Configuration photos on Flickr

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For travelling and taking street photos with my X10 I choose this configuration, which is not the coolest one, but it’s the most practical for me.

I carry my camera in a leather case inside an inexpensive and plane backpack. The case is rigid outside and soft inside, and looks great!

When walking around I carry the case on my neck, instead of the camera. It is easy and fast to take it in and out from the case because it has a magnet lock. The camera has a hand strap for safety during shots. This case is not screwed to the bottom of the camera.

I use a UV filter as a protection instead of a cap. It allows me to be ready faster for shoot and provides weather and dust protection for the lens. The lens size is 40,5mm, but not all 40,5mm filters fit perfectly, mine just turn a couple of turns, but it’s ok.

At home I prefer a cheap plastic cap with its strap.

An extra battery and a power adapter are a must too.

I put in the flash shoe a plastic cup for protection, and it looks cool.

I also put a 3” protective film on the LCD.

That’s all!

Test Configuration by David Illig

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This is a test configuration of my Takahashi FSQ-106ED, a QHY mini guide 'scope with Starlight Xpress Lodestar X2 guide camera, and a finder 'scope the I plan to install in my small observatory that I am remodeling. My new Paramount MYT mount that will carry the above equipment is in my previous photo. The imaging camera is a Starlight Xpress Trius SX-36 with a "Maxi" filter wheel.

I would like to put both the guide 'scope/camera and the finder 'scope on the top plate, but doing so uses some of the holes that I need to mount the top plate to the OTA rings. I would have to drill some new holes, and I may do that, but I hate to mar that beautifully machined and anodized plate from PrimaLuce Lab. Stay tuned.

Strobist: bare Profoto B1 500 AirTTL bounced from ceiling. Triggered by Profoto AirRemote TTL-C.

London Street Art by londonstreetart2

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www.ravishlondon.com/londonstreetart

Together Shoreditch and Spitalfields in the East of London constitute the most exciting place to be in London. The population is young, dynamic and imaginative; Friday and Saturday nights are a riot with a plethora of bars and clubs many with their own unique flavour. But what makes this area really special is that Shoreditch and Spitalfields comprise what one might call, ‘the square mile of art’; a de factor open air art gallery; with graffiti, posters and paste-ups being displayed on the main streets, down the side roads and in all the nooks and crannies of this post-industrial environ.

From Eine’s huge single letters being painted on shop shutters, to the haunting propaganda posters of Obey, to Cartrain’s political black and white pop-art; and to the one very small bronze coloured plastic circle, with the imprint of a dog shit and a man's foot about to step into it, which I once saw pasted to a wall, there is an incredible diversity.

Being on the streets, the work can be destroyed, taken or painted over at any minute. It is fragile and transient. Furthermore the juxtaposition of different pieces of art is random and unpredictable both in content and its location, which means that each day throws up a new and unique configuration of work within the streets, which you can only experience by travelling through the city.

Street Art Beginnings

The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.

Set against the characterless nature of the steely post-modernity of the city, the autumnal colours of the terraced warehouses in Shoreditch, no bigger than four to five stories high; offer a reminder of the legacy of a thriving fabrics and furniture industry which blossomed in the seventeenth Century. Both Shoreditch and Spitalfields have industrial pasts linked to the textiles industry, which fell into terminal decline by the twentieth century and was almost non-existent by the end of Wolrd War II. The decline was mirrored in the many three to four storey warehouses that were left to decay.

The general decline was arrested in the 1980s with the emergence of Shoreditch and Hoxton (Hoxton and Shoreditch are used interchandeably to refer to the same area) as a centre for new artists. It is difficult to say what attracted the artists to this area. But it was likely to be a combination of the spaces offered by the old warehouses, the cheap rents, and the location of Shoreditch and Spitalfields close to the City of London; where the money was to buy and fund artistic endeavour.

Not just that but post-war Shoreditch dominated by tens of post-war tower blocks, built amidst the ruins of the terraced housing that lay there before, which was bombed during World War II; had the rough edge which might inspire an artist. Shoreditch hums with the industry of newly arrived immigrants but also of the dangers of the poorer communities which inhabit these areas. Homeless people can be found sat underneath bridges on the main thoroughfares on Friday and Saturday nights; and Shoreditch is apparently home to one of the largest concentrations of striptease joints and a number of prostitutes. So, Shoreditch is a crumbling dirty, dodgy, polluted mess but it also has money; and these two factors provide an intoxicating mix for artists, who can take inspiration from their environment, but also rub shoulders with people who have the kind of money to buy their work.

By the early nineties Hoxton’s reputation as a centre for artists had become well established. As Jess Cartner-Morley puts it ‘Hoxton was invented in 1993. Before that, there was only 'Oxton, a scruffy no man's land of pie and mash and cheap market-stall clothing…’ At that time artists like Damien Hirst and Tracy Emin were taking part in ‘A Fete Worth than Death’ an arts based event in Hoxton. Gradually these artists began to create their own gravity, attracting more and more of their own like. Clubs and bars began to emerge, as did a Hoxton style, ‘the Hoxton fin’ being a trademark haircut. Many designers and artists located around Shoreditch and Spitalfields. Shoreditch has also become a hive of studios for artists, vintage fashion shops, art students and musicians.

At the same time as an artistic community was forming fuelled by money from the City, London was subject to a revolution in street art. According to Ward, writing for Time Out, the street art scene began in the mid-1980s as part of London’s hip-hop scene. Graffiti artists, emulating what was going on Stateside, began to tag their names all over London. According to Ward many of those pioneers ‘went on to paint legal commissions and are at the heart of today’s scene’. That is to say, from the community of artists congregating in East London, a number were inspired by graffiti, and because the East London, with its countless dilapidated warehouses, and building sites, offered such a good canvas; they went on to use the East London as a canvas for their work.

Little seems to have been written about the individual journey’s particular street artists have taken to get to where they are, which help illuminate some of the issues talked about in this section. Cartrain said that Banksy was a huge influence for him commenting that, "I've sent him a few emails showing him my work and he sent me a signed piece of his work in the post."

What created the East London street art scene may also kill it

The East London urban art scene is unlikely to last forever, being the symptom of a delicate juxtaposition of industrial decline and economic forces.

The irony is that the same factors which are responsible for the creation of the East London art scene are likely to destroy it.

Politicians from all parties, spiritual leaders for global capital, tell us of the unstoppable forces of globalisation. They say if Britain is to continue to dip its paw into the cream of the world’s wealth it needs to become a post-industrial service economy; suggesting a rosy future of millions of Asians slaving away co-ordinated by keyboard tapping British suits, feet on desk, leant back on high backed leather chairs, secretary blowing them off.

Art, which is feeble and dependent upon the financial growth of an economy for its survival, will have to shape itself around the needs and demands of capital.

The financial district of the City of London, lying to the south of Shoreditch, has been successfully promoted as a global financial centre, and its mighty power is slowly expanding its way northwards. Plans are afoot for the glass foot soldiers of mammon, fuelled by speculative property investment, to gradually advance northwards, replacing old warehouses with a caravan of Starbucks and Japanese sushi places and a concomitant reduction in dead spaces to portray the art, increased security to capture and ward off street artists, increased property prices and the eventual eviction of the artistic community. Spitalfields has already had big corporate sized chunks taken out of it, with one half of the old Spitalfields Market being sacrificed for corporate interests in the last five years.

So then the very same financial forces, and post-industrial legacy, which have worked to create this micro-environment for street art to thrive, are the same forces which will in time eventually destroy it. Maybe the community will move northwards, maybe it will dissipate, but until that moment lets just enjoy what the community puts out there, for its own financial interests, for their own ego and also, just maybe, for the benefit of the people.

Banksy

Banksy is the street artist par excellence. London’s street art scene is vibrant and diverse. There is some good, cure, kitschy stuff out there, but in terms of creativity and imagination Banksy leads by a city mile. His stuff is invariably shocking, funny, thought provoking and challenging.

Banksy considers himself to be a graffiti artist, which is what he grew up doing in the Bristol area in the late eighties. According to Hattenstone (2003) Banksy, who was expelled from his school, and who spent some time in prison for petty crimes, started graffiti at the age of 14, quickly switching over to stencils, which he uses today, because he didn’t find he had a particular talent for the former. His work today involves a mixture of graffiti and stencils although he has shown a capacity for using a multitude of materials.

Key works in London have included:

•In London Zoo he climbed into the penguin enclosure and painted "We're bored of fish" in six-foot-high letters.

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•In 2004 he placed a dead rat in a glass-fronted box, and stuck the box on a wall of the Natural History Museum.

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•‘A designated riot area’ at the bottom of Nelson’s Column.

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•He placed a painting called Early Man Goes to Market, with a human figure hunting wildlife while pushing a shopping trolley, in the British Museum.

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His work seems to be driven by an insatiable desire to go on producing. In an interview with Shepherd Fairey he said, ‘Anything that stands in the way of achieving that piece is the enemy, whether it’s your mum, the cops, someone telling you that you sold out, or someone saying, "Let’s just stay in tonight and get pizza." Banksy gives the impression of being a person in the mould of Tiger Woods, Michael Schumacher or Lance Armstrong. Someone with undoubted talent and yet a true workaholic dedicated to his chosen profession.

Its also driven by the buzz of ‘getting away with it’. He said to Hattenstone, ‘The art to it is not getting picked up for it, and that's the biggest buzz at the end of the day because you could stick all my shit in Tate Modern and have an opening with Tony Blair and Kate Moss on roller blades handing out vol-au-vents and it wouldn't be as exciting as it is when you go out and you paint something big where you shouldn't do. The feeling you get when you sit home on the sofa at the end of that, having a fag and thinking there's no way they're going to rumble me, it's amazing... better than sex, better than drugs, the buzz.’

Whilst Banksy has preferred to remain anonymous he does provide a website and does the occasional interview putting his work in context (see the Fairey interview).

Banksy’s anonymity is very important to him. Simon Hattenstone, who interviewed Banksy in 2003, said it was because graffiti was illegal, which makes Banksy a criminal. Banksy has not spoken directly on why he wishes to maintain his anonymity. It is clear that Banksy despises the notion of fame. The irony of course is that ‘Banksy’ the brand is far from being anonymous, given that the artist uses it on most if not all of his work. In using this brand name Banksy helps fulfil the need, which fuels a lot of graffiti artists, of wanting to be recognised, the need of ego.

Banksy is not against using his work to ‘pay the bills’ as he puts it. He has for example designed the cover of a Blur album, although he has pledged never to do a commercial job again, as a means of protecting his anonymity. Nevertheless he continues to produce limited edition pieces, which sell in galleries usually for prices, which give him a bit of spending money after he has paid the bills. Banksy has said, ‘If it’s something you actually believe in, doing something commercial doesn’t turn it to shit just because it’s commercial’ (Fairey, 2008). Banksy has over time passed from urban street artist into international artistic superstar, albeit an anonymous one.

Banksy has a definite concern for the oppressed in society. He often does small stencils of despised rats and ridiculous monkeys with signs saying things to the effect of ‘laugh now but one day we’ll be in charge’. Whilst some seem to read into this that Banksy is trying to ferment a revolutionary zeal in the dispossessed, such that one day they will rise up and slit the throats of the powers that be, so far his concern seems no more and no less than just a genuine human concern for the oppressed. Some of what seems to fuel his work is not so much his hatred of the system but at being at the bottom of it. He said to Hattenstone (2003) ‘Yeah, it's all about retribution really… Just doing a tag is about retribution. If you don't own a train company then you go and paint on one instead. It all comes from that thing at school when you had to have name tags in the back of something - that makes it belong to you. You can own half the city by scribbling your name over it’

Charlie Brooker of the Guardian has criticised Banksy for his depictions of a monkey wearing a sandwich board with 'lying to the police is never wrong' written on it. Certainly such a black and white statement seems out of kilter with more balanced assessments that Banksy has made. Brooker challenges Banksy asking whether Ian Huntley would have been right to have lied to the police?

Brooker has also criticized Banksy for the seemingly meaninglessness of some of this images. Brooker says, ‘Take his political stuff. One featured that Vietnamese girl who had her clothes napalmed off. Ho-hum, a familiar image, you think. I'll just be on my way to my 9 to 5 desk job, mindless drone that I am. Then, with an astonished lurch, you notice sly, subversive genius Banksy has stencilled Mickey Mouse and Ronald McDonald either side of her. Wham! The message hits you like a lead bus: America ... um ... war ... er ... Disney ... and stuff.’ Brooker has seemingly oversimplified Banksy’s message, if indeed Banksy has one, to fuel his own criticisms. It is easy to see that for many the Vietnam painting tells us that the United States likes to represent itself with happy smiling characters, that hide the effects of its nefarious activities responsible for the real life faces of distress seen on the young girl. Something that we should be constantly reminded of. But then that’s a matter of politics not of meaninglessness.

Banksy’s ingenuity comes through in his philosophy on progression, ‘I’m always trying to move on’ he says. In the interview he gave with Shepherd Fairey he explained that he has started reinvesting his money in to new more ambitious projects which have involved putting scaffolding put up against buildings, covering the scaffolding with plastic sheeting and then using the cover of the sheets to do his paintings unnoticed.

Banksy has balls. Outside of London he has painted images in Disney Land; and on the Israeli wall surrounding Palestine. How far is he willing to push it? What about trying something at the headquarters of the BNP, or on army barracks, or at a brothel or strip club employing sex slaves, or playing around with corporate advertising a la Adbusters?

www.ravishlondon.com/londonstreetart

Liebherr R 994 B Litronic by Beat Felber

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Model of a mining excavator in front shovel configuration in scale 1:28.5. This 300 tonne machine is a representative of Liebherr's most popular size class and is ideally suited to load a fleet of 100 tonne payload mining trucks.

When LEGO introduced its 42100 Liebherr R 9800, I knew I had to get that set immediately after release. But I also knew from the beginning, that I would not like the official model's Technic design and that I had to build my own version.

Here it is, scaled larger than 42100, but on the other hand representing a much smaller machine than the 9800. About 300 vs. 800 tonnes in real life. This allowed me to use the main components of the official LEGO model to build my R 994 B. I used the clamshell bucket, the Power Functions XL actuators and the tracks and sprockets.

The main difference from 42100 lies in the electric components of my model. The following functions are all powered by two Power Functions rechargeable battery boxes and controlled by three SBricks via bluetooth connection and Brick Controller 2 app:

- Left and right crawler treads each using a Power Functions L motor

- Slewing of the upper structure using two Power Functions M motors

- Boom cylinders: one Power Functions XL motor

- Stick cylinders: one Power Functions L motor

- Bucket cylinders: one Power Functions M motor

- Clamshell bucket: one Brick Engine V1 motor (compatible to Power Functions)

- Access ladder: one Power Functions M motor

- Service flap: one Power Functions M motor

- Lighting: three pairs of Power Functions LEDs

Besides the main drive and digging functions, the model features a retractable access ladder and a lowerable service flap on the underside of the upper structure frame. The service flap is used to refuel and grease the excavator.

While building the Liebherr R 994 B Litronic in 1:28.5 scale, I could refer to a highly detailed diecast model of the very same machine in 1:50 scale.

Supermarine Spitfire Mk VB (1941) by Peter Blackert

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The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 55 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world.

The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.

During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes.

After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life.

Mk V (Types 331, 349 & 352)

Spitfire LF.Mk VB, BL479, flown by Group Captain M.W.S Robinson, station commander of RAF Northolt, August 1943. This Spitfire has the wide bladed Rotol propeller, the internal armoured windscreen and "clipped" wings.

Late in 1940, the RAF predicted that the advent of the pressurised Junkers Ju 86P bomber series over Britain would be the start of a new sustained high altitude bombing offensive by the Luftwaffe, in which case development was put in hand for a pressurised version of the Spitfire, with a new version of the Merlin (the Mk VI). It would take some time to develop the new fighter and an emergency stop-gap measure was needed as soon as possible: this was the Mk V.

The basic Mk V was a Mk I with the Merlin 45 series engine. This engine delivered 1,440 hp (1,074 kW) at take-off, and incorporated a new single-speed single-stage supercharger design. Improvements to the carburettor also allowed the Spitfire to use zero gravity manoeuvres without any problems with fuel flow. Several Mk I and Mk II airframes were converted to Mk V standard by Supermarine and started equipping fighter units from early 1941. The majority of the Mk Vs were built at Castle Bromwich.

The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a "fishtail" type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s. After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.

Spitfire VC(trop), fitted with Vokes filters and "disc" wheels, of 417 Squadron RCAF in Tunisia in 1943.

A constant flow of modifications were made as production progressed. A "blown" cockpit hood, manufactured by Malcolm, was introduced in an effort to further increase the pilot's head-room and visibility. Many mid to late production VBs - and all VCs - used the modified, improved windscreen assembly with the integral bullet resistant centre panel and flat side screens introduced with the Mk III. Because the rear frame of this windscreen was taller than that of the earlier model the cockpit hoods were not interchangeable and could be distinguished by the wider rear framing on the hood used with the late-style windscreen.

Different propeller types were fitted, according to where the Spitfire V was built: Supermarine and Westland manufactured VBs and VCs used 10 ft 9 in (3.28 m) diameter, 3 bladed de Havilland constant speed units, with narrow metal blades, while Castle Bromwich manufactured VBs and VCs were fitted with a wide bladed Rotol constant speed propeller of either 10 ft 9 in (3.28 m) diameter, with metal blades, or (on late production Spitfires) 10 ft 3 in (3.12 m) diameter, with broader, "Jablo" (compressed wood) blades. The Rotol spinners were longer and more pointed than the de Havilland leading to a 3.5 in (8.9 cm) increase in overall length. The Rotol propellers allowed a modest speed increase over 20,000 ft (6,100 m) and an increase in the service ceiling. A large number of Spitfire VBs were fitted with "gun heater intensifier" systems on the exhaust stacks. These piped additional heated air into the gun bays. There was a short tubular intake on the front of the first stack and a narrow pipe led into the engine cowling from the rear exhaust.

The VB series were the first Spitfires able to carry a range of specially designed "slipper" drop tanks which were fitted underneath the wing centre-section. Small hooks were fitted, just forward of the inboard flaps: when the tank was released these hooks caught the trailing edge of the tank, swinging it clear of the fuselage.

With the advent of the superb Focke Wulf Fw 190 in August 1941 the Spitfire was for the first time truly outclassed, hastening the development of the "interim" Mk IX. In an effort to counter this threat, especially at lower altitudes, the VB was the first production version of the Spitfire to use "clipped" wingtips as an option, reducing the wingspan to 32 ft 2 in (9.8 m).The clipped wings increased the roll rate and airspeed at lower altitudes. Several different versions of the Merlin 45/50 family were used, including the Merlin 45M which had a smaller "cropped" supercharger impeller and boost increased to +18 lb. This engine produced 1,585 hp (1,182 kW) at 2,750 ft (838 m), increasing the L.F VB's maximum rate of climb to 4720 ft/min (21.6 m/s) at 2,000 ft (610 m).

VB Trop of 40 Squadron SAAF fitted with the "streamlined" version of the Aboukir filter, a broad-bladed, 10 ft 3 in (3.12 m) diameter Rotol propeller, and clipped wings.

The Mk VB(trop) (or type 352) could be identified by the large Vokes air filter fitted under the nose; the reduced speed of the air to the supercharger had a detrimental effect on the performance of the aircraft, reducing the top speed by 8 mph (13 km/h) and the climb rate by 600 ft/min (3.04 m/s), but the decreased performance was considered acceptable. This variant was also fitted with a larger oil tank and desert survival gear behind the pilot's seat. A new "desert" camouflage scheme was applied. Many VB(trop)s were modified by 103 MU (Maintenance Unit-RAF depots in which factory fresh aircraft were brought up to service standards before being delivered to squadrons) at Aboukir, Egypt by replacing the Vokes filter with locally manufactured "Aboukir" filters, which were lighter and more streamlined. Two designs of these filters can be identified in photos: one had a bulky, squared off filter housing while the other was more streamlined. These aircraft were usually fitted with the wide blade Rotol propeller and clipped wings.

Triumph Spitfire Mk I Roadster

The Triumph Spitfire is a small English two-seat sports car, introduced at the London Motor Show in 1962.[3] The vehicle was based on a design produced for Standard-Triumph in 1957 by Italian designer Giovanni Michelotti. The platform for the car was largely based upon the chassis, engine, and running gear of the Triumph Herald saloon, and was manufactured at the Standard-Triumph works at Canley, in Coventry. As was typical for cars of this era, the bodywork was fitted onto a separate structural chassis, but for the Spitfire, which was designed as an open top or convertible sports car from the outset, the ladder chassis was reinforced for additional rigidity by the use of structural components within the bodywork. The Spitfire was provided with a manual hood for weather protection, the design improving to a folding hood for later models. Factory-manufactured hard-tops were also available.

The Triumph Spitfire was originally devised by Standard-Triumph to compete in the small sports car market that had opened up with the introduction of the Austin-Healey Sprite. The Sprite had used the basic drive train of the Austin A30/35 in a light body to make up a budget sports car; Triumph's idea was to use the mechanicals from their small saloon, the Herald, to underpin the new project. Triumph had one advantage, however; where the Austin A30 range was of unitary construction, the Herald featured a separate chassis. It was Triumph's intention to cut that chassis down and clothe it in a sports body, saving the costs of developing a completely new chassis / body unit.

Italian designer Michelotti—who had already penned the Herald—was commissioned for the new project, and came up with a traditional, swooping body. Wind-up windows were provided (in contrast to the Sprite/Midget, which still featured sidescreens, also called curtains, at that time), as well as a single-piece front end which tilted forwards to offer unrivaled access to the engine. At the dawn of the 1960s, however, Standard-Triumph was in deep financial trouble, and unable to put the new car into production; it was not until the company was taken over by the Leyland organization funds became available and the car was launched. Leyland officials, taking stock of their new acquisition, found Michelotti's prototype hiding under a dust sheet in a corner of the factory and rapidly approved it for production.

Spitfire 4 or Mark I (1962-1964)

Overview:

Production1962–1964

45,753 made

Powertrain:

Engine1,147 cc (1.1 l) I4

Transmission4-speed manual with optional overdrive on top and third from 1963 onwards

Dimensions:

Curb weight1,568 lb (711 kg) (unladen U.K.-spec)

The production car changed little from the prototype, although the full-width rear bumper was dropped in favour of two part-bumpers curving round each corner, with overriders. Mechanicals were basically stock Herald. The engine was an 1,147 cc (1.1 l) 4-cylinder with a pushrod OHV cylinder head and 2 valves per cylinder, mildly tuned for the Spitfire, fed by twin SU carburettors. Also from the Herald came the rack and pinion steering and coil-and-wishbone front suspension up front, and at the rear a single transverse-leaf swing axle arrangement. This ended up being the most controversial part of the car: it was known to "tuck in" and cause violent over steer if pushed too hard, even in the staid Herald. In the sportier Spitfire (and later the 6-cylinder Triumph GT6 and Triumph Vitesse) it led to severe criticism. The body was bolted to a much-modified Herald chassis, the outer rails and the rear outriggers having been removed; little of the original Herald chassis design was left, and the Spitfire used structural outer sills to stiffen its body tub.

The Spitfire was an inexpensive small sports car and as such had very basic trim, including rubber mats and a large plastic steering wheel. These early cars were referred to both as "Triumph Spitfire Mark I" and "Spitfire 4", not to be confused with the later Spitfire Mark IV.

In UK specification the in-line four produced 63 bhp (47 kW) at 5750 rpm, and 67 lb·ft (91 N·m)of torque at 3500 rpm. This gave a top speed of 92 mph (148 km/h), and would achieve 0 to 60 mph (97 km/h) in 17.3 seconds. Average fuel consumption was 31mpg.

For 1964 an overdrive option was added to the 4-speed manual gearbox to give more relaxed cruising. Wire wheels and a hard top were also available.

Text regarding the Supermarine Spitfire aeroplane and Triumph Spitfire Roadster has been taken from excerpts of Wikipedia articles on each model.

The Supermarine Spitfire Mk VB aircraft and 1962 Triumph Spitfire Mk I road car have been modelled in Lego miniland-scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts, ' - featuring automotive vehicles named after, inspired by, or with some relationship to aircraft.

BLOCK ... by Muhanad Baghdadi

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Image Configuration :

1 - Raw material for wall ...

2 - Copy perspective ...

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Integration of images + filtered by Cutout ...

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Andover C1 XS597, 32 Sqn, Lossiemouth. 11.07.1986 by Alan McConnell

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Shown in 'kneeling configuration', which was a feature of this version of the Andover where the main undercarriage could be 'folded' to allow the rear of the a/c nearer the ground for loading/unloading.

31 C1s were delivered in the late 60's as light/medium tactical transports, but their service, for the bulk of them, was short lived.

10 a/c were passed on to the RNZAF.

One RAF example (XS596) became the sole C1(PR) as the British 'Open Skies' aircraft.

The machine seen here was the 'jump ship' for the Falcons parachute display team at that years airshow.

It survived to be de-mobbed and was last reported operating in Africa under a UN contract.

1966 Austin 1800 Mk I Saloon by Cars Down Under

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BMC introduced two new cars in 1963, following the configuration of the Mini with front wheel drive and east/west engine. The smaller car was the ADO16 1100/1300 and the larger car was the ADO17 1800/2200.

The 1964-68 Mk I was available as the Austin 1800, Morris 1800 and upmarket Wolseley 18-85.

The 1968-72 Mk II got a revised grille losing the horizontal centre bar and also the horizontal tail lights replaced by vertical ones.

The 1972-75 Mk III; another new grille, 6 cylinder versions available; the Austin or Morris 2200 and the Wolseley Six.

Austin and Morris 1800s were assembled in New Zealand from CKD kits.

BMC Australia also built the Austin 1800 from 1965-70. Unique to Australia; a coupe utility, introduced in 1968.

In 1970, the 1800 was developed into the Australian Austin X6 range, a slightly larger six cyl car, the Austin Tasman and upmarket Austin Kimberley

Different configurations by Ka Gee Ka

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Victory Liner 67 by Czeon Santos

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Victory Liner Inc.

Bus Number: 67
Coachbuilder: Hyundai Motor Company
Chassis: KMJKJ18BPSC
Model: Hyundai Universe Space Luxury
Engine: Hyundai D6AB
Airconditioning Unit: Overhead Unit
Suspension: Air-Suspension
Seating Configuration: 2x2
Seating Capacity: 45 Passengers

Shot Location : Cubao

Artist's view of the two configurations of Ariane 6 by European Space Agency

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Artist's view of the two configurations of Ariane 6 using two boosters (A62) or four boosters (A64).

ESA and European industry are currently developing a new-generation launcher: Ariane 6. This follows the decision taken at the ESA Council meeting at Ministerial level in December 2014, to maintain Europe’s leadership in the fast-changing commercial launch service market while responding to the needs of European institutional missions.

This move is associated with a change in the governance of the European launcher sector, based on a sharing of responsibility, cost and risk by ESA and industry.

The participating states are: Austria, Belgium, France, Germany, Ireland, Italy, Netherlands, Norway, Romania, Spain, Sweden and Switzerland.

Credit: ESA–David Ducros, 2016

Lego Transition Curve Track Configuration Ideas by Michael Gale

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After a bit of recreational experimentation in BlueBrick with track configurations, I came up with a few ideas which may prove useful.

These track configurations are loosely based on the concept of transition curves or easements. Real railways will transition straight running lines into a curve using a progressive and gradual change in curvature. This is to reduce the impact loading on both the track and the wheel sets and reduce peak centrifugal forces as a train enters a curve.

Although we have many new options for track configurations using the new ME Models curves, there are still few configurations which yield the desired characteristics of aligning track centres to 16-stud intervals and having track interval spacing to a minimum of 4 studs (using 1/4 straights).

Shown above are three different track configurations using easements:

1) A 1/4 curve with 96-stud effective radius

2) Asymmetric easement

3) Symmetric easement

Strictly speaking, I've only exploited the concept of easements at the extents of each track configuration. The interior straight sections do not transition as smoothly as the extents. Nonetheless, these track configurations should add some additional variety to layout planning.

I'm sure there are many more potential configurations yet to be discovered and soon we'll have a large repertoire of track planning options.

The Ninth Configuration by iasonragnarbellerophon

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Sneak attack configuration by Michele Piemonte

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A momentary configuration by readerwalker

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Paintified and altered fragment of a photo.

1:72 Spectrum SA-550 (modified Cessna 337) “Pelican”; aircraft “N669PD” of the Los Angeles Police Department Air Support Division, Special Flight Section (SFS); California (USA), 2001 (What-if/modified Arii kit) by Dizzyfugu

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+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

The Cessna Model 336 and 337 “Skymaster” were American twin-engine civil utility aircraft built in a unique push-pull configuration. Their engines were mounted in the nose and rear of its pod-style fuselage. Twin booms extended aft of the wings to the vertical stabilizers, with the rear engine between them. The horizontal stabilizer was aft of the pusher propeller, mounted between and connecting the two booms.

The first Skymaster, Model 336, had fixed landing gear and initially flew on February 28, 1961. It went into production in May 1963 with 195 being produced through mid-1964. In February 1965, Cessna introduced the larger Model 337 Super Skymaster with more powerful engines, retractable landing gear, and a dorsal air scoop for the rear engine (the "Super" prefix was subsequently dropped from the name). In 1966, the turbocharged T337 was introduced, and in 1973, the pressurized P337G entered production.
The type was very prolific and Cessna built 2.993 Skymasters of all variants, including 513 military O-2 (nicknamed "Oscar Deuce") versions from 1967 onwards. The latter featured underwing ordnance hard points to hold unguided rockets, gun pods or flares, and served in the forward air control (FAC) role and psychological operations (PSYOPS) by the US military between 1967 and 2010. Production in America ended in 1982, but was continued by Reims in France, with the FTB337 STOL and the military FTMA “Milirole”.

Both civil and military Cessna 336/337 version had long service careers, and some were considerably modified for new operators and uses. Among the most drastic conversions was the Spectrum SA-550, built by Spectrum Aircraft Corporation of Van Nuys, California, in the mid-1980s: Spectrum took the 336/337 airframe and removed the front engine, lengthened the nose to maintain the center of gravity, and replaced the rear piston engine with a pusher turboprop which offered more power than the combined pair of original petrol engines. The Spectrum SA-550 conversion also came together with an optional modernization package that prolonged the airframes’ service life, so that modified machines could well serve on for 20 years or more.

This drastic conversion was executed for both military and civil operators. The best-known military SA-550s were six former USAF O-2A airframes, which had been transferred to the U.S. Navy in 1983 for use as range controllers with VA-122 at NAS Lemoore, California. These aircraft were operationally nicknamed “Pelican”, due to the characteristic new nose shape, and the name unofficially caught on.
However, the SA-550 package was only adopted sporadically by private operators, but it became quite popular among several major police and fire departments. Typical duties for these machines included border/drug patrol, surveillance/observation duties (e.g. traffic, forest fire) and special tasks, including drug interdiction as well for SAR missions and undercover operations like narcotics and serialized criminal investigations. Some SA-550s were accordingly modified and individually outfitted with suitable sensors, including IR/low light cameras, searchlights, and internal auxiliary tanks. None were armed, even though some aircraft featured underwing hardpoints for external extra tanks, flare dispensers for nocturnal operations or smoke charge dispensers for ground target marking to guide water bombers to hidden forest fires.

The type’s versatility, low noise level, high travel speed and good loitering time in the operational area at low speed proved to be vital assets for these public service operators and justified its relatively high maintenance costs. A handful of the modernized Spectrum SA-550 machines were still in active service after the Millennium, primarily in the USA.

General characteristics:

Crew: 1 + 3 passengers (up to 5 passengers possible in special seat configuration)

Length: 32 ft 6½ in (9.94 m)

Wingspan: 38 ft ¾ in (11.62 m)

Height: 9 ft 2 in (2.79 m)

Wing area: 201 sq ft (18.81 m²)

Aspect ratio: 7.18:1

Airfoil: NACA 2412 at root, NACA 2409 at tip

Empty weight: 2,655 lb (1,204 kg)

Max takeoff weight: 4,400 lb (1,996 kg)

Fuel capacity: 92 US gal (77 imp gal; 350 l) normal,

128 US gal (107 imp gal; 480 l) with auxiliary tank

in the cabin instead of two passenger seats

Powerplant:

1× Pratt & Whitney PT6A-27 turboprop engine, delivering 550 shp (410 kW) and

driving a four-blade McCauley fully-feathering, constant-speed propeller, 6 ft 4 in (1.93 m) diameter

Performance:

Maximum speed: 199 mph (320 km/h, 173 kn) at sea level

Cruise speed: 144 mph (232 km/h, 125 kn) at 10,000 ft (3,000 m) (econ cruise)

Stall speed: 69 mph (111 km/h, 60 kn)

Range: 1421 mi (2.288 km, 1.243 nmi) at 10.000 ft (3.050 m) altitude and economy cruise

Service ceiling: 19,500 ft (5,900 m)

Rate of climb: 1,200 ft/min (6.1 m/s)

Takeoff distance to 50 ft (15m): 1,545 ft (471 m)

Landing distance from 50 ft (15m): 1,650 ft (500 m)

The kit and its assembly:

This build is the combination of ingredients that had already been stashed away for a long time, and the “Red Lights” Group Build at whatifmodellers.com in early 2021 was a good motivator and occasion to finally put everything together.

The basis is an ARII 1:72 Cessna T337 model kit – I had purchased it long ago with the expectation to create a military Skymaster from it, but I was confused by a fixed landing gear which would make it a 336? Well, without a further concrete plan the kit preliminarily landed in The Stash™…

However, the ARII model features the optional observation windows in the doors on the starboard side, in the form of a complete(!) fuselage half, so that it lends itself to a police or firefighter aircraft of some sort. This idea was furthermore fueled by a decal sheet that I had been given from a friend, left over from a 1:72 Italeri JetRanger, with three optional police helicopter markings.

The final creative element was the real-world “Pelican” conversion of six O-2As for the US Navy, as mentioned in the background above: the front engine was replaced with a longer nose and the engine configuration changed to a pusher-only aircraft with a single powerful turboprop engine. This looked so odd that I wanted to modify the ARII Cessna in a similar fashion, too, and all these factors came together in this model.

My Arii Cessna 337 kit is a re-boxing from 2009, but its origins date back to Eidai in 1972 and that’s just what you get: a vintage thing with some flash and sinkholes, raised (but fine) surface details and pretty crude seams with bulges and gaps. Some PSR is direly necessary, esp. the fit of the fuselage halves is cringeworthy. The clear parts were no source of joy, either; especially the windscreen turned out to be thick, very streaky (to a degree that I’d almost call it opaque!) and even not fully molded! The side glazing was also not very clear. I tried to improve the situation through polishing, but if the basis is already poor, there’s little you can do about it. Hrmpf.

However, the kit was built mostly OOB, including the extra O-2 glazing in the lower doors, but with some mods. One is a (barely visible) extra tank in the cabin’s rear, plus a pilot and an observer figure placed into the tight front seats. The extended “Pelican” nose was a lucky find – I was afraid that I had had to sculpt a nose from scratch with 2C putty. But I found a radome from a Hasegawa RA-5C, left over from a model I built in the Eighties and that has since long fallen apart. However, this nose fitted almost perfectly in size and shape, I just “blunted” the tip a little. Additionally, both the hull in front of the dashboard and the Vigilante radome were filled with as many lead beads as possible to keep the nose down.

The kit’s OOB spatted, fixed landing gear was retained – even though it is dubious for a Cessna 337, because this type had a fully retractable landing gear, and the model has the landing gear covers actually molded into the lower fuselage. On the other side, the Cessna 336’s fixed landing gear looks quite different, too! However, this is a what-if model, and a fixed landing gear might have been a measure to reduce maintenance costs?

The propeller was replaced with a resin four-blade aftermarket piece (from CMK, probably the best-fitting thing on this build!) on my standard metal axis/styrene tube adapter arrangement. The propeller belongs to a Shorts Tucano, but I think that it works well on the converted Cessna and its powerful pusher engine, even though in the real world, the SA-550 is AFAIK driven by a three-blade prop. For the different engine I also enlarged the dorsal air intake with a 1.5 mm piece of styrene sheet added on top of the molded original air scoop and added a pair of ventral exhaust stubs (scratched from sprue material).

Another addition is a pair of winglets, made from 0.5 mm styrene sheet – an upgrade which I found on several late Cessna 337s in various versions. They just add to the modernized look of the aircraft. For the intended observation role, a hemispherical fairing under the nose hides a 180° camera, and I added some antennae around the hull.

However, a final word concerning the model kit itself: nothing fits, be warned! While the kit is a simple affair and looks quite good in the box, assembling it turned out to be a nightmare, with flash, sinkholes, a brittle styrene and gaps everywhere. This includes the clear parts, which are pretty thick and blurry. The worst thing is the windscreen, which is not only EXTRA thick and EXTRA blurry, it was also not completely molded, with gaps on both sides. I tried to get it clearer through manual polishing, but the streaky blurs are integral – no hope for improvement unless you completely replace the parts! If I ever build a Cessna 337/O-2 again, I will give the Airfix kit a try, it can only be better…

Painting and markings:

The choice between the operator options from the JetRanger sheet was hard, it included Sweden and Italy, but I eventually settled for the LAPD because the livery looks cool and this police department not only operates helicopters, but also some fixed-wing aircraft.

I adapted the LAPD’s classic black-and-white police helicopter livery (Gloss White and Black, Humbrol 22 and 21, respectively) to the Cessna and extended it to the wings. At this point – already upset because of the poor fit of the hardware – disaster struck in the form of Humbrol’s 22 turning into a pinkish ivory upon curing! In the tin, the paint and its pigments looked pretty white and “clean”, and I assume that it’s the thinner that caused this change. What a crap! It’s probably the third tin with 22 that causes trouble, even though in different peculiarities!

The result was total rubbish, though, and I tried to rub the paint off as good as possible on the small model with its many windows, the fixed, delicate landing gear and the wing support struts. Then I overpainted the areas with Revell 301 (Semi-matt White). While this enamel yielded the intended pure white tone, the paint itself is rather gooey and not easy to work with, so that the overall finish turned out worse than desired. At least the black paint worked properly. The demarcations were created with black decal stripes (TL Modellbau), because the tiny model left little room for complex masking measures – and I did not risk any more painting accidents.

Since the aircraft would be kept shiny and clean, I just did a light black ink washing to emphasize surface details and did a light panel post-shading on the black areas, not for weathering but rather to accent surface structures. No further weathering was done (and necessary).

The markings/decals come – as mentioned above – from an Italeri 1:72 JetRanger, but they were augmented with some additional markings, e. g. grey walkways on the wings and “L-A-P-D” in large black letters under the wings, to distract from the poor finish of the white paint around them…

Finally, the kit was sealed overall with Italeri semi-gloss acrylic varnish, just with a matt anti-glare shield in front of the windscreen, which received thin white trim lines (generic decal stripes).

A challenging build due to the Arii kit’s rather poor basis, the massive rhinoplasty and the crisp paint scheme. However, I like the result – what-if models do not always have to be armed military vehicles, there’s potential in other genres, too. And this mono-engine “Pelican” Skymaster plays its role as a “flying eye” in police service credibly and well. However, this was my first and last Eidai kit…

1:72 Spectrum SA-550 (modified Cessna 337) “Pelican”; aircraft “N669PD” of the Los Angeles Police Department Air Support Division, Special Flight Section (SFS); California (USA), 2001 (What-if/modified Arii kit) by Dizzyfugu

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