Reloading equipment used : Sports equipment auction.
Reloading Equipment Used
- (reload) recharge: load anew; "She reloaded the gun carefully"
- Handloading or reloading is the process of loading firearm cartridges or shotgun shells by assembling the individual components (brass/shotshell, primer, powder, and bullet/shot), rather than purchasing completely-assembled, factory-loaded cartridges.
- Load (something, esp. a gun that has been fired) again
- In a reloading scam, a victim is repeatedly approached by con artists, often until "sucked dry". This form of fraud is perpetrated on those more susceptible to pressure after the first losses, perhaps because of hopes to recover money previously invested, perhaps because of inability to say "no"
- The process of supplying someone or something with such necessary items
- The necessary items for a particular purpose
- an instrumentality needed for an undertaking or to perform a service
- A tool is a device that can be used to produce or achieve something, but that is not consumed in the process. Colloquially a tool can also be a procedure or process used for a specific purpose.
- Mental resources
- The act of equipping, or the state of being equipped, as for a voyage or expedition; Whatever is used in equipping; necessaries for an expedition or voyage; the collective designation for the articles comprising an outfit; equipage; as, a railroad equipment (locomotives, cars, etc.
Lyman Reloading Handbook, 49th Edition
Lyman's new 49th Edition Reloading Handbook is the latest version of their extremely popular rifle and pistol manual. The 49th Edition covers all popular new rifle calibers such as the 204 Ruger, 6.8 Rem SPC, 325 WSM, 338 Federal, 375 Ruger, 405 Winchester and the WSSM series. In addition, new pistol calibers such as the 5.7x28mm, and 460 S&W are also included. A wide selection of powders are included covering Alliant, Accurate, Hodgdon, Ramshot, VihtaVuori, and Winchester. Additionally, most popular bullet brands are also used including Barnes, Hornady, Nosler, Sierra, Speer, and Swift. As always, full coverage is also given to Lyman cast bullets throughout the handbook. This is the one handbook that should find a home on all reloading benches. 464 pages, illustrated.
A Good Book...... IS IT "STEALTH" OR IS IT "CANDID" PHOTOGRAPHY?........
IS IT "STEALTH" OR IS IT "CANDID" PHOTOGRAPHY?........
Click Here for printable version of this article.
Confessions of a Street Walker by Martin Elkort
Why Street Photography?
Willie Sutton, when asked why he robbed banks, famously replied, “Because that’s where the money is.” If asked why he or she wanders the streets of the world’s cities, today’s street photographer might paraphrase Sutton by saying, “Because that’s where life is.” But the street photographer “takes” images from the streets for higher purposes. He documents his world, and in the process, often creates art.
Ever since the world’s first city was founded, the cities of the world have been where civilization is made visible. From the Roman Forum to the modern soapbox, artists, poets, writers and others have tried to explain the charms of the world’s cities and explore their arcana. It is only natural that photographers are drawn to city streets in an attempt to define them with their cameras.
We Americans, rushing along, see the street as a transportation resource that supports the tread of feet or the whir of wheels, gets us to our destinations, or perhaps serves as a jogging venue. But in Paris and other European cities in the mid-19th century, the streets were the theater and the sidewalk the stage on which life’s daily dramas were enacted. The audiences were actors in the human comedy, and the actors were the audience, who came to see—and be seen.
The newly minted middle classes, often living in cramped, dark apartments shared with rodents and insects, found escape and recreation in the egalitarian streets. All that was needed was clean clothes, and one could pose as whatever one wanted. A Parisian could enjoy a bag of hot roasted nuts, browse a bookstall, linger over an aperitif or savor a cup of steaming coffee at the innumerable cafes along the boulevards and watch the world go by. Thus was born the boulevardier, or flaneur, who was not only an observer of the passing parade, but also an integral part of it. Street life, with its kaleidoscopic energy, was on display day and night.
After the inventions of Louis Daguerre and Nicephore Niepce, c. 1826, it was only a matter of time before photographers began appearing on the streets. Edgar Degas, Henri de Toulouse-Lautrec, Gustave Caillebotte and other artists were deeply influenced by how the camera saw reality and eagerly incorporated photographic vision into their art. Contemporary artists, such as Ben Shahn, used photographs to record a scene and later turned it into a painting. Today, Shahn’s photographs have been rediscovered and are considered another expression of the artist’s creativity.
What is more unnerving for a new street photographer than walking up to a total stranger and snapping his or her photograph? Will the subject resent the act of photography? Will there be unpleasant consequences? How should one behave while approaching the subject? Should one boldly snap the shutter, or try to take the picture without the subject’s awareness of it? Street photography forces the photographer to define who he is, what he is made of and how he presents himself to a potentially hostile world.
The challenge is never overcome and repeats itself each time one goes out into the street. By controlling emotions, developing efficient techniques and learning to deal with the unexpected, a photographer builds character on the foundation of experience. Learning to master the confusing, chaotic street makes one a better person and induces an awareness of the street’s drama, order, disorder, beauty and ugliness, and of the poignancy of everyday life. Street photography offers much beyond an opportunity to take pictures. If you are timid, it will embolden you; if you are a follower by inclination, it will bring out leadership potential; if you are a cynic, it will show you the positive side of everyday life; if you are an optimist, it will show your lens sadness. “All the world’s a stage,” said Shakespeare, and you, the photographer, are privileged to take its picture in all its moods.
The street photographer captures subjects in the process of living their lives, unaware (if possible) that their picture is being taken. Once a subject realizes you are taking a picture, there is a shift in attitude. Ego and emotions kick in and influence the subject’s posture, expression, train of thought and action, changing the scene’s dynamic. That is why the lights are turned off over the theater’s audience when the play begins: The actors know the audience is there, but they don’t interact with them, as they might if the lights were left on. The audience feels as if they are eavesdropping on what is happening onstage. The same phenomenon applies to street photography.
Technology to the Rescue
When I got my first twin-lens reflex camera, I committed a flagrant act against the machine. Swallowing hard, I painted all of its shiny
Jagdpanzer 38(t) Hetzer
later known as Hetzer ("baiter"), was a German light tank destroyer of the Second World War based on a modified pre-war Czechoslovakian Panzer 38(t) chassis. The project was inspired by the Romanian "Maresal" tank destroyer.
The name "Hetzer" was at the time not commonly used for this vehicle. It was the designation for a related prototype, the E-10. The Skoda factory for a very short period confused the two names in its documentation and the very first unit equipped with the vehicle thus for a few weeks applied the incorrect name until matters were cleared. However, there exists a memorandum from Heinz Guderian to Hitler incorrectly claiming that an unofficial name, Hetzer, had spontaneously been coined by the troops. Post-war historians basing themselves on this statement made the name popular in their works, the vehicle was never named as such in official documents
The Jagdpanzer 38(t) was intended to be more cost-effective than the much more ambitious Jagdpanther and Jagdtiger designs of the same period. Using a proven chassis, it avoided the mechanical problems of the larger armoured vehicles.
It was better armored than the earlier Panzerjager Marder and Nashorn with a sloped armour front plate of 60 mm sloped back at 60 degrees from the vertical (equivalent in protection to about 120 mm), carried a reasonably powerful gun, was mechanically reliable, small and easily concealed. It was also cheap to build. Its main failings were the cramped working condition of the crew, the very limited gun traverse, and poor visibility from the commander's station.
The Jagdpanzer 38(t) succeeded the Marder III (based on the same chassis) in production from April 1944; about 2584 were built until the end of the war. The older Marder III Panzerjager series retained the same vertically-sided chassis as Panzer 38(t). In the Hetzer, the lower hull sides slope slightly to increase the available interior space and enable a fully-enclosed fighting compartment. Because of the fully enclosed armor, it was 5 tons heavier than the Marder III. To compensate for the increased weight, track shoe width was increased from 293 mm to 350 mm.
The Hetzer equipped the Panzerjagerabteilungen (tank destroyer battalions) of the infantry divisions, giving them some limited mobile anti-armor capability. After the war Czechoslovakia continued to build the type (versions ST-I and ST-III for training version, about 180 units built) and exported 158 vehicles (version G-13) to Switzerland. Most vehicles in today's collections are of Swiss origin.
By order of Adolf Hitler in November 1944, a number of Jagdpanzer 38(t)s were refurbished straight from the factory with a Keobe flamethrower and accompanying equipment instead of the normal gun. The flame projector was encased in a metal shield reminiscent of that of a gun barrel, and easily prone to damage. Less than 50 of these vehicles, designated Flammpanzer 38, were completed before the end of the war, but they were used operationally against Allied forces on the Western Front.
Further variants were a Hetzer carrying the 150 mm sIG33/2 Howitzer, of which 30 were produced before the end of the war, and the Bergepanzer 38(t)Hetzer, a light recovery vehicle of which 170 were produced. Plans were made to produce other variants, including an assault gun version of the Hetzer carrying a 105 mm main cannon, and an anti-aircraft variant mounted with a flak turret. The war ended before these proposed models were put into production.
The Jagdpanzer 38(t) fitted into the lighter category of German tank destroyers that began with the Panzerjager I, continued with the Marder series and ended with the Jagdpanzer 38(t). The 75 mm gun fitted on the Jagdpanzer 38 (t) was a modified 75 mm Pak 39 L/48 very similar to the late Panzer IV marks) 75 mm kwk 40 L/48 could destroy nearly all allied tanks in service at long ranges and its fully-enclosed armor protection made it a safer vehicle to crew than the Marder II or Marder III series.
The Jagdpanzer 38(t) was one of the most common late-war German tank destroyers. It was available in relatively large numbers and was generally mechanically reliable. Also, its small size made it easier to conceal than higher vehicles.
The Jagdpanzer 38(t)'s weaknesses were its very limited gun traverse, poor internal ergonomics and poor visibility. The gun traverse was so limited the entire vehicle sometimes needed to be turned to track a fast-moving target. The gun was designed to be loaded from the right but was also placed on the far right of the vehicle, making operation difficult for the gunner and loader and leading to a lower rate of fire than would be ideal. The confines of the vehicle were also very cramped with four men squeezed into the small machine. The commander sat far back in the vehicle, with a flat roof to his front and without a cupola. Thus his visibility was limited when the vehicle was even slightly elevated in front, for
reloading equipment used
Starting with the basics, this guide will lead the reader through the process of reloading handgun, rifle and shotgun cartridges with ease. Perfect for beginners and a great refresher for experienced reloaders, the book first discusses all the necessary tools and accessories needed to get started, then goes through step-by-step instructions and safety tips for loading metallic cartridges and shotshells. Helpful illustrations guide readers through each step and make the process easy to understand. The ABCs of Reloading covers all aspects of the hobby, from benchrest loading techniques, to ballistic software, to competition and hunting loads and more. Readers will appreciate how the book makes a complex subject understandable and fun. A newer edition of this title is now available.
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