 2013 world’s best restaurant’s Joan Roca (El Celler de Can Roca). His work has even inspired some of our own. This past Monday, the living legend explained to a sold-out crowd at Glenn Gould Studios that his approach to cooking was more about deconstructing and pushing boundaries, than the pigeonhole of the culinary movement he’s credited to have created. The former head chef at the legendary elBulli settled that and a couple other misunderstandings in an interview we conducted with him at Bosk during his brief second visit to Toronto. Rather than focusing on his (widely reported) rise to success, asking ‘what is creativity?’ (ans. “to not copy”) or parroting the great interviews conducted by other esteemed outlets, I talked to the most written-about chef in the modern world about challenging conventional thought, clarifying what science and cooking really is, dispelling myths, and his next 50 post-elBulli years.
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RS: You’ve broken the ground in the way people perceive food, or the limits of what food can be. Thank you for inspiring so many great with that out of the box thinking.
FA: That’s why we established the foundation. What we want to do is to help. We also have to be a little provocative but now people don’t get excited [agitated?] about it.
RS: I had a chance to dine at the restaurant three years ago, and the two dishes that I remember most was the pine nut risotto [FA: Risotto. (Smiles)] and the elvers because I never thought I would ever try them in my lifetime. Both of those prepared, very simple, but it was the possibilities and that helped me understand why the many chefs who worked with you and that I had spoken to told me you helped them realize that there are no limits in cooking, and no expense spared to give the diner the best experience.
FA: In the end we did 1846 recipes, each one was a story. Every creation had to bring something to the table. I’m happy that you remembered those. We were looking to push the boundaries; and sometimes we were over the edges. There’s not one way of cooking.
We explain the decoding – every recipe would be a decoding – there are so many ways to do it, and we had a lot of ways of doing it at el Bulli. You’ve taken my two dishes (smiles) that are not even deconstructions or spherifications – and those are the things that most people think of us as. The problem with el Bulli is that we did so many different things. All the influences of Japan for example, from 2002 to 2011, was fundamental in our work, and hardly anyone talks about that. That’s why we have these books… (chuckles) so people can study what we do.
RS: So that’s the thing, what is one common misconception people have about you or your work that you’d like to clarify?
FA: These things are hard. When your whole life, you’ve thought one way. Even for me it’s a continual challenge. Sometimes I think I’m dumb. You think this is evident. Like when we explain things about fruit... [During the lecture, FA challenged the audience with the notion of how every individual can be given i.e. an apple, water, knife and heat, and when asked to cook something, and how everyone would come up with something different.] Yeah. We just got together with the team here – the young chefs - at the [ShangriLa Toronto] hotel, and that’s another story because they’re a clean slate, but they’re already a little too ‘chef.’ Tomorrow we’re going to the CIA [The Culinary Institute of America], and it’s going to be a shock to these young kids. But it’s going to be a lot easier for them to absorb these ideas because when people explain it to you from the beginning one way, it’s easy. It’s hard when you have to change the way you’re doing things.
I’m going to explain. It might be delicate on the religious theme, but it’s the same thing to say ‘I’m Catholic,’ I was raised as Catholic, and they would explain things to me that it’s a part of my emotional [spiritual?] life. But then we have the world of science, and they have shown that the Bible is an emotional [spiritual?] concept, but it’s not reality. What we’re doing is kind of similar: cooking is cultural, emotional, sensitive, but if you explain it with a scientific method, it’s a different thing. And in this realm it’s very subjective: you can be more Catholic, or less Catholic; more religious, less religious. But the science is fixed. It’s a similar dichotomy in what we’re doing. Thousands of books have been written about sensitivity, culture… and there are opinions and visions, but the other one is not a vision, it’s the truth. And if it’s not the truth, you have to prove why it’s not the truth. The work we’re doing now is to share all of this, and the people will tell us where are the mistakes, where we’re wrong so we can continue to improve.
We all agree that water is H2O, you can’t argue that. It’s that simple.
RS: This is interesting because I am a scientist by training and I’m a Christian too.
FA: (Smiles) Just to understand that we’re applying the scientific method. People think chemistry, physics, etc. is science, but the scientific method is something else. [Picks up table cloth on table] You can make this with using the scientific method. When people think science and cooking, they have no idea that it’s not correctly expressed. There’s a scientific method that proves things. Trial and error to look for different paths and possibilities, or ‘the best’ (but it’s not always the best but it’s relative). You have to explain it, it’s different than science. It’s the science that the world of cooking generates. You could do science of butter; the science of the croissant…
RS: And this is what you’re doing now through the Alícia (elBulli) Foundation www.alicia.cat/en/, and BulliPedia www.bullipedia.com/?
FA: The first step is to organize and to put order into understanding what happens so that we understand it for the new elBulli. So that when we start we have it all clear.
We could have done it for ourselves only – to understand the process, but we’re going to share it through the [elBulli] foundation elbullifoundation.blogspot.ca/2011/02/el-bulli-foundation....
RS: … which I think is awesome. That must be very difficult too. In your talk, you discussed the importance of having the “freedom to create”—i.e. not having to appease third-party interests. But do you ever feel the pressure to deliver or perform?
FA: If I don’t have pressure, I don’t function. The problem we had after elBulli – which was the highest pressure in the world of restaurants – was how we were going to maintain that pressure on ourselves? You’d think a foundation is relaxing, even though it’s research, so we knew we had to set for ourselves a pressure, because without pressure, my group in particular wouldn’t function. So we started this first, then the elBulliDNA www.chefinsight.com/tag/elbulli-dna/ that we’ll update online every day, which is also a pressure induced process since people will log on to see: “Today wasn’t such a good day at elBulli.” But it’s important for me to have that pressure. We like living that way because it gives us a sense of happiness. It’s not a crisis.
RS: You’ve been known to say, “don’t look for success, look for happiness”…
FA: … especially for the young chefs.
RS: Everything you’ve done—the restaurant, the projects, the foundation, teaching, these books—it seems very nonstop. Do you have GPS set on where you want to end up, and are you still on that path?
FA: The good thing right now is that I know where my future is going to be in the next 50 years… if I live to be a hundred. When a person like me has had all the great successes of the world, you get to a moment of crisis. What do you do now? What’s next? If we analyzed the most creative people in the world in any discipline, the logical thing would be that it was the past. There was one possibility in a million to find this chance because otherwise what would we have done next, do a different restaurant? That doesn’t make any sense.
It was not easy for us to figure out the next step, because a restaurant either opens or closes. You don’t transform it.
The magical part with this project we’re doing now is that we have at least 50 years of work ahead of us.
The past year has been very intense, and we hope that it will calm down a little bit (I haven’t had a day off in a year. Sundays… it doesn’t make a difference).
Even though we have a team, I can delegate, but sometimes I can’t, because I don’t even know what the outcome will be. Now we’re getting to the point (October 8th is the date) when there’s an exposition in Madrid on creativity, and by then we have to have all the tools online. (You can search online to understand what is this “decoding” we’re talking about. You might need a few days to digest, but it’s normal, it’s a huge thing.)
RS: With so much on your plate, it must feel like a burden sometimes.
FA: Compared to the work at elBulli, very little relatively speaking. That was a monster. Twenty-five years; every year we had to change everything.
Even though this is a big brutal project, it’s huge; it seems less brutal because we did that already.
We have scientists friend who tell us, ‘You’re crazy! You would need a hundred people to do this.’ That’s how we did things.
RS: What do you hope will be your legacy?
FA: The legacy of elBulli, not mine personally, otherwise it would be the Adrià Foundation instead of elBulli Foundation. elBulli changed the way we thought about food, and we see the people that have come through there, that are already themselves influential as chefs within the spirit of elBulli. The important thing is that there will be something left behind, something tangible; that we can explain why it happened, and this is going to happen in the new Foundation. When you enter there, you’ll understand what happened; looking up ahead you’ll see what marks the future. It has to be a place for thought, and will mark the goals for the future.
People say, ‘oh, this is easy. You put some money down. You get 40 people. And let’s say you do it in Toronto, that it’s the center for this.’ No. It is not easy, because you don’t have the knowhow. You don’t have 30 years of elBulli (taps temple), it’s impossible to construct all of this. All this is possible now because of the 30 years that have come before of deconstructing everything. And we really did spend 30 years decoding, not just this past year. That’s what these interviews are for: to remind people of this because it’s become a kind of obsession for people to understand why we’re doing things the way we are. We didn’t have the capacity to understand it before, because we were learning as we went.
RS: So it’s a new school of thought?
FA: It’s going to be a new school of thought. Tomorrow we’re going to the CIA, for example. What’s the CIA going to do with this information in five years? Are they going to continue to explaining cooking the way they’re doing now or are they going to take the decoding and change the way they do their education? Imagine that they say, ‘No, we’re not interested in this,’ and that you and I start a culinary school in Toronto [RS: Ooh! (Laughs)] and we applied this, and all the kids come here. What’s going to happen to the CIA? It’s going to die. It’s going to be a debate. That’s why it’s so important.
I want people to say, ‘I don’t agree with you.’ I wish people last night would have raised their hand and said, ‘I don’t agree with this, this, or this.’ Everything that we’re doing is fairly objective and when it’s not objective, I explain.
It is an old school thought. In the end what we’re going to do is apply what exists in other disciplines – architecture, design, engineering… We do this process already because the field we’re applying it to. We study it; we investigate to keep moving forward like other fields do. Here, these things did happen: in universities one thing happened; in culinary school another; in restaurants it was different; in journalism it was another point of view, and there hasn’t been a common language, there was no decoding to be able to have a joint conversation for all of it to come together.
This is a five year project. That part of it. In five year, people can decide whether they agree with it, go with it or not.
RS: That might have been the case at your talk yesterday, because parts might have been overwhelming. Many might have come in not knowing what you were presenting, and when you did challenge the way they traditionally think, it might have been shock that they can’t react right away.
FA: Yeah, it’s a total crisis! If I were here on the other side, I would leave very very worried. Because I’d be like, ‘what do I do now?’ Do I make a reset and start to learn again as if I were a child? Or say forget about it?
And interesting that we’re not talking about creativity. Very interesting. People say, ‘oh creativity. I don’t care, I like traditional food.’ We’re not even talking about that today! We’re talking about understanding and knowledge, and you can apply it to any kind of area. And you may say, ‘oh no. You can’t touch a traditional recipe.’ But we ask: why can’t you? Back in 1350 a vinaigrette was a stew, so we ask, why not? This can be applied to any kind of cooking, and that’s the shocking part of it. It kind of bends all the traditions. It’s a good thing.
We’re in a moment in the history of vanguard cooking, not knowing what’s next or where we’re going from here, because the past three years very few things have been created because it’s very had to do new things. It makes us all reflect; it’s provoking and keeps us all on alert. The only resources we have until now – the new Scandinavian cooking, the new Mexican or Peruvian cooking, that was all based on culture, what we take all the knowhow from those cultures to do a new kind of food. And that process is still going to keep happening. But that’s a very specific and tangible line of thinking and line of thought, because it’s a bit of a nationalistic approach to food. It’s difficult to extrapolate from that. For example, Danish cooking and Rene Redzepi. How many Danish restaurants are there in Toronto?
RS: Two. (Chuckles)
FA: (Chuckles) I doubt that it’s really Danish, because of their products from Denmark are difficult to import.
This sort of transversal line of thinking is going to have an interesting effect on this nationalistic thing and it’s going to cross all of them.
[Adrià proceeds to tear out a notepad sheet and starts to illustrate a bucket diagram.]
In Western cooking, the level of haut cuisine had been France for centuries. Spain, a little bit in the 1990s, where revolution happened in that. All of this that nationalist cuisine that we talked about – Canada, United States, Denmark, etc. – but 99% of the knowhow is from earlier [points to France on diagram] the techniques, elaborations… The only time this changes is if maybe one of these have a slightly different technique or elaboration. Tortillas, for example in Mexico. They didn’t make it in the part, but that’s the only thing that changes basically. The decoding, covers everything plus popular cooking [Adrià draws a large circle under the bucket diagram] that people do daily in their lives. Decoding covers everything; it sort of crosses all these areas. People who are against creativity – which are a lot of people who are against creativity (brightens his voice, chuckles) – they can’t be against this because it covers everything. It’s for any kind of cooking. If I go back to the origins of food (chuckle), they can’t argue with that.
It’s a new focus, where the debate between traditional and modern doesn’t really enter into it. It requires a change in the model of discussion.
RS: I know that you mentioned you’re in the midst of creating this, and I know you also mentioned that Japanese cuisine is very influential for you, and that is based on tradition too, so it’s interesting…
FA: It’s based on evolution. All cooking. China, for example, there was no spices. This is Western, in terms of the concept. It’s always evolving; all cuisines are evolutionary. The history. It’s true that the last few years in Japan there were maybe less transformations, but the original sushi has no relations to what we eat today, it was fermented fish. So if it were tradition (chuckles), it’s not maintained necessarily. We take the decoding and it explains all this.
What’s interesting is for the Western world, it’s a different way of thinking. It’s a different philosophy of life, and that’s what’s wonderful. I’m much more interested in the philosophies; and then everything that’s techniques and elaborations. For example: ‘yuba.’ They didn’t make that in here [points to diagram]. In 2003, we made yuba from cow’s milk. People would eat the cream of coagulated milk on top, but not as a pasta. It was an elaboration, a technique that we took and we took it to use. It’s a decoding. It would be like looking at what techniques are being used in China that have not been applied in Europe. And if we make a comparison, we’ll see the difference in terms of how to fry things. In Europe, in different places.
RS: You’ve mentioned all these countries rich in tradition, from Japan to France, but how about Canada? It’s relatively young and it’s highly influenced by so many cultures within its borders. Where does it fit in?
FA: (Excited) This is the error, the misconception. You say as if you’re apologizing for it, because ‘we don’t have a proper identity,’ but no one has a proper identity. Example, Italy. Do you know how many years Italy has existed?
RS: As a state/country (past the Roman Empire)? I guess not that long.
FA: 1800s. Nothing. And how was it formed? From the origins: Mesopotamia; Greece; Roman Empire, etc. Plus the influence of Marco Polo, etc. and that’s Italy. (Chuckles) So, Canada is similar. The influences, including Asian influences are important now and makes it’s different, but it’s magical.
People talk about tradition and all of that, but the places we think are traditional (chuckles) like Egypt. In the end, beer is from Egypt. When you drink a beer, you’re drinking something that’s from Egypt. People don’t think about that, they might think it’s Belgium, German… (chuckles) No, no it’s from Egypt.
You have to come to Barcelona when the elBulli labs are open and spend two days there.
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Tuesday, March 11, 2014
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
Hair – Treatment Program Which Is A Have to For Lovely Hair. one. Shampooing Idea: Lessen the volume of pressure in your daily life. Pressure can add to hair decline, so if you can decrease your pressure, you can potentially avert some hair decline. • Brush or comb hair totally to loosen dust and useless pores and skin cells from the head. Soaked the hair properly so that the beneath levels as properly as the prime are properly saturated with h2o. Idea: One more way to avert hair decline is by supplying your scalp a light therapeutic massage with your fingers. Massaging will enhance circulation to your scalp by opening blood vessels and warming the pores and skin. • Pour about one tsp of shampoo in a minor h2o to get a diluted resolution and therapeutic massage this diluted shampoo carefully into the roots with your fingertips, masking the total of the head. • With the flat area of your hand operate that shampoo into the bulk of the hair in excess of the prime levels. • Rinse totally with h2o right up until the shampoo has been fully washed off. • Repeat the very same treatment if needed. two. Conditioning • Shampoo the hair as directed earlier mentioned as a lot of moments as sought after and clean totally. • Pour approx. two-two one/two tsps of conditioner in your hair all in excess of. • Go away on considerably about five minutes and rinse off totally right up until the conditioner has been fully washed off. three. Drying Idea: Anti-depressants have been acknowledged to lead to hair decline. The substances in anti-depressants can lead to hair decline or a adjust in their hair. Observe that soaked hair loses upto twenty p.c of its elasticity and with it, considerably of its normal resilience. So take care of it as carefully as you potentially can soon after washing : • Squeeze out excessive h2o, wrap hair loosely in a cleanse towel, turban-vogue and push firmly from the head. Do not rub vigorously. • After the hair is no more time soaking soaked, the ideal issue you can do is to go away it to dry in a natural way. Idea: Do not dye your hair at property, make an appointment with a stylist! Ask for that they use foils, alternatively of a hair dye. Dyes typically incorporate severe substances that can demolish follicles, melt away the scalp, and enhance the chance of enduring hair decline. • When employing a blow dryer, capitalize on the management, lessen on the hurt : (a) do not start off drying right up until the hair is a few quarters dry (b) do not keep the dryer in excess of one particular spot of the head for way too prolonged (c) do not let the scalp to turn into very hot (d) use a brush carefully to persuade the hair into the type you want and (e) do not keep on to blow dry on to hair that is previously dry. four. Brushing and combing Constantly brush hair when it is dry due to the fact brushing soaked hair lead to the finishes to break up. • Tilt your head ahead even though brushing as this boosts the blood source to the head and stimulates the hair. • Never ever use a sharp teethed brush or it may possibly tear the hair aside. • Wonderful hair demands a softer brush even though thick prolonged hair demands a even bigger brush with rigid bristles. • For combing soaked hair, use a comb in which the enamel are commonly spaced. • The ideal way to comb out tangles hair (knots) is to start off at the finishes and operate upwards slowly. knowhow-now.com/m/articles/view/Hair-Care-Routine-Which-I...
Truly awesome as all this kit, knowhow and skill was, traditional skills were called on for the finishing touches.
After the concrete had been thoroughly vibrated in and settled half a dozen bucketfuls extra were needed. They were shovelled out from the waste skip shown earlier and lifted 'up top' by muscle and pulley.
Taken through the worksite fence, looking down.
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
I made all of my existing Flickr content Private/Friends this afternoon and am starting from scratch (as far as the public is concerned). I also wore a tie to work today, as seen above. I'm making some changes in my personal life as well as my photography.
I am in a learning state. I am trying to do things with some technical knowhow. I have a long ways to go in both my personal life and the photography realm. I want to be the best that I can be at both...
There is a long road ahead of me in both aspects. However, I am always intrigued by challenges and this one is no different....
When will I get where I am going?! Who knows?! I don't even know where I am going but I know I can't stay where I am at. Things are good mood wise in my life but there are other aspects that need improvement, organization, and to be drastically simplified... These same needs apply to my approach to photography...
So, here goes... Photography is obviously about light. Capturing it, manipulating it, and viewing it. This is a journey into lighting and post processing... I'm prepared for failed attempts but am most looking forward to my successes...
@Strobist:
1 Canon 580EX II w/Large Softbox Camera Left
1 Canon 430EX through White Umbrella Camera Right
1 Canon 580EX II Bare Camera Right Firing at Subject's Side
1 Canon 430EX 45° Behind Subject Camera Left
1 Canon 580EX II w/Rayflash Ringflash On Camera
13/03/2023, Port of Las Palmas de Gran Canaria, Islas Canarias, Spain.
Bear with me, while I explain how these Scottish truck drivers found themselves delivering equipment to an oil drilling ship here at Las Palmas.
Since the the oil price plunge of 2014-2016 - the biggest drop in oil prices in modern history - primarily caused by an oversupply in the market, most oil majors and prospectors found themselves in an uneconomically viable situation.
Over capacity in oil production and especially in oil exploratory drilling forced many of the mega expensive drilling ships to have their drilling contracts forestalled, or at the end of their existing contracts to find no new work.
These ships were being contracted at wild, but necessary prices of up to $500,000 per day, due to huge mortgages on the ships and their initial building costs.
(I believe the most expensive example's building cost was the Billion dollar plus 'Stena Icemax'. See here: flic.kr/p/RZ5QJr )
So, much oil exploration work was being undertaken on the West African coast, and across the Atlantic, offshore Brazil.
As the drilling ships became unemployed, the necessity of finding a suitable, large, deep-water port to keep them safely moored in, and with a pleasant climate to prevent corrosion and humidity damage, and that is where Las Palmas found itself to be the ideal location, at the 'crossroads' of the Atlantic.
In addition, the port has long established and experienced shipyards with specialist engineers and technicians.
The port quickly found itself in great demand for the laid up ships, and as an economic boost, there were lucrative mooring fees, tug requirements, stores, and large engineering projects to be had.
The drilling ships (& oil rigs) require ongoing maintenance and often, modifications to suit each specific drilling contract, both before and after completion.
The 'northern oil capital of Europe' is Aberdeen in Scotland and thus, specialist knowhow, equipment and hauliers are based there.
The result being a regular stream of heavy duty trucks, not least those of Grampian Continental haulage, picking up and delivering equipment to the ships, from all over Europe.
A former, regular driver, and Las Palmas visitor, for Grampian was Rab Lawrence, a well known contributor to Flickr, and a sometime correspondent of mine, although our paths never directly crossed.
Here are a few of his compatriots waiting to have their truck loads discharged, before having to catch the circa 36 hour ferry back to Huelva, or Cadiz, in southern Spain.
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
A recent update came out for BeamNG featuring AI traffic and a new playable car, among some more minor things.
Here is the AI in action, driving the white muscle car - they follow the traffic laws and even make use of indicators at junctions. Plus they don't all seem to drive the same either, as some are faster and some are slower, and the faster ones sometimes pull out and overtake the slower ones! Although my laptop can barely cope with more than one car in a map at a time, the traffic AI looks like something to have a lot of fun with.
The police car is one of the newly introduced vehicles. It is called the Gavril Bluebuck and has loads of different specifications in the menu - I don't even think this was the only police option. The AI that spawned handily made for a nice 1970s setting on the East Coast USA map - which also received a revamp in the update to feature an interesting seaside bay area, a petrol station and garage plus other things I've yet to explore.
Typical of one of those 1970s car chase movies, I seem to have become one of the ridiculously dire cops who trash their car in the most stupid of ways while the main character drives away without a bump!
I kind of hope that with the new possibilities from this update, the people with the skill, knowhow and beefy PCs will make some YouTube videos inspired by the likes of Duel, Smokey and the Bandit or some other car/truck movie - as I think the Bluebuck is the car they have been waiting for.
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
13/03/2023, Port of Las Palmas de Gran Canaria, Islas Canarias, Spain.
Bear with me, while I explain how these Scottish truck drivers found themselves delivering equipment to an oil drilling ship here at Las Palmas.
Since the the oil price plunge of 2014-2016 - the biggest drop in oil prices in modern history - primarily caused by an oversupply in the market, most oil majors and prospectors found themselves in an uneconomically viable situation.
Over capacity in oil production and especially in oil exploratory drilling forced many of the mega expensive drilling ships to have their drilling contracts forestalled, or at the end of their existing contracts to find no new work.
These ships were being contracted at wild, but necessary prices of up to $500,000 per day, due to huge mortgages on the ships and their initial building costs.
(I believe the most expensive example's building cost was the Billion dollar plus 'Stena Icemax'. See here: flic.kr/p/RZ5QJr )
So, much oil exploration work was being undertaken on the West African coast, and across the Atlantic, offshore Brazil.
As the drilling ships became unemployed, the necessity of finding a suitable, large, deep-water port to keep them safely moored in, and with a pleasant climate to prevent corrosion and humidity damage, and that is where Las Palmas found itself to be the ideal location, at the 'crossroads' of the Atlantic.
In addition, the port has long established and experienced shipyards with specialist engineers and technicians.
The port quickly found itself in great demand for the laid up ships, and as an economic boost, there were lucrative mooring fees, tug requirements, stores, and large engineering projects to be had.
The drilling ships (& oil rigs) require ongoing maintenance and often, modifications to suit each specific drilling contract, both before and after completion.
The 'northern oil capital of Europe' is Aberdeen in Scotland and thus, specialist knowhow, equipment and hauliers are based there.
The result being a regular stream of heavy duty trucks, not least those of Grampian Continental haulage, picking up and delivering equipment to the ships, from all over Europe.
A former, regular driver, and Las Palmas visitor, for Grampian was Rab Lawrence, a well known contributor to Flickr, and a sometime correspondent of mine, although our paths never directly crossed.
Here are a few of his compatriots waiting to have their truck loads discharged, before having to catch the circa 36 hour ferry back to Huelva, or Cadiz, in southern Spain.
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
Ascoltare la musica preferita con il tuo MP3 Player é sicuramente molto piacevole, ma alla lunga come tutte le cose può stancare, perchè allora non alternare qualche bel Podcast interessante o magari qualche Audiolibro ?
Leggi il post completo http://abtechno.org/index.php/2008/03/10/ascolta_audio_libri_italiano_gratis
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
Willson's Park in Poznań: pl.wikipedia.org/wiki/Park_Wilsona_w_Poznaniu
Only 100 years ago:
fotopolska.eu/foto/499/499508.jpg
www.fotopolska.eu/foto/392/392299.jpg
Poznań, known also by other historical names, is a city on the Warta river. East-Central Europe.
Stack of 13 shots. Bad vinetting.
PS. Summer nightsky: www.flickr.com/photos/sakuto/19321193133/in/album-7215765...
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
L'attenzione alla privacy e alla sicurezza dei tuoi dati personali e professionali non é piú qualcosa che puoi sottovalutare. Se vuoi conoscere come fare a implementare delle ottime procedure di sicurezza digitale...
Leggi il post completo abtechno.org/index.php/2007/03/15/manuale_privacy_sicurez...
This lineup begins on Linz's Main Square, proceeds clear across the Nibelungen Bridge, right through the AEC and out into the Ars Electronica Quarter. It's made up of countless young experts who, on Saturday, September 3 from 1:30 to 3:30 PM, demonstrate their skills as well as discuss and make available their specialized knowledge. Passers-by perusing this array of topics. The Marketplace of Talent lets you take a peek into the younger generation's world of knowledge.
credit: rubra
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
L' Internet Privacy è il diritto alla riservatezza delle tue informazioni personali, e piú in generale della tua vita privata, che giornalmente fai transitare in rete quando ti connetti a Internet...
Leggi il post completo abtechno.org/index.php/2007/05/22/proteggi_la_tua_privacy...
www.recyclart.org/2013/08/energy-produced-bikes-made-of-t...
On the 22, 23 and 24 of March was the last edition of the movie festival curious travelers. During that event Open Sources highjack the design and run with the team of the festival "Curieux Voyageurs" in order to produce the energy required for the documentaries projections.
The festival team entrust Open Sources to make a prospective study which aim at building two bikes with waste collected locally. OS has to fit perfectly with the first design study and drawings made by BP Design. A new drawing was done in order to reshape the structure, the materials used and the knowhow involved in the production. Five prototypes of bikes were produced. Two of them were made with reuse materials in our workshop (old beds for the seat, market crates and supermarket hardboard, old benches of church for the armature) and three others in plastic done by some subcontractors selected by BP Design. Each prototype can produce about 100W. Only three bikes were enough to supply the video projector for a 54 minutes long documentary.
Information: Echo System website !
Louis-Ernest Barrias né le 13 avril 1841 à Paris et mort le 4 février 1905 dans la même ville, est un sculpteur français.
Bernard Palissy (1877)
Modèle en plâtre pour un monument en bronze érigé à Boulogne-Billancourt, une seconde version commandée en 1882, toujours en place Square, Saint-Germain, Paris 6e arrondissement.
________________________________________________________________________________________________________
Website : GALERIE JUGUET
© All rights reserved ®
Website : MÉMOIRE DES PIERRES
© All rights reserved ®
________________________________________________________________________________________________________
Contexte historique et artistique
Louis-Ernest Barrias (1841–1905) est l’un des sculpteurs français les plus représentatifs de la IIIe République, spécialisé dans les monuments publics et les portraits héroïsants de figures historiques ou symboliques. Élève à l’École des Beaux-Arts de Paris, prix de Rome, il est reconnu pour son habileté à mêler réalisme et allégorie, ce qui explique sa présence dans de nombreux monuments officiels du XIXᵉ siècle.
La commande de cette œuvre s’inscrit dans un climat de valorisation des grands hommes de l’histoire française, une forme de pédagogie patriotique et culturelle à travers la sculpture.
Description de l’œuvre (au Petit Palais)
L’œuvre du Petit Palais est un modèle préparatoire en plâtre, réalisé en 1877, destiné à servir de maquette pour la statue en bronze ensuite fondue et érigée dans l’espace public (notamment à Boulogne-Billancourt et dans le Square Saint-Germain-des-Prés à Paris).
Dimensions
Hauteur : 215 cm
Largeur : 102 cm
Profondeur : 92 cm
Technique : Plâtre patiné
Iconographie
Barrias représente Bernard Palissy (1510–1590), célèbre céramiste, naturaliste et écrivain, debout, vêtu de ses habits de travail :
Un tablier de potier, symbole de son activité concrète et artisanale ;
Un plat décoré de serpent et de poissons, emblématique de son style inventif inspiré par la nature ;
Un manuel de potier ouvert très probablement une référence à son ouvrage De l’Art de terre dans lequel il consulte ou discute des techniques de céramique.
L’ensemble renvoie à une image didactique et humaniste : ce n’est pas seulement un portrait, mais une représentation narrative du savoir et du génie artisanal de Palissy.
Analyse stylistique
Réalisme et monumentalité
Barrias combine dans ce modèle un réalisme précis (rendu des textures du costume, posture naturelle, détails des attributs) avec une présence solennelle digne d’un monument public. Contrairement à une statue purement allégorique, l’attention portée aux objets (livre, four, plat) ancre la représentation dans une biographie vécue.
Dimension narrative
La posture et les attributs du personnage racontent une histoire : celle d’un homme qui fut à la fois praticien et penseur, engagé dans la recherche et la transformation de la matière. Ce récit visuel reflète l’évolution de l’art statuaire du XIXᵉ siècle vers une figuration pédagogique des figures historiques.
Fonctions du modèle en plâtre
Le choix de présenter d’abord un plâtre patiné plutôt que la sculpture en bronze finalisée est significatif :
C’est un outil de conception pour la fonte définitive ;
Il devient ensuite un objet d’étude pour le public, permettant de comprendre l’acte créatif du sculpteur ;
Il témoigne d’une étape intermédiaire, plus « intime » et moins idéalisée qu’une œuvre en bronze public.
Interprétation culturelle
Ce modèle de Barrias illustre plusieurs phénomènes culturels du XIXᵉ siècle :
La statuaire des « grands hommes »
La IIIe République investit massivement dans des monuments célébrant des personnalités historiques pour renforcer l’unité nationale et le prestige intellectuel français.
L’humanisme scientifique
Bernard Palissy était un artisan scientifique, observateur des formes naturelles et expérimentateur des matériaux. Barrias souligne cet aspect en montrant non seulement le portrait mais les outils et objets de savoir (livre, plat), donnant à la sculpture une dimension didactique et culturelle.
Mémoire et patrimoine
L’œuvre souligne aussi l’importance de préserver la mémoire des métiers, non seulement des souverains ou des héros militaires mais aussi des créateurs intellectuels et artisanaux. Cela reflète une évolution de la culture française vers une valorisation plus large des humanités.
Conclusion
Le modèle en plâtre de Barrias pour la statue de Bernard Palissy au Petit Palais est une œuvre charnière qui illustre :
Le réalisme et la précision technique du sculpteur ;
Une figuration narrative du savoir et du travail artisanal ;
Une vision pédagogique de la sculpture commémorative du XIXᵉ siècle.
Il constitue à la fois une œuvre d’art complète et un témoignage de l’histoire culturelle française, en montrant comment l’art monumental met en dialogue la biographie d’un homme et l’imaginaire collectif.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
Russia has recently joined other BRIC and developed economies in enhancing its investment and trade activities in Africa. The continent is not only an interesting hinterland for emerging market goods and services, but could serve as an important springboard for those firms with global aspirations in the provision of energy, other commodities and manufacturing.
1) What are the primary strategic interests of Russian business and finance in the African markets? Which African countries are best positioned to engage BRIC and developed economies?
2) How can investment in African hydrocarbons, in particular natural gas and LNG, help Russia realize its aspirations for extending its reach in global energy markets?
3) What African sectors are best positioned to benefit from access to BRIC capital, knowhow and markets?
Moderator
* Andrei Sharonov, Managing Director, Troika Dialog Investment Company CJSC
Panelists
* Olusola David-Borha, Deputy CEO, Stanbic IBTC Bank Plc
* Dr. David Oluseyi Ige, Group General Manager, Nigerian National Petroleum Corporation
* Boris Ivanov, Director, Gazprom International
* Nand Khemka, Chairman, SUN Group
* Vladimir Kremer, Managing Director, Renova Management AG
* Jean-Jacques Lecat, Head of CMS BFL
* Sergei Oulin, Vice President, Alrosa JSC
Copyright St.Petersburg International Economic Forum (http://forumspb.com/en/)
The Tormach 4-axis CNC is a powerful, affordable, low maintenance CNC machine. It can cut some fairly high precision parts at high speed with little error. It takes a decent bit of programming and some solid machining knowhow to get perfect results but it's well worth it.
TechShop brought me on to teach their CNC classes a few months ago and I jumped at the opportunity. As part of my duties I used the machine as much as possible, figuring out bugs, making projects to show off, gathering material for class, and generally showing people how the whole process is done. I made these as a testament to what can be done with some CNC operations and a little hand work.
I machined the eyepieces out of a set of Ferris machinist wax blocks which were then cast in bronze. Each eyepiece has a flat cap made with the same method. The lenses are laser cut 2way mirror plexiglass from Tap Plastics. The nose bridge was milled from a bar of solid brass using the 4th axis attachment.
Con la nuovissima versione 1.5.1 appena rilasciata, Spybot - Search & Destroy si conferma uno dei migliori programmi gratuiti disponibili in rete per riconoscere e rimuovere lo Spyware, un nuovo tipo di minaccia che le comuni applicazioni Antivirus...
Leggi il post completo http://abtechno.org/index.php/2007/09/18/nuovo_spybot_per_difendere_la_privacy
Above photo has been rotated 90 degrees and enlarged from mars.nasa.gov/raw_images/968130/?site=msl
This image was taken by Chemistry & Camera (ChemCam) onboard NASA's Mars rover Curiosity on Sol 3214 (2021-08-21).
Red rectangles mark remains of wood tissues in longitudinal section. Red arrows point to remains of wood cells in longitudinal section.
Above figure in the largest size: www.flickr.com/photos/fossil_lin/51401483811/sizes/o/
See also: 1. introduction to wood cells/tissues on Earth: www.flickr.com/photos/fossil_lin/51038835072/in/dateposte...
workshopcompanion.com/KnowHow/Design/Nature_of_Wood/1_Woo...
2. Martian engineered wood: www.flickr.com/photos/fossil_lin/albums/72157709445830701
3. My website: wretchfossil.blogspot.com/
James Freeman, head of San Francisco’s Blue Bottle Coffee, will join us for a full-day workshop on what makes a great cup of coffee. From roasting the beans and tampering espresso, all the way through to understanding the brewing process and refining the perfect brew. You’ll then leave with your own bag of perfectly roasted whole bean coffee and the knowhow on how to prepare it.
Russia has recently joined other BRIC and developed economies in enhancing its investment and trade activities in Africa. The continent is not only an interesting hinterland for emerging market goods and services, but could serve as an important springboard for those firms with global aspirations in the provision of energy, other commodities and manufacturing.
1) What are the primary strategic interests of Russian business and finance in the African markets? Which African countries are best positioned to engage BRIC and developed economies?
2) How can investment in African hydrocarbons, in particular natural gas and LNG, help Russia realize its aspirations for extending its reach in global energy markets?
3) What African sectors are best positioned to benefit from access to BRIC capital, knowhow and markets?
Moderator
* Andrei Sharonov, Managing Director, Troika Dialog Investment Company CJSC
Panelists
* Olusola David-Borha, Deputy CEO, Stanbic IBTC Bank Plc
* Dr. David Oluseyi Ige, Group General Manager, Nigerian National Petroleum Corporation
* Boris Ivanov, Director, Gazprom International
* Nand Khemka, Chairman, SUN Group
* Vladimir Kremer, Managing Director, Renova Management AG
* Jean-Jacques Lecat, Head of CMS BFL
* Sergei Oulin, Vice President, Alrosa JSC
Copyright St.Petersburg International Economic Forum (http://forumspb.com/en/)
Es hat ein paar Tage gedauert. Aber nun ist sie da. Die Neue. Aber eigentlich ist die Neue eine Alte.
Ich habe mir eine alte Ikonta 521/2, die Urmutter der Ercona 1 und der Mockva 1, geleistet.
Sie hat exakt das gleiche Objektiv wie meine Ercona. Eigentlich sieht sie auch genauso aus wie meine Ercona. Deshalb habe mich für sie entschieden.
Vor einigen Jahren zeigte mir ein Kunde seine Kameraschätze.
Darunter befand sich auch eine Ikonta 521/2.
Mit großem Erstaunen sah ich die Ähnlichkeit der Ikonta mit meiner Ercona. Mal von Verschluss und Objektiv abgesehen würde ich sagen dass die beiden Kameras baugleich waren.
Nun, der Kunde hatte nicht die Absicht seine Ikonta zu verkaufen. Und ich wollte die Ercona noch nicht reaktivieren.
Damals hatte ich noch keine Ambitionen bezüglich meiner Mittelformatkameras.
Weder die Flexaret noch die Ercona waren auf dem Schirm.
Mittlerweile hatte sich das geändert.
Ich fotografierte wieder im Mittelformat mit Rollfilmen.
Gelegentlich nutzte ich die Flexaret und einmal war auch die Ercona wieder im Einsatz.
Nun erweiterte eine Ikonta meine Mittelformat – Ausrüstung.
Grund genug die beiden Klappkameras miteinander zu vergleichen.:
Und wieder war ich, als ich den Karton auspackte, darüber verblüfft, wie sehr sich die beiden Kameras ähnelten.
Die „Beste aller Lebensgefährtinnen“ wird wohl keinen Unterschied erkennen solange sie die beiden Kameras nicht zusammen sieht.
Und das sollte sie auch demnächst nicht. Denn das könnte Ärger geben.
Wenn man fragt, welche Kamera nun das Original sei, kann man mit Fug und Recht sagen: Beide.
Denn Beide sind Zeiss Ikon – Produkte und basieren auf den gleichen Konstruktionsunterlagen.
Das hier war wieder mal ein typisches Problem der Nachkriegszeit und der deutschen Teilung.
Ein Produkt wurde noch vor oder im Krieg entwickelt und dann später in beiden deutschen Teilen gebaut.
Sowohl in den westlichen Besatzungszonen als auch in der Sowjetischen Besatzungszone existierten Zeiss Ikon – Werke.
Die Ikonta 521/2 gab es bereits seit 1938. Sie wurde in Stuttgart gebaut und dort auch nach dem Krieg weiter produziert.
Soweit ich weis erschien die erste Ercona 1948. Sie wurde in Dresden auf Grundlage der Ikonta 521/2 entwickelt. Da man damals im Dresdner Zeiss Ikon Werk keine Klappkameras herstellte musste eigens für die Ercona eine Fertigungsstrecke eingerichtet werden.
Wenn überhaupt dann könnte man aufgrund dieser Fakten die Ercona als Kopie betrachten.
Doch so einfach war das nicht. Denn Zeiss Ikon war erstmal Zeiss Ikon. Und das unabhängig von der Besatzungszone.
Sowohl Zeiss Ikon Stuttgart als auch Zeiss Ikon Dresden hatte das dazu notwendige Knowhow und die Konstruktionsunterlagen. Die Rechte am Produkt mussten geklärt werden.
Und diese Situation entwickelte sich im Laufe der Jahre zu einer mitunter skurrilen Katzbalgerei.
Was ich hier schreibe ist natürlich in erster Linie ein „Nachplappern“ von dem, was ich gehört und gelesen habe. Ich bin kein Zeitzeuge.
Mein Wissen über diese Zeit verdanke ich hauptsächlich Gesprächen mit Zeitzeugen.
Und als Solche wären da mein Vater, mein Fotozirkelleiter Herr Teuscher und mehrere Unterstufen-Lehrerinnen zu nennen. Sehr oft erzählten sie mir von der verrückten Nachkriegszeit.
Und ich habe mit großem Interesse zugehört.
Dass die Leutchen gar nicht so falsch lagen konnte ich später beim Studium diverser Fachliteratur und Websites feststellen.
Vergleichen wir nun mal meine Neuerwerbung mit dem Bestand.
Neben „Omas Plattenkamera“ war meine Ercona die älteste Kamera in unserem Arsenal.
Vater kaufte sie um 1950 herum. Das genaue Baujahr weiß ich nicht. Aber es handelt sich bei unserer Kamera schon um die Zweiformat Ausführung. Und die gab es erst in den 1950-ern.
Wenn nun die Ercona schon alt war so vermute ich bei der Ikonta jedoch ein noch älteres Baujahr.
Laut meiner Internetrecherche kam die Kombination Compur-Zentralverschluss mit dem Novar 4.5/11 cm eher bei den Vorkriegs-Ikontas vor.
Somit kann es durchaus sein dass meine Ikonta aus dem Jahre 1938 stammt.
Für eine vermutlich 86-Jährige wirkte sie bemerkenswert rüstig.
Als ich den Compur mit ein paar „Leerschüssen“ testete, war ich schon wieder verblüfft.
Der Auslöser ging butterweich.
Bei der Ercona war das Auslösen eine hartgängige, hakelige Angelegenheit die oft zu Verwackeln führte.
Nach der Erkenntnis, dass das Parallelprodukt butterweich auslöste, saß ich erstmal eine halbe Stunde mit Ölkännchen und Tupfer bewaffnet an meiner Ercona.
Und siehe da. Als ich alle beweglichen Teile des Auslösergestänges gereinigt und geölt hatte ging die Sache deutlich leichter.
Ein bisschen straffer ging die Ercona trotzdem noch. Doch das lag wahrscheinlich an dem Selbstspannverschluss.
Mein Vater hatte damals seine Ercona in der denkbar einfachsten Ausführung gekauft.
Die Kamera war mit einen Selbstspannverschluss Junior der Gebrüder Werner aus Tharandt und einem Novar 4.5/11cm ausgerüstet.
Der Verschluss hat nur 3 Belichtungszeiten und B. Für die damalige Zeit war das nicht unüblich. Aber es war eben nicht gerade viel.
Einerseits hatte Vater als junger Mann noch nicht so viel Geld zur Verfügung. Andererseits wird er auch nichts Besseres bekommen können.
Damals musste man nehmen was man kriegen konnte.
Der Zentralverschluss an meiner Ikonta entsprach da schon eher meinen Vorstellungen.
Der Compur musste zwar separat aufgezogen werden. Doch das war ich vom Vebur an meinen Beltica und an der Certo gewohnt.
Wichtig war, dass er ein ähnliches Spektrum an Belichtungszeiten hatte wie der Prontor SVS an meiner Flexaret bzw. die eben genannten Vebur Zentralverschlüsse.
Ich glaube, dass ich mich für diese Ikonta entschieden habe, werde ich nicht bereuen.
Sie hat das gleiche Objektiv wie die Ercona aber einen besseren Verschluss.
Trotzdem gefällt mir optisch die Ercona mit ihrem kegelförmigen Zentralverschluss einen Tick besser.
Doch das ist vielleicht der Gewohnheit geschuldet.
Die Handhabung der beiden Kameras ist ähnlich aber nicht gleich. Der Compur an der Ikonta muss immer separat gespannt werden. Und am Fokusring fehlt die Tiefenschärfetabelle.
Damit gehörte die Ikonta zu meinen „ Schätzchen“. Die Ercona verwöhnte mich damit dass ich auf den Verschluss nicht achten brauchte weil der sich selbst aufzog.
Das schätzte ich auch an der Flexaret. Auch wenn man es hier technisch anders gelöst hatte.
Am Fokusring der Ercona befindet sich eine Tiefenschärfetabelle.
Mit dieser Kamera lernte ich das hyperfokale Scharfstellen. Faktisch bei allen, der Ercona folgenden Kameras, setzte ich meist diese Fokussiertechnik ein.
Sowohl bei der Ikonta als auch bei der Ercona wurde als Objektiv das Novar 4.5/11cm verbaut.
Ich hatte beim Kauf der Ikonta darauf geachtet, dass ich ein identisches Objektiv bekam. War es bei der Ikonta offensichtlich so konnte man auch bei der Ercona davon ausgehen dass das Objektiv noch aus Vorkriegsbeständen stammte.
Eigentlich habe ich keine so große Meinung vom Novar 4.5/11cm.
Ein Tessar in Kombination mit einem Tempor - Zentralverschluss wäre mir an der Ercona lieber gewesen.
Aber weder eine Ikonta noch eine Ercona sind, mit einem Tessar ausgerüstet, derzeit mit einem fairen Preis zu bekommen.
Und wenn doch dann in schlechtem Zustand mit „Apothekerpreisen“.
Auf den ersten Blick sind den beiden Kameras kaum zu unterscheiden.
Doch zwei kleine Unterschiede sind auf den Kamerarückwänden erkennbar.
Zunächst sind jeweils die Namen „Ikonta 521/2“ und „Ercona“ auf die Rückwand gestanzt worden.
Und dann sind da noch die Gucklöcher.
Die Ercona war eine Zweiformatkamera. Sie konnte im 6 x 9 Format und im 6 x 6 Format fotografieren. Dafür besaß sie eine Maske in der Filmbühne und im Sucher. Und in der Rückwand besaß die Kamera 2 Gucklöcher für den Filmtransport.
Bei der Ikonta gab es nur das 6 x 9 Format. Deshalb hatte sie auch nur ein Guckloch.
Ein richtiges Zählwerk, wie meine Flexaret, hatten beide Kameras nicht.
Mal sehen wie die beiden Kameras sich im direkten Vergleich anstellen.
Um die Filme auch später auseinander halten zu können werde ich einen einfachen Trick anwenden.
Die Ikonta kann eh nur 6x9. Also bleibt sie in diesem Format. Für die Ercona wähle ich das 6x6 Format. Da sie, wie die Ikonta auch, ihre Filme quer einzieht, kann ich die Aufnahmen gut von denen der Flexaret unterscheiden. Denn bei dem tschechoslowakischen Doppelauge verläuft der Film von unten nach oben.
Das ist aber alles nichts gegen die Hürde die ich demnächst nehmen muss. Und die heißt:
„Wann und wie sage ich meiner Frau dass ich eine Kamera gekauft habe?“
Hai finalmente comprato e installato il tuo nuovo Router WiFi, e ora puoi navigare in libertà da qualsiasi punto della casa, ma sei sicuro di aver installato e messo in sicurezza la tua rete per dare filo da torcere a eventuali aggressori ?
Leggi il post completo abtechno.org/index.php/2007/03/04/proteggi_connessione_wi...
First, you need to see the website of the the vineyard:
They say this:
"The rich perfumes of this white wine come predominaly from old vines which produce in a regular and soft way and perpetuate our ancestral knowhow in the choice of plants, hence the mobility of this pure Aligoté."
This was a very young, but a terrific white wine.
Please take a look at the entire Saturne picture set.