View allAll Photos Tagged Authentic
Sampler quilt made from a jelly roll. Blogged: craftymathea.blogspot.com/2010/06/authentic-2x4-finished....
And blogged again for Bloggers' Quilt Festival Spring 2011 here: craftymathea.blogspot.com/2011/05/quilt-festival-time.html
Vans California Authentic Indigo Herringbone - Wear Test Day 1. I love the way Vans Authentics fade and change as you wear them. Day to day wear and sun take there toll in a distinctive way. I think these ones in particular are going to look amazing as they age. The indigo Herringbone fabric is a great switch up to my usual choice of core navy blue canvas. They have the contrast metal eye holes, upgraded inner sole and take off the foxing stripe and the deal is sealed.
Check out our selction of Vans shoes at : www.flatspot.com/store/vans-footwear-1708-0.html
Ah Ya So Nice - Fox Hollies Road, Acocks Green.
This time the shutter was down after I got off the no 1 bus from Edgbaston.
Ah Ya So Nice - Authentic Caribbean Cuisine.
Authentic Parmesan cheese, from producer to consumer, I captured the sale in a street market with its smells and its traditions.
Riding my new pony in my cowgirl outfit with my Siamese cat at Christmas 1963 on the authentic Indian rug.
In background is Castel Sant'Angelo in Parco Adriano, originally built as the mausoleum of Roman Emperor Hadrian and his family, now a museum and religious edifice. Ponte Sant'Angelo, or Pons Aelius, was completed in 134 CE by Hadrian to span the River Tiber from the city center to his new mausoleum.
_DSC5131 Anx2 Q90
Sometimes you have to take care of and pamper your inner self. A few hours of visiting the Japanese gardens strolling around on a nice day in a pretty dress does it for me! Others are there for the same reason and while passing people they have smiles on their faces and either nod or say hello. Take time to do whatever makes you feel good!
The Boothbay Railway Village these days employs a German-built locomotive for operating its 2ft-gauge line, once commonplace throughout the state. The museum also has a surviving locomotive from those earlier times, this rugged-looking 0-4-0STT loco.
Painting and markings:
Since the RAF theme was more or less settled, paintwork revolved around more or less authentical colors and markings. The Wasp received a standard RAF day fighter scheme from the late Fifties, with upper camouflage in RAF Dark Green/Dark Sea Grey and Light Aircraft Grey undersides with a low waterline. I used Humbrol 163, 106 and 166, respectively – Ocean Grey was used because I did not have the proper 164 at hand, but 106 also offered the benefit of a slightly better contrast to the murky Dark Green. A black ink washing was applied plus some panel post-shading. The silver leading edges on wings, stabilizers and fin were created with decal sheet material, avoiding the inconvenience of masking.
The cockpit interior was painted in a very dark grey (Revell 09, Anthracite) while the landing gear, wheels and wells received a greyish-metallic finish (Humbrol 56, Aluminum Dope). The air intakes’ interior became bright aluminum (Revell 99), the area around the jet nozzle was painted with Revell 91 (Iron metallic) and later treated with graphite for a dark metallic shine. The drop tanks were camouflaged, the Firestreaks became white so that they would stand out well and add to a certain vintage look.
The decals were a mix from various sources. The No. 20 Squadron badges and the Type D high-viz roundels on the wings were left over from an Airfix Hawker Hunter. The fuselage roundels came from an Italeri BAe Hawk sheet, IIRC. The bent fin flash, all the stencils as well as the serial code (which was puzzled together from two real serials and was AFAIK not allocated to any real RAF aircraft) came from an Xtradecal Supermarine Swift sheet. The individual red “B” letter came from a Matchbox A.W. Meteor night fighter.
Finally, the kit was sealed with matt acrylic varnish – I considered a glossy finish, since this was typical for RAF aircraft in the Fifties, but eventually just gave the radome a light shine.
Authentic Bluegrass Music
The Rainbow Valley Boys & Sweetheart
Diplomat Records/USA (1965)
Illustration by George Peed
Félicitations à Amélie & Pedro qui se sont mariés le 11 juillet 2015 ! Et merci pour le petit tour dans cette authentique Ford ! Trop la classe :-)
N'hésitez pas à visiter ma Page Facebook et mon compte 500px !
Pour en savoir plus sur Sonick Photographie, mon site web est là !
Set-piece medieval battles always began with a ritual exchange of insults and taunts. Here at the 2015 re-enactment of the battle of Tewkesbury (info) a Yorkist soldier initiates hostilities towards the Lancastrians.
Southeastern Railroad Museum in Duluth, GA Oct 6, 2018.
© Eric T. Hendrickson 2019 All Rights Reserved
Painting and markings:
As mentioned above, the livery is based on an official profile which I deem authentic and canonical. My aircraft depicts a different machine from VFT-127, though, since I could not (and did not really want to) 100% replicate the profile's machine from the Macross PLUS source book, "13 Red". Especially the squadron’s emblem on the fin would create massive problems.
For the two-tone wrap-around scheme I used Humbrol 72 (Khaki Drill) and 98 (Chocolate Brown), based on the printed colors in the source book where I found the scheme. The pattern is kept close to the benchmark profile, and, lacking an underside view, I just mirrored the upper scheme. The starboard side pattern was guesstimated.
As a second-line aggressor aircraft, I weathered the VF-4 with a black ink wash, some post-shading with various lighter tones (including Humbrol 160, 168, 170 and 187) and did some wet-sanding treatment for an uneven and worn look.
Interior surfaces were painted according to visual references from various sources: the landing gear and the air intakes became white, while the cockpit was painted in RAF Dark Sea Grey.
In order to add some color to the overall brown aircraft I decided to paint the missiles all around the hull in white with tan tips – in the profile, the appear to be integrated into the camouflage, what I found dubious.
Most stencils come from the OOB sheet, but I added some more from the scrap box. The grey "kite" roundels come from an 1:72 Hasegawa Macross F-14 Tomcat kit sheet, which I acquired separately for a reasonable price. Even though it took four weeks to be delivered from Asia, the investment was worthwhile, since the sheet also provided some useful low-viz stencils.
The VAT-127 “Zentraedi Busters” unique tail insignia was more complicated, because these had to be printed at home. As a side note, concerning the fin marking, I recently found a translation of the benchmark profile's text on mahq.net, which is interesting: "The Regult within the targeting reticle on the tail met with disapproval from micronized Zentraedi pilots, and so was only used for a short time." The comment also reveals that the original aircraft's modex is "713", not just "13" as depicted, so I tried to reflect these details on my build, too.
I eventually settled for a solution that was partly inspired by the kit’s OOB fin marking and the wish for more contrast for the motif: I scanned the original Regult pod illustration from the source book and printed it on white decal sheet. This was sealed with two layers of glossy acrylic varnish (applied with a rattle can) and then cut into a white field that fills the fixed part of the fin (using the WAVE kit’s OOB fin markings as reference). Once in place and dry, two black outlines were added separately (generic decal material) which help blend the decal and the surroundings. Finally, thin strips of silver decal sheet were used for the fins’ leading edges.
This design variation, compared with the original “13 Red” illustration, led to the idea of a flight leader’s machine with slightly more prominent markings. In order to take this concept further I also gave the aircraft a white stripe around the front fuselage, placed under the kite roundel and again with black outlines for a consistent look. It’s not much different from “13 Red”, but I think that it looks conclusive and, together with the white fin markings and the missiles, livens up the VF-4’s look.
The appropriate flight leader tactical code “01 Red” was puzzled together from single digits from a Begemot Su-27 sheet, the rest of the bort numbers were taken from the OOB sheet (which incidentally feature a “01” code, too).
Concerning the OOB decal sheet, there’s much light but also some deep shadow. While the register is excellent and the carrier film flexible enough to lay down smoothly, the instructions lack information where to place the zillion of stencils (“No step” and “Beware of Blast” stuff) are to be placed! You only get references for the major markings – the rest has either to be guessed, OR you are in possession of the VF-4 source book from Softbank Publishing which was (incidentally?) released in parallel with the WAVE kit. This mecha porn offers an overview of all(!) relevant stencils on the VF-4A’s hull, and ONLY with this information the exhaustive decal sheet makes some sense…
As final steps, the VF-4 received some dry-brushing with light grey around the leading edges, some chipped paint was simulated with dry-brushed aluminum and, finally, light soot stains around the vectoring nozzles all around the hull and the weapon bays were created with graphite. Then the kit was sealed with matt acrylic varnish (Italeri).
“An authentic faith always implies a deep desire to change the world. And this is the question we should pose ourselves: do we too have great visions and zeal? Are we bold too? Do our dreams fly high? Are we consumed by zeal? Or are we mediocre and satisfied with our theoretical apostolic plans?" - Pope Francis
Ignatian Spirituality
For more pictures, please visit my blog: jeffpsj.blogspot.com/
Higashi Chaya District in Kanazawa, Japan, is a mesmerizing journey into the past. This area, renowned for its beautifully preserved Edo-period architecture, is one of the best places to experience Japan’s rich cultural heritage. The district's name, "Higashi Chaya," translates to "East Teahouse," reflecting its historical significance as a hub for geisha performances and traditional tea ceremonies.
The buildings in Higashi Chaya are characterized by their wooden lattice doors, known as "koshi," which provide both aesthetic beauty and functional design. These lattices allow light and air to flow through while maintaining privacy—a testament to the ingenious design principles of the Edo period. The structures feature dark wooden facades and tiled roofs, which have gracefully withstood the test of time. The upper floors, historically used by geishas to entertain guests, have small, discreet windows that add an air of mystery and elegance to the buildings.
Walking through the narrow, stone-paved streets of Higashi Chaya, visitors are transported back to a time when the district was buzzing with the elegant sounds of shamisen music and the delicate footsteps of geishas. The area is dotted with traditional tea houses where visitors can experience authentic Japanese tea ceremonies, adding to the immersive historical experience.
In addition to its architectural beauty, Higashi Chaya District is also home to numerous museums, shops, and cafes that celebrate Kanazawa’s artisanal crafts, such as gold leaf production and Kutani ware pottery. The preservation efforts in this district highlight Kanazawa’s dedication to maintaining its cultural and historical legacy. For history enthusiasts and architecture lovers, a visit to Higashi Chaya District is a must, offering a rare glimpse into the traditions and artistry of Edo-period Japan.
This photo displays an authentic Italian pizzeria demonstrating cultural baking practices utilizing beautifully built brick ovens. While many of the varying cultures’ authentic food preparation styles have been modified and modernized, some ethnicity shines through the specific restaurant pictured above. For example, the Iron Gate Pizzeria bakes with an old world style wood-fired brick oven, similar to those used by Italian pizza chefs. The brick oven is a symbol of the Italian’s influence on American cooking habits. It is said that wood fired brick ovens and pizza have been with us since the dawn of civilization. Excavations of virtually every ancient civilization have uncovered the modern form of the brick oven, which was found, initially, in ancient Rome. While the common pizza descends from a very strong Italian influence, it bears the mark of many civilizations around the Mediterranean, starting with the Ancient Greeks who ate flat, baked bread and stretching to the Spaniards who had been to Peru and brought tomatoes back. These ovens are still used throughout Europe for cooking large quantities of bread. The brick ovens found in Pompeii, which still houses 33 uncovered brick ovens, are in excellent condition and could be used for baking in out present day with only small renovations, which demonstrates excellent engineering skill. The best attributes of the brick oven are it‘s dome shape, insulation, and vent. Medieval brick ovens are scattered across Europe, some varying from the original instrument from Rome. The actual word pizza emerged some time in the middle ages among aristocracy. The varying requirements to cook a pizza at a commercial bakery, pizzeria, or homeowner created a split in brick oven design in the late 18th century. The brick oven is not used by many pizzerias in the U.S. today. The brick ovens, although offering a delicious taste, cause the temperature to rise to a highly uncomfortable number. Few restaurants, however, show their roots. In fact, the world’s first Pizzeria to open in 1830, Antica Pizzeria Port’Alba, is still in business today in Naples. The pizza in this photo was hand tossed, sprinkled with cheese the employees grated, smothered with an authentic pizza sauce, topped with pepperonis, and put in the brick oven to bake. Pizza is viewed by most to be as symbolic of American culture as apple pie. This is unfortunately not true. Americans cannot take credit for this delicious favorite. Pizza has a strong Italian background. The unique flavor of these brick oven pizzas is unmatched.
Jeffrey A. Sadowski. 1997. "Italian Cuisine: the gourmet's companion". New York: J. Wiley.
Donna R. Gabaccia. 1998. "We Are What We Eat: Ethnic Food and the Making of Americans". Cambridge, Massachusetts: Harvard University Press.
A day passes so fast that it must be weeks before I realize I still eat fast foods even though I do cook everyday. Not necessarily KFC's kind, but it's food to go, which means fast.
More often than not I miss a meal of vegetables and fish. Things that are fresh. Farm-to-fork stuff. Some foreign guys are curious about what an authentic Vietnamese meal is like when I tell them they wouldn't find it in any Vietnamese restaurant around the world. "You either cook by yourself, or sit with villagers in the countryside," I said. I missed one thing - my favorite hiding place in the middle of the bustling city. Except for the music, I like everything that smells and sounds and looks and feels purely authentic and unique here. Even their tiny sugar jar.
"Enjoy" is a strange word. Not an extravaganza, not even expensive, it is simple but just can't be bought. It has to be from somewhere inside that you didn't even know it exists. Till it comes.