Wednesday, April 29, 2009

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For other uses, see Brush (disambiguation).

"Paintbrush" redirects here. For other uses, see Paintbrush (disambiguation).

"Bottle brush" redirects here. For the tree, see Callistemon.



Paintbrushes.



Cleaning brushes.

The term brush refers to devices with bristles, wire or other filaments, used for cleaning, grooming hair, make up making painting, deburring and other kinds of surface finishing, and for many other purposes.

Configurations include twisted-in wire (for example the brushes used to clean baby feeding bottles), cylinders, and disks (with bristles spread in one face or radially).

A common way of setting the bristle in the brush is the staple or anchor set brush, in which the filament is forced with a staple by the middle into a hole with a special driver and held there by the pressure against the walls of the hole and the portions of the staple nailed to the bottom of the hole. The staple can be replaced with a kind of anchor, which is a piece of rectangular profile wire that, instead of nailing itself to the bottom of hole, is anchored to the wall of the hole, like in most toothbrushes. Another way to attach the bristles to the surface can be found in the fused brush, in which instead of being inserted into a hole, a plastic fiber is welded to another plastic surface, giving the additional advantage of optionally using different diameters of tufts in the same brush, and a considerably thinner surface (sometimes the bristles can be set this way to the outer surface of a plastic bottle).[citation needed]

Contents

1 Brushes for cleaning

2 Paintbrushes

2.1 Brush care

2.2 Manufacturing Process of a Brush Handle

2.2.1 Decorators' brushes

2.2.2 Artists' brushes

3 See also


//


Brushes for cleaning

Brushes used for cleaning come in various sizes, such as very small brushes for cleaning a fine instrument, toothbrushes, the household version that usually comes with a dustpan, or the broomstick. Hallbrooms are even larger and are used for cleaning large areas. Cleaning brushes also include brushes for cleaning vegetables, cleaning the toilet, washing glass, finishing tiles, and sanding doors.

Paintbrushes

Paintbrushes are used for applying ink or paint. These brushes are usually made by clamping the bristles to a handle with a ferrule.

The first people to use a paintbrush were the Japanese. They used them to paint landscapes but they also used them to write.

Short handled brushes are for watercolor or ink painting while the long handled brushes are for oil or acrylic paint. The styles of brush tip seen most commonly are:

Round: Long closely arranged bristles for detail

Flat: For spreading paint quickly and evenly over a surface. They will have longer hairs than their Bright counterpart.

Bright: Flat brushes with short stiff bristles, good for driving paint into the weave of a canvas in thinner paint applications, as well as thicker painting styles like impasto work.

Filbert: Flat brushes with domed ends. They allow good coverage and the ability to perform some detail work.

Fan: For blending broad areas of paint.

Angle: Like the Filbert, these are versatile and can be applied in both general painting application as well as some detail work.

Mop: A larger format brush with a rounded edge for broad soft paint application as well as for getting thinner glazes over existing drying layers of paint without damaging lower layers.

Rigger: Round brushes with longish hairs, traditionally used for painting the rigging in pictures of ships. They are useful for fine lines and are versatile for both oils and watercolors.

Some other styles of brush include:

Sumi: Similar in style to certain watercolor brushes,also with a generally thick wooden or bamboo handle and a broad soft hair brush that when wetted should form a fine tip.

Hake: An Asian style of brush with a large broad wooden handle and an extremely fine soft hair used in counterpoint to traditional Sumi brushes for covering large areas. Often made of goat hair.

Spotter: Round brushes with just a few short bristles. These brushes are commonly used in spotting photographic prints.

Brush care

|thumb|right|300px|The bristles of a sweeping brush]]

A natural/artificial hair brush utilized in one medium (oil paint, acrylic, watercolor, etc.) should not be used again in a different medium, unless the nature of each medium and accompanying solvent affects the hairs of the brushes differently. Using brushes across media can cause them to age prematurely. This information does not apply to synthetic hair brushes.

Paint and solvent residue should be cleaned from brushes after use. After removing most of the paint from the bristles manually with an appropriate solvent, detergent and water should be used to...(and so on)











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Dynamometer


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Not to be confused with dynameter.

For the dynamometer used in railroading, see dynamometer car.

A dynamometer or "dyno" for short, is a machine used to measure torque and rotational speed (rpm) from which power produced by an engine, motor or other rotating prime mover can be calculated.

A dynamometer can also be used to determine the torque and power required to operate a driven machine such as a pump. In that case, a motoring or driving dynamometer is used. A dynamometer that is designed to be driven is called an absorption or passive Dynamometer. A dynamometer that can either drive or absorb is called a universal or active dynamometer.

In addition to being used to determine the torque or power characteristics of a machine under test (MUT), Dynamometers are employed in a number of other roles. In standard emissions testing cycles such as those defined by the US Environmental Protection Agency (US EPA), dynamometers are used to provide simulated road loading of either the engine (using an engine dynamometer) or full powertrain (using a chassis dynamometer). In fact, beyond simple power and torque measurements, dynamometers can be used as part of a testbed for a variety of engine development activities such as the calibration of engine management controllers, detailed investigations into combustion behavior and tribology.

In the medical realm, hand dynamometers are used for surgery routine screening of grip strength and initial and ongoing evaluation of patients with hand trauma and dysfunction.

Contents

1 Principles of operation

2 Detailed dynamometer description

3 Types of dynamometers

3.1 Types of absorption/driver units

3.2 Eddy Current type absorber

4 Powder Dynamometer

5 Hysteresis Dynamometers

5.1 Electric motor/generator dynamometer

5.2 Fan Brake

5.3 Hydraulic brake

5.4 Water brake type absorber

6 How dynamometers are used for engine testing

6.1 General testing methods with types of dynamometer systems

6.2 Engine dynamometer

6.3 Chassis dynamometer

6.4 Common misconceptions about dynos

7 History

8 See also

9 References

9.1 Citations

9.2 General references

10 External links


//


Principles of operation

An absorbing dynamometer acts as a load that is driven by the prime mover that is under test. The dyno must be able to operate at any speed, and load the prime mover to any level of torque that the test requires. A dynamometer is usually equipped with some means of measuring the operating torque and speed.

The dynamometer must absorb the power developed by the prime mover. The power absorbed by the dynamometer must generally be dissipated to the ambient air or transferred to cooling water. Regenerative dynamometers transfer the power to electrical power lines.

Dynamometers can be equipped with a variety of control systems. If the dynamometer has a torque regulator, it operates at a set torque while the prime mover operates at whatever speed it can attain while developing the torque that has been set. If the dynamometer has a speed regulator, it develops whatever torque is necessary to force the prime mover to operate at the set speed.

A motoring dynamometer acts as a motor that drives the equipment under test. It must be able to drive the equipment at any speed and develop any level of torque that the test requires.

Only torque and speed can be measured; Power must be calculated from the torque and speed figures according to the formula:



Where K is determined by the units of measure used as can be seen below:

To calculate power in horsepower (hp) use:



where:

Torque is in pound-feet (lbft)

Rotational speed is in revolutions per minute (rpm)

To calculate power in kilowatts use:



where:

Torque is in newton-metres (N)

Rotational speed is in revolutions per minute (rpm)

(On graphs of torque vs. rpm the numerical values of torque and power are always equal when the rpm value is equal to the constant, K. The numerical values of horsepower and lbft of torque are always equal at 5252 rpm because 5252 rpm in the numerator cancels out the constant, 5252, in the denominator leaving only the torque figure equal to the power figure.)

See also internal combustion engine (performance section).

Detailed dynamometer description



Electrical dynamometer setup showing engine, torque measurement arrangement and tachometer

A dynamometer consists of an absorption (or absorber/driver) unit, and usually includes a means for measuring torque and rotational speed. An absorption unit consists of some type of rotor in a housing. The rotor is coupled to the engine or other equipment under test and is free to rotate at whatever speed is required for the test. Some means is...(and so on)











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Textile preservation


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Ainu ceremonial dress on display under glass in the British Museum.

Textile preservation refers to the processes by which textiles are cared for and maintained to be preserved from future damage. The field falls under the category of art conservation as well as library preservation, depending on the type of collection. In this case, the concept of textile preservation applies to a wide range of artifacts, including tapestries, carpets, quilts, clothing, flags and curtains, as well as objects which contain textiles, such as upholstered furniture, dolls, and accessories such as fans, parasols, gloves and hats or bonnets. Many of these artifacts require specialized care, often by a professional conservator. The goal of this article is to provide a general overview of the textile preservation process, and to serve as a jumping-off point for further research into more specialized care. Always contact a professional conservator if you are unsure of how to proceed in the preservation process.

Contents

1 Collections

2 Environment

2.1 Light

2.2 Climate

2.3 Pests

3 Textile instability

4 Handling

5 Cleaning

5.1 Vacuuming

5.2 Wet cleaning

5.3 Dry cleaning

5.4 Steaming and ironing

6 Storage

6.1 Flat storage

6.2 Rolled storage

6.3 Hanging costume storage

7 Display

8 Notes

9 Works cited

10 Further reading

11 External links


//


Collections

Historic textile collections can largely be divided into three categories: museums, historic societies/locations, and private collections. The needs of each of these locations will vary. A private collection, for instance, is less likely to have as high a traffic flow as a museum, and may thus be able to take preservation steps that a working museum cannot (such as keeping lights to a minimum for longer periods of time). The different venues may also have different problems that arise, such as the fact that many historic homes do not have climate control, and rely strongly on natural light to display their furnishings, both of which may contribute to textile decay.

Environment



Deterioration and discoloration due to poor storage on a crocheted linen collar of the 1920s or 1930s.

The chief cause for decay in textiles is almost always the environment in which they are stored. Light, temperature, and humidity can all contribute to a textile health or deterioration, depending on their intensity. Additionally, pests, chemicals, and pollutants may also cause damage to an antique fabric. Airborne chemicals, such as smog or cigarette smoke are also harmful to the textiles, and should be avoided if at all possible: high-efficiency air filters should be installed throughout the building to reduce the presence of airborne chemicals that may stain, discolor, or weaken fabrics.

Light

Light can have a variety of effects on textiles over time. In some cases, it may contribute to fading or discoloration, but of more concern is the damage which the fibers may suffer under prolonged exposure to non-visible light, such as ultraviolet and infrared lighting. Ideally, textiles should be stored or displayed in as little light as possible, and preferably in total darkness [1]. However, as this is impractical for display and care of the piece, knowing the limits of lighting as well as the safest amounts of lighting, become important.

Natural light is the most common source of ultraviolet light, and as such, care should be taken to avoid exposure to direct sunlight at all costs, and indirect sunlight whenever possible. This may mean storing or displaying textiles in an area without windows, or with blackout curtains, which can be pulled whenever the room is not in use. If a room relies on natural light, UV screens or coatings can be applied to the windows to block harmful rays while still allowing light to pass through. These filters should be checked periodically, however, as they have a limited lifespan and may need to be replaced every few years [2].

Fluorescent and halogen-produced light can also produce large amounts of UV radiation, though filters which fit over the bulbs are available to limit the damaging light [3]. These filters will need to be replaced when the bulbs are changed, so maintenance staff should be aware of them and their use.

One advantage of fluorescent lights is that they produce little heat, which may also be harmful to textiles. Incandescent lights produce a large amount of heat in addition to large quantities of infrared radiation, which is likewise damaging to the fibers in antique textiles. If incandescent lights must be used, they should be placed far enough away from display cases that their heat does not affect the contents [4].

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Shunt (electrical)


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In electronics, a shunt is a device which allows electric current to pass around another point in the circuit. The term is also widely used in photovoltaics to describe an unwanted short circuit between the front and back surface contacts of a solar cell, usually caused by wafer damage.

Contents

1 Applications

1.1 Defective device bypass

1.2 Lightning arrestor

1.3 Electrical noise bypass

1.4 Use in electronic filter circuits

1.5 Diodes as shunts

1.6 Shunts as circuit protection

1.7 Use in current measuring

1.7.1 Current measurement techniques

1.7.2 Low-side versus high-side current shunt insertion

1.7.3 Safe high-side current shunt measurements

2 See also

3 References

4 External links


//


Applications

Defective device bypass

One example is in miniature Christmas lights which are wired in series. When the filament burns out in one of the incandescent light bulbs, the electrical resistance becomes very high. The much higher voltage that this creates (equal to the full line voltage rather than the normal voltage divider level) causes the shunt to short out (becoming an antifuse) and become part of the circuit, again allowing electricity to pass and the set to light. If too many lights burn out however, a shunt will also burn out, requiring the use of a multimeter to find the point of failure.

Lightning arrestor

A gas-filled tube can also be used as a shunt, particularly in a lightning arrestor. Neon and other noble gases have a high breakdown voltage, so that normally current will not flow across it. However, a direct lightning strike (such as on a radio tower antenna) will cause the shunt to arc and conduct the massive amount of electricity to ground, protecting transmitters and other equipment.

Another, older form of lightning arrestor employs a simple narrow spark gap, over which an arc will jump when a high voltage is present. While this is a low cost solution, its high triggering voltage offers almost no protection for modern solid-state electronic devices powered by the protected circuit.

Electrical noise bypass

Capacitors are sometimes used as shunts to redirect high-frequency noise to ground before it can propagate to the load or other circuit components.

Use in electronic filter circuits

The term shunt is used in filter and similar circuits with a ladder topology to refer to the components connected between the line and common. The term is used in this context to distinguish the shunt connected components from the series connected components in series with the line. More generally, the term shunt can be used for a component connected in parallel with another. For instance, shunt m-derived half section is a common filter section from the image impedance method of filter design [1]

Diodes as shunts

Where devices are especially sensitive to reverse polarity of signal or power supply, a Zener diode may be used to protect the circuit. If on the power supply this may in turn cause a fuse or other current limiting circuit to open.

Shunts as circuit protection

When a circuit must be protected from overvoltage and there are failure modes in the power supply that can produce such overvoltages, the circuit may be protected by a device commonly called a crowbar circuit. When this device detects an overvoltage it causes a short circuit between the power supply and its return. This will cause both an immediate drop in voltage (protecting the device) and an instantaneous high current which is expected to open a current sensitive device (such as a fuse or circuit breaker). This device is called a crowbar as it is likened to dropping a metal tool called a crowbar across a set of bus bars (exposed electrical conductors).

Use in current measuring



50A shunt resistor

An ammeter shunt allows the measurement of current values too large to be directly measured by a particular ammeter. In this case a manganin resistor of accurately known resistance, the shunt, is placed in series with the load so that nearly all of the current to be measured will flow through it. The voltage drop across the shunt is proportional to the current flowing through it and since its resistance is known, a millivolt meter connected across the shunt can be scaled to directly read the current value.

In order not to disrupt the circuit, the resistance of the shunt is normally very small. Shunts are rated by maximum current and voltage drop at that current, for example, a 500A/75mV shunt would have a resistance of 0.15 milliohms, a maximum allowable current of 500 amps and at that current the voltage drop would be 75 millivolts. By convention, most shunts are designed to drop 50mV, 75mV or 100mV when operating at their full rated current and most "ammeters" are actually voltmeters with full-scale deflections of...(and so on)











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Lund Cathedral


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Lund Cathedral

The Lund Cathedral (Swedish: Lunds domkyrka, Danish: Lund Domkirke) is the Lutheran cathedral in Lund, Scania, Sweden. It is the seat of the bishop of Lund of the Church of Sweden.

Contents

1 History

2 Art and architecture

2.1 The towers

2.2 The entrance

2.3 Interior

2.4 Astronomical clock

2.5 Organs

2.6 The crypt

3 Functions

4 Architects

5 See also

6 References

7 External links


//


History



Lund Cathedral in c. 1870, before Helgo Zettervall's changes to the western end of the building.



Romanesque apse of Lund Cathedral with an upper arched gallery.



Inner view of the Cathedral, from the entrance towards the high altar.



Gothic altarpiece dating from 1398.



The astronomical clock.



The legendary Giant Finn, sculptured in the crypt.

Lund was an important town long before there was a cathedral. Lund was the site of the Sk?ne Assembly (Danish: landsting) at St Liber's Hill into the Middle Ages. It was also the site of a pre-Christian religious center. Lund was founded about 990 by Canute I who built the town as a royal town complete with a royal compound, palace would be too grand a name for what was a large farmhouse and outbuildings with an enclosing wall. Canute established a mint there where coins were produced. He instituted several bishoprics in 1060 including Lund.

A cathedral was built in Lund before 1085, but it is difficult to know if the present building was built in the same place. In the gift letter of Canute the Holy, dated to May 21, 1085, there is a mention of a cathedral built during the 1080s. Canute gave several properties that enabled the building of the cathedral. However, sources indicate that Canute's cathedral is not the present Lund Cathedral. The Cathedral School was established in 1085, making it Denmark's oldest school.

Erik I of Denmark went to Rome on a pilgrimage and secured two important concessions from Pope Pascal II: sainthood for his murdered brother, Saint Canute IV and the creation of an archdiocese that included all of Scandinavia. Lund was named as the headquarters. Bishop Asser became the first archbishop for all of Scandinavia in 1104 and the cathedral was begun sometime after he took office.[1] The building was constructed in the typical basilica style with half-rounded arches supporting a flat timber ceiling. The cathedral was constructed out of granite blocks. The high altar of the crypt was consecrated in 1123. The cathedral and the high altar were consecrated to St Lawrence on September 1, 1145 by Archbishop Eskil, Asser's successor. Of the present church only the apse has remaind unchanged.

Lund became the religious heart of Denmark and over the years many monasteries, nunneries, priories sprang up around the cathedral.

Lund played a vital role in Denmark's history from the time it was made a bishopric. It was the place of many important meeting between kings and nobility. Valdemar II was crowned there in 1202.

In 1234 the church suffered an extensive fire. When the church was rebuilt a lecture wall, new vaults and a new facade to the west were added. Many valuable artistic additions were done to the church in mediaeval times. In 1294 Archbishop Jens Grand was arrested in the Cathedral. In the 1370s, magnificent gothic choir stalls where installed in the church, and in 1398 a gothic, cupboard-shaped wooden altarpiece was placed in the main chapel. An astronomical clock was installed in the nave around 1424 and renovated many times.

In the 1510's, during the reign of King John I, German artist Adam van Den led a major renovation of the church. In the crypt, van Den created a well decorated with interesting reliefs and a monumental sarcophagus for the most recent archbishop of Lund, Birger Gunnersen.

Lund was an important cultural and religious city in the Middle Ages, as attested by its large number of churches and monasteries. The Reformation caused a dramatic decrease of the influence of the church in the city and country. In 1527 the Franciscan Monastery was forcibly shut down by a mob of towns people who had received permission to close the monastery. Franciscans were especially hated because they lived by soliciting alms in addition to tithes and other fees ordinary people had to pay to the church. Torben Bille was the last Archbishop and struggled vainly against the Lutherans until he was imprisoned in 1536. He was released the following year after he submitted to the Church Ordinances. The cathedral was stripped of statues, medieval artwork, side altars, and reliquaries.

After the Treaty of Roskilde, in 1658, the Bishopric of Lund was transferred to Sweden.

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Development of the TGV


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The idea of a high-speed train in France was born about twenty years before the first TGVs entered service. At that time, about 1960, a radical new concept was thought up; combining very high speeds and steep grades would allow a railway to follow the contours of existing terrain, like a gentle roller coaster. Instead of 1 or 2% grades which would be considered steep in normal applications, up to 4% would be feasible, thus allowing more flexible (and cheaper) routing of new lines. Over the next several years, this very general idea gave rise to a variety of high speed transportation concepts, which tended to move away from conventional "wheel on rail" vehicles. Indeed, the French government at the time favoured more "modern" air-cushioned or maglev trains, such as Bertin's Aotrain. Steel wheel on rail was (wrongly) considered a dead-end technology, the ugly duckling of the quest for higher speeds.

Simultaneously, SNCF (the French national railways) was trying to raise the speeds of conventional trains into the range 180 to 200km/h (110 to 125mph) for non-electrified sections, by using gas turbines for propulsion. Energy was reasonably cheap in those years, and gas turbines (originally designed for helicopters) were a compact and efficient way to fulfil requirements for more power. Following on the TGS prototype in 1967, SNCF introduced gas turbine propulsion with the ETG (Elent Turbine Gaz, or Gas Turbine Unit) turbotrains in Paris - Cherbourg service, in March 1970.

The desire for higher speeds and the successful development of the turbotrain program are two ideas that came together in the late 1960s, further spurred on by the 1964 start of the Japanese Shinkansen high-speed train. They were embodied in a joint program between SNCF and industry to explore the possibility of a high speed gas turbine unit. The project, initiated in 1967, was entitled "Rail Possibilities on New Infrastructures" and was code-named C03. The experimental X4300 TGS railcar, predecessor of the ETG, had been tested at speeds up to 252km/h (157mph) in October 1971, and gave promising results. Since the very high speed lines envisioned by SNCF called for speeds of 250km/h to 300km/h (155mph to 186mph), SNCF had Alsthom-Atlantique build a special high speed turbotrain prototype to test out some concepts in high speed rail. Thus was born the turbotrain TGV 001, standing for Train Grande Vitesse, or High Speed Train 001.

Contents

1 The TGV 001 Turbotrain

2 Electric power

3 Styling: something new and different

4 Last Minute Problems


//


The TGV 001 Turbotrain

For full article on TGV 001, see main article.

The TGV 001 turbotrain was a test train for a vast research program encompassing traction, vehicle dynamics, braking, aerodynamics, signalling, and other technologies that needed to be developed to allow higher speeds. Only one was ever built, although it was originally planned to build a second version equipped with an active tilt system. The studies for the tilting version were completed, but it never reached construction because of technical difficulties with fitting the tilt system.

The TGV 001 consisted of two power cars with three trailers in between, the whole trainset permanently coupled together. All axles were powered by electric motors, with the advantage of low axle loads and a high power-to-weight ratio. Electric traction also made possible dynamic braking, especially effective at high speeds. Each power car had a pair of turbines (the TURMO IIIG and then the TURMO X, used in Sud Aviation's Super Frelon helicopter) which ran at constant speed. They were connected to a reductor stage, whose output shaft drove an alternator. Besides the turbine drive, the power cars had control gear for the traction motors, dynamic brake grids, signalling and braking equipment, etc.

The TGV001 was articulated, with adjacent vehicles riding on a common truck. This afforded a greater stability (by coupling the dynamics of carbodies) and made space for a pneumatic secondary suspension placed level with the centre of gravity, thus reducing roll in curves. In 5227 test runs covering almost half a million kilometres, the TGV 001 turbotrain exceeded 300km/h (186mph) on 175 runs and reached a top speed of 318km/h (198mph) on 08 December 1972. This was (and still is) the world speed record for a non-electric train. The TGV 001 test campaign was an invaluable part of project C03, proving new concepts in a realistic environment and giving extensive engineering data on high-speed operation.

Electric power

With the oil crisis of 1973, it no longer seemed economically viable to power the future high-speed train with fossil fuels. The requirements were changed to fully electric operation, which resulted in an extensive redesign and test program. In April 1974, the Z7001 experimental electric railcar, nicknamed "Zulon", began trials. Zulon was...(and so on)











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Canon EF 85mm lens


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The EF 85mm lenses are a group of medium telephoto prime lenses made by Canon Inc. that share the same focal length.

These lenses have an EF type mount, that fits the Canon EOS line of cameras.

Focal lengths of 70mm to 200mm are usually used for taking portraits. So the focal length of these lenses are at the wide end of the portraiture range. This focal length is used mostly for head and shoulder type portraits, and some floral photography. This makes these lenses popular for photographers who do weddings, birthdays, and other group events.

When used on a digital EOS body with a field of view compensation factor of 1.6x, such as the Canon EOS 400D, it provides a narrower field of view, with a 35 mm equivalent focal length of 136mm. With a 1.3x body such as the Canon EOS-1D Mark III it provides a less narrower field of view, with a 35mm equivalent focal length of 110mm.

Three EF 85mm lenses have been available. Two of these are L series lenses.

f/1.2L USM

f/1.2L II USM

f/1.8 USM

Contents

1 EF 85mm f/1.2L USM

1.1 EF 85 mm f/1.2L II USM

2 EF 85mm f/1.8 USM

3 Specifications

4 External links

4.1 References

4.2 Reviews

4.2.1 f/1.2 II

4.2.2 f/1.2

4.2.3 f/1.8


//


EF 85mm f/1.2L USM

The EF 85mm f/1.2L USM is a professional L series lens. Canon calls it their "definitive portraiture lens", and it is often considered to be one of the best portrait lenses ever made. It is the longer of the only two f/1.2 lenses Canon makes, other being the 50mm f//1.2L USM. It is constructed with a metal body and mount, and with rubber gripping and plastic extremities. This lens features a wide rubber focusing ring, and a distance window with infrared index. A circular 8 blade, maximum aperture of f/1.2, gives this lens the ability to create very shallow depth of field effects. The optical construction of this lens contains 8 lens elements, including one ground and polished aspherical lens element, which makes this lens extremely sharp. This lens uses a floating front extension focusing system, powered by a ring type USM motor. Auto focus speed of this lens is moderate, it's not as fast as most ring USM lenses. Because of that, photographing fast moving targets can be somewhat challenging with this lens. Manual focusing is rendered by wire, this lens does not have a direct mechanical connection to the focusing ring. While full-time manual focus is available, the lens can not be focused when the camera is off. The front of the lens does not rotate, but does extend when focusing.

EF 85 mm f/1.2L II USM

The newer EF 85mm f/1.2L II USM version, which is the same optically and aesthetically as the EF 85 mm f/1.2L USM, is updated with new faster CPU, faster auto focus speed, and coated optics to reduce ghost/flare problems when used with digital EOS bodies.

EF 85mm f/1.8 USM



Photo showing the wide aperture of the Canon EF 85mm f/1.8 USM

The EF 85mm f/1.8 USM is a consumer level lens. It is the shorter sister to the EF 100mm f/2.0 USM, and is designed very similarly. It is constructed with a plastic body and a metal mount. This lens features a distance window with infrared index. An 8 blade, maximum aperture of f/1.8, gives this lens the ability to create depth of field effects. The optical construction of this lens contains 9 lens elements, without any special lens elements. It uses an internal focusing system (meaning that the front of the lens neither rotates nor extends when focusing), powered by a ring type USM motor. Auto focus speed of this lens is very fast.

Specifications

Attribute

f/1.2L USM

f/1.2L II USM

f/1.8 USM

Image

Key features

Full-frame compatible

Yes

Image stabilizer

No

Ultrasonic Motor

Yes

L-series

Yes

No

Diffractive Optics

No

Macro

No

Technical data

Aperture (max-min)

f/1.2-f/16

f/1.8-f/22

Construction

7 groups / 8 elements

7 groups / 9 elements

# of diaphragm blades

8

Closest focusing distance

3.1ft / 0.95m

2.7ft / 0.85m

Max. magnification

0.11x (1:9.1)

0.13x (1:7.7)

Horizontal viewing angle

24

Diagonal viewing angle

2830'

Vertical viewing angle

16

Physical data

Weight

2.25lb / 1025g

0.93lb / 425g

Maximum diameter

3.6in / 91.5mm

3.0in / 75.0mm

Length

3.3in / 84.0mm

2.8in / 71.5mm

Filter diameter

72mm

58mm

Accessories

Lens hood

ES-79II

ET-65III

Case

LP1219

LP1014

Retail information

Release date

September 1989

March 2006

July 1992

MSRP $

$1500

$1700

$350

Street Price $

$1600

$330

External...(and so on)











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Sovereign (British coin)


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(Redirected from Gold sovereign)



Sovereign, 1558



British Gold Sovereign 2008

A Gold Sovereign is a gold coin first issued in 1489 for Henry VII of England and still in production as of 2009.[1] While the coin typically had a nominal value of one pound sterling or 20 shillings, the sovereign was primarily an official piece of bullion with no mark of value anywhere on the coin itself.

The name "sovereign" comes from the majestic and impressive size and portraiture of the coin, the earliest of which showed the king facing, seated on a throne, while the reverse shows the Royal coat of arms on a shield surrounded by a Tudor double rose.

Contents

1 History

2 Technical Specifications

3 Counterfeiting

4 Composition

5 Modern production

6 Production summary

7 "James Bond Money"

8 See also

9 References

10 External links


//


History

Original sovereigns were 23 carat (96%) gold and weighed 240 grains or one-half of a troy ounce (15.6 grams). Henry VIII reduced the purity to 22 carats (92%), which eventually became and remains the gold coin standard (so-called crown gold) in both England and the U.S.; the weight of the sovereign was repeatedly lowered until when it was revived after the Great Recoinage[2] law of 1816, the gold content was fixed at the present 113 grains (7.322 g), equivalent to 0.2354 Troy ounces [3].

In addition to the sovereign, the Royal Mint also struck 10 shilling coins Half sovereigns, two pound double sovereigns, and five pound quintuple sovereigns coins. Only the sovereign and the half sovereign were commonly struck for circulation. In 2009, The Royal Mint released a new coin in sovereign series, a quarter-sovereign.

Sovereigns were discontinued after 1604, being replaced by Unites, and later by Laurels, and then guineas. Production of sovereigns restarted in 1817, their reverse design being a portrayal of Saint George killing a dragon, engraved by Benedetto Pistrucci. This same design is still in use on British gold sovereigns, although other reverse designs have also been used during the reigns of William IV, Victoria, George IV, and Elizabeth II.

In Victorian times it was the practice of the Bank of England to remove worn sovereigns and half sovereigns from circulation and have them recoined. Consequently, although a billion sovereigns have been minted in total, that figure includes gold that has been coined and recoined a number of times. In addition, when coins were sent to places such as the United States for international payments between governments, coins were frequently melted down into gold bars because of the Federal regulations then in force. When gold coins were finally withdrawn from circulation in 1933 in the US, many thousands of British gold sovereigns were consigned to the melting pot in this way.

It is estimated that in circulation, a sovereign could have a lifespan of up to 15 years before it fell below the "least current weight", that is, the minimum amount of gold below which it ceased to be legal tender.[4] It was actually the half-sovereign that had the most circulation in Victorian England. Many sovereigns languished in bank vaults for most of their lives. It is estimated that only 1% of all gold sovereigns that have ever been minted are still in collectable condition. In 1891 a proclamation was made that members of the general public could hand in any gold coins that were underweight and have them replaced by full weight coins. Any gold coin struck before 1837 also ceased to be legal tender. This recycled gold was subsequently reminted into 13,680,486 half sovereigns in 1892 and 10,846,741 sovereigns in 1900. (Both figures for the London branch of the Royal Mint).

Sovereign obverse (heads) dies were also used in the nineteenth century to create farthings once they had become worn. (An obverse die could typically produce 100,000 coins.)



1914 half sovereign from the Sydney mint.

Sovereigns were produced in large quantities until World War I, at which time the UK came off the gold standard. From then until 1932, sovereigns were produced only at branch mints at Melbourne, Sydney, Perth, Bombay, Ottawa, and Pretoria (except for some in 1925 produced in London as part of Winston Churchill's ill-fated attempt to return the UK to the gold standard). The last regular issue was in 1932 (at Pretoria).

Production resumed in 1957, ostensibly to prevent the coin being counterfeited in Syria and Italy.[5] Subsequent publication of treasury papers appear to indicate that sovereigns were widely used in pursuance of British foreign policy in the Middle East, and it was felt that the coin could not be allowed to fall into disrepute, as many individuals were receiving payments in the form of sovereigns for services rendered to the British government.



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Digital8


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Digital8 (or D8) is a consumer digital videotape format developed by Sony, and introduced in 1999.

The Digital8 format is a combination of the older Hi8 tape transport with the DV codec. Digital8 equipment uses the same videocassettes as analog Hi8 equipment, but differs in that the audio/video signal is encoded digitally (using the industry-standard DV codec.) Since Digital8 uses the DV codec, it has identical audio and video specifications.

To facilitate digital recording on existing Hi8 videocassettes the video head drum spins 2.5x faster. For both NTSC and PAL Digital8 equipment, a standard-length 120-minute NTSC/90-minute PAL Hi8 cassette will store 60 minutes of Digital8 video (Standard Play) or 90 minutes (Long Play). LP is model specific, such as the TRV-30, TRV-40, and others. Digital8 recordings can be made on standard-grade Video8 cassettes, but this practice is discouraged in the Sony user manuals. Hi8 metal-particle cassettes are the recommended type for Digital8 recording, and most tapes currently sold are marked for both Hi8 and Digital8 usage.

Contents

1 MiniDV/DVC vs. Digital8

2 Market segment

3 Camera Model Variations

4 Analog recordings

5 See also

6 References


//


MiniDV/DVC vs. Digital8

Contrary to popular perception, the Digital8 format is not technically inferior to miniDV -- both are identical at the bitstream level. From a user standpoint, Digital8 is DV (or rather, equivalent to and compatible with consumer miniDV.) At an application level (for example, in a 1394/Firewire link), a Digital8 camcorder appears and behaves exactly like a Mini DV camcorder.

Digital8 and Mini DV use different, non-interchangeable cassette media, with Digital8 cassettes being the physically larger of the two. The two formats may also use different media formulations: Digital8 can use metal-particle or metal-evaporated media, while miniDV is based solely on metal-evaporated media. The maximum recording time for Digital8 and MiniDV is 135 minutes and 130 minutes, respectively, using D-90 and DVM-85 tapes. These extra-thin, extra-long tapes are rare and expensive. [[1]] [[2]] [[3]]

In addition, Digital8 uses tape at 29mm per second; more like the higher-end DVCAM (28mm/s) and DVCPRO (34mm/s). MiniDV uses tape at 19mm/s. According to Sony's press release of January 7, 1999, for the MiniDV format one frame is recorded onto 10.0 tracks, with the Digital8 format one frame's worth of information is recorded vertically onto 25 tracks. The use of this recording method enables digital images to be recorded on a Hi8 tape.

Market segment



Hitachi Digital8 Camcorder

While analog Hi8 video enjoyed widespread use by amateur home video, current affairs TV programs, and some professional news organizations, Digital8 seems to remain strictly a consumer (amateur) product. This is likely a reflection of Sony's design and market objectives for Digital8 format: to serve as a lower cost upgrade path for current customers (from analog 8mm), by leveraging existing manufacturing infrastructure of 8mm video equipment, and offering a familiar media format but with digital capabilities. Furthermore, Digital8 was released some time after miniDV, giving the rival DV format a lead in the professional market. While little or no Digital8 equipment has been produced for the professional market, there are no technical barriers opposing its development. In fact, Digital8 cameras have been used on the professional side of the film/TV business; example, Hall of Mirrors, The Movie and the Filmedup Ltd production, Bo Kata, a UK theatrically released documentary in 2007, directed by Shehzad Afzal.

The future of the Digital 8 format is in question as Sony, the format's original backer, is the only company still producing Digital8 equipment, and currently Sony has no plans to develop new Digital 8 cameras. Hitachi marketed a few Digital8 camcorders for a while but no longer does so. As of 2005 and later, Digital8 product line caters purely to the entry-level consumer. This is most likely because the larger, bulkier Digital8 cassette is perceived as an inferior technology, even though the Digital8 and DV formats offer indistinguishable A/V performance. In fact, the larger 8mm format is more robust, laying down wider tracks. Most, though not all, Digital8 camcorders can play back analogue Video8 and Hi8 tapes. As well as camcorders, Sony also released Digital8 Video Walkman Portables, the GV-D200 and GV-D800.

Camera Model Variations

In the early years after Digital8's introduction, Sony sold a product line with coverage from entry level to high-end consumer ("prosumer.") Although Sony never marketed by entry level or prosumer, there is, in fact, such variation. The more consumer oriented line uses a 1/6" CCD and the more prosumer line uses a 1/4" one. Both have existed from the beginning, but the 1/4" CCD...(and so on)











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Trojan horse (business)


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In business, a trojan horse is an advertising offer made by a company that is designed to draw potential customers by offering them cash or something of value for acceptance, but following acceptance, the buyer is forced to spend a much larger amount of money, either by being signed into a lengthy contract, from which exit is difficult, or by having money automatically drawn in some other method. The harmful consequences faced by the customer may include spending far above market rate, large amount of debt, or identity theft.

The term, which originated in New England during the 2000s, and has spread to some other parts of the United States[1], is also sometimes misused in reference to an item offered seemingly at a bargain price. But through fine print and other hidden trick, the item is ultimately sold at above market rate.

Some of the items involved in trojan horse sales include cash, gift cards or merchandise viewed as a high-ticket item, but the item actually being given away is made cheaply, has a very low value, and does not satisfy the expectations of the recipient. Meanwhile, the victim of the trojan horse is likely end up spending far more money over time, either through continual withdrawals from the customer's bank account, charges to a debit or credit card, or add-ons to a bill that must be paid in order to avoid loss of an object or service of prime importance (such as a house, car, or phone line).

Victims of trojan horses include those who are searching for bargains or the best price on an item, or those who are financially strapped. Many of these victims end up with overdrawn accounts or over-the-limit on their credit cards due to fees that are automatically charged. Some of the businesses using trojan horse marketing include banks, internet and cell phone service providers, record and book clubs, and other companies in which the customer will be expected to have a continuing relationship.[2] Banks often offer cash initially for opening an account, but later charge fees in much larger amounts to the account holder. Auto-manufacturers and car dealerships will often advertise free or subsidized gas to car buyers for a certain amount of time, but increase the cost of the car in other ways. Cell phone companies use trojan horse marketing by attempting to sell items like ringtones to customers, who unknowingly are sold many more ringtones over time.

See also

Bait and switch

Freebie marketing

Teaser rate

References

^ Boston Globe, October 19, 2008, Trojan Horse Use On The Rise

^ http://www.pbn.com/

Categories: Advertising techniques | Business terms | Deception(and so on)











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Dymaxion house


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Dymaxion House as installed in Henry Ford Museum

The Dymaxion House was developed by inventor and architect Buckminster Fuller to address several perceived shortcomings with existing homebuilding techniques. Fuller designed several versions of the house at different times, but they were all factory manufactured kits, assembled on site, intended to be suitable for any site or environment and to use resources efficiently. One important design consideration was ease of shipment and assembly.

The word Dymaxion is a brand name that Fuller used for several of his inventions.

Contents

1 History

2 The real Dymaxion house

3 Criticism

4 See also

5 References

6 External links


//


History

Buckminster Fuller began to investigate "Dymaxion" in 1927. He wanted to mass produce a bathroom and a house. His first "dymaxion" design was based on the design of a grain bin. During World War II, the U.S. Army commissioned Fuller to send these housing units to the Persian Gulf. [1]

The Siberian grain-silo house was the first system in which Fuller noted the "dome effect." Many installations have reported that a dome induces a local vertical steam driven vortex that sucks cooler air downward into a dome if the dome is vented properly (a single overhead vent, and peripheral vents). Fuller adapted the later units of the grain-silo house to use this effect.

The final design of the Dymaxion house used a central vertical stainless-steel strut on a single foundation. Structures similar to the spokes of a bicycle-wheel hung down from this supporting the roof, while beams radiated out supported the floor. Wedge-shaped fans of sheet metal aluminum formed the roof, ceiling and floor. Each structure was assembled at ground level and then winched up the strut. The Dymaxion house represented the first conscious effort to build an autonomous building in the 20th century.

It was a prototype that proposed to use a packaging toilet, water storage and a convection-driven ventilator built into the roof. It was designed for the stormy areas of the world: temperate oceanic islands, and the Great Plains of North America, South America and Eurasia. In most modern houses, laundry, showers and commodes are the major water uses, with drinking, cooking and dish-washing consuming less than 20 liters per day. The Dymaxion house proposed to reduce water use by a grey water system, a packaging commode, efficient degreasers, but with much smaller water particles to make it comfortable.

The real Dymaxion house

Two Dymaxion houses were prototyped one indoor (the "Barwise" house) and one outdoor (the "Danbury" house). No Dymaxion house built according to Fuller's intentions was ever constructed and lived in. The only two prototypes of the round, aluminum house were bought by investor William Graham, together with assorted unused prototyping elements as salvage after the venture failed. In 1948, Graham constructed a hybridized version of the Dymaxion House as his family's home; the Grahams lived there into the 1970s. Graham built the round house on his lakefront property, disabling the ventillator and other interior features. It was inhabited for about 30 years, although as an extension to an existing ranch house, rather than standing alone as intended by Fuller. In 1990, the Graham family donated this house, and all the component prototyping parts, to The Henry Ford Museum. A painstaking process was used to conserve as many original component parts and systems as possible and restore the rest using original documentation from the Fuller prototyping process. It was installed indoors in the Henry Ford Museum in 2001 with a full exhibit.



Interior of Dymaxion House showing structural details. Visible are the partially assembled aluminum ceiling, struts and exterior skin as well as single central post which supports the entire structure and carries utilities and plumbing.

Since there was no evidence of the crucial internal rain-gutter system, some elements of the rain collecting system were omitted from the restored exhibit. The roof was designed to wick water inside and drip into the rain-gutter and then to the cistern, rather than have a difficult-to-fit, perfectly waterproof roof.

There was to be a waterless packaging toilet that deftly shrink wrapped the waste for pickup for later composting. During the prototyping process, the idea for the packaging toilet was immediately replaced by a conventional septic system because the packaging plastic was not available. Other features worked as advertised, notably the heating, and the passive air conditioning system, based on the "dome effect."

The inhabitants of the heavily modified version of the house said that the bathroom was a particular delight. The children loved it for water fights because "it was absolutely indestructible as far as water was concerned." The...(and so on)











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