Can't stop experimenting with new macro setups.

Did I use the bellows right? LOL :)

 

This time I used an external flash on a cord at minimum power. My reversely mounted Tamron 10-24 ultrawide gives high magnification. An pingpong ball and joghurt cup acts as diffusors. The bellow allows precise adjustment in subject height, because I noticed this is the hardes axis to vary manually. I used the focus-ring of the lens for focus stacks.

Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.

During his lecture in New York, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.

Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him.

More about his work: www.lama-ole-nydahl.org/his-work/

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

“A Little Tale”…

 

He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.

 

He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.

 

So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.

 

He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.

 

One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.

 

Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.

 

For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.

 

When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.

 

But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.

 

When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.

 

He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.

 

Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.

 

But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”

~ Marsha J West, Author*

 

* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.

   

Timing must be precise. Taken at about 20 min after sunset.

The Light Rail Transit (LRT) (Simplified Chinese: 轻轨列车系统; Malay: Sistem Rel Ringan; Tamil: fill in), frequently also expanded as Light Rapid Transit, is the light rail component of Singapore's rail network, consisting of localised rail systems acting as feeder services to the Mass Rapid Transit network. The first LRT line was opened in 1999 and the system has since expanded to three lines, each serving a public housing estate. It is an automated system without a driver.

 

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

3899. We don't have the precise date, but for some reason HMAS AUSTRALIA [II] only carried one camouflage pattern during WWII, applied, from memory, during her serviuce in British/North Atlantic waters at the end of 1940. In his 1982 book 'The Royal Australia Navy: Historic Naval Events Year by Year,' from which this pic is taken, the late Lew Lind says camouflage was dispensed with in 1943.*

 

The camouflage seen here is the same pattern, but much faded from that shown in the next image, taken in Scotland the year before.

 

One can see that the photograph above was before the outbreak of the Pacific War, and AUSTRALIA does not yet have the AA basins located on the top of 'B' and 'X' turrets. In any event, on June 8, 1943, AUSTRALIA was wearing A US Navy dark blue scheme when photographed by an RAAF 7th Squadron aircraft at Palm Island, off Townsville. We had a great photo of her there at pic NO. 165, which can be seen here:

 

www.flickr.com/photos/41311545@N05/3850881649/

 

*We're not sure how broadly Lew Lind's comment about camouflage being dispensed with in 1943 was intended, perhaps just HMAS AUSTRALIA. As we've seen. HMAS SHROPSHIRE arrived in Australia with a heavy Admiralty camouflage pattern in September 1943, and HMAS ADELAIDE had camouflage from 1941 to the end of her WWII service. It could still be seen as she was being broken up at Port Kembla in 1949.

 

Photo: Department of Information, it is held in the Naval Historical Collection, Australian War Memorial image ID NO. 007066, listed as copyright expired, public domain.It appears in the late Lew Lind's book 'The Royal Australian Navy: Historic Naval Events Year By Year' Reed Books, Sydney 1982] p94.

 

A three-part COMPENDIUM of links to more than 200 HMAS AUSTRALIA [II] images on this Photostream begins at Pic Entry NO 5412, here:

 

www.flickr.com/photos/41311545@N05/6627997309/in/photostream

  

The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.

  

The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.

  

The Borghese (or Pauline) Chapel

The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].

The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.

Kerala has a unique record in India for the harmonious coexistence of diverse religions; Hindus (56%), Christians (20%) and Muslims (24%) are the major religious communities of the state.

 

One of the other main attractions of the hindu 'Elephant Festival' includes the traditional dance of Kerala, Kathakali , which is been highly appreciated over the years and is performed by the beautifully and colourfully dressed masked dancers.

 

Kathakali is a highly stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming

 

Study of the specified facial expressions and postures

“A Little Tale”…

 

He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.

 

He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.

 

So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.

 

He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.

 

One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.

 

Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.

 

For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.

 

When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.

 

But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.

 

When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.

 

He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.

 

Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.

 

But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”

~ Marsha J West, Author*

 

* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.

   

Exercise PRECISE RESPONSE, is an annual chemical, biological, radiological, and nuclear (CBRN) exercise hosted by Defence Research and Development Canada at Canadian Forces Base Suffield where the Canadian Armed Forces along with NATO allies and partner Nations can practice essential CBRN defence skills in a multinational training environment.

On 13 januari 1942 during the invasion of Tarakan on Borneo, Bombers of the KNIL-ML , or to be more precise the( unit) 1-Vl.G.1, flew multiple missions. These had to stop the Imperial Japanees Navy with its amfibian operations on Tarakan that day. The missions where flown by a mix of Glenn Martins WH3 and WH3A’s. The Japanees Navy flew missions from Jolo in the form of Mitsubishi Zero’s from the Tainan Kokutai. To protect the fleet, they had a fighter permanece above there fleet of 3 Zero’s at any time. Six Glenn Martins where lost that day. One of the survivors Lt. Lukkien lost nearly his life and crew that day. Arriving above the Japanees fleet the’re patrouille of 3 Glenn Martins where attacked by 6 Zero’s . His plane took hits in the Left wing tank and the left engine, fuel was leaking in to the crews positions, also the cockpit was hit and he suffered wounds on his head and a leg. Because he lost a lot of blood and therefor lost his consciousness. Sergeant Vermey toke over the plane from the aft position, trying to reach the base. Because the plane had also a demaged rudder and stabilator he had difficulties to reach the base. Just in time Lt.Luttkien was abel to take over the controls again and landed save the cripled plane on Mangar. Just in time because from the emergengy stearing position you can only make a belly landing! Lt. Lukkien survived his wounds and the war. Tragically 24 man of the KNIL-ML lost there life that day. The Japanees had only a demaged Zero and a few demaged ships. Also Tarakan was lost.

Painting by Thijs Postma .

  

13 januari 1942

Tijdens de invasie van Tarakan op Borneo werden die dag mederer missies gevlogen tegen de amfibische landingen van de Japanse Imperiale strijdkrachten. Deze missies werden uitgevoerd met WH3 en WH3A’s van 1-Vl.G.1 vanaf Samarinda II. Vanaf Jolo werd die dag een Fighter permanence gevlogen door de Tainan Kokutai boven de Japanse landingsvloot om deze te beschermen . Op dit schilderij zien we een van de 6 vliegtuigen die deze dag verloren gingen . Zo ook bijna het vliegtuig van Lt. Lukkien. Zijn vliegtuig werd door een Mitsubishi Zero getroffen in de linker benzine tank. Hierna moest de linkermotor afgezet en de propeler in vaanstand worden gezet omdat deze motor beschadigd was . De benzine droop tot in de romp. De vlieger Lt. Lukkien werd hierbij gewond aan zijn hoofd en been, waarbij hij veel bloed verloor. Sergeant Vermey nam de besturing gedurende de retourvlucht over. Dit ging lastig en zwaar omdat het richtingsroer gedeeltelijk kapot was geschoten. Ook was een hoogteroer beschadigd geraakt in dit luchtgevecht. Het vliegtuig kon echter zwaar beschadigd op Mangar veilig aan de grond gezet worden. Lt. Lukkien herstelde van zijn verwondingen. Die dag verloor de KNIL -ML 6 bemanningen (24man) de Japanners leden ook verliezen deze dag deze bestonden uit een beschadigde Zero die naar zijn basis kon terugkeren . Tevens werden een aantal schepen licht beschadigd.

Schilderij door Thijs Postma.

  

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.

 

What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.

 

His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.

 

Tyneside Roads

 

From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.

 

It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.

 

A revelation

 

When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.

 

First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

No precise measurements - I just tossed in:

 

- limeaid

- non-fat vanilla yogurt

- two spoonfuls of full-fat strawberry yogurt (what was left and that had to get eaten)

- half of an avocado

- frozen blueberries

- frozen strawberries

- 2 small squeezes of honey

 

The avocado tones down the tartness of the fruit and adds a lovely velvety texture, but is otherwise not distinguishable.

 

A test of my new high-speed rig. I wanted to be able to capture the projectile with extreme precision. Here are three consecutive test runs programmed to capture the pellet at 12 inches from the sensor. (hint: IT WORKS!)

 

This uses an infrared photointerrupter circuit through an Arduino-based microcontroller to sense the pulse duration of the projectile though the sensor and uses the known dimensions of the projectile to predict its trajectory in realtime.

 

A tight code loop and a sensor with a rise time of 500 nanoseconds allows very precise timing. The lead is traveling at about 280 ft/sec +/- 2 ft/sec (three pumps of a Crosman 1377)

 

©2010 David C. Pearson, M.D.

A more precise location can be found by comparing the position of the "Swan" advertisement on the left with this photo which I took later in the year:

www.flickr.com/photos/allhails/3066004476

Apologies for the camera focusing fault, corrected before the later photo was taken.

 

A staircase in the moated castle of Bad Rappenau in Germany

 

Some info (in german language) may be found here.

The precise conditions inside a white dwarf star in the hours leading up to its explosive end as a Type Ia supernova are one of the mysteries confronting astrophysicists studying these massive stellar explosions. But now, a team of researchers, composed of three applied mathematicians at the U.S. Department of Energy's (DOE) Lawrence Berkeley National Laboratory and two astrophysicists, has created the first full-star simulation of the hours preceding the largest thermonuclear explosions in the universe. www.lbl.gov/cs/Archive/news091509.html

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.

During his lecture at the Berlin University of Arts, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.

Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him. More about his work: www.lama-ole-nydahl.org/his-work/

The Annual British Truck Racing Championship Made its way Back to The Brands Hatch Circuit for its Season Finale Marking the End of Motorsport for the Season.

 

With a Massive Firework Display on the Sunday and Plenty of on and Off Track Action The Weekend was Shaping up to be One to Remember.

 

Many Drivers and Support Races were also Present from the small Yet Nimble Legends Cars to the Much Bigger and more Powerful 1000 Break Horse Power Racing Trucks that will be doing Battle on the circuit Saturday was Looking like a Really Good Start to a Weekend of Speed Madness and Awesome Racing.

 

Speaking of which Lets take a Look and See what Qualifying will Hold for Each Support and Main Race and Find out who Will be Taking Pole for The First Races of The Weekend.

 

Legends Cars Championship (Qualifying)

 

First Up is the Famous and Fan Favourite Legends Cars Championship, Thease Little Tiny Machines Run Yamaha Motorbike Engines within them that run up to 1200/1250cc Depending on the Spec of Engine. They also are 120 Break Horse Power and with how Light Weight they are (1,325lbs Including The Driver) Thease Cars are Very Quick and Very Nimble.

 

Lets Find Out who came where in Qualifying and Who Will be Starting on the Front Row.

 

In First Place Taking Pole and The Fastest Lap was (Chris Needham) in his Legend Coupe 1250 with a Best Lap Time of 55.691 and a Top Speed of 78.08mph. Amazing Work there Chris Well Deserved and Super Job for Pole Position.

 

In Second Place was (Will Gibson) in his Legend 34 Ford Coupe 1250 with a Best Lap Time of 55.721 and a Top Speed of 78.04mph. Superb Job there Will Fighting Hard and Very Nearly Taking Pole from Chris.

 

In Third Place was (John Mickel) in his Legend 34 Ford Coupe 1250 with a Best Lap Time of 55.740 and a Top Speed of 78.01mph. Amazing Work John Pushing that Legend Hard and Securing P3 on the Gird for the Race Super Job.

 

Three Very Fast and Capable Drivers in Chris Will and John All Fighting it out with their Fellow Competitors for The Victory Come the First Race but who will be Brave enough to Take on the Top 3 Fastest Drivers out there? We will Have to Wait and See.

 

Junior Saloon Car Championship (Qualifying Part 1)

 

Next Up we Have The Junior Saloon Car Championship a Racing Series Designed for Much Younger Drivers (Between 14 and 17 Years of Age) who want to try their Hand in Motorsport from a Young Age.

 

Thease Drivers are Mostly Fearless and always Provide some Very Intense and Incredible Racing Due to their Competitive Nature and Determination to Win and Succeed.

 

The Cars Used for This Series are Citroen Saxo VTR'S that are 1600cc In Terms of Power Meaning that Every Driver is on a Level Playing Field when the Racing Starts making for some Close Wheel to Wheel Action and Really showing who the Most Skilled and Quickest Drivers out there are.

 

Speaking of Which Lets Get straight to Qualifying and see who was the Most Fearless and Managed to Clock an Incredible Lap During Qualifying.

 

In First Place Taking Pole Position and The Fastest Lap was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.554 and a Top Speed of 74.26mph. In credible Driving there Charlie Very Precise and Controlled Thought the Entire Lap to Secure P1 on the Gird Amazing Job.

 

In Second Place was (Jamie Petters) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.661 and a Top Speed of 74.13mph. Great Work there Jamie Pushing Hard and Securing that P2 Spot on the Front Row of the Gird Superb Job.

 

In Third Place was (Harvey Caton) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.685 and a Top Speed of 74.10mph. Incredible Drive there Harvey Pushing The Car and Fighting All the While to Defend that P3 on the Gird.

 

What an Incredibly Talented array of Drivers in Charlie Jamie and Harvey All Battling it out with their Fellow Competitors to try and Win the Championship and get those All Important Points they Need which could make up the Difference. Qualifying Second Fastest is up Next so lets take a look and see Who will come out on Top.

 

Junior Saloon Car Championship (Qualifying Second Fastest)

 

Following the Results from The First Qualifying Session the Second Qualifying Session Will see all the Drivers Go out again to Better their Lap Times and Maybe even Allow some New Competitors to Move up the Order into the Podium Places.

 

Lets Take a Look and See if Charlie Hand has managed to Hold onto His P1 Position on the Grid.

 

In First Place Taking Pole Position and The Fastest Lap was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.639 and a Top Speed of 74.15mph. Another Incredible Lap from Charlie Hand Putting Himself Once Again on Pole for The First Race for The Junior Saloon Car Championship. Congratulations Charlie.

 

In Second Place was (Will Redford) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.851 and a Top Speed of 73.89mph. Great Drive there from Will Securing P2 and Adding a New Driver to the Top of the Standings. Great Work.

 

In Third Place was (Jamie Petters) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.861 and a Top Speed of 73.87mph. Fantastic Work there Jamie Really Pushing the Car Hard and Taking that Third Position Away from Harvey on the Gird. Nice Job.

 

Another Really Intense Qualifying Session which has seen the Likes of Charlie Will and Jamie all Emerge Victoriously on the Front Row but out of All Three of Thease Very Talented Drivers only one of them Can take The Race Win but who is it going to be?

 

CTCRC Racing For Marshals (Qualifying)

 

Next Up was The CTCRC Racing For Marshals Race a Very Special Support Race added to the Weekend at the Last Moments to Congratulate and Commemorate the Important Safety and Work each and Every Marshal of the Circuit does where ever they go and What Ever the Circuit.

 

The Orange Army as they are Known as take out their Time on Weekends to Volunteer at Race Meets Marshalling the Races to ensure Driver Safety is a Top Priority in the Sport and that Rules are being Adhered to.

 

From Volunteers who Clean the Track after Each Race to Flag Wavers to Incident Respondents and even Vehicle Recovery The Orange Army is always on Standby For When Anything goes Wrong. They Have a Passion for Motorsport that Cannot be Matched and a Community that is still Going Strong to this Day all over the Country.

 

The Race itself Features a Wide Variety of Cars from Honda Civic EG2000 to Ford Escort MK1 Mexico's to even Aston Martin V8 Vantages. Each and Every Car has its Strengths and Weaknesses when it comes to Power and Control.

 

Lets take a Look at Qualifying and see who Managed to Taim their Beast and take that All Important P1 Spot on the Gird for Race 1.

 

In First Place taking Pole Position and the Fastest Lap was (Samuel Wilson) in his Aston Martin V8 Vantage with a Best Lap Time of 52.087 and a Top Speed of 83.48mph. Phenomenal Drive there Samuel Really Working Hard to Keep the Car on the Track and Utilise all that Important Horse Power.

 

In Second Place was (Gary Prebble) in his Honda Civic EG2000 with a Best Lap Time of 52.672 and a Top Speed of 82.56mph. Great Work there Gary Pushing Hard and Ensuring that P2 is Secure on the Gird. Great Driving.

 

In Third Place was (Mike Saunders) in his Ford MK1 Escort Mexico with a Best Lap Time of 52.837 and a Top Speed of 82.30mph. Fantastic Work there Mike Great Job and Well Done for Securing P3 on the Grid.

 

A Really Fantastic Trio of Drivers in P1 P2 And P3 in the Likes of Samuel Gary and Mike all Pushing Hard and Making their Mark Amongst their Fellow Drivers but will anyone Else be able to challenge them and Potentially take that All Important P1 Spot Right Out from Underneath them? Stay Tuned to Find Out.

 

Pickup Truck Championship (Qualifying Part 1)

 

Pickup Trucks made their way out onto the Circuit Next and With some Very Fast and Capable Machinery in each of thease Cars Expect to see Very Fast Lap Times and a Lot of High Speed Action.

 

The Pickup Trucks themselves are Made out of a Space Frame with the Bodies on all the Trucks Just being either Plastic or Fibreglass which Helps to Reduce Weight and Allows for some Very Quick Lap Times around the Circuit.

 

Engine Specifications for the Pickup Trucks Includes a 2.0 Litre Engine Capable of 220 Break Horse Power and Much like The Legends Cars they are Still Very Nimble at High Speeds Resulting in Full concentration and Skill to ensure Victory on the Race Track.

 

Lets Look to Qualifying and see what Happened and who will be On Pole for the First of Two Qualifying Sessions This is Part 1.

 

In First Place taking Pole and the Fastest Lap was (Matt Wills) in his Pickup Truck 2000 with a Best Lap Time of 52.358 and a Top Speed of 83.05mph. Great Drive there Matt Pushing Hard and Keeping the Truck Pointing in the Right Direction at All Times. Great Work.

 

In Second Place was (Matt Simpson) in his Pickup Truck 2000 with a Best Lap Time of 52.529 and a Top Speed of 82.78mph. Well Done Matt P2 and a Super Drive from you as well.

 

In Third Place was (Dean Tompkins) in his Pickup Truck 2000 with a Best Lap Time of 52.593 and a Top Speed of 82.68mph. Well Done Dean A Really Good Drive and Fending off David O' Regan to take that All Important P3 on the Grid.

 

Another Incredible Display of Car Control and High Speed Action from the Two Matt's and Dean for what I'm Sure will be a Fantastic First Race when the Lights Go Out but for Now its onto Qualifying Part 2 to see if Any of the Fastest Drivers Can Improve or Move their Positions on the Gird to a Better Starting Spot.

 

Pickup Truck Championship (Qualifying Part 2)

 

For Part 2 of This Qualifying Session the Top 20 Fastest Drivers Battle it out for Another Chance to either Improve or Defend their Position from the First Qualifying Session.

 

Lets take a Look and see How Dean and the Two Matt's go on Did they Stay where they Were or Have they Moved About a bit and Allowed a New Driver to take Pole for the Race?

  

In First Place taking Pole and The Fastest Lap was (Mark Willis) in his Pickup Truck 2000 with a Best Lap Time of 52.358 and a Top Speed of 83.05mph. Congratulations Mark P1 and a Front Row Start on the Gird for Race 1. Incredible Lap.

 

In Second Place was (Matt Simpson) in his Pickup Truck 2000 with a Best Lap Time of 52.529 and a Top Speed of 82.78mph. Another Fantastic Lap there Matt Hanging onto P2 on the Grid and Matching Your Previous Fastest Time. Great Stuff.

 

In Third Place was (Dean Thomas) in his Pickup Truck 2000 with a Best Lap Time of 52.593 and a Top Speed of 82.68mph. Fantastic Work there Dean Keep Hold of that P3 on the Grid and Defending Well from P4's David O' Regan.

 

What a Superb Bit of Driving from Each of the Top Three in Mark Matt and Dean Thease Three Really Know How to Push their Pickup Trucks to the Limit and Race them Right on the Edge of what is Possible Around this Circuit. Looking Forward to the First Race and to see who can make their Mark on the Weekend First.

 

British Truck Racing Championship (Qualifying)

 

Finally it was Time for The Heavy Weights to make their way out onto the Circuit and with 1000 Break Horse Power under each of the Drivers Right Foot This will Surely be a Qualifying Session of who is Brave Enough to Push their Truck to the Limit and Take Pole Position for Race 1 of the Weekend.

 

In First Place taking Pole Position and The Fastest Lap was (Ryan Smith) in his Mercedes Actros 12000 with a Best Lap Time of 1:00.232 and a Top Speed of 72.19mph. Brilliant Driving from Ryan Really Pushing on and Getting the Job Done to Secure the First Pole Position for Truck Racing this Weekend. Fantastic Drive.

 

In Second Place was (Stuart Oliver) in his Volvo VNL 13000 with a Best Lap Time of 1:00.949 and a Top Speed of 71.34mph. Well Driven there Stuart Keeping the Volvo Out of Trouble and Taking a Well Deserved P2 Spot on the Grid.

 

In Third Place was (David Jenkins) in his Man TGX 12000 with a Best Lap Time of 1:01.146 and a Top Speed of 71.11mph. Great Drive there David Really Well Done that's P3 on the Grid.

 

Three Incredible Drivers in Ryan Stuart and David all Pushing themselves Hard and Getting Ready for what Will be a Super First Race for the Trucks. To All the Other Truck Racers and Support Racers taking Part Good Luck and May the Best Man Win.

 

Legends Cars Championship (Race 1 Results)

 

After a Very Hectic Qualifying Session which saw Chris Needham Will Gibson and John Mickel in First Second and Third Place it was Time for Race 1 and to see out of the Top 3 Drivers as well as the Rest of the Drivers who could take that All Important Race Victory.

 

In First Place Taking the Win was (Sean Smith) in his Legend 34 Ford Coupe 1250 with a Best Lap Time of 56.515 and an Average Speed of 50.17mph. Congratulations Sean Really Well Driven and Held together for that Impressive Victory.

 

In Second Place was (Stephen Whitelegg) in his Legend Coupe 1250 with a Best Lap Time of 56.352 and an Average Speed of 50.17 mph. Superb Driving from Stephen and a Fantastic P2 Finish on the Podium.

 

In Third Place was (John Mickel) in his Legend 34 Ford Coupe with a Best Lap Time of 56.160 and an Average Speed of 50.16mph. Great Driving There John P3 and The Final Step on the Podium.

 

What an Amazing First Race that was for The Legends Cars Championship with the Likes of Sean Stephen and John all Taking Superb Victories and Battle Through the Field. Good Luck to all other Drivers and Lets see what Race 2 Brings.

 

Legends Cars Championship (Race 2 Results)

 

After a Really Intense Battle at the Top End of the Field it was Time once again for the Legends Cars and their Drivers to Head out onto the Circuit for Race 2.

 

In First Place Taking the Win was (Will Gibson) in his Legend 34 Ford Coupe with a Best Lap Time of 55.548 and an Average Speed of 77.28mph. Phenomenal Drive there Will Pushing Hard through the Field to take a Very Well Deserved Race Win. Congratulations.

 

In Second Place was (Miles Rudman) in his Legend 34 Ford Coupe with a Best Lap Time of 55.541 and an Average Speed of 77.25mph. Great Drive there Miles Pushing Yourself and The Car Thought the entire Race and Securing P2.

 

In Third Place was (Mike Schlup) in his Legend 34 Coupe with a Best Lap Time of 55.638 and an Average Speed of 77.07mph. Great Driving there Mike Nicely Done and P3 on the Podium Super Job.

 

Another Amazing Race which saw the Likes of Will Miles and Mike all Taking Victories with a Superb Display of Driving from Each of them and some Very Competitive Action thought the Race from other Drivers too. Race 3 is Up Next and who will take the Final Race Victory of the Day for The Legends Championship?

 

Legends Cars Championship (Race 3 Results)

 

The Final Legends Race of Saturday and with so Many Different Drivers Winning such as Will Gibson Sean Smith would anybody else be able to take on thease Top Level Drivers and Bring Home Glory to their Team?

 

Lets Find Out

 

In First Place taking the Victory was (John Mickel) in his Legend 34 Ford Coupe with a Best Lap Time of 56.016 and an Average Speed of 63.83mph. Amazing Job John Really Pushing the Car to its Limits in this Last Race and Taking Home the Spoils and The Glory. A Really Nice way to End The First Days Racing Congratulations.

 

In Second Place was (Paul Simmons) in his Legend 34 Ford Coupe with a Best Lap Time of 55.801 and an Average Speed of 63.81mph. Nice Work Paul A Really Solid Race and a Great Finish for a First Days Racing at Brands Hatch.

 

In Third Place was (Jack Parker) in his Legend 34 Ford Coupe with a Best Lap Time of 55.682 and an Average Speed of 63.54mph. Really Great Drive Jack 3rd Place and Fantastic to see a New Winner on the Podium for Legends Racing Really Well Deserved.

 

What an Incredible First Day of Racing it has been for the Legends Championship and with another Three Races to come on Sunday the Action will continue to Intensify. A Big Congratulations to all of the Race Winners in John Paul Jack Stephen Mike Miles and Sean who all Drove Insanely Well and Well Done to all of the other Drivers out there. Keep Pushing and Never Give Up.

 

Junior Saloon Car Championship (Race 1 Results)

 

The First Race for the Junior Saloon Cars Championship is Up Next and After seeing Charlie Hand Dominate the Field in Qualifying Will any other Driver be able to Stop Him.

 

Lets Find Out

 

In First Place taking the Victory was (Charlie Hand) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.995 and an Average Speed of 61.36mph. Phenomenal Job Once Again Charlie Putting on a Super Display of Driving Skill and Speed to Dominate Your way to Victory from Lights to Flag. Amazing Drive.

 

In Second Place was (Will Redford) in his Citroen Saxo VTR 1600 with a Best Lap Time of 58.981 and an Average Speed of 61.33mph. Really Well Driven there Will Chasing Down Charlie Right till the End and Still Finishing an Incredible Second Place. Congratulations.

 

In Third Place was (Jamie Petters) in his Citroen Saxo VTR 1600 with a Best Lap Time of 59.392 and an Average Speed of 60.74mph. Great Drive there Jamie A Lot of Hard work and Dedication to achieve that Third Position Fighting off Ruben Hage in a Thrilling Battling Side by Side. Well Done.

 

A Fantastic Opening Race for the Junior Saloon Car Championship with the likes of Charlie Hand coming out Victorious Once Again with Will Redford in Second Place and Jamie Petters in Third.

 

A Quick Mention of that Incredible Battle Between Jamie and Ruben for 3rd Place What a Phenomenal Bit of Driving from thease Two Young Drivers as they went Side by Side Continuously for Three Straight Laps before Jamie took that All Important P3 with a Move at Paddock Hill Bend. Great work to Ruben too a Phenomenal Drive for P4.

 

Looking Forward to some More Intense Racing Action from thease Two as Well as all the other Drivers in This Series on Sunday Until Then Good Luck and Keep Racing!

 

CTCRC Racing For Marshals (Race 1 Results)

 

After a Brilliant Qualifying Session which saw Samuel Wilson in his Aston Martin V8 Vantage take Victory Over Gary Prebble and Mike Saunders it was Time to see what the CRTC Drivers could get up to and who could take their First Victory in Race 1.

 

In First Place Taking Victory was (Scott Kirwan) in his Reno Clio 2000 with a Best Lap Time of 58.832 and an Average Speed of 72.98mph. Amazing Drive there Scott A Well Deserved Victory to take First Place.

 

In Second Place was (Keith Evans) in his Alpha Romeo Alpfasud with a Best Lap Time of 1:03.789 and an Average Speed of 67.70mph. Great Work there Keith Really Pushing Hard and Taking a Well Deserved P2 in the Race. Fantastic Work.

 

In Third Place was (Nathan Berrisford) in his BMW 1800ti with a Best Lap Time of 1:03.752 and an Average Speed of 67.53mph. Great Work from Nathan To Achieve Third Place and take that Final Step on the Podium Congratulations.

 

A Really Great First Race for the CTCRC Showcasing some Impressive Machinery and some Really Amazing Drivers in Scott Keith and Nathan All Taking Superb Victories on DAY 1. Good Luck to all of the other Drivers out their your Time Will Come, Keep Racing and Pushing your Team and Yourself to Go Further.

 

Pickup Truck Championship (Race 1 Results)

 

Next Up The Pickup Trucks Made their way out onto the Circuit and after Seeing what thease Drivers could do in Qualifying it was Mark Willis who took Pole Position in the Second Fastest Qualifying Category with Matt Simpson in Second Place and Dean Thomas in Third. Who Will be Able to Challenge each of the Top Three?

 

Lets Find Out

 

In First Place taking the Race Win and the Fastest Lap was (Dean Thompkins) in his Pickup Truck 2000 with a Best Lap Time of 52.051 and an Average Speed of 81.70mph. Congratulations Dean Really Well Done and a Fantastic Drive thought the entire Race.

 

In Second Place was (Paul Thompkins) in his Pickup Truck 2000 with a Best Lap Time of 52.402 and an Average Speed of 81.68mph. Superb Job there Paul Working Really Hard and Trying to Stay Close to Dean Most of The Time as Well.

 

In Third Place was (Matt Simpson) in his Pickup Truck 2000 with a Best Lap Time of 52.519 and an Average Speed of 81.65mph. Really Well Done Matt Fantastic Drive with a Few Sideways Moments and Securing P3 on the Podium.

 

A Really Exciting First Race for the Pickup Trucks as they Battled it out to see who could take that All Important Victory and become a Race Winner. Huge Congratulations to Dean Paul and Matt for putting on One Hell of a Great Race and to All the other Pickup Truck Drivers who showed their Skills and Racing Passion while Competing. Looking Forward to Sunday and More Track Action from This Lot.

 

British Truck Racing Championship (Race 1 Results)

 

Lastly for the Saturday was The British Truck Racing Championship and after a Really Aggressive Qualifying Session it was Time for each Driver to put their Skills to the Test and Battle it out for a Victory.

 

With Ryan Smith in Pole Position Stuart Oliver in Second and David Jenkins in Third This Race is Going to be One Hell of a Good Race to Witness.

 

In First Place taking the Victory was (Ryan Smith) in his Mercedes Actros 12000 with a Best Lap Time of 58.945 and an Average Speed of 72.21mph. Congratulations Ryan Really Well Deserved and a Fantastic Victory for Race 1.

 

In Second Place was (David Jenkins) in his Man TGX 12000 with a Best Lap Time of 1:00.159 and an Average Speed of 71.48mph. Amazing Job there David Taking your P3 Position in Qualifying and Turning it into a P2 Finish at the End of the Race Great Drive.

 

In Third Place was (John Newell) in his Man TGS 12000 with a Best Lap Time of 1:00.718 and an Average Speed of 70.64mph. Nice Work John Pushing the Truck Hard and Fending off Martin Gibson to take a Well Deserved Third Place.

 

Super Racing From the British Truck Racing Championship with Many Side by Side Battles Taking Place thought the Race and Lots of Sideways Action to Round off the Saturday Here at Brands Hatch.

 

A Big Congratulations to Ryan Smith David Jenkins and John Newell who all Drove Very Well and Showed what a True Championship Like Drive is in one of thease Monstrous Trucks. Well Done to all of the other Truck Racers who also Took Part Hoping to see some New Faces on the Top Step of the Podium Come Sunday.

 

For Now See You ALL Then!

It is hard to fold the fabric on a concave edge, because it pulls and stretches it .This way you can distort the grain line of the fabric. What I do is slide the stick along the cardboard edge in short back and fourth motions, while holding the stick close to the table surface. Its like you are holding a ruler and the stick is your pen, and you are drawing a line along ruler's edge. The difference is that you press the stick towards the cardboard edge, and you do it piece by piece rather than in one long motion. This way you'll do a minimal damage to the grain-line of the fabric.

Of course you can skip all that stick issue, and just clip the seam allowances and go strait away to the iron. Maybe it will work for just fine :) For me, it didn't! I needed to "bake" that cardboard shape before the clipping in order to get a more precise finish.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Precise bricks texture

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

No precise date on this but I suspect it is mid-1930s after the pub had been 'improved' - the fine brick building has been rendered and the pub seemingly extended into the cottage properties that formed part of the block. Several large John Smith's Magnet Ales adverts predominate. The Woodman is, still, I think there - but Halton is now a busy suburb that has surrounded this once countrified pub.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The Beatles` "White album" was originally released in the U.S. on November 25, 1968. According to the most precise & accurate history of the "white album" which is in the book "The Beatles on Apple Records" by Bruce Spizer, this particular serial number white album was manufactured by Queen`s Litho in New York at some point in 1969 and was part of the initial first run pressing. Sometime in 1970, the sequential numbering of the covers was discontinued.

 

The original pressing covers were printed on a glossy 80 lb. pure white Kromekote cast-coated stock with "The BEATLES" in raised embossed lettering. By 1975, the lettering was no longer embossed.

 

I got my original copy of the white album about a month and a half after it was released. I believe I had wanted it for Christmas 1968 but didn`t get it, so my Dad bought it for me in January 1969....sort of as a belated Christmas present. It was an early original pressing (SWBO 101) of course and had the serial number. I loved that album....still do and always will. My father didn`t care so much for the wilder stuff on the album but he loved "Honey Pie". He thought it was great and was impressed that the Beatles could put together a song like that with big band horns like the stuff he grew up with. I played my white album so much I put some wear on it the first few years, especially playing it on an inexpensive Sylvania stereo. Years later in the mid 70s, I had a much nicer component stereo with a decent turntable. Since I had worn out all the "highs" on my white album I bought a brand new copy of it.

 

Like an idiot, and not yet being into the collectable value of records, I traded my original copy of the white album with the serial number into a used record shop (Nuggets, Kenmore Sq. Boston) which I did from time to time with records that I didn`t care to keep. Traded them in for cash towards more used records etc. I ended up buying a few more copies of the white album as the years went by. First, the white on white vinyl which came out in the U.S. in the late 70s when Capitol put out some anniversary editions of some of The Beatles albums etc...Sgt. Pepper mainly. I also bought an import white album on white vinyl made with the DMM process (direct metal mastering) made in Germany that had outstanding sound quality. Played on a decent turntable, I think it was as good if not better than re-mastered CD versions of the white album including the 09/09/09 latest version. My most treasured copy of the white album is an early 1980s U.K. Mono version (PMC 7067/8) that I was able to special order when I worked at a record store. I had read how the Beatles had done separate album mixes for the mono and stereo versions of the white album in the U.K. and how the Mono version had some differences. It does indeed have several differences and different mixes. In the U.S., the white album has always only been available in stereo, unlike the U.K. which had different Mono and Stereo versions available.

 

Up till now, I`ve always wished I still had that original white album with the serial number. Not just for collectable reasons but for sentimental reasons since my late father had bought it for me etc. I`ve always wanted to get another original copy with a serial number just to have one but I didn`t think it would ever happen since originals sell for some hefty money, especially if they`re in good shape. Recently, I was blessed to find an original U.S. SWBO 101 at a local used record store for only $13.00 and in pretty good condition. I couldn`t believe how cheap it was especially since they had another copy for sale with a higher less valuable serial number for a lot more money. I lucked out...the reason for the lower price being that my copy was missing the four Beatle portraits and the poster was a little bit beat up. The records themselves are in great shape. I already have a mint poster and portraits with my U.K. copy of the white album. To a collector, the album cover is really the most important part so I really was very blessed to get such an original first pressing copy with original cover stock for $13.00. My Beatles collection is complete now.

 

www.thebeatleswhitealbum.org/

  

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The precise location of that first church has been lost. The present building dates from the time of Pope Sixtus III (432 - 440) and contains many ancient mosaics from this period. Its form so exactly follows the conventions of an imperial basilica it has at times been taken for one.[9] The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[10] The 14th century campanile, or bell tower, is the highest in Rome, at 240 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with Inca gold presented by Ferdinand and Isabella to the Spanish pope, initially brought by Christopher Columbus[citation needed], Alexander VI (something which factually is erroneous, since the Inca empire was conquered during the reign of Charles V). The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.

  

The Piazza dell'Esquilino with the apse area of Santa Maria Maggiore.

  

The Borghese (or Pauline) Chapel

The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII immediately after the St. Bartholomew's Day massacre of Protestants, though today it is reputed to celebrate the end of the French Wars of Religion [1].

The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remaining from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino, as the Roman Forum was called until the 18th century [2]; Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

St Giles - east end.

 

For those with a draftsman’s sense of horizontal, vertical, perpendicular and uniform constructional precision - then look away now.

 

Where a modern building would have straight lines met at precise right angles, and tall windows placed to meet the long axis of the ceiling/ roof, well it just does not happen here.

 

Fair to remark that a very wide angle lens introduces it’s own distortions, but that does not account for what can be deduced here.

 

The pre Reformation version of the High Kirk, which was then a Cathedral, dates from early medieval times, but post dates the building of the Holy Trinity Royal Church.

 

The first element of the current St Giles was probably finished in the aftermath of the death of King James 2nd , who was killed by an exploding cannon at the siege of Roxburgh in 1460. His son eventually to be King James 3rd was still an infant, and the country was ruled for a time by James 2nd's widow Mary of Gueldres.

 

Mary of Guelders (English Language spelling) , a Dutch noblewoman, became queen of Scotland upon her marriage to King James II. Over time, she became a great supporter and patriot of her adopted country, playing an important role in Scotland's continuous wars against English rule.

 

Even after James died in 1460, Mary of Guelders maintained the Scottish campaigns against the British as Regent of Scotland for her young son, now James III. The Queen was a capable strategist and leader, heading the siege of several northern English towns and conquering the town of Berwick. She was a prominent political force in Scotland throughout her regency and even beyond, and was rewarded by the Scots' loyalty to her rule. In 1462, she founded the Church of the Holy Trinity in Edinburgh. She died young, the following year, at the age of 30.

 

It is generally accepted the first church on the site was commenced in 1124, in the reign of King David 2nd. This was probably an offshoot parish from St Cuthbert's at the west end of the Nor Loch. A church on the St Cuthbert's site still exists.

 

The present day St Giles, to begin with - a cathedral, was begun in the 14th century and extended until the early 16th century; significant alterations were undertaken in the 19th and 20th centuries, including the addition of the Thistle Chapel.

 

Trinity College Kirk was a seperate royal collegiate church in Edinburgh, on what became Jeffrey Street. The kirk and its adjacent almshouse, Trinity Hospital, were founded in 1460 by Mary of Gueldres in memory of her husband, King James II who had been killed at the siege of Roxburgh Castle that year. Queen Mary was interred in the church, until her coffin was moved to Holyrood Abbey in 1848.

 

The Trinity Church was carefully dismantled to make way for North Bridge and Waverley Railway Station. It was rebuild on Chalmers Close to the back of the modern day Jury’s Inn hotel. It is still there in its rather secretive location.

  

The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany.

 

(Wikipedia)

 

- - -

 

Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln.

 

(Wikipedia)

One of a series of Irish Republican button badges depicting heroes and martyrs from the 1916 Easter Rising onwards. I believe this badge was issued some time between 1917 and 1922 but can anyone tell me a more precise dating and for what occasion?

 

Countess Georgine Markievicz (1868-1927) was an Irish revolutionary, nationalist, member of Sinn Fein, Irish Citizens Army, a founding member of Fianna Fail (1926) and first woman to be elected to the British House of Commons at Westminster. However, in line with Sinn Fein’s protest policy she did not take her seat at Westminster. She was also an active member of the National Union of Women’s Suffrage Societies (NUWSS) and campaigned on issues of universal suffrage for women. A member of the prominent Gore-Booth family in Ireland she married Count Casimir Markievicz in 1901.

 

In 1909 she formed the Fianna Éireann which was a para-military nationalist youth brigade for boy and girls whose training included the use of arms. The Fianna Éireann proved to be a fertile recruiting grounds for the Irish Volunteers when they were established in 1913.

 

.

References:

 

multitext.ucc.ie/d/Countess_Constance_Markievicz

 

en.wikipedia.org/wiki/Constance_Markievicz

 

www.historylearningsite.co.uk/countess_markievicz.htm

   

.

Print: Half-tone flexography in 3 colours (green, orange & black).

Finish: Celluoid.

Material: Tin & paper.

Fixer: D-pin.

Size: 7/8” in diameter (about 22mm).

Process: Button badge.

Makers: No maker’s name or mark.

 

.

Thank you for reading.

Stuart.

.

Photo reproduced with kind permission of the seller (johnw4903).

Sold on eBay 14th October 2011.

Item number 390353590408.

Start price €4.00 and sold for €75.00 + p&p (13 bids from 5 bidders).

 

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

Precise landing!

Technical Manual: Chromolithographic Production of a Decorative Trunk-Lid Print (c. 1880s)

 

This decorative trunk-lid image was created by chromolithography, the leading high-quality color printing process of the late 19th century. It combined freehand artistry for pictorial elements with precise mechanical drawing for borders and geometric motifs. The process was entirely manual in this period—no photographic separations were used—and required exacting craftsmanship to produce a richly layered, perfectly registered color image.

 

I. Detailed Process Description

 

1. The Key Stone

 

The process began with the “key” or outline stone.

 

The lithographer drew the full design, in reverse, on a smooth, polished slab of Bavarian limestone using greasy lithographic crayon or tusche (greasy ink).

 

This stone carried all outlines, contour lines, and key shading cues.

 

Registration marks—crosses or pinholes in the margins—were incorporated so that every later color impression could be matched precisely to it.

 

For geometric elements such as borders, frames, corner ornaments, or medallion arcs, the lithographer employed rulers, straightedges, compasses, and French curves. This ensured perfect parallelism, uniform line width, and symmetry. Repeating motifs in borders were often laid out with dividers or spacing marks before being finished by hand.

 

The key drawing integrated these mechanically precise elements seamlessly with freehand rendering of organic forms such as the woman’s portrait, foliage, and landscape details.

 

After completion, the stone surface was chemically treated with gum arabic and dilute nitric acid so that greasy image areas would accept oil-based ink while the blank areas repelled it.

 

2. Creating the Faint Guide Transfers

 

The key stone was inked in a neutral tone—commonly light grey, sepia, or pale ochre.

 

Impressions were pulled onto specially prepared transfer paper coated with a thin layer of adhesive such as gelatin.

 

These impressions, called “transfers” or “pulls”, were strong enough to be visible but pale enough not to interfere with later color drawing.

 

Each transfer sheet was placed face down on a blank polished stone and run through the press under pressure. The greasy ink transferred into the pores of the new stone’s surface, producing a pale, precise replica of the entire design.

 

One transfer was made for each color stone planned—often 8–15 for a richly shaded piece like this.

 

3. Drawing Each Color Stone by Hand

 

On each transferred stone, the lithographer worked only on the areas to be printed in that stone’s specific color.

 

Pictorial areas (faces, floral elements, landscape features) were rendered freehand using stipple dots, hatching, and textured crayon marks to create tonal gradations.

 

Geometric areas (borders, lines, decorative panels) in that color were drawn using rulers, compasses, and templates to maintain straightness, curvature, and even spacing.

 

The lithographer had to anticipate how transparent inks would overlap with others to form new colors. This required leaving certain areas open, or creating deliberate overlaps to produce secondary hues (e.g., printing blue over yellow to make green).

 

No photographic separation was used—color interpretation was entirely a matter of artistic judgment.

 

4. Judgement and Artistry

 

Transparent inks meant the lithographer had to visualize the cumulative result of multiple layers before printing began.

 

Overlaps were planned to achieve desired hues without muddying.

 

In complex areas like the sitter’s complexion, effects were built up by combining a base tone (e.g., pale yellow) with flesh pink and then adding subtle shading through stippling or fine hatching in a darker tint.

 

5. Proofing and Adjustments

 

After each stone was drawn, a proof print was pulled.

 

Registration was checked against the key, and tonal balance was evaluated.

 

Corrections could be made by grinding down areas of the stone with pumice or adding new greasy drawing where needed.

 

Proofing and correction cycles continued until every stone printed cleanly and registered perfectly with the others.

 

6. Sequential Printing

 

Printing typically began with the lightest colors and progressed to the darkest.

 

Each sheet of paper was dampened, aligned to the registration marks, and printed one color at a time.

 

After each pass, the sheet was dried (or re-dampened if needed) before receiving the next color.

 

Transparent inks allowed optical blending—yellow printed first, blue later, producing green in overlapping areas.

 

Borders and other critical alignment points were checked with each pass to maintain precision.

 

II. Probable Color Sequence for This Print

 

Based on late-19th-century practice and the observed palette of your trunk-lid image:

 

Light Yellow – Base tone for foliage highlights, ribbon accents, and underpainting for skin tones.

 

Light Pink / Flesh Tint – Applied over yellow in portrait areas; also in floral details.

 

Sky Blue – Ribbon background, water, and cool shadows; provides base for greens when overprinted with yellow.

 

Light Green – Foliage tints achieved by printing over yellow and/or blue.

 

Warm Ochre / Buff – Mid-tone background fills and ornamental elements.

 

Mid-Red / Rose – Floral accents, ribbon details, lips and cheeks.

 

Dark Green – Deep foliage shadows and ornamental border accents.

 

Dark Blue – Shading in ribbon folds, water, and certain border areas.

 

Brown – Hair, tree trunks, warm shadow areas.

 

Black (Key Plate) – Final pass, reinforcing outlines, details, and definition.

 

Note: Some printers reversed steps 9 and 10, but decorative trunk-lid work typically saved the black for last to achieve maximum crispness in outlines.

 

III. Size

 

\Commercial chromolithography in the 19th century had a surprisingly wide size range, and by the 1880s there were presses and stones capable of printing very large sheets—but “routine” sizes were smaller than the record-breakers.

 

Here’s what the sources indicate:

Typical Commercial Sizes

 

Most advertising chromos and decorative prints (trade cards, cigar labels, trunk-lid liners, calendars) were under 18 × 24 inches (45 × 60 cm).

 

This size range kept stone weight manageable (under ~40–50 lbs) and allowed fast presswork without excessive paper costs.

 

Large-Format Work in Regular Use

 

By the 1870s–1890s, firms in the U.S., Britain, France, and Germany routinely printed posters, maps, and wall charts up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Large railroad and theater posters were sometimes printed as multiple sheets to be joined after printing—each sheet a separate lithographic run.

 

Stones for these larger single sheets could weigh 200–300 lbs, which was about the upper limit for regular commercial handling.

 

Extra-Large (Occasional, Not Routine)

 

A few specialized presses and workshops produced single-sheet chromolithographs up to 30 × 40 inches (76 × 102 cm) or even 40 × 60 inches (102 × 152 cm).

 

These were not everyday jobs—they required special heavy presses and crews to handle the stones. Examples include:

 

French art publishers like Lemercier producing oversize posters for exhibitions in the 1870s–1880s.

 

American billboard chromos in the 1890s printed for product advertising; often pasted in sections, but sometimes one monumental sheet if the client paid the premium.

 

Why “Routine” Stopped Around 24 × 36 inches

 

Larger stones became exponentially heavier and harder to keep in register.

 

The risk of breaking a costly Bavarian limestone during handling increased with size.

 

Press speeds dropped as sheet size increased, making large runs slower and more expensive.

 

Bottom line:

 

Routine large commercial chromolithographs: up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Specialized/occasional work: up to about 40 × 60 inches (102 × 152 cm), but rare and costly.

 

Anything bigger was usually produced as multiple sheets to be assembled on site.

 

IV. Estimated Production Time for Initial Creation

 

Based on period trade manuals and documented work rates in late-19th-century lithographic shops:

 

Drawing the Key Stone: 2–4 days (18–30 hours)

 

Printing Key Transfers to Color Stones: 0.5–1 day

 

Drawing All Color Stones:

 

Simple stones (flat color fills): ~1 day each

 

Complex stones (shaded or detailed): 1.5–2 days each

 

For a 10-color job: ~14–18 days total

 

Proofing and Corrections: 3–5 days

 

Total Working Time: ≈ 20–28 working days

Elapsed Time: ≈ 4–6 weeks for one lithographer/artist, supported by press operators.

 

Large firms with multiple artists could reduce elapsed time, but decorative trunk-lid work was often done at an artisanal pace rather than mass-production speed.

 

Total direct chromolithographic employment in U.S. ca. 1890–1900: ~10,000–12,000 workers.

(This excludes related trades like engravers, photographers, and bindery workers who might work with litho output.)

 

V. Estimated 1880s Production Cost

 

Using data from American and British lithographic trade catalogs, printers’ journals, and jobbing price lists from the 1870s–1890s:

 

Artist’s Fee (design and stone drawing): $25–$40

 

Stone Preparation & Etching: $5–$8

 

Presswork per Color: $1.50–$3 per 1,000 impressions, per color stone

 

Materials:

 

Bavarian limestones (reusable): $3–$5 each (capital cost)

 

Inks and gum/acid solutions: $2–$4 per job

 

Transfer paper: ~$1 per job

 

Overhead (shop labor, utilities, depreciation): $5–$10 per job

 

For a 10-color image at a run of 500–1,000 prints:

 

Total Cost to Client (1880s): ≈ $50–$75

 

Higher runs reduced per-unit cost sharply, but initial image creation (especially artist’s labor) was a fixed, front-loaded expense.

 

VI Occupational Hazards in 19th-Century Chromolithography

 

While the 1880s chromolithographic process produced vivid, durable images, it also exposed workers to toxic pigments, solvents, and dusts. These materials posed significant health risks, and historical evidence from trade journals, factory inspection reports, and medical literature of the period confirms that occupational disease was common in the printing trades, including lithography.

 

1. Pigments

 

Many of the brilliant, permanent colors relied on heavy-metal compounds. Examples include:

 

Chrome Yellow – Lead chromate (PbCrO₄). Bright, opaque yellow used for ornaments and underlayers. Risks: lead poisoning (anemia, colic, neurological damage) and chromium-induced skin and respiratory irritation.

 

Emerald Green / Paris Green – Copper acetoarsenite. Vivid green for foliage and decorative borders. Risks: arsenic poisoning (skin lesions, respiratory illness, systemic toxicity).

 

Vermilion – Mercuric sulfide (HgS). Rich red for accents. Risks: mercury poisoning (tremors, mood disorders, cognitive decline).

 

White highlights – Lead carbonate (PbCO₃). Risks: lead poisoning.

 

Red lead (Pb₃O₄) – Used for some warm red tones. Risks: lead poisoning.

 

Cobalt pigments – Blues; less toxic than lead or arsenic but hazardous in dust form.

 

Prussian Blue – Ferric ferrocyanide; relatively low toxicity, but dust inhalation was still discouraged.

 

Exposure pathways: Pigment dust during grinding/mixing; skin contact; ingestion via contaminated hands or food.

 

2. Inks and Solvents

 

Oil-based inks were ground with linseed oil and diluted with turpentine or benzene-type solvents.

 

Benzene, not yet recognized as a carcinogen, was associated with dizziness, headaches, and chronic neurological symptoms in exposed workers.

 

Turpentine caused skin irritation and, in high vapor concentrations, respiratory distress.

 

3. Etching and Stone Preparation

 

Etching solution: Gum arabic mixed with dilute nitric acid. Nitric acid vapors could irritate eyes, throat, and lungs.

 

Stone graining/polishing: Pumice and sand were used to prepare stones, generating silica dust, a cause of silicosis with chronic inhalation.

 

4. Documented Health Effects

 

Contemporary medical and trade sources document:

 

Lead poisoning (“painter’s colic,” tremors, muscle weakness, abdominal pain, memory loss).

 

Arsenic toxicity (skin eruptions, sore throat, chronic cough, systemic symptoms).

 

Mercury poisoning (tremor, mood instability, cognitive changes).

 

Chronic bronchitis and eye irritation from acid fumes.

 

Silicosis in long-serving stone preparers and press workers exposed to fine dust.

 

5. Workplace Practices

 

Little or no protective equipment was used.

 

Workers frequently ate, drank, or smoked at their benches.

 

Ventilation was often inadequate, especially in winter when windows stayed closed.

 

Mechanical pigment mixers and enclosed presses, which reduced dust and vapor exposure, only began to appear in larger firms in the late 19th century.

 

Conclusion:

 

The production of chromolithographs in the 1880s was not only an artistic and technical achievement but also a process with significant hidden costs to the health of the workers who produced them. The durability and brilliance of these prints often came at the expense of prolonged exposure to lead, arsenic, mercury, acid vapors, and fine dust—a reality rarely acknowledged in decorative trade literature of the period.

 

VII. Summary

 

This 1880s trunk-lid chromolithograph was the product of 20–28 working days of skilled labor by a lithographer, supported by a press crew, and costing the client the equivalent of several thousand dollars in today’s money.

 

It required:

 

Freehand artistry for portraits, landscapes, and organic elements.

 

Ruler-and-compass precision for ornamental borders and geometric motifs.

 

Stone-by-stone planning of transparent color overlaps.

 

Exact registration across 10 separate printings.

 

The result was a brilliantly colored, durable image, perfectly suited to enliven the interior of a travel trunk—and to survive for well over a century.

 

Supplement

 

i. The development of chromolithography in the Europe and the US.

 

Europe: Development

 

Early 19th century – Foundations in Bavaria and France

Senefelder himself experimented with multi-color printing almost from the start (he wrote about “polyautography” in his 1818 treatise), but the technical and economic obstacles kept most lithography single-color for decades.

 

1830s – Practical multi-color experiments in France

The first systematic attempts to produce full-color lithographs by using separate stones for each color occurred in France. The printer Godefroy Engelmann of Mulhouse and Paris is widely credited with perfecting the process and securing a patent for “chromolithographie” in 1837.

 

Engelmann’s innovation was to work out methods for precise registration of multiple stones, using transparent inks to blend colors and produce painterly effects.

 

1840s – Refinement in Paris and Munich

French and Bavarian firms refined techniques for preparing multiple stones, planning color separations, and printing in sequence. Early chromolithographs were often high-art reproductions—costly, with limited runs.

 

Europe: Commercialization

 

1850s – Popularization in France, Germany, and Britain

 

Advances in presses, inks, and stone preparation allowed larger runs at lower cost. In Paris, firms like Lemercier mass-produced decorative prints, maps, and reproductions. In Munich, firms like Strixner & Cie became known for rich color art plates. In Britain, the process was adopted for book illustration and advertising.

 

1850s–1860s – Introduction to the United States

 

Chromolithography reached the U.S. in the early 1840s, but true commercial-scale production took off after the Boston lithographer Louis Prang began producing high-quality, multi-color prints in the 1860s.

 

Prang’s work—especially his Christmas cards and art reproductions—made chromolithography a household term in America.

 

1870s–1890s – Peak commercial use

 

By this period, chromolithography had become the dominant method for high-quality color printing in advertising (trade cards, posters, packaging), decorative art prints, maps, and ephemera such as the trunk-lid prints you’re studying. The combination of improved stone-handling, faster presses, and cheaper inks made it possible to produce vivid, durable color images for a mass market.

 

Timeline: Chromolithography in the United States

 

1820s – First lithographic presses appear in major U.S. cities; work is monochrome, with color added by hand.

 

1840s – Small-scale multi-color experiments begin in American shops. Imported European chromolithographs are sold to wealthy buyers but domestic production is limited.

 

1850s – Chromolithography begins to be practiced in Boston, New York, and Philadelphia, often by immigrant printers trained in Europe. Still mainly used for maps, sheet music covers, and decorative prints.

 

1860s – Louis Prang of Boston pioneers high-quality American chromolithography. His “Prang’s Chromos” (art reproductions and greeting cards) become nationally known. Multi-stone, transparent-ink printing becomes more common in U.S. advertising and fine-art work.

 

1870s – Rapid expansion of chromolithography in commercial advertising. Used for trade cards, cigar box labels, and posters. Printing technology improves, allowing finer registration and larger press runs.

 

1880s–1890s – Chromolithography reaches industrial scale in the U.S. Bright, durable color images appear on everything from product packaging to educational charts and decorative items such as trunk-lid liners. Multi-stone printing (8–12 colors) is standard for high-quality work, with both freehand and ruler-based drafting techniques used in the same design.

 

ii The End of Commercial Chromolithography

 

How Rapidly Chromolithography Was Abandoned

 

1890s: Chromolithography still dominant for posters, packaging, and decorative prints, but halftone work begins to capture advertising and magazine illustration.

 

1900–1910: Offset lithography and letterpress with color halftones begin to outcompete chromolithography for most commercial uses.

 

1910s–1920s: The shift accelerates — offset can print faster, at lower cost, with acceptable color fidelity.

 

Chromolithography survives mainly in high-art reproductions and specialty decorative work.

 

1930s: In the U.S. and Europe, chromolithography is effectively obsolete for mass-market commercial jobs. The skill of hand-drawing multi-stone separations becomes rare.

 

Post-1930s: Only a few fine-art printers and specialty houses continue using chromolithography, often as a deliberate artisanal choice rather than a commercial necessity.

  

This text is a collaboration with Chat GPT.

Future warfare was possibly the single most frequent theme in science fiction between the years 1870 and 1914, and one of the most precise predictions concerning it was H. G. Wells' anticipation of tanks for warfare. Wells described them accurately from their caterpillar treads to their metal turret. His "Land Ironclads" first appeared in The Strand Magazine in January 1904 and reprinted in this November 1916 issue once the uncanny accuracy of his prediction had been established.