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LITTMAN 45 SINGLE VII GRAND MARECHAL FOR CHARITY
DONATE THRU EBAY GIVING WORKS TO HELP THE CHILDREN
| Start Price |
USD 100,000.00 |
| Current Price |
USD 100,000.00 |
| Time Left |
- |
| Bid Count |
0 |
| Buy It Now Price |
USD 100,001.00 |
| Reserve Price |
- |
| Start Time |
Saturday, May 10, 2008 |
| End Time |
Tuesday, May 20, 2008 |
| Location |
long island city, NY |
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See more about 'LITTMAN 45 SINGLE VII GRAND MARECHAL FOR CHARITY '
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Description
These are difficult times for everyone! and if historians are correct it is during these times that children face the biggest deprivations. Children need nurturing and a harmonious environment and continuity thruout! We are offering to donate a Littman VII GRAND MARECHAL We arent selling the camera for 100.000 but inviting you to donate 100.000 to unicef directly thru ebay giving works who collects the funds and pays them directly to the specified charity and the camera is an incentive in the form of a gift to the winner of the auction. My personal Xenotar 135 3.5 LITMAN VI PROCONSUL SOLD LAST WEEK FOR 9700.00 SO GETTING A L45S VII GRAND MARECHAL WITH A RODENSTOCK APO SIRONAR N LENS WHICH IS WORTH A LOT MORE SHOULD ENCOURAGE A FEW GOOD SAMARITANS. we do not receive any funds from this Auction Besides the exterior appearance as a design the camera is alsp A Littman BeBe ( baby) being 1 fuill inch shorter than the standard L45s at the front. The Littman 45 single Empire State Camera shown at the bottom was the first Littman BeBe. which we completed completed before Xmass. And t the bottom of the page you can preview other examples of the new Littman Opus + Arte collection all designs copyright William Littman + all utility disclosed is the IP of the seller presents: LITTMAN L45s VII GRAND MARECHAL THE LITTMAN 45 SINGLE VI EMPIRE STATE IS onTHE COVER OF AMERICAN PHOTO I ISSUE DEDICATED TO THE MOVIES AND THE RECIPIENT OF THE EDITORS CHOICE AWARD 2008 HERE ARE A COUPLE OF ARTICLES and portfolios + DESCRIBING THE LITTMAN VI http://www.popphoto.com/photographynewswire/5217/living-large.html And another on earlier Models http://www.popphoto.com/americanphotofeatures/5127/the-star-as-artist-eva-mendes-page3.html#Feore wE recently offered the LITTMAN TROPEN KAMERA TYPE S And last week we offered the LITTMAN TROPEN KAMERA TYPE K My Mom a ballet dancer and poet which also had formal training as a school teacher was chairperson to many charities when she was young after she and My dad propelled the summer resort of Punta del Este to the pinacle of its glory by Creating its international film festivals so I was brought up with the habit of donating my efforts to such causes and I grew up in a " caffe des artistes"environment which would influence my choice to embrace photography following in my grandfathers steps. In the picture bellow Mama having dinner with Dino Di Laurentis At one of the film festivals and here with Dino and his wife Carla del Poggio an Italian actress. here with Joan Fontaine and Gerrard Phillipe Bellow with John Derek and in this one Elizabeth Scott tries to get a ride on my brothers Harley but he is not impressed here is a poster of one of the festivals and the first prize medals from my personal collection if you are interested in reading the history of these film festivals go to http://www.uruguayinforme.com/news/09072004/09072004realidad.htm My grandfather was also in the arts a Renowned Portraitist who photographed actresses the most Famous was Evita Peron . here is a Link to some of his work currently in Museums http://www.acceder.buenosaires.gov.ar/es/td:Fotografias.26/1165514 and here is a picture he took of my parents at their return from Hollywood and a self portrait with his wife Anna The 100.000 is a direct donation to the specified charity and which gets handled thru ebay mission works directly. The camera is simply an incentive we are donating for this cause and here is another design in our Collection THE LITTMAN EMPIRE STATE you can follow the link to an Article explaining the dual purpose of the Littman OPUS+ ARTE collection cameras http://stateoftheart.popphoto.com/blog/2007/12/what-angelina-g.html#more , If you cant afford that much please donate whatever you can to your favorite charity to help children Wood accents are by now a part of the L45s luxury editions, we also use recycled woods-recycled camera coverings the Coupled Parallax /rangefinder 4.times5. camera project is a relatively small project but has accomplished a massive recycling effort over the last 7,5 years. with over 75 tons of recycling . We wish to help and will do what we can and if this doesn't sell we will complete it when possible and relist it but our existing clients are our priority. these custom hand sculpted wood and exotic covering cameras are custom order by commision so we will make the camera if the Auction is won because otherwise we will keep listing other designs We decided to donate this particular camera at a time when vital research was under way and could not interrupt such research and which is disclosed below PERFECTIBLE PARALLELISM ADJUSTMENT PROVISION project completion - FINAL DISCLOSURE A year ago we introduced the first Lf camera which offered the capability to easily restore and preserve perfect parallelism between the front standard and the camera back. Since and until today such improvement and adjustment required the use of a caliper But things just got a whole lot better; As featured below I invented a new type of spanner wrench gauge tool that enables to verify and restore parallelism in less than 30 seconds. as you can see in figure 9 the front standard on the L45s has two radius marked with the letters X-Y used for the measurement of the linear distance to ensure parallelism in figure 2 The L45s instakey is placed on both radius to verify if it is ok as shown on fig 12 and if it doesnt The only thing left to do in completing the adjustment is to loosen the screws and allow the spanner wrench tool to fit as in figure 12 and proceed to tighten Nut with a 2 ended wrench highlighted in red as in fig 13 with the spanner tool still in place. remove the tools - re tighten the rest of the screws and the adjustment is complete takes 30 secs or less. You then repeat the operation on the other side The tool as shown in figure 14 is designed to contain both radius precisely so much that as shown on figure 12 it can stay on by itself. with both radius contained and a hexagonal middle arm in L design to provide extra strength plus screws to lock the settings nuts to secure the screws + loctite. the settings are preserved`. Also as shown in figure 3 the tool is designed to allow and enable true parallelism for verification as screw B controls aim and pitch and screw A controls linear distance and turn. when all settings are secured the tool can enable to restore the original parallelism linear measurement effortlessly. Engineers have confirmed that due to the sturdiness of design and the precise containment of 2 radius the percentile error is 0. but in any event mesuring with a caliper on this camera is not subjected to the expcted potential errors due to aim and pitch/ perpendicularity while measuring because what is measured are 2 radius and so not affected as would be square surfaces which must be measured while aiming tools perfectly square.. We also record a linear measurment in case the keyes are damaged or lost . with this measurment you can make new keyes. but they can never be as precise as an actual imprint taken from the actual camera which is what the tool made once the camera is perfected amounts to. Users will still be able to adjust via caliper easier than before and new keyes can be made by us . So now having perfect parallelism is no harder than adjusting the f stop on your camera. The perfectible parallelism adjustment provision is patent pending on all 3 axis with or without struts. If you are awaiting a L45sVII now you know that we needed your camera here to make the tools. Otherwise it would have had to be shipped back for that purpose. Why were you not told? As my clients you are the ultimate beneficiaries of my patents, while the research is under way time is an important factor and the minute we make this public the minute the clock starts ticking.and we must ensure we have enough time to both complete the research, bring it to term thru implementation and protect it. All of which has already occurred. We have not updated our website in over a year as to include the new Littman VII because we are too busy implementing tecnical improvements but we intend to update it soon. The designs disclosed and the implementations for the specified applications are The IP and the Copyright of the Seller other woods currently used on the Littman VII are Redwood burl Olive ash burl Carpathian elm burl Red maple burl Maple burl Thuya burl Briar burl here are some other designs from the NEW LITTMAN OPUS AND ARTE COLLECTION Evolution of the coupled Parallax 4.times 5. camera project On February 21 st 1947 Edwin Land would introduce his camera ; which later became known as the Land camera and these cameras were developed in a rush so that the company could provide a means to enable instant photography a process developed by Land which was made possible by the use of development in the form of alkali and photographic chemicals which allowed the image be transferred from a paper negative onto a print and then an acid on the print paper would ensure the process would be stopped or neutralized and some types required coating. But with the advent of digital photography 60 seconds became 60 seconds too much for the consumer market and for years the usage of so called instant films had continued to decline. Our first trade show was the New York photo expo plus 2001 and we were hosted by Polaroid and Schneider optics and we introduced the Littman 45 single 1 to the general public for the first time. A few months before we were enthusiastic That American Photo Had scheduled an article featuring Bruce Weber and other top photographers to coincide with the Public introduction of the coupled parallax rangefinder 4 times 5 project. as you can read here http://www.littman45single.com/pdfs/americanphoto_article.pdf Unfortunately on September the 11th life was to take an unexpected turn for everyone and I had been working late the night before and when I got dressed in a hurry to make my afternoon rounds in the city and arrived at the Subway I was greeted by a fireman who when I asked him why there was a barricade closing the stairway he pointed into the horizon and said" Do you see that huge smoke cloud over there? That is where the twin towers stood". The city was literally deserted for weeks and to add to this grim scenario I had received word from the upper echelon at Polaroid that the company was about to declare bankruptcy and the future of instant films was uncertain. This was the reality at the time when I had decided to invest years of my life to perfect the large format camera for handheld use and complete the parallelism perfection research I had begun years before. But the fact is that the purpose of our product and this project has little or nothing to do with instant films and aimed at a basic technological fact which few seem to realize. The advent of digital photography has enabled great conveniences as an inexpensive capture method and it is obvious that the clarity of the images continues to improve at a rapid pace. The reason for our project however is based on sound engineering facts and on the principles of optical projection and on my own theory as the properties of magnification in an optical projection. And to keep it simple the fact is that while it is obvious and true that the clarity of images in digital photography have and will continue to get clearer and more defined the size of the chip and or the small size of film for that matter forces optical design to be close to what is referred to as the film plane and the rays of light which go to form the image are compressed into a small area by optics close to such area and the angle of incidence+ the optical design produces images that may be clear- defined- and of an aspect ratio that one can get used to for financial or practical reasons but it is in no way- no how a true rendition of realistic proportions in what refers to the line drawing aspect of the image and therefore the imagery obtained can be rated as being of higher or lesser clarity in terms of megapixels but is in no way inclusive of any realistic qualities in what refers to the aspect ratio as compared to what is observed by the naked eye.. a 35mm digital and a 35mm film camera can have different resolution capabilities but the aspect ratio is the same in both. a 3 6x7 cm digital and a 6x7cm film camera can have different resolution capabilities but the aspect ratio is the same and the aspect ratio is slightly better than on 35mm But when you separate the lens from the film plane at least 12 cm the properties of the projection are different because the light arrives at the film plane at straighter lines. In the format of 4x5 this realism ratio works best with lenses which are neither too wide as to have barrel distortions or too telephoto as to undermine realism by extreme magnification causing compression as would longer lenses. Compression via telephoto is less noticeable in large format in any case . It is because the properties of optical projection are independent of what capture media is utilized that the future of higher definition digital photography will be forced to include larger capture areas and not because of the usual belief that resolution is the purpose of large format because it isn't at all. However Parallelism is a strict requirement of this new large format age and an absolute requirement of large format hand held photography Our research also showed that parallelism is often misunderstood as a requirement because most cameras in the large format were designed as a tools to alter parallelism as a means to create visual effects such as swings and tilts but nobody ever addressed the fact that the lack of it while attempting standard snapshots would severely impair the ability to use Large format handheld namely because while you can certainly stop down a lens and improve sharpness but you kill the bokeh which already turns the camera into a 1 trick pony and it is unreasonable to expect natural light conditions of 125 at f11 at all times and in the northern and southern hemispheres that is RARE during winter months not to mention indoors utilizing the light which comes thru a window and if the planes are not parallel you have uneven focus no matter how much you stop down the lens. You no longer need large format to have resolution in a way that would be described as a need and in our extensive research we showed large format photographers ways and methods to obtain higher resolution than they were obtaining with smaller capture areas and it was only then that they were finally able to separate the perception of resolution from the fact that large format was making their images more true to life. Those who we interviewed were certainly amazed that new technologies had evolved as to provide a higher quality but were also certain that the aspect ratio yielded by the smaller capture areas did not provide the je ne sais quoi that had lured them to large format in the first place. a lot of these guys were rather surprised and these are working professionals with decades of experience. What can an amateur or beginner hope to understand when the wheels of planned obsolescence fueled by alarmism scare everyone into making sure they aren't left behind. I commenced this research in the 50 th year anniversary date of the introduction of the land camera on February 21st 1997 and moved back to NYC a few months after that to pursue the research project Invention and destiny do not run on the same schedule and anyone who is busy trying to create something will tell you that the clock is always stepping on your heels while unscrupulous competitors deny that parallelism is of paramount importance or that it is present in their products at any given time.. while we have proven the opposite as confirmed by the words of The editor of American Photo here; http://stateoftheart.popphoto.com/blog/2007/12/what-angelina-g.html#more And we take this opportunity to thank all of the kind engineers who have emailed in recent months praising and confirming the value of our inventions ; some offering to cooperate with our research and some even sending us applications for employment. We are unable to respond at this time as we are in a transition period where all of the new jigs to the new tolerances are being tweaked to perfection - completed the lamination on over 5.000 texture choices for our designs and obtained an estate collection of prized lenses ranging from heliars to planars and xenotars for the New Opus + Ultra collection. After Xmass we will commence production on the Littman 57 single and on the Littman 4x5 architectural pocket- a strictly ground glass camera with interchangeable lenses double extension bellows and movements with a quality comparable to " that German Camera" . On February 21st 2008 we introduced the Littman VII to a small group to commemorate the occasion and we are happy to Present here GRAND MARECHAL which was the first Littman VII delivered to a professional photographer just a few weeks ago Technical Details of the new L45sVII camera body The L45s VI addressed the issues of perfectible parallelism in what refers to the front standard in relationship with the camera back and by now remains simply as an improvement available to all Littman cameras previously made. The L45s VII is the final step on this journey and includes all of the L45sVI improvements but also addresses the issue of parallelism in what refers to the construction of the camera body itself The new idea and eventual target were to purposely create a camera body where the front of the camera and the rear were as parallel as a cube that a machinist.can mill and then precision grind . You make a straight face on one side and then you can mill the opposite side and ensure parallelism but when you have components like a camera front and a back and laminates in between ; fasteners ;torque variances and glues plus camera backs that require powder coating to endure usage you are not about to mill then grind the back once installed as it is not possible . So what could I invent as a parallelism equalizer ? The answer was to equalize parallelism internally by utilizing 2 components which has a seam in the midpoint and create an ultra high precision jig that would make direct contact with both the front and back as perfect parallelism containment while a predetermined expansion pressure or mechanical adjustment is applied within the unit pushing outwardly as would the air within a tire to ensure both parts are pushed outwardly and flush against the containment unit utilized. The outcome as verified last night is absolute parallelism perfection in excess of what could be accomplished by precision grinding both sides of the outside of a camera body if it was made out of a single block of aluminum and such said internal equalization becomes final when the seams are sealed and both components become 1. The invention has a second implementation alternative as a provision for parallelism perfection adjustment between the camera back and the camera chassis either as a means of perfecting a permanent setting or adjustable after completion . the Littman VII is constructed to be entirely free of parallelism error and the front standard having the capability to remain 100% parallel to the film plane. . Anyway at the end of the day a 30 megapixel digital system costs upward of 30.000 and the Littman 45VII yielding close to 400 megapixel due to its perfectible parallelism costs about 5 times less. and can also be used digitally with resolutions up to 400 megapixels as shown here The digital systems who currently utilize small capture areas will continue to require upgrades requiring substantial expenditures toavoid obsolescence. the Littman 45 VII tech will not require any upgrades and can be maintained by the user himself. And beyond financial considerations the aspect ratio factors; the spontaneity factor enabled by a viewfinder with a coupled parallax rangefinder system which also has patented optical improvements so as to mimic the perspective as seen by the film; the fact that the user can capture spontaneity because it is not a SLR camera and does not have a slow mirror; the large negative resolution and the parallelism perfection to ensure even focus throughout the film plane and absolute sharpness wide open makes the L45s the utmost professional hand holdeable snapshot camera of today and of the future no matter what the capture technology may be. The assurances made here regarding the aspect ratio factor using full size large format digital backs was tested using the L45s and 4x5 scanning backs to demonstrate that the capture media chosen has no effect whatsoever on aspect ratio and the great optical properties yielded by large format versus small. We find ourselves once again at the crossroads of technology and we have come here today to welcome you to the future . The future has always been brighter when it was based on solid achievements made in the past. the choice to use digital for cost reasons has distracted from the importance of the aspect ratio provided by large format and that was not that hard to accomplish because people had parked their 4x5 cameras on a shelf a long time ago mainly because everyone just thought the sole purpose of large format was a larger negative and which you only needed if you had to make gargantuan size prints and otherwise the quality you were getting from a 35 and medium format was more than enough. That may be true in terms of sharpness and resolution for small uses but to me photography has never been something I have ever been able to evaluate based on quantity - I don't care how sharp an image may be if it is incorrect in the line drawing aspect. I don't care how resolved it may be. I do care for quantitative qualities as a means of texture differentiation but if I can have the basic perspective appearance as close as possible to being true to life and then think of how to texture the image in the same way as in a painting by playing with the range from sharp subject and variable degrees of defocus . People have referred to photography as painting with light and going back to a reasonable sequence of events one would first have to make a drawing with the proportions that one chose to be a representation of what one wanted to say and then one would move onward to choosing texture , color and shading as do add dimension and differentiation and what I say to you today is no different from what I said the day I started this project which is that the line drawing aspect of a photograph comes first both in painting and in painting with light and that is why you can rest assured that while most in the consumer market will continue to embrace the artificial looking imagery of smaller formats because it is a familiarity which everyone has come to accept after the smaller formats began to be used commercially and via consensus everyone assumed that because the imagery was somewhat validated by commercial usage and because everyone was using it for cost and convenience that somehow that resolved the distort factors which were assumed absent or simply accepted as what a professional and true to life photograph should be expected to look like. We simply got used to something because in the last few decades photography became very popular and mostly using small formats and more accessible as opposed to earlier times when technique ; knowledge was reserved to a few who passed on the baton within a small elitist circle . Familiarity plays a huge role in acceptance and when one sees aspect ratios with all sort of 35mm compressions in publications day in and day out there is a tendency to assume this is supposed to be this way while I trully believe it is simply a matter of people deciding they woukl rather not have to carry arround cameras that weighed like an anvil and produced static = posed images the properties of optical projection are perhaps one of the most important aspects in photography entirely responsible for the appearance of the images we are able to produce and everything else is secondary. The properties of projection are what I would refer to as number 1 in importance in photography and what comes second for as long as photography remains two dimensional is the properties of projection in relationship with planes. The purpose and primary function of a camera in the photographic process is to first ensure parallelism of the planes to ensure that the optics are able to render a proper image. the only other function of a camera is to be able to contain the light. that is why it was named camera obscura. It is not that we claim to have revolutionized photography by slapping a camera back onto a different camera because that was step number one on a long road towards perfectible parallelism offered by a camera having the first qualitative rangefinder viewfinder which combined focus with cropping and combined with the actual visuals in terms of optical appearance so that the user can see what the lens projects onto film even though it is not an SLR thru the use of custom compensating optics but mostly because I do not believe in revolution. None was required. Revolution may be called for when too much has to change when one insists that everything which came before us was a mistake but up to 5 years ago The Linhof was considered as the best large format camera and it did not require a conversion to become a 4x5 camera and it is self evident that the recognition awarded to the Littman as outperforming the linhof is not due to a conversion but to the utility present as explained here; http://stateoftheart.popphoto.com/blog/2007/12/what-angelina-g.html#more It is important to include the past and recognize its merits as the only true means of establishing a future based on solid principle but at the same time those who hope to invest their efforts towards improvement can get caught between generations pointing fingers at each other and which has always been an open door for misguided idealism - fanatism As our research proved that an 1/10 of a milimeter(0.10) mm error in parallelism amounts to a 1/2 stop in defocus in this format and a lot more in larger formats and all of the so called alternatives to our products we placed on the L45s parallelism verifier had errors in parallelism present ranging from 2.74 mm to more than 5 mm in some cases we consider any claim that such are alternatives to our products have parallelism or relative parallelism present or claims that parallelism is perfectible in them as fraud on the public and unfair competition against us. In 2002 after Popular photography had already rated our camera as the most responsive large format camera in history the easiest to use lightest weight. That has nothing to do with conversion and the following year the Littman 45 became the recipient of the American Photo Editors choice award Large format was first utilized because the enlarger had not yet been invented and so all printing was 1 to 1 and you had to place a negative on top of a paper and the image was exposed by contact when the print and the negative were sandwiched to keep both as flat as possible in a glass contact printer. This original requirement continued and the use of large format as a sole means of portable photography continued until the introduction of the enlarger and the portable market continued to move towards smaller formats mainly because nobody had made the effort to make the LF camera synergistic from the purposes of hand held use because of the way photography commenced and as the resolution gained by a large neg and the aspect ratio being more true to life came combined most assumed the realism factor provided by large format was simply because a larger negative offers a clearer more resolved image but that is a marginal consideration today because resolution can be faked electronically. What can not be faked or yielded by a smaller format is the realism of the line drawing aspect of a photograph as provide by a large negative but in the past the inconveniences in responsiveness and ergonomics present in large format cameras made it difficult for professionals who wanted to be able to readily evaluate what things would look like on film regarding aspect ratio and perspective and while the 35mm camera aspect ratio is highly plastic and artificial it was appealing because you could somehow work around the artificial distortions as long as you could see them thru the lens and that is how it came about that the world moved on to perceiving reality with distorted and artificial perception because it was something one could work around via practice and tons of Polaroid's. Another misconception on why it is that when people use large format they feel they have to shoot less to get the shot in the bag is not because the neg is sharper and more resolve and less of a chance to err while attempting to capture a pleasing image because of realism present . The truth is one shoots less because there is way less optical error in every shot one takes and therefore by percentage alone you immediately find that after a few shots you have what you need or more than you need . But as we find ourselves at the crossroads of technology after having completed our research which proved that 1/10th of a millimeter error in parallelism amounts to a 1/2 F-stop in defocus or translated into English for each tenth of a millimeter gain in parallelism you sharpen an image the equivalent of stopping down a lens 1/2 stop and the results are amazing. There is a future for large format hand held photography and its already here" ce deja demain" ce Littman 45 VII When one door closes another one opens and coinciding with the announcement of the potential discontinuation of instant films by Polaroid which basically means the company will license the tech to other companies and reserve the use of the name Polaroid for newer technologies and Fuji produces an excellent line of instant films likely to obtain license for the Polaroid emulsions and makes several films which many consider sharper less grainy and which we have verified will not be discontinued and we are hoping to obtain license to continue making T55 and an 8x10 version and Kodak has recently introduced an improvement to Tmax 400 which reduces the grain and we encourage everyone to give it a try, here is a large format 4x5 back system which has been successfully used with the L45s http://www.betterlight.com/ Once on vacation In the south of Argentina in the early 70s where my dad had a ski hotel I was ice skating and met an American boy and after I told him that I wanted to go to America one day As i had visited the empire State Building and Disneyland and one old man in Central Station had yelled to me that America was the land of opportunity After I told him how it was that a dictatorship in Uruguay had illegally appropriated and confiscated my family"s estate and I has been instantly separated from my school and my friends and forced to live in what could be described as an ambience of enmity. He told me his life story was not so different ; he then told me his name was John F Kennedy Junior and that while he also hoped hat one day he could again feel free to live in America he was now living in Greece . Although I only spent a few hours speaking with him at such a young age this meeting would forever change my life as it gave me the strength to persevere and enable me to overcome the adversities I would later face in my journeys throughout the globe as an aspiring photographer then as a professional and later on in my research. And speaking of Opportunity my clients have had to read derogatory comments referring to them as " a victim for William Littman" making fun of them as paying an exorbitant amount of money for what appears to be nothing more than an old camera with another back. They said " the Littman sounds good on paper" Sure! -it makes the print look better and what else could one ever ask of a camera? And speaking of opportunity let me give you an example I received an email from someone who bought an earlier model used in this website recently and paid more or the same price for it than I charged the original owner many years ago and the buyer told me the original owner enjoyed the camera enormously and that it still worked fine . I would hardly consider myself a victim if I bought something great- used it for years and sold it for the same or more than I paid! Its unheard of! I bought a 7 megapixel Cannon 2 years ago for 300+ dollars and its now selling used thru this website for 56.00 I bought a 12 megapixel Cannon recently for 450.00 and its already worth 275.00. Quite frankly I can only say the Littman 45 is truly a magnificent opportunity as a camera and as an investment and I am truly Grateful to The United States of America and to photography for having had the opportunity to complete my research . And as for my endless list of typos please donate a buck for every typo you find. that should definitelly feed a lot of children;)
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