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Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
my newest piercing! I have my tragus pierced on my right side. I was so nervous to do this one because I had a horrible piercing experience with my tragus...it hurt SO bad being pierced and the guy literally took 40 minutes to get the ball on the hoop all the while tugging on a fresh piercing trying to get the ball on. I always loved this piercing but like I said I was nervous because it seems pretty thick but I hyped myself up for nothing, it was a pop from the needle going thru, the jewelry insertion was a pinch of pain (not bad though.) The worst part was the alcohol or whatever it was to clean it up at the end ...that stung horribly. Virtually no pain since being pierced and I absolutely love it!
Done by Phil @ Slingin' Ink in Scranton PA while visiting my bro. After my tragus experience I have only gone to two piercers: Phil, and local to me Tony @ Rock 'n Willy's. They have been piercing and perfecting their technique for YEARS and have been 100% WONDERFUL to work with.
Update: piercing was done on 9/12, it was absolutely fine looked like this for about 3-4 days. I was cleaning it twice a day with H2O spray and being careful not to touch it/bump it...after the 3rd day it swelled like crazy and just immense pain throbbed through my ear, woke me up out of my sleep. I was absolutely MISERABLE for a whole day...my ear was twice it's size with the swelling...I wanted to saw my ear off to get some relief from the pain.
I went back to my local piercer and he told me it was absolutely normal just to keep cleaning it, maybe doing actual sea salt soaks with hot water, take some ibuprofen for the pain, and if it was really as bad as I said it was to crush up an ibuprofen and make a paste with water and put it on my piercing. I immediately did a combination of all 3 when I got home and continued with the sea salt soaks a couple times a day and I'm now two days since that horrible day and it's helped a ton! The swellings better than that first day, the first day you could barely see the bottom ball. I can now see the bottom ball but my ear is still pretty swollen. Knowing the pain I had the other day with this, had I ever expected to go through anything like that I most likely wouldn't do the piercing again...hoping I can heal it up so I don't have to lose it because I do really love it.
Based on the amazing Micro-Model designed by master builder Mariann Asanuma for Brickjournal
Ignoring the elegant lines of Mariann's model, I made a few tweaks to the design, extending the roof and adding a chimney. I also gave a bigger hat to the snowman, 'cause I'm a rebel like that.
Sensor in original position was reading approx 5 degrees higher than ambient. Re-positioning resulted in correct temperature readings.
Code available here - github.com/ibuildrockets/NixieTemperatureDisplay
Cathédrale de l'Incarnation (Grenade)
source WIKIPEDIA
La cathédrale de l'Incarnation de Grenade est un édifice de la Renaissance, bâti à partir du xvie siècle dans la ville espagnole de Grenade, en Andalousie. Cette cathédrale, considérée comme la toute première église construite en style Renaissance en Espagne1, fut envisagée dès le règne des Rois catholiques, et sa construction fut commencée sous Charles Ier, pour s’achever en 1704, sous le règne de Philippe V.
Dédiée au mystère de l'Incarnation, elle est le siège de la province ecclésiastique de Grenade, dont l'archevêque étend son autorité sur les diocèses d'Almería, Carthagène, Guadix, Jaén et Malaga. La cathédrale est classée Monument national depuis 1929.
Suite à la reconquête de la ville en 1492, les Rois Catholiques envisagent la construction d'une cathédrale sur le site de l'ancienne grande mosquée nasride de Grenade. Dès le 21 mai 1492 est fondée l'église cathédrale de Grenade, siège du nouveau diocèse. En 1505, la construction est projetée, et sa conception est confiée à Juan Gil de Hontañón et à Enrique Egas, qui travaillent déjà sur la Chapelle royale de la ville. Les travaux commencent en 1518. Les deux architectes prévoient la construction d'un édifice gothique, sur le modèle de la Cathédrale de Tolède, comme cela est encore le cas en de nombreux endroits d'Espagne (Ségovie, Salamanque...). Leur projet est néanmoins abandonné en 1523, peu après le début du chantier.
On adopte alors les plans de l'architecte Diego de Siloé, qui travaille déjà sur le monastère de San Jerónimo à Grenade4. Diego de Siloé prévoit de reprendre les bases du dessein antérieur, et d'élever à parptir de celui-ci un édifice pleinement renaissance. Il va mener les travaux de 1528 jusqu'à sa mort, en 1563. Divers architectes se succèdent pour diriger le chantier, selon les plans maniéristes élaborés par leur prédécesseur : Juan de Maeda, Alonso Cano et Teodoro Ardemans.
En 1590, une première modification importante du plan initial intervient. En raison des fondations trop fragiles, le projet d'élever deux hautes tours de 80 mètres pour encadrer la façade, est abandonné en 1590 sur ordre de Philippe II. Seule une tour a été bâtie ; elle est arasée, sa hauteur se limitant à 51 mètres. En 1665, Alonso Cano parvient à convaincre le chapitre de modifier le projet initial. La construction prend alors une allure plus baroque. Suite au décès de Cano en 1667, la direction du chantier est confiée à Melchior de Aguirre, qui achève l’œuvre en juillet 1703.
La cathédrale de Grenade prend place au cœur du centre historique de la ville, entre la Gran vía Colón et la Calle Reyes Católicos. Entourée par des édifices d'importance comme la Chapelle royale (Capilla Real), la bourse de commerce (Lonja) ou l'ancien marché de la soie (Alcaicería), elle trône sur la place de las Pasiegas, qui offre bien peu de recul pour contempler la grandiose façade de l'édifice. Diego de Siloé a conçu un vaste édifice de 115 mètres sur 67, qui constitue : « "(…)un ensemble alliant pureté, élégance des formes, et blancheur immaculée de la pierre." »
Le monument représente un des sommets de l'architecture de la Renaissance en Espagne, tout en intégrant des éléments décoratifs puisés dans l'art gothique (plan et voûtes) et l'art baroque (façade), témoignant de la longueur du chantier, qui s'est étalé sur près de deux-cents ans. Son influence fut très importante dans les constructions de ce type postérieures en Andalousie.
ENGLISH
Granada Cathedral
From Wikipedia, the free encyclopedia
The cathedral of Granada.
Granada Cathedral, or the Cathedral of the Incarnation (Spanish: Catedral de Granada, Catedral de la Anunciación) is the cathedral in the city of Granada, capital of the province of the same name in the Autonomous Region of Andalusia, Spain. The cathedral is the seat of the Archdiocese of Granada.
Unlike most cathedrals in Spain, construction of this cathedral had to await the acquisition of the Nasrid kingdom of Granada from its Muslim rulers in 1492; while its very early plans had Gothic designs, such as are evident in the Royal Chapel of Granada by Enrique Egas, the construction of the church in the main occurred at a time when Spanish Renaissance designs were supplanting the Gothic regnant in Spanish architecture of prior centuries. Foundations for the church were laid by the architect Egas starting from 1518 to 1523 atop the site of the city's main mosque; by 1529, Egas was replaced by Diego de Siloé who labored for nearly four decades on the structure from ground to cornice, planning the triforium and five naves instead of the usual three. Most unusually, he created a circular capilla mayor rather than a semicircular apse, perhaps inspired by Italian ideas for circular 'perfect buildings' (e.g. in Alberti's works). Within its structure the cathedral combines other orders of architecture. It took 181 years for the cathedral to be built.
Subsequent architects included Juan de Maena (1563-1571), followed by Juan de Orea (1571-1590), and Ambrosio de Vico (1590-?). In 1667 Alonso Cano, working with Gaspar de la Peña, altered the initial plan for the main façade, introducing Baroque elements. The magnificence of the building would be even greater, if the two large 81 meter towers foreseen in the plans had been built; however the project remained incomplete for various reasons, among them, financial.
The Cathedral had been intended to become the royal mausoleum by Charles I of Spain of Spain, but Philip II of Spain moved the site for his father and subsequent kings to El Escorial outside of Madrid.
The main chapel contains two kneeling effigies of the Catholic King and Queen, Isabel and Ferdinand by Pedro de Mena y Medrano. The busts of Adam and Eve were made by Alonso Cano. The Chapel of the Trinity has a marvelous retablo with paintings by El Greco, Jusepe de Ribera and Alonso Cano.
ESPANOL
La Santa Iglesia Catedral Metropolitana de la Anunciación de Granada es un templo católico de la ciudad española de Granada, comunidad autónoma de Andalucía, sede de la archidiócesis de la ciudad. El templo es una de las obras cumbres del Renacimiento español.
Nave central, capilla mayor y bóvedas de la catedral de Granada.
Durante el renacimiento, el Reino de Granada, al igual que Galicia, conformó un centro artístico independiente del estilo predominante en el resto de la península, el herrerianismo.
Con el reinado de Carlos I de España se llevarán a cabo numerosas construcciones en la ciudad de Granada, dada la intención del monarca en convertir a la urbe en el modelo de ciudad del siglo XVI. Así la construcción de la catedral de Granada será coetánea a las de el palacio cristiano de la Alhambra, la Universidad y la chancillería (actual sede del Tribunal Superior de Justicia de Andalucía - TSJA).
Columnas y bóvedas de la catedral de Granada.
El primer proyecto fue encomendado en 1506 a Enrique Egas que concibió un templo de estilo gótico, tomando como modelo la Catedral de Toledo. Las obras comenzaron, bajo la dirección del propio Egas, con la colocación solemne de la primera piedra el 25 de marzo de 1523. Sin embargo, fue Diego de Siloé quien, en 1529, se encargó de las obras, que se concluirán en 1563, presentando un nuevo proyecto mucho más ambicioso. El autor trazó las líneas renacentistas de todo el edificio sobre los cimientos góticos, con girola y cinco naves en lugar de las tres habituales, combinando en su estructura elementos de otros órdenes arquitectónicos.
Con la llegada de la política centralista de Felipe II y, especialmente, con la expulsión de los moriscos de 1609, la región perdió gran parte de su fuerza económica y quedó relegada frente a otros centros locales. Sin embargo, sí se continuó desarrollando proyectos artísticos de importancia. Es el caso de la reforma de la fachada principal emprendida por Alonso Cano (1601 – 1667) en 1664 en la que se introdujeron elementos barrocos.
La magnificencia del proyecto hubiese sido aún mayor si se hubieran erigido las dos grandes torres de ochenta y un metros de altura previstas en los planos. El proyecto no fue terminado por diversos problemas, entre ellos la muerte de Alonso Cano en 1667, y otros económicos, por lo que finalmente, en 1684, la Catedral quedó con una torre, formada solo por tres cuerpos en lugar de los seis previstos y con un total de cincuenta y siete metros de altura.
Interior de la catedral de Granada antes de que se suprimiera el coro. Fotografía de J. Laurent, ca. 1881.
En 1706 Francisco de Hurtado Izquierdo y posteriormente su colaborador José Bada construyeron el actual sagrario de la catedral. En él, el autor rompió su tendencia rococó, respetando la sobriedad de líneas y la estructura clásica del resto del conjunto.
La catedral de Granada es de planta rectangular debido a que sus cinco naves cubren por completo el crucero, que no llega a destacar sobre la planta. Las cinco naves están escalonadas en alturas, siendo mayor la central. En los pies de la catedral, se sitúan las dos torres, siendo la del lado izquierdo, llamada torre de san Miguel, un contrafuerte que sustituyó a la torre prevista en ese lado.
La capilla mayor está compuesta por una serie de columnas corintias sobre cuyo capitel se encuentra el entablamento y sobre éste, la bóveda, que alberga, al igual que los espacios inferiores sobre las columnas, una serie de ventanales con delicadas vidrieras.
La fachada está constituida por una estructura encuadrada en forma de arco del triunfo con portadas y lienzos de empotrados. Está formada por tres ejes coronados por arcos de medio punto sostenidos sobre pilastras, de forma similar a San Andrés de Mantua de Leon Battista Alberti. Las pilastras no tienen capiteles sino resaltes esculpidos en la pared, así como medallones de mármol adosados. Encima de la puerta principal se ubica un tondo en mármol de José Risueño sobre la Anunciación. Destaca también la presencia en la parte superior de un jarrón con azucenas, aludiendo al carácter virginal y puro de la madre de Dios.
El sagrario, elevado entre 1706 y 1759, sigue las proporciones clásicas del conjunto, manteniendo las columnas múltiples del crucero las formas del orden compuesto de Siloé.
This could be the end of Human Race!!!
Genetically Modified (GM) foods are made from plants and animals that have been given specific traits through genetic engineering, unlike plants and animals developed through the conventional genetic modification of selective breeding (plant breeding and animal breeding). GM foods were first put on the market in the early 1990s. Typically, genetically modified foods are plant products: soybean, corn, canola, and cotton seed oil, but animal products have been proposed. For example, in 2006 a pig engineered to produce omega-3 fatty acids through the expression of a roundworm gene was controversially proposed.
Due to the enormous success of Genetic Engineering, GM Food has gone to its new dimension. GM Foods are getting produced by the hybrid of hetero-species cross breeding. That means, modifying the gene structure of one species with the gene of another. For example, tomato is produced by crossing Tomato with Pig, Rice is produced by crossing rice with Cow etc. This is leading to generation of new species whose characteristics are completely unknown to the society and human race and of course to the human body. We do not know anything about these new species – how they will react to the human body system etc. This is causing different kinds of diseases known as well as unknown and caused death of hundreds of people all over the world.
By the recent analysis it is found that very less number of people aware of GM Food – what is that? What is this made of? And foremost what are the consequences? There are few greedy business man who is taking the advantage of this and making these kind of poison in the name of food and selling in the market all over the world. This is to inform that these Hybrid foods are available everywhere in this market and very hard to determine what is poisonous or not. It may lead to a situation in near future when you will be sitting in front of you dinning platter which contains poison instead of nutrition.
Hybrid among heterogeneous species is insane. It is neither engineering nor science but terrorism.
© Soumen Chatterjee All Rights Reserved
Any unauthorized copy, usage or reproduction of the image is strictly prohibited under the copyright law on photography under section 107. Violators will be prosecuted to its highest level and penalty will be charged.
At Penarth Pier in Penarth.
Penarth Pier is a Victorian era pier in the town of Penarth, Vale of Glamorgan, South Wales.
First opened in 1895, it has had various modifications since.
Grade II listed building
Penarth Pier (Including Pavilion & Shops) the Esplanade, Penarth
Exterior
13355
Entrance on The Esplanade opposite Bridgeman Road.
History: Built in 1894 to the design of H F Edwards, completed February 1895. Landing stage rebuilt in 1926 in ferro-concrete. Pavilion completed in May 1929, when the landward end of the pier was rebuilt in concrete. On August Bank Holiday 1931, a Ballroom on the E end of the pier burnt down, destroying wooden decking and all other buildings on the pier except the present pavilion. Further rebuilding following ship collision in 1947.
Description: Approx. 200 m long, and 15 m wide at landing stage end. Central (original) section on cast iron piles with wooden decking, landward and landing stage ends have concrete piles and decking. Cast iron traceried balcony railings, and lamp standards. At seaward end, steamer ticket office of boarded wooden construction. On central section, 2 shelters of boarded wooden construction, with overhanging eaves.
At landward end, facing Bridgeman Road, pavilion in reinforced concrete, in Indian style popular for entertainment buildings in the 1920's. By M F Edwards, architect, designed 1927. Main block has tapering corner towers, with corner pilasters, and capped with pinnacled Moghul Style roofs having deeply overhanging bracketed eaves. Towers have large windows with diaper grilles and beneath these, 2 tiers of smaller paired windows, some retaining original diaper glazing.
West (landward) end at ground level flanked by concave wings (containing shops, kiosks etc.) in classical style with Roman Doric columns. Convex entrance lobby with 3 doorways separated by piers with niches. Adamesque ceiling decoration to interior. Between towers, parapet with pierced diaper decoration. On second floor, door with flanking square windows. First floor convex bay with three large glazed openings giving access to terrace over entrance.
Seaward (W) elevation similar to landward but with glazed convex classical colonnade to 'Captain's Bar'.
Side elevations of 11 bays articulated by concrete ribs to barrel-vaulted roof. Four tall windows (modern small-pane glazing) with segmental-headed architraves and linked by cornice continue upward the line of lower walls whilst roof recedes behind and is crowned by longitudinal ventilators at ridge.
Group value.
References: R Head, The Indian Style, London,1986, pp 87-88.
Western Mail, May 17, 1921
Western Mail, May 20, 1921
Western Mail, August 4, 1931
Reason for Listing
References
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
Another shot of the top of the case - the tape used is a low adhesive tape intended for painting. It should help prevent unnecessary scratching on the rest of the case when using the dremel!
picture of the 2 trailers- just installed the add-a-room onto the tent trailer - more room than the jayco qwest 8u we had
different view of the add a room , took about 30 minutes by my self puttering away at putting it up , a lot less if i had help
The complete collection of this months mods. From left to right = PPS41, SVT 40, FG42, DP28, Panzerfaust, MP40 w/ stock, Panzerschrek
Credits to Wolf3D for the idea - FG42
Credits to RoA for the idea to use a flag as a blast shield for the Panzerschreck
Just so nobody else gets confused
No BAPs were harmed in the making of these mods!
Much of the detail was with the kit. Several changes were made to bring out the 'best' in the detail -such as adding extra sculpted pieces around the gallery windows.
At the stern, additional carvings are featured beneath the lantern; and on both sides of it, I added the shield-carrying lion and unicorn.
The anti-cant level finally arrived for the polar scope, so I carried the mount out for a quick photo session This is about as modified as you can get at this point.
Modifications made to a Retina II as received.
Flash contact has been added while cutting the distances ring
I add two washers to the governor. This adds some preload on the spring which retards the opening of the exhaust valves. This way i eliminate a small bog/hesitation in the powerband when using the bigger 38mm carburetor.
access panel to hot water heater-saves having to unscrew the plywood anytime i want access to the hot water heater bypass valves
The 1980 Turin Motor Show marked the 50th anniversary of Pininfarina, and rumours abounded that the celebrated company was going to unveil a unique concept car for Ferrari. To great fanfare the first ever four-door Ferrari was duly unveiled. Sergio Pininfarina, now head of the legendary design firm, named the car in honour of his father and founder of the company, Battista ‘Pinin’ Farina.
The Ferrari Pinin had a wheelbase five centimetres longer than the Ferrari 400 and the 365 GT4 2+2. The futuristic design was the work of Diego Ottina under the direction of Leonardo Fioravanti, who had also been responsible for some of Pininfarina’s greatest Ferrari designs since the ’60s.
Aside from the four-door body style, one of the most notable features of the car was the very low height of the hood. Strikingly, the windows were tinted and mounted flush to hide the A- and B-pillars, giving the impression of a single piece of glass wrapping all the way around from C-pillar to C-pillar. Other unique features of this concept car included ‘multi-parabolic’ lights. Designed in conjunction with Lucas, they were incorporated into the body and utilised three lenses, with the middle one the same colour as the bodywork. The windscreen wipers retracted under a panel to help with streamlining, and the five-spoke wheels were angled like the blades of a turbine.
Interior appointments were given a high priority; special tan Connolly leather wraps most surfaces, and onboard computerisation controls all the passenger comfort features. Along with the extra legroom, afforded by the Pinin’s lengthened wheelbase, the rear-seated passengers also have their own controls as well as a second radio to be used with headphones (much like modern passenger cars).
Though the Pinin concept certainly appeared extremely advanced for the early ’80s, much of the technology was only a conceptualisation of what may have been. Sadly, the Pinin was never to make it into production. FIAT, Ferrari’s parent company, was busy developing smaller cars, such as the Uno, and wasn’t about to spend its precious resources on the first four-door Ferrari. The concept was featured at a number of shows, including the 1980 Los Angeles Auto Show and Carrozzeria Italiana in Pasadena in 1981, however, the Pinin would remain a static show car.
After being displayed at the 2005 Essen Motor Show to celebrate Pininfarina's 75th anniversary, the car was sold in 2008 by RM Auctions on behalf of Swaters for €176,000. The new owner send the Pinin to former Ferrari chief engineer Mauro Forghieri's firm Oral Engineering with the brief to make it a running vehicle. The Oral Engineering team made multiple modifications to the Pinin, installing a Tipo F102 B flat 12 engine from a Ferrari BB 512 as well as other components either taken from other Ferrari models or custom-made. In order to fit the engine, the chassis was modified and strengthened. The original engine mounts were moved up and forward. A gearbox and differential from a 400 GT were installed. A bespoke fuel tank and wiring loom were also commissioned. Although the car had front and rear double wishbone independent suspension from a 400 GT installed from the beginning, suspension modifications were required to make it road-usable, including adjustment of ground clearance and replacement of non-functional springs. The conversion process took approximately 1.5 years.
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. This is the testing with the new color and the restored stake bed painted green. The color I like but on the truck I am not happy with the stake bed. The warp is bad and I tried to fix it without it breaking which it wanted to do. I even soaked it in hot water to soften it but no luck.
In-bed storage made from .50 caliber ammo cans. A stainless steel U-bolt and weather-proof padlock secures the lid.
I've been wearing the size Y2 Uggs fairly often this winter. Although my toes are doubled up, they aren't particularly uncomfortable. I've worn them all day regularly, and taken some fairly long walks in them.
So I wanted to go one step smaller and had been looking on-line for an inexpensive pair in size Y1. But one day I see this very inexpensive nicely broken in size Y13 pair. I feared I'd never be able to get them on. The only pair of Y13 shoes I'd been able to wear were the cheap Walmart sneakers that burst at the seams.
But I decided to give the Y13 Uggs a try. They arrived, and, kind of as I expected, my high instep kept me from even getting them part way on. Tug, pull, push, no way.
So it was time for some modifications. I pulled out the thick fleece covered insoles and the cardboard part of the midsole underneath. Now I could get my foot in further, but the thick heel counter and layer of fleece covered sheepskin kept me from getting them fully on. So I removed both. Now, with a lot of somewhat painful tugging and pulling, my heels popped in and I had them on.
I was somewhat afraid they would be very difficult to get off, the way my heel popped into the space where the counter had been. But without not too much effort I was able to get them off and back on.
But they were very painful, my doubled up big toes were jammed between the front and the top of the toebox, and my high instep was jammed into the seam between the toebox and the shaft. So my next step was to wear them under the bathtub faucet. Now, if you've ever worn traditional Uggs, you know they are not waterproof, the sheepskin soaks up water like a chamois. So I wore them off and on soaking wet until they dried out, which took a full day.
They did stretch some, so they were somewhat less painful, I could wear them for an hour or so if I wasn't walking around much. And over the next few days they stretched a little more.
I realized that the natural wool lining on the sheepskin was very thick, and matted in some places. so I decided to shear off as much of the wool in the toebox and lower heel as I could get off.
This actually made them more wearable, I can wear them for several hours at a time, I can actually get them on without the shoehorn now (much less painful) and I think they continue to slowly stretch.
This afternoon, I took a walk around the neighborhood, a good portion of a mile wearing them, no problem. I wore them to the Chinese take-out again afterwards, no problem. I did take them off for a while while walking barefoot around the house.
So I tried one last step, I tried to get them on while wearing a fairly thick pair of socks. I did have to resort to the shoe horn but I got them on. I could only bear to wear them for about an hour with the socks, but I'm going to keep trying, as it should stretch them a little more.
I've been hoping for someone to comment on how small my feet are when I'm wearing them, after all size Y (or C) 13 is about the size a normal 6 year old would wear. But so far, no comments. Of course, with COVID, I'm not around nearly as many people.
One thing to keep in mind, Uggs are very generously sized, they want them to be loose on your feet. Compare the size Y13 Ugg (EU 30 from the tag) to the orange Chinese beach shoe, size 36/37 molded into the rubber sole. Almost the same size. Now the beach shoe would be very tight except the upper stretches easily around your foot, so it can be small and snug but not very tight. But it is obvious that the manufacturers have a lot of leeway when it comes to marking the size on the shoes.
Another Matchbox Series No4 Dodge K Series Stake Bed Truck Modification. 1966 to 1968 - 1-75 Series. This is the testing with the new color and the restored stake bed painted green. The color I like but on the truck but I am not happy with the stake bed. The warp is bad and I tried to fix it without it breaking which it wanted to do. I even soaked it in hot water to soften it but not luck.
Praha 8478 was modified in 2006 from the 1971 built T3 number 6773 (serial number 160435). Modifications included new doors with opening buttons, new digital route boards, interior upgrades and a new floor.
Tatra T3R.P 8478 on line 10 on ulice Jugoslávská on Saturday April 22nd, 2006.
Matchbox Series No4 Dodge K Series Stake Bed Truck Restoration. 1966 to 1968 - 1-75 Series. This is the second Stake bed I am restoring. I bought it years ago at a swap meet. The body is stripped and ready for paint. The Citristrip does a great job and washes off. This is a good body to restore. The stripped version sits next to the last one I restored to original.
Lens mod: glue a piece of black card or stiff paper with small hole for aperture on reverse of lens. Make sure it doesn't foul focusing mechanism.
For more information see my blog at cameramods.blogspot.com/2011/09/easy-swirly-mod-with-extr...