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Benedictine sisters to shutter midtown monastery
By Johanna Willett Arizona Daily Star
20160927
For about 75 years, the Benedictine Sisters of Perpetual Adoration have called the monastery at 800 N. Country Club Road home.
But no more.
This past weekend, the sisters announced to volunteers, benefactors and other friends that the monastery will shut its doors within the next two years.
“It was a difficult decision to come to, but it has to do with basically a fewer number of sisters today and the fact that everyone is aging,” said Sister Joan Ridley, superior of the Tucson Monastery. “We don’t have many newer members, so we want to regroup forces and consolidate sisters in one spot.”
The 16 Tucson sisters are part of a larger congregation based in Clyde, Missouri. Including the Tucson nuns, there are about 65 sisters, Ridley said.
Leadership at both sites has worked toward this decision for about a year with the hope that consolidation will revitalize the aging order.
The decision is still too new for the sisters to say for sure whether all will leave Tucson for Clyde. Some of the nuns have lived here for about 25 years, Ridley said.
Stay or go, they will all have to develop a few new habits. The sisters plan to sell the property, which is about 7 acres between East Speedway and East Fifth Street.
“We may be in touch with some other national Catholic organizations that purchase property and convert it to senior housing or things like that,” Ridley said. “Our first desire is that it would be used for the good of seniors and stay within the religious tradition.”
The Tucson convent’s history as documented on its website begins in 1935 with an invitation from Diocese of Tucson Bishop Daniel Gercke to the Benedictine Sisters of Perpetual Adoration. Until the completion of the Tucson Monastery in 1940, the sisters lived in the Steinfeld Mansion , 300 N. Main Ave. Architect Roy Place designed the current monastery.
“The Benedictine Sisters have been a blessing and gift in our community since 1935,” said Bishop Gerald Kicanas of the Diocese of Tucson in a prepared statement. “They have held us in prayer and opened their home to us all. … They cannot imagine the impact they have had on us, not just as Catholics but all in our community.”
Valencia orange and date palm trees dot the property, along with an ancient avocado tree that Ridley suspects is one of the oldest in Tucson.
The sisters sell soaps, salves and lotions and make liturgical vestments, or clothing.
Every day, the monastery holds four services in its chapel, along with Mass on Sunday.
“We’re very sad,” Ridley said. “It’s a real loss to the city of Tucson and the people that we have grown to love and who love us.”
Contact reporter Johanna Willett at jwillett@tucson.com or 573-4357. On Twitter: @JohannaWillett
Agfa Optima 200 Sensor (second version).
German viewfinder camera produced c.1969.
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So this is how the Exposure Value is automaticly determined on this camera.
The amount of light on the Selenium Cell drives the Meter. Right after pressing the Shutter Release Button the Needle of the Meter is clamped in a Stepped Trap.
The amount of degrees the Stepped Trap has to rotate before it clamps the Needle determines the Exposure Value for the interface to the Shutter.
btw That headpin is my own idea to set the Needle as the Selenium Cell did not work anymore.
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WARNING :
This image is intended as a reference for the more experienced camera service man. If you have no experience in camera repair please do yourself a favor and send your camera to a professional service shop. It would be a pity to lose a vintage camera in a failed repair attempt !
Pranjal Sharma, Contributing Editor, Businessworld, India - Vera Jourová, Vice-President for Values and Transparency, European Commission - Petra De Sutter, Deputy Prime Minister and Minister of Public Enterprises, Public Administration, Telecommunications and Postal Services of Belgium - Melanie Dawes, Chief Executive, Office of Communications (Ofcom), United Kingdom and Julie Inman Grant, eSafety Commissioner, Office of the eSafety Commissioner, Australia speaking in the Tackling Harm in the Digital Era session at the World Economic Forum Annual Meeting 2023 in Davos-Klosters, Switzerland, 18 January. Congress Centre - Spotlight. Copyright: World Economic Forum/Manuel Lopez
True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart
Some background:
The Nakajima A6M2-N (Navy Type 2 Interceptor/Fighter-Bomber) was a single-crew floatplane. The Allied reporting name for the aircraft was 'Rufe'.
The A6M2-N floatplane was developed mainly to support amphibious operations and defend remote bases. It was based on the Mitsubishi A6M-2 Model 11 fuselage, with a modified tail and added floats. Despite the large central float and wing pontoons, the A6M2-N was aerodynamically a very clean aircraft: compared with its land-based A6M2 cousin, its performance degraded only by about 20%, and for a contemporary single engine floatplane its performance was outstanding.
The aircraft was deployed in 1942, referred to as the "Suisen 2" ("Hydro fighter type 2"), and intended for interceptor, fighter-bomber, and short reconnaissance support for amphibious landings, among other uses. However, when confronted with the first generation of Allied fighters, the A6M2-N was no match in aerial combat and rather employed in supportive roles.
Effectively, the A6M2-N was mostly utilized in defensive actions in the Aleutians and Solomon Islands operations. They were used with good efficiency against Allied positions: marking patrol elements, aiding warship guns, engaging convoys, and reconnoitering areas over-the-horizon.
The A6M2-Ns were also effective in harassing American PT boats at night, and they could drop flares to illuminate the PTs which were vulnerable to destroyer gunfire, and depended on cover of darkness. However, when Allied fighter coverage became more numerous and effective, the value of the A6M2-N dwindled and losses began to naturally mount.
In the Aleutian Campaign this fighter engaged with RCAF Curtiss P-40, Lockheed P-38 Lightning fighters and Boeing B-17 Flying Fortress bombers, but the A6M2-N inventory suffered a severe setback when, on August 7th, 1942, a seaplane base was destroyed by Allied fighter-bombers, taking with it most of the available A6M2-Ns stationed there.
The seaplane also served in defense of fueling depots in Balikpapan and Avon Bases (Dutch East Indies) and reinforced the Shumushu base (North Kuriles) in the same period.
Beyond their use from dispersed and improvised bases, A6M2-N fighters also served aboard seaplane carriers Kamikawa Maru in the Solomons and Kuriles areas and aboard Japanese raiders Hokoku Maru and Aikoku Maru in Indian Ocean raids.
Later in the conflict the Otsu Air Group utilized the A6M2-N as an interceptor alongside Kawanishi N1K1 Kyofu ('Rex') aircraft based in Biwa lake in the Honshū area, defending the Japanese home land against Allied raids.
A total of 327 were built, including the original prototype, before being halted in September 1943.
The last A6M2-N in military service was a single example recovered by the French forces in Indochina after the end of World War II. It crashed shortly after being overhauled, though.
General characteristics:
Crew: 1 (Pilot)
Length: 10.10 m (33ft 1⅝ in)
Wingspan: 12.00 m (39 ft 4⅜ in)
Height: 4.30 m (14ft 1⅜ in)
Wing area: 22.44 m² (251.4 sq ft)
Empty weight: 1,912 kg (4,235 lb)
Loaded weight: 2,460 kg (5,423 lb)
Max. takeoff weight: 2,880 kg (6,349 lb)
Powerplant:
1× Nakajima NK1C Sakae 12 air cooled 14 cylinder radial engine,
delivering 950 hp (709 kW) at 4,200 m (13,800 ft)
Performance:
Maximum speed: 436 km/h (235 knots, 270.5 mph) at 5,000 m (16,400 ft)
Cruise speed: 296 km/h (160 knots, 184 mph)
Range: 1,782 km (963 nmi, 1,107 mi)
Service ceiling: 10,000 m (32,800 ft)
Climb rate: 6 min 43 s to 5,000 m (16,400 ft)
Armament:
2 × 7.7 mm Type 97 machine guns in forward fuselage
2 ×20 mm Type 99 cannons in outer wings
Underwing hardpoints for 2× 60 kg (132 lb) bombs
The kit and its assembly:
This is a real world model, despite the weird looks (see below), and an entry for the Arawasi blog's "Japanese Aircraft Online Model Contest 005 - Japanese Seaplanes & Flying Boats" contest in summer 2017. Even though whifs were allowed to enter, I used the opportunity to build a kit I had originally bought for a few bucks and stashed away in the donor bank: a vintage LS Model Nakajima A6M2-N.
The mould dates back to 1963(!), and the kit was re-issued several times, also under the ARII label. You get a tiny box, with only two sprues moulded in a pale baby blue, and the number of parts is minimal. It's truly vintage and pretty toylike at first sight. Consequently, you have to face some real old-school issues, e. g. moulded markings for the roundels on the wings, general mediocre fit of anything and lots of sinkholes and flash. Then there are toylike solutions like the single-piece propeller or separate, moveable ailerons with bulging joints.
The cockpit interior is non-existent, too: there's just a blank place for a dashboard (to be cut out from the printed BW instructions!), and a spindly pilot figure which is held in mid air by some pins. Furthermore, the kit was designed to take a small electric motor in the nose (sold separately) to drive the propeller. Wires, as well as respective internal ducts, and an AA battery holder are included.
Sounds scary? Well, maybe, if you just build it OOB. But all these flaws should not keep the ambitious modeler away because the LS Model kit is (still) a sound basis to start from, even though and by today's standards, it is certainly not a match-winner for a rivet counter-esque competition.
For its age and the typical solutions of its time, it is actually surprisingly good: you get very fine engraved surface details (more delicate than many contemporary moulds!), a pretty thin, three-piece clear (yet blurry) canopy and, as a bonus to the elevons, separate flaps – a unique detail I have never come across before! Proportions are IMHO good, even though the cowling looks a bit fishy and the engravings are rather soft and shallow. Anyway, on the exterior, there’s anything you can ask for to be found, and as another bonus the kit comes with a beaching trolley, which makes display and diorama fitting easier.
Thanks to the kit's simplicity, the build in itself was pretty straightforward and simple. Cleaning the parts and checking fit was the biggest issue. Upon gluing the old styrene showed signs of serious reaction to the dissolving effect of modern glue: it took ages for the material to cure and become hard again for further work!? Weird…
The many sinkholes and overall displacements were corrected with some NC putty/PSR, the protruding elevon/flap joints sanded away as good as possible, and due to the wobbly nature of the kit’s styrene I added blobs of 2C putty inside of the wing halves as stabilizers.
Some mods and improvements were made, though. After cleaning the OOB propeller from tons of flash the piece turned out to be pretty usable, and it was put on a metal axis. A styrene tube adapter was added behind the relatively flat engine dummy, so that the prop can spin freely – for the later beauty pics, because no CG effect beats IMHO the real thing.
A cockpit interior was created from scratch and donor parts, using the new Airfix A6M model's cockpit as benchmark. It’s not an exact replica, because not much would later be visible, but I wanted, as a minimum, “something” inside. A better pilot figure was used, too, and strapped to the new seat with thin strips of adhesive masking tape as seatbelts.
Under the wings, the hardpoints were simulated with some bits of styrene and wire as shackles, but left empty Under the stabilizer fin I added a lug(?), made from thin wire, too.
The elevons were fixed in place, the seams to the wings filled with white glue in order to conceal the gaps as good as possible. The movable flaps remained, though, adding life to the model. The dolly was also taken more or less OOB, since it fits well. I just improved it with some sinkhole fillings and some other details, including cushions on the float stabilizers, made from paper tissue soaked with thinned white glue, and a towing bar.
Painting and markings:
The reason why I settled for an A6M2-N is mostly the weird paint scheme which can be applied, while still being a real world model: a lilac livery!
As far as I could find out, the A6M2-Ns initially carried an all-over IJN Grey livery, which was later, in late 1942, modified with dark green upper sides for a better concealment on the ground, and the Hinomaru received white edges for better contrast.
Anyway, during the Aleutian campaign and more or less in between these two major standards, several aircraft must have received a special camouflage with lilac upper surfaces, and this model depicts such a machine, based on various profiles but no color picture as reliable reference.
The sources I consulted, as well as pictures of finished A6M2-N models, show a wide variety of shades and paint scheme layouts, though. Upper colors range from pale pink through more or less bright shades of purple to a pale, rusty-reddish brown (maybe primer?), while the undersides show a wide range of greys or even light blue. Some depictions of Aleutian A6M2-Ns as profile or model even show a uniform wraparound scheme! Choice is yours, obviously...
Because of the corny information basis, I did my personal interpretation of the subject. I based my livery more or less on a profile by Michele Marsan, published in Aerei Modelismo Anno XII (March 1991). The unit information was taken from there, too – the only source that would provide such a reference.
My idea behind the livery and the eventual finish was that the machine once was fully painted in IJN Grey. Then, the violet upper color was added in the field (for whatever reason?), resulting in a slightly shaggy look and with the light grey shining through here and there in areas of higher wear, e. g. at the leading edges, cockpit area and some seams.
Painting started with an initial coat of aluminum under the floats, around the cockpit and on the leading edges. Then the undersides and some areas of the upper surfaces were painted with IJN grey. The latter is an individual mix of Humbrol 90 (Beige Green/RAF Sky) and a bit of 155 (Olive Drab, FS 34087). On top of that I added a thin primer layer of mauve (mix of ModelMaster’s Napoleonic Violet and Neutral Grey, Humbrol 176) on the still vacant upper surfaces – both as a preparation for the later weathering treatments (see below).
The following, basic lilac tone comes from Humbrol’s long-gone "Authentics" enamel line. The tin is probably 30 years old, but the content is still alive (and still has a distinctive, sour stench…)! I cannot identify the tone anymore with certainty, but I guess that it is 'HJ 4: Mauve N 9', one of the line’s Japanese WWII tones which was later not carried over to the standard tones, still available today.
Anyway, the color is a dull, rather greyish violet, relatively dark (a bit like RAF Ocean Grey), and it fits well as a camouflage tone on this specific model. Since there’s no better alternative I could think of except for an individual mix or garish, off-the-rack pop art tones, I went with it.
After overall basic painting was done and thoroughly cured, weathering started with a careful wet sand paper treatment, removing the salt grain masks and revealing some of the lower IJN Grey and aluminum layers. While this appears messy, I found that the result looks more realistic than artificial weathering applied as paint effects on top of the basic paint.
The engine cowling was painted separately, with a mix of black and a little dark blue. The propeller received an aluminum spinner (Humbrol’s Matt Aluminum Metallizer), while the blades received aluminum front sides (Revell acrylics), and red brown (Humbrol 160) back sides. Two thin, red stripes decorate the propeller tips (Decals, left over from an AZ Model Ki-78, IIRC).
As a standard procedure, the kit received a light wash with thinned black ink, revealing the engraved panel lines, plus some post-shading in order to emphasize panels and add visual contrast and ‘drama’.
Decals and markings were improvised and come from the spares box, since I did not trust the vintage OOB decals - even though they are in so far nice that the sheet contains any major marking as well as a full set of letter so that an individual tail code could be created. Anyway, the model's real world benchmark did not carry any numeric or letter code, just Hinomaru in standard positions and a horizontal, white-and-red stripe on the fin.
The roundels actually belong to a JSDAF F-4EJ, some stencils come from a leftover Hobby Boss A6M sheet. The fin decoration was created with generic decal sheet material (TL Modellbau). Similar stuff was also used for the markings on the central float, as well as for the yellow ID markings on the inner wings' leading edges. I am just not certain whether the real aircraft carried them at all? But they were introduced with the new green upper surfaces in late 1942, so that they appear at least plausible. Another argument in this marking‘s favor is that it simply adds even more color to the model!
The cockpit interior was painted in a light khaki tone (a mix of Humbrol 159 and 94), while the flaps' interior was painted with Aodake Iro (an individual mix of acrylic aluminum and translucent teal paint). Lacking good reference material, the beaching trolley became IJA Green, with some good weathering with dry-brushed silver on the edges and traces of rust here and there (the latter created with artist acrylics.
Close to the (literal) finish line, some soot and oil stains were added with graphite and Tamiya's 'Smoke', and the kit finally received a coat of matt acrylic varnish (Italeri); to the varnish on the engine cover a bit of gloss varnish was added, for a sheen finish.
In the end, quite a challenging build. Not a winner, but …different. Concerning the LS Model kit as such, I must say that - despite its age of more than 50 years now - the A6M2-N model is still a worthwhile offer, if you invest some effort. Sure, there are certainly better 1:72 options available (e. g. the Hasegawa kit, its mould was created in 1995 and should be light years ahead concerning detail and fit. Not certain about the Revell/Frog and Jo-Han alternatives, though), but tackling this simple, vintage kit was fun in itself. And, based on what you get out of the little box, the result is not bad at all!
Beyond the technical aspects, I am also pleased with the visual result of the build. At first glance, this antiquity looks pretty convincing. And the disputable, strange lilac tone really makes this A6M2-N model …outstanding. Even though I still wonder what might have been the rationale behind this tone? The only thing I could imagine is a dedicated scheme for missions at dusk/dawn, similar to the pink RAF recce Spitfires in early WWII? It would be plausible, though, since the A6M2-Ns were tasked with nocturnal reconnoitre and ground attack missions.
Your COGIATI result value is: -25 Which means that you fall within the following category:
COGIATI classification THREE, ANDROGYNE
I already knew that.
Timings are ready now. The table show the values between 1/256 power and full power. Using the Puls LA timings for driving the TTL mode gives the right output power.
On the LA you see the X and Q signals. X signal is here 15 usec width and Q signal 25 usec. The delay value between the X and the Q signal define the correct output power.
The X signal need to be more then 10 usec or the flash d'nt works. Large puls is not critical.
I've tested the recovery time, this is the time to start a second flash cycle. This critical time is for this SB-80-DX near 40 msec. This means that only near 50 msec a second flashpuls can be generated. For my waterfigures I need pulses between 1 and 5 msec. So I need 2 different flashes if I will use this option.
For wireless control you have to setup first the powerlevel remote via a protocol.
There after you can give via the RFM12B module a command to fire the flashes. In case of SC-27 Nikon cable (remote TTL cable) you only need to give the X and Q puls at the right time.
Very easy, and lowcost central remote control of all your flashes!
For the connection signals see: www.flickr.com/photos/fotoopa_hs/3715377259/
Photo of the setup: www.flickr.com/photos/fotoopa_hs/3709619306/in/photostream/
Remote delay RFM12B at max baudratespeed and optimal syncmethode see: www.flickr.com/photos/fotoopa_hs/3762346539/in/set-721576...
I build a prototype Master with the RFM12B wireless module. The master can also drive local 3 flashes in TTL mode and have an extra LCD display of 2x16 char. The master transmit also the signals to the slave ( slave have 4 flash outputs in TTL mode). Master and slave flash signals are so calculated that all the flash powers are centrered even if the powers are different. This is very important for very highspeed systems. If flashes are not centrered blur into the highspeed capture may happen.
For shema and layout of components see:
www.flickr.com/photos/fotoopa_hs/3896289984/in/set-721576...
Most of the parts are now soldered on a board to put into a nice box. Within a few days the hole unit will be ready. Picture will be follow.
Update 2009 Sep 21:
new timings are added for the SB-29-S ringflash and some others are updated. The new results stay on:
Collection: A. D. White Architectural Photographs, Cornell University Library
Accession Number: 15/5/3090.01462
Title: Washington, D. C. Section of Tholus on U. S. Capitol Dome
Architect: Thomas Ustick Walter (American, 1804-1887)
Drawing date: 1859
Building Date: 1793-1962
Photograph date: ca. 1865-ca. 1895
Location: North and Central America: United States; District of Columbia, Washington
Materials: albumen print
Image: 16.7323 x 9.5669 in.; 42.5 x 24.3 cm
Provenance: Transfer from the College of Architecture, Art and Planning
Persistent URI: http://hdl.handle.net/1813.001/5tp6
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
We had some help with the geocoding from Web Services by Yahoo!
I made the card for, errr... valentines day and posted this photo of it on b3ta... then it went viral. I did give it to someone and the guys in the office gave a few out too.
For those not in the know, Tesco is one of the major supermarket chains in the UK. They have 'Tesco value' branded low-cost merchandise. The idea for this card, which is a parody/satirical swipe at the commercialism of valentines etc, was copied by Asda (Walmart) for a PR stunt in the UK.
Around every 14th Feb this image will appear in newspapers and magazines in the UK - I wish they wouldn't do that.
One of the best value Sauvignon blanc out there. Simple but elegant. Delicate and restrained acidity. Light citrus mixed with peaches and apricots. Best part is the lingering finish.
1. This is value because of the many shades of blue found in the sky and on the mountain
2. The subject is the clock tower and the mountain behind
3.The most visually striking this in this image is the large scale the mountains have
4. If I were to change this I would crop differently or zoom more
Photo by CafeCredit under CC 2.0
You can use this photo for FREE under Creative Commons license. Make sure to give proper author attribution to www.cafecredit.com.
Thank you for respecting Creative Commons license.
P.S. Need more photos like this? Check out my flickr profile page.
Story :
Value in box :
Other :
I don't sell my dolls. Thank you for your understanding !!!
Don't repost without my permission ☠
All rights reserved ©
In 2010 PM David Cameron said :
"The differences in child outcomes
between a child born in poverty
and a child born in wealth
are no longer statistically significant
when both have been raised
by confident and able parents."
Is he simply mad, or barking mad?
Work is hard. Distractions are plentiful. And time is short. --Adam Hochschild
captured in Door County, Wisconsin...072811
Locally people know this as BYT, The Big Yellow Thing, and according to my niece some of her fellow students refer to it as Archimedes’ Balls. It has an official title ‘Galway Yellow’ and was presented to the University by P.J. Carrol & Co. Ltd., along with the Arts Council. Since then it has been placed on Galway City Council’s protected structure list. While that might surprise many of those who pass by the sculpture every day, it’s worth remembering that, as a representative example of King’s early work and of ‘modern’ Irish art in the 1970s more generally, Galway Yellow has a value beyond the intrinsic merits of the piece itself.
Brian King was born in Dublin in 1942, he studied in the National college of Art and Design in Dublin , where he lectured for a number of years and, and then became the Head of the Department of Sculpture from 1984–2004.
He participated in the Irish Exhibition of Living Art from 1964 to 1978, won the Carroll’s Award 1965, And served as its President for the last ten years. In 1969 and 1983 he represented Ireland at the Paris Biennale, on the former occasion becoming the first Irish artist to win the major individual prize. His public commissions are typically large-scale metal sculptures in an abstract, minimalist style, based on simple geometric forms.
Solo exhibitions include Dawson Gallery, Dublin (1968,74,75); Ulster Museum , Belfast (1973); Project Arts Gallery, Dublin (1980); Taylor Galleries , Dublin (1979, 82,88,90) and the Douglas Hyde Gallery, Dublin (1982). He has participated in major group exhibitions across Ireland and Europe, and his work is held in public collections including The Hugh Lane Gallery of Modern Art, Dublin; Crawford Municipal Gallery, Cork; RTE; Bank of Ireland; Allied Irish Bank; University of Ulster and University College, Dublin, and Farmleigh House, Dublin.
It's a Christmas tradition. Every year, Mrs. Claus has a girls night out while Mr. Claus galavants around the world on his sleigh. It makes sense. You can only keep yourself cooped up at the North Pole for so long. Everyone needs a release, and for Mrs. Claus, Christmas Eve is the night to party. Oh yeah!
Some years are wilder than others. In 1818 she was in a quiet mood and hung out with Franz Joseph Gruber. The next day, he played a song he had written - "Silent Night". Who wrote the song, Franz? That's right. You know it wasn't you. Mrs. Claus let that one pass.
1851 was a little wilder. She and the tooth fairy drank a little too much schnapps and burned down the Library of Congress.
In 1902, she stumbled over M. Wolf's telescope at an elegant soirée. Later that evening he discovered an asteroid. He wanted to name it after her, but she is a modest woman and protested. "Please, no." He relented and named it Venusia.
She spent 1960 in the Netherlands with some priests. Normally she's not controversial, but after a heavy late night conversation, those Dutch priests started questioning the values of the Papacy. Naughty girl!
In 1991 she went to the Soviet Union - just to see how things were. She found Mikhail Gorbachev in tears and convinced him to resign - for his own happiness.
Of course everyone remembers the mess she made in Texas partying with the Bush boys back in the seventies. Even she couldn't have predicted that dubya would even remember her saying "you should TOTALLY be the president of everything." He must have forgotten when she added "NOT".
This year, her party was in Berkeley, California. She must have had a great time at the fraternities...or sororities.
For sale on eBay Aug 2018
stated to be 1965 registered 1967. Been converted to a car racing transporter by very successful period racing driver (Jim Moore who had owned it for 40 years)
Asking £14500, I would put the value nearer £1500
Its at Fordingbridge.
UPDATE 8/12/24 It has now been identified as OAB436E
True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart , AKA MiMo on Instagram instagram.com/MikeMozart
Paul Bulcke visits a school close to our new plant in Karnataka, India. Nestlé works with local government in the region to provide clean drinking water and sanitation facilities to village schools
yes...you may notice I am missing 4 squares. That is because it's a bit bigger than I had originally planned, and so the 'spares' have been used up.
Las Vegas, Nevada
Las Vegas Martial Arts and Karate
Karate for Kids Testimonial and Review
When my eight-year-old son first asked me if I would let him take Karate for Kids, I was a little worried. Karate seems so dangerous and I was concerned that my boy would end up injured. After talking with my husband, we agreed to give the program a chance and now we are so glad that we did.
First of all, I would like to state that Master Babin is wonderful with the children. While I was apprehensive that the Karate class would be all about fighting, I was relieved to learn that the focus was more on self-defense and moral values. Now my son is healthier than ever, doing an activity that he truly loves.
I would encourage every parent out there looking for a fun exercise-based activity for his or her child to participate in their Karate for Kids program a chance. My son is constantly talking about what he learned in his past karate lessons and practicing his blocks and punches in the living room. He is even playing his video games less.
After my initial reservations, I now cannot imagine my son participating in any other karate program. Consider this my highest recommendation.
David S
Reviews on Karate for Kids
When my son started karate instruction with Karate for Kids, he was timid, had few friends and had trouble paying attention in school. I didn't agree with the doctor who tried to tell me he had Attention Deficit Hyperactivity Disorder and that I should put him on medication to control it. To me, my son just needed some loving guidance, not to be medicated.
That is when I asked my good friend about her children's experiences with the local martial arts Instructor. Like my son, her children did not have a father figure in their lives and suffered greatly as the result. When they were approaching their teenage years, she decided to enroll them in karate at Karate For Kids Within a matter of weeks, I saw her pre-teen son and daughter become more confident, focused and goal-oriented and knew I wanted the same for my child.
After his very first lesson, my son, then aged nine, was already a changed child. He overflowed with enthusiasm as he explained how the karate for kids program pushed him to reach goals, but was "really nice" about it. To this mom, that means that my son finally got the caring, personal instruction that he deserves.
Thank you for such a fantastic Karate For Kids Program
Samantha W
Testimonial and Review on Martial Arts For Men
I am a forty-eight year old man and, until about four months ago, I had really let myself go. Between work-related stress and the other pressures of my day-to-day existence, I made little time for exercise and gave almost no thought to a healthy diet. In short, I was a mess.
One day, a colleague at my office took me aside and recommended that I sign up for the martial arts program offered locally. He had recently signed up for a class and loved it. After some convincing, I agreed to accompany him to his next class.
Fast-forward to today and I now love my martial arts training. Martial Arts for men workouts feels less like training and more like fun. I have been losing weight and now have a new energy when facing the daily grind. I have gone from one class a week to two, and am thinking of adding a third.
If you are looking for a fun way to get in shape, I would advise you to come on down our Martial Arts for Men Academy. You will not regret it.
Getting younger…
Lisa F
Testimonial and Review on Martial Arts For Women
I never would have thought that taking up martial arts, would change me so much as a person and in so many ways. I still use every occasion to thank my friends, for recommending me the Martial Art courses for women taught by a martial arts school that teaches quality skill sets for women
I used to be a very shy person, and had become quite fearful after having my purse stolen one evening. Now, that is no longer the case. Since participating in the martial arts courses, I have felt more empowered than ever. I enjoyed the friendly and encouraging atmosphere right from the start, and did not feel ashamed of my initial clumsiness.
Now, I can actually impress my friends with some of the moves I learned. Also, I am fully aware that martial arts represent a life style just as much as anything else. My Instructor simply amazed all of us throughout the entire program, with his dedication and willingness to teach us. In fact, we could hardly wait for the next session.
I truly recommend anyone to make the same change I made in my life. Looking back, I really cannot see my weekly schedule without my martial arts training sessions.
C McCrae
Martial Arts For Women in Las Vegas, Nevada
Taking a martial arts class was not something I had given much consideration prior to turning 30. Wanting to preserve my strength and flexibility for years to come finally enticed me to take the plunge. The immediate results were stunning and I found myself feeling more energetic and confident in just a few sessions.
Not only are his martial arts skills top-notch, but I find his enthusiasm and enjoyment of the sport to be infectious. Considering that this entire venture was foreign to me, I felt right at home during my very first class. In addition to training in martial arts my instructor has a great deal of patience and warmth, the other karate students in the session were just as receptive to me. They really know how to make new members feel welcome.
Learning the forms and methods involved in martial arts is a great experience, but what makes these classes truly exceptional is that we learn how to incorporate the philosophy and principals behind this art form into our everyday lives. I look forward to my sessions with my instructor, and find his classes to be a great way to invest in myself, while having some fun at the same time. It is more than just kicking and punching it’s a well rounded martial arts program.
With Great Thanks,
Jackie W
A visitor to the PacLease exhibit at the National Private Truck Council convention in Cincinnati looks at a Peterbilt Model 330, a class 6 truck available with an innovative medium-duty leasing program called the PacLease Value Spec. Companies have a choice between the Peterbilt Model 330 and Kenworth T270. Powered by the PACCAR PX-7 engine, rated at 220 hp and matched with an Allison 5-speed automatic, the PacLease Value Spec is especially suited for the food and beverage industry. The new program, announced at the NPTC convention, is in response to growing demand in the U.S. and Canadian medium duty lease market – especially in the Class 6 segment since drivers are not required to have CDLs.
Sony RX1 User Report.
I hesitate to write about gear. Tools are tools and the bitter truth is that a great craftsman rises above his tools to create a masterpiece whereas most of us try to improve our abominations by buying better or faster hammers to hit the same nails at the same awkward angles.
The internet is fairly flooded with reviews of this tiny marvel, and it isn’t my intention to compete with those articles. If you’re looking for a full-scale review of every feature or a down-to-Earth accounting of the RX1’s strengths and weaknesses, I recommend starting here.
Instead, I’d like to provide you with a flavor of how I’ve used the camera over the last six months. In short, this is a user report. To save yourself a few thousand words: I love the thing. As we go through this article, you’ll see this is a purpose built camera. The RX1 is not for everyone, but we will get to that and on the way, I’ll share a handful of images that I made with the camera.
It should be obvious to anyone reading this that I write this independently and have absolutely no relationship with Sony (other than having exchanged a large pile of cash for this camera at a retail outlet).
Before we get to anything else, I want to clear the air about two things: Price and Features
The Price
First things first: the price. The $2800+ cost of this camera is the elephant in the room and, given I purchased the thing, you may consider me a poor critic. That in mind, I want to offer you three thoughts:
Consumer goods cost what they cost, in the absence of a competitor (the Fuji X100s being the only one worth mention) there is no comparison and you simply have to decide for yourself if you are willing to pay or not.
Normalize the price per sensor area for all 35mm f/2 lens and camera alternatives and you’ll find the RX1 is an amazing value.
You are paying for the ability to take photographs, plain and simple. Ask yourself, “what are these photographs worth to me?”
In my case, #3 is very important. I have used the RX1 to take hundreds of photographs of my family that are immensely important to me. Moreover, I have made photographs (many appearing on this page) that are moving or beautiful and only happened because I had the RX1 in my bag or my pocket. Yes, of course I could have made these or very similar photographs with another camera, but that is immaterial.
35mm by 24mm by 35mm f/2
The killer feature of this camera is simple: it is a wafer of silicon 35mm by 24mm paired to a brilliantly, ridiculously, undeniably sharp, contrasty and bokehlicious 35mm f/2 Carl Zeiss lens. Image quality is king here and all other things take a back seat. This means the following: image quality is as good or better than your DSLR, but battery life, focus speed, and responsiveness are likely not as good as your DSLR. I say likely because, if you have an entry-level DSLR, the RX1 is comparable on these dimensions. If you want to change lenses, if you want an integrated viewfinder, if you want blindingly fast phase-detect autofocus then shoot with a DSLR. If you want the absolute best image quality in the smallest size possible, you’ve got it in the RX1.
While we are on the subject of interchangeable lenses and viewfinders...
I have an interchangeable lens DSLR and I love the thing. It’s basically a medium format camera in a 35mm camera body. It’s a powerhouse and it is the first camera I reach for when the goal is photography. For a long time, however, I’ve found myself in situations where photography was not the first goal, but where I nevertheless wanted to have a camera. I’m around the table with friends or at the park with my son and the DSLR is too big, too bulky, too intimidating. It comes between you and life. In this realm, mirrorless, interchangeable lens cameras seem to be king, but they have a major flaw: they are, for all intents and purposes, just little DSLRs.
As I mentioned above, I have an interchangeable lens system, why would I want another, smaller one? Clearly, I am not alone in feeling this way, as the market has produced a number of what I would call “professional point and shoots.” Here we are talking about the Fuji X100/X100s, Sigma DPm-series and the RX100 and RX1.
Design is about making choices
When the Fuji X100 came out, I was intrigued. Here was a cheap(er), baby Leica M. Quiet, small, unobtrusive. Had I waited to buy until the X100s had come out, perhaps this would be a different report. Perhaps, but probably not. I remember thinking to myself as I was looking at the X100, “I wish there was a digital Rollei 35, something with a fixed 28mm or 35mm lens that would fit in a coat pocket or a small bag.” Now of course, there is.
So, for those of you who said, “I would buy the RX1 if it had interchangeable lenses or an integrated viewfinder or faster autofocus,” I say the following: This is a purpose built camera. You would not want it as an interchangeable system, it can’t compete with DSLR speed. A viewfinder would make the thing bigger and ruin the magic ratio of body to sensor size—further, there is a 3-inch LCD viewfinder on the back! Autofocus is super fast, you just don’t realize it because the bar has been raised impossibly high by ultra-sonic magnet focusing rings on professional DSLR lenses. There’s a fantastic balance at work here between image quality and size—great tools are about the total experience, not about one or the other specification.
In short, design is about making choices. I think Sony has made some good ones with the RX1.
In use
So I’ve just written 1,000 words of a user report without, you know, reporting on use. In many ways the images on the page are my user report. These photographs, more than my words, should give you a flavor of what the RX1 is about. But, for the sake of variety, I intend to tell you a bit about the how and the why of shooting with the RX1.
Snapshots
As a beginning enthusiast, I often sneered at the idea of a snapshot. As I’ve matured, I’ve come to appreciate what a pocket camera and a snapshot can offer. The RX1 is the ultimate photographer’s snapshot camera.
I’ll pause here to properly define snapshot as a photograph taken quickly with a handheld camera.
To quote Ferris Bueller’s Day Off, “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” So it is with photography. Beautiful photographs happen at the decisive moment—and to paraphrase Henri Cartier-Bresson further—the world is newly made and falling to pieces every instant. I think it is no coincidence that each revolution in the steady march of photography from the tortuously slow chemistry of tin-type and daguerreotype through 120 and 35mm formats to the hyper-sensitive CMOS of today has engendered new categories and concepts of photography.
Photography is a reflexive, reactionary activity. I see beautiful light or the unusual in an every day event and my reaction is a desire to make a photograph. It’s a bit like breathing and has been since I was a kid.
Rather than sneer at snapshots, nowadays I seek them out; and when I seek them out, I do so with the Sony RX1 in my hand.
How I shoot with the RX1
Despite much bluster from commenters on other reviews as to the price point and the purpose-built nature of this camera (see above), the RX1 is incredibly flexible. Have a peek at some of the linked reviews and you’ll see handheld portraits, long exposures, images taken with off-camera flash, etc.
Yet, I mentioned earlier that I reach for the D800 when photography is the primary goal and so the RX1 has become for me a handheld camera—something I use almost exclusively at f/2 (people, objects, shallow DoF) or f/8 (landscapes in abundant light, abstracts). The Auto-ISO setting allows the camera to choose in the range from ISO 50 and 6400 to reach a proper exposure at a given aperture with a 1/80 s shutter speed. I have found this shutter speed ensures a sharp image every time (although photographers with more jittery grips may wish there was the ability to select a different default shutter speed). This strategy works because the RX1 has a delightfully clicky exposure compensation dial just under your right thumb—allowing for fine adjustment to the camera’s metering decision.
So then, if you find me out with the RX1, you’re likely to see me on aperture priority, f/2 and auto ISO. Indeed, many of the photographs on this page were taken in that mode (including lots of the landscape shots!).
Working within constraints.
The RX1 is a wonderful camera to have when you have to work within constraints. When I say this, I mean it is great for photography within two different classes of constraints: 1) physical constraints of time and space and 2) intellectual/artistic constraints.
To speak to the first, as I said earlier, many of the photographs on this page were made possible by having a camera with me at a time that I otherwise would not have been lugging around a camera. For example, some of the images from the Grand Canyon you see were made in a pinch on my way to a Christmas dinner with my family. I didn’t have the larger camera with me and I just had a minute to make the image. Truth be told, these images could have been made with my cell phone, but that I could wring such great image quality out of something not much larger than my cell phone is just gravy. Be it jacket pocket, small bag, bike bag, saddle bag, even fannie pack—you have space for this camera anywhere you go.
Earlier I alluded to the obtrusiveness of a large camera. If you want to travel lightly and make photographs without announcing your presence, it’s easier to use a smaller camera. Here the RX1 excels. Moreover, the camera’s leaf shutter is virtually silent, so you can snap away without announcing your intention. In every sense, this camera is meant to work within physical constraints.
I cut my photographic teeth on film and I will always have an affection for it. There is a sense that one is playing within the rules when he uses film. That same feeling is here in the RX1. I never thought I’d say this about a camera, but I often like the JPEG images this thing produces more than I like what I can push with a RAW. Don’t get me wrong, for a landscape or a cityscape, the RAW processed carefully is FAR, FAR better than a JPEG.
But when I am taking snapshots or photos of friends and family, I find the JPEGs the camera produces (I’m shooting in RAW + JPEG) so beautiful. The camera’s computer corrects for the lens distortion and provides the perfect balance of contrast and saturation. The JPEG engine can be further tweaked to increase the amount of contrast, saturation or dynamic range optimization (shadow boost) used in writing those files. Add in the ability to rapidly compensate exposure or activate various creative modes and you’ve got this feeling you’re shooting film again. Instant, ultra-sensitive and customizable film.
Pro Tip: Focusing
Almost all cameras come shipped with what I consider to be the worst of the worst focus configurations. Even the Nikon D800 came to my hands set to focus when the shutter button was halfway depressed. This mode will ruin almost any photograph. Why? Because it requires you to perform legerdemain to place the autofocus point, depress the shutter halfway, recompose and press the shutter fully. In addition to the chance of accidentally refocusing after composing or missing the shot—this method absolutely ensures that one must focus before every single photograph. Absolutely impossible for action or portraiture.
Sensibly, most professional or prosumer cameras come with an AF-ON button near where the shooter’s right thumb rests. This separates the task of focusing and exposing, allowing the photographer to quickly focus and to capture the image even if focus is slightly off at the focus point. For portraits, kids, action, etc the camera has to have a hair-trigger. It has to be responsive. Manufacturer’s: stop shipping your cameras with this ham-fisted autofocus arrangement.
Now, the RX1 does not have an AF-ON button, but it does have an AEL button whose function can be changed to “MF/AF Control Hold” in the menu. Further, other buttons on the rear of the camera can also be programmed to toggle between AF and MF modes. What this all means is that you can work around the RX1’s buttons to make it’s focus work like a DSLR’s. (For those of you who are RX1 shooters, set the front switch to MF, the right control wheel button to MF/AF Toggle and the AEL button to MF/AF Control Hold and voila!) The end result is that, when powered on the camera is in manual focus mode, but the autofocus can be activated by pressing AEL, no matter what, however, the shutter is tripped by the shutter release. Want to switch to AF mode? Just push a button and you’re back to the standard modality.
Carrying.
I keep mine in a small, neoprene pouch with a semi-hard LCD cover and a circular polarizing filter on the front—perfect for buttoning up and throwing into a bag on my way out of the house. I have a soft release screwed into the threaded shutter release and a custom, red twill strap to replace the horrible plastic strap Sony provided. I plan to gaffer tape the top and the orange ring around the lens. Who knows, I may find an old Voigtlander optical viewfinder in future as well.