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Sadly, I don’t think I will be awake for this. Got to get my beauty sleep.
A Montana Green Party candidate is an anti-immigration activist who has referred to former president Obama as a Muslim, reports the Missoulian.
“There’s a right way and they’re doing it in the wrong way, and our black Muslim president is trying to bring this country down. And he’s doing a very good job with all his lapdogs,” Green party candidate John Gibney told a reporter at a 2016 rally.
The newly certified Montana Green Party is also under fire for fielding a candidate who was on the GOP-payroll and runs a bizarre nativist anti-higher education group. When asked whether he was seeking to dilute votes for Democrats, Gibney refused to answer.
But, in a Facebook post where she tagged Adams, the former GOP employee running against Democrat Jon Tester for senate, she said that the candidates should be given the benefit of the doubt.
Here’s video from the 2016 rally.
The 37-year-old Mike Ross who provided the corner-stone for Ireland’s scrum from 2009-2016, last week announced he will hang up his boots at the conclusion of this season.
He is hoping to play some part in Leinster’s attempt to win the Pro12 league during the next few weeks but then will call an end to a very successful career.
He won 61 caps with Ireland and twice won the RBS 6 Nations, when Joe Schmidt’s side claimed the Championship back-to-back in 2014 and 2015. A relative latecomer to international rugby, Ross made his Ireland debut as a replacement against Canada in Vancouver in May 2009, with his first start coming the following week against the USA.
His first RBS 6 Nations appearance came in the opening round of 2011 against Italy, when Ireland won 13-11 in Rome, the start of 25 consecutive starts for him in the Championship at tight-head prop.
Mike represented Ireland in the 2011 and 2015 Rugby World Cups, with a personal highlight being an outstanding performance in a 15-6 victory over Australia in 2011.
His final international cap, at the age of 36, came against South Africa at Port Elizabeth in June last year.
At club and provincial level, Ross began his career at Munster before moving to England with Harlequins in 2006, but it wasn’t until he returned to Ireland with Leinster that his representative career really took off. He has made 151 appearances for Leinster winning two Heineken Cups in 2011 and 2012, a European Challenge Cup in 2013 and two PRO12 titles in 2013 and 2014.
“Rugby has been a huge part of my life and I’ve been incredibly lucky to have been a part of some amazing teams.
“In particular, I’ll never forget winning the European Cup in 2011 or the Six Nations championship in 2014.
“I never dreamed having had such a late start in the professional game that I’d go on to achieve such goals, or win 61 caps for Ireland. I’m indebted to my teammates and coaches, my friends and family.
“I’ll miss the camaraderie of the dressing room and the roar of the fans when running out in the RDS Arena or in the Aviva Stadium, but unfortunately you can’t play forever.
“It’s time to go in a different direction and I’m stepping out of the rugby bubble and moving into the fast growing world of technology.
“It’s a new reality, but something I’m very excited about.
“I still hope to be involved in rugby in some capacity but after this season all my energy will be focused on my new employer, Wizuda, and the challenges my new career will represent.
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Thanks to the raspberry-pi, it is not a problem anymore to have a small and cheap computer that is able to run node.js. Combined with it's ability to connect to arbitrary hardware it is a way to allow us JS-developers to interact with things. I will demonstrate a basic example how to control a strip of LEDs using node.js and other web-technologies.
Huawei introduced the Mate 10 and Mate 10 Pro in October, which is already available in several key markets across the globe, except for the U.S. We've seen several rumors hinting at the launch of the handset in the U.S. through AT&T as some screenshots of the unreleased version of the AT&T Mate 10 Pro software even got leaked last week.
According to a new report from ETNews, the Chinese manufacturer is reportedly in talks with AT&T to launch the new Mate 10 series in the U.S. The company is apparently testing its devices to comply with the network standards of the carrier.
The company may introduce the Mate 10 or the Mate 10 Pro in January through the second largest carrier in the country, reports ETNews. In addition, Huawei is also negotiating with Verizon, the largest carrier in the U.S., to launch its handsets in the country.
Huawei is one of the largest smartphone manufacturers across the globe, surpassing Apple in global shipments to secure the second spot in the summer. The company has no presence in the U.S. and if it manages to work out a deal with carriers in the region, it will make Huawei the first major Chinese manufacturer to launch in the North American market through carriers. The U.S. market is mostly dominated by Apple followed by Samsung and LG in the second and third spot, respectively.
Huawei devices are available through third-party retailers in the country, which is not feasible for many, especially those who prefer to buy their shiny new phone on contract.
I’ve been reading Reginald Nettel’s “The Orchestra in England: A Social History” (Yay, Half Price Books!) as some of my latest posts have been focusing on how the orchestra has changed and evolved throughout history. For many of us in the field, Orchestras (and to a lesser extent, Operas and Ballets) are symbolic of (and for some, these organizations are synonymous with) the Classical Music World. Orchestras (and Operas and Ballets), however, are a small fraction of the presenting organizations in existence and much like Pop Superstars, they get far more attention in the media and in conversations about the field as a whole.
One of the local research projects I’ve been working on is charting the evolution of Classical Music in Kentuckiana (i.e. the Louisville-Jefferson County, KY-IN MSA). Being one of the MSA’s which lies over two states, this makes some of the data gathering a little trickier, but lately I’ve decided to focus very specifically on New Albany, Indiana which is where I currently live and where I spent most of my school years before going to music school.
After the recent passing of Rubin Sher and Don McMahel, two giants of music education in this area, I decided it might be time to really get my hands dirty with data in honor of them and all the other music teachers still with us that I’ve had the honor and pleasure of working with since I’ve moved back.
Players have asked for a forehand-specific approach disc and we’ve responded. Meet the Rat. It’s a low-profile, beadless mid-range that flies fast out of the hand. Add the flat top and the Rat could be the most comfortable sidearm approach disc around. Rip it forehand and it’ll fly straight with a predictable fade at the tail end. The backhand grip feels just as good with a flight just as predictable. Bonus: It’s a good option for headwind approach shots.
Hi! I've seen Catherine Hussey (b1567), wife of William Jordan (b abt. 1570), being mentioned in this forum. I've found that Lawrence, of Slinfold, Sussex, England, married to Mary White (b abt 1528 in Hampshire), may be her father. Can anyone confirm or deny this?
I hold a Chair in the School of Engineering within the College of Physical Sciences at the University of Aberdeen, UK.
I participate in the teaching activities of the School, in taught courses, laboratory activities and undergraduate and postgraduate project supervision. Over the years, I have presented various undergraduate teaching courses (these include a popular web-based Communications Engineering course). I also teach on Internet Engineering and Digital Video Broadcast, and the DMX control protocol. I sometimes deliver a series of professional lectures at the University of York on small terminal satellite communications.
I conduct my research in in Internet Engineering within the Electronics Research Group (a part of the School’s Communication and Imaging Research Group), where I specialise in transport, protocol design, satellite broadband and multicast transmission. I am a member of the IETF Transport Directorate.
Large Format Photography Forum > LF Forums > Darkroom: Film, Processing & Printing > Efke 25 problems.
View Full Version : Efke 25 problems.
I'm developing efke 25 1 at a time in Xtol 1:3 for 7' 30"
The density is fine however I'm getting hella mottled development-totally uneven crazyness.
1) 2 min H2O bath.
2) 1 sheet goes into 400ml of soup. Tray gets rocked left to right twice at 0 seconds then front to back at 30 seconds.
4) Then fix with a hardener.
Should I provide a scan?
My guess is the flow over the surface of the film is uneven and surgey (:)). Why one at a time? Try four or so and try the procedure I've used for many years. There is a detailed description in the Free Articles section of the View Camera web page.
Are we safe in assuming that you're developing face up? If so, is the film staying immersed in the developer? And Steve, as one writer to another, wouldn't that be surgiferous?
If your going to tray develop use a continuous gentle agitation. If your doing 4x5 DON"T use 5x7 trays. It's too easy for the wave action to overdevelop the edges. Better yet do as Steve recommends and do the shuffle.
The mottling may be contact surface + agitation pattern related, if your tank has anything other than clean flat lines. I always fix in a fixer and then harden afterwards.
Doesn't hardener extend fixing times? Is it possible your negatives aren't properly fixed?
Go on Sherlock - a scan would be helpful.
I am developing face up.
Here's a pict of the neg. (ignore the fact that the neg slipped in the film holder).
Incidentally, this wouldn't have anything to do with the fact that I have a 8x ND and a orange 16 filter on the lens would it?
Looks like your agitation technique needs more working on (i.e. less) - sorry.
brush development might be a good idea if your already doing one sheet at a time face up, if you have a DBI light all you need is a cheap hake brush.
You didn't mention how long your development is. If your issue is uneven development you might find that increasing the development time will help. Also, be sure to mix your chemicals well prior to pouring in the tray. When I say "increase development time", I don't mean to increase development. If you're trying to do 3-4 minutes in the soup, mottling is pretty easy to do. If you increase dilution and time so that it takes more like 10-12 minutes, things will probably be more even. If you pour a concentrated developer, or developer with a different temperature into a tray of water and then start putting sheets in right away, you could get the mottling too. And, really grasping at straws, if you have a little light coming onto your developing tray, perhaps even that could do it.
Try mixing the chems really well first, using clean trays, and adjusting your dilution to have a longer development time.
As to filters, we'll assume that they are clean, no? If not, that would be an interesting trick to have flare on one of them causing this. It really does look like mottled development.
No water pre-soak and then continuous agitation for the entire time. Pick up the sheet let it drain maybe 5 seconds then back in the developer for 10 seconds - over and over and over.
What size tray are you using? Do you have enough depth of developer? I like at least one inch of fluid in the tray.
This is a lovely film but is prone to scratching and mottling. I have had best results from constant agitation in a tube. If you are going to use a tray, a good vigorous agitation cycle to start (you should be able to hear the edge of the film make a clacking sound as it contacts with the tray wall) for at least a minute for the first minute. There is nothing wrong with letting the film rest between agitation cycles but for no more than 1 minute. You will have to increase your development time to compensate. One sheet at a time.
It is so important to have fresh developer slopping over the film, hence vigorous agitation...this film is great for stand/semi-stand developement but film must literally stand vertically (tubes work great for this).
Also working in Xtol 1+3 is risky. What format are you using?
Oh ya, skip the water pre soak as Henry suggests...I've found that soaking in water is not necessary in conventional developers...unless you are doing more than one sheet at a time in a tray...but then that's me.
It shouldn't leave the negative blue unless there's something about Efke films I don't know about (could well be). By the time you're done it'll be well washed out anyway. If not then a little sodium sulfite bath and/or longer washing will take care of it.
He's good on the amount of developer. 400ml of working solution at 1:3 would have 100ml of stock which is minimum for 80 sq.in of film and he's only got 20 sq.in. with one sheet of 4x5. In fact it would not be a problem to run another sheet of film after the first in the same developer.
I'm shooting 4x5. Developing in 5x7 trays. My dev. time is 7min 30 seconds. 100ml xtol to 300 ml H2O.
When I mix the soup I pour both the dev. and H20 in a 1000ml graduate and stir for a few seconds with my thermometer.
I've heard rumors that Xtol 1:3 can act strange. Should I switch to something like D76?
No need to change developers.
My speculation is that the water presoak combined with not much agitation kept the developer from entering the emulsion evenly - the emulsion was already full of water. 7'30" is fairly short for Xtol 1:3 so there wasn't enough time or energy for the developer to get in and do its thing. A hotter or more active developer might not act this way but still no reason to change.
Simply sacrifice one sheet of film to the testing gods to see what happens with the new technique I've suggested. If you are worried about marking the film when picking it up, then rock the tray continuously by picking up one corner then the next all the way around the four corners of the tray. Lift one corner, drop it, wait 15 seconds then lift the next corner and so on.
erhaps the problem is that you are using soup to try and develop your film :).
1. why are you using this film if it is so fragile and difficult to work with? Are there special tonalities it gves you that make the difficulty seem worth the trouble? If so you will have to find a way to process it safely. If not, then why not try another brand of film.
2. Why one sheet at a time? I have not heard of anyone succesfully doing tray development this way. As you can see you are getting all kind of suggestions from people shooting in the dark - no pun intended. Have you tried rotary processing to see if that solves the problem.
My suggestion is find a film that is easier to handle or give up on the one at a time in a tray.
1. why are you using this film if it is so fragile and difficult to work with?
2. Why one sheet at a time?
2) Since I'm shooting sunrise I only get 1 shot a day. In a week there may be 2-3 days of weather good enough to shoot (clouds, cold, wind, etc)--Usually I get 1 good day every 5. I've got a crit every week . . . 1 at a time makes sense.
I also figured that since I use a slosher/cradle to develop my other stuff (HP5+) and I'm extremely happy with the results. 1 at a time in a 5x7 tray would give me similar results.
I'll try the no pre-soak and extend the times a bit.
If scratching is a significant problem with this particular film and you want to keep using it I think you'd be better off processing with a method other than tray development. Not that people aren't capable of tray developing without scratches, and not that you couldn't learn too even with this particular film, but both of your problems - scratching and uneven development - would be solved in a heartbeat by using the BTZS tubes or a Jobo system or possibly a tank. I've used the BTZS tubes for about 12 years, I don't ever recall a scratch or uneven development, not to mention the fact that once the tubes are loaded you do everything in daylight, plus you don't have to stand over trays inhaling chemical fumes.
Tubes occasonally appear on ebay or in the classified section of APUG but who knows how much more film you'll ruin waiting for a used set to appear. You can buy six tubes, twelve caps, and a processing tray for about $150 at www.theviewcamerastore.com, or if you're a do-it-yourself type you can make your own for a lot less money.
I've also used a Jobo system in a few workshops and it's great system and would solve your two problems but it does use more chemicals and takes a good bit more money and space than the tubes. Never used tanks so I know anything about them.
I've used Efke films for several years and they both have special qualities and are prone to scratching. I've found the safest way to develop is one at a time - either in a tray with a brush, or with a minimal agitation scheme in a tube (ala Steve Sherman) or in BTZS tubes as Brian suggests. I developed Tri-X, FP4 and HP5 by the shuffle method for 20-years without scratching problems, but I've never been able to reliably develop Efke films with that method.
Yes, there are special tonalities. After getting mediocre results while photographing my local Palo Duro State Park (Canyon, TX) using TMAX films, I thought that ortho films would give me more seperation between the red and yellow colored strata in the canyon.
After doing some research, I discovered that Efke 25 and 50 have less red sensitivity than other B&W films. Instead of Efke 25, I tried Efke 50 due to it's similar spectral profile and faster speed.
Using 35mm in a direct comparison between: Efke 50, Efke 100, Fomapan 100, Ilford FP4+, and Fomapan 200, I found that Efke 50 did indeed show more tonal seperation between the reds and yellows in the canyon. In addition, Efke 100 did not have better seperation, which seems to follow the more panchromatic spectral profile published for the 100 film. It is interesting to note that Fomapan 200 also showed better seperation in the reds and yellows[Edit: I do not expect this in sheet film as it has more red sensitivity]. All other B&W films I've used in the canyon look dull and muddied.
While my test was not exhaustive, I feel that Efke 25/50 do have enough merit to put up with any special care needed in processing. But, by using hangers and tubes, I have yet to experience any processing issues.
KOG, did you try green and blue filters before trying ortho?
I have not tried true ortho films yet. I believe Efke 25/50 are billed as ortho-panchromatic, not quite a true orthochromatic emulsion.
During my tests I did shoot the same scence without filters, and then with yellow, green, and then polarizer filters (red was skipped because I didn't want the red soils to go lighter). I have not printed all the film and filter combinations, so I don't want to make any further comments at this time.
My goal in testing was to find a film that gave better results without filtration, so that I could use higher shutter speeds to compensate for the wind speeds the Texas Panhandle usually gets.