The Arcturan Alliance has rolled out their newest medium carrier. The Hoyt-class carrier houses two squadrons of Angon fighters and is outfitted with four point-defense turrets and a single deck-mounted howitzer, providing it with a limited unescorted strike capability. It is pictured here escorted by a Culverin-class gunship and two flights of fighters.

Hey look, Lime green!

The Nikon FE2 is a significant upgrade to its predecessor, the Nikon FE. The FE2 came out in 1983, about five years after the release of the FE in 1978. Like the FM2N, the design of the FE2 was highly refined over two generations and various other upgrades. The FE2 is a great travel camera for film. It is relatively small and light, compared with both large fully-automated film SLR cameras and large full-frame FX or even crop sensor DX digital SLR cameras. However, the quality of the images it can produce are the same or better than those of a full-frame digital camera, especially when the film is scanned with a commercial-grade scanner. You can fit the camera with two or three small prime lenses and an electronic flash in a regular size fanny pack. The FE2 has most of the advantages of the FE and then some. The main improvements in the FE2 over the FE, which will be discussed in more detail below, are (1) TTL flash metering capability, (2) maximum shutter speed increased from 1/1000 sec. to 1/4000 sec., (3) 1/3 stop exposure compensation instead of only 1/2 stop, (3) brighter viewfinder than the FE, with improved focusing screens, and (4) flash synch speed and mechanical shutter speed both increased to 1/250 sec. from 1/90 sec. for mechanical shutter speed and 1/125 sec. maximum flash synch speed on the FE.

I became a constant user of the original FE soon after it came out in 1978 as a backup body to my pro-level Nikon F2 Photomic AS. Then, for a long time, I variously used an F3HP, F4 and F90X together with an FM2N for a second body. Of course, after that, digital SLRs started to take off and film became obsolete for most applications. However, for travel, especially in the modern age of restrictions on flight check-in and carry-on baggage, I like to keep my travel camera system as small as possible but still keep maximum image quality. The fully mechanical FM2N itself is almost the perfect travel camera. However, may people like to use flash with film lots of in addition to shooting landscapes and street images, may shooters like to take pictures of my friends and family, sometimes inside a building or at night. So the ability of the FE2 to support TTL flash is a big advantage over the FE or FM2N.

The FE2 was in production from 1983 to 1987, concurrent actually with the experimental and more high-tech FA. Finally, in 1988, both the FE2 and FA were replaced with the new style F801 (N8008), which had the metering system of the FA plus autofocus and built-in auto-wind. There was actually one additional major upgrade to the FM2N/FE3, and that is the FM3A, which was released much later (2001-2006; 1991). The FM3A is the most advanced of the FM/FE Series, with a hybrid mechanical/electronic shutter, an FE2 style metering indicator, and all of the other features of the FE2.

The FE2 was available in silver chrome and black paint. I have the black paint version, and the finish still looks great today, with only a bit of very minor wear and tear. When I compare the black finishes on the FE and FE2, the finish on the FE's black metal plates and dials is significantly more matte than the relatively shiny finish on the FE2. Comparing side by side, the matte finish on the older FE is definitely cooler. I have not looked closely at a chrome FE and FE2, but I have read that the chrome FE's finish is also slightly nicer than the chrome finish on the FE2. Anyway, the black FE2 also looks great. Although my FE2 has been to the shop a few times for regular maintenance, it has thankfully never had any breakdown. Some might argue that the all mechanical FM series is more repairable than an electronic camera like the FE2 over a multi-decade lifespan, and that may be true. But the FE2 is relatively simple compared with later advanced electronic cameras, so I am hopeful that my favorite camera technician will be able to keep my FE2 running for a long time to come.

All FM/FE-style bodies work great today with a wide variety of old and modern Nikon F mount lenses. Some people prefer the FE over the FE2 due to its ability to shoot more images per roll, slightly more convenient battery check, and most importantly, ability to mount pre-Ai lenses with the camera’s retractable meter coupling lever.

Unlike the single large 6 volt battery in the older Nikon EL-2, the FE and FE2 alike take either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. This was standard for Nikon bodies of that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too. Even though the small batteries control both the light meter and electronic shutter (but obviously not film advance or any autofocus), they still seem to last forever. I really liked the battery check lever on the back left of the FE, which is missing on the FE2. On the FE, you just need to push the lever down with your left thumb, and if the batteries are good, the red diode will light; no need to look through the viewfinder to check the batteries. On the FE2; you have to check battery power by movement of the viewfinder needle instead.

The FM/FE series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FE2 to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the F2AS or F3HP. It is not as small as the (mechanical) Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FE2 weighs in at only 550g, without lens, even less than the FE's 590g. Of course, the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. You can actually hang the FE2 with a small lens around your neck or shoulder and almost not notice the weight. The FE2 fits great into a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses.

The FE2 body, like all cameras in the FM/FE series, feels a bit light and even insubstantial when held without a lens attached (The FE2 weighs virtually the same as the FM2N, which is only 10g lighter at 540g). However, once a lens is attached in the wide-angle to medium telephoto size range, especially any Nikkor manual focus primes, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used, although the sound is perhaps not as pleasing as that of the FM2N. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod spacer ring to keep the lens rings from touching the tripod head.

Operation of the FE2 is really smooth. The shutter speed ring is large and has an easy to turn knurled grip, although it is not quite as tall as that on the FM2N. The shutter speed dial on the FE2 offers noticeably more resistance than the dial on the FE due to the more robust click stops on the FE2. But still, it is easy to grab the shutter speed dial with your thumb and forefinger when the film advance lever is pulled out to turn on the camera. For safety purposes, you need to push the central button on the shutter speed dial to turn it off of "Auto". The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stroke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is set by a ring that surrounds the rewind lever. The exposure compensation setting is located on the same ring as the ASA/ISO setting, and has a range from -2 to +2 EV in one-third stop increments, an improvement over the half-stop increments on the FE. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FE2 (and also the FE) is 12 - 4000, wide enough to handle virtually all situations, though slightly narrower than the FM2N, which reaches up to 6400. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The shutter release button is located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button on the FE2 (and FM2N) is a more modern, wider design compared with the relatively narrower release on the FE. The shutter release button on the older FE seems to have a slightly shorter travel than the FE2 and FM2N, and therefore feels slightly more instantaneous. Anyway, the shutter release on the FE2 works well with just the right amount of resistance to allow you to half press for an exposure reading, with just a short continued push to achieve an immediate shutter release. The electronic shutter on the FE2 has about the same loudness as the mechanical shutter on the FM2N, but the character of the sound is different. My FE2 has a honeycomb titanium shutter. Apparently, on later serial numbers, the FE2's shutter was changed to an even more improved aluminum design. The film counter is just in front of release crank and is easy to read.

One of the biggest advantages of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses can be used on all old manual focus bodies. I don't know of any other manufacturer that can make such a claim. Thus, it is convenient to use the FE2 together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.

The FE and FM were the last bodies in that line to directly accept unmodified pre-Ai lenses because they included a retractable meter coupling lever. Of course, with pre-Ai lenses, you still need to use stop-down exposure metering. There are many excellent pre-Ai lenses available on the used market, and to use any such lenses that have not been converted to Ai, the FE and FM cameras would be a better choice than the FE2 or FM2n. Alternatively, you can probably still get an independent camera technician to convert any pre-Ai lens to Ai using scavenged parts, although Nikon itself presumably long ago stopped providing such service.

Loading Nikkor lenses onto any FM/FE Series body is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meter pin on the body; this old system became obsolete after the Nikkormat FT2/EL-W generation. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

To load or unload film, twist the back opening lever counter-clockwise and pull the rewind crank upwards to open the camera back. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the sprocket in the spool engages a film perforation. In my experience, this system is slower but more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. Unlike the FE, the FE2 prevents you from accidentally loading the film with the shutter speed dial set to "A" and ending up with very long shutter activations if you try to wind to the first frame with the lens cap on. I can't count how many times I ran into this problem on my old FE. The FE2 defaults to M250 until the first official frame is reached. The slight downside is that you are unable to squeeze a few extra exposures off the beginning of the role (unless you use 1/250 sec. and Sunny 16 or an external exposure meter!).

The focusing screens of the FM/FE Series were improved and brightened with the release of the FM2/FE2. The original screens on the FE are about 1 stop dimmer than the later second generation. (Note: first and generation screens are interchangeable with exposure compensation). A slight disadvantage of the FM/FE series viewfinders is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FE2's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in the viewfinder will be captured on your film. The viewfinder contains all of the information that you need for convenient camera setting. There is an aperture direct readout (ADR) at the center top of the viewfinder, same as on all FM/FE series cameras. The exposure meter uses a match needle system on the left side of the viewfinder. I actually prefer the three red light emitting diode system of the FM series, which is easier to see in all light conditions. However, the match needle system on the FE2, like the FE, is perfectly fine and is just as easy to see in most normal lighting conditions. The viewfinder of the FE2 is exactly the same as the FE, except that the shutter speed display range has been expanded beyond 1/1000 sec. to 1/4000 sec. Also, the FE2 adds a red LED on the right side of the viewfinder that lights up then exposure compensation is set to other than "0". This fixes a problem on the FE, where you could easily set exposure compensation then forget to turn it off, since there is no indication in the viewfinder that it is still on.

I often use both Manual exposure measurement and Aperture Priority exposure measurement on this camera, depending on the situation. In Manual metering, you simply adjust the shutter speed and aperture until the green and black needles line up. The black needle indicates the recommended shutter speed for the given aperture, and the green needle indicates the set shutter speed. In Auto metering (Aperture priority) you set the shutter speed dial to Auto which causes the green needle to lock on "A" in the viewfinder. The camera automatically selects the appropriate shutter speed, and the black needle indicates that speed in the viewfinder. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments. On the other hand, an advantage of the match needle system is that you receive direct visual confirmation of a wider range of exposure divergence, compared with the LED system.

The FE2, like the FE, FM2 and FM2n exposure meters uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FE2 is the same as all FM/FE series cameras, i.e., EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports an aperture/shutter speed range of 1 sec. at f/1.4 through 1/1000 sec. at f/16. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FE2 is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the later Nikon F4.

Exposure lock is one thing that is slightly inconvenient on the FE/FE2. I sometimes find it easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. I find it quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button in while recomposing and shooting. However, exposure lock on the FE2 is certainly usable. On the older FE, while locking exposure locks the shutter speed at the time the lock button is pressed, the black shutter speed needle in the viewfinder continues to move. This situation was fixed in the FE2, where the black shutter speed needle locks in place when the exposure lock is pressed. By the way, I am more apt to use Aperture priority exposure measurement and exposure lock with electronic Contax SLRs, which allow you to turn on the exposure lock by turning a switch after you achieve the proper exposure setting, and it stays on at a fixed EV until you turn it off. In other words, in the Contax world, after locking the exposure, changes in aperture affect the shutter speed and vice versa in order to keep correct exposure. The Nikon exposure lock only locks the shutter speed, so any changes to the aperture after the shutter speed is locked will change the exposure.

The center of the viewfinder display, with the standard K-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings on the Ai-S lenses, focusing is quick and accurate. The FE2 provides three different interchangeable focusing screen types for various applications. I never needed to use any except the standard K2-Type screen. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. As indicated previously, FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens on the FM3A were further improved so that their split-image rangefinders don’t go dark with lenses that have maximum aperture of f/5.6 or less.

The outer circle in the viewfinder encloses the central area that carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on a Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to compensate the exposure by appropriately changing the aperture or shutter speed in Manual mode, or by changing the exposure compensation dial in Auto mode.

Two contemporaneous Nikon bodies with the FE/FE2, the F3HP and the FA, had different exposure metering patterns. The F3HP, with its 80/20 heavy centerweight, makes it easier to find an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include, in addition to 60/40 centerweight, a multi-segment metering pattern (called AMP or "Automatic Multi-Pattern" in the FA; in later Nikon bodies, this metering pattern is referred to as "Matrix Metering"). The 5-segment pattern on the FA and its first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most normal situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, as is utilized on the FE2. Of course, you have to know what you are doing in such situations! Newer film cameras, such as the F5 and F6, as well as advanced digital Nikons, with their advanced color matrix systems, finally do a good job even in difficult lighting situations. Modern Nikon bodies generally use a 75/25 weight in their center-weight metering modes.

The FE2 incorporates a vertical-travel, metal focal plane shutter with honeycomb titanium or aluminum curtains. Shutter speed range on the FE2 is an expanded 8 sec. through 1/4000 sec, which is acceptable even today. This is a big improvement over the shutter on the original FE, which maxed out at 1/1000 sec. On the slow end, the longest 8 sec. shutter speed (same as the FE) is a convenience to those of us who were previously used to using a shutter release cable for any exposure longer than a second. One advantage of the FE2's electronic shutter over the FM2n's mechanical shutter is that when in Auto (Aperture Priority) mode, the FE2 can select any intermediate shutter speed. In manual mode, you can only select the standard shutter speeds that are indicated on the shutter speed dial. The FE2 has one mechanical shutter speed, 1/250 sec., which is a separate selection on the shutter speed dial. The single mechanical shutter speed on the earlier FE is 1/90 sec. Users might argue whether it is better to have a backup speed of 1/90 sec. for available light, or 1/250 sec. for bright daylight. In any event, given the FE2's great reliability and long battery life, I have never had a need to use the 1/250 sec. mechanical shutter speed.

There are just a few more features that I want to mention. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set for maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FE2 bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. As already mentioned, the FE2 supports automatic TTL flash control with a four-contact hot shoe. The older FE only had a two-contact hot shoe for manual and non-TTL auto flash exposure. The FE2's maximum flash synch speed is 1/250 sec. This capability is still basically current today, significantly better than 1/125 sec. on the FE, and an improvement over all prior Nikon bodies except the FM2. On both the FE and FE2, one of the flash contacts communicates the flash charging status to the camera and lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FE2 works with any Nikon flash unit. I use my SB-24 and SB-26 and they work great. If you will be doing a lot of flash photography, the FE2, along with the FA and FM3A, with TTL flash support, are better choices than the FE and prior Nikon bodies.

In addition to the vast selection of Nikkor and third-party lenses that are available for the Nikon F mount, the FE2 also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive (and also the earlier MD-11). This motor drive unit works on all FM/FE series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack, the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.

(DSC_6194fin2)

In the grounds of Bowood house. The Doric Temple folly designed by Lancelot "Capability" Brown

**** April 21st 2011 (Good Friday) - 10,000 views!****

***Aug 27th 2010***

9000 views, thanks to all!

*** July 26th 2010 *** Her Majesty joins Flickr and I get 100+ hits to this pic in one day from people looking for 'Queen'! Thanks everyone!

I have many other photos of Blenheim on Flickr. Follow this link to see a slide-show of my Blenheim photos.

www.flickr.com/photos/martin-james/tags/blenheim/show/

Thanks for all your comments, invites, and faves everyone; I've been well overwhelmed with them all! A lot of people have kindly commented on the way that the eye is drawn into this image; at least some of this is due to Capability Brown, the creator of these grounds; without a doubt they are a masterpiece of landscape gardening.

I visited Blenheim on a day with a lot of clouds but good light. I used the wide angle lens to try to capture the scale of the grounds. This is the 'Queen Pool' and 'Queen Elizabeth's Island'. This lake was created by Capability Brown when he re-designed the grounds in the 1770's. The High ground on the left of the picture was the site of Woodstock Manor in which the future Queen Elizabeth I was held during the reign of her half sister Queen Mary.

The photo has been substantially edited; this is one of those images where you either get the sky or the landscape! This is two photos merged. I also increased the saturation on the sky.

Comments on the editing are very welcome!

The photo went rather dark on loading, so I've done a bit of work with Picknik to restore the brightness.

Capability Brown designed landscape in Worcestershire.

Immingham allocated 60002 'Capability Brown' was hauling a British Gypsum container train south through Sheffield on May 2nd 1994.

SAC 01 Pápa NATO Strategic Airlift Capability

Boeing C-17A Globemaster III

08-0001 (F-207)

477FF1

BRK Hungarian Air Force

EYSA 211350Z 12012KT CAVOK 31/18 Q1013 BLU NOSIG

EEEI LROP

Blenheim sits in a huge park of about 2000 acres that was originally a 12th century deer park, The Palace of Woodstock was actually a hunting lodge and Elizabeth I was briefly imprisoned there by her elder half sister Mary I when the latter was queen. Its ruins were demolished under the orders of the imperious Sarah, Duchess of Marlborough (See the film 'The Favourite') as she felt it spoilt the view from the new palace.

The rather curious proportions of the bridge are due to the fact it pre-dates the lake engineered by 'Capability' Brown. It was originally built as a huge triumphant arch carrying the roadway across the steep sided valley high above the small River Glyme. Contemporary opinion was it looked ridiculously incongruous in such a setting. It reputedly has 30 rooms, the vast majority flooded when the artificial lake was created post-1760.

This bridge was built in 1758 for the 2nd Earl Strafford to carry a carriageway and footpath over the Serpentine River on his estate. This allowed access from the house to the entrance at Strafford Gate. The river has now partially dried up, but sections of water still remain.

The Serpentine Bridge is a single span stone bridge (Waymark Code: WMDZR7IS). It spans the contour canal. The stone steps were added later. It's a Grade II Listed Building in accordance with Historic England and Register of Parks and Gardens of Special Historic Interest.

Between 2005 and 2008 restoration work was carried out on the Serpentine Bridge balustrade, Rotunda Temple, Gun Room, the Ha-Ha, Corinthian Temple and Archers Hill Gate. Work had not begun on the Tuscan Temple.

The repairs to the Serpentine Bridge were to reinstate the vandalised section of stone balustrade as per the original design back in the 18th century (1758).

Although Capability Brown has traditionally been associated with the park at Wentworth Castle, there is no evidence he was consulted.

Wentworth Castle Gardens is a Grade I Registered Landscape, the only one of its kind in South Yorkshire. There are over 26 individually listed buildings and structures in the grounds and parkland. The site consists of

over 60 acres of formal gardens and 500 acres of wider parkland. The main house and some of the surrounding buildings are owned by Northern College, which provides residential and community education for adults.

--

No Group Banners, thanks.

SAC 01 NATO Strategic Airlift Capability Boeing C-17A Globemaster III - cn F-207 take- off @TRD/ENVA 02.03.18

NATO - Strategic Airlift Capability C-17A 08-0003 on static display at RIAT.

My first visit to this beautiful garden near Bromyard with interconnected lakes and mature trees designed by Capability Brown.

EWSs 47757 'Capability Brown' rolls into London Euston station top and tailed with 47733 with a serco test train from Derby RTC on 26/3/03.

Operator: NATO - Strategic Airlift Capability

Aircraft: Boeing C-17A Globemaster III

Registration: 08-0001 (SAC 01)

C/n: F-207

Time & Location: 14.11.2020, EFTP, Finland

The ruins of Roche Abbey (by Maltby Beck), a ruined Cisterian monastery situated near Maltby, in South Yorkshire. The abbey is at the Northern edge of what was once Sherwood forest, and Robin Hood is said to have taken mass there regularly.

Like most other abbeys, it was dissolved by Henry VIII in 1538, following which the local community despoiled it for timber, stone and lead, as well as the property within. The remains were left to fall to ruin, and the land came into the hands of the Earl of Scarborouh, who emplyed the famous landscape gardener Capability Brown who buried much of it under turf in the late 1700s. There it remained for two centuries until excavated in the 1920s, and is now cared for by English Heritage.

Taken on a walk with the NTU Chaplaincy, using a Pentax Optio S and converted to black and white using Picasa's maroon B&W filter on the advice of Brian @ Bury St Edmunds (UK). Do you prefer this one, or the colour version?

More of my photos can be found here.

Day two of my year long project and all is well. So far ;)

Went for a wander to the cascades in the grounds of Harewood House in Leeds. The area around Harewood was designed and landscaped by Capability Brown in the 18th Century ... did quite a good job of it if I say so myself!!!

We shall see what tomorrow brings ...

The church on the hill… St Mary Magdalene Church, now a redundant 18th century Anglican church at Croome d’Abitot in Worcestershire.

It stands in the Lancelot 'Capability' Brown-designed gardens of Croome Court, once the ancestral home to the Earls of Coventry – now in the care of the National Trust, which is spending a small fortune on restoring the house which the family allowed to fall into serious disrepair. The church itself is under the care of the Churches Conservation Trust.

Photographic note: Incidentally, I took this photograph in 1:1 (square) format, and I wanted to capture lots of sky. I'm rather pleased with the result.

Croome, Worcestershire. The contents of the Tapestry Room were sold in 1900, and much more, including the ceiling and fireplace (replaced with copies) went in 1949, and they all are now reassembled in the Metropolitan Museum of Art in New York. Both house and gardens at Croome Court were designed by Capability Brown between 1751-2, rebuilding an earlier house from the 1640s. The estate was requisitioned in WW2, but was not used for troops, being offered to the Dutch Royal family, but nearby, and partly within the grounds, RAF Defford was established, an important location for the Telecommunications Research Establishment. They left in 1957 as the runways were too short. The house was sold by the Croome Estate Trust in 1948, and became St Josephs Special School until 1979. Taken over by the Hare Krishna movement, it became known as Chaitanya College with involvement from George Harrison, who created recording studios within the house. They left in 1984 and the house was used for several short-term activities, including a training centre; apartments; a restaurant and conference centre; a hotel and golf course, and a private family home. In 2007, it was purchased by the Croome Heritage Trust, who leased it to the National Trust. Croome Court is grade 1 listed.

Croome D'Abitot, near Pershore, Worcestershire, West Midlands, England - Croome Court, High Green

June 2025

Roku has been very patient with me while I figure out depth-of-field, shutter speed, lens length, and camera capability using her face as a constant. She was purring from snuggles moments after this shot was taken. I am greatful for her being still enough for me to find a depth of field centimeters deep.

Terrible quality thanks to the questionable low light capability of the twenty year old Nikon D70 I took this with but I wanted to upload it to show a different side to Kathmandu. Heavy overnight rain had turned the streets to mud and as you can see some of the street stalls weren't for the squeamish..... These streets were as interesting to explore as the famous Hindu and Buddhist temples.

More photos from the trip here : www.flickr.com/photos/darrellg/albums/72157709610673461

From Wikipedia : "Kathmandu Nepali: काठमाडौं) is the capital city and largest city of Nepal with a population of around 1 million. Kathmandu is also the largest metropolis in the Himalayan hill region. Nepali is the most spoken language in the city.

Kathmandu, also known as City of Temples stands at an elevation of approximately 1,400 metres (4,600 feet) above sea level in the bowl-shaped Kathmandu Valley of central Nepal. The valley is historically termed as "Nepal Mandala" and has been the home of Newar culture, a cosmopolitan urban civilization in the Himalayas foothills. The city was the royal capital of the Kingdom of Nepal and hosts palaces, mansions and gardens of the Nepalese aristocracy. It has been home to the headquarters of the South Asian Association for Regional Cooperation (SAARC) since 1985. Today, it is the seat of government of the Nepalese republic established in 2008; and is part of the Province No. 3 in Nepalese administrative geography.

Kathmandu is and has been for many years the centre of Nepal's history, art, culture and economy. It has a multiethnic population within a Hindu and Buddhist majority. It is also the home of the Newars. Religious and cultural festivities form a major part of the lives of people residing in Kathmandu."

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NATO - Strategic Airlift Capability Boeing C-17A Globemaster III 03 on Static Display during the Royal International Air Tattoo (RIAT) at RAF Fairford in 2018.

080001, SAC 01 , NATO Strategic Airlift Capability, Boeing C-17A Globemaster III.

Commentary.

Landscaped by Lancelot “Capability” Brown,

this estate is crowned by a Neo-Greco-Roman mansion,

now used as part of Stowe Public School.

Brown ensured that from the house a number of Classical structures would provide, eye-line, focal points within the Park Landscape.

These include the scaled-down copies of Greek Temples, like the one shown,

Obelisks, Columns with statues and a Corinthian Arch,

centred on the house, nearly a mile to the south-east.

The lakes and valleys provide slopes and water, to further enhance the vistas and present a variety of eco-systems.

Copse woodland and mature trees lining vast, sweeping lawns.

Wood-fringed lakes, streams and waterfalls.

Wild meadow land, farm-land and a maze of interconnecting drives and paths.

This lake is known as the Octagonal Lake.

A brood of Coot chicks briefly swam out into the open, but lily-covered, expanse of water.

Mum and Dad Coots ushered them back into the safety of the nest amongst the reeds, rushes and Water-Irises.

The adults then swam out to forage for food before returning to the nest.

Although far from natural, the Estate has matured and provides a very pleasant and relaxing environment, managed in recent times by the National Trust.

Landscaped gardens and tree plantings by Lancelot 'Capability' Brown

Luton Hoo is an English country house and estate between the towns of Luton, Bedfordshire and Harpenden, Hertfordshire. Most of the estate lies within the civil parish of Hyde, Bedfordshire. The unusual name "Hoo" is a Saxon word meaning the spur of a hill, and is more commonly associated with East Anglia.

Early history[edit]

Luton Hoo is not mentioned in the Domesday book, but a family called de Hoo occupied a manor house on the site for four centuries, until the death of Lord Thomas Hoo in 1455. The manor passed through many notable Someries' families through the centuries, from the family de Hoo, to the family Rotherham, to the family Napier. Successive houses on the site seem to have changed hands several times until in 1762 the then owner, Francis Hearne (MP for Bedford), sold the estate for £94,700 to John Stuart, 3rd Earl of Bute. Following an unhappy period as Prime Minister from 1762 to 1763, Bute decided to concentrate his energies on his Bedfordshire estate at Luton Hoo.

18th century[edit]

Luton Hoo as designed by Robert Adam. Two major sets of alterations were made after this image was published in 1829.

The present house was built for the 3rd Earl of Bute by the neoclassical architect Robert Adam. Work commenced in 1767. The original plan had been for a grand and magnificent new house. However, this plan was never fully executed and much of the work was a remodelling of the older house. Building work was interrupted by a fire in 1771, but by 1774 the house, though incomplete, was inhabited. Dr. Samuel Johnson visiting the house in 1781 is quoted as saying, "This is one of the places I do not regret coming to see....in the house magnificence is not sacrificed to convenience, nor convenience to magnificence".

Luton Hoo was one of the largest houses for which Adam was wholly responsible. While Adam was working on the mansion the landscape gardener Capability Brown was enlarging and redesigning the park; formerly approximately 300 acres (1.2 km²) it was now enlarged to 1,200 acres (4.9 km²). Brown dammed the River Lea to form two lakes, one of which is 60 acres (240,000 m²) in size. In the early 20th century, part of the park overlooked by the south-west facade mansion was transformed into formal gardens.

19th century[edit]

Luton Hoo, picture published in 1855

Robert Adam's completed mansion was transformed by the architect Robert Smirke (later Sir Robert, 1781–1867) circa 1830, following the occupation of the 3rd Earl's grandson, the 2nd Marquess of Bute. Smirke redesigned the house (with the exception of the south front) to resemble its present form today, complete with a massive portico, similar to that designed by Adam but never built. Smirke was a leading architect of the era. His early work and domestic designs, such as that at Eastnor Castle, were often in a medieval style; he seems to have reserved his Greek revival style for public buildings such as the British Museum. Hence Luton Hoo, neither gothic nor strictly Greek revival, is an unusual example of him using a classical style for domestic use, which perhaps he felt would be sympathetic to Adam's original conception.

In 1843 a devastating fire occurred and much of the house and its contents were destroyed. Following the fire the house remained a burnt shell until the estate was sold in 1848 to John Shaw Leigh, a Liverpool solicitor and property speculator. He rebuilt the derelict shell in the style and manner of Smirke, rather than to Adam's earlier plan. The Leigh family continued to own Luton Hoo until 1903, when on the death of John Leigh's daughter-in-law, who had late in life married Christian de Falbe, the Danish ambassador to England, the estate was sold to the diamond magnate, Sir Julius Wernher.

In around 1863 "there was found a Hoard of Roman Coins near Luton, on the estate of John Shaw Leigh, Esq., of Luton Hoo. The coins, which must have been nearly a thousand in number, had been deposited in an imperfectly burnt urn composed of clay and pounded shell, and consisted of denarii and small brass, ranging from the time of Caracalla to that of Claudius Gothicus".[1] Luton Hoo, beginning in the 19th century, began an association with the British royal family. It was here that, in 1891, the future Queen Mary, wife of King George V, was proposed to by her first fiancée, George V's elder brother, Prince Albert Victor, Duke of Clarence, who would die soon after the engagement.

20th century[edit]

In 1903 the house was bought by Sir Julius Wernher, who had made his fortune from the diamond mines of South Africa. Wernher had the interior remodelled in the early 20th century by the architects of the Ritz Hotel, Charles Mewes and Arthur Davis. It was at this time that the mansard roof was added, to increase the amount of staff accommodation. This alteration, coupled with the newly installed casement windows was in the Second Empire style of architecture.

The lavish redesigning of the interior in the belle epoque style resulted in a magnificent backdrop for Wernher' acclaimed art collection. The marble-walled dining room was designed to display Beauvais tapestries, while the newly installed curved, marble staircase surrounded Bergonzoli's statue "The Love of Angels". At the centre of the house the massive Blue hall displayed further tapestries, Louis XV furniture, and Sèvres porcelain. Sir Julius Wernher's widow, later Lady Ludlow, added her collection of English porcelain to the treasures of the house.

The Wernhers' great art collection, equal to that of their neighbours in nearby Buckinghamshire, the Rothschilds, was later further enhanced by the marriage of Julius Wernher's son Harold Augustus Wernher to Anastasia de Torby, the morganatic daughter of a member of the former Russian Imperial family, generally known as "Lady Zia". She brought to the collection an incomparable assembly of renaissance enamels and Russian artefacts, including works by the Russian Imperial court jeweller Peter Carl Fabergé. For many years the collection and house were open to the public. Many of the Fabergé items were, however, stolen in the 1990s.

During the Second World War the Wernher family allowed the house to serve as Headquarters Eastern Command.[2] Luton Hoo's grounds were also used as a tank testing ground for the Churchill tanks that were produced in Luton's Vauxhall factories.

Following Lady Zia's death in 1977, the estate passed to her grandson Nicholas Harold Phillips, whose untimely death in 1991 caused the sale of the mansion house. The priceless collection is now on permanent display at Ranger's House in London. In 1997 the grounds were rented out for that year's Tribal Gathering dance music festival, and again in 2005 (although the latter event was cancelled due to the 7 July 2005 London bombings).

The dining room in the new hotel – April 2008

21st century[edit]

Part of the Luton Hoo Estate—notably the mansion house—has been converted into a luxury hotel called Luton Hoo Hotel, Golf, and Spa, which opened on 1 October 2007. It has 228 bedrooms and suites. Part of the restoration project involved rebuilding the second floor of the house, which was included in the plans drawn up by the original architects. The owners, Elite Hotels, say that furnishings have been selected with the aim of restoring the house to its former glory.

As you enter Croome Court, the pathway takes you past the manor's church, St Mary Magdalene. This Grade I listed building was built in 1763 by Capability Brown for the Earl of Coventry. A medieval church nearer the Court was demolished to make way for this church, the interior of which was designed by Robert Adam.

Inside the church members of the the family are intered with very ornate memorials.

2016 02 19 125002 Worcestershire Croome Court PM1

Visit to Stowe School

CORAL SEA (July 21, 2021) The forward-deployed amphibious assault ship USS America (LHA 6) transits the Coral Sea during Exercise Talisman Sabre 21. Talisman Sabre 21, the ninth iteration and conducted since 2005, occurs biennially across Northern Australia. Australian, U.S. and other multinational partner forces use Talisman Sabre to enhance interoperability by training in complex, multi-domain operations scenarios that address the full range of Indo-Pacific security concerts. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jonathan D. Berlier)

South Korea (March 19, 2023) - The Republic of Korea and U.S. conduct a combined aerial exercise in conjunction with the deployment of U.S. B-1B strategic bombers over the Republic of Korea, March 19, 2023. Combined flight operations provide the U.S. and its allies the opportunity to improve interoperability and demonstrate a combined defense capability. The U.S. remains committed to peace and prosperity through the region to secure a free and open Indo-Pacific. Our commitment to the defense of the Republic of Korea remains ironclad. (U.S. Air Force photo by 1st Lt. Cameron Silver) 230319-F-AP963-1002

** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM | www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **

SAC 01 NATO Strategic Airlift Capability Boeing C-17A Globemaster III - Eindhoven Airport (EIN / EHEH)

Strategic Airlift Capability

Boeing C17A Globemaster

01

Prestwick Airport 2022

I went for a walk around Petworth Park to see the deer during the rutting season, strange groaning and belching sounds echoed around the park. The clash of antlers could be heard for miles as the males showed off their virility to potential mates. This stag bellows shortly after winning a dual with a rival, then struts off to take over the harem.

The fallow deer (Dama dama) is a ruminant mammal belonging to the family Cervidae. This common species is native to western Eurasia, but has been introduced widely elsewhere. It often includes the rarer Persian fallow deer as a subspecies (D. d. mesopotamica), while others treat it as an entirely different species (D. mesopotamica).

Petworth House and Park in Petworth, West Sussex, England, has been a family home for over 800 years. The estate was a royal gift from the widow of Henry I to her brother Jocelin de Louvain, who soon after married into the renowned Percy family. As the Percy stronghold was in the north, Petworth was originally only intended for occasional use.

Petworth, formerly known as Leconfield, is a major country estate on the outskirts of Petworth, itself a town created to serve the house. Described by English Heritage as "the most important residence in the County of Sussex", there was a manorial house here from 1309, but the present buildings were built for the Dukes of Somerset from the late 17th century, the park being landscaped by "Capability" Brown. The house contains a fine collection of paintings and sculptures.

The house itself is grade I listed (List Entry Number 1225989) and the park as a historic park (1000162). Several individual features in the park are also listed.

It was in the late 1500s that Petworth became a permanent home to the Percys after Elizabeth I grew suspicious of their allegiance to Mary, Queen of Scots and confined the family to the south.

The 2nd Earl of Egremont commissioned Capability Brown to design and landscape the deer park. The park, one of Brownâs first commissions as an independent designer, consists of 700 acres of grassland and trees. It is inhabited by the largest herd of fallow deer in England. There is also a 12-hectare (30-acre) woodland garden, known as the Pleasure Ground.

Brown removed the formal garden and fishponds of the 1690âs and relocated 64,000 tons of soil, creating a serpentine lake. He bordered the lake with poplars, birches and willows to make the ânaturalâ view pleasing. A 1987 hurricane devastated the park, and 35,000 trees were planted to replace the losses. Gracing the 30 acres of gardens and pleasure grounds around the home are seasonal shrubs and bulbs that include lilies, primroses, and azaleas. A Doric temple and Ionic rotunda add interest in the grounds.

Petworth House is a late 17th-century mansion, rebuilt in 1688 by Charles Seymour, 6th Duke of Somerset, and altered in the 1870s by Anthony Salvin. The site was previously occupied by a fortified manor house founded by Henry de Percy, the 13th-century chapel and undercroft of which still survive.

Today's building houses an important collection of paintings and sculptures, including 19 oil paintings by J. M. W. Turner (some owned by the family, some by Tate Britain), who was a regular visitor to Petworth, paintings by Van Dyck, carvings by Grinling Gibbons and Ben Harms, classical and neoclassical sculptures (including ones by John Flaxman and John Edward Carew), and wall and ceiling paintings by Louis Laguerre. There is also a terrestrial globe by Emery Molyneux, believed to be the only one in the world in its original 1592 state.

For the past 250 years the house and the estate have been in the hands of the Wyndham family â currently Lord Egremont. He and his family live in the south wing, allowing much of the remainder to be open to the public.

The house and deer park were handed over to the nation in 1947 and are now managed by the National Trust under the name "Petworth House & Park". The Leconfield Estates continue to own much of Petworth and the surrounding area. As an insight into the lives of past estate workers the Petworth Cottage Museum has been established in High Street, Petworth, furnished as it would have been in about 1910.

www.nationaltrust.org.uk/petworth-house

The Nikon F3, Nikon's first pro-level camera with an electronic shutter, was in production from 1980 through 2001. The pictured camera is fitted with the HP High-Eyepoint prism.

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The Nikon F3 was the first professional level Nikon SLR to incorporate an electronic shutter and automatic exposure capability. Of course, the F3 provides the same high-quality materials, refined fit and finish, and durability for professional use as all F-Series cameras. Like its predecessors, the F3 was part of a remarkably broad and advanced professional camera system.

When used in the new aperture priority mode, shutter speed range is a stepless 8 sec. to 1/2000 sec. An F3HP is an F3 body with a so-called "High-Eyepoint" DE-3 prism. Compared with the original F3 standard DE-2 eyelevel finder, the F3HP has a larger viewfinder eyepiece. Actually, most of the F3s that I have seen incorporate the HP viewfinder. Of course, the F3HP viewfinder provides a 100% frame coverage, like all F-series cameras, and a large, bright image with 0.8x magnification. Nikon offered 21 interchangeable focusing screens for the F3, but for general photography, the standard K screen (with split image, microprism collar, and matte field) is satisfactory.

Back in the day, I waited years to upgrade to the F3HP because I liked my F2AS so much. However, since I, like many, had been using a Nikon FE as my second body together with the F2AS, I eventually succumbed to the desire to have aperture priority auto exposure metering on my main camera body, as well.

The F3HP, particularly without the optional MD-4 motor drive attachment, has a perfect shape, body size, and weight for comfortable and stable holding as well as all-day carrying. The F3's built-in handgrip allows a firm grasp.

One advantage of the F3 over the F and F2 is that the exposure meter is incorporated into the camera body instead of the prism. As a result, you can now change viewfinders and still keep the exposure meter. The F3HP's easy-to-view High Eyepoint DE-3 prism is perfect for most purposes, but for various specialized professional applications, Nikon offered other types, such as the DW-3 Waist-Level Finder, the DA-2 Action Finder, and the DW-4 6x Magnification Finder. Nikon even produced the DX-1 AF Finder, with an electronic focus-aid indication!

The exposure meter on/off switch is a plastic lever that is incorporated around the shutter release button. This is something of a precursor to a similar switch on the future F4 and other newer Nikon camera bodies. However, I find the switch on the F3 quite tight and hard to turn. In fact, my original switch got damaged from long use and became stuck in the off position. I had get the switch replaced at my local repair shop. Fortunately, there is no reason why the switch could not just be left in the on position during periods when the camera is in frequent use. Even with the switch in the on position, the meter circuit does not actually activate unless the film wind crank is pulled slightly away from the body and the shutter release button pushed part way down. The shutter and meter are locked off when the film advance lever is pressed into the lock position. The F3 is the first F-level camera to utilize a standard ISO shutter release thread in the center of the shutter release button, instead of the older AR-2 style connector. The shutter release button is positioned just right, in the middle of the body, and has a silky-smooth feel.

As indicated above, the F3 is the first F-series camera body to support aperture priority automatic exposure instead of just manual exposure adjustment. Simply turn the shutter speed dial to "A" to enter this mode, then adjust the aperture ring appropriately. A really cool feature of the F3 is the 80% center-weighted exposure meter, concentrated within the viewfinder's 12 mm outer reference circle area. The 80% central weighting is a great compromise between Nikon's standard 60/40 weighting and a spot meter. The 80% weight allows you to easily meter on the most important section of the image, while still incorporating some exposure information from the remainder of the frame. You can center the 80% central spot on the metering target, then hold down the exposure memory lock button on the front of the body and re-frame. However, since I personally find it uncomfortable to use the exposure lock button in this position, I usually use manual exposure mode in these cases unless I am in a rush to shoot.

The F3 viewfinder includes at the top of the frame an ADR readout of the aperture setting on all Nikon F-mount lenses that have an aperture ring (basically any pre-G lens will work on the F3). To the left is an LCD display of the automatically or manually selected shutter speed, in full stop increments. One thing that I don't like about the F3's manual exposure mode is the compact-style manual exposure indicator display in the viewfinder. When in manual exposure mode, correct exposure is shown by small +- indicators to the left of the shutter speed display. You adjust the exposure until both the + and - indicators are visible at the same time. This system, while extremely accurate, is not as clear or quick as the match needle setup in the Nikkormat EL/FE/FE2/FM3A or the three diode (-o+) setup in the F2AS/FM/FM2n system. The F3's viewfinder display is illuminated by ambient light. However, you can push a small button on the prism to electronically illuminate the display in the dark.

The F3 is the last F-series body to have manual film wind, unless you attach the optional MD-4 Motor Drive (with up to 6 frames per second performance). Starting from the F4, the F-Series evolved to built-in automatic film advance. This is great if you need to often shoot rapidly. However, if you just want a high-end film camera for slower, more deliberative shooting, manual film advance provides quieter film operation, much better battery life, and a smaller and lighter package compared with the auto-advance F4, F5 and F6. Unlike the semi-pro bodies like the FE and FM, the film advance lever on the F3 may be operated in one complete stroke or a series of shorter strokes. The F3 can be used without a battery in an emergency. Just push the mechanical shutter release lever on the front of the camera, although the mechanical shutter speed is limited to only 1/60 second. That is certainly a far cry from a full range of shutter speeds, but at least flexible enough for many situations, if needed. Nevertheless, lack of power is almost never going to become an issue. My F3HP battery and shutter have never died throughout decades of use, and a single battery seems to last forever with the camera's low power usage.

The meter coupling lever on the F3 can be locked up to allow mounting of prehistoric non-AI lenses, although most users probably converted their non-AI lenses to AI decades ago. As a pro-level camera, the F3 has a proper mirror lock-up feature for certain specialized lenses and for slow exposure times. Of course, multiple exposures on a single frame are also supported.

Since the camera has an electronic shutter, it also has an electronic self-timer, complete with a flashing red light, just like modern SLRs.

The eyepiece has the usual shutter lever, but still no adjustable diopter. This is no problem, however, since Nikon still makes screw-in diopter lenses for the F3. Actually, the F3HP works fine with diopter lenses for the F90X, F100, etc. These diopter lenses have screw-in rings that are slightly thinner than harder to find ones that are actually designed for the F3. The large F3HP viewfinder eyepiece is relatively easy to use with glasses. On the F3 without the HP prism, use diopters that are designed for the FM/FE series of cameras.

In order to use an electronic flash unit, just like the earlier generation F and F2 bodies, the F3 still requires that an accessory shoe be mounted over the rewind knob, or that a special Nikon F3 flash unit be mounted directly onto the camera in the same position. (Of course, you could also use a side-bracket flash with a synch terminal cable.) Interestingly, the maximum flash synchronization speed is 1/80 sec., slightly slower than the 1/90 sec. maximum synch speed on the Nikon F2. The new advance is that the F3 offers TTL automatic flash exposure, although the F3 can't simultaneously meter ambient light. The powerful F3-era Nikon SB-16a Speedlight is a perfect match for the camera. Newer Nikon flash units can also provide TTL flash functionality with the F3, when used with the special adapter AS-17, which also allows convenient flash exposure compensation.

If you don't have the AS-17, you can do balanced fill flash the old way, as follows. First, set the background exposure manually, with a shutter speed at or below the maximum electronic flash synchronization speed. Then set the appropriate camera distance based on the film ISO, selected aperture and guide number. Finally, fill flash is achieved by further shutting down the aperture by 1-2 stops, and correspondingly adjusting the shutter speed. You can also set the SB-16a to TTL and adjust the flash exposure down by 1-2 stops using the exposure compensation dial. The compensation dial does not adjust the background exposure in this case because both shutter speed and aperture are set manually. All that being said, for fill flash, it would frankly be easier and faster to use a more modern body such as the F90X, F100, F5 or F6, which all provide various forms of 3D matrix automatic balanced fill-flash, Nikon's most advanced flash system. The F4 also has a pretty good flash capability, but it is still one generation older pre-3D technology (i.e., no communication of subject distance from D-type lenses.)

The basic Nikon F3 and F3HP were available in black. The Nikon F3 was also available in a few special variants, all of which had the High-Eyepoint viewfinder, such as the Nikon F3/T with a titanium exterior, the Nikon F3 Press, and various limited edition models. The F3/T was produced in both champagne and black colors.

As a pro-level camera, the F3 offers the benefits of aperture priority auto exposure, basic TTL flash, and a more compact and elegant design than the prior-generation F and F2 bodies. Compared with its later descendants, the F3 does not provide such benefits as matrix (multi-segment) metering, automatic balanced fill flash, multiple exposure modes, and built-in automatic film advance. On the other hand, the core F3 is significantly smaller and lighter than those later pro-level bodies. And, when used properly, the F3's exposure metering system can be just as effective, or even more so, compared with the early-generation matrix metering systems in some later Nikon cameras. For deliberative photographers who still like to shoot film, the F3 and F3HP provide a highly-refined and relatively compact manual focus platform for the extensive universe of "Pre-G"-type Nikon F-Mount lenses.

Copyright © 2015 Timothy A. Rogers. All rights reserved.

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You may view more of my images of Ickworth House, Park and gardens, by clicking "here" !

Please do not insert images, of group invite, thank you!

Ickworth Park. With over 1,800 acres of parkland designed by Capability Brown, the house and its grounds were created as an homage to Italy, the country so beloved by Frederick Augustus Hervey, the 4th Earl of Bristol. The Earl-Bishop spent his life travelling the continent, gathering together a vast collection of paintings, sculpture and artefacts. Already possessed of several houses, he conceived Ickworth primarily as a museum for his treasures. At his death only the Rotunda - the giant circular structure at the centre of the two wings, described by Hervey's wife as 'a stupendous moment of Folly' - was nearing completion. The house was eventually finished by his son. Although Hervey's treasures, confiscated during the French invasion of Italy, were destined never to occupy Ickworth, his descendants made it their life's work to rebuild what has become an exceptional collection of art and silver. Paintings housed in the galleries include works by Velázquez, Titian and Poussin, while the collection of 18th-century portraits of the family is exceptionally fine, featuring canvases by Gainsborough, Reynolds, Vigée-Lebrun and Hogarth. In addition to one of the very best British collections of Georgian Huguenot silver, Ickworth is also home to an impressive array of Regency furniture, porcelain, and domestic objects. More made a career of producing idealised Italian landscapes. His Landscape with Classical Figures, Cicero at his Villa, painted in 1780 and funded in 1993, is a typical work, the misty soft-focus and pastel light adding to its appeal. Hugh Douglas Hamilton's The Earl Bishop of Bristol and Derry Seated before the Prospect of Rome shows Hervey seated at what is thought to be the southern tip of the Borghese Gardens. Ickworth's parklands and gardens can provide a day's activity in their own right. The south gardens are modelled on the formal Italian style, while the gardens to the west of the house are more informal. Visitors can walk or cycle out into the park itself and up to the Fairy Lake. Bright and modern, The West Wing Restaurant overlooks the gardens and can be guaranteed to catch any sunlight on offer. It serves everything from hot meals to snacks, and at weekends the restaurant is open for breakfast. If you're after something rather more formal, try Frederick's restaurant at Ickworth Hotel in the grounds.

The sheep is a quadrupedal, ruminant mammal typically kept as livestock. Like all ruminants, sheep are members of the order Artiodactyla, the even-toed ungulates. Although the name "sheep" applies to many species in the genus Ovis, in everyday usage it almost always refers to Ovis aries. Numbering a little over one billion, domestic sheep are also the most numerous species of sheep. An adult female sheep is referred to as a ewe (/juː/), an intact male as a ram or occasionally a tup, a castrated male as a wether, and a younger sheep as a lamb. Sheep are most likely descended from the wild mouflon of Europe and Asia. One of the earliest animals to be domesticated for agricultural purposes, sheep are raised for fleece, meat (lamb, hogget or mutton) and milk. A sheep's wool is the most widely used animal fiber, and is usually harvested by shearing. Ovine meat is called lamb when from younger animals and mutton when from older ones. Sheep continue to be important for wool and meat today, and are also occasionally raised for pelts, as dairy animals, or as model organisms for science. Sheep husbandry is practised throughout the majority of the inhabited world, and has been fundamental to many civilizations. In the modern era, Australia, New Zealand, the southern and central South American nations, and the British Isles are most closely associated with sheep production. Sheepraising has a large lexicon of unique terms which vary considerably by region and dialect. Use of the word sheep began in Middle English as a derivation of the Old English word scēap; it is both the singular and plural name for the animal. A group of sheep is called a flock, herd or mob. Many other specific terms for the various life stages of sheep exist, generally related to lambing, shearing, and age. Being a key animal in the history of farming, sheep have a deeply entrenched place in human culture, and find representation in much modern language and symbology. As livestock, sheep are most often associated with pastoral, Arcadian imagery. Sheep figure in many mythologies—such as the Golden Fleece—and major religions, especially the Abrahamic traditions. In both ancient and modern religious ritual, sheep are used as sacrificial animals. Domestic sheep are relatively small ruminants, usually with a crimped hair called wool and often with horns forming a lateral spiral. Domestic sheep differ from their wild relatives and ancestors in several respects, having become uniquely neotenic as a result of selective breeding by humans. A few primitive breeds of sheep retain some of the characteristics of their wild cousins, such as short tails. Depending on breed, domestic sheep may have no horns at all, or horns in both sexes, or in males only. Most horned breeds have a single pair, but a few breeds may have several. Another trait unique to domestic sheep as compared to wild ovines is their wide variation in color. Wild sheep are largely variations of brown hues, and variation within species is extremely limited. Colors of domestic sheep range from pure white to dark chocolate brown and even spotted or piebald. Selection for easily dyeable white fleeces began early in sheep domestication, and as white wool is a dominant trait it spread quickly. However, colored sheep do appear in many modern breeds, and may even appear as a recessive trait in white flocks. While white wool is desirable for large commercial markets, there is a niche market for colored fleeces, mostly for handspinning. The nature of the fleece varies widely among the breeds, from dense and highly crimped, to long and hairlike. There is variation of wool type and quality even among members of the same flock, so wool classing is a step in the commercial processing of the fibre. Depending on breed, sheep show a range of heights and weights. Their rate of growth and mature weight is a heritable trait that is often selected for in breeding. Ewes typically weigh between 45 and 100 kilograms (99 and 220 lb), and rams between 45 and 160 kilograms (99 and 353 lb). When all deciduous teeth have erupted, the sheep has 20 teeth. Mature sheep have 32 teeth. As with other ruminants, the front teeth in the lower jaw bite against a hard, toothless pad in the upper jaw. These are used to pick off vegetation, then the rear teeth grind it before it is swallowed. There are eight lower front teeth in ruminants, but there is some disagreement as to whether these are eight incisors, or six incisors and two incisor-shaped canines. There is a large diastema between the incisors and the molars. For the first few years of life it is possible to calculate the age of sheep from their front teeth, as a pair of milk teeth is replaced by larger adult teeth each year, the full set of eight adult front teeth being complete at about four years of age. The front teeth are then gradually lost as sheep age, making it harder for them to feed and hindering the health and productivity of the animal. For this reason, domestic sheep on normal pasture begin to slowly decline from four years on, and the average life expectancy of a sheep is 10 to 12 years, though some sheep may live as long as 20 years. Sheep have good hearing, and are sensitive to noise when being handled. Sheep have horizontal slit-shaped pupils, possessing excellent peripheral vision; with visual fields of approximately 270° to 320°, sheep can see behind themselves without turning their heads. Many breeds have only short hair on the face, and some have facial wool (if any) confined to the poll and or the area of the mandibular angle; the wide angles of peripheral vision apply to these breeds. A few breeds tend to have considerable wool on the face; for some individuals of these breeds, peripheral vision may be greatly reduced by "wool blindness", unless recently shorn about the face. Sheep have poor depth perception; shadows and dips in the ground may cause sheep to baulk. In general, sheep have a tendency to move out of the dark and into well lit areas, and prefer to move uphill when disturbed. Sheep also have an excellent sense of smell, and, like all species of their genus, have scent glands just in front of the eyes, and interdigitally on the feet. The purpose of these glands is uncertain, but those on the face may be used in breeding behaviors. The foot glands might also be related to reproduction, but alternative reasons, such as secretion of a waste product or a scent marker to help lost sheep find their flock, have also been proposed.

From Wikipedia, the free encyclopedia

"BRK 58" on short finals for RWY 10 @ RAF Mildenhall.....

The Mikoyan MiG-31 (Russian: Микоян МиГ-31; NATO reporting name: Foxhound) is a supersonic interceptor aircraft developed to replace the MiG-25 "Foxbat". The MiG-31 was designed by the Mikoyan design bureau based on the MiG-25.

Development

The MiG-25 "Foxbat", despite Western panic about its tremendous performance, made substantial design sacrifices in capability for the sake of achieving high speed, altitude, and rate of climb. It lacked maneuverability at interception speeds, was difficult to fly at low altitudes, and its inefficient turbojet engines resulted in a short combat range at supersonic speeds.[citation needed] The MiG-25's speed was limited to Mach Mach 2.83 in operations. But it could reach a maximum speed of Mach 3.2 with the risk of damaging the engines beyond repair.

Development of the MiG-25's replacement began with the Ye-155MP (Russian: Е-155МП) prototype which first flew on 16 September 1975.Although it bore a superficial resemblance to a stretched MiG-25 with a longer fuselage for the radar operator cockpit, it was in many respects a new design. The MiG-25 used 80% nickel steel in its structure to allow welding.The Ye-155MP doubled the use of titanium to 16% and tripled the aluminium content to 33% to reduce structural mass. More importantly, supersonic speed was now possible at low altitudes. Fuel capacity was also increased, and new, more efficient low bypass ratio turbofan engines were fitted.

The most important development was introducing an advanced radar capable of both look-up and look-down engagement (locating targets above and below the aircraft), as well as multiple target tracking. This finally gave the Soviets an interceptor able to engage the most likely Western intruders at long range. It also reflected a policy shift from reliance on ground-controlled interception (GCI) to greater autonomy for flight crews.

Like its MiG-25 predecessor, the MiG-31 was surrounded by early speculation and misinformation concerning its design and abilities. The West learned of the new interceptor from Lieutenant Viktor Belenko, a pilot who defected to Japan in 1976 with his MiG-25P. Belenko described an upcoming "Super Foxbat" with two seats and an ability to intercept cruise missiles. According to his testimony, the new interceptor was to have air intakes similar to the Mikoyan-Gurevich MiG-23, which the MiG-31 does not have, at least not in production variants. While the MiG-31 was undergoing testing, an unknown aircraft was spotted by a reconnaissance satellite at the Zhukovsky flight test center near the town of Ramenskoye. The images were interpreted as a fixed-wing interceptor version of a swing-wing fighter codenamed "Ram-K". The latter was eventually revealed to be the Sukhoi Su-27 'Flanker', a wholly unrelated design.

Series production of the MiG-31 began in 1979 and about 400 were produced by 2000.

Some upgrade programs have found their way in the MiG-31 fleet, like the MiG-31BM multirole version with upgraded avionics, new multimode radar, hands-on-throttle-and-stick (HOTAS) controls, liquid crystal (LCD) color multi-function displays (MFDs), ability to carry the AA-12 'Adder' missile and various Russian air-to-ground missiles (AGMs) such as the AS-17 'Krypton' anti-radiation missile (ARM), a new and more powerful computer, and digital data links. A project to upgrade the Russian MiG-31 fleet to the MiG-31BM standard is nearing completion.

Design

Like the MiG-25, MiG-31 is a large twin-engine aircraft with side-mounted air intakes, a shoulder-mounted wing with an aspect ratio of 2.94, and twin vertical tailfins. Unlike the MiG-25, it has two seats, with the rear occupied by a dedicated weapon systems officer.

Airframe and engines

The wings and airframe of the MiG-31 are stronger than those of the MiG-25, permitting supersonic flight at low altitudes. Its Aviadvigatel D30-F6 turbofans, rated at 152 kN thrust, (also described as "bypass turbojets" due to the low bypass ratio) allow a maximum speed of Mach 1.23 at low altitude. High-altitude speed is temperature-redlined to Mach 2.83—the thrust-to-drag ratio is sufficient for speeds in excess of Mach 3, but such speeds pose unacceptable hazards to engine and airframe life in routine use.

Given the MiG-31's role as Mach 2.8+ interceptor and the sustained afterburning this requires, its fuel consumption is higher when compared to other aircraft serving in different roles, such as the Su-27. Consequently, the aircraft's fuel fraction has been increased to more than 0.40—16,350 kg (36,050 lb) of high-density T-6 jet fuel. The outer wing pylons are also plumbed for drop tanks, allowing an extra 5,000 L (1,320 US gal) of external fuel. Late-production aircraft have aerial refueling probes.

MiG-31 is limited to a maximum of only 5 g at supersonic speeds. At combat weight, its wing loading is marginal and its thrust to weight ratio is favorable. However, it is not designed for close combat or rapid turning.

General characteristics

Crew: Two (pilot and weapons system officer)

Length: 22.69 m (74 ft 5 in)

Wingspan: 13.46 m (44 ft 2 in)

Height: 6.15 m (20 ft 2 in)

Wing area: 61.6 m² (663 ft²)

Empty weight: 21,820 kg (48,100 lb)

Loaded weight: 41,000 kg (90,400 lb)

Max takeoff weight: 46,200 kg (101,900 lb)

Powerplant: 2 × Soloviev D-30F6 afterburning turbofans

Dry thrust: 93 kN (20,900 lbf) each

Thrust with afterburner: 152 kN (34,172 lbf) each

Performance

Maximum speed:

High altitude: Mach 2.83 (3,000 km/h, 1,860 mph)[3]

Low altitude: Mach 1.2 (1,500 km/h, 930 mph)

Combat radius: 720 km (450 mi) at Mach 2.35

Ferry range: 3,300 km (2,050 mi)

Service ceiling: 20,600 m (67,600 ft)

Rate of climb: 208 m/s (41,000 ft/min)

Wing loading: 665 kg/m² (136 lb/ft²)

Thrust/weight: 0.85

Maximum g-load: 5 g

Armament

1× GSh-6-23 23 mm cannon with 260 rounds.

Fuselage recesses for 4× R-33 (AA-9 'Amos') (or for MiG-31M/BM only 6× R-37 (AA-X-13 'Arrow') long-range air-to-air missiles)

4 underwing pylons for a combination of:

2× R-40TD1 (AA-6 'Acrid') medium-range missiles, and[clarification needed]

4× R-60 (AA-8 'Aphid') or

4× R-73 (AA-11 'Archer') short-range IR missiles, or

4× R-77 (AA-12 'Adder') medium-range missiles.

Some aircraft are equipped to launch the Kh-31P (AS-17 'Krypton') and Kh-58 (AS-11 'Kilter') anti-radiation missiles in the suppression of enemy air defenses (SEAD) role.

Lancelot 'Capability' Brown landscaped many areas within Kew, not to mention many gardens and landscapes across the UK.

As part of the celebrations commemorating his 300th birthday, a horse-powered tree transplanter, one of the oldest surviving tree transplanters in the world, was pulled around various parts of Kew over the half-term week. Tree experts also planted a Liriodendron tulipifera (tulip tree) at the Palm House end of Pagoda Vista earlier on in the week.

Gardens were re-landscaped using the horse-powered tree transplanter, which was used to uproot trees of up to 20m tall and transport them as far as 32km at a time during the Georgian period and it was considered a revolutionary piece of equipment!

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All Rights Reserved, as stated. Re-posts are with expressed permission only. You may not use this image, edit it or alter it in any way (and as a result, claim the image or the derivative as your own).

"Bartok 37" arrived at Uppsala Garnison from Agadir with supplies from Camp Nobel in Mali.

Visit White Horse Hollow in the Shangrilah region for free rides on our lovely romantic ramblers. Each horse and cart carries at least two people with built in single and cuddle capability - perfect for that special date with your special someone.

Ride through a Capability Brown-inspired landscape full of flowers, butterflies and of course, horses.

maps.secondlife.com/secondlife/Shangrilah/190/207/21

C-17A SAC HEAVY AIRLIFT WING 01/080001 PÁPA (RIAT)

"Strategic Airlift Capability"

--------------------------------------

The Strategic Airlift Capability (SAC) is a multinational initiative that provides its participating nations assured access to military airlift capability to address the growing needs for both strategic airlifts and tactical airlifts.

SAC, established in 2008, is an independent, multinational program that provides the capability of transporting equipment and personnel over long distances to its 12 member nations by owning and operating three Boeing C-17 Globemaster III long range cargo aircraft. The SAC is based at the Hungarian Defence Forces Pápa Air Base in Western Hungary. Each participating nation owns a share of the available flight hours of the SAC C-17's that can be used for missions to serve the needs of their national defense, NATO, EU or UN commitments as well as humanitarian relief efforts.

Hungary plays a special role in the SAC as the host nation. The SAC C-17's are registered and flagged in Hungary bearing the national military aircraft insignia of the nation.

Although the Strategic Airlift Capability relies on certain NATO support structures, it transcends the military and political alliances like the NATO and the European Union.[1] The governing bodies of the program are the SAC Steering Board and the NATO Airlift Management (NAM) Programme Board. The operational organization of SAC, the Heavy Airlift Wing (HAW), is a multinational force, commanded by a colonel of a member nation.

Trentham Gardens 2017

In the lovely gardens of Bowood House

Bowood is a grade I listed[1] Georgian country house with interiors by Robert Adam and a garden designed by Lancelot "Capability" Brown. It is adjacent to the village of Derry Hill, halfway between Calne and Chippenham in Wiltshire, England. .

The Nikon FM2n is the best medium-compact mechanical shutter SLR camera ever made. There are other bodies from other manufacturers that have been favorably compared, such as the Olympus OM-3 and the Leica R6.2. These other cameras indeed have certain features, e.g., spot metering capability, that are not found on the FM2n. However, they have disadvantages, too. The Olympus system is smaller than Nikon, and lenses and accessories are presumably less abundant on the used market. The Leica system is substantially more expensive used, especially the lenses, and the Leica R series never became that popular (as opposed to Leica's M-Series). The design of the FM2n has been highly refined over several generations of the FM product line. It is part of the enormous Nikon system of manual focus and auto focus cameras. Many Nikon bodies are available on the used market. And the FM2n is just an absolutely great camera.

The FM2n is the final all-mechanical version of the FM Series that began with the FM in 1977 as an upgrade to the classic Nikkormat FT3 (early 1977). The FM was subsequently updated and modernized with various versions of the FM, FM2 (1982) and FM2n which were developed over the years, with the FM2n finally introduced in 1984. The FM2n remained in production until 2001. There was actually one additional major upgrade after the FM2n, which was the FM3A (2001-2006; 1991). The FM3A is the most advanced of the FM Series, with a hybrid mechanical/electronic shutter, an FE2 style readout, and all of the other features of the FE2. From a technological point of view, the FM3A is really cool and unique. However, due to some of the feature advantages that I will discuss below, the FM2n is still a very attractive option for all manual film shooting . The FM3A is relatively more expensive on the used market, with relatively high prices for the occasional NIB sample, or even very clean used camera.

Check out the FM3A here:

www.flickr.com/photos/trphotoguy/23145338649/in/album-721...

The standard FM2n was available in silver chrome and black paint. Both look great.

There were a few special versions of the FM2n that were introduced. The most interesting one is the FM2/T (1993-1997). The FM2/T is exactly the same mechanically as the latest FM2n, except that the top and bottom covers are made out of titanium. Please refer to my separate page on the FM2/T, which is one of the most beautiful SLR cameras ever made:

www.flickr.com/photos/trphotoguy/16514084188/in/album-721...

My own experience with the FM line actually started with the FM2n. Previously, I had been using the Nikon F2 Photomic AS and Nikon FE combination; my F2 was the reliable all-mechanical body, and I used the FE as an electronic backup when needing something smaller than the F2, or when wanting to shoot quicker with the FE in aperture priority mode, or just for a different kind of film. (Back then, photographers still looked askance at electronic cameras compared with tried and true mechanical ones.) However, when I finally upgraded from the F2 to the new F3HP, it was time to switch around and get the FM2n as a mechanical backup to the electronic F3HP.

Since my experience with the FM Series started with the FM2n, and given that the FM2n would be the best body of the series to go with on the used market today, I will focus my comments on the FM2n.

As with the prior models of the FM Series, the FM2n takes either a 3V lithium battery, two 1.55V silver oxide batteries, or two 1.5V alkalines. Quite standard for Nikon bodies of the that era. I usually prefer to just go with a single 3V lithium to enjoy the long shelf life, but of course the other two types work fine too, as needed. Since the small batteries are used only for the light meter, they seem to last forever and are not necessary for camera operation at all shutter speeds.

The FM series is built with a copper-aluminum-silicon (copper-silumin) alloy body. I find the size and weight of the FM2n to be perfect, especially with wide-angle through medium telephoto Nikkor manual focus prime lenses. The body size is not too big or too small. Its size is large enough to hold securely, but still smaller than full size professional bodies like the concurrent F3HP. It is not as small as the Contax S2, Pentax MX, or even the Olympus OM-3, which are considered small compact bodies and sometimes feel a bit too small to get a good grip. The FM2n weighs in at only 540g without lens, and of course the weight of the batteries is insignificant, compared with the multiple AA batteries or other larger batteries in future electronic bodies. The FM2n fits great in a dedicated case, or a spongy snug-fit case, or a small camera bag with a few lenses. It is an excellent size for travel use.

The FM2n body by itself, like all those in the FM Series, feels a bit light and even insubstantial when held without a lens attached. However, once a lens is attached, the lens/camera combination has the perfect balance, size and weight. It has a highly luxurious and precision feel and sound when held in your hands and used. I most often use Ai-S primes from 20/2.8 to 200/4 and the system is wonderful to operate with all of those lenses. However, once you start getting into bigger and heavier lenses such as, for example, the 80-200/2.8, the camera feels a big too light and out of balance. Also, on fatter lenses, you may need to use a rubber tripod filler ring to keep the lens rings from touching the tripod head.

Operation of the FM2n is really smooth. All of the top controls are on the right side of the camera. The shutter speed ring is tall, large and has an easy-to-turn knurled grip. It is easy to grab with thumb and forefinger when the film advance lever is pulled out to turn on the camera. The film advance lever motion is amazingly smooth, although the lever is single-stroke only, unlike the levers on the F, F2 and F3. But the stoke is not very big, so a quick easy stroke quickly winds to the next frame. ASA/ISO setting is embedded into the top of the shutter speed dial. Shutter speed and ISO markings are clear and easy to read. The ISO range of the FM2n is 12 - 6400, wide enough to handle virtually all situations. The small multiple-exposure lever is located under the film advance lever, out of the way but easy to turn when you need it. The mechanical shutter release button is large and located at just the right location near the front of the body. It takes a standard mechanical cable release. The shutter release button has a fairly long travel, but it works well with just the right amount of resistance to allow you to half press for an exposure reading, and then make a short continued push to achieve an immediate shutter release. The shutter has a relatively quiet, pleasing and precision-like sound. The film counter is just in front of release crank and is easy to read.

One of the biggest advantage of the Nikon film SLR lens mount (the "F mount") is that it is the only SLR camera mount that has stayed virtually the same from the time of the first Nikon F and Nikkormat FS/FT through to the most current small and full frame Nikon digital SLRs. Except for the requirement that relatively newer Nikon film SLRs require Ai or Ai-converted lenses, all manual focus Nikon F mount lenses can be used on autofocus bodies, and most full-frame auto-focus Nikon F mount lenses (pre-G type) can be used on all old manual focus bodies. I don't know of any other SLR manufacturer that can make such a claim. Thus, it is convenient to use the FM2N together with a modern Nikon autofocus film or digital SLR because you can often use the same lenses on both bodies.

Loading Nikkor lenses onto any FM Series is quick and positive. Just line up the black dot on the lens with the dot on the camera body and twist the lens counter-clockwise. Of course, there is no need to line up the claw on Ai Nikkor aperture rings with an exposure meet pin on the body; this old system became obsolete after the Nikkormat FT2/EL generation. Unfortunately, the FM Series lens mount lost the retractable meter coupling lever after the original FM body; thus the FM2n won't accept (in stop down mode) any pre-Ai or non-Ai's lenses that you might own. To remove a lens, just press the lens release button on the left front of the body and twist clockwise.

The only control on the top left of the camera is the film rewind/back opening mechanism. Twist the back opening lever counter-clockwise and put the rewind crank upwards to open the camera back. Since the camera only has a manual exposure meter mode, unlike the FE/FE2, the rewind crank mechanism includes no exposure compensation dial. Film loading is traditional style and almost foolproof. Like many Nikon and other cameras of this generation, you need to stick the film leader into a slot on the take-up spool and insure that the latch in the spool engages a film perforation. This system is more reliable than that on newer Nikon bodies where you simply lay the film leader flat next to an index line. With the FM2n, if you are careful when you load the film, you can get an extra exposure on frame 0.

The viewfinder of the FM Series has been gradually improved over the life of the series, but remains essentially the same in the FM2n version. A slight disadvantage of the FM series viewfinder is that, unlike the 100% frame coverage of a pro-level Nikon F series camera, the FM's frame coverage is only 93%. This is not unusual in a pro-sumer level camera, but you need to be aware that objects that are outside the field of view in will be captured on your film. (Maybe it wasn't a problem with mounted slides?) The viewfinder contains all of the information that you need for convenient camera setting. There is a mechanical readout for the selected shutter speed on the left side of the viewfinder. There is also a aperture direct readout (ADR) at the center top of the viewfinder. The exposure meter indicator on the right of the viewfinder utilizes three red light emitting diodes. This is my favorite type of exposure meter readout design, which I learned to like on the earlier Nikon F2 Photomic AS. It is also the same system as that on cameras such as the Leica M6TTL or current MP. First of all and most importantly, the diodes are easy to see in all lighting conditions, light and dark. The LEDs are bright enough to be clearly visible on a sunny day, but also not so bright that they blind you in a dark location. Also, exposure adjustment is extremely rapid and precise.

I normally set the shutter speed first, depending on what I am trying to do. Then push the shutter release button down half way and twist the lens aperture ring on the lens until only the center LED circle lights up. As you move away from correct exposure, the LED display changes to a combined +o or o- (when you are over or underexposed by between 1/5 and one stop-), and finally to a single + or - (when you are over or underexposed by more than one stop).The three-diode system of the FM Series is superior to the match needle system of the aperture priority capable FE Series and the hybrid FM3A. While the match needle system is nice and clear in bright light, it is almost impossible to see the display to adjust exposure in dark environments - although the meter itself is very sensitive. On the other hand, an advantage of the match needle system is that you receive direct visual indication of a wider range of exposure divergence, compared with the LED system. Also, you can directly see intermediate shutter speeds in Aperture Priority mode.

The FM2 and FM2n exposure meter uses a pair of silicon photodiodes (SPDs) for exposure measurement. This was the latest generation of exposure meter technology, after Cadmium Sulfide (CdS) technology in the Nikkormat FT (1965) through the FT3 (1977) and gallium-arsenide-phosphide photodiodes in the original FM (1977). Silicon photodiodes provide quick response and stability, and apparently lower manufacturing cost for Nikon, compared with the prior generation. Exposure measurement range of the FM2n is EV 1 to EV 18 at ASA/ISO 100 and with a 50mm f/1.4 lens. This supports a aperture/shutter speed range of 1 sec. at f/1.4 through 1/4000 sec. at f/8. That range is pretty good for most situations, and a step up from the Nikkormat FT - FT3's range of EV 3 - EV 17. The FM2n is exactly on par with the Nikon F3HP. However, it is not as sensitive as the EV -2 to EV +17 range on the F2 Photomic AS, or the EV 0 to EV 21 range of the Nikon F4.

Since the FM Series cameras have manual exposure mode only, there is obviously no exposure lock button. Exposure lock is one thing that can be frustrating on cameras like the F3HP and FE/FE2. It is often easier, even on these cameras with aperture priority mode, to just use manual exposure mode and set the exposure directly. It is quicker and more comfortable than pointing the camera to where you can measure the proper exposure, pushing the exposure lock button an holding the button down will recomposing a shooting. Anyway, you don't need to worry about any of that on the manual mode only FM2n.

The center of the viewfinder display, with the standard K2-Type focusing screen, contains a small central horizontal split image, surrounded by a microprism donut, which is further surrounded by a large matte donut and a 12mm diameter circle. But utilizing both the split-image and microprism collar, you can manually focus on almost any subject very quickly. Turn the camera at a slight angle when focusing if necessary to find a straight line. I can't resist pointing out that with well-maintained manual focus Nikkor primes, such as Ai-S lenses, focusing ring operation is buttery smooth, with just the right amount of viscous resistance. With the no-slip knurled focusing rings, focusing is quick and accurate. The FM2n system provides three different interchangeable focusing screen types for various applications.Mostly, the standard K2-Type screen is sufficient. The B2 type screen removes the split image and microprism focusing aids, while the E2 type is the same as the B2, except with horizontal and vertical etched lines. FM/FE series focusing screens were improved (from the "K" series to the "K2" series) to provide a brighter viewfinder image starting with the FM2/FE2 generation. Focusing screens were further improved on the final FM3A to avoid split-image blackout with lenses with maximum aperture of f/5.6 or less.

The outer circle encloses the central area which carries a 60% exposure meter weight, with the area outside the circle comprising the remaining 40%. The most important thing to know about an exposure measurement system is how it weights various areas of the viewfinder image so that you can determine how to use it in each situation. The 60/40 system works fine for most situations. It is vast improvement over the classic full-frame averaging system, which was used on Pentax Spotmatic models, the earliest Nikkormat FT, and other cameras. For these averaging systems, if you wanted a proper exposure, you could not include a bright light or big sky in any area of the frame. Still, with the 60/40 system, you need to determine where to point the camera when manually setting the exposure. Find an areas that is representative of the subject, but which is not overly influenced by a bright light, a bright sky, a dark background, etc. Also make sure to select an area that approximates 18% gray, such as a dense area of green trees in a landscape image. If you cannot find an area that is equivalent to 18% gray that fills the 12mm circle, for example, inside the Haleakala volcano crater on Maui, HI, or a bright snowscape, then you need to manually compensate the exposure by appropriately changing the aperture or shutter speed.

Two contemporaneous Nikon bodies with the FM2n, the F3HP and the FA had different exposure metering patterns. The F3HP applies a heavier weight of 80% to the viewfinder's 12mm circle, making it easier to isolate an area that is 18% gray, without surrounding high-contrast areas influencing the exposure reading too much. The FA is the first Nikon body to include a multi-segment metering pattern, in addition to 60/40 centerweight. The 5-segment pattern on the FA and first generation software were the first Nikon attempt to correct the weaknesses of the traditional center-weight averaging system. While early multi-pattern systems on cameras such as the FA, F4, F800 and F90/F90x did a pretty good and steadily improving job in most low contrast situations, in difficult situations, they still didn't work as well as the center weight system with appropriate exposure compensation, which was found on the FM2n. Of course, you have to know what you are doing in such situations! On later-generation cameras, the more highly refined high-tech multi-pattern (matrix) systems, such as on the F5, F6 and the newest digital SLRs, finally do a good job even with difficult lighting. Modern Nikon bodies generally use a 75/25 weight in their default center-weight metering modes.

The latest FM2n incorporates a vertical-travel, metal focal plane shutter with aluminum curtains. Older versions of the FM2N have shutters with titanium curtains. Shutter speed range on the FM2N is 1 sec. through 1/4000 sec. For those of us who started back when the fastest shutter speed as 1/1000 sec. or even slower, 1/4000 sec. sounds amazingly fast. In fact, 1/4000 sec. is plenty fast enough for most situations with film. On the slow end, the camera itself can only operate up to 1 sec., but it is an easy matter to calculate and shoot exposures of any length at the Bulb setting, using a tripod, a standard shutter release cable, and a hand-held light meter. Of course, since the camera has a mechanical shutter, you can shoot exposures of any length and never worry about draining your battery. One slight disadvantage of the FM2n's mechanical shutter is that it cannot be set for intermediate shutter speeds. On an electronic body such as the FE2 or FM3A, you can utilize any intermediate shutter speed in aperture priority mode. (Of course, unlike the FE/FA series, the FM-series meters can't measure Bulb setting shutter speeds.)

There are just a few more features that should be mentioned. On the right front side of the body are located a depth-of-field preview lever and a self timer lever. Like many other cameras, you can check actual depth of field at the set aperture by pressing the depth-of-field lever. The image darkens if the lens is not set to maximum aperture, but you can get a good idea of the expected DOF with your lens/aperture combination. Actually, this lever is not really required with manual focus Nikkor lenses, because such lenses include an easy to read DOF index on the lens barrel. Many AF Nikkor lenses also have DOF index marks. The FM Series bodies have a mechanical self-timer with a delay of up to approximately 10 seconds. While these cameras do not have a mirror lock-up switch per se, you can simulate MLU by using the self-timer lever. When the shutter release button is pressed after the self-timer is set, the mirror swings up at the start of the timer count.

Finally, a hot-shoe contact is installed on top of the prism housing for flash photography. The FM2n does not support automatic TTL flash control. You need to use an FE2 or FM3A if you want that feature. (If you know how to use guide numbers and manual flash, you can still do full-flash or fill-flash photography without any problem, of course). However, the FM2n, like the FE2, has a very fast maximum flash synch speed of 1/250 sec. There is an extra contact on the hot shoe that communicates the flash charging status to the camera a lights a red diode "ready light" in the viewfinder when the flash is ready to shoot. Of course, the FM2n works with any Nikon flash unit. The contemporaneous SB-24 and SB-26 work great. However, if you will be doing a lot of flash photography in the FM line, the FE2 and FM3A are more useful as they both offer automatic TTL flash control.

In addition to the vast selection of Nikkor (and third-party) lenses that are available for the Nikon F mount, the FM2n also accepts various other useful Nikon accessories. One of the most useful is the MD-12 motor drive. This motor drive unit works on all FM Series bodies (and even the Nikon FA) and allows rapid fire or remote shooting up to 3.2 frames per second. Years ago, I used to keep it attached to the camera and carried it around much of the time. However, the MD-12 is quite heavy, especially when loaded with the eight required AA batteries. These days, it would obviously be better to use a more modern camera is you want portable and higher-speed motor drive. Other useful optional accessories (which work with all FM and FE series bodies) are the MF-16 data back, the DB-2 Anti-Cold Battery Pack (particularly useful for the FM2n, which would be the perfect camera to take on a dog sled expedition to the North Pole!), the DR-3 and DG-2 viewfinder eyepieces, and various eyepiece correction lenses.

Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.

(DSC_1616fin1)

02 Boeing C-17A Globemaster III

C17 477FF2

BRK05 NATO Strategic Airlift Capability

08-0002 cn/F-210

BRK Hungarian Air Force

based LHPA Papa AB for NATO

EYSA 201020Z 23012KT 9999 BKN026 BKN180 05/M01 Q1026 R14L/19//95 BLU NOSIG

You may view more of my images of Ickworth House, Park and gardens, by clicking "here" !

Please do not insert images, of group invite, thank you!

Ickworth Park. With over 1,800 acres of parkland designed by Capability Brown, the house and its grounds were created as an homage to Italy, the country so beloved by Frederick Augustus Hervey, the 4th Earl of Bristol. The Earl-Bishop spent his life travelling the continent, gathering together a vast collection of paintings, sculpture and artefacts. Already possessed of several houses, he conceived Ickworth primarily as a museum for his treasures. At his death only the Rotunda - the giant circular structure at the centre of the two wings, described by Hervey's wife as 'a stupendous moment of Folly' - was nearing completion. The house was eventually finished by his son. Although Hervey's treasures, confiscated during the French invasion of Italy, were destined never to occupy Ickworth, his descendants made it their life's work to rebuild what has become an exceptional collection of art and silver. Paintings housed in the galleries include works by Velázquez, Titian and Poussin, while the collection of 18th-century portraits of the family is exceptionally fine, featuring canvases by Gainsborough, Reynolds, Vigée-Lebrun and Hogarth. In addition to one of the very best British collections of Georgian Huguenot silver, Ickworth is also home to an impressive array of Regency furniture, porcelain, and domestic objects. More made a career of producing idealised Italian landscapes. His Landscape with Classical Figures, Cicero at his Villa, painted in 1780 and funded in 1993, is a typical work, the misty soft-focus and pastel light adding to its appeal. Hugh Douglas Hamilton's The Earl Bishop of Bristol and Derry Seated before the Prospect of Rome shows Hervey seated at what is thought to be the southern tip of the Borghese Gardens. Ickworth's parklands and gardens can provide a day's activity in their own right. The south gardens are modelled on the formal Italian style, while the gardens to the west of the house are more informal. Visitors can walk or cycle out into the park itself and up to the Fairy Lake. Bright and modern, The West Wing Restaurant overlooks the gardens and can be guaranteed to catch any sunlight on offer. It serves everything from hot meals to snacks, and at weekends the restaurant is open for breakfast. If you're after something rather more formal, try Frederick's restaurant at Ickworth Hotel in the grounds.

The sheep is a quadrupedal, ruminant mammal typically kept as livestock. Like all ruminants, sheep are members of the order Artiodactyla, the even-toed ungulates. Although the name "sheep" applies to many species in the genus Ovis, in everyday usage it almost always refers to Ovis aries. Numbering a little over one billion, domestic sheep are also the most numerous species of sheep. An adult female sheep is referred to as a ewe (/juː/), an intact male as a ram or occasionally a tup, a castrated male as a wether, and a younger sheep as a lamb. Sheep are most likely descended from the wild mouflon of Europe and Asia. One of the earliest animals to be domesticated for agricultural purposes, sheep are raised for fleece, meat (lamb, hogget or mutton) and milk. A sheep's wool is the most widely used animal fiber, and is usually harvested by shearing. Ovine meat is called lamb when from younger animals and mutton when from older ones. Sheep continue to be important for wool and meat today, and are also occasionally raised for pelts, as dairy animals, or as model organisms for science. Sheep husbandry is practised throughout the majority of the inhabited world, and has been fundamental to many civilizations. In the modern era, Australia, New Zealand, the southern and central South American nations, and the British Isles are most closely associated with sheep production. Sheepraising has a large lexicon of unique terms which vary considerably by region and dialect. Use of the word sheep began in Middle English as a derivation of the Old English word scēap; it is both the singular and plural name for the animal. A group of sheep is called a flock, herd or mob. Many other specific terms for the various life stages of sheep exist, generally related to lambing, shearing, and age. Being a key animal in the history of farming, sheep have a deeply entrenched place in human culture, and find representation in much modern language and symbology. As livestock, sheep are most often associated with pastoral, Arcadian imagery. Sheep figure in many mythologies—such as the Golden Fleece—and major religions, especially the Abrahamic traditions. In both ancient and modern religious ritual, sheep are used as sacrificial animals. Domestic sheep are relatively small ruminants, usually with a crimped hair called wool and often with horns forming a lateral spiral. Domestic sheep differ from their wild relatives and ancestors in several respects, having become uniquely neotenic as a result of selective breeding by humans. A few primitive breeds of sheep retain some of the characteristics of their wild cousins, such as short tails. Depending on breed, domestic sheep may have no horns at all, or horns in both sexes, or in males only. Most horned breeds have a single pair, but a few breeds may have several. Another trait unique to domestic sheep as compared to wild ovines is their wide variation in color. Wild sheep are largely variations of brown hues, and variation within species is extremely limited. Colors of domestic sheep range from pure white to dark chocolate brown and even spotted or piebald. Selection for easily dyeable white fleeces began early in sheep domestication, and as white wool is a dominant trait it spread quickly. However, colored sheep do appear in many modern breeds, and may even appear as a recessive trait in white flocks. While white wool is desirable for large commercial markets, there is a niche market for colored fleeces, mostly for handspinning. The nature of the fleece varies widely among the breeds, from dense and highly crimped, to long and hairlike. There is variation of wool type and quality even among members of the same flock, so wool classing is a step in the commercial processing of the fibre. Depending on breed, sheep show a range of heights and weights. Their rate of growth and mature weight is a heritable trait that is often selected for in breeding. Ewes typically weigh between 45 and 100 kilograms (99 and 220 lb), and rams between 45 and 160 kilograms (99 and 353 lb). When all deciduous teeth have erupted, the sheep has 20 teeth. Mature sheep have 32 teeth. As with other ruminants, the front teeth in the lower jaw bite against a hard, toothless pad in the upper jaw. These are used to pick off vegetation, then the rear teeth grind it before it is swallowed. There are eight lower front teeth in ruminants, but there is some disagreement as to whether these are eight incisors, or six incisors and two incisor-shaped canines. There is a large diastema between the incisors and the molars. For the first few years of life it is possible to calculate the age of sheep from their front teeth, as a pair of milk teeth is replaced by larger adult teeth each year, the full set of eight adult front teeth being complete at about four years of age. The front teeth are then gradually lost as sheep age, making it harder for them to feed and hindering the health and productivity of the animal. For this reason, domestic sheep on normal pasture begin to slowly decline from four years on, and the average life expectancy of a sheep is 10 to 12 years, though some sheep may live as long as 20 years. Sheep have good hearing, and are sensitive to noise when being handled. Sheep have horizontal slit-shaped pupils, possessing excellent peripheral vision; with visual fields of approximately 270° to 320°, sheep can see behind themselves without turning their heads. Many breeds have only short hair on the face, and some have facial wool (if any) confined to the poll and or the area of the mandibular angle; the wide angles of peripheral vision apply to these breeds. A few breeds tend to have considerable wool on the face; for some individuals of these breeds, peripheral vision may be greatly reduced by "wool blindness", unless recently shorn about the face. Sheep have poor depth perception; shadows and dips in the ground may cause sheep to baulk. In general, sheep have a tendency to move out of the dark and into well lit areas, and prefer to move uphill when disturbed. Sheep also have an excellent sense of smell, and, like all species of their genus, have scent glands just in front of the eyes, and interdigitally on the feet. The purpose of these glands is uncertain, but those on the face may be used in breeding behaviors. The foot glands might also be related to reproduction, but alternative reasons, such as secretion of a waste product or a scent marker to help lost sheep find their flock, have also been proposed.

From Wikipedia, the free encyclopedia

NATO - Strategic Airlift Capability C-17A 08-0003 as "BARTOK 01" buzzing over my head on departure out of Eindhoven .

Still mucking about testing my capability to make effective use of the 2x extender and 300/2.8 combo for handheld raptor photography. A few of us have been sharing experiences and I think progress is being made.

No need for comments.

This was taken during an hour of good light this morning. Handheld, not cropped 'cept for the slightest wafer off bottom and left side. This bird was at top pace - so firstly the AF did well ( I took a number of shots, not multi-burst, and 70% were sharp); and secondly I was lucky to keep him in the frame. The most noticeable thing in using the 2x instead of the 1.4x extender is how much harder it is to initially get the bird in the frame. Still I guess that part just comes down to practice.

Black-shouldered Kite, A.C.T.

CORAL SEA (July 21, 2021) An F-35B Lightning fighter aircraft from the 31st Marine Expeditionary Unit lands on the flight deck of the forward-deployed amphibious assault ship USS America (LHA 6) during Exercise Talisman Sabre 21. Talisman Sabre 21, the ninth iteration and conducted since 2005, occurs biennially across Northern Australia. Australian, U.S. and other multinational partner forces use Talisman Sabre to enhance interoperability by training in complex, multi-domain operations scenarios that address the full range of Indo-Pacific security concerts. (U.S. Navy photo by Mass Communication Specialist 3rd Class Jonathan D. Berlier)

Howsham North Yorkshire