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sabotajuu · 5 years ago

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❝ Carrion crows sound the death knell, heralding nature's harbinger with cacophonic cries. A shade, stealthily creeping through the underbrush, circles unsuspecting prey. In an instant, the gleam of a rusted hook and attached rope careens forth, singing its shrill lament that cuts through the silence and wrenches into fresh meat. And from the dark it leapt, a mass of ink-colored feathers, soaked with rain and bound by barbed wire, connecting to the mask depicting one of his flock. A killer, once survivor, looms as screaming prey becomes fodder for its hungry fiends. I have decided to call them THE RAVENOUS. ❞

* * The information that follows is put in an in-game format for organization purposes, and to ensure the verse is easily understood. Obviously, this would translate differently in a roleplay scenario that ignores the limitations of game mechanics.

APPEARANCE :

To accommodate his newfound situation, Jake has undergone some transformations. Now blinded and rendered semi-mute by the Entity, Jake's eyes are covered with bloodied bandages and his mouth is swen shut with barbed wire, allowing only the slightest of sounds or bird calls. What appeared to be a set of wings sit bound by barbed wire in a cloak-like garb, blending with the feathery veil that cascades down from a beaked mask. The mask only covers the top half of his face, leaving his mouth exposed and the bandages visible behind the eye holes. The rest of his skin is dusted with feather-like growths, and his nails have grown to talons. What's beneath the bandages lie eyes as dark as ink, sclerae and all.

MAP : RECLAIMED RESIDENCE :

More commonly known as the Park estate, but it's been plopped down in the middle of a stormy forest. With large iron gates held ajar, and a flashy car parked askew in the driveway with the front door wide open, the forest isn't the only ominous thing on the grounds. Located on the border between Shelter Woods and the Red Forest, the ambiance is dark and rainy with a side of ominous silence. The house itself looks exactly the way it did on the day of Jake's second disappearance: table set for a dinner of four, the corpse of his father seated at the head of the table, with both his brother and mother absent from the scene. Picture frames once full of family photos now reflected the horrific scene moments before he fled the scene: his mother and brother's terrified, grieving faces. If one ventures further out into the woods, they can find a beaten up campsite that mirrors the one found after his first disappearance. The home suffers from rot and is falling apart, insisting that it has not been inhabited in many years. Not only does it blend two Realm locations, but it blends his home with the forest he lived in as well. This location features heavier rainfall, coupled with thunder and lightning for added effect. The Entity has granted Jake this weather to make tracking harder for both parties, but has granted survivors wayward lanterns hanging from thick tree branches to light the way, as the moon is hidden behind the clouds. Hanging from branches are also the bones of many animals, tied with rope as a means to pay homage to their existence, and respect their death. It's Jake's way of immortalizing mother nature's creations.

UNIQUE PERKS :

IRON WILL : Your determination for the hunt thwarts all distractions, and you are able to withstand and overcome the most bothersome of obstacles. When you should suffer a stunned effect while in a chase, you persevere through it but must rely entirely on intuition and tracking. Grants complete BLINDNESS for 3 seconds, but all sounds made by survivors are increased by 100%, forcing you to track their sounds over visually watching them. This perk goes on cooldown for 120 / 100 / 80 seconds. ( Note that the blindness effect essentially means your screen would go completely black, as it's not just aura blindness. ) CALM SPIRIT : You have treated the animals and nature with kindness for many years, and now it's their turn to repay the favor. While crows never flee from your presence, stealthy or otherwise, they will instead stick to survivors who would otherwise startle them. This crow will continue to follow the survivor for a total of 30 / 60 / 90 seconds, and will make a loud noise notification if the survivor stops moving ( this includes doing a gen, searching a chest, healing, sabotaging, cleansing a totem, etc ), before returning to its perch in the trees. There is a 120 second cooldown before a crow can stalk the same survivor again, and said survivor must not be in a chase. If chasing a survivor affected by said cooldown, the timer will pause until chase is broken. SABOTEUR : Armed with immense knowledge of your surroundings, you seek to twist the playing field to your advantage. A master of turning any location into your hunting grounds, you have the ability to sabotage things around you. Tapping into your connection with nature, you lay a hex upon survivors so that most actions require a difficult skill check. While morphing generator skill checks to difficult ones, cleansing totems, opening chests, healing, sabotaging, and similar actions also have difficult skill checks. Pallets and window vaulting, however, are not affected. Failing a skill check will not notify the killer until you have failed 3, which will then expose you for 30 / 60 / 120 seconds and a loud sound will reveal your location for 2 seconds.

LOAD - OUT :

ROPE - BOUND HOOK : The first hook ever broken by the late survivalist, attached to a sturdy rope salvaged from a hook pole's base. Now brandished as a weapon, it is stained with the blood of his former teammates, and now sheds fresh blood with its dreadful snag.

POWER : NATURE'S RECLAMATION :

An honorary member of the flock, Jake calls upon the crows to aid him; they act as his eyes and communicate through sounds that he understands, and he commands them with fludity and ruthlessness to strike down unwanted trespassers. Casting the flock outwards in either a wide cone or a straight line, survivors swarmed by the flock are slowed by 20%, making it easier for Jake to hit his target. He is a relentless hunter through-and-through. Jake halts all movement to channel his attack. After a short delay, he hauls the hook at a target direction. If it hits a survivor, they are impaled on the hook and pulled directly to Jake. If it hits an environmental obstacle, the hook catches and Jake can pull himself to it. If the hook hits a survivor, he suffers no exhaustion. If the hook hits an obstacle and he pulls himself to it, he has a small window to immediately cast his hook in another location and pull himself to it, whether it hits a survivor or not. If he doesn't chain his hooks, or after the second chain, Jake suffers a period of exhaustion. He can use this ability to launch himself onto the second floor of buildings, up into the trees, on top of or over walls, and even vault over pallets, rocks, smaller walls, and other debris on the map. However, there is a small window where survivors impaled by the hook may escape. While the hook itself will inflict the injured state automatically, survivors who complete a difficult skill check while being dragged towards Jake will be released. If they fail the skill check, they are put in the dying state once they arrive in Jake's grasp, and he does not suffer an exhaustion period. Jake is a stealthy killer who has no terror radius, nor audible breathing. He only gains a terror radius when he is engaged in a chase, and the only other sound he makes is when he first tosses his hook. The channel makes no sound, but it makes a shrill scream when he throws it. The scream is non-directional due to the sheer volume. Jake suffers from complete aura blindness, and his field of vision is incredibly decreased ( out of game mechanics, however, Jake is entirely blind ).

ADD - ONS :

BONE CHIMES ( COMMON ) : Remnants of a hunt, or lost friend of the forest, strung together in symbolic appreciation. Slightly decreases the amount of time it takes to charge the hook. SCRATCHED WHETSTONE ( COMMON ) : A stone meant to keep metal objects sharp, clearly well-used. Slightly increases the hook flying speed. RUINED MAP ( UNCOMMON ) : An old map of Virginia woodlands, marked with red ink but scratched and stained to indecipherable measures. Moderately increases the hook throwing distance. MUDDY GLOVES ( UNCOMMON ) : Clearly belonging to someone unafraid to get their hands dirty, these gloves have seen hell and lived to tell the tale. Moderately decreases the amount of time taken to charge the hook. Survivors caught by Nature's Reclamationk are additionally inflicted with a deep wound status effect. BROKEN BEAR TRAP ( RARE ) : Pieces of metal and scrap resembling the jaws of a once-hidden beast, clearly tampered with. Considerably increases the hook flying speed. Considerably increases the hook grapple speed. STRAY FEATHERS ( RARE ) : Dark crow feathers, ones far too big to belong to the small fiends. Considerably decreases the hook's sound post-channel. Renders the grapple landing sound completely silent. BLOODY BANDAGES ( VERY RARE ) : Unraveled and filthy, these bandages once hid something the wearer didn't want anyone to see. Slightly increases the recovery speed after using Nature's Reclamation. Survivors caught by the flock have their auras obscured from all other survivors, as well as the killer, for 25 seconds. TORN COMPANY DEED ( VERY RARE ) : Remnants of what had once been an ideal future set into motion, the signature is scratched out. tremendously increases the hook grapple distance. slightly increases the charging speed of the hook. MOTHER'S PENDANT ( ULTRA RARE ) : A necklace kept in near pristine condition, holding a photo of a young boy and what appears to be his mother. tremendously increases the amount of time it takes to charge the hook. tremendously increases the exhaustion period after casting Nature's Reclamation. immediately inflicts survivors with the dying state when caught by the hook. JAKE'S TATTERED SCARF ( ULTRA RARE ) : What remains of a past survivor, weathered by the grueling trials that put one's life in jeopardy, but retaining fond memories of old friends. tremendously increases the recovery speed after using Nature's Reclamation. Renders the hook's casting sound completely silent. Allows a third immediate cast of Nature's Reclamation, so long as it collides with an obstacle and not a survivor.

MORI DESCRIPTION :

While the survivor he's targeting is running away from him, Jake throws his hook in their direction. It flies past them, but comes back with a firm tug and hooks into the survivor's lower jaw. Another firm yank pries flesh and bone apart, tearing their jaw off completely as a crow flies straight through the back of their head and emerges from one of their eyes. Jake then waves his hand into the air, and the flock emerges to feast upon the fallen survivor as he returns to the hunt. Survivors coming across the fallen corpse will see remnants of Jake's flock picking at the body.

SPECIES & EXISTENCE :

While he doesn't exactly mimic any particular entity in Korean folklore, he is commonly known as a spirit of the forest, specifically one put in place to protect and preserve nature and its inhabitants. His mannerisms are also very akin to revenants, but without the vengeance and anger. He is relentless and merciless, sent to cast everyone out of the forest and also defend his home and the forest around him. He can be killed, but will come back after a brief resting period, and cannot find rest until the forest and animals are safe... or until the Entity finally releases him.

BACKSTORY SYNOPSIS :

Tossed out of the fog and back into a new society he knew nothing about, Jake Park was noticed as one of the missing persons in the state of Virginia when walking into the city to gather his bearings, and authorities were notified. Picked up by police, given food and water, and brought in for questioning, they took his silence as indication of shock trauma that rendered him mute due to what he experienced. They were also surprised to see he hadn't aged a day, but pressing him for answers only got them a semi-violent response. With his family called, and Jake reuinted with his mother who paid a chauffeur to taxi her from New york all the way to Virginia, only then did his walls crumble. Authorities transferred all reports over to Albany, not wishing to keep Jake away from his family for any longer, believing he was in good hands, and allowed him to return home. He only spoke to his mother, explained vaguely what happened without the gruesome details as to not worry her. When he got home, however, he was relieved to see his father and brother were both away on a work-related trip. His mother, who had not notified them of Jake's return, wanted to surprise them when they got back. Jake had almost a week of quality catching-up time with his mother. While he missed tending to the gardens or helping her cook, tasks done by a groundskeeper and personal chef, Jake didn't mind long walks to the park for a small picnic and subtle conversation, or fishing at the private beach. When his father and brother returned, however, the reaction he recieved was as expected. His brother was indifferent, a tad skeptical, but his father was furious. Jake began to isolate himself again, sneak out and sit in a small clearing the surrounding forest had to offer. He began to feel as though he didn't belong, as though he could never re-connect to society and come out of the mentality he's been put in. As per the request of his mother, the night of the first family dinner was upon them. Jake knew it was going to be tense, but he never expected the night to go so sour. With the table set and the chef busy in the kitchen, Jake's father sat at the head of the table, his mother at the other end, and his brother across from him. There was no such thing as silence when Jake's father was present, diving into business talk as he always did. Numbers and solutions, boasting over new hires and bashing those whose lives he'll ruin by firing them. It wasn't until Jake's father suggested retiring and putting Jake in as manager of his company did the boy snap. Overstimulation is what cracked the surface, and the argument that ensued only added to the pressure until Jake's father stood up and loomed over him, tall and imposing. Instincts kicked in, and Jake could only remember the sight of his father collapsing into his chair with his throat slit, blood spattering onto the table and the walls, with his mother's terrified shriek and sobbing with his brother picking up the phone. Into the woods he vanished once more, adrenaline burning his veins as though someone set fire to them. There was too much pressure, too many reminders of the Realm and those who hunted him down like fodder. And when he reached that clearing, the night air heavy with the moon looming over him, the whispers returned and he followed familiarity. He knew he was irredeemable, a monster spat out by mother nature meant to serve her dutifully, and into the fog he went once more. To this day, he is once again deemed a casualty of the forest, now with a warrant for his arrest... but he has no intention to leave the Realm, for he has forgotten his Survivor days before. As far as he's concerned, he's always been a killer.

#ANYWAY SO THIS TOOK FOREVER #here have whatever the fuck this is #✦ ‘ﾟ‣ { killer. } — ⁽ ᵛᵉʳˢᵉ ⁾#long post /#gore /#cannibalism ment /#eye horror /#just in case for his mori description skjfhnsd

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wristwatchjournal · 4 years ago

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Watch Review: Doxa Sub 200

Though Doxa can trace its history back to 1889, its rise in prominence (at least in Western markets) can undoubtedly be traced to the now-iconic orange-faced Sub 300T strapped to the wrists of Jacque Cousteau and the Calypso divers. That broad cushion case, small dial, diver’s bezel with integrated no-decompression dive time calculator, and beads-of-rice bracelet featured on the Sub 300T, and other professional divers in Doxa’s lineup, have become synonymous with the brand. No surprise, then, that the release of the Doxa Sub 200 at Baselworld 2019 took many Doxa fans by surprise.

The Sub 200 is a much more accessible watch, both in terms of price and style, than watches like the Sub 300T, coming in at roughly half the price and featuring an on-trend vintage aesthetic that’s executed (almost) flawlessly. Of course, there were some grumblings from the Doxa die-hards that the Sub 200 was too much of a departure for the brand. Personally, I think that argument is a bit ridiculous. Sure, Doxa is best known for its professional dive watches, at least in North America, but the brand has a long history and vast, diverse catalog (just take a browse through Doxa’s website for Asian markets). The Doxa Sub 200 draws from that archive, producing a vintage-inspired diver that could have been plucked from the halcyon days of scuba diving’s golden era.

The Doxa Sub 200 is available in a range of colorways, from the classic orange “Professional” to the turquoise “Aquamarine.” I’m reviewing what is, undoubtedly, the most conservative colorway of the bunch, the black-dialed “Sharkhunter.” The model name is something of a misnomer considering that Doxa Watches are advocates for shark conservation (see their co-branded SUB 1200T Project Aware). Though the black and cream colorway may be conservative in the SUB 200 lineup, this vintage diver is in no way lacking in personality or charm.

The Doxa Sub 200 case is water-resistant up to 200m, made from 316-L stainless steel, and measures in at 42mm in diameter with a short 46mm lug-to-lug distance and 19mm lug width (seriously, Doxa?). That 42mm diameter is a bit deceptive, though, since the short lugs, coupled with a bezel width that is slightly smaller than the case, give the Sub 200 a dusting of the Seiko magic that makes the Sub 200 wear smaller and more comfortably than its size would suggest. I’d say it wears more like 40mm on my 6.75” wrist. Since this watch arrived in the mail for review, it’s hardly left my wrist, and though the aesthetics certainly play a big part in wanting to strap it on in the morning, the dimensions, fit, and comfort keep it on my wrist all day. It’s the type of watch that’s easy to just grab and wear, knowing it will go with almost anything in my wardrobe, stand up to whatever these summer days may throw at it, and be comfortable on my wrist all day.

The case dimensions are great, and the comfort is excellent, but the lines of the case are what really make the watch pop. The actual case shape is conservative (by Doxa standards), but the brushed mid-case with a wide, high-polish sloping bevel running from lug-end to lug-end gives the watch a refined, finished look that also helps reduce the visual heft of the 42mm case. It’s a gorgeous case, with finishing that belies its price.

Keeping with the vintage theme, the SUB 200 foregoes crown guards and instead utilizes a stout, screw-down crown that is slightly inset into the mid-case. The crown is signed with a painted Doxa orange fish logo — a design choice I don’t love. I see where Doxa was coming from since orange is the brand’s signature color, but it doesn’t work on this colorway or, I would argue, any other colorway than the orange “Professional” model. It’s easy to ignore and isn’t noticeable on the wrist, but it remains a head-scratcher.

Moving on to the dial, the “Sharkhunter” colorway features a black dial and bezel with creamy, off-white “fauxtina” markers and hands. For some, the use of faux-aged lume is going to be an instant turn-off, but, at this point, I view the use of faux-aged lume as simply a different colorway and one that works well on a vintage-inspired piece. The Super-LumiNova used on the SUB200 hands and markers is adequate, but that’s about it, and the lume on the bezel markings is weak and short-lived.

Hour markers are applied with high-polish surrounds that are an ideal complement to the handset. It’s the little things that make or break a dial, and the marker sizes, hand lengths, and overall proportions are spot-on. The one jarring element is the white date window. It’s a stark contrast to the soft, creamy tones that dominate the dial. Though the minute markers, dial text, and frame of the date window are true white, the date wheel still comes across as too stark a contrast. I would have preferred a black date window with white text. A no-date option would also suit this watch and maintain the symmetry and vintage style.

Box sapphire crystals that mimic the acrylic crystals of vintage watches have become extremely popular over the past few years, riding the neo-retro watch wave. However, not all box sapphire crystals are created equal. Some end up with so much distortion that the watch needs to be viewed head-on to read the time. The Doxa crystal is something special; it remains legible and instantly readable at almost all angles with just the slightest distortion when viewed at an oblique angle to give it the warmth and charm that’s so appealing in acrylic crystals. It’s exceptionally well-done. Complementing that beautiful crystal is a 120-click bezel with a sapphire insert and lumed markers — an excellent choice that extends the black and cream color scheme, providing a unified look.

Powering the Doxa SUB 200 is the tried-and-true ETA 2824-2 automatic movement that features a 38-hour power reserve, date function, 25 jewels, beats at 28.8kbph, and has a custom decorated rotor hidden away behind the solid caseback. I have nothing at all to complain about with the movement — it’s the right choice at this price point and should run without trouble for years.

The beads-of-rice bracelet is a hallmark of Doxa’s professional divers, and the look is spot-on for the vintage diver aesthetic of the Sub 200. Had Doxa opted for a simpler, three-link bracelet on this piece, the SUB 200 would have been easy to overlook as another vintage diver in a roiling sea of faux-lumed throwback pieces, but the bracelet completes the look and makes the watch instantly recognizable as a Doxa. Sure, the high-polish center links are a bit blingy and the bracelet itself is a loud, funky look, so it won’t be for everyone. But if you appreciate the aesthetic, you’ll love the bracelet on the wrist, as the small links result in excellent articulation and a buttery feel on the wrist. I can’t see switching away from the bracelet on this piece. Top marks for comfort and the bracelet completes the look of the watch. That said, there’s also a rubber strap option that integrates seamlessly with the case. Unfortunately, buying one as an extra option to complement the bracelet will set you back $250.

That’s not to say that all is roses with the bracelet. There are a couple of issues. First, and this is a minor one, the end links are short and stubby, so when they meet the case, the end links look undersized, as they don’t flow with the top of the lugs. I got over this quickly and chalked it up to a design quirk. My only real complaint is the stamped clasp. It’s perfectly functional and has micro-adjust holes, so it works as expected. However, at the $1000 price point, we’re seeing many brands step up their clasp game, offering solid, milled clasps and on-the-fly micro-adjust. The clasp doesn’t take away from my enjoyment of the piece and it could be argued that the stamped clasp is more appropriate on a vintage-inspired diver, but I still would have preferred something more solid.

When it comes to alternatives, there’s no shortage of neo-vintage divers on the market. For instance, you could opt for one of the watches that was at the forefront of the current retro diver craze, the Oris Divers 65. Available in a wide array of colorways, dial options, sizes, and case materials, the Divers 65 is a hard watch to overlook and many models offer a more classic, subdued aesthetic — albeit at almost double the price. On the slightly more affordable side, the Baltic Aquascaphe has a similar vintage aesthetic, comes in a slightly smaller 39mm case, and features many of the charming attributes that make the SUB 200 so appealing, including the sapphire bezel, double-domed box sapphire crystal, and even a beads-of-rice bracelet, for several hundred dollars less. Or you could take a look at offerings from Chrisopher Ward, Seiko, Longines, Yema, Lorier …the list goes on.

Though there are plenty of options when it comes to vintage-inspired divers, there’s really nothing quite like the Doxa Sub 200. It’s an incredibly appealing option at the $1000 price point for anyone looking for a versatile, fun, vintage-inspired diver. And, if you’re looking to add some color to your collection, the Sub 200 lineup has you covered. The case execution is excellent, the watch is a pleasure on the wrist, and it comes from a brand with a storied history in diving. And for those who aren’t quite willing to take the plunge (both financially and aesthetically) into Doxa’s now-classic professional divers, the Sub 200 is a Doxa for the rest of us. The Doxa Sub 200 retails for $990. More information can be found at doxawatches.com.

Necessary Data >Brand: Doxa >Model: Sub 200 “Sharkhunter” >Price: $990 >Size: 42mm-wide, 14mm-thick, 46mm lug-to-lug, 19mm lug-width >When reviewer would personally wear it: Almost anytime, but it’s hard to beat as a sporty summer watch. >Friend we’d recommend it to first: Anyone who appreciates that aesthetics of vintage divers and is looking for a funky but versatile watch from a brand with a storied history in diving. >Best characteristic of watch: On-point vintage styling, excellent case execution, and the beads-of-rice bracelet. >Worst characteristic of watch: Weak lume, 19mm lugs, and stamped clasp.

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olivereliott · 5 years ago

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Custom Bikes Of The Week: 1 September, 2019

An Indian Scout from Austria, a Super Cub from Italy, a production electric bike from Australia, and a BMW from Texas—with a 1,500 cc VW engine. We’ve been collecting the air miles this week.

Fonzarelli NKD A company with the best name in motorcycling has just produced the first Australian-made production electric motorcycle. It’s called the NKD, it’s tiny and it looks like bags of fun.

Fonzarelli already has three electric scooters in its catalog, but this is the first ‘motorcycle’ from the Adelaide-based outfit—albeit a mini-bike. The brushless motor kicks out 9.6 kW and 56 Nm of torque, with a 3.5 kWh battery that’ll take about five hours to charge. Range and top speed are listed as 60 km and 80 km/h for the regular model, and 120 km and 100 km/h for the Special Edition. (The base model is expected to retail for just AU$9,990 when it hits dealers later this year.)

The company has some interesting plans on how to roll out more accessible charging options, but right now we’re hung up on how cool this thing looks. It doesn’t come as a shock though—Fonzarelli’s design director is Bike EXIF alumni Wenley Andrews.

The look of the NKD invokes everything from the Honda Grom to the hooligan spirit of pit bikes. The one pictured here is kitted with some optional extras, like an Alcantara seat, twin LED headlights and Pirelli dual-sport rubber. All it needs now is a skateboard rack, and we’re sold. [More]

Indian Scout by Titan Motorcycles Headed up by Michael Siebenhofer and Thanh Ho Ngo, Austria-based Titan Motorcycles have some impressive builds under their belt. But when they were handed a brand new Indian Scout and a three-week deadline, they had their work cut out for them.

With no time to go deep, they turned the Scout into a low and lean dirt tracker with a handful of clever mods. They roped in metal shaper Bernhard Naumann (A.K.A. Blechmann), who whipped up a new headlight shroud and tail section. Then they installed flat track bars from Fehling, with Biltwell Inc. grips and Rizoma turn signals.

The exhaust headers are custom, and terminate in an Akrapovič can (see top image). There’s a custom rear shock, a new footpeg set up, and a custom saddle. The wheels are wrapped in 16” Pirelli MT60 tires (Titan wanted to change the wheels to a 19F/18R setup, but the new wheels wouldn’t have arrived in time.)

The rear end’s finished off with an integrated tail light, and a custom license plate holder, kitted with a pair of Motogadget blinkers.

Everything’s wrapped in a slick blue paint job, with some faux rust thrown in for good measure, and ‘100’ graphics to mark the Scout’s one-hundredth birthday. A three-week timeframe is usually a recipe for cheap and nasty, but we dig how this Scout’s turned out—and we’d love to see it ridden in anger. [More]

Moto Guzzi T3 by Officine Rossopuro Filippo Barbacane has the golden touch when it comes to classic Moto Guzzis. Which is not surprising: he’s been working on them for a quarter century. He’s built some pretty out-there stuff too—but this build errs on the side of restraint, and is all the better for it.

It’s a 1979 Moto Guzzi T3 850, built for a Guzzista that wanted something classic and usable. Beyond those criteria, Filippo was free to do whatever he wanted. So he gave the donor’s engine, gearbox and frame a deep once-over, then ditched the shoddy bodywork in the trash and got cracking.

Filippo started with a new fuel tank—hand-shaped from sheet metal with classic lines and enough capacity for longer rides. Next, he hand-rolled a pair of aluminum fenders and fabricated neat triangular side covers. Capping the bodywork off is a well-padded diamond stitched saddle.

The Guzzi also wears new, shouldered Borrani rims, Bitubo rear shocks and custom-made mufflers from Mass Moto. Filippo overhauls the electrical systems and brakes on all his bikes, and here he also fitted his own adjustable rearsets, engine guard plates and brake mounts. The end result: a perfectly proportioned cafe racer that’s also a stellar daily runner. [More]

The BMW Volkswagen Fikobike Since motorcycles existed, riders have been trying to find ways to make them go faster. Some people are happy with a light carb tune and a new exhaust, but others go totally overboard. Back in 1967, Lee Fikes decided that the best way to squeeze more power out of his BMW R60 was to stick a VW motor in it.

Fikes had bought it to ride Mexico’s Yucatan Peninsula on his honeymoon. But then he decided that the 600 cc boxer motor would be too weak to cope with a long distance, two-up trip with luggage. So he stuck a 1,500 cc Volkswagen flat-4 in there instead. Then he upgraded it further, with a bunch of performance parts that also included a set of rare Thomas Tomahawk finned valve covers.

Other mods included a custom headlight housing with twin lights, and a custom dash up top. It houses a speedo, tacho, ammeter, and oil pressure temperature gauges, and there’s a cylinder head temperature gauge (from a Harley) mounted on the bars. But despite the extra power, this BMW still rolls on 1960s suspension and brakes.

Fikes eventually sold the Fikobike, and it’s still running and in an overall excellent condition today. Come late September, it’ll be going up on RM Sotheby’s auction block—so have your pocketbook ready. [More]

Honda Super Cub by Greaser Garage The Honda Super Cub may be small in size, but it’s massive in stature. It’s one of the best selling two-wheelers of all time, plus it’s also impossibly cute.

This custom job from Greaser Garage in Italy adds a dose of BMX style to the lovable Super Cub. Most of the work’s gone into the front end; the original leg fairings are still in play, but the middle section’s been replaced by hand-beaten aluminum. The pieces include new fork covers, and a headlight housing with an LED unit inside.

Higher up, the entire steering cluster’s been ditched for a completely custom setup. There’s a set of BMX-looking handlebars held by a bicycle bar clamp, motocross grips and a GPS-enabled speedo. (Look closely, and you’ll see that the turn signals have been integrated into the lower section of the bars.)

Out back, we can spot a bobbed rear fender with a built-in taillight, new shocks, and a race-style exhaust can. This Super Cub also wears dual sport rubber, and an aluminum rear wheel cover. What we wouldn’t give to park this little pocket-sized smile-machine in our garage! [More]

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blushmilpitas · 7 years ago

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New Post has been published on Home Decor Trends

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Choosing The Right Bench For Bedrooms - Tips And Examples

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One of the most practical (and therefore most popular) pieces of furniture that can be placed at the foot of a bed is the bed bench, sometimes called the “bedroom bench“. The bedsteads not only provide comfort when dressing, but also help to create order in the bedroom. But choosing the perfect bench for the bedroom is not always easy. Color and style, the practical piece of furniture must match the design of the bed and form a unity with the interior. Also in terms of size and proportions, there is a lot to note. Read our tips and let the great examples below inspire you!

Materials: Contrast Wins

Normally you would choose a bed bench after the bed is already in place – the exception is when you purchase complete bedroom furniture set. Interior designers recommend choosing a bedside bench for the bedroom that will stand out easily from the bed pad or vice versa. If your headboard is upholstered, then a wooden or metal bench at the foot of your bed might look nice. If your headboard is made of metal or wood, opt for an upholstered bench.

Silhouette: light and airy

Opt for a bed bench with elegant feet. Curved or crossed foot variants look particularly noble. A massive bench with heavy feet, on the other hand, seems too bulky and blocks the view of the bed.

With or without footboard?

Unexpressed design rules state that if the bed does not have a footboard, it makes sense to add a bench with a backrest. So you can lean on, for example, while wearing the pants. But that’s not a must. Of course, the reverse also applies: If the bed has a high footboard, a bench without a backrest is recommended.

Width: The bed bench should be narrower than the bed.

So that the bench does not protrude on both sides of the bed (which would be both awkward and disproportionate), the bench should be narrower than the bed width. Allowed are 15 to 20 centimeters on each side. So, if you have a queen size bed (160 x 200 cm) that means your bench should be about 120 cm wide. For a king size bed measuring 180 x 200 cm or 200 x 200 cm, the length of the bench could be as high as 140 or 160 cm.

Height: The bed should not be too high

Usually a few inches lower than the bed is best. Here you have a bit more scope. For example, if the bed has a footboard, the bench should be the same height or less.

Depth: It depends …

“how much distance you have between the bed bench and the opposite wall. The piece of furniture should not block the way. A narrow and tall bench takes up less space in a small room.

Now you know what to look for when choosing the right bedside bench for bedrooms. And now we want to show you some inspiring examples.

Play with color and pattern!

If you want to furnish a large bedroom, you can not only buy a comfortable king size bed , but also a large bed bench. To further enhance the style of the room, designers create a strong contrast with color and pattern. In the picture above, we can see how beautifully the colorful fabric of the bench pad contrasts with the linen of white linen.

Pick another pattern in the room to create a consistent look. Here, the bank design repeats the same marble-like pattern used for the wall paneling behind the bed.

Gleaming surfaces

Through different foot and frame variants you can also set effective accents in the room. Cozy fabrics and shiny chrome in a gray-black neutral color scheme set the scene in this bedroom. The bench and the bed give the room a raised, modern look.

Warm metal colors such as gold, brass and copper are the best when setting up and decorating as an accent. Many designers combine them with pastel colors, light wood and fine concrete.

Create practical storage space at the foot

Here the bed bench gets a double function: from seating and shelf. The shelf offers space for reading material, blankets, pillows or other things.

This example shows how important it is to choose the perfect shape for the cot so as not to interfere with the openness of the room. This simple design allows the room to appear tidy and provides a nice frame for the bed.

Think about how you feel

Consider the emotional impact that bright and muted colors can create together in a room. Emotional design is an exciting topic these days. This unique ottoman at the foot of the bed brings character and soul into the quiet bedroom while creating a sense of coziness and luxury.

Create optical connection through color

When setting up and decorating it is important to create a uniform look through colors. It is therefore advisable to choose a color that can be found in the pillows, the art and the bedside tables. Let these pieces be your splash of color and keep the rest of the palette neutral. This creates an optical balance.

Alternatives to the bed bench: As long as the functionality remains

If a long bench does not fit your needs, you could always place a few stools or two shorter benches at the foot of your bed. When choosing, you should stick again to the interior design style in the bedroom.

Two stools with storage space

A bench with a lid can often seem bulky. However, if you do not want to go without the storage space, you can use two stools instead of one seat. In the stools can also store various things.

Floor cushion

Floor cushions are family and pet friendly, but they often appear out of place – such as in the middle of a room.

A simple (and stylish) solution: the floor cushions at the foot of the bed. They offer a nice difference in height as the eye moves through the room, and have an interesting Shibori pattern.

Wooden chest provides an antique charm

Another alternative to the bed bench is the wooden chest. The chest is ideal for stowing blankets and pillows and is a real gem. If you are a fan of classic country style, this model will fit perfectly with you.

#bed bench #bedroom bench #king size bed #the bed bench #upholstered bench

0 notes

almostperfectpeachstuff · 7 years ago

Text

New Post has been published on Home Decor Trends

New Post has been published on http://www.uhozz.com/choosing-right-bench-bedrooms-tips-examples.html

Choosing The Right Bench For Bedrooms - Tips And Examples

Materials: Contrast Wins

Silhouette: light and airy

Opt for a bed bench with elegant feet. Curved or crossed foot variants look particularly noble. A massive bench with heavy feet, on the other hand, seems too bulky and blocks the view of the bed.

(adsbygoogle = window.adsbygoogle || []).push();

With or without footboard?

Width: The bed bench should be narrower than the bed.

Height: The bed should not be too high

Usually a few inches lower than the bed is best. Here you have a bit more scope. For example, if the bed has a footboard, the bench should be the same height or less.

Depth: It depends …

“how much distance you have between the bed bench and the opposite wall. The piece of furniture should not block the way. A narrow and tall bench takes up less space in a small room.

Now you know what to look for when choosing the right bedside bench for bedrooms. And now we want to show you some inspiring examples.

Play with color and pattern!

Pick another pattern in the room to create a consistent look. Here, the bank design repeats the same marble-like pattern used for the wall paneling behind the bed.

Gleaming surfaces

Warm metal colors such as gold, brass and copper are the best when setting up and decorating as an accent. Many designers combine them with pastel colors, light wood and fine concrete.

Create practical storage space at the foot

Here the bed bench gets a double function: from seating and shelf. The shelf offers space for reading material, blankets, pillows or other things.

Think about how you feel

Create optical connection through color

Alternatives to the bed bench: As long as the functionality remains

Two stools with storage space

A bench with a lid can often seem bulky. However, if you do not want to go without the storage space, you can use two stools instead of one seat. In the stools can also store various things.

Floor cushion

Floor cushions are family and pet friendly, but they often appear out of place – such as in the middle of a room.

A simple (and stylish) solution: the floor cushions at the foot of the bed. They offer a nice difference in height as the eye moves through the room, and have an interesting Shibori pattern.

Wooden chest provides an antique charm

#bed bench #bedroom bench #king size bed #the bed bench #upholstered bench

0 notes

myfuturehusbandwill · 7 years ago

Text

New Post has been published on Home Decor Trends

New Post has been published on http://www.uhozz.com/choosing-right-bench-bedrooms-tips-examples.html

Choosing The Right Bench For Bedrooms - Tips And Examples

Materials: Contrast Wins

Silhouette: light and airy

Opt for a bed bench with elegant feet. Curved or crossed foot variants look particularly noble. A massive bench with heavy feet, on the other hand, seems too bulky and blocks the view of the bed.

(adsbygoogle = window.adsbygoogle || []).push();

With or without footboard?

Width: The bed bench should be narrower than the bed.

Height: The bed should not be too high

Usually a few inches lower than the bed is best. Here you have a bit more scope. For example, if the bed has a footboard, the bench should be the same height or less.

Depth: It depends …

“how much distance you have between the bed bench and the opposite wall. The piece of furniture should not block the way. A narrow and tall bench takes up less space in a small room.

Now you know what to look for when choosing the right bedside bench for bedrooms. And now we want to show you some inspiring examples.

Play with color and pattern!

Pick another pattern in the room to create a consistent look. Here, the bank design repeats the same marble-like pattern used for the wall paneling behind the bed.

Gleaming surfaces

Warm metal colors such as gold, brass and copper are the best when setting up and decorating as an accent. Many designers combine them with pastel colors, light wood and fine concrete.

Create practical storage space at the foot

Here the bed bench gets a double function: from seating and shelf. The shelf offers space for reading material, blankets, pillows or other things.

Think about how you feel

Create optical connection through color

Alternatives to the bed bench: As long as the functionality remains

Two stools with storage space

A bench with a lid can often seem bulky. However, if you do not want to go without the storage space, you can use two stools instead of one seat. In the stools can also store various things.

Floor cushion

Floor cushions are family and pet friendly, but they often appear out of place – such as in the middle of a room.

A simple (and stylish) solution: the floor cushions at the foot of the bed. They offer a nice difference in height as the eye moves through the room, and have an interesting Shibori pattern.

Wooden chest provides an antique charm

#bed bench #bedroom bench #king size bed #the bed bench #upholstered bench

0 notes

irezine · 7 years ago

Text

New Post has been published on Home Decor Trends

New Post has been published on http://www.uhozz.com/choosing-right-bench-bedrooms-tips-examples.html

Choosing The Right Bench For Bedrooms - Tips And Examples

Materials: Contrast Wins

(adsbygoogle = window.adsbygoogle || []).push();

Silhouette: light and airy

Opt for a bed bench with elegant feet. Curved or crossed foot variants look particularly noble. A massive bench with heavy feet, on the other hand, seems too bulky and blocks the view of the bed.

With or without footboard?

Width: The bed bench should be narrower than the bed.

Height: The bed should not be too high

Usually a few inches lower than the bed is best. Here you have a bit more scope. For example, if the bed has a footboard, the bench should be the same height or less.

Depth: It depends …

“how much distance you have between the bed bench and the opposite wall. The piece of furniture should not block the way. A narrow and tall bench takes up less space in a small room.

Now you know what to look for when choosing the right bedside bench for bedrooms. And now we want to show you some inspiring examples.

Play with color and pattern!

Pick another pattern in the room to create a consistent look. Here, the bank design repeats the same marble-like pattern used for the wall paneling behind the bed.

Gleaming surfaces

Warm metal colors such as gold, brass and copper are the best when setting up and decorating as an accent. Many designers combine them with pastel colors, light wood and fine concrete.

Create practical storage space at the foot

Here the bed bench gets a double function: from seating and shelf. The shelf offers space for reading material, blankets, pillows or other things.

Think about how you feel

Create optical connection through color

Alternatives to the bed bench: As long as the functionality remains

Two stools with storage space

A bench with a lid can often seem bulky. However, if you do not want to go without the storage space, you can use two stools instead of one seat. In the stools can also store various things.

Floor cushion

Floor cushions are family and pet friendly, but they often appear out of place – such as in the middle of a room.

A simple (and stylish) solution: the floor cushions at the foot of the bed. They offer a nice difference in height as the eye moves through the room, and have an interesting Shibori pattern.

Wooden chest provides an antique charm

#bed bench #bedroom bench #king size bed #the bed bench #upholstered bench

0 notes

bebeautyps · 7 years ago

Text

New Post has been published on Home Decor Trends

New Post has been published on http://www.uhozz.com/choosing-right-bench-bedrooms-tips-examples.html

Choosing The Right Bench For Bedrooms - Tips And Examples

Materials: Contrast Wins

(adsbygoogle = window.adsbygoogle || []).push();

Silhouette: light and airy

Opt for a bed bench with elegant feet. Curved or crossed foot variants look particularly noble. A massive bench with heavy feet, on the other hand, seems too bulky and blocks the view of the bed.

With or without footboard?

Width: The bed bench should be narrower than the bed.

Height: The bed should not be too high

Usually a few inches lower than the bed is best. Here you have a bit more scope. For example, if the bed has a footboard, the bench should be the same height or less.

Depth: It depends …

“how much distance you have between the bed bench and the opposite wall. The piece of furniture should not block the way. A narrow and tall bench takes up less space in a small room.

Now you know what to look for when choosing the right bedside bench for bedrooms. And now we want to show you some inspiring examples.

Play with color and pattern!

Pick another pattern in the room to create a consistent look. Here, the bank design repeats the same marble-like pattern used for the wall paneling behind the bed.

Gleaming surfaces

Warm metal colors such as gold, brass and copper are the best when setting up and decorating as an accent. Many designers combine them with pastel colors, light wood and fine concrete.

Create practical storage space at the foot

Here the bed bench gets a double function: from seating and shelf. The shelf offers space for reading material, blankets, pillows or other things.

Think about how you feel

Create optical connection through color

Alternatives to the bed bench: As long as the functionality remains

Two stools with storage space

A bench with a lid can often seem bulky. However, if you do not want to go without the storage space, you can use two stools instead of one seat. In the stools can also store various things.

Floor cushion

Floor cushions are family and pet friendly, but they often appear out of place – such as in the middle of a room.

A simple (and stylish) solution: the floor cushions at the foot of the bed. They offer a nice difference in height as the eye moves through the room, and have an interesting Shibori pattern.

Wooden chest provides an antique charm

#bed bench #bedroom bench #king size bed #the bed bench #upholstered bench

0 notes

lorrainecparker · 7 years ago

Text

Panavision revives 70mm for a digital world: part 1

The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your home, and possibly even on your phone.

A few years ago, while on a tech scout, I shot a stunning reference photo with a Canon 5D Mk2. Something just felt different: it had a sense of volume—of space within the scene—that I couldn’t explain. Initially I thought the location had much to do with that feel, but I found that I couldn’t recapture it on the shoot day with an S35 camera. There was something about the depth within that full frame still image that an S35 sensor couldn’t deliver.

It reminded me of the days, long ago, when I shot medium format (120) stills with my old Mamiya camera. The “normal” perspective lens for that format was the 80mm, as opposed to 50mm in 35mm stills format, and my wide lens was a 40mm rather than a 28mm or 25mm. There was something magical about the 40mm lens as it captured a wide angle of view but without any obvious wide angle distortion. This gave the image a “three dimensionality” and sense of volume that I couldn’t capture on smaller film stocks. I never quite understood why this was, and eventually I forgot all about it.

Until now. I see this look in all the images I’ve seen captured by Panavision’s new 8K DXL camera.

Being the curious sort, I became obsessed with discovering why this look, which I associate with epic films such as Lawrence of Arabia and Doctor Zhivago (both shot with Panavision cameras and lenses), is specific to large format cameras.

Now, after a long discussion with Panavision and Light Iron, I think I have my answers: (1) resolution, and (2) optics.

Part 1 of this series is all about…

RESOLUTION: IT’S DETAIL, NOT SHARPNESS

Years ago, a lens expert told me that there are two things in lens design that are mutually exclusive: contrast and resolution. “You can have more of one than the other,” he told me, “but you can’t have lots of both.” And then he walked away and left me hanging.

Thanks to materials provided by Panavision I think I’ve solved this personal mystery.

Nearly two years ago I attended a press presentation on the new Panavision 8K DXL camera. Michael Cioni of LightIron spoke of many things that day, but what stuck in my mind is that “resolution is not sharpness.” He showed examples of 8K images that looked stunning, but didn’t look sharp.

11K digital image of actress Brittany Falardeau. Courtesy of Panavision.

The image above was captured digitally using a Phase One camera with a Leaf digital back. The original file is a 600MB+ file that is too large to host on PVC servers, so I’ve cropped a few 740px wide sections (the maximum width PVC can display within a page) to illustrate that sharpness and resolution are not the same.

Every one of those stills was cropped out of that single large 11K image, but they don’t look sharp at all. And, indeed, any sufficiently high resolution image should not look terribly sharp, because sharpness comes about as the result of contrast. This is one of the better descriptions of sharpness that I’ve found, and the bottom line is that an image with crisp steps between tones or hues is considered “sharp.” That does not mean that high resolution images are automatically sharp, because the more steps a camera and lens system can capture across a transition from bright to dark, or from one color to another, the smoother they will look.

Low resolution images look sharp because they are unable to capture all the nuances of those tone and hue steps, compressing subtle detail beyond the ability of the system to capture into larger, coarser, more abrupt transitions.

The same is true of lenses. Many are good at what is called “large structure contrast,” which means that they reproduce coarse detail with a lot of contrast but may not capture much fine detail. Tone and hue transitions are abrupt, which results in perceived sharpness. High resolution lenses capture more detail across transitions, with the result that they feel smoother and lower in contrast.

I know of a very expensive line of lenses that have a reputation for extreme sharpness and contrast, and yet if one measures them against a competing brand of lenses that is known for softer images and lower contrast, one will find that the “soft” lenses capture more fine detail than do the “sharp” lenses. There’s nothing wrong with this, as we shouldn’t choose lenses based solely on how they reproduce lines on a chart, but it’s good to understand why one’s tools act the way they do, especially when the reasons are counter intuitive.

Beyond resolution alone, color fidelity is improved because the sensor captures very delicate transitions between hues. The same is true of dynamic range, as capturing more tones in the image results in richer shadows and more detailed highlights. Both of those influence visual “depth cues” that trick our brains into perceiving depth where there isn’t any.

Another Hasselblad/Leaf 11K digitally-captured image.

These textures are stunning in 8K, but the background is equally interesting. The subtlety of hues across the out-of-focus background between the leaves is both complex and smooth. It’s unlikely that a lower resolution camera would capture this same richness. That’s important, as many of us choose lenses based on the quality of the out-of-focus image (bokeh). Sensor resolution and image bit depth play an equally important role in reproducing soft backgrounds, although this has not been obvious to many of us as we haven’t worked with moving pictures that approach this kind of color depth and resolution.

What’s more, the smoothness of this image will scale to nearly any resolution. For example, the images above are sections clipped from a 600MB TIFF with 16-bit color, but they’ve been saved off as 16-bit PNG files. Most computer monitors fall into the eight to ten bit range, so the images you’re seeing above are not as they were captured. The fact that they still appear smooth on your eight or ten bit monitor gives you some idea of how much smoother those transitions must be in the original 16-bit file.

The circle on the right may appear sharper on certain displays, at certain viewing distances, due to the harder edges that prevent the circle from being perfectly round. The higher resolution circle may not appear as sharp, but it will appear perfectly round upon close examination and will scale more easily to different sized screens.

Oversampling is always better, as much of the character of an image can be preserved through pixel interpolation as they are scaled downwards. Lower resolution images capture less of these qualities, and give them up more easily during the scaling process.

I don’t have a good example of a high resolution image vs. a sharp image, so I tried to make one:

Original.

I applied a moderate amount of sharpening to the full resolution TIFF file, and then cropped in to see what I’d done:

Original.

Sharpened.

Contrast has been enhanced, but fine detail has been lost. I know of no way to sharpen this image without losing information. This is true during capture as well: a low resolution image that appears sharp and contrasty may lack detail found in a higher resolution yet softer-looking image. The higher resolution image can always be made to look sharper, but a low resolution image that appears sharp will always lack fine detail.

There was a time when camera sensors were small enough, and transmission standards were poor enough, that every camera came with a “detail circuit.” This bit of wizardry drew an artificial black line around areas of high contrast to make transitions appear even sharper. This technique can still be used in post to add a sense of sharpness to a soft image, but—once added—it can never be removed.

HOW MUCH RESOLUTION IS ENOUGH?

There’s an argument that 8K cameras are overkill. There are no cinema chains that can project an image at that kind of resolution. Few can project 4K images, and most are limited to 2K at best. There’s an argument that projector optics can degrade the image further, as can image compression artifacts, and some say the human eye can’t see 4K or 2K resolution images at common viewing distances anyway.

This may be technically correct, but it is not actually the case. The eye does not function alone. Images are generated within the brain, which has some built-in image enhancing features that allow us to see detail beyond that what our eyes can capture. Resolution isn’t about creating images that appeal to the eye, but to the entire human visual system.

For example:

By Gwestheimer, courtesy of WikiMedia.

The two dark spots at the top of the image represent stars in the night sky, as seen by the eye. As long as they are separated by one rod or cone, the brain will see them as two stars instead of one elongated star. That’s resolution.

The lines at the bottom represent vernier acuity, or the ability of the brain to discern a break in a line that falls across multiple rods and cones by detecting where the light center of the lines are, with precision that is greater than the resolution of the eye itself.

It’s not enough to exceed the human eye’s resolution. You have to exceed the resolution of the human eye in conjunction with the human brain’s visual processing power, which has the ability to resolve details beyond the resolution of the human eye.

RESOLUTION: CAPTURING THE QUALITY OF A LENS

High resolution sensors capture lens characteristics better than lower resolution sensors. If one projects a single point of light through a lens, the result can vary wildly depending on the design and desired qualities of the lens.

A single point of light, when projected through a lens, is affected by spherical aberration in a variety of ways, depending on the lens design and objectives:

This distortion is one of many contributing factors that gives a lens its particular look. This pattern will fall across more photo sites on a high resolution sensor than on a low resolution sensor, so a high resolution sensor will better preserve a lens’s unique characteristics. This is important as the quality of a lens is one of the few things that can’t be manipulated in post.

Thanks to advantages resulting from oversampling, as well as the ability of the human brain to discern detail beyond what is technically available, lens characteristics captured in high resolution should scale effectively to any size of screen and still reveal more of that lens’s personality than an image captured at a lower resolution with the same lens.

There’s more to this story than resolution, however. This is where things really get exciting. Click here for part 2.

Thanks very much to Panavision and Michael Cioni for their assistance in helping me research this article. All images ©2017 by Panavision except where noted. Any errors and omissions in this series are mine alone.

Art Adams Director of Photography

The post Panavision revives 70mm for a digital world: part 1 appeared first on ProVideo Coalition.

First Found At: Panavision revives 70mm for a digital world: part 1

#viddy find

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simonhawketts · 7 years ago

Text

This is a pictorial post about the Nagel Vollenda folding camera which was made by Dr. August Nagel in, probably, the 1930s.

Nagel Vollenda camera front view

Nagel Vollenda compur shutter and lens

Nagel Vollenda side view showing film winder

Nagel Vollenda side view

Nagel Vollenda frame finder

Nagel Vollenda waist level finder

Nagel Vollenda shutter and front lens element

Nagel Vollenda back film door open

Nagel Vollenda aperture blades

Nagel Vollenda front lens door

Nagel Vollenda medium format folding camera

Nagel Vollenda camera – the front door latch

My Nagel Vollenda camera

I picked this camera up from eBay uk for a total of £15 including postage.

I initially became interested in it simply because it is a folding camera and I wanted to increase the ‘folders’ section of my collection. However, once I looked at the pictures of it on the sellers ad, one factor made the camera much more appealing – in the picture of the back of the camera I could see the number 5 in the small red window showing there was a film still fitted.

The seller described the camera as having a couple of problems, namely the lens door catch is broken and the leather hand strap is held together with a piece of blue string, but I thought it likely that those issues could be repaired so I placed a bid in the last few seconds and picked it up for the £15 I said above.

When it turned up a couple of days later I found it is in reasonable condition considering its age (which is probably about 80 or more years old), but that the seller was accurate when he said the front door will not latch shut. There is also some green corrosion on the front support, some of the case material is peeling off and the shutter release has lost it’s terminal.

The good news however is that the fitted compur shutter is working well and although there is some dust in the lens there doesn’t appear to be any fungus. Also the bellows, which are a common failure point on cameras this old, are flexible and light tight.

The first thing I did with the camera, before I got too carried away with trying it out and certainly before I opened the back, was wind on and remove the roll of Kodacolour X film which was still inside. I’ll develop that using Stand Development and hopefully find at least a few old pictures on it!

Nagel Vollenda Description

I did a little research on the Nagel company because Nagel is not a common make of camera in the UK.

The founder of the company which manufactured this camera was Dr August Nagel, who was also one of the founding members of the Zeiss Ikon company which he left to form his own company in 1928. That new company was successful in building several cameras, including the Vollenda, and after being taken over by Kodak in 1932, became the manufacturer of several Kodak cameras including the Retina series.

When I first bought this camera I didn’t actually know the model was Vollenda – I just knew it was a Nagel because that is written on the front of the lens. It took a few internet image searches to find the same model and discover the model was Vollenda, although once I’d discovered that, I found the name is actually inscribed in the covering on the front by the handle.

As with most medium format folding cameras the design is very simple, being really just a shutter & lens assembly held the right distance from the film by the collapsible bellows. In the case of the Nagel Vollenda, the shutter is a Compur 8 speed unit and the lens is a Schneider-Kreuznach 105mm f/4.5. That lens and shutter combination suggests to me that this camera is probably capable of some quite nice results, especially since the negative size produced is 6 x 9 cm which is quite big.

To use the camera the front lens assembly needs to be extended by opening the front cover and pulling the lens out until two locks click into place when the lens is correctly positioned. After the picture is taken, there are two release levers on the back of the mechanism which allow the lens to be pushed back into place. I always think the folding camera is a remarkably simple and effective design, allowing a camera which takes such big negatives to take up so little space.

For focusing the camera has a rotating front lens element with a scale from infinity down to a little under 1 ft although there is no focusing assistance in the form of a rangefinder. The distance had to be measured or estimated and manually applied, or, more likely, the aperture would be set to something like f/11 and allow the depth of field to keep everything sharp.

To compose the picture there are two viewfinders. On the top of the camera is a simple frame which lifts up and can be used at eye-level. Mounted on the shutter is a waist level finder which can be rotated to work in either landscape or portrait orientation, although it needs to be moved back to portrait for the bellows to close. Although the waist level finder is a nice addition I have to say I find it difficult to see anything in it – possibly the copy on my camera is simply too old and the silvering has degraded.

To set the exposure there is the Compur shutter and aperture arrangement, which offers a high level of control and shows that this camera was certainly a serious photographic tool at the time it was made. Many cameras at the time would have been simple box cameras with a single shutter speed and perhaps two aperture settings, so the 8 speeds + B + T and the 7 aperture stops makes a really impressive arrangement.

The shutter cocking and release is all mechanical and controlled by the photographer. There is a lever at the top of the shutter to cock it and another lever at the bottom to fire it, and no coupling to the film advance. When you use a camera like this you need to have a method set to either fire and wind or wind and fire and remember it so you don’t get missed frames or double exposures!

When the shutter is set to either of the longer settings i.e. Bulb or Time, it doesn’t need to be cocked but operates straight from the shutter release. For anyone not aware of the Bulb and Time settings they operate by just opening the shutter when the shutter release is pressed. In the case of Bulb the shutter opens until the release is, well, released, and for Time the shutter opens on one press of the release and then closes on a second press.

Nagel Vollenda Specifications

Nagel Vollenda medium format folding camera

Made in Germany in about 1930

8 exposures on a standard 120 film

Compur shutter offering 1sec to 1/250sec + B & T

Cable release socket

105mm f/4.5 Schneider-Kreuznach lens

Aperture f/4.5 to f/32

Multiblade (round) aperture

Frame viewfinder and rotatable waist level finder

Manual cocking and firing of shutter

Lens hood foot acts as table stand

Tripod bush on base and lens hood

Shutter Ser No: 2595363

Manual available on-line here.

Nagel Vollenda folding camera This is a pictorial post about the Nagel Vollenda folding camera which was made by Dr. August Nagel in, probably, the 1930s.

#film #medium format #nagel vollenda #photography

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photomaniacs · 7 years ago

Photo

How I Built a Film-Digitizing Lightbox http://ift.tt/2vocplz

Shooting film is fun and developing film is fun, but tediously scanning film is not fun… so I built myself a film-digitizing light box to be used with a flash and a 1:1 macro lens.

I’m a home-developer because I’m cheap and impatient, and I don’t have a loupe, so I’ve always scanned in every frame from a roll of film, which is extremely tedious when that takes several minutes per frame. If you develop at home, or if your lab can leave your film reel intact, this is a good solution to digitize your film reel, and you can easily finish a roll of film in 15 minutes.

The camera is mounted to a wooden base on a sled so that camera distance can be slightly adjusted to account for how much of the film sprockets/frame you want to include. The wooden rail that the camera’s sled rests on is also adjustable, and can be pulled out further to allow for framing of 120 film.

It’s just a 0.5″x3.5″ piece of wood, set on a rail in a slot that runs under the length of the contraption.

Optimally, the camera sled would have some sort of lock in place, or use an actual tripod head, as distance adjustments for framing are possible by adjusting the larger rail rather than the small sled.

The flash, set at full power, gives me an f/8 @ ISO 100 exposure. There is one layer of diffusion material about 2″ from the flash head, then another further up the box, about 2″ from the film plane.

I recommend completely plain translucent plexiglass with no texture or pattern for the diffusion material – shooting at f/8 or narrower means that stronger texture will show through thinner areas of your negative.

Optimally — and since I develop my own rolls and therefore leave the leader intact — I could adapt a camera’s film ratchet system to keep the film 1) level with the lens, 2) taut, and 3) avoid the foam-and-paper tension system. An interchangeable front-frame system could be built for different film formats and easier film progression, but as-is, advancing the film and framing it up in Live View takes 10-15 seconds.

Here are the materials I used:

2x ¼” x 5½” x 48″ poplar boards (I used oak – do not use oak, it splits and cracks)

1x ½” x 1½” x 48″ poplar board

1x ½” x 1″ x 48″ poplar board

Wood glue

White spray paint

Diffusion gel or parchment paper

Flash (with wireless operation or a flash cable)

FF camera with 100mm macro lens (or calculate your operating distance with a crop sensor)

Foam tape (or maybe thick suede?)

And the tools I used:

Table saw or miter box

Jig saw / router / scroll saw that can cut out the inside of frames (alternately, just cut the individual sides of the frames and glue them together)

Clamps

Scissors

Butter knife

Belt sander, or sandpaper and a ton of elbow grease (or careful use of power saw)

Keeping saw blade width ( ~⅛” ) in mind when measuring and cutting, use ¼” boards to make:

1x top of main box ( 10″ x 5½” )

2x sides of main box ( 9¼” x 4½” )

2x bottom of main box ( 5½” x 17″ )

1x flash frame ( 4½” x 5″ with 2¼” x 3½” centered cutout)

2x front frame ( 5½” x 4½” with 4½” x 3½” centered cutout)

2x spacers to go between front frames ( ½” x 5½” )

4x flats to stack for flash base ( 6½” x 2¾” ) – dimensions matter less here, just use your leftover wood

Use 3½” x ½” board to make:

Camera sled ( 3½” x 4½” ) with hole drilled for tripod screw 1″ from end ( universal 1/4 x 20 )

Main rail ( 3½” x 31″ ) – sand about ⅛” from the top and sides of 18″ so it slides easily

Use 1½” x ½” board to make:

2x spacer rails to go along the outside edges between the bottoms of the box ( 1″ x 17″ )

2x camera sled rails to attach to sled ( ½” x 4½” )

2x camera sled rails to attach to main rail ( ⅜” x 4½” )

4x interior cleats for diffusion material ( ½” x ½” x 4¾” )

Cut out your pieces and sand all the edges.

Sandwich your ½”x17″ spacer rails on the outside edges between your 5½” x 17″ bottom boards. Glue these all together and clamp them together.

Sandwich your flash base boards together. Glue and clamp them separate from the base assembly.

Get out your jigsaw or router or scroll saw and cut the centers out of your 3 frames

Lean together the top, sides, and frames of the main light box and label them (on the inside) as they fit best. Mark where the flash base will abut the rear frame.

Position and glue your ½” x ½” x 4¾” cleats inside the light box, centered horizontally roughly 2″ from each end, on the top and bottom of the box’s interior. Give ’em a squeeze but don’t bother to clamp because you’re about to paint.

Unclamp your base board.

With masking tape and paper, tape off the areas of the base that are not inside the light box.

Spray paint the interior surfaces of your light box, including: the top, sides, bottom, inside of flash frame, inside of front frame, and cleats.

Adhere 3½” of suede or foam along the 4½” edges of your front frames, leaving ½” at the top and bottom to make a sandwich of spongy suede/foam inside your wooden frame.

Sandwich your two ½” x 5½” spacers between the top and bottom of your front frames, and glue these together. Clampy clamp clamp carefully at the top and bottom, as the white paint may not yet be fully dry.

Glue on the flash base and clamp.

Whistle and avoid eye contact with your project, as 13 is an unlucky number.

Glue flash frame to flash base.

Adhere diffusion material to cleats inside the box. It may be easier to adhere it to the “outside” of the cleats so if the material tips over, it will be easier to stand back up. Alternatively, glue it real good.

Glue top, sides, and frames together and make sure it’s all square.

Sand your main rail so that it can slide easily into its slot under your contraption.

Glue the ½” x ½” rails onto the base of your camera sled.

Glue the ½” x ⅜” rails so that the camera can slide forward and backward easily.

Drill hole for tripod screw.

Unclamp everything!

This took me about two days to design and build, but total building time is only a few hours. I had three rolls of film developed and waiting to be scanned, and when I finished this box I blasted through them all in 45 minutes and it was just WONDERFUL. This really streamlined my process and lets me enjoy my photos a lot faster and with less tedium, and hopefully if you shoot a lot of film and have a slow scanning workflow now, it can help you too!

The film-intake is a work in progress. Right now the film is kept flat by tension — the front of the box is a frame, with a layer of weatherstripping foam tape on one side, and plain paper on the other (foam tape on both faces of the sandwich was too hard to feed the film into). The film plane curls slightly right now, but shooting at f/8, and setting critical focus on the center of the film, means that I haven’t noticed significant focus falloff around the edges.

Here are some photos I’ve scanned using this lightbox:

Shot on a Voigtlander Vitomatic II, probably Tri-X 400.

Shot on a Canon Elan, 24-70 I think, Ilford HP5+ 400

About the author: Kelly Tunney is a 25-year-old photojournalist based in Brownsville, Pennsylvania. He mainly shoots performances, weddings, and portraits, but he shoots personal photos on film in his spare time. You can find more of his work on his journalism website, performance website, and Facebook.

Go to Source Author: Kelly Tunney If you’d like us to remove any content please send us a message here CHECK OUT THE TOP SELLING CAMERAS!

The post How I Built a Film-Digitizing Lightbox appeared first on CameraFreaks.

July 15, 2017 at 05:00PM

#photo photography art camera cameras

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chocdono · 7 years ago

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How to Build Space-Saving Deck Benches for a Small Deck

Just like dessert at your favorite restaurant — I always like saving the best for last! Today to wrap up our #2x4andMore series, I'm so thrilled to have an amazing building plan and video tutorial for you from our friend and contributor Krista. (There's still time to share your projects at the link party and roundup, too!) Krista had a small deck at the back of her home that just wasn't living up to its potential to be an asset to the outdoor space. When she couldn't find anything online (gasp!) that would give her exactly the seating she wanted without taking up precious deck footage, she hit the drawing board and came up with these brilliantly clever space-saving deck benches, including built-in end tables!

Keep reading for all the details from Krista so you can build your own space-saving deck benches that won't take up the surface space of your deck! And don't forget to check out the other 2x4andMore posts here, and be sure to subscribe by email or RSS and follow along over on Facebook and Instagram with #2x4andMore to see even more and get updates!

This is what my deck has looked like for the entire three years I have lived in my home. So sad. I wanted to try having a deck with no railing. (Partly to save some cash!) What I found was:

A. You need a bigger deck for it to look really good! like this large multi-level deck I spied on Houzz:

B. I worried about patio furniture sliding off the edge!

C. I hated that my kids used it like a diving board into the yard

D. I never used my deck. It was a giant landing.

So I brainstormed space saving seating ideas and searched the good old world wide web, and came across a few ideas. Unfortunately none of them really matched my criteria!

Seats could not take up square footage from the deck (it's only 10′ x 12′)

They needed to have plenty of strength and support

They needed a back rest

I wanted integrated tables to also save space

A wide seat so they would be comfy with cushions and pillows

I took some ideas from what I found on the internet, added a dash of my own creativity, and designed these!

Space Saving Deck Benches

Now, I understand everyone's decks are going to be different sizes. So I will explain how to build the supports, tables, and benches, but MY cut list probably wouldn't help this time. I'll show how to size these seats to YOUR deck so you can enjoy these Space Saving Deck Benches too!

How to Build Space-Saving Deck Benches

Click here to get a free printable version of this building plan

Watch the video tutorial over on our YouTube channel, and subscribe for new videos each week!

Lumber Counts

Step #1 : Measure the perimeter of your deck.

I wanted three benches. One along each side. The side tables are 23 7/8″ x 23 7/8″.

You will subtract the width of the side table from the length of each side of the deck you want to look like this.

If you want a table in the corner like this. The lengths are reduced to allow for the table to rest on the supports for the seat of the bench.

If you are able to make your cuts perfectly than you are a better craftsman than I! I ended up having to make minor adjustments as I built, but taking the time to plan out using these measurements will ensure you have enough lumber to finish your project.

Using the image above, and your measurements for your deck make a list of how many 2 x 6s you will need for the bench fronts, seats, back supports, and top plate. Make sure you do this for each bench you plan to build!

For example:

I would need (9) 2″ x 6″ x 120″ for the bench shown above. I always buy lumber longer than the cut to allow for changes!

I also added (2) 2×4 pieces to the bench fronts and back supports when I was building. (see pictures shown during build instructions) It broke up the monotony of the 2x6s, and decreased the spacing between slats. It kind of looked like a fence before I added the 2x4s.

Continue to count for each bench you are building.

Step 2: Bench Supports: Use 4″ x 4″ x 8′ posts

The spacing for supports will vary based on the length of your benches. For table locations you will want your posts 22″ on center from each other, and I used a 30″ spacing for the bench. I wouldn't go much farther than 36″ for strength, but you can average the remaining distance after the table to space your post evenly.

The apron of my deck was made from 2x10s, and the deck is 2x6s. Knowing that lumber isn't truly the size we are told it is, I measured the actual width of the apron plus the deck. Mine was 10 1/2″. I wanted the height of my bench to be 18″. So my math looked like this:

Finished Bench Height (18″) – Bench slats (1 1/2″) = 16 1/2″ + Apron (10 1/2″) = 27″ posts

At this length (27″) you can get 3 supports from each post.

Using these guidelines determine how many support posts you will need, and what length they need to be.

Step #3: Angled Supports: 2″ x 4″ x 28 5/16″ ends cut @ 45 degrees

For each post (with 4 exceptions see below) you will have 2 angled supports cut on 45 degree angles @ 28 5/16″. At this length you can get 3 angled supports per 2x4x8.

There is always an exception, and here it is! Where the posts were close to the house, or there was already metal framing straps where I needed to attach the supports I adjusted the location and length of those supports.

Rather that attaching them to the side of the posts like the others, I attached these to the face of the posts like this.

I had 4 locations that needed this support configuration. Take a minute to look at where you are planning to place your support posts and plan accordingly.

Step #4: Horizontal Supports: 2″ x 4″ x 20 7/8″

For each post you will have 2 2″ x 4″ x 20 7/8″ horizontal supports (no exceptions!)

You should be able to get 4 per 2x4x8

Step #5: Outside Skirts: 2″ x 4″ x ?

For the skirt pieces you will need 2″ x 4″ x (length of bench) for each bench. If you will have a corner table, you will need to add length to support that as well. I couldn't get a 2″ x 4″ x 16″ without going to two home improvement stores, so I used (2) 2″ x 4″ x 8″s.

Step #6 Back Supports: 2″ x 4″ x 27 9/16″ (ends cut @ 10 degree angle)

You will want 1 back support for each post that is not an outside post for a table, as shown above.

Cut @ 27 9/16″ with the tops and bottoms cut at 10 degree angles. This angle will allow for a comfortable recline when you are sitting on your newly built benches!

You can get 3 back supports per 2x4x8

Step #7: Side Table

You will need (5) 2″ x 6″ x 23 7/8″

You will need (2) 2″ x 4″ x 23 7/8″

You will need (3) 2″ x 6″ x 20 7/8″

These quantities will make one table. Multiply these counts by however many tables you are building.

Phew! Lumber counting complete! Now go spend some money.

Add the following to your list when you head out to the store:

Building the Deck Benches

Lumber Cuts

Set up jigs to help your cuts stay uniform, and cut all pieces needed for support posts. Per post this should include:

1 – 4×4 post

2 – 45 degree angle supports

2 – horizontal supports

Support Assembly

Attach Deck Tie Brackets to each post using screws as specified by manufacturer.

I set my first bracket flush with the bottom of the post, and the bottom of the other 7 1/2″ from the bottom of the post.

I had to adjust these on one corner of my deck because of existing framing plates. You may or may not need to do this.

Moving the bottom bracket to 3 1/4″ from the bottom of the post.

Next attach horizontal pieces using 3 deck screws drilled through the horizontal support into the post, making sure they are square. These are not, and they caused me problems later!

See how wonky they were! I had to redo these so my bench was level.

For the posts close to the house, attach the angle supports that are secured on the face during this step.

Using 3 deck screws, attach the top of angle support into the horizontal support. Then predrill through the bottom into the face of the post for 2 deck screws. Attach to the face of the post.

Then attach the other horizontal support.

Using lag bolts, attach posts to deck apron. A helper or clamp is needed to hold these in place as you attach them. I clamped them in place, predrilled holes. Make sure they are much smaller than your lag bolts so the lags have plenty to grab on to. Then using a 3/8″ socket in your drill, drill lags into apron, and secure each post in place. Remember 22″ on center for table locations, and then the distance you predetermined during the planning stage!

Repeat, repeat, repeat. Until all posts are attached.

Next, attach the 45 degree angle supports.

I used three screws to attach each angle support to the side of the post.

Then, pre-drill for your screws so you don't split your supports. I used two screws drilled up at an angle into the horizontal support pieces. Again, a helper or clamp is great for this step. It will ensure your supports are flush with each other. Make sure to use a level during this step. Keep horizontal supports level, and flush with their neighbors!

After you have secured it to the side of the post, and to the horizontal support, use the L-angles at the base of each 45 degree support to tie the support and the apron together.

Repeat, repeat, repeat.

Attach Skirt and Bench Fronts

You will want to measure for exact lengths, as these can vary a little as you build.

Using two screws per horizontal support, drill screws through skirt into supports along the back length of each bench. Use a level as you attach skirt so your bench will be level when you are finished.

When you are finished your benches should look like this!

Now attach the bench fronts by drilling screws into support posts. Again, verify measurements before you cut, and use a level to ensure a beautiful finished product. These pieces should extend the full length of the framing.

Repeat for each bench front.

Attach Angled Back Supports

Clamp each support in place, and drill 3 deck screws through back support into horizontal support. Making sure the bottom is flush with the bottom of the horizontal support. Then drill 2 deck screws through the outside skirt into each back support piece.

Repeat, repeat, repeat! Until your deck looks like an upside down spider!

Assemble Tables

I found installing the tables before the benches was way better. This way your bench slats butt right up to the tables.

Cut all pieces for each table:

5 – 2″ x 6″ x 23 7/8″

2 – 2″ x 4″ x 23 7/8″

3 – 2″ x 6″ x 20 7/8″

I built one table, and then attached it to the deck, and then I built one while attaching it to the deck. I prefer the second method.

I used scrap pieces for this step. Attach (1) 2″ x 6″ x 23 7/8″ piece from the inside using 4 deck screws and a scrap piece of 2×6. Attach scrap piece to skirt making sure it doesn't go below the skirt. Then place the cut 2×6 against the piece you just attached, flush the end of the 2×6 with the end of the framing, and attach the two pieces with deck screws.

Next attach the (3) 2″ x 6″ x 20 7/8″ pieces using 2 deck screws for each piece. Attaching from the outside through the 2″ x 6″ x 20 7/8″ pieces. I tried to not use extra tools on this project, so that people wouldn't be put off if I used a Kreg Jig. If you want to hide these screws use a pocket holes to assemble your table.

Next attach the front of your table using deck screws into the cross pieces, and using another scrap of 2×6 attach the table front to the bench front from the inside.

Place a 23 7/8″ piece across the back, and attach by drilling screws down into the cross pieces.

Repeat, alternating 2×4 and 2×6 pieces.

Your finished table should look like this!

Repeat these steps for all of your tables.

Assemble Benches

Measure from end to end the length of your bench slats. If one end terminates near your home I recommend you leave 2″ or so (no more than 3″) between your bench and house. Cut all your bench slats. Remember, I added a 2×4 slat to the back support and bench front here.

Using deck screws, attach the first bench slat flush with the bench front drilling screws into the horizontal supports. Then place a couple scrap pieces of lumber cut into 1/2″ pieces between the first slat and the next. Attach to horizontal supports.

Repeat for the third slat.

Then starting at the top of the back of the bench, attach one slat. Making sure the front slat is level with the back support.

Using deck screw attach with 2 screws in each back support piece.

Using your 1/2″ spacers, clamp the next piece in place if adding a 2×4 slat. If not place the bottom slat 1/2″ from bench seat using spacers. Attach with 2 deck screws in each back support piece.

If you added the 2×4 slat, repeat this process for two more 2×6 pieces.

If you didn't, mark the center of the space between the top and bottom slats. Then mark the center on the back of your 3rd slat for the back support. Line up both center markings, clamp in place, and attach using 2 deck screws per back support.

Finally add the top plate 2×6, by drilling deck screws down into the back supports. Making sure the top plate is flush with the front, and on the ends.

Repeat for each bench, and they should look like this at this point!

Next attach the another 2×4 & 2×6 to the bench front, using the 1/2″ spacers, and drilling 2 deck screws into each support post.

Do you see how the bench front pieces are longer than the actual bench because of the table? If you build the tables make sure you don't cut the bench front slats to the same measurement of the bench. You will be sad if you do.

Attach all bench fronts, until your benches are completely assembled!

If only the next part was as easy and simple as it sounds!

Sand, stain, and enjoy!

Add some colorful throw pillows and invite a few friends over to enjoy the fruits of your hard work!

Don't forget to subscribe by email and check out all the other 2x4andMore posts here!

Build a portable garden wedding arbor

Build a one-board hexagon planter

Build a farmhouse bench from 2 boards

The post How to Build Space-Saving Deck Benches for a Small Deck appeared first on Remodelaholic.

from mix1 http://ift.tt/2u3C7ir via with this info

#mix1

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sherlocklexa · 7 years ago