#and comparing the two just makes it so obvious that f1 is not suited to street tracks

[chaossurvives]

But what if the fia decided to hold a separate series that focuses on street tracks with cars designed for that purpose?? Maybe they could even be electric… oh wait.

[marcos-scorpion]

Do I look good, Mr Armstrong? - Marcus Armstrong x Reader

hihihi! So turns out quite a few people were interested in this when i posted to ask, so here it is ! This was just gonna be mega fluff announcing your relationship, but apparently I’m incapable of writing just fluff, so this is angst with a happy ending. Defo not my best work, but I love this sm so i hope you do to. Also! Requests are open for f1/f2/motorsports now i guess! Xoxo moth

Warnings- angst to fluff. Relationship doubts (that are wrong). Secret relationship.

Word count- 1.8k

——

Watching James and Clem pose for the silly TikTok that Marcus was making, you let out a little chuckle, as a stupid plan began to form in your head, mind whirring as you tried to figure out what your boyfriend’s opinion on the matter would be. Snapping out of your little daydream of Marcus’ possible responses to your dumb scheme, you ducked your head off his shoulder just in time for him to flip the camera to himself to end the TikTok. 

No one knew about your relationship with the beautiful boy seated beside you, not even his close friends and podcast co-hosts sat across from the pair of you. To the world, you were Marcus’ close childhood friend, the only person that could keep his life on track. His team saw you as his personal assistant, the rest of his friends jokingly calling you his slave. In reality, you took the job to work for him to ensure you could be close to him, to travel the world with the love of your life at your side, watching him do what he loves. 

After almost three years as a secret couple, and over fifteen years as inseparable best friends, seeing you two close in public wasn’t rare. No one questioned you leaning against him, plenty of childhood photos had circulated the Internet to prove that it wasn’t a new development. When photos of this meal inevitably ended up plastered across the twitter trending page, they would be compared to those childhood photos, as they are every time a photo of the pair of you is posted online. The difference now, is no one could see your ankle looped with Marcus’, his hand placed firmly on your upper thigh. 

Marcus’ desperation to keep your relationship hidden was a sore spot in your lives. Between his obvious following, and the collection of fans you had amassed across different social media, both with and without his help, there would be a small meltdown at the reveal of your relationship, especially after being hidden for so long. Marcus claimed it was to keep you safe, but you can’t help but feel that he’s ashamed of you, no matter how much he argues against it. 

You were no stranger to the hate that comes from even being associated with people in careers like Marcus, let alone the hate that came from your own career in social media. You knew you could handle petty people telling you Marcus deserved better from behind a screen. It was an ongoing point of contempt in your relationship, with the most recent argument about the topic leaving an iciness over the two of you even now. 

In public, very little had changed, but in private, the quiet of his drivers room and hotel suites bigger than your flat, empty garages long after his engineers had left, not a word was shared between you. It stung, his disbelief that you could handle a little hate, that you could handle yourself. You hadn’t voiced the fears that he refused to go public because he was ashamed of you. The answer you believe you will receive from Marcus scaring you before the words could even begin to formulate in his mind. 

The most recent argument, the one still lingering now, had been the worst around the topic. In the most recent Screaming Meals podcast, a feminine laugh could be heard behind the scenes when Clem made a joke, and the way Marcus’ eyes shined when he looked to the person behind the camera had the comments speculating who she was, and who she was to him. 

This speculation had been less than pleasant. The comments were ripping apart this girl, calling her ugly despite not seeing her face, calling her a cheat for laughing at Clement’s joke despite them believing her to be Marcus’ girl, saying she was an attention whore for distracting the boys, for having to be involved despite not being on camera. 

It was easy to detach yourself from these comments, for you at least. Marcus struggled more, clearly taking many of the words to heart and believing you did too. Hate was hate to you, it didn’t have to affect your relationship unless you let it. Unfortunately, Marcus let it. 

“You shouldn’t have to go through all this shit just to be seen with me!” Marcus had his hand on the door handle to your shared suite, “It’s been me and you, always. There’s no fucking need to change that now. No one else needs to know as long as we do.”

Those had been his final words of the argument just a few days before, as he left you in the unnecessarily plush hotel. They stung. The fact he seemed so ashamed to admit he loved you, that, yeah it had always been you and him, but it was different now. And you wanted people to know. Clearly, he didn’t see it the same way. 

That night was the first in three years that the other bed in the suite had been used, even though he didn’t come back until the next morning. 

——

A few days after the TikTok the boys had been making was posted to the Screaming Meals page, you and Marcus seemed to be back to somewhat normal. Well, you were exchanging small, meaningless conversations and sleeping in the same bed. Deciding you couldn’t hide this anymore, you decided to break this tentative peace, bringing back the topic he seemed so adamant to avoid. 

You were trying to build up the courage as Marcus made his way out of the en-suite, smiling at you as you tried to get your eyeliner even in the mirror. Despite the tension, he had insisted that your date night went ahead. He had picked the fanciest restaurant that was within walking distance of your hotel, meaning a beautiful outfit was in order. 

Meeting his eyes in the mirror as he sat on the end of the bed, shirtless but in smart dress pants, you gave him a shy smile, dragging as much confidence as you could to get your next words out. 

“Marcus, we need to talk.” His face fell, but he nodded slightly, “I can't do this anymore. I can't be the hidden girlfriend, from your friends, your team, everyone. You keep saying it's because of the hate I would receive. But you’ve seen the hate I receive almost daily, just for existing on social media, and in your world. You know I can handle it. I feel like, at this point, you won't say anything because you’re-“

You broke into a sob, not even realising tears had been pooling at your lash line, desperately fanning your face so as to not smudge your makeup as all your worst fears bubbled to the surface.    

“Because I’m what, love? Have I done something?” He looked panicked now, moving to stand behind you, warm palms on your bare arms. 

“Well, yes, but no. Marcus.” Letting out a deep sigh, you prepared yourself for the rest of this conversation, “To me, you won’t post me because you’re ashamed for people to know I’m your girlfriend.” The last part of the sentence came out whispered and rushed. You wouldn’t have even known he heard you, had his hands not stopped ghosting across your shoulders. 

With a deep sigh of his own, Marcus spun the chair you were sitting in, kneeling to face you as you desperately tried to hide behind your hair. Gently lifting your chin, he forced you to meet his eyes. The tears that had been pooling earlier had begun running down your face, gentle tracks in your otherwise pristine foundation. 

“Oh sweetheart.” He whispered, tightly pulling you against him, face buried in the crook of his neck. “I promise you, the last thing I could ever be is ashamed of you. You are the love of my life, and have been since we were nine and you punched that girl for making me upset.” You let out a wet snort at the memory, but your tears continue to flow, dripping onto Marcus’ collarbone. “I truly thought I was protecting you by not announcing anything. I should have shown you off to everyone as soon as I had the chance. And I am beyond sorry I didn’t. Nothing in my life matters without you there by my side.” 

You were fully sobbing now, but you had raised your head to look in your boyfriend’s eyes, surprised to find them lined with thick tears. Reaching up to cup his cheek, you lightly shook your head. 

“It’s ok. Well, it isn’t. But we can fix it.” And with a watery smile, you pecked his forehead. 

“Do you want me to post something? I could do a instagram photo dump, you know I have enough photos? Or we’re recording Screaming Meals tomorrow, could I say something on the podcast?” Chuckling at the panicked look in your boyfriend’s eyes, you grinned slightly, your usual glint returning to your eyes.

“Well, I had an idea the other day, but if you’re not comfortable with it, we can do something else.” 

——

That’s how, when you had finished fixing your makeup, you and Marcus were standing in front of the full length mirror, his arms wrapped tightly around your waist as you brought up the TikTok sound, purposely keeping the camera angled to the side so Marcus wouldn’t be seen. 

“I’m sorry, I just need one minute to make sure I look good.”

Gently running one of his fingers under your lip to wipe an imaginary smudge of lipstick away as you mouthed along to the words, watching as you tilted your head to the side as you continued. 

“Do you think I look good, Mr Armstrong?” 

Smiling lightly as you move your phone so that Marcus was visible, with his arms wrapped tightly around you, his head resting against yours, he grabbed your jaw to pull you into a kiss as the audio switched to the music and the TikTok ended. 

After watching it back, along with a burst of laughter at how Clem and James would react, especially after he wasn’t excited to use the sound with them, you hit post, quickly followed by Marcus saving it and posting it on his instagram. 

Within minutes, both of your phones were flooded with notifications that were ignored as someone started banging on your suite door. James and Clem fell through the door as soon as you swung it open, babbling about how they knew it, how Clem owed James money because he didn’t think Marcus would have the guts to say something. Giggling as your boyfriend tried to calm his friends, also cracking into laughter himself as he returned to your side to wrap his arms around you again. 

He grinned down at you as you reached out for Clem, who was currently trying to escape James, he was honestly upset he hadn't done this sooner. 

[golshxd-blog]

A weird shift has happened during my evaluation of the 5 Hasselblad XCD lenses at my disposal. Having been mesmerized by Hans Strand’s first sample photos with the XCD 30, that lens was the one I requested for my initial review and the first one I wanted to go in my own bag. And the XCD 21 and XCD 120 also found their way there simply because they were part of an interesting deal, my firm intention being to sell them very quickly. But those became favourites as soon as their review was over. And now that I’m testing my final lens, the XCD90 (which has stayed asleep in the pelicase for 3 months), I wonder whether that isn’t the best of the bunch …

    This is getting embarassing. At every new review, my conclusion seems to be “oh, this is the best of the set, so far”. Some reviewer, right ?

But let me explain.

  All of these lenses are extraordinarily sharp and well corrected. They are also close in rendering. The whole range (that I know of) shows high consistency in ergonomics and looks. However, now that my familiarity with these 5 lenses has grown significantly, it’s possible to identify a few heads sticking out in various directions.

    The XCD 120 Macro is slower and larger than the rest. Its autofocus is very very accurate and it’s rendering is very gentle and transparent.

The XCD 45 is probably not quite as sharp as the others (while still being very sharp) and has the softest, most gentle rendering. It could be my only lens and I wouldn’t feel sad for a moment.

The XCD 30 is super sharp but also a little wee bit harsher. Ergonomically, it’s not quite as nice as the XCD 45, with a louder, crunchier autofocus and larger size. Still an absolute peach and a serious contender for my desert island lens.

The CXD 21 is a razor blade and also a little stark. It got me to love wide angle lenses and that’s saying a lot. It’s large but a joy to use and very clever optically. If there’s a better lens for architecure, I’d love to meet it.

My impression is that (roughly speaking) the longer the focal length, the more gentle the aesthetics. And the shorter the focal length, the starker the look (with some variation, as I feel the XCD 30 is maybe even a tad more severe than the XCD 21).

And the XCD 90, well, that’s just Goldilocks.

    While it doesn’t quite play the same Jedi mind tricks with 3D rendering as my former Distagon 1.4/35 ZM or an Otus, it still offers a very beautiful sense of depth with a very gentle transition from sharp to unsharp and great smoothness of bokeh.

  In fact, this feels like a very natural lens, just lke the remarquable XCD 120 reviewed recently. In my early tenure of these XCD lenses, the relative lack of “pop” compared to Zeiss’ finest frustrated me and I wrote to Ming Thein to get his opinion about it. His surprised answer was “Even the 90?”. Now I understand why.

  In use, this is as close to a perfect lens as I’ve ever seen. The AF is snappy (for this range and camera), shutter noise is very slightly more metallic that the super gentle XCD 45 but still very pleasant, the optical quality is – once again – insanely high. It is short-ish, not heavy, and perfectly balanced in the hand and on the camera. The 21 and (even more so) the 120 feel very cumbersome in comparison. This, is an absolute corker.

  3D pop (vs Otus 85)

  How does it compare to an Otus 85 ? The promised comparison in the title wasn’t just clickbait

For me, this question is important as I only can / want to keep one of the two.

  The obligatory bicycle photograph (he remembered!!!) and an illustration of how linear and natural the sharp to unsharp transition is.

  Comparing the two might be meaningless because the Otus goes almost 3 stops more open, is manual focus, requires an adapter and silent shutter. It vignettes quite heavily, not the XCD … apple to oranges. My only interest here is in rendering. Both are sublime lenses. But which is more to my tastes? Or yours?

  Let’s get sharpness out of the way. But are much sharper than the sensor can resolve (on most of the surface, in the Otus’ case).

  (c) Hasselblad

Otus 85 @ f/4 (c) Zeiss

  The Otus (here at f/4, 3 stops in) is very slightly better at the center and the XCD 90 (at its f/3.2 full aperture) beats it from 15mm and outwards.

  Otus 85

  More interesting are bokeh and pop. If you compare the Otus 85 photograph above to the cat photo further above or the tree below (you can click both to open larger files in separate tabs) the Otus feels like it has more depth, even in the out of focus zones. The XCD 90 seems both a tad more nervous and a bit flatter. Leaving aside the vignetting, which is easy to correct at mid and short distances, the sense of volume on the tree trunk is a tad better than the sense of volume on the cat’s head. Audrey (Distagon 1.4/35 ZM) and Otus lenses are extraordinary at that 3D game. To be fair to the Hassy, the oak tree below is “flatter”, relative to its distance, than the walnut above. But still, I think the Otus does a slightly better job of recreating the volume of the trunk and of depicting its integration in the scene. The oak looks slightly more cut-out, as in Japanese tunnel books. But the Hassy picture looks more … natural (a word that comes up regularly).

    So, the Otus is a bit more charming and the XCD a lot more practical and a bit more neutral … thinking cap on for now. End of comparison (for now) but I’ll get into more thorough tests soon. In the mean time, any lens that can do that sort of 3D is good enough for me :

  Click to see the world’s first F1 levitating pilot!

  Flare and glare

  This will be quick. To see any measure of those, you’ll need pretty extreme conditions.

    In real life, none of my photographs have been affected by flare or glare with this lens.

  The cloud test

  This is as unscientific as it gets. But I find that clouds are never well rendered by poor lenses. They look flaky and artificial. And this is only made worse by aggressive post processing. So here are a few clouds with all manner of PP for a very subjective evaluation.

    Bokeh. To swirl or not to swirl?

    Until this photo popped up in my test files import, there had been no indication of swirly bokeh anywhere in any conditions. But here, at ful f/3.2 aperture and about 4m to the main subject, it does seem like the very edges are starting to dance about slightly (also, you can see chromatic aberration in the out of focus zones, at the junction between the hills and the sky). And here it is again, close up and at ful aperture. It seems that the closer and more open you are using the lens, the more it will swirl about the background. That’s new to me in this range and probably indicates some field curvature at close distances.

    In most situations, however, bokeh is very simple and creamy, within the limits of what a lens limited to f/3.2 can achieve.

    Operational considerations

Along with the 45, this has the most pleasant and fastest autofocus. It’s not able to transform the X1D into a Sony A7S3, but it’s fast enough to focus on stuff that moves. Also the AF noise is far better than on the XCD 30 or the XCD 120, both noisy blighters.

    All XCD lenses have big, heavy glass elements and aren’t designed for fast autofocus. Optical quality is the name of the game, focusing speed comes a very distant second. But The XCD 45 and XCD 90 will let you deal with family / pet / some sports conditions if you’re willing to put some effort into it rather than rely exclusively on a machine to tell you where your kid’s eyes are located.

Truthfully, though, this system is much more about accuracy than speed and I very much hope it always remains that way. It’s great to know the Swedes have provided us with a way to escape the tyranny of speed and numbers. Keep it up guys, and thank you. Now if Sony would consider ISO 25 sensors, it would be bliss all over

  Chromatic aberration

None whatsoever in focus but you will find some in out of focus zones, as illustrated by the first photograph in the bokeh section, above.

  In B&W

Judging a lens by the look of the monochrome photographs it produces is also rather subjective, given the amount of PP that goes into those, but revealing nonetheless. When we judge the look of a lens, we tend to evaluate potential colour casts and chromatic aberration as well as geometric rendering. Not only does a b&w conversion eliminate the colour component from the mix (freeing your mind to judge only the latter aspects) it also helps you see the sort of look the lens draws you towards. Or, if you have a personal style, whether the lens suits it well or not.

And, boy, is this a lovely system for monochrome imagery!

    The XCD 90 feels very transparent with excellent in-focus 3D and good bokeh 3D that creates a look better served by global contrast manipulation than by small scale contrast wizardry (clarity). It doesn’t have that etched look that many beginners confuse with sharpness and results are better served by maintaining that natural quality than by trying to add artificial brittleness. I particularly enjoy the separation of objects deep in the shadows (such as the hand at bottom right, above) that makes it easy to plunge large parts of the frame into darkness while retaining a lot of life. And, given the camera’s natural abilities with highlights (see the horse behind the youg girl at center, three pics above), the combo is absolutely wonderful for fine art monochrome photography.

  In closing

  I’ll leave you with a few more photographs, many made in Arles on a “Guardian” (literally cowboys, in Camargue) day, where the colour of the stone and the festive garnments gave the Swede combo sweet emotions.

  What strikes me most with this lens is the sense of freedom it gives me. Its snappy(-ish) autofocus makes it great for decisive moment photography (if HCB got a dime every time someone misused that term, right?) But that’s not all. Compared to others, in particular the XCD 120 Macro, it’s fairly obvious Hasselblad have let some correction go to the wind. It’s still an impeccably noble lens, but there are traces chromatic aberration in the out of focus zones, and there can be some swirl in the bokeh. I believe the positive flip side of this is that sense of breathing and freedom that is very rarely found in modern lenses. In many ways, this XCD 90 reminds me of a better behaved Audrey (Distagon 1.4/35 ZM).

    This post marks the end my series of reviews of the Hasselblad X1D system (so far). So it’s fitting to conclude it with a DearSusan signature photograph of a bicycle, right?

Seriously, though, this photographs says a lot about the system. It is one that doesn’t attempt to do all things but does them remarkably well:

Yes, you have autofocus and will be able to track passing horses, but the system is happiest with slow moving subjects.

Colours are out of this world.

The great transparency and lovely rendering are well suited to a naturalist approach. Maybe you can slap on great presets and obtain gorgeous photographs. But this isn’t spicy curry, it’s the best sashimi in the world and it is best enjoyed au naturel.

The system is an absolute joy in black and white as well, although it did take me a lot of readjusting. Files don’t respond all that elegantly to harsh treatment and great mood swings of the clarity slider (which was one of the most pleasing tricks with the A7r2 and Audrey). They feel far more traditional in that they far prefer local burning and dodging, a la film days. This may have to do with Phocus more than with the camera, but I’m judging the system as a whole.

The least pleasurable aspects of the camera are the dust magnet sensor, a major pain that also takes me back to the film days – a sensor booty shake sure would be nice – and a certain proneness to crashing whenever I try to hurry it rather than wait for operations to complete naturally.

The most pleasurable aspects of the camera are its understated looks and build, absolutely intuitive ergonomics and fabulous image quality. Hasselblad – unlike anyone else in the field – don’t seem to care about specifications. I’m regularly shooting at ISO 1600 when others are at 200 thanks to IBIS. There is no noise reduction cheating. There is no fancy top speed, buffer rate … And none of this matters, ever. It is just such a relaxing camera.

    It takes time to get to know and appreciate a system. What I now realise and admire is the design logic behind these Hasselblad XCD lenses. Initially, after years of using adapted old lenses on a Sony camera, the XCD range felt a little bit clinical and soulless. Nothing could be further from the truth.

  What Hasselblad have designed is a set of lenses each optimised for a special application. The 21 has the rigourous geometry and slightly hard rendering that suits architecture. The 30, with its slightly hard edge, is astonishing in low light and the sort of configuration you’ll find in landscape photography. The 45 is small, fast, tolerant and ideal for street. The 90 is snappy, accurate, breathy and probably the most beautiful of the lot. It feels perfect for portraits and fashion. The 120 is slow, incredibly sharp, natural and accurate. It is the perfect naturalist lens. All have mind blowing MTF (and a price tag to match) but that’s only the basis on which each individuality has been built. It’s a fabulous system and I can’t wait to try out the newer lenses and the new cameras.

  Posted on DearSusan by pascaljappy.

[itsworn]

This Compound-Turbocharged Cummins-Powered Ford F1 Makes 1,200 HP and 2,000 LB-FT at the Wheels

Whatever you do, do not call this pickup a rat rod—let’s clear that up from the start. Owner/builder Scotty Birdsall hates the term because it implies shoddy construction, either on purpose or due to a lack of skill. To call Scotty’s handbuilt, tube-chassis, 1,200hp 1949 Ford F1 a rat rod, well, nothing could be further from the truth. The only thing rough-looking about this pickup is the weathered exterior. Peer past the faded paint, and you’ll see incredible fab work, top-shelf parts, and meticulous attention to detail.

Scotty calls his F1 “Old Smokey,” a pretty obvious nod to its outrageous powerplant. In what must be a first for Car Craft, we’re prominently featuring a compound-turbocharged diesel pickup in these pages. “I did it to be different—to stand out,” Scotty told us. Mission accomplished. The pickup made its first major appearance in the AutoMeter booth at the 2016 SEMA Show, and between the multicolored exterior, menacing stance, and gleaming inlet plumbing, Old Smokey drew a crowd like Puritans to a witch burning. What most of the crowd at SEMA missed was the thrill of witnessing the 5.9 Cummins as it spools up. Even the starting procedure is a fascinating sequence of switches and buttons. The inline-six’s droning idle is oddly pleasant, made even more delicious with the chopping whine of the two Garrett turbochargers. Under full boost at the top of the rev range, it sounds like a chorus of angry weed eaters—certainly not what we’re used to hearing, but definitely cool in its own right. Those Garretts only take a second to spool up, and under even partial boost, it’s virtually impossible for the rear tires to maintain any sort of traction with the road. At full song, the engine will see more than 100 psi of boost and be making more than 2,000 lb-ft of torque at the wheels. During our shoot, Scotty was seeing rear-wheel speeds of nearly 180 mph while letting the smoke out of the set of “burner” tires he has mounted on a set of steel wheels for just such shenanigans.

Old Smokey is much more than a tire-burning smoke machine, however. Scotty built it to compete in standing-mile events, drifting, and open-track events. He’s been a professional driver for more than 20 years and is currently an instructor for Driving Connections. He knows how to get a car around a racetrack, and he built the chassis for this F1 with all the knowledge he’s gained through years of driving experience. The massive brakes, wide tires, premium coilovers, aggressive suspension geometry, and Winters quick-change rear axle aren’t there to show off. Everything has a purpose.

Scotty is a self-taught fabricator and chassis builder who left a corporate life behind to build cars full time. The shop is named after his father, Charles, a lifelong police officer whose handle on the police radio was Chuckles. Among his goals for the pickup, Scotty wants to hit 200 mph in a standing-mile event. Considering the weight-to-power ratio, that shouldn’t be a problem, and it’s an impressive feat, considering this whole project started with a $225 Craigslist buy.

“I bought it to flip it,” Scotty told us, but the truck grew on him, and as these things inevitably happen, once he started working on it, the build snowballed into what it is today. We can all relate.

Tech Notes

Who: Scott Birdsall What: 1949 Ford F1 Where: Santa Rosa, CA Engine: Scotty began with 5.9L Cummins engine from a 2005 Freightliner, making significant internal upgrades to handle the power he wanted to make. ALC Racing Engines, in Santa Rosa built the engine with Mahle pistons, Carrillo connecting rods, ARP head studs, a Hamilton camshaft, and Hamilton pushrods. Scotty installed the engine completely behind the front axle centerline for optimum weight balance. Induction: Yes, there are two turbochargers breathing into the engine, but don’t call this a twin-turbo system. In a compound-turbocharging system like what Scotty built for Old Smokey, one turbocharger feeds the other. The result is more boost than you’d get from a single turbocharger and quicker spool-up times than you’d otherwise have with a really large single turbocharger. Here’s how the system works: exhaust gases exit the engine, passing through the exhaust housing of the smaller turbo first, then the larger turbo’s exhaust housing, then into the downpipe and out the back of the car. Air enters the engine in the opposite direction: pulled in through the bigger turbo, compressed and sent to the smaller turbo, where it’s squeezed even more; in Old Smokey’s case, 100 psi of boost at the intake manifold. You read that correctly—that’s nearly 7 atmospheres of pressure! The turbochargers are Garrett’s GTX series and measure 96mm and 80mm. The inlet air is cooled twice, first through an air-to-liquid intercooler positioned between the two turbochargers and a large Mishimoto air-to-air intercooler between the 80mm turbo and the intake manifold. What’s the result of all this boost? Power output levels of 1,230 hp and more than 2,000 lb-ft of torque at the wheels. Electronics: Scotty is using a stock Dodge ECM to monitor and control the engine functions, including boost levels based on wheel speed and what gear the transmission is in. Hardway Performance did the programming using HP Tuners software, with an emphasis on power with minimal black smoke. A complement of AutoMeter Z-series gauges was installed in and around the dash so Scotty can quickly monitor all of the pickup’s vital functions. Fuel: Compared to a gasoline engine with port fuel injection, diesel engines are direct-injected and need a lot more fuel pressure in the system to overcome cylinder pressure, especially under boost. Performance diesel engines can see more than 25,000 psi of pressure in the fuel rail, and the pumps need to maintain that much volume and pressure. Scotty has a pair of Industrial Injection’s XP series CP3 fuel pumps, supported by a PureFlow Technologies’ AirDog 200-gph lift pump. Transmission: Harnessing more than 2,000 lb-ft of torque is a challenge for even the best transmission builders in the country. Scotty turned to ATS Diesel Performance for one of its 47RE transmissions with billet internal components. Rearend: Wanting the ability to change axle ratios easily to suit the type of event he’s competing in, Scotty chose a Winters Performance Pro Mod 10-inch ring-gear Quick Change rear axle. Chassis/Suspension: The front suspension includes SPC’s adjustable upper A-arms, custom-built lower A-arms, and remote-reservoir Afco coilover shocks. Scotty built the rear suspension from scratch. It’s a four-link design with an adjustable Panhard bar and Afco coilovers. He also built the chassis, which is modeled after a NASCAR cup car. Brakes: It’s hard to miss the big 13-inch Wilwood rotors on all four corners. There are six-piston calipers up front and a pair of four-piston calipers on the rear. One pair of rear calipers is actuated by the big lever next to the driver seat, meaning Scotty can initiate a drift anytime he wants. Wheels/Tires: We love the sinister look of the CCW wheels, which offset the pickup’s mottled and faded brushed enamel paint job. Scotty uses Toyo Proxes R8R tires, with the rears being a massive 335/30ZR18. For our burnout pictures, he installed a pair of Cragar steel wheels and cheapo “burner” tires on the back. Thanks: Scotty wants to thank the community of Santa Rosa. His was one of the of homes destroyed in a series of wildfires that ravaged Sonoma County in early October 2017. The fire consumed more than 137 square miles, leveled more than 5,000 homes, and killed 24 people. “We had no warning,” Scott says. “We barely got out with the clothes on our backs.” Fortunately, he and his family are safe and on the road to recovery. The outpouring of relief from the community has been overwhelming, and Scott has been directing any further aid to local charitable organizations helping with the rebuilding efforts. Donate: If you would like to help Sonoma County in the aftermath of the fires, please search “North Bay Fire Relief” and go to the Redwood Credit Union’s website to make a donation.

The post This Compound-Turbocharged Cummins-Powered Ford F1 Makes 1,200 HP and 2,000 LB-FT at the Wheels appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/this-compound-turbocharged-cummins-powered-ford-f1-makes-1200-hp-and-2000-lb-ft-at-the-wheels/ via IFTTT

[finnelisha05-blog]

How to pick The Brightest and Best LED Headlight to Your Car?

When looking for fresh headlights, such as LED headlight lights, everyone really wants to figure out "What’s thé brightest headlight light bulb?" Well to reply that issue also to truly get yourself a better picture óf what "brightnéss" is, we need to obtain scientific and défine a few conditions. But not to be concerned! I will get this to content as easy as possible to wrap your mind around. So stick to me for some time and you’ll have the ability to check true headlight the very best brightness. Both main terms to define as we talk about headlight brightness are lumen ánd lux. Lumén: A unit of measurement for luminous flux which is a measure of the full total amount of noticeable light emitted by a supply. Lux: A unit of measurement for illuminance which really is a measure of the amount of luminous flux is definitely reflected on a specific area. "One can regard luminous flux (méasured in lumens) as a means of measuring the total "quantity" of an obvious Light present, ánd the illuminance (méasured in lux) as a means of measuring the intensity of lighting on a surface at a specific distance from the source." So let’s examine these definitions as we see how lumen and Iux amounts are measured ánd how that process applies to headlight lights. Luminous flux, which I’ll just make reference to a lumen, is normally measured within a tool named the integrating sphére. A bulb is put in the sphere and the light given off by the light bulb is certainly scattered by the within of the intégrating sphere and evenIy distributed 360 all angles. The total lumen quantity of a source of light could possibly be measured accurately since light could be captured from aIl angles in thé sphere. While this system of measuring the lighting of a bulb works well for light applications where 360 examples of light is needed, (like a table lamp) the lumen quantity is fifty percent of the story while testing the lighting of headlight bulbs. For this reason, illuminance and lux are so important. Lux is certainly measured by installing the light bulb in the headlight housing and testing to see how well the lumen amounts are projected or reflected from the housing. In this situation, we measured the beam design reflected from the headlight housing and bulb combination on a wall 25 feet away. From this distance which position, we’re in a position to start to start to see the lumen quantities from the light bulb that are actually being utilized and changed into a usable beam design by the headlight housing. When measuring lux in this manner, we’re able to check multiple factors playing in to the lighting of the light bulb and find a clearer picture of accurate, usable light. The lumen amount from the bulb, the relationship between bulb and headlight housing, the resulting beam design, and distance are factors when calculating lux in this manner. A digital light meter used to measure lux. In this software, lux has been measured in a beam design produced by a LED bulb inside a headlight casing. So you’re probably thinking, "Well then, doesn’t which means that a headlight bulb with the highest lumen amount would be the brightest?" Maybe. Remember, lumen quantities are only one piece of the puzzle when determining usable lighting brightness. "A given amount of light will illuminate a surface more dimly if it is spread over a more substantial area, so illuminance (Iux) is definitely inversely proportionaI to an area when the luminous flux (lumens) is held continuous." It's possible for a bulb with high lumen amounts to target poorly once placed in the headlight housing due to poor engineering and design. The total result would be an unfocused beam pattern with light reflected or projected poorly. In that case, a poorly focused beam pattern from a light bulb with an primarily high lumen amount would have low lux measurements as the light is spread out or unfocused. A headlight such as this will be "bright" on paper, but not actually usable in the real-world scenario. Below an example sometimes appears by us similar to this situation within a 2014 Honda CRV headlight housing. Two LED lights were tested here along with the stock light bulb, but check out the beam lux and patterns numbers. Original equipment one halogen bulbs typically emit 450-500 lumen, and this one particular stock bulb wás measured at 210 lux at 15 feet(zero enough distance on the garage to test at 25 feet distance) with this headlight casing. And oné pcs óf F1 LED headlight bulb emits 2500 lumen and was measured at 600 lux at 15 foot inside this Hónda CRV headlight casing. That LED bulb in that headlight housing actually produced less lux than the share bulb though it has 4-situations the lumen. The difference can be seen when comparing both beam patterns. The additional lumen amounts aren't concentrated as exactly within this CRV headlight housing as the stock lights are. The effect is a beam design much less concentrated and arguably much less brilliant. Compare and contrast both LED bulbs now. one pcs óf F1 LED headIight bulb emits 2500 lumen and was measured at 600 lux at 15 foot inside this Hónda CRV headlight housing. Whereas the C7X LED headlight bulb emits 2000 lumen per bulb (less 500 lumen) and had been measured at 1,210 lux at 15 foot inside this headIight housing. If you enjoyed this post and you would such as to receive more info concerning it is a double-edged sword to install a fan on led headlight bulb. kindly check out the web site. This bulb is emitting less lumen lighting quantity but higher lux amounts inside this headlight housing. Take a look at the beam styles and you’ll understand why. This Directed bulb is capable of creating a beam pattern that is more focused versus the other Brought bulb, and more matches the talk about bulb beam pattern closely. And this enhance of just one single 610lux will be achieved by no lumen increasing but reduce 500 lumen per led bulb in light output. This is accomplished through a bétter-designed buIb thát interacts with thé headlight casing much such as a stock halogen light bulb would.

All that to state, when you compare the brightness of headlight lights, make sure to consider the big picturé. With LED headIight lights especially, be sure you look at the beam pattern the Directed light bulb creates when placed inside a headlight housing. Look at a lot more than just the advertised Iumen amounts-if the manufacturer gives lux figures look for those as well. Also, observe how the bulb itself is designed and look for bulbs that more closely suit the profile and measurements of a share halogen bulb.