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Interrogation method.
This time you will have the last laugh. Everyone has their weakness, which the torturer will gladly exploit. They will take off your pants, and put you in the stocks. Then the torturer brings in various equipment, to tickle you. Most commonly, they use feathers, but it could be a plant with irritating touch, long animal fur... even they dip the victim's feet into salted water, and brought in a goat, to lick it. Tickles can be really harmful, if they do it, for long, like vomiting, incontinence, losing consciousness, or die.
I just read about the Brenizer Method the other day and I decided to give it a go. It was a little tricky at first but I finally got some ok results in photoshop. Can't wait to play around with it more.
Following collection from infected wheat plants using a cyclone collector, stem rust spores are sieved to remove chaff and other detritus, at the Njoro research station, part of the Kenya Agricultural Research Institute (KARI). These spores can be stored for use in inoculation the next season.
Njoro is home to an ongoing screening program, working in close partnership with CIMMYT to identify sources of resistance to the Ug99 race of stem rust. This virulent new strain of the disease, which emerged in Uganda in 1999, is already endemic in the area, making it possible to use Njoro as a testing ground for wheats from all over the world. More than 30,000 wheat lines are now being screened each year.
For more information on stem rust, see CIMMYT's Wheat Doctor: wheatdoctor.cimmyt.org/en/pests-a-diseases/list/122?task=....
For information on collection and inoculation techniques, see the CIMMYT publication "Rust diseases of wheat: Concepts and methods of disease management", available as a pdf at: libcatalog.cimmyt.org/download/cim/38487.pdf.
For more on CIMMYT's ongoing work on Ug99, see the following e-news stories:
2010, "Planting for the future: New rust resistant wheat seed on its way to farmers": www.cimmyt.org/newsletter/231-2010/716-planting-for-the-f....
October 2009, "From Cairo to Kabul: Rust resistant wheat seed just in time": www.cimmyt.org/newsletter/38-2009/460-from-cairo-to-kabul....
December 2008, "Report from the field: Wheat stem rust resistance screening at Njoro, Kenya": www.cimmyt.org/newsletter/37-2008/110-genetic-resources-p....
December 2006, "Threat level rising": www.cimmyt.org/newsletter/82-2006/263-threat-level-rising.
September 2005, "The World’s Wheat Crop is Under Threat from New Disease": www.cimmyt.org/newsletter/86-2005/331-the-worlds-wheat-cr....
Photo credit: Petr Kosina/CIMMYT.
Histoire des plantes de la Guiane Françoise, rangées suivant la méthode sexuelle, avec plusieurs mémoires sur différens objets intéressans, relatifs à la culture & au commerce de la Guiane Françoise, & une notice des plantes de l'Isle-de-France ...
Londres,P.F. Didot jeune,1775.
The VTO Football Combine T3 Method has trained over 5,000 students across the country… Our unique methods First we TEACH the correct skills/form for standard combine tests. Then we TEST to see where you excel and where you need more training then we TEACH again to see those skills improve and give you advice for training. Standard combine T3 methods includes 40 yard dash, Pro shuttle, vertical jump, 3 cone drill and bench press.
The title is pretty self-explanatory...
D90+Tokina 11-16 @ 11mm on Gorillapod
HDR from 3 RAWs (-2, 0, +2 ) centered on
1.6s, f/7.1, ISO 200
Merged with Photomatix
Improved with Photoshop & Noiseware
The method was inspired by this great tutorial from Stuck in Customs
On another note, my photostream reached 10k views yesterday. Thanks!
Officers from Greater Manchester Police's Salford Division are undertaking regular days of action as part of Operation Naseby's disruption hub - formed in April earlier this year to reduce the activity of local organised crime groups.
The public are encouraged, as ever, to speak to high-visibility patrols with any concerns or information they may have with the knowledge that information will be treated with the strictest confidence.
Since the inception of the Operation Naseby disruption hub in April, there have been 126 arrests, 109 vehicles seized and 48 house searches.
GMP have also been working alongside partners in Salford City Council as part of Project Gulf, an initiative dedicated to tackling organised crime in the city with a view to deter reoffending as well as taking down criminal groups.
Detective Inspector Rebecca Mills, of GMP's Salford division, said: "Today is the start of a series of action days across Salford where our officers are increasing their methods of disrupting criminal activity by serious and organised crime groups in the area.
"This is part of our ongoing Operation Naseby disruption programme which has seen some significant advances made in tackling the type of crime that causes such risk and harm to those who are most susceptible in our society to such activity.
"I'd like to reassure the public that the work going on in the commencing weeks is part of this ongoing operation and there is no known risk to the wider public.
"We do urge anyone with information regarding organised crime in Salford to contact police or our high-visibility patrols that operate in our communities - as the greater the information we have available to us, the more successful our work in tackling these groups will be."
Anyone with any information should contact police on 101 quoting Operation Naseby. Details can be passed anonymously to the independent charity Crimestoppers on 0800 555 111.
You can access many of our services online at www.gmp.police.uk
Built in 1870, this Richardsonian Romanesque-style former psychiatric hospital was designed by Henry Hobson Richardson to serve the population of the rapidly growing urban areas in Western New York with more advanced mental health treatment. Sitting among a large park-like campus designed by Frederick Law Olmsted and Calvert Vaux, the rusticated Medina red sandstone and brick structures of the hospital are laid out primarily according to the Kirkbride plan. The the largest commission by footprint and square footage designed by Richardson during his storied and significant career, being one of the earliest examples of his signature Richardsonian Romanesque style, which mixes rusticated stone with Romanesque architecture to create romantic picturesque compositions reminiscent of Medieval castles and churches in Europe.
The campus was expanded over time with the construction of additional wings in red brick on either side of the original Medina sandstone buildings, which consists of the central five wings, the three brick wings at the eastern end of the complex having been removed in the 1970s to make way for a modern psychiatric facility, despite the complex’s historic and architectural significance having been recognized during the 1960s. Additional buildings not in the kirkbride formation were scattered around the grounds, including a greenhouse behind the main building, several smaller service and utility buildings, and buildings that were constructed to provide additional wards to house patients during the early 20th Century, as well as buildings meant to house staff.
When the hospital was in operation, patients were segregated by sex, with male patients being housed in the eastern pavilions, and female patients being housed in the western pavilions. The building was utilized as a psychiatric hospital known as the Buffalo State Asylum until the 1970s, when changing methods of treating psychiatric illness were developed, leading to the building becoming obsolete and newer facilities being built on the grounds. The central wing of the complex, however, remained in use as administrative offices for the still-operating psychiatric treatment facilities on the property until 1994.
The building went through a period of significant and prolonged deterioration and uncertainty between the 1970s and 2008, with the unsecured facility becoming vandalized, decayed, and unsafe. However, in 2008, in the wake of a successful lawsuit filed by the Preservation Coalition of Erie County, the State of New York was forced to commit $100 million in order to rehabilitate the structure. Between the spring of 2008 and the fall of 2012, the complex was stabilized, and in 2013, the South Lawn was converted from parking lots back into the original, verdant green space it was meant to be. In 2017, the first phase of the building's adaptive reuse and rehabilitation was completed, which transformed the central three pavilions into the Hotel Henry and Conference Center, with the Buffalo Architecture Center also opening in the renovated structure. The plans for the complex were to convert the remaining intact but vacant pavilions into additional space for the Hotel Henry Urban Resort Conference Center, which would have been spectacular once it transformed and revitalized the amazing historic structure. However, due to restrictions and economic effects relating to the recent pandemic, Hotel Henry became insolvent and closed in 2021.
The complex consisted of a central wing with two tall towers that housed administrative facilities, flanked by five pavilions on each side, which progressively stair-step north from the central pavilion, a key feature of the Kirkbride plan, with a total of 11 structures in the complex, with three brick pavilions having been removed from the east side of the complex. The central wing features two towers with steeply-pitched copper-clad roofs, turrets at the corners, shed dormers, and corbeling, hipped dormers of varying sizes, with recessed panels and windows of varying sizes helping tie it back to its medieval aesthetic inspiration. The wing also features wall dormers, windows with arched transoms and stone trim, gabled roofs, and two-story arced connecting corridors that link it to the pavilions next to it on either side, features that are shared with the other medina sandstone buildings in the Richardson-designed portion of the complex. The front of the central wing features a porch with arched openings supported by columns with ornate capitals, tile mosaics on the faces of the vaults and blind arches on the porch, and a central doorway with an arched transom. The rear facade has been slightly modified with the installation of a curtain wall where an addition had been connected to the building in the mid-20th Century, which was added to serve as a primary and fully accessible entrance to the hotel that formerly operated in the building, with a large metal canopy having been added to this side of the building in 2021-22. To either side of the main wing are a total of four medina sandstone wings that formerly housed patient wards, which are largely identical and feature hipped and gabled roofs, wall dormers, windows with stone trim and arched transoms, arced two-story connecting corridor structures, and chain link-enclosed steel and concrete porches on the unrestored outer wings, which were once present on all of the wards, but were removed on the wards that were restored.
To the north and west of the sandstone structure are a series of red brick wings and buildings in various states of deterioration, with the two western wings being similar in appearance to the medina sandstone wings, but one floor shorter, blocky four-story red brick wings with low-slope roofs to the rear of the outermost sandstone wings, and two one-story service buildings behind the middle wings that flank the central wing, which feature hipped roofs, and differ a lot in materiality and details. At the very end of the western wings is a wing that is turned 90 degrees from the wing it is attached to and is roughly H-shaped, being only one story in height, featuring a gabled roof, a wooden porch with doric columns at the northwest corner, and a one-story bay window in the middle of the north facade. These wings are in much worse condition than the sandstone portions of the complex.
The complex was listed on the National Register of Historic Places in 1973, and was named a National Historic Landmark in 1986. The complex’s future is presently uncertain, with a large section of copper missing from the north side of the roof of the east tower on the central wing, many of the wings still languishing in abandonment and severe disrepair, and no longer having an anchoring business to preserve and reuse the buildings.
Reposted from my blog: redfishingboat.com/2008/10/visiting-emersons-grave/
When times are hard, we look for clues. Clues about the escape route, the treasure map, the method to slay the beast. We seek these clues in the usual places. Or, we don't look for clues at all. Sometimes clues find us. Every morning, I need to imagine a new reason to get out of bed, seek the treasure. Here's a clue:
As luck would have it, (or, is it habit?), I found myself looking at photographs taken by a stranger. This time around, an empty and whited time like any other, I saw a plaintive photo among hundreds of other photos, a matter-of-fact image of an old grave with an old name;
Ralph Waldo Emerson.
It's a name that carries some weight, three names actually, signifying Historical Importance of a High Order. Of course, it's a name not unfamiliar and, of course, most famous to amateur speechwriters everywhere as the source of many inspiring aphorisms that leap off the pages of your favorite catalog of famous quotations.
Emerson sure could turn a phrase. Hell, I unwittingly cited him with my high school yearbook quote, pulled from Bartlett's, perhaps:
Whoso would be a man, would be a nonconformist.
- Ralph Waldo Emerson
Ta daa! Profound, yeah? Suits me.
And, for years, Emerson was just that; a clever name. A name that when dropped, lends the speaker the gravitas of One Who Has Read. Of course, nobody I know has actually read Emerson. Somewhere down the line, however, I did the unthinkable. I actually did.
I picked up Emerson's Essays at a second-hand paperback shop. My copy has the single ugliest most unreadable cover in the history of visual design -- something I take a perverse pleasure in owning.
To read Emerson takes some time. You must dive in to the deep end and immerse yourself in an old prosaic style that takes some getting used to. For me, whiskey speeds this process nicely. When you break through, Emerson can hurt you. He will call out your foibles and failings and show them to you. But, within that you can find pure inspiration. The reason Emerson is in so many quote books is that he inspired so many, who citied him, and thus inspired others, thus trickling down to be mere caricature, a footnote. But, there is real meat to Emerson. I read and I got it. But, it was a long time ago. It feels like another life.
This is what I was reminded of when I saw the photograph of his final resting place. And, therein is the clue.
Chief among Emerson's work, for me, is the essay Self-Reliance. You could run off and read it, but keep in mind my admonition that you need to acclimate yourself to his prose. Im fact, just for now, let's do what so many have done and distill him to a quote. For me, the ultimate quote:
Not for nothing one face, one character, one fact, makes much impression on him, and another none. It is not without preestablished harmony, this sculpture in the memory. The eye was placed where one ray should fall, that it might testify of that particular ray.
There it is; a mere handful of words that have kept me going in dark times such as these. You may find it dense, dry, or powerful. In any case, let me dive in and break it down:
Not for nothing one face, one character, one fact, makes much impression on him, and another none.
What Emerson is saying here is that when you see something interesting, it means something. Your point of view, your eye, has intrinsic value.
It is not without preestablished harmony, this sculpture in the memory.
He means that it's all part of a piece. Your take on the world is part of the world. Your ideas are part of what make the world what it is.
The eye was placed where one ray should fall, that it might testify of that particular ray.
This line has moved me to tears on not a few occasions. Even as I write about it now, it is with a tight and urgent excitement. (I take a deep breath) Not only is your vision meaningful, it is also unique and necessary. You have to be there to see what you see. And, you have to bear witness, in whatever way you know how; Write, take pictures, tell stores, give hugs, smile, clean houses, fix tacos, till the earth, have children. Testify! Your story, your life is the testament to a the way the heavens have aligned just for you. Only then is the harmony of life complete.
Now, go and read the essay. Understand it, I hope, or don't. When I feel I can never take another picture, when I feel I can't rise from my pillow, this is why I can.
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Comparison between Sony NEX-7 and Fuji X-Pro - both fitted with Voigtlander 20mm f/3.5 lens
Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission
Guido Imbens is a scientist who builds bridges—between data and understanding, between correlation and causation, between abstract mathematical theory and real-world application. In a world flooded with information, he has spent his career developing methods to extract meaningful answers to some of the most pressing questions in economics and social science: What happens if we raise the minimum wage? Does a new medical treatment actually improve health outcomes? How do we measure the effect of education on future earnings?
Born in the Netherlands, Imbens trained as an econometrician but became, in many ways, a statistician at heart. He has a precise, almost engineering-like approach to problems, which has served him well in his work on causal inference—the study of how to determine cause-and-effect relationships from data. Alongside Joshua Angrist, his longtime collaborator, Imbens developed methods for using natural experiments—situations where external forces create conditions similar to a randomized trial—to uncover causal relationships. Their work, foundational to modern empirical research, earned them the 2021 Nobel Prize in Economic Sciences.
When I photographed Imbens at his home near Stanford on February 20, 2025, I was struck by the world he had built around him. Books lined the shelves—more than just professional tomes on econometrics, but works of history, philosophy, and literature. The walls were filled with photographs, all his own, documenting the life of his family with the same dedication and care he applies to his research. Outside, among the quiet order of an academic’s world, was something unexpected: chickens. He raises them in his backyard, tending to them with the same quiet, methodical attention he gives to data and equations.
His wife, Susan Athey, a celebrated economist in her own right, was there as well. The two share not just a home but a lifetime of intellectual collaboration, an ongoing conversation about economics, technology, and policy. Though Imbens is deeply analytical, he is also warm and engaging, his penetrating eyes suggesting a mind always at work, always questioning. There is no arrogance in his brilliance—just a deep curiosity and a willingness to engage, to explain, to refine.
Though he is now well into an illustrious career, his work remains as relevant as ever. As machine learning and AI become dominant forces in research, Imbens is at the forefront of integrating these new tools with rigorous causal reasoning. His focus remains unchanged: ensuring that in our rush to analyze data, we do not lose sight of the deeper question—what causes what, and how can we be sure?
Even outside his formal research, Imbens has a scientist’s impulse to observe, to document. His photographs, like his econometric models, are about capturing relationships—not just moments in time, but the threads that connect them. His home, his research, his life’s work—all reflect the same principle: the search for clarity in a world of complexity.
“The only source of knowledge is experience”
~ Albert Einstein
Swift Hall was the second building erected for the Engineering Department at the University of Cincinnati. Constructed in 1926, Swift Hall was designed by Harry Hake to be fireproof, made of steel and concrete, red wire-cut brick and Terra cotta trimming. The building was the last word in architecture, design and construction methods as new inventions changed the fabric of construction.
Swift Hall, named after the generous benefactor John B. Swift, housed the electrical engineering department for the expanding engineering department. Swift was the president of the Eagle Pitcher Lead Company and donated $150,000 in memory of his brother who had been a graduate of the University. Another generous donation by John Emery enabled the University to build the building.
Like other engineering programs across the United States, the University of Cincinnati's Engineering Department competed in the burgeoning world of technology. Through the persistence of UC instructor Paul Herget, who became an astronaut, the University beat out East Schools like Yale to obtain one of the first computers utilized in colleges. The computer was an IBM 650 and allowed UC’s Engineering Department to develop the first program to teach computer programming to the visually impaired as well as those with disabilities.
In 2002 and 2003 Swift Hall, along with other buildings at UC, were renovated to include computer-based classrooms, offices and meeting spaces. Currently Swift Hall houses the Main Campus Newspaper, the News Record, offices and classrooms. On a fun side note: astronomer Paul Herget later helped design the Pringle Potato Chip.
Oringinally completed in 1926, Swift Hall is adjacent to the Steger Student Life Center and houses classrooms, lecture halls, and offices for various UC programs. glaserworks, as Architect of Record worked closely with the University and with design firm Moore Ruble Yudell to create some of UC’s earliest high-tech "digital" classrooms. These electronic classrooms have been designed to comply with specific guidelines supporting teaching and learning with technology. Nearly every student has an unobstructed view of high definition video images projected from a computer, laptop, VCR, DVD, or document camera augmented with excellent sound quality. Lighting and shades are automatically controlled for optimum viewing and note-taking. In the larger lecture rooms, multiple screens allow simultaneous viewing and recording of side-by-side images for comparison or examination i.e. a scanned photo downloaded from the web shown adjacent to a physical specimen placed under the document camera.
Autume Rustic Charm.
charlesfuller canon 5D Lens canon 28-135mm Zoom Lens
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Simple profesional methods and framing to get the best from Photographs. Take part in the selection and donate.
Piece by piece, the 53 years old building is now destroyed. This will take quite a while with this method. Switzerland, Aug 6, 2013.
Lambeth Method Demo at the Wanneroo Cake Decorating Club November 2011. I really had to dig deep into the archives to do some piping that I haven't done in about 30 years! Very rusty, but hey it was fun to do some of the 'old stuff'!
Sorry for short delay had to try out both methods on 2 seperate sheets before resuming collapse on the main model. Whats noticed is method 2 has a back side where points don't meet & that results in a 5 pointed star. Its front didn't come out as neat, unsure if its because of the paper or the method itself. While it maybe cool it could be confusing at the same time (because of alignment), so I will stick to the original method 1. Anyway I got to test some new paper at the same time so its all good.
My parents agreed to pose for me!
More attempts at "The Brenizer Method"
Panoramic collage of 62 photos!
Taken with 24-70mm at 70mm 2.8
Luxembourg
Paris
Methods
A Canon Rebel T1i, mounted to a Manfrotto tripod provided the images from this test. The camera was connected to a laptop computer via the USB cable. Canon EOS Utility provided remote image capture via Live View. The on-screen button provided the trigger, minimizing the chance of camera shake. Diffuse natural light through a window provided the only lighting source. White Phalaenoposis orchids were the chosen subject because they present many overlapping low-contrast (relative to each other) surfaces. The focus point is on the center of the front-most flower. Focus was established by computer via the Live View autofocus feature. ISO for each image: 200. The camera was set to Av mode, with aperture set manually at the full-stop increments of f/4, f/5.6 and f/8. Images captured were 15MP JPEGs. Each frame in the above image is a 100% crop with dimensions of approximately 18 x 28 cm. View the large version of the image to see full detail.
A Canon EF 24-105mm 1:4 L IS USM "standard zoom" and an EF 70-200mm 1:4 L USM "telephoto zoom" lens were compared. The base-line was "full zoom", or 105mm focal length, on the 24-105mm lens. After images were captured with the normal zoom, the 70-200mm was attached to the camera for the establishment of framing similar to the 24-105mm. It turned out that, at 2.2m focus distance, an 87mm focal length on the 70-200mm lens resulted in an angle of view similar to 105mm on the 24-105mm. This is a reminder that similar focal lengths on different lenses can produce significantly different results. The focal length differential between the 24-105mm and 70-200mm lenses was examined during later tests. At 1.3m focus distance, the 70-200mm lens had to be set at 78mm to match the same framing as 105mm on the standard zoom. At 6.0m focus distance, the telephoto zoom had to be set at 94mm to match the same framing as 105mm on the 24-105mm lens. Infinity focus has not been tested as of this writing, but supposedly if the observed upward trend with increasing focus distance continues then the two lenses are probably fairly close in viewing angle at far focus distances.
After all the test images were captured, they were brought into Adobe Photoshop for compilation into the above comparison table. No adjustments were made to the photographs, save for cropping.
Caveat: This test compares just one lens from each class placed on a single camera body. Therefore the results are largely limited to just these lenses. Different lenses and cameras may (and likely will) produce different results. A far more valid test—one truly useful to a prospective purchaser, say—would compare the results from several randomly selected lens samples, all randomly assigned to different camera bodies of the same model. Always keep this in mind when viewing lens tests available online: Few, if any, are that informative about the performance of the lens you may have or are planning to buy.
Note also that this is a test of just one focal length, 105mm on the standard zoom and 87mm on the telephoto zoom, and just one focus distance, 2.2m. Results may vary at different focal lengths and focus distances.
Results
For those with some time on their hands, a good way to compare these images is to crop them out in Photoshop, put them in separate layers, and then do a "blink comparison" test by turning the topmost layer on and off rapidly. The differences between the frames are much more visible via this method.
Overall, all the frames are excellent. I would use any one of these images for my work, be it publishing online, in a bound book, or simply printing for a photo album. Both the 24-105mm and 70-200mm are very useable wide open, and image quality just gets better with some modest stopping down. That said, the 70-200mm has an edge on the 24-105mm. The 70-200mm is slightly sharper and more "contrasty" at f/4 than the 24-105mm. Stopping the standard zoom down to f/5.6 produces an image comparable to f/4 on the telephoto zoom. At f/5.6, the 70-200mm produces an even sharper image. Both lenses at f/8 are simply superb.
Incidentally, the EF 24-105mm f/4L IS USM lens is significantly more expensive than the EF 70-200mm f/4L USM, by almost a factor of two. However, the 70-200mm clearly produced better image quality in the above test, especially at f/4. This is a reminder that the oft-stated "you get what you pay for" is not always true. With lenses, price and image quality do not have a 1:1 correlation. This is largely because many factors can influence price. For example, there is often a significant price difference between IS and non-IS versions of similar types of lenses (e.g. 70-200mm), and there may not be a significant difference in the image quality between the two lenses, save in those situations where IS may help with a crisper shot. Lens build can have a significant influence on price: A focus ring with a silky glide does not necessarily translate into optical perfection--indeed optics and mechanics are two entirely different areas of engineering, and there should be no expectation that a great build always translates into better optics. However, due to deliberation on the manufacturers part ("we will combine great optics with great build") such a correlation likely exists at some level, but it is not perfect. Also, price/performance likely depends on what features are being tested. At best, there appears to be a rough correlation between price and image quality. Rough.
Testing the 'Chuck Doan' paint chipping method for the gate. I think I've got the general idea, but I'll need to practice a bot more before I do it on the gate itself.
Build log
www.britmodeller.com/forums/index.php?/topic/235006094-ho...
(ink illustration by Buck O'Donnell; public display, World Museum of Mining, Butte, Montana, USA)
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The town of Butte, Montana (pronounced “byoot”) is known as the “Richest Hill on Earth” and "The Mining City". The Butte Mining District has produced gold, silver, copper, molybdenum, manganese, and other metals.
The area's bedrock consists of the Butte Quartz Monzonite (a.k.a. Butte Pluton), which is part of the Boulder Batholith. The Butte Quartz Monzonite ("BQM") formed 76.3 million years ago, during the mid-Campanian Stage in the Late Cretaceous. BQM rocks have been intruded and altered by hydrothermal veins containing valuable metallic minerals - principally sulfides. The copper mineralization has been dated to 62-66 million years ago, during the latest Maastrichtian Stage (latest Cretaceous) and Danian Stage (Early Paleocene). In the supergene enrichment zone of the area, the original sulfide mineralogy has been altered.
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From exhibit signage:
Why do miners drill?
Drilling holes allow explosives to be placed and detonated inside solid rock to break it loose from the world and into pieces.
Iron tools, like hammers, picks, and chisels have been used to mine since the beginning of the Iron Age, about 2000 B.C. There were no explosives, so rock was simply beaten to pieces or wedged apart. Oddly enough, it took over 300 years after the invention of gunpowder before it was used to break rocks. Even then, for may years it was only used in natural cracks and fissures.
The first known use of drilled holes filled with gunpowder to break rock was in Germany in 1613. It was used exclusively for 250 years and continued to be used in coal mining and other special applications well into the 20th Century.
Unbelievably, pure liquid nitroglycerine, one of the most sensitive and unstable explosives known, was used extensively for rock blasting after the American Civil War. Both manufacturing and transportation were extremely hazardous. The slightest impurity or error could cause a batch to explode when the chemicals were combined. It was hauled around in bone-jarring wagons on rough roads. Documented cases tell of wagonloads rolling down mountains without detonating, but others that exploded from an insignificant cause, like a kid throwing a rock.
Alfred Nobel, the creator of the Nobel Prize, invented dynamite in 1868, using an absorbent material to de-sensitize nitroglycerine. He also invented the blasting cap to reliably set it off. The first dynamite plant in the United States was built in San Francisco in 1870, but it did not come into common use for nearly ten years until after the manufacturing and transportation methods were perfected.
Hand Drilling
For 250 years, strong men swinging hammers against the iron drills was the only means of drilling holes in rock. One man drilling alone was called "single-jacking", while teams of two ore more, using heavier hammers, was "double-jacking". It was slow, hard, dangerous work with only oil lamps and candles for light. Buck O'Donnell's drawings show the drillers at work, but the white pages do not convey doing it in smoky, dusty, near-darkness and stifling heat.
[A] granite block [was] a contest stone. Drillers would compete in front of huge crowds for the title and prestige of drilling the deepest hole in fifteen minutes. Butte miners Walter Bradshaw and Mike McNichols hold the world's record for double-jacking, just shy of four feet.
However, two ordinary drillers working 10-12 hour shifts, day after day, year after year, drilled only four to six inches in hard rock during the same 15 minutes. Advancing a mine tunnel four feet took about a thousand inches of drilling, over eight days of constant drilling. Taking advantage of natural fractures was an important skill the best miners learned to cut this time down, but tunnel progress still averaged less than a foot a day.
test attempt at the Brenizer Method with the Canon 85mm f1.8 on the Canon 5D II shot wide open at f1.8 49 shots total.
Contraceptive methods line icons. Birth control equipment, condoms, oral contraceptives, iud barrier contraception, vaginal ring, sterilization. Safe sex signs for medical clinic. Pixel perfect 64x64.