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Bernard Kron

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    1/25th

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    Seattle, WA
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    Bernard Kron

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  1. Thanks Chris. Thanks Emre. The outdoor lighting seems to highlight the depth and shine on the paint a bit better, it's true.
  2. Thanks Bill. As I said earlier, I was surprised by how uncomplicated the body prep turned out to be. And I swear the paint lays down better than I've experienced with styrene. Certainly the solidity and heft make rubbing out and polishing the paint easier. In any case die cast opens up a whole other world of modeling possibilities. And of course the vast majority of this kit, and indeed many "die cast" models, is plastic, LOL. And several people have commented that this, and others of the Monogram metal series, are among their favorite kits. It certainly went together extremely well for me, and is well detailed vis-a-vis the 1:1, IMHO.
  3. I know some people don't care for the dark background artificially lit studio style of photos - you know, the kind you sometimes see in car magazines. I like doing them but I get requests occasionally for more neutral outdoor lit photos. Those pictures have their own challenges but I can understand that folks might think they are more "objective" in their rendering of colors and textures. So today I took some outdoor shots against a neutral gray background. I was surprised, because I didn't use a white background, how much they resembled the studio shots. I didn't use a white background because it tends to throw a blue-white glare.
  4. Thanks everyone. I'm glad you all like it. 👍 I was surprised on how straightforward prepping the metal body turned out to be. Much less drama than I had feared. Now I'm looking into the world of (relatively inexpensive) die casts for future projects. There's so much more range in subject matter than in styrene models. The photos seem to work OK for me. I tried both my laptop and my smart phone, using various ISPs and also 4G and the photos all showed up without any issues.
  5. Aha, now I understand the insight that inspires your "imagineering". Regarding Koolest Krusers, (go to Koolest Kruzers home page ), the French have their own unique perspective on American culture and Koolest is a group dedicated to all things regarding scale modeling American cars, trucks and motorcycles of all kinds. The technical level is generally exceptionally high and a true delight to the eye. And, as I say, the POV is refreshing and original. Highly recommended to all MCM members. The French members welcome the participation of Anglophone participants - it gives them an opportunity to exercise their English. And contemporary French social media is heavily populated with Franglais which will help get you started. Otherwise Google Translator is your friend, LOL!
  6. 1949 Jaguar XK120 Roadster (more photos below) This is the old Monogram 1/24th kit first introduced in 1977. It’s my first project involving a die-cast body. Despite the big leap into the unknown of working in metal I actually took this on as a slump-bluster, my goal being to do as clean a build as I could and sticking to the basic kit to make a luxury sports roadster as the XK120 was first presented in 1949. The color is Duplicolor Venetian Gold which resembles the stock “Bronze” color of the early years of the XK120. I chose a light hued metallic to show off the voluptuous lines of this gorgeous ground-breaking car which simultaneously encapsulated the final design elements of late 1930s luxury and race cars with the emerging theme of relatively affordable performance. With its DOHC in-line 3.4 liter 6 cylinder motor, dual carbs and 150 HP when first introduced at the end of 1948, it was offered for less than $4,000 USD, or about the same price as a fully optioned Cadillac convertible. Manufactured in the hundreds from the outset, as opposed to the dozens at best for most immediate post-war European luxury sports cars, whose manufacturers struggled to rebuild and start up their factories, Jaguar was able to tap into the hard-currency treasure trove that was the USA import market, no doubt helped by the fact that it delivered the goods in both performance and style. Backed up by an aggressive and innovative competition program highlighted by world speed records and rally and endurance success, this made the Jaguar XK120 the choice of movie stars, sports figures, industrialists and the social elite at the dawn of the WWII recovery boom. It was this spirit that I tried to capture with this model. Thanx for lookin, B.
  7. I live in the People's Republic of Seattle where, for many years, Comcast had a monopoly and just kept raising the price. Like others here I gave up watching TV long ago and get virtually all my news and entertainment directly off the Internet. So I've used the cheapest acceptable high speed connection, upgrading my connection speeds as the technology required. At this point, because I'm not a gamer, the most I need is 50-100 Mbps. Video and audio just keep getting better with less data so I doubt I'll ever need more. For many years I was like Xingu's wife. Whenever we got a price hike I would call Comcast and argue my way into a low-price deal for whatever speed I figured I needed. It worked for a long time, but they were usually one-year deals and then I'd have to call them again and go through the same nonsense one more time. Finally about 7-8 years ago they figured out they had a monopoly and, as Bill said, they told me to pound sand. But by then we were all dropping cable because it was expensive and unwatchable. Here in Seattle the public was up in arms about bad service and ever-increasing rates. Comcast was still on copper wire, promising fiber to the home but delaying for as long as they could. As it happened, Comcast's monopoly was up for renewal and the city, which had been operating it's own municipal network for some time, threatened Comcast with Municipal ISP (which I think is the inevitable future). After massive lobbying by Comcast the city backed down on municipal internet. Instead it allowed Century Link to come in with full fiber to the home and true full-bandwidth high speed Internet which, at the time, we still didn't have in Seattle (home of Microsoft and Amazon - oh heaven's to Betsy!??). The competition killed the price escalator overnight and Comcast fast-tracked installing its own fiber. But it's still a duopoly so. While prices have stayed stable and low-ish (we pay $48.00/mo/ for 100 Mbps and saving $10.00/month would drop us down to 25), likes so many of us here in the USA, I feel we generally pay a lot for mediocre service, especially compared to what I've seen in Western Europe. . So I guess it depends on where you live and the competitive environment. But I would definitely recommend giving some thought to what you actually use your Internet connection for. The truth is that social networking and email require very little internet speed. If you stream video give some thought to how many services you actually use ($10-15/month each adds up fast) and shop accordingly. And as I said, these days 50+ Mbps is plenty, IMHO - unless you are into on-line gaming, of course.
  8. La Maison de Claude - ça c'est sûr! Couturier du plastique par excellence. Love the true-to-sponsors theme, especially the SafePod and the elaborate Ride Tech system. Also the realistic goal setting - a mere 300MPH+ - definitely attainable with the Ferrari power. Brilliant!
  9. Great to see you building in this style. The result is Too Cool! 😍👍 And I've always wanted to do an uber-hip Trad flatty like that with those RepMin parts. Love seeing one detailed out like this. Looks terrific. And if I have identified them correctly, those are AMT '34 Ford Coupe skinny whitewalls you used at the front. They've become my go-to favorites for this style of rod. I've wanted to build something like this for some time now. I really like the look of the Revell Tudor, but I want to do one with a chopped top, which I decided would require gluing it all up into one unit and strengthening the A-pillar and seams before doing the chop. Many moons ago I tried my hand at one but landed up wiping out the belt line molding during the cleanup operation. Since these Revellogram '29/'30 kits are basic parts kits for my hot rod builds I have no lack of additional body shells. Your nifty build inspires me to have another bite at the apple, LOL.
  10. Remarkable how far Koenigsegg has come in the past 20 years. And yet the basic body design of the original CS8, with its low wraparound windscreen and cab-forward proportions, continues on to this day. For this reason for many years I tended to think of Koenigegg as sort of a kit car. But if you look back to even the earliest cars, Christian Koenigsegg went to great lengths to re-engineer as much of his cars as money and experience would allow. Today his company is a technology leader, perhaps earning as much from a steady stream of patents as the motor car business. The Jesko and the Regera, both two-seaters in the classic Koenigegg mode, are powered by conventional turbocharged V-8s. The Regera, the third of Koenigsegg's current 3-car lineup, is a pillarless 4 seater (their first ever 4 seater). It's a radical departure from their previous cars, Koenigsegg's first hybrid with in-house designed high-output, lightweight compact electric motors driving all four wheels and the radical Freevalve turbocharged camless 3-cylinder motor. Camless 4-cycle internal combustion motors have been around for awhile. Renault ran them on their F1 V6's starting around 2002-2003, applying for a patent in 2003 on their electro-pneumatic system which was granted to them in 2005. The Freevalve system is similar in concept - Christian Koenigsegg is Charman and CEO of Freevavlve, Although camless technology has been used in F1 for more than 15 years, and camless 4-cycle motors exist in marine and industrial applications, the Gemera will probably prove to be the first application in a production motor car. It's also interesting to contrast Christian Koenigsegg's hands-on involvement and encyclopedic knowledge of every detail of his operation to the elusive mystery of Horatio Pagani or the Chapman-esque Britannic nostalgia that infuses the work of Gordon Murray. Each of them, although dyed-in-the-wool engineers everyone, seems to get to the same place from radically different directions.
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