![]() The gold bracelets are not finished like the steel ones (they look similar but feel different when held) and, in my opinion, have a more luxurious jewelry feel to them. What these three watches also have in common is 18k gold - steel and gold for the reference 51.3100.3600/69.M3100 and solid 18k gold for the other two models. Wearing these watches is accordingly very pleasing and remarkably conservative given what most people think about many of today’s Zenith watches. Overall, Zenith did a really nice design job of combining its own personality with the feel of a 1990s Rolex Daytona. The cases are 41mm-wide with 100 meters of water resistance. While from a distance, the watch has a Daytona-esque vibe to it, once you get up close and personal with Chronomaster Sport, you realize that it is very much a Zenith in most respects (we can forgive the “iconic-looking” tachymeter scale bezels) ranging from the dial elements to the case shape. The Chronomaster Sport watch dials represent Zenith El Primero heritage with the three-color overlapping subdials. The movement has a power reserve of 60 hours and is built from 311 parts being nicely displayed through the sapphire crystal exhibition caseback. The dial includes the time, date, and 1/10 of a second 60-minute chronograph (which, of course, is a bit different from the Rolex Daytona and other three-subdial chronograph movements that typically have 12-hour chronograph dials). This is just an update on the classic 1/10 of a second chronograph, 5Hz (36,000 bph) El Primero movement. So, to have a Zenith watch that is inspired by the El Primero is very much an exercise in playing with the brand’s own DNA.Īccordingly, these Chronomaster Sport watches contain the in-house Zenith automatic caliber El Primero 3600 chronograph movement. It wasn’t until Rolex introduced its own in-house chronograph movement in the early 2000s that the Daytona stopped using the El Primero. What few enthusiasts recall today is that, for about a decade, Rolex Daytona watches included a Zenith El Primero automatic chronograph movement. ![]() I think the one important point that allows these watches to remain both relevant and interesting in contrast to the Rolex Daytona is Zenith’s history with Rolex. These watches too are in their own way an “answer” to products that Rolex sells but with lots of Zenith branding. Today, I look at an even more elevated grouping of Zenith Chronomaster Sport watches that include the two-tone reference 51.3100.3600/69.M3100, the all-gold with white dial reference 18.3101.3600/69.M3100 and the all-gold with black dial reference 18.3101.3600/21.M3100. Zenith priced its steel version with ceramic bezel within a stone’s throw of what Rolex was charging for its steel Daytona with a ceramic bezel watch. Since the debut of this collection in 2021 with the all-steel model (covered on aBlogtoWatch here), Zenith has had a venerable hit with one major selling point being availability. See product pages for more information.At a glance, the Chronomaster Sport collection is Swiss Zenith Watches’ answer to the mega-popular Rolex Cosmograph Daytona. *Next day delivery available on most items. Not all products are regulated by the Financial Conduct Authority and FOS protection will not be extended to unregulated agreements. We may receive a commission if your application is successful, and the amount may vary depending on the product chosen and the amount of credit taken out. Credit provided is subject to age and status, minimum spend applies. Watches of Switzerland Company Limited is authorised and regulated by the Finance Conduct Authority. et Cie, S.C.A., 22-24 Boulevard Royal L-2449, Luxembourg trading as PayPal Credit. Watches of Switzerland Company Limited acts as a broker and not a lender and offers finance from Secured Trust Bank PLC trading as V12 Retail Finance and PayPal (Europe) S.à r.l. Registered Office: Aurum House, 2 Elland Road, Braunstone, Leicester, LE3 1TT, Registered in England and Wales, Company number 00146087. ![]() Goldsmiths is a trading name of Watches of Switzerland Company Limited.
0 Comments
![]() I worked on a major public financial site with my last company and one time we had a link that was not as descriptive as it should have been. These days making websites accessible is a necessity, not just for government but for everybody. We had to remove the better implementation in favor of the prescriptive one. I'd inserted invisible links and other tricks to make the site work well with a screen reader, but these weren't the "normal" pattern so the site failed the accessibility test. This would check for labels and such to make sure the content followed the published standards for how to implement accessibility. Their standard for testing accessibility was using an online scanning tool. I used the computer through JAWS and updated our application until I could use it seamlessly without the monitor turned on. I wanted to do it right and really understand how the application would be used with assistive technology, so I asked for a copy of JAWS and they bought it even thought it was pretty expensive. This was my first exposure to building accessible websites. ![]() Being government though, their implementation of them was not exactly thought out. As a government website their accessibility requirements were ahead of where commercial sites were at the time. Mouseless at NASAĪround 2001 I worked briefly as a contractor at NASA, through B-Line Express. If I wasn't seeing what was on the screen, I wouldn't have even known the modal was there. I wasn't able to get the focus onto the button on the modal and tabbing around continued to tab through the elements in the shaded background behind the modal. I'm not even sure what I clicked on to show the modal, but once it was up, it couldn't go away. It got worse still when a modal popped up on the screen. This should be true for all users, not just when using keyboard navigation. When a user clicks sign-in to go to the sign-in page, they want to sign-in. To go from clicking on "Sign-in" on the previous page to actually focusing on the email textbox, I had to hit tab 131 times (yes, I counted). The sign-in page didn't have a skip link and as I tabbed through the menu, it tabbed through not only the main menu of five items but also every item in the (invisible) submenus. I navigated to the sign-in link ok and hit enter to go to that page. Things got worse when I tried to sign-in. When a modal shows, such as the "my drafts" list, tabbing through the document correctly only tabs through the links on the modal. One really nice thing that LinkedIn did right is how they handled modals (pop-ups). I never found a list of other shortcuts for things like changing the paragraph style or creating a link. ![]() I wasn't sure it was keeping the context of which text previously had focus, but it did.įunny thing, when I tried to search for keyboard shortcuts for LinkedIn, the top search results are all LinkedIn Learning courses on using keyboard shortcuts in other apps. Styling headings and quotes was attainable, although with a lot of tabbing. Common shortcuts for bold, italics, and underline all worked. Authoring worked well I was able to navigate to the relevant parts in an article, upload and position images. The "Skip to search"and "Skip to main content" buttons also behaved exactly as advertised. Who is the post from? What company are they with? These links are just titles though lacking important context for the LinkedIn feed. The jump jump list has links for groups and hashtags first, then links for individual posts within the feed. ![]() Having primed the wood, and having allowed sufficient time for the primer to dry (it should take no more than a day), move on to applying your top coats. When repainting pressure-treated wood, old paint needs to be scraped away first and it’s a job that can be rather labor intensive. Though sealant must also be reapplied every few years, it’s an easier process than repainting. Yet another option is to coat pressure-treated wood with a protective sealant as soon as it is dry, or once it has weathered to the desired shade. On the downside, painting takes a little longer to do than staining and will likely need more frequent reapplications, typically every 2 to 3 years. There’s also the fact that paints come in more color options than stain colors for pressure-treated wood. One of the advantages to painting pressure-treated wood rather than staining it is that paint provides better coverage, which is ideal if you’re covering wood that has seen better days. ![]() Some experts recommend staining over painting this type of lumber because paint might not adhere as well, while stain can soak deeper into the lumber. Semi-transparent stains such as Defy Extreme Wood Stain, the top stain for pressure-treated wood in our guide to the best deck stains, look more natural than opaque paints because the wood grain shows through the stain. Pressure-treated wood also can accept staining. Water-based pressure-treated woods should be safe for garden beds, with a few precautions. Pressure-treated wood most often is used for decks, fences, and other outdoor structures. When you shop for pressure-treated wood, be sure to check the tag on the product for specifics: The tag should note whether the lumber is for above-ground or ground contact use, the type of preservative the wood contains, and its retention level (the higher it is, the better its rot resistance). Common oil-based preservatives include creosote or pentachlorophenol and are not registered for home use. Typical water-based preservatives include copper compounds, which combine the element with fungicides or decay-preventing chemicals. What is pressure-treated wood treated with? Manufacturers can imbue the wood with chemicals in either a water- or oil-based solution. Ground-contact pressure-treated wood is cured with more chemicals and is thus appropriate for use just above the ground, at ground level, or wherever ventilation is poor. There are two main types of pressure-treated lumber: Above-ground products only work when they’re used at least 6 inches above the ground and where the material has proper ventilation and drainage. Some lumbers, such as cedar, are not great candidates for pressure treating because they already resist rot and decay. Softwoods, most often southern yellow pine, take to the process better. ![]() Manufacturers force water and preservative chemicals into the wood, into the space left by removing air in a special depressurized holding tank. Pressure-treated wood is natural milled lumber that is treated to better fight rot and decay. ![]() In post-production I use a combination of Adobe Lightroom and Adobe Photoshop. So, I tried out High Resolution Mode with my system to see if there was a noticeable difference and there certainly was! I have read that 24-30 Megapixels is more than enough resolution for 35mm negatives, however I’m now convinced I’ll use 96 Megapixels on certain images moving forward. This essentially stitches together multiple images to create a 96 Megapixel (12000px x 8000px) image. Recently, I upgraded to Panasonic LUMIX S series cameras including the LUMIX S1H and LUMIX S5, which are capable of shooting stills in High Resolution mode. There is much more dynamic range in my old negatives than I thought would be possible! Update: With the Canon 5D Mark IV, I can fill the sensor top to bottom, left to right which results in a 30.4 Megapixel (6720px x 4480px) image. The system produces an image so clean and sharp you can see each individual piece of film grain on the RAW image files. It has built-in diffusion which works with any light source. I found a really great, inexpensive film holder called a Pixl-Latr that serves as a placeholder for negatives and slides. I sometimes use a soft lens cleaning cloth if dust is stubborn, but I’m careful not to scratch the emulsion. The process begins with carefully and gently cleaning each negative with a Giottos Rocket Air Blaster. The system is based on my Canon 5D Mark IV with a Canon 100mm f/2.8 Macro lens mounted on a Kaiser RS2 copy stand. So I did a lot of research and discovered a method that would help me digitally re-master my library of 35mm negative and slide film while retaining the tonal range and clarity of the original images. Flatbed scanners would often result in “Newton’s Rings” which look like oil slicks on scanned images. Slide scanners were difficult to control focus. I’ve used slide scanners and flatbed scanners of many kinds but have felt the images could be better. Developing a proper way of digitizing negatives and slides to bring my old images to life has been an ongoing process for a number of years. ![]() Later in his career, Richter would make more representational, figurative, and even narrative films. These relationships consist of light and dark, small and large, slow and fast, horizontal and vertical, etc., etc.Īn attempt has been made to organize the film such that the individual parts stand in active tension to one another and to the whole, such that the whole remains intellectually mobile within itself. In its sequence of events (its screening), this film communicates very authentically the relationships of tension and contrast in the light. ![]() The forms that emerge are n e i t h e r analogies nor symbols nor means to beauty. The task for the whole is to shape the nature of the light-in the sense of a comprehensive perceptibility. The true means of construction is light-the intensity and quantity of light. The forms that emerge are, de facto, l i m i t s of processes in different dimensions (or of dimensions in a different temporal sequence). The relationships of light have both qualitative and quantitative character: degree of brightness, proportions, etc., etc. The film is a play of relationships of light. In the first issue of G, Richter explained his method on one of his early films, either Rhythmus 21 or Rhythmus 23, like so: Richter not only conducted his own film experiments, but also eagerly promoted this style and technique, especially in the little magazine he edited, G: Material zur elementaren Gestaltung, recently published in translation by the Getty Research Institute as G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923–1926. For Richter, film, not music, seemed to be the best medium for conveying the art of rhythm. Their explorations pushed the limits of early film and explored how visual phenomena intersect with concepts traditionally applied to music-rhythm, meter, duration, and tone. ![]() Both emphasize an aesthetic of synesthesia: representing one sense (hearing) within the representational scheme of another (sight). Richter’s and Eggeling’s works also share a common interest in musical and auditory metaphors, but their approaches are distinct: Richter prefers a fundamental rhythm, Eggeling prefers the more refined composition of a symphony. Richter investigates the effects of cut-out squares and rectangles as they appear now in the distance, now in the foreground, while Eggeling’s lines and curves are drawn, un-drawn, redrawn, and moved within a flatter picture plane. Yet, Richter’s technique is quite distinct from Eggeling’s. These films, along with Richter’s Rhythmus 23 (1923), share a visual language, combining black backgrounds with white shapes and lines that seem to grow and change. In fact, they’d worked together on a series of paintings on scrolls that preceded both of Richter’s first films, as well as Eggeling’s Symphonie Diagonale (1924). ![]() Richter credited his friend Viking Eggeling with the idea of exploring the possibilities for abstract animation. Instead it plays with optical effects of simple shapes: circles, squares, rectangles, lines. It has no figurative representations-neither people nor flowers, and no animals, arrows, or ships at sea. Simple, stark, and short, Rhythmus 21 is a self-conscious meditation on the limits of the medium. Clocking in at just over three minutes, it’s a significant departure from the newsreels, romances, cliff-hangers, and penny-dreadfuls that made up the bulk of film production in the early ’20s-the first decade in which the film industry began to play a major economic and cultural role around the world. Berlin, circa 1921: The painter Hans Richter turns his talents to film and produces one of the earliest abstract films, Rhythmus 21. ![]() The Thunder Twins blackmail their little siblings to give them the phones but Nora zaps and melts the phones with her laser eyes. Back at home, they realize that Nora and Billy had bought phones after betting against Barb in sports-stacking. The machine builds pressure and explodes covering Mrs. The twins can't keep up with the machine's speed and are forced to slow it down by blocking it with pizza. Wong is away, they accept a huge order of pizzas so that they can make all the money they need in one day. Wong fires them on the first day for ruining everything and failing to work together, but they convince her to hire them back. So, Max gets Tyler's job forcing the Thunder Twins to learn to work together in harmony. Phoebe and Tyler get are hired but Tyler is quickly fired after sneezing. So, Phoebe and Max interview for a job at Mrs. ![]() Meanwhile, Barb is sick and Hank is babysitting Nora and Billy, who are trying to get in on Phoebe and Max's plans, while Hank stays at home and watches the movie Space Kitties.īoth Phoebe and Max want new phones but their parents refuse because the phones are expensive. However, as they try to get to the principal's office, they have to participate in a country-western-themed dance to keep the guests from knowing their actual motives. Max and Phoebe create some fun for themselves on Ditch Day, but it becomes a race against time to rush to school and erase footage of Phoebe and Max using their powers. Guest stars: Kelly Perine (Math Bowl host), Elijah Nelson (Evan), Keely Marshall (Sarah) ![]() They get a question which Max happens to know the answer to, but he deliberately gives a wrong answer to make Phoebe's team win. Back at Math Bowl, the two teams are tied, which results in a sudden death round with a tiebreaker question where only the team captains, Phoebe and Max, can answer. Meanwhile, Nora, Billy, and Hank try to catch a newspaper thief and learn that the culprit is actually Dr. The competition is tight, and near the end, Phoebe and Max both use their superpowers to make the other team's player unable to speak. Max changes the grades on his report card and is moved into an advanced class, at first only to annoy Phoebe and win the class over, but later becomes serious about competing. Guest stars: Audrey Whitby, Logan Shroyer (Cole Campbell), Katherine McNamara (Tara), Robert Curtis Brown (Gerald Campbell), Margaret Easley (Fiona Campbell) This forces Phoebe and Max to work together to keep the night from turning into a complete disaster, while they also deal with Nora, Billy, and their parents, who are embarrassing them and their guests. However, just as Max's plans are in play, his crush, Tara, also arrives with the family. Just as Hank reminds the children about no non-superheroes in the house, Max plans to sabotage dinner when Phoebe has to invite her crush, Cole Campbell, and his rich family over. Hank and Barb try a new parenting style by letting the children handle their own problems and Nora and Billy have a trash competition. Max reveals to Phoebe that the only reason he is evil is because he does not want to live in his sister's shadow and be second best so he would rather be best at being evil. Later, Phoebe tricks Max into dressing up as a hula dancer. At first Max dumps melted cheese and chocolate on Phoebe's head and transfers her bed into the school. Hank does not want to disappoint the child so he decides to wear the Thunderman supersuit without exposing his true super powers.Ī prank war between Max and Phoebe gets out of hand. Hank and Barb are enjoying dinner until they overhear that a party entertainer who was to be Thunderman at a child's birthday party could not perform. As for Max, he uses Nora and Billy to work on evil tasks in his bedroom lair. Phoebe disobeys her parents orders when she invites her best friend Cherry over and accidentally exposes the family's superpower abilities. The two oldest children, twins Phoebe and Max Thunderman, must babysit their younger siblings, Nora and Billy, while their parents, Hank and Barb, go out to dinner. The Thundermans are a family of superheroes who are trying to live a normal life in Hiddenville. ![]() Spotify and Apple Music also have radio stations based around your favorite artists, tracks or genres. Once you start listening more, each gets a clearer picture of your likes and dislikes to help tailor recommendations even further. When you first sign up for each service, both ask you for your favorite genres and artists to get a baseline reading. Apple Music has similar playlists, including New Music Mix. Spotify has tailored playlists like Discover Weekly and Release Radar that are automatically populated each week with new songs. Both Spotify and Apple Music expose you to new tunes based on what you already like. One of the top reasons to use a streaming service is to discover new music. Winner: Spotify Music discovery tools excel on Spotify and Apple Musicīeats1 Radio. Spotify is also available across a wide range of other devices like Xbox and PlayStation. ![]() And if a device is certified as Spotify Connect compatible, it means you can use the Spotify app as a remote to control playback. In addition to Amazon Alexa speakers, Spotify is also available on and Google smart speakers. It's also available on other Apple and Amazon devices like the Apple Watch, Apple TV and FireTV. When it comes to smart speakers, Apple Music with Siri voice control on Apple's HomePod and is now compatible with Amazon's full line of Echo smart speakers via the Alexa App (US only). You can also listen to music in your browser: Spotify is at and Apple Music is at .Īnd you can also stream any audio to a Bluetooth wireless speaker, to an AirPlay speaker from an iOS device, or to a Chromecast speaker from an Android device (you can also cast from iOS if you have Spotify). Spotify Connect lets you Cast to compatible devices and listen on AirPlay speakers (on iOS only). On top of CarPlay support, Apple Music for Android works with Android Auto, so you can control playback through the infotainment system. Spotify also offers a smart player for your car called Car Thing, even if you don't have an Android Auto-compatible vehicle. Waze also offers a similar feature for Spotify users. Google Maps lets you listen to and control Spotify or Apple Music playback within the navigation interface in iOS and Android. ![]() But only Apple Music lets you search by typing a stream of lyrics to find songs you don't know the name of. (Activate dark mode on iOS and Apple Music will switch, too.) Both apps are pretty easy to navigate, with the main tabs (radio, search, your library and so on) found at the bottom of the interface.īoth let you look at lyrics on screen if they're available for particular songs. Apple splits podcasts into a dedicated Podcasts app.Ĭelso Bulgatti/CNET Is Apple Music or Spotify easier to use?Īpple Music features a clean white look on mobile, while Spotify paints it black across its apps. Spotify is the only service that offers podcasts within the app. Spotify also lets you play music from your device in the Spotify app, but it only works for local files (so they aren't stored in the cloud). Note that iTunes Match is also available even without an Apple Music subscription for $25 a year. This feature "matches" songs in your library with those in the iTunes catalog, or uploads them if the song isn't available, so you can listen to your music wherever you're signed in with your Apple ID. If you turn on iCloud Music Library within Apple Music, you can access your personal library of tunes across all your devices (from the PC to the phone). Both offer early access to certain albums from time to time and Apple Music sometimes offers exclusives for certain music videos. ![]() Spotify says it has a catalog of over 70 million songs while Apple Music is over 75 million. Apple Music has more tracks, Spotify has podcasts |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |