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Sari ONeal

The Hummer Thread Vol.2!!!

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On 9/1/2020 at 5:22 AM, Patrick Cooper said:

So out of curiosity, has anyone here shot with a Mamiya RB67? That is a beast of a camera. 

 

On 9/1/2020 at 1:23 PM, Sari ONeal said:

Patrick - you need to ask Ruuudeeeh, he is into the stuff that I wouldn't know how to operate...LOL :P

 

On 9/1/2020 at 1:32 PM, Patrick Cooper said:

Sari yes, Rudy would be the one to ask about such cool retro equipment :)

Gosh, I tried to watch your jumping spider video but it's giving me an error symbol. 

 

Thanks for the vote of confidence :)

and yes, I am into that old stuff. For Cameras that is, not for much else. (Although I did get my Medicare card this month LOl)

What do you want to know about that legendary jewel? Other than it came with a free membership to the gym if I remember correctly

Here are a few I shoot with. (there are 3 more I am afraid)

my camerasSSRZ.jpg

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Rudy, nice collection of cameras there. Gosh, I still haven't found my Yashica TLR. It must be around here somewhere. 

Ah yes the Mamiya RB67. So many people talk about how heavy it is but when I picked one up at a camera market for the first time, I was surprised how light it was! I would like to use such a camera primarily for long exposures. That's why I'm attracted to the mechanical shutter (no battery to go flat.) Ive discovered that some of the Sekor lenses for the RB67 have a floating lens element ring that must be adjusted after focusing. This is something Ive never had to do on any other lens. To me, it's a strange oddity that I'll have to get used to (and hopefully won't forget.)

Regarding cable releases, I hope the RB67 doesn't require extra sturdy ones like my Koni Omega Rapid did? My Koni Omega was very fussy about which cable releases it accepted. And a weird and frustrating thing about that camera is that with a lot of the cable releases it used would work fine for a week and then after that time period, would only work on occasions. Very random. Sometimes they would fire and sometimes they wouldn't. Like the time I hiked slightly uphill before sunrise to photograph a landscape at first light and the cable release refused to fire. That was really testing my patience. I went through a number of cable releases with that camera. I also had problems with the Bulb setting - it just wouldn't work. A guy at a camera shop was able to fix the problem on the spot but then about a week later, the problem returned. Granted, I did capture some really nice images with the Koni Omega but it did have reliability issues. I hope the RB67 is free of such problems.

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Woah, I made a sale on Alamy last month. A very rare thing indeed. I only discovered it just now. It's my third sale there. That sale was for $15 though I assume that's the total price minus any commission. Though I can't see my share listed anywhere. I think contributors get something like 40% these days? So I guess I might end up with something like $6 for it. Image use is a "book, print and / or e-book."

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Patrick,

Those lenses with "floating" elements work best at close distances and to my knowledge focus adjustments are done automatically. Isn't that the whole purpose of floating elements?

I had a similar cable release problem with my Graflex Crown (top right)  There is a cable release terminal on the shutter, but since it is a press camera, there is also a remote release on the camera body (That shiny square looking thingy under the rangefinder), which is a mechanical thing with springs and levers that goes to the release button on the lens. This remote body release also has a thread for a cable release, but the problem was there that I needed  a release with a very long throw, which were hard to find. I found a plastic $4.00 one and the only one that works. Since your Koni Omega is also a press camera with a pistol grip with a release, I can imagine you had a similar problem.

Shutter setting, when not used for a long time, can get sticky. A bath in lighter fluid, high quality naphtha,  or electronic contact cleaner usually solves that problem (provided you can remove the front and rear elements.) But maybe in your case it was just a matter of a spring that popped off. 

Either way, in theory you shouldn't have a problem with a cable release on the RB. It has a normal thread in the release button like pretty much all cameras of that era

Here is a link to the original manual for that camera if you need it: https://butkus.org/chinon/mamiya/mamiya_rb67_pro-s/mamiya_rb67_pro_s.htm

Congrats on your sale on Alamy

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One of my dad's cameras is like those accordian style cameras. Not sure what it is. I have it in a box somewhere. I haven't had time to go through those things to see if they're still useable. Just didn't want my brother tossing them (since he pretty much threw away everything that was in their house).

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27 minutes ago, Sheila Fitzgerald said:

One of my dad's cameras is like those accordian style cameras. Not sure what it is. I have it in a box somewhere. I haven't had time to go through those things to see if they're still useable. Just didn't want my brother tossing them (since he pretty much threw away everything that was in their house).

Once you do, let us know Sheila and Patrick, Steve Mart, or I can probably tell you what it is and/or if it is worth fixing if it needs to be fixed.

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11 hours ago, Rudy Umans said:

Patrick,

Those lenses with "floating" elements work best at close distances and to my knowledge focus adjustments are done automatically. Isn't that the whole purpose of floating elements?

 

Yea I believe that with helicoid focusing systems, the floating elements are adjusted automatically as you focus. Though I keep reading comments from experienced RB67 owners who say that the floating element ring must be set independently (after focusing) because of the bellows design. 

12 hours ago, Rudy Umans said:

Shutter setting, when not used for a long time, can get sticky. A bath in lighter fluid, high quality naphtha,  or electronic contact cleaner usually solves that problem (provided you can remove the front and rear elements.) But maybe in your case it was just a matter of a spring that popped off. 

 

I'm always hesitant about taking apart cameras. I'm worried that they may be in a worse state when I put them back together! 

By the way, the shutter on my Koni Omega was perfectly fine at all the regular shutter speeds from one second to 1/500th for the 90mm lens. I used that lens regularly with a lot of the slow shutter speeds for landscape work with medium speed and slow speed film. It was the B setting that was giving me problems. Actually, the first time I used the B setting, I thought it was working fine. I was doing long exposures of the ocean with an ND filter by the seaside and everything seemed normal. Though when I got the processed film back from the lab, things were definitely not right. All the frames in which I had used the long exposures were black. Doesn't make much sense, right? By the way, both the lens cap and dark slide were removed at the time. All the other frames on the film which were exposed with the regular shutter speeds were normal.

After that, I took the camera to a camera shop and the guy behind the counter was familiar with the Koni Omega Rapids. And it was clear to him that there was a problem with the B setting. Like I mentioned before, he was able to fix the problem on the spot right then and there (though to be honest, I'm not exactly sure how he did it!) But the problem came back a relatively short time later. It looked like it was going to be an ongoing problem - something that may never really go away for good. So that and the cable release issue led to some pretty frustrating experiences with this camera. To be honest, I don't know I kept punishing myself and kept using this camera to shoot landscapes. My father recommended that I get another camera after hearing about my problems with it. Actually, when I get back to shooting 6 x 7cm film some time in the near future, I will take his advice and get another camera. A camera that is more reliable and hopefully, the Mamiya RB67 will fit the bill. 

13 hours ago, Rudy Umans said:

 

I had a similar cable release problem with my Graflex Crown (top right)  There is a cable release terminal on the shutter, but since it is a press camera, there is also a remote release on the camera body (That shiny square looking thingy under the rangefinder), which is a mechanical thing with springs and levers that goes to the release button on the lens. This remote body release also has a thread for a cable release, but the problem was there that I needed  a release with a very long throw, which were hard to find. I found a plastic $4.00 one and the only one that works. Since your Koni Omega is also a press camera with a pistol grip with a release, I can imagine you had a similar problem.

 

Actually, that's another option I was considering for shooting 6 x 7 - something like a Graflex press camera (2 x 3 or 4 x 5) with a 6 x 7cm roll film back. I don't have any experience with view camera lenses but would some have a threaded cable release socket?

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Sheila, it would be interesting to find out what kind of camera your father has. Sounds like it has a bellows.

Some years back, I bought a large format camera from a camera market for about $60. It was in very rough condition with broken ground glass and no lens. I wasn't actually sure what format it used but it was a fair size. My plan was to use a 4 x 5 reducing back on it. Strangely, that camera disappeared. I never got the chance to use it. 

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11 hours ago, Patrick Cooper said:

Actually, that's another option I was considering for shooting 6 x 7 - something like a Graflex press camera (2 x 3 or 4 x 5) with a 6 x 7cm roll film back. I don't have any experience with view camera lenses but would some have a threaded cable release socket?

Graflex cameras are great cameras. They were very expensive at the time and that shows. I love my Graflex. most come with (Speed) or without (Crown) a focal plane shutter. 4 x 5 or even 2 x 3 cloth focal plane shutters are a sight to behold, but Graflex Speed require more maintenance and are heavier. I have a  1948 Crown 23. Pacemaker Compact and lightweight. I am too old to lug a heavy 4 x 5 around. Been there done that. 

The other thing to pay attention to is that Graflex is very confusing with there backs. They are not all created equal.  There is Graflok, Graflex/Graphic, and Spring backs. Spring backs are fixed. You want a Graflok. Graflex/Graphic backs look at first glance the same as a Graflok back, but have a different light trap and won't fit 

The Speed and the Crown come in different models and the most common ones are the Pacemaker and the Anniversary. Pacemakers can come with either Graflok of Graflex back, while the Anniversary has always a fixed spring back.  Pacemakers post 1955 with the rangefinder on top always have a Graflok back

You also want an older one with a knob and not with a lever. The latter are newer and made by the SInger Corporation. (The sewing machines company) I don't have a Singer one, but I understand they are not all that reliable. Most of my backs are 6 x 9, I figured if I do medium format, I might as well go the maximum. I can always chop some off later. 

I am telling you all this because a lot of sellers on eBay etc. are confused themselves and they constantly mix up those names and types. So, something to pay attention to.

Also to keep in mind, if I go out for some street shooting with that camera, I get more unsolicited commentary about that camera than with any of my other oldies. Anywhere from "What a beautiful Camera" or "Is that a Hasselblad? My brother in law has a Hasselblad" to "Where do you put the memory card?" (All good)

 

Ok then, shutters. You are correct, not all shutters come with a cable release socket, but many do.  The oldest shutter I have is a 1938 Friedrich Deckel  Compur shutter and that one has one. On my Graflex is a 1941 Kodak  Supermatic shutter with Kodak Ektar lens and that one has one, but the position is in the wrong spot and I can only use it if I put the lens board upside down or I have to use the body mounted shutter release (as in my first post) Anyway most Graflex cameras offered for sale come with a "modern" lens/shutter with usually a cable release terminal. So I don't think that a cable release terminal will be a major problem. 

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6 hours ago, Rudy Umans said:

The other thing to pay attention to is that Graflex is very confusing with there backs. They are not all created equal.  There is Graflok, Graflex/Graphic, and Spring backs. Spring backs are fixed. You want a Graflok. Graflex/Graphic backs look at first glance the same as a Graflok back, but have a different light trap and won't fit 

 

I have heard of the Graflok backs and how they are the preferred choice. Though I think for me, they would be very tricky to identify. I think I would have to rely on a knowledgeable seller who really knows their stuff.

6 hours ago, Rudy Umans said:

Pacemakers post 1955 with the rangefinder on top always have a Graflok back

 

Ah very handy tip. Someone recommended a Century Graphic to me as they may be able to accommodate very short focal length lenses. Hopefully around 50mm or shorter but I'd need some clarification on that.

6 hours ago, Rudy Umans said:

You also want an older one with a knob and not with a lever. The latter are newer and made by the SInger Corporation. (The sewing machines company) I don't have a Singer one, but I understand they are not all that reliable. Most of my backs are 6 x 9, I figured if I do medium format, I might as well go the maximum. I can always chop some off later. 

 

Out of curiosity, what are these knobs and levers used for? And whereabouts would they normally be located? Speaking of Singer, I had a Singer 16mm movie projector at one stage. Unfortunately, it was not a very good quality product. And I was only able to use it for a few days after I bought it. The lamp blew and when I replaced it with a new one, there was no light output. Really expensive lamp too - it cost about half of what I paid for the projector. By contrast, my Eiki 16mm movie projector was a much nicer machine. Very well made. And also very reliable except for the rubber belts in the arms that kept breaking on a semi-regular basis. 

Going back on topic with medium format, I think I'm steering closer towards the Mamiya RB67 as the camera to get. Though of course a great thing about the view cameras is being able to use the Scheimpflug principle. Really handy for landscapes. I guess the Graflex press cameras generally would be able to do a basic tilt with the front standard? I know that for a lot of Graflex models, that's all they can do with regards to view camera movements. I have heard about the Super Graphic and it's ability to do more movements but I know it's still limited compared to what other view cameras can do regarding movements. 

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Ive done some more reading and it seems these Graflex press cameras are even more limiting with their tilting than I first thought. Apparently, with some of the Speed Graphics, there is no front tilt on the front standard, only rear tilt. There are workarounds to this like removing the frame that holds the front standard standard, making adjustments to it and reversing the orientation but it's a very fiddly process. Some have also suggested dropping the bed as another way of dealing with the front tilt issue but that won't work with all lenses. 

Of course a true view camera would be a more viable option if I wanted to play around with the Scheimpflug principle. Though that's a fair bit of bulk to carry around if I just want to shoot medium format. Then again, the RB67 is not exactly a small package either. 

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11 hours ago, Rudy Umans said:

Also to keep in mind, if I go out for some street shooting with that camera, I get more unsolicited commentary about that camera than with any of my other oldies. Anywhere from "What a beautiful Camera" or "Is that a Hasselblad? My brother in law has a Hasselblad" to "Where do you put the memory card?" (All good)

OMG those comments are gold. Especially the memory card one! Ive heard some classics in my time too. Quite a few times when Ive been out and about with a super 8 movie camera, people will refer to it as a video camera. Ive also mentioned that I use super 8 to some people of the older generation (folks who were likely around when the format was popular.) And to my surprise, they're not really familiar with it and one of them thought that perhaps it's a digital video format that I'm talking about. Though others of that generation are familiar with it. And some people can't seem to understand the concept of motion picture film, no matter how hard I try to explain it to them. 

Actually, once on a super 8 forum, there was a post by some guy who got hold of a super 8 camera and decided to buy some film for it and try it out. Once in a while, after exposing some film in the camera, he would take out the film cartridge and wonder why he couldn't see any recorded images on the film. 

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10 hours ago, Patrick Cooper said:

I have heard of the Graflok backs and how they are the preferred choice. Though I think for me, they would be very tricky to identify. I think I would have to rely on a knowledgeable seller who really knows their stuff.

I can help you there if needed.

Quote

Someone recommended a Century Graphic to me as they may be able to accommodate very short focal length lenses. Hopefully around 50mm or shorter but I'd need some clarification on that.

A Century Graphic is the low budget version of a Crown. It is made out of plastic. Otherwise pretty much the came. Not sure if a 50mm lens would work. You might not be able to focus on infinity. 65mm is more the norm.

Quote

Out of curiosity, what are these knobs and levers used for? And whereabouts would they normally be located? 

To advance the film and they would be on top of the back on the right. The film goes from left to right

Quote

Speaking of Singer

Singer bought Graflex after they went south. Singer had Graflex only for a while and sold it to Toyo

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8 hours ago, Patrick Cooper said:

Ive done some more reading and it seems these Graflex press cameras are even more limiting with their tilting than I first thought. Apparently, with some of the Speed Graphics, there is no front tilt on the front standard, only rear tilt. There are workarounds to this like removing the frame that holds the front standard standard, making adjustments to it and reversing the orientation but it's a very fiddly process. Some have also suggested dropping the bed as another way of dealing with the front tilt issue but that won't work with all lenses. 

Of course a true view camera would be a more viable option if I wanted to play around with the Scheimpflug principle. Though that's a fair bit of bulk to carry around if I just want to shoot medium format. Then again, the RB67 is not exactly a small package either. 

Of course they are limited with movements. They are press cameras and not designed to function as a view camera. Linhof might have some more movements, not sure, but they are a lot more expensive. (would love to have one)

Some of the prewar ones have a fixed front standard.  (pre anniversary) I am most familiar with pacemakers and they have all front tilt, shift and rise. To my knowledge, none of them have any rear standard movements. What they do have is a drop bed, so you can simulate a rear tilt and, of course, it also means they have to have a front tilt. Dropping the bed works with all lenses and with extreme wide angle you will have to.

Talking about Linhof, If you want medium format with full movements, maybe you can find a (somewhat) affordable Technikardan S23. Otherwise a Wooden Field camera. 

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Just now, Rudy Umans said:

I can help you there if needed.

 

Oh cool. It certainly sounds like you have had extensive experience with these cameras. 

Just now, Rudy Umans said:

A Century Graphic is the low budget version of a Crown. It is made out of plastic. Otherwise pretty much the came. Not sure if a 50mm lens would work. You might not be able to focus on infinity. 65mm is more the norm.

Ah well that's another drawback of using these kind of cameras with a 120 roll film back. I wanted to use a wide angle lens of around 50mm with 6 x 7. I believe some view camera models have a bag bellows for very short focal length lenses, right? 

 

3 minutes ago, Rudy Umans said:

To advance the film and they would be on top of the back on the right. The film goes from left to right

 

 To advance sheet film? I thought they were pulled out with a film holder?

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6 hours ago, Patrick Cooper said:

OMG those comments are gold. Especially the memory card one! Ive heard some classics in my time too. Quite a few times when Ive been out and about with a super 8 movie camera, people will refer to it as a video camera. Ive also mentioned that I use super 8 to some people of the older generation (folks who were likely around when the format was popular.) And to my surprise, they're not really familiar with it and one of them thought that perhaps it's a digital video format that I'm talking about. Though others of that generation are familiar with it. And some people can't seem to understand the concept of motion picture film, no matter how hard I try to explain it to them. 

Actually, once on a super 8 forum, there was a post by some guy who got hold of a super 8 camera and decided to buy some film for it and try it out. Once in a while, after exposing some film in the camera, he would take out the film cartridge and wonder why he couldn't see any recorded images on the film. 

Many blue moons ago, I was an advanced amateur movie soundman. We made full length movies on Super 8. The cameraman had a Beaulieu with Angenieux lenses (His father was the chief editor of a major photography magazine) Lots of fun

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2 minutes ago, Patrick Cooper said:

Ah well that's another drawback of using these kind of cameras with a 120 roll film back. I wanted to use a wide angle lens of around 50mm with 6 x 7. I believe some view camera models have a bag bellows for very short focal length lenses, right? 

A field camera is probably more like what you are looking for. Press cameras are designed with a specific task in mind.

Quote

To advance sheet film? I thought they were pulled out with a film holder?

Misunderstanding here. I thought we were talking about 6 x 7 backs

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11 minutes ago, Rudy Umans said:

A field camera is probably more like what you are looking for. Press cameras are designed with a specific task in mind.

 

Yes your right. I think a field camera would suit me well. Though the crazy thing is that some years back, I did have a field camera like I mentioned above. The old wooden one that I bought from a camera market. Never got to use it. Though Ive no idea if it had a Graflok back or not. 

 

15 minutes ago, Rudy Umans said:

Misunderstanding here. I thought we were talking about 6 x 7 backs

Woops! Ah yes I see now when I read your post again. My mistake. 

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I only skimmed the technical posts. Sorry. My brain hurts. We're having another heat wave. Not used to triple digit temps here (although it's not quite there at 97F, it feels close enough when one doesn't have ac. I did buy a little personal cooling unit that I can put ice in and it makes fog. It just warmed up enough to blow cold air so I'm starting to have some neural connections synapsing properly again. I hate heat. Ironically, mid week they're saying Colorado is going to get a few feet of snow in the higher elevations because of a cold front blowing through the country. California will get some of the wind but not the significant drop in temps other places will see. Freaky bipolar weather.

 

Sari, I have an aphid infestation on my milkweed, but I also have monarch caterpillars, so I don't want to spray it with anything. I've been "washing" the bugs off a few times/week just by spraying with water, but it doesn't seem to be having an impact. Went to see if I could get some ladybugs, but the nursery is out and they can't harvest any new ones because of the wildfires. Any ideas? I have neem oil, but I don't want to spray that if it's going to cause issues for the caterpillars. I mainly bought the milkweed for the monarchs.

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Sheila are they the yellow oleander aphids? Just squish them with your hands. You can sort of wipe them off between your fingertips and then make sure you mash them good so you get the numbers down. You might want to rinse the plant off so the dead bug juices don't stay on it. Just be careful not to hurt the Monarch caterpillars, or any eggs that might be there. The littlest ones will be hard to see.

 

Yeah we're getting the arctic blast as well, the lows are supposed to go to 40s for a couple of night, and high winds. UGH, or double UUGGHH. From 90s to 40s is NOT good for anyone, animal, plant, or human!

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Sari, yes. They're vibrant yellow orange. Clustered all together for the most part. I took some video using a macro lens I got for my phone. Shallow depth of field but it worked pretty decently.

 

https://www.shutterstock.com/video/clip-1058579458-4k-hd-video-zooming-on-dozens-aphids

 

Can't say as I relish the idea of squishing bugs with my hands but I suppose that's what gloves are for. Ick. Thanks :)   I hope you don't get hit with too much of the bad weather. Today was miserable here. No breeze tonight at all either so it's not really cooling down in the house. Thinking I might actually sleep on the sofa downstairs. It's at least 10 degrees cooler in the lower level. The dog is afraid of the fan so he was too scared to even come into our room last night because I had it running all night.

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Yeah, those

oleander-aphids-congregated-on-milkweed-

 

I think I shot video of them last year, too, but I never got around to submitting it.

And yeah, they will leave your fingers stained yellow if you do the squishing without gloves. I never used gloves for it, but I suspect gloves will change color, too...LOL

Also, did you know that

Quote

The Oleander aphid reproduces entirely by parthenogenesis (without fertilization). Both winged and wingless females reproduce this way so, at least in the wild, no male Oleander aphids occur. The females are also viviparous, meaning that they do not produce eggs but instead give birth to live young called nymphs, the adult female's clones.

Mother Nature is quite efficient!

 

 

 

It's been windy here, and it will get worse as the blast comes through and I hate wind. I don't mind a light breeze, but blustery wind gets old in a hurry.

We will also have a 30-60% chance of thunderstorms for every day and night till Saturday starting tomorrow.

 

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Very nice shot of the aphids!

 

We have been told we will have high winds today, always a worry because of cigarette smokers tossing there butts around and starting fires, like the 75,000 acre fire in CA, and of course campers letting their fires get out of control or not dousing them sufficiently. I have been to at least 4 fires this year already up here in the INW, and there have been others that I have not been to because we only operate in Spokane County, for the Spokane County Sheriff's Incident Response Team but also assist Spokane County Fire departments.

They should close all camp grounds, parks and forests during fire season to keep the idiots out.

We have had triple digit temps up here as well, which of course exacerbates the fire risk problem.

Is there anything left in CA to burn? I forget how many acres have burned there, but I thought Susan told me it was over 1 million.

If I were religious, I might think that CA is having it'd 7 pestilences 😉  Covid, Fires, Aphids, what next?

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38 minutes ago, Jeffrey B. Banke said:

Covid, Fires, Aphids, what next?

Don't jinx it now, California is also prime ground for floods, mudslides, earthquakes, tsunamis.... and considering the arctic blast, very high, destructive winds could also appear.

So, what's your "pick 7"?

:P

 

 

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44 minutes ago, Sari ONeal said:

Don't jinx it now, California is also prime ground for floods, mudslides, earthquakes, tsunamis.... and considering the arctic blast, very high, destructive winds could also appear.

So, what's your "pick 7"?

:P

 

 

That will be why we have so many Californians moving to Arizona. 

And when you have the 'big one', we will have beach front property. 😜

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