beauty bollywood news car model history Early Shelby Mustang History

Early Shelby Mustang History
 

The first Shelby version of the Mustang appeared in 1965. All 1965 Shelbys were painted Ford "Wimbledon White" with optional Guardsman Blue stripes. Although most of the 1965 Shelbys you see on the road today have Le Mans stripes, less than forty percent of the 1965 GT 350s came factory equipped with them. All GT 350s featured rocker panel stripes with the GT350 name. The engine was a modified K-code 289 cublic inch Windsor V8 with special "Cobra" valve covers, tri-Y headers, a special intake manifold and Holley carburetor increased power from 271 to 306 hp.

The 1966 was different in body color (non-white versions were introduced - colors included blue, red, green and black, as well as the original white) and trim. The "Le Mans" stripes were continued as an option, as in 1965. It featured special quarter-panel windows and rear air scoops on each side and an optional automatic transmission. A fold-down rear seat was now s! tandard as well. Where early 1965 cars had black engine blocks, 1966 and later cars had the 289 engine painted blue.

The first 252 GT-350s for 1966 were "carry-over" cars. They had the 1965 Ford Mustang Bodies and 1965 Ford Mustang serial numbers under their Shelby serial numbers. They had mostly 1965 features including standard Koni shock and Engines painted black. Blue engines did not occur in 1966 until after these 252 "carry-over" models were produced. 1966 production was 1373 fastbacks including (2) prototypes and (4) drag cars and (252) "carry-over" models with Ford Mustang 1965 bodies. 1001 Hertz fastbacks were produced including (2) prototypes. 4 convertibles were also produced for a total of 2378 units for 1966.

Shelby struck a deal with the Hertz Corporation to produce a special line of GT350s for rent which were subsequently sold to the public after their rental-car lives were finished. These GT350H cars are quite rare and sought-after today, ! with some examples selling for more than $420,000. Shelby prod! uced 1,0 00 of these cars: 800 in Raven Black, and 50 each in Candy Apple Red, Wimbledon White, Sapphire Blue and Ivy Green. All Hertz cars featured gold LeMans stripes and rocker panel stripes. Early "Hertz" cars were available with 4 speed manual transmissions until so many cars were returned from rental with burned and broken clutch assemblies that all of the later cars shipped to Hertz were equipped with an automatic transmission. These cars tend to be abused in early life from hard usage in the rental car fleet. Good restored examples can be found. 

The new 1967 Mustang was followed with a new Shelby. It featured a 1967 Mercury Cougar tail light panel minus the chrome trim, a flip-up spoiler, and two sets of air scoops on each side. This was also the first American car to feature a factory roll bar. Surfaces such as the hood and trunk lid were made of fiberglass instead of steel for light weight and ease of manufacturering.

This year also saw the introductio! n of the GT500 alongside the continued GT350. The new GT500 featured a 428 cubic-inch big-block V8. This is also one of the most famous Shelby Mustangs.

A modified GT500 clone, known as "Eleanor", was featured alongside Nicholas Cage in the 2000 remake of Gone in 60 Seconds. This modified GT500 body style is incredibly popular today, and is partially responsible for the resurgence of Shelby Mustang prices in recent years.

A convertible prototype of the GT500 was made in 1967, which was designated to be destroyed. Before Ford could destroy the prototype, it was stolen. The car was eventually recovered and sold as '68. 

The Shelby GT350 Mustangs were powered by a 302 cubic-inch V8 while the GT500 came equipped with the massive 428 cubic-inch Police Interceptor engine. In February of 1968, the GT500-KR became available and was considered the ultimate Shelby. Under the hood was a 428 cubic-inch Cobra-Jet V8 which produced 360 horsepower. The name ! 'KR' meaning 'King of the Road' was a quick marketing move by ! Carroll Shelby who had caught wind that Chevrolet was about to unleash a marketing campaign that featured the 1968 Corvette as the 'King of the Road.' After a quick copyright search, they found that the 'KR' and 'King of the Road' had not been copyrighted. Stickers, photos, and decals were quickly made by Shelby and his crew and placed on the new GT500.  

 

  27/08/2008  http://autobuynow.info/


Source :http://www.articlesbase.com/classics-articles/early-shelby-mustang-history-538641.html

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Car Hire From Brindisi Airport
The next time you visit Italy, make sure to include the wonderful and much under-rated city of Brindisi on your must-see list. Mouth-watering cuisine, a fascinating history and beautiful scenery await your discovery in Brindisi. With a hire car in Brindisi, you'll discover a whole different side to the beautiful Italian city. From long leisurely drives to short restaurant hops, a rental car gives you the ultimate freedom to explore the many wonders of this great city. The following is a guide to the best and most interesting sights worth experiencing along the way. Brindisi Airport Mini Guide: Brindisi Casale Airport is located 3km to the north of the city of Brindisi. The airport offers a range of passenger services and facilities including cafés, bars, an ATM and a small gift shop. Brindisi Casale Airport is served by a number of airlines including budget airline Ryanair, Volare Airlines and Air Dolomiti. Things To See/Do in Brindisi: The! town of Brindisi is a becoming a popular destination for short breaks due in no small part to the extension of low fares routes by budget airlines such as Ryanair. The town of Brindisi is situated in the south of Italy on the Salento Peninsula. A walking tour is a good way to explore what the town has to offer in terms of cultural and historical attractions. A visit to the local archaeological museum is a must. Here it is possible to view the permanent collection of bronze Greek statues rescued from the sea. The city's historical quarter also offers some fascinating sites. The 11th century cathedral on Piazza Duomo is definitely worth a look, as is the town's impressive Castello Svevo. A short hire car drive out to the 700-year-old Chiesa di Santa Maria del Casale is also recommended. If visiting in May, it's well worth catching the Corpus Domini festival, which involves the spectacle of seeing the local bishop blessing the sea on a white stallion. Celebrations continue al! l day long, with fireworks and lightshows bringing proceedings! to a cl ose as darkness falls. Eating Out/Nightlife/Accommodation in Brindisi: Eating out in Brindisi is a treat for every budget and palate. In general, a meal out with wine will never cost more than a few euros per person. Cheap low budget choices include hearty baked pasta dishes, pizza and light lunchtime snacks like panini and crostini. Brindisi has a laid back, easygoing nightlife, which centres on the town's cafés and bars in the Corso Garibaldi district. An evening stroll is a cheap and relaxing way to while away a few hours in the evening. Accommodation in Brindisi offers something to please every budget and taste. Hotels on the upper-end of the price-line include the four-star Majestic Hotel Brindisi, situated close to the railway station and port and Minerva Hotel Brindisi, situated close to the suburbs of the city. Those travelling on a tight holiday budget may however prefer the simple surroundings of the Carpe Diem Ostello della Gioventu hostel, where a cheap sleep is! guaranteed.


Source :http://www.articlesbase.com/travel-articles/car-hire-from-brindisi-airport-421433.html

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diecast cars auto professional car sales Choosing Camera Lenses

Choosing Camera Lenses
Choosing Camera Lenses

R. Dodge Woodson

The lenses you use with your camera are critical components of your photography system. Cheap lenses are never a bargain. Inexpensive lenses produce inferior pictures. You don't have to pay thousands of dollars for an anti-distortion lens to get good pictures, but don't expect much from an $89.95 lens that you buy at some sale. Photography is an inexpensive hobby. If you want to play, you have to pay.

Fisheye Lenses

Fisheye lenses can be fun to work with. They allow you to create great special effects. However, they don't have many practical purposes. Of all the lenses available to you, fisheye lenses are one of the least important.

Lenses are rated by focal length. This is measured in millimeters. The smaller the rating is, the wider the view is through a lens. For example, a 16mm lens has a much broader view than a 50mm lens. When you drop down to fisheye sta! tus, your pictures are going to have a round perspective. They will no longer look like typical photos. You can use this creative aspect to your advantage.

People are often captivated by images made with a fisheye lens. The reason for this is simple. Fisheye photographs are different. Any subject you shoot with a fisheye lens will attract attention. The downside to this is that part of the subject will be distorted. This is both the appeal and the disadvantage of fisheye lenses.

Wide-Angle Lenses

Wide-angle lenses are very useful for a number of photo situations. If you enjoy taking scenic pictures, a 24mm lens is an excellent choice. This lens will allow you to include a great deal of coverage in your pictures. Unlike a fisheye lens, a wide-angle lens produces pictures that are basically normal. Perspective can be lost in super wide-angle shots, but the general effect is pleasing.

You don't have to chase after landscapes to gain bene! fits from a wide-angle lens. If you've ever wanted to get a la! rge grou p of people in a single picture, a wide-angle lens can help you do it. Any time that you want to take pictures of an expansive subject will be a good time to use a wide-angle lens.

A 24mm lens is about as much of a wide-angle lens as you can use without distracting distortion. It is my favorite wide-angle lens, but some people prefer a 28mm lens. You won't capture as much of a scene with this lens, but distortion will be less than what is experienced with a 24mm lens. Many photographers opt for a 35mm lens to meet their wide-angle needs. This is a useful lens, and it's not a bad compromise, but it can't include nearly what a 24mm lens can.

The best way for you to determine which type of wide-angle lens is right for you is to go to a camera store and try some out. With a single-lens-reflex system, which is what we are talking about, what you see is what you get. Try different focal lengths to see which ones suit you best. There is no better way to compare ! lenses than to try them, one after another, on the same subject matter.

Normal Lenses

A 50mm lens is considered normal. This lens is supposed to depict the world in the same perspective as the human eye sees it, photographically speaking. There are very few occasions when a 50mm lens is the ideal one to use. Its focal length is too long for wide-angle work and too short for telephoto work.

One good thing about a 50mm lens is that it's cheap when compared to other lenses. According to mailorder ads, you can buy an auto-focus, 50mm lens for a major brand of camera for less than $75. Getting any lens this cheap is rare, especially when it's brand new and offers auto-focus capability.

If you are buying a 35mm camera that is being sold without a lens, you might want to buy a 50mm lens to keep your cost down while you are getting your feet wet in the photography hobby. Personally, I think you should invest more money and get a zoom lens tha! t can give you more features and benefits. There is nothing wr! ong with owning a 50mm lens, but once you have zoom lenses or an assortment of fixed-focal-length lenses, I doubt if you will have much use for your "normal" lens.

Super Telephoto Lenses

Can you imagine spending more for a lens that what some people pay for a car? Well, there are lenses with price tags that do compete with some cars. The last time I looked, a 600mm, 4.0 lens for my brand of camera was selling for more than $7,600. A 300mm 2.8 lens was going for about $4,100. In either case, the price of these lenses is steep, and some lenses cost considerably more.

You can buy a long lens at a reasonable price if you are willing to sacrifice a fast aperture. In other words, if you are willing to work with slow shutter speeds when lighting is poor, you can get a lot more lens for your money. For example, I could by a 100-300mm no-name brand for less than $130. A Canon® 100-300 zoom lens is just under $300. What's the difference between a 300mm zoom lens! at $130 and a 300mm fixed lens at $4,100? About $3,970! The big difference in the field is the minimum aperture. The expensive lens operates at 2.8 and the cheaper lens operates with a sliding aperture rating of 5.7 to 6.7. In common terms, the cheap lens needs a lot more light than the expensive one to take the same picture under the same lighting conditions. You can set a faster speed on your camera, but this can create “noise” that detracts from an images appearance. And, the expensive lens has much better glass elements in it for clearer pictures. This may not seem like a lot of difference, but it can be to some photographers.

If you need a lens that will allow fast shutter speeds in low-light conditions, you have to pay handsomely for it. Why would you need a fast aperture? If you were a sports photographer, your subjects would be moving quickly. To capture them without having their images blur due to motion, you need a fast shutter speed. On a bright, s! unny day, this would not be a problem with most lenses. Howeve! r, a clo udy day could render lenses with slow apertures useless. If you make your living taking fast-moving or low-light pictures, you have to be prepared to pay steep prices for you equipment.

How Long

How long of a lens do you need? It depends on what you want to do with it. A 200mm lens is very effective for many types of telephoto work. Using a 300mm lens will allow you to take the same picture that you could with a 200mm lens without being as close to your subject. Few amateur photographers carry lenses that are longer than 300mm.

If you want to take pictures of elusive wildlife or similar subjects that are difficult to approach, a longer lens may be called for. Some wildlife photographers use extremely long lenses. Lenses in the 400mm, 500mm, and 600mm ranges are all common equipment with professional wildlife photographers. However, you can accomplish a lot with a 300mm lens if you learn the habits of animals well enough to anticipate them and to! hide from them.

Experimentation

Knowing what you want or need may require some experimentation. You can buy used equipment or cheap lenses to get a feel for what that do. Once you settle on specific lenses that you know you will use, sell the cheap and old lenses and buy the best lenses you can afford to fill your desires.


Source :http://www.articlesbase.com/digital-photography-articles/choosing-camera-lenses-1142003.html

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