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Prod. 1981-1999/2001
Sn. 2475515
Top of the line 1981.
X-700 brochure:
"The X-700 is Minolta's fully-programmed, micro-computerized Automatic Exposure 35mm SLR. It's a simple-to-operate Automatic Exposure camera, selecting both aperture and shutter speed in Programmed Automatic Exposure mode (P mode). So all you have to do is focus-and-shoot. The X-700 also offers Aperture-Priority Automatic Exposure control (A mode) and a full-metered manual exposure control (M mode), in addition to many other features that make photography more fun and enjoyable than ever before."
wikipedia:
T"he Minolta X-700 is a 35 mm single-lens reflex film camera introduced by Minolta in 1981. It was the top model of their final manual-focus SLR series before the introduction of the auto-focus Minolta Maxxum 7000.
The X-700 was awarded the European "Camera of the Year" award in 1981, and its competitive pricing resulted in its becoming the most successful Minolta camera since the SRT line."
kenrockwell.com:
"A testament to its lasting and good design, it was introduced in the early 1980s and was in continuous production until the beginning of 2001. I had a very new one with a serial number above 3,000,000, and I also bought an X-570 (it's brother) back in 1982."
From x-700 owners manual:
Elecronically governed 35mm single-reflex AE camera.
Exposure-control modes:
Fully programmed (P), aperture-priority automatic (A), and metered manual (M).
Exposure control and functions:
Low-voltage, low current computer circuit incorporating quartz crystal for sequential control to 1/30,000-sec. accuracy, large-scale ICs, samarium-cobalt impulse-release magnets, and linear-resistance inputs) varies both aperture and shutter speed steplessly according to special "faster-speed" program in P mode, or varies shutter speed steplessly according to aperture set in A mode, to yield proper exposure for the film speed and exposure adjustment set; auto-exposure range: EV 1 to EV 18 (e.g., 1 sec. at f/1.4 to 1/1000 at f/16) at ISO 100/21° with f/1.4 lens; AE-lock device holds meter reading for exposure at that value regardless of subject-brightness changes.
Shutter:
Horizontal-traverse focal-plane type; electronically controlled stepless speeds 1/1000 to 4 sec. set automatically with endlessly rotatable selector dial locked at "P" or "A" setting or fixed speeds 1 to 1/1000 sec. or "B" (bulb) set manually at detented dial indications; electromagnetic shutter release locks when voltage too low for proper operation.
Metering:
TTL center-weighted averaging type, by silicon photocell mounted at rear of pentaprism for available light, measured full aperture for normal finder display, then at taking aperture for programmed/automatic-exposure setting/determination or stop-down display; by another SPC mounted with optic in side of mirror compartment for TTL off-film Direct Autoflash Metering at taking aperture during exposure to control burst duration of PX-series flash units.
Film-speed range:
ISO 25/150 to 1600/330 set by ASA dial that locks at 1/3-EV increments.
Exposure-adjustment control:
Up to ±2 EV continuous adjustment of P, A, or M exposure by dial that locks at zero position and each 1/2-EV setting.
Mirror:
Triple-coated oversize instant-return slide-up type.
Viewfinder:
Eye-Level fixed pentaprism type showing 95% of 24x36mm film-frame area; magnification: 02X with 50mm standard lens focused at infinity; power: -1D, adjustable with accessory Snap-On eyepiece lenses; Fresnel-field focusing screen having artificially regular-patterned matte field plus central split-image horizontally oriented focusing aid surrounded by microprism band, interchangeable with Type P1, P2, Pd, M, G, L, S, or H screens at authorized Minolta service stations; visible around frame: mode indication (P, A, or M), shutter-speed scale (1, 2, 4, 8, 15, 30, 60, 125, 250, 500, and 1000) with LED setting indication, triangular over-/under-range LED indicators blinking at 4Hz, flash-ready signal (LED next to "60" blinking at 2Hz), FDC signal ("60" LED blinking at 8Hz for 1 sec. after correct flash exposure), mis-set lens warning (mode indication blinking at 4Hz in P mode, battery check (by glowing of any LED when operating button touched or pressed slightly), f-number set with MD or MC lenses, and exposure-adjustment engaged indication (LED blinking at 4Hz); display and metering activated by normal finger contact or slight pressing of operating button and continue for 15 sec., except go out after shutter release.
Flash Sync and Control:
Hot shoe and PC terminal for X sync; camera-control contact on hot shoe for flash ready signaling and automatic setting of shutter at 1/60 sec. (except when mode/shutter-speed selector set for sync at "B") with PX and X flash units; other electronic units synchronize at 1/60 sec. and slower manual speeds or "B" setting; Class MF, M, and FP flashbulbs, at 1/15 sec. or slower settings; second contact on hot shoe for burst control by Direct Autoflash Metering with PX units.
Power:
Two 1.5v alkaline-manganese (LR44: Eveready A-76 or equiv.), two 1.55v silver-oxide (SR-44: Eveready S-76, EPX-76, or equiv.), or one 3v lithium (CR-1/3N) cell(s).
0 RETOUCHES & LUMIERE AMBIANTE
Soft utilisés : GIMP ( ajout logo )
matériel : Nikon d7000
AF-S DX NIKKOR 35mm f/1.8G
PHOTOS PRISE LORS DE L UNFAMOUS FEST DU 12 & 13 SEPTEMBRE 2014
ORGANISE PAR UNFAMOUS RESISTENZA
LIEN FB : fr-fr.facebook.com/UnfamousResistenza
LIEN G+ : plus.google.com/u/0/b/110395766884692289716/1103957668846...
LIEN DIASPORA : diasp.org/people/f8f3b72f70bc0277
A TERRE BLANQUE
SITE OFFICIEL : www.terreblanque.org/
ici d autre photos du fest ( par moi ou non ) :
LIEN 1 : www.facebook.com/media/set/?set=a.700851470003756.1073742...
LIEN 2 : plus.google.com/u/0/b/110395766884692289716/photos/110395...
Kai's Fighter:
www.kmart.com/lego-ninjago-kai-fighter/p-004W004700345002...
Overborg Attack:
www.kmart.com/lego-ninjago-overborg-attack/p-004W00470034...
Thunder Raider:
www.kmart.com/lego-ninjago-thunder-raider/p-004W004700346...
Anna May Wong, Akim Tamiroff, Gail Patrick and Lloyd Nolan star in this thrilling crime drama.Based on a play by Edgar Wallace.
Racketeer Steve Recka, art patron and political power-maker, rules his town and Madame Lan Ying, his beautiful Oriental friend and hostess (read: mistress), with an iron hand. He meets Margaret Van Kase, a socialite not impressed by his power nor his wealth, having no money herself, and Steve makes frantic efforts to win her and turns away from the loyal Lin Yang. Margaret ignores him as she plans to wed Philip Easton, a penniless bond salesman. The furious Recka, poses as a friend to Easton, while planning to ruin him. His henchmen kidnap Easton when he is carrying a large assignment of bonds, and he is branded as a runaway thief. The only doubters are Margaret and Police Inspector Brandon, who knows Recka's methods and suspects foul play. Easton is found in an abandoned house and arrested as the gangsters have taken the bonds and tipped the police where to find him. Recka offers to clear Easton if Margaret will become his bride and, while her hatred for Recka is intense, her love
FIRST ASIAN AMERICAN STAR!
Written by PHILIP LEIBFRIED
Her complexion was described as "a rose blushing through old ivory;" she was beautiful, tall (5'7"), slender, and Chinese-American. The last fact kept her from attaining the highest echelon among Hollywood's pantheon of stars, but it did not affect her popularity, nor keep her from becoming a household name. She was Anna May Wong, nee Wong Liu Tsong, a name which translates to "Frosted Yellow Willows," and she was born, appropriately enough, on Flower Street in Los Angeles' Chinatown on 3 January 1905, above her father's laundry. Anna May Wong's contribution to show business is a unique one; she was the first Asian female to become a star, achieving that stardom at a time when bias against her race was crushing. With determination and talent allied to her exotic beauty, she remained the only Asian female star throughout her forty-year career, never fully overcoming all prejudices in maintaining that position. Perhaps the rediscovery of her art will elevate her star to the pantheon of great performers and serve as a guiding light to Asian performers who still struggle to find their rightful place. Anna May Wong's life and career is something that is important for all who value greatly the Asian / Asian Pacific American communities' many artists and what we can all contribute!
Excerpt from : That Old Feeling: Anna May Wong
Part II of Richard Corliss' tribute to the pioneer Chinese-American star.
Daughter of the Dragon. Paramount 1931.
Based on a Fu Manchu novel by Sax Rohmer.
Daughter of the Dragon extended the curse sworn by Dr. Fu on the Petrie family to the next generation. Fu Manchu (Warner Oland), long ago injured and exiled in an attempt on Petrie Sr., returns to London and confronts the father: "In the 20 years I have fought to live," he says in his florid maleficence, "the thought of killing you and your son has been my dearest nurse." He kills the father, is mortally wounded himself and, on his deathbed, reveals his identity to his daughter Ling Moy (Wong) and elicits her vow that she will "cancel the debt" to the Fu family honor and murder the son, Ronald (Bramwell Fletcher)... who, dash it all, is madly infatuated with Ling Moy. Ronald has seen "Princess Ling Moy Celebrated Oriental Dancer" perform, and the vision has made him woozy. "I wish I could find a word to describe her," this calf-man effuses. "Exotic that's the word! And she's intriguing, if you know what I mean." In a near-clinch, Ling Moy wonders if a Chinese woman can appeal to a British toff. When he begs her to "chuck everything and stay," she asks him, "If I stayed, would my hair ever become golden curls, and my skin ivory, like Ronald's?" But the lure of the exotic is hard to shake. "Strange," he says, "I prefer yours. I shall never forget your hair and your eyes." They almost kiss ... when an off-camera scream shakes him out of his dream. It is from his girlfriend Joan (Frances Dade), and the societal message is as clear and shrill: white woman alerting white man to treachery of yellow woman. Ling Moy, a nice girl, previously unaware of her lineage, might be expected to struggle, at least briefly, with the shock of her identity and the dreadful deed her father obliges her to perform. But Wong makes an instant transformation, hissing, "The blood is mine. The hatred is mine. The vengeance shall be mine." Just before his death, Fu mourns that he has no son to kill Ronald. But, in a good full-throated reading, Wong vows: "Father, father, I will be your son. I will be your son!" The audience then has the fun of watching her stoke Ronald's ardor while plotting his death. When she is with him, pleading and salesmanship radiate from her bigeyes. But when an ally asks her why she keeps encouraging the lad, she sneers and says, "I am giving him a beautiful illusion. Which I shall crush." As a villainess, she is just getting started. Revealing her mission to Ronald, she tells him she plans to kill Joan "Because you must have a thousand bitter tastes of death before you die." (The ripe dialogue is by Hollywood neophyte Sidney Buchman, whose distinguished list of credits would include Mr. Smith Goes to Washington, Here Comes Mr Jordan and The Talk of the Town.) She soon ascends on a geyser of madness as she decides on a new torture: "My vengeance is inspired tonight. You will first have the torture of seeing her beauty eaten slowly away by this hungry acid." An aide holds a hose gadget over Joan's soon-to-be-corroded face, and Ronald cries for Ling Moy to stop. Very well she says. "Ling Moy is merciful." She barks at Ronald: "Kill her!" He must decide if his favorite white girl is to be etched with acid or stabbed to death. Great stuff! Melodrama is the art of knowing how precisely too far to goThe film is a triangle: not so much of Ling Moy, Ronald and Joan as of Ling Moy, Ronald and a Chinese detective, Ah Kee, played by Sessue Hayakawa, the Japanese actor who in the teens was Hollywood's first Asian male star. He's not plausibly Chinese here, and he is in a constant, losing battle with spoken English. But he is a part of movie history, in the only studio film of the Golden Age to star two ethnically Asian actors. And he gives his emotive all to such lines as "It is the triumph of irony that the only woman I have ever deeply loved should be born of the blood that I loathe." And in the inevitable double-death finale neither the villainess nor the noble detective can survive the machinations of Hollywood justice he gently caresses the long hair of the lady he would love to have loved. "Flower Ling Moy," he says, a moment before expiring. "A flower need not love, but only be loved. As Ah Kee loved you."
The Personal Anna May Wong
This 5'7 beauty loved to study and could speak in an English accent, as well as being fluent in German and French with more than a passing knowledge of other tongues including Italian and Yiddish. For exercise she rode horses, played golf, and tennis. She liked to cook and regaled her guests with succulent Chinese dishes at frequent dinner parties. She preferred casual clothes, wearing slacks and sweaters at home, but cultivated an oriental motif in her very smart formal wardrobe. She studied singing with Welsh tenor Parry Jones before she participated in the film Limehouse Blues as George Raft's mistress. Anna loved to dance to contemporary music. Anna was quoted as saying, "I think I got my first chance because they thought I was peculiar. But, now I like to believe that the public are fond of me because they think I'm nice."
The story of Anna May Wong’s life traced the arc of triumph and tragedy that marked so many of her films. Wong's youthful ambition and screen appeal got her farther than anyone else of her race. But her race, or rather Hollywood's and America's fear of giving Chinese and other non-whites the same chance as European Americans, kept her from reaching the Golden Mountaintop. We can be startled and impressed by the success she, alone, attained. And still weask: Who knows what Anna May Wong could have been allowed to achieve if she
had been Anna May White?
Anna May Wong passed away on Feb. 3rd 1961 she was 56 years old.
Filmography:
The Red Lantern. Metro 1919. The First Born. Robertson Cole 1921.
Shame. Fox 1921. Bits of Life. Assoc. First National 1921.
The First Born. Robertson Cole 1921. Thundering Dawn. Universal 1923
The Toll of the Sea. Metro 1922 Drifting. Universal 1923 Fifth Avenue. PRC 1926.
Lillies of the Field. Assoc. First National 1924. The Thief of Bagdad. United Artists 1924
The Fortieth Door. Pathé serial 1924. The Alaskan. Paramount 1924.
Peter Pan. Paramount 1924. Forty Winks. Paramount 1925.
The Silk Bouquet/The Dragon Horse. Hi Mark Prod. 1926 The Desert's Toll. MGM 1926.
A Trip to Chinatown. Fox 1926. The Chinese Parrot. Universal. 1927.
Driven from Home. Chadwick 1927. Mr. Wu. MGM 1927.
Old San Francisco. Warner Bros. 1927. Why Girls Love Sailors. Pathé short 1927.
The Devil Dancer. United Artists 1927. Streets of Shanghai. Tiffany 1927.
Across to Singapore. MGM 1928. Pavement Butterfly (aka City Butterfly).
The City Butterfly. German 1929. Across to Singapore. MGM 1928.
The Crimson City. Warner Bros. 1928. Song. German 1928
Chinatown Charlie. First National 1928. Piccadilly, British International 1929.
Elstree Calling. British International 1930. The Flame of Love. British International 1930.
Hay Tang. German 1930. L'Amour Maitre Des Choses. French 1930.
Daughter of the Dragon. Paramount 1931. Shanghai Express. Paramount 1932.
A Study in Scarlet. World Wide 1933. Tiger Bay. Associated British 1933.
Chu Chin Chow. Gaumont 1934. Java Head. Associated British 1934.
Limehouse Blues. Paramount 1934. Daughter of Shanghai. Paramount 1937.
Hollywood Party. MGM short subject 1937. Dangerous to Know. Paramount 1938.
The Toll of the Sea. Metro 1922. The Thief of Bagdad 1924
Shanghai Express 1932
It's too late to save us from ourselves. It's too late to make it all go away. It's too late to beg pardons from the mother. It's too late to give a damn, now we'll sit and wait. - Mudvayne
I painted the steel areas with Boltgun Metal and washed with Agrax Earthshade, then added some bright highlights with Vallejo Liquid Metal Silver. Drybrushing with Mithril Silver helped blend them back in.
The bronze and copper are Dwarf Bronze with highlights of Retributor Armour and Liquid Metal Copper and/or Gold. These were darkened with Nuln Oil and/or Agrax applied patchily.
Rust is Ryza Rust thinned with Reikland Fleshshade, and the verdigris is Nilahk Oxide mixed with water and/or Nuln Oil.
They're a bit shinier and more varied than the diffuse lighting makes them look, I'll need to do some pics on black.
陳慈黌故居
Cihong Former Residence
The former residence of Chen Cihong was built in Qing Dynasty. The construction lasted for nearly half a century and was the result of the efforts of several generations of the Chen family. It is a key cultural relic protection unit in Guangdong Province.
Prod. Zeiss Ikon AG Germany / manufactured: Jul 53 - Dec 55 according to camera-wiki.org/wiki/Nettar#Nettar_II_518.2F16
Sn. Z 6729
Lens: Novar-Anastigmat 3.5/70mm
Shutter: Prontor-S 1s – 1/300, B
+ original lens shade
10222 Winter Village Post Office
Ages 12+. 820 pieces.
US $59.99 CA $79.99 DE 59.99 € UK 49.99 £
Continuing the winter scene series, the Winter Village Post Office is the perfect snow-covered setting. In the cozy post office, the worker is hard at work sorting all the mail into containers and sacks, while upstairs, there's just time for the postman to take a break before setting off in the traditional post car with all the letters and gifts. From the pavilion outside, musicians fill the air with music, while children take in the wintry atmosphere by the park bench before throwing snowballs at each other - the musicians had better get ready to duck!
•Includes 7 minifigures: female post office worker, male postman, female, 2 kids and 2 musicians and a dog!
•Post office features dark-green split roof with snow, fireplace, light brick, table, coffee mug, and lamppost and mailboxes outside!
•Also features evergreen tree and assorted minifigure accessories