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In 2012 we received from NASA an order for 6 new models of International Space Station. NASA requested to modify our current model in order to represent the latest changes and additions to ISS so the model will depict the most current and updated configuration.
The foam lining in the transit cases for modified models was adjusted accordingly to accommodate the models and new separate elements.
Along with the order of 6 modified models for NASA we also produced one model in luxury edition for CERN, which was shipped to Geneva, Switzerland and receive excellent feedbacks for its accuracy and versatility.
Visit www.lifeinscale.net/ISS_model-2012_configuration.asp for more information.
A big smile flashed on the face that was staring at me on the portrait that I was looking at. With widened eyes, the owner of the face looked very happy to see me. And without realizing it, I returned the smile. After thinking about it, it might actually just a configuration of facial muscles that looked like a smile. I could not be too sure to judge, because even though I am used to seeing that expression on the people I meet every day, I wasn’t looking at a photo of a human. I was looking at a picture of Tokay and I realized that I didn’t know if Tokay could smile.
In addition to the above photo, there are about three dozens of pictures of other animals that have been created and collected by young photographer, Dwi Putra, in a solo exhibition titled “Familiar Faces”. With various colorful animals, these photos are so fun and easy to enjoy. But as I finally think again when I saw the smile of the Tokay and watch the other faces in this series, it makes me wonder if Dwi Putra just wanted to show us the faces of these animals? I got interested to see further and open up the opportunity of other meanings behind the beautiful visual of these photos.
In Indonesia, one of the countries with the highest biodiversity in the world (estimated at more than 250,000 species of fauna exist here), there are not much variety of photographic works that display and raise issues relating to animals, ironically. One approach commonly used in Indonesia in photographing animals is wildlife photography, which generally shows the lives of various species of fauna in their natural habitat that are not disturbed by humans. Photographer Riza Marlon is probably the most popular example for using this approach, with his book The Living Treasures of Indonesia (2010) that shows his work for 20 years where he went out into the woods and mountains to document the various types of fauna in Indonesia.
Another approach that is also commonly used in photographing animals is through the corridors of photojournalistic, which usually highlights the issues concerning animals of their complex interactions with humans. Journalistic photographs that focus on the fauna are often voicing advocate for animals affected by human activity. For example, the project Orangutan Rhymes and Blues (2012), where photo journalist Regina Safri discusses the conservation of orangutans in Borneo which survival is threatened by massive deforestation for palm oil industry. But we don’t have to go far to see the conflict of interest between human and animals; on a photograph which was awarded 2nd prize singles for Nature category at the prestigious World Press Photo 2013, photo journalist Ali Lutfi showed a monkey trained to put on a show at a busy intersection in the city of Solo, a situation which is not difficult to encounter in other cities in Indonesia.
In the wildlife and photojournalistic approaches above, animals are represented as they are in photographs that convey a narrative that relates directly to the animals shown. Also, I find there are several different approaches that quite interesting in Indonesian photography that do not put the animal as the main character in a story, but position them as symbols of human’s life, with specific functions and purposes. Rama Surya in his photo series Yogyakarta: Street Mythology (1998 - 2000) made the animals he found and took pictures of in the city of Yogyakarta as a symbol of freedom of expression, associated with the changes in Indonesian politics as it entered a period of reform. Artist Edwin Roseno put animal masks on people who posed wearing clothes or costumes that have characteristics commensurate with the masks they wore in the series Animal Mask Collection (2008), referring to the tales and fables that have anthropomorphic animal characters that narrated nature and characteristics like human beings ..
Fantastic visuals presented by Agan Harahap in his series Safari (2009) and Garden Fresh (2012), with digital imaging techniques bringing wild animals into human-made environments such as supermarket and office, commenting on the boundaries between humans and animals that were shifted to the present environment and the complex relationship between art and nature. In these examples, images of animals were not used to tell something about the animals themselves, but rather to represent something else to convey the creator's work.
With that similar tradition of symbolic representation, I think Dwi Putra puts his animal portraits in this series of Familiar Faces. Here, Putra photographing animals that are actually quite easy to find in everyday life, whether they are wild that live among us in an urban environment or that have been domesticated as pets or as live stocks. But Putra is not talking about the lives of chickens, cats, frogs, mice, and other animals that he shows in this series. He merely uses these photos to present ideas on how we view the animals.
Some clues about Putra’s idea can be seen from the way he captured and presented these photos with a method that is very organized and rigid; practically every animal shown only the head, vertically, in front of a white background. Each picture is presented in a square format, with each animal occupies roughly the same area in the frame. There are some things that I can read from here:
First, the presentation of this series showed an obvious uniformity attempt of the subject photographed by Putra, no matter how diverse and varied they are in reality. The placement of each subject in a relatively equal portion of each frame resulted in the emergence of the illusion that all the animals in this series have comparable size. A lizard, for example, seems to be about the size of a goat. Unification that is reinforced by the use of lighting techniques is also identified in each frame and the omission of information about the environment in which the photo was taken, has been replaced with a white background. This equation implies that there is no subject more important than the other in this series.
Furthermore, the absence of other elements in the picture forces us to concentrate solely on the face of each animal, and as a result I also found some interesting things. Although I see these animals quite often, and know their general shapes, perhaps this is the first time I observed their faces in proximity and intensity this high, hence there is a novelty in the experience of observing them like this. Because of the frozen photographic image, every detail can be observed carefully in unlimited time. The facial details form expressions that we can recognize, as we have seen and experienced before in our interactions with our fellow human beings. It then becomes problematic, because we project experience and our knowledge of the human expressions to the creatures that are not human.
Recent studies on animal behavior confirmed that some animals are able to feel primary emotions such as fear and anger. Some animals are even expected to experience secondary emotions such as jealousy and sympathy. However, personification of animals is still considered a taboo in scientific studies. Prompted researchers are always cautioned to only objectively observe animal behavior, and not to attempt to reduce such behavior by giving human attributes to them, because of concerns about inaccurate conclusions. In other words, although it has been proven that animals can feel some emotions similar to humans, it does not mean that these emotions are indicated with an expression similar to that shown in humans.
With that said, Familiar Faces series is not a statement full of certainty from Putra about the animals that he shows (“Look at this frowning frog, shy civet!”), but rather a reflective question about human behavior in seeing things outside themselves, in this case, animals. Is it true that the things that we assume we are familiar with are already known to us, as we think? The mirrors that are projecting our thoughts back to them become ironic: notice how the photo was made like studio portraits that humans often use. Even the uniformity of different subjects was reminiscent of photographic practice that is used to complete identification / identity of the photographed subject.
This is not the first time Putra makes a photography work that flicks perspective issues in the context of animal and human interrelationships. The graduate of the Department of Communication at Pembangunan Nasional Yogyakarta University enjoys photographing animals, especially he really liked them since childhood. Putra admitted he was also interested in photographing animals with wildlife photography approach and actually tried it once, but some constraints makes him cannot fully commit in it. Instead, he tried to observe and photograph the animals around him using some alternative approaches.
One achievement that I think is interesting is Putra’s work made for final exhibition project as one of the first batch of students in Kelas Pagi Yogyakarta. In the series titled “Buaya Darat” (Land Crocodile) (Kelas Pagi Yogyakarta, 2011), inspired by a similar expression in the Indonesian language that means a man who likes changing partners, or a playboy, where he displayed pictures of a small pet alligator with a naked Barbie doll in various poses. There is a tone of humor that is quite critical in the work that tries to show the said literal expression. The man-made phrase refers to members of a species that behave in a certain way using this animal, which in reality has quite the opposite of the behavior. Crocodiles are known to have only one mating partner throughout their lives. From here we can see how people sometimes (or often? always?) look at the animals in their own ways without really knowing and understanding how the animal they see is really like.
In another work, due to the lack of awareness of the problematic way we look at animals from previous work, Putra seemed to do reconciliation by trying to understand the perspective of animals, though he did it literally: he draped a mini video camera on his pet civet and let it record anything according to its motions. The result of three videos entitled “Looking from the Perspective of an Animal” was displayed as part of the workshop exhibition “Meminjam Mata, Melihat Ruang” (Borrowing Eyes, Looking at Space) by Kusuma Yudha Putra in Kedai Kebun Forum, January 2013.
The linkages and continuity of the works created by Putra made me very interested, of which I ended up asking him to show off this series as a logical continuation of what he had previously exhibited. Due to few numbers of photography practitioners in Indonesia who are consistent in using intermediate representations of animals in conveying ideas, it will be interesting to see what he would do with the unique sources of inspiration that he has.
To conclude, it is also interesting to understand how Putra admitted that he did not plan to have a common thread in these works. Again, this may be a proof that any observer, in this case me as a writer, will always have the innate knowledge and previous experience in observing everything that would affect his perspective. Only by constantly being aware that I think we can only begin to try to get a real understanding of who we are and how our relationships are with all the things around us. At least, that's what I can get from observing the works of Dwi Putra.
Dover Castle reveals another striking difference in tower design – geometry. Originally, castle towers were predominately square. Unfortunately, this configuration leaves the castle vulnerable to areas that archers can’t cover. In the 12th century, medieval engineers begin to design circular and semicircular towers to solve this problem. Because it was built over several decades, Dover boasts square and circular towers – the former being attributed to construction under Henry II, the latter to work that’s believed to have been carried out several years later under his son John. Additionally, the castle has several polygonal towers, including the Avranches Tower, which was specifically designed to maximize the garrison’s firepower.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Handsome artwork/painting (gouache I believe) depicting an early configuration LEM liftoff & ascent from the moon. Circa 1962/63, by artist/illustrator Don Crowley, most likely produced during his freelancing period.
Fascinating information on Mr. Crowley, who unfortunately, passed on earlier this year:
Credit: Don Crowley website
wenaha.com/artist/don-crowley/
Credit: Wenaha Gallery website
cowboyartistsofamerica.com/active-members/deceased/don-cr...
Credit: Cowboy Artists of America website
www.greenwichworkshop.com/thumbnails/default.asp?a=18&...
Credit: Greenwich Workshop website
Note the exceedingly long...EVA antenna? Possibly jettisoned, folded, or somehow retracted prior to docking? I guess it wasn't an issue if the forward hatch/docking port was used.
I swapped out for a longer stem, and pushed the seat forward 1 cm. I'm more over the pedals now and not so far in front of the bars when standing.
The current configuration of the SR 14 and 32nd Street intersection limits access to and from Washougal via SR 14. Improving access to the corridor will help to ensure the safety of the traveling public through this stretch of highway and will promote economic vitality in the region.
The Sandhurst Military Skills Competition has run in various configurations since 1967. This year, it is a two-day event conducted at the United States Military Academy West Point, New York, April 10 and 11. At its core, Sandhurst is an inter-company competition for USMA. However, West Point teams now compete, not only amongst themselves, but against teams from their fellow United States Service Academies, 8 select University ROTC teams, the United States Military Academy Preparatory School team, and international teams from Britain's Royal Military Academy Sandhurst (RMAS), Canada's Royal Military College (RMC) , Afghanistan's National Military Academy and, The Chilean Military School. Each USMA Cadet Company and visiting team selects a 9-member Squad (at least one member must be female) with two alternates. This squad is required to perform a series of challenging military tasks during a rapid, non-tactical move along a partly-prescribed 7 mile route. (Photo by: Staff Sgt. Vito T. Bryant)
So here is my flight to Kuala Lumpur, Malaysia, from where I'll transit to Sandakan in Eastern Malaysia. And here is my Malaysia Airlines Boeing 777-200 in a dreadful 2-5-2 seat configuration: true cattle class at its worst. I've read of the 2-5-2 configuration before, and, like ghosts or spirits, thought it was mere fantasy and could not really exist. Yikes, it does! Whoever designed this dreadfully uncomfortable 2-5-2 arrangement should be clapped in irons, strapped to the middle seat of the 5-seat middle row and forced to endure a 19 hour flight in a full aircraft! Fortunately, my seat was an aisle seat on the side 2-seat row, and my flight was just 7 hours long. This is my bird just before take off at Dubai International Airport. (Sandakan, Sabah, East Malaysia, Nov.2013)
Let The Official Records Show...that I **NEVER** allow BUILDINGS, WIRES, TELEPHONE POLES and such enter into my Cloud Configuration photos....
But this configuration was SO *BRILL*...This Expatriate Chicagoan COULDN'T let it GET AWAY...albeit I *HAD* to give my PERSONAL COMMENTARY on the DISRUPTIVE and NOT AT ALL APPRICIATED ELEMENTS therein!
"Development", "Progress"...and all stuff like that there....oft times GETS my *GOAT!*
'Nuff Said!!!!
This was a fun compartment to design. The map background is a playing card. The skull and crossbones is from a new Tim Holtz die-cut. I printed the merchant ship from a Google image and then carefully fit into one of Tim's mini bottles.
The church dedicated to the Saviour's Configuration ("Metamorfosi tou Sotira") is built in the middle of "Palio Chorio" ("Old Village"). It was constructed in the 16th century (1520) and it has the same architectural style as the other two small churches of the village, that of "Panagia Theotokos" and that of Saint George "Perachoritis". Up until 1994, liturgies were conducted daily since it was considered as the village's main church.
It is a rectangular church of the Basilica style and with elements of the Byzantine style. It can accommodate up to 100-150 faithful. Externally it is made of stone and whitewashed.
The inhabitants built extensions to the church in 1880 and 1960 because the village was continuously growing. When they dug the floor they discovered many pieces of frescoes, which surely came from this church. Indeed, they were able to read the name of the hagiographer who was named Symeon Afxentis. He is known for his frescoes of the "Panagia Theotokos" and "Archangel" churches in the village of Galata.
The icon screen is woodcut, as also are the two Psalters that can be found in the church.
There are various remarkable representations dating back to the 16th and 17th century. The icon screen is of various different chronologies.
www.kakopetriavillage.com/churches.html
The settlement of Kakopetria, although mentioned by the mediaeval annalists, existed -at least- since the Frank domination era. The village's region was inhabited around the 6th - 7th century and the various excavations that have been conducted in 1938 around the old village of Kakopetria (in the Ailades venue) prove this. During the excavations a dispenser of an ancient shrine -most probably belonging to the goddess Athena- came to light. A large number of movable findings were found, mainly terra-cotta, many of which depict the goddess Athena, as well as small, limestone, statues and parts of statues and bronze and iron shafts from spearheads and arrows. The findings most probably date back to the Archaic and Classic eras of Cyprus. Other statuettes represent Hercules and are an indication that he was also worshiped in the area along with the goddess Athena. These findings are found in the Archaeological Museum of Nicosia.
Joules, is this what you meant?
We're liking this. There's the big empty space for a wide walk-through area. Lends the room a more minimalist feel, which we are going for.
Box Heliotrope with the box open, showing the parts stowed for transport. The manual shown is from a different manufacturer, and for a different model than, this example.
*** There is one mistake in this configuration!!! ***
The black hinged post sight at far right is not secured, and flopped around when I closed the case! To correct my mistake, the latch to the left of the post sight at right, the one pivoting about the silver screw, with the latch currently at the "8 o'clock" position, should be rotated so that the latch is between the "5 o'clock" and "6 o'clock" positions, overlapping the outer ring of the top (left end) of the post sight. This will secure the post sight from pivoting up about the hinge at right, and flopping about. The big black disk (secondary mirror) that I had the latch on does not need a latch - the rib above it on the lid holds it down, and the two c-section boards on either side of it on the base keep it from sliding up/down/left/right.
The heliotrope is a surveying device which serves as a long range target marker for a surveyor. It reflects sunlight, and in clear weather is easily visible at ranges of over 20 miles.
This box heliotrope is similar to, though different in construction from, the US military MilSpec MIL-H-20194 "Heliotrope, Surveying, Box-Type, with case" [1], whose use is described in the US Army Technical Manual TM-532 [2]. There are some nice photos of this type at the USGS site.
The outside of the wooden box when closed (excluding the protrusions due to the latches and hinges) is 24 3/8" x 5 1/8" x 3", so you can get approximate dimensions for the various components by scaling from this photo.
To view more detail, see the full resolution photo.
[1] MilSpec MIL-H-20194
MilSpec MIL-H-20194 at ASSIST.
[2] TM 5-232 Elements of surveying
This configuration was manufactured between 1919 and 1924.
The following link takes you to my set with more photos of this camera and photos that I took with it:
System configuration--------------------------------------------------------
Nikon D700
Nikon Metal Hood HN-30 : Depth 71mm
Step Up Ring φ60mm to φ62mm
Shangyu Xieqiao Photographic Equipment Factory / Kernel Macro Extension Tube Ring
・#.3 : 25mm for EOS (φ60mm)
・#.3 : 25mm for EOS (φ60mm)
/ Total Hood Depth : 14.2cm
Step Up Ring φ52mm to φ60mm
Step Down Ring φ52mm to φ46mm
Rodenstock APO-Ronar-L 360mm F9 (for Large Format Process Lens)
(The magnification of design criteria is Macro Lens of 1:1. M60 Screw Mount.)
Step Down Ring φ55mm to φ52mm
Nikon BA-R2 Reverse Adaptor Ring φ52mm - Nikon F Mount Total length / 9mm
Nikon F - M42 Mount Change Ring : 10mm
Hanywell Pentax Compact Bellows for M42 : Maximum length / 130mm / This is focasing part.
M42 - Nikon F Mount Change Adaptor Ring
Shangyu Xieqiao Photographic Equipment Factory / Kernel Macro Extension Tube Ring
・Lens mount adapter for Nikon
・Camera body mount adapter for Nikon
・Lens mount adapter for Nikon
・#.3 : 25mm for Nikon (φ57mm) ×3 pieces.
・Camera body mount adapter for Nikon．
Total length / 118mm
Canon Tripod Stand for EF 200mm F2.8 L
Fotomate LP-01 Macro Slider K4G / from Shenzhen, China.
(factory name : Jiangmen Midas Hardware Electronicos Co. LTD ) is used. ×2 sets.
Tripod Stand & Compact Bellows is fixed by Macro Slider. ×2 sets.
The whole can be operated back and forth by using the function of Macro Slider if necessary.
Homemade Macro Extension Tube for Nikon : 120mm
“Gemini Rendezvous Configuration
The Gemini spacecraft is composed of the equipment section (far left) which houses most of the oxygen for the life support system, the fuel cells for electric power, and hypergolic fuels for the propulsion system. Second from left is the retro-rocket section, carrying solid fuel rockets which slow down the spacecraft’s descent from orbit. Both these sections are to be jettisoned before reentry. Second from right is the reentry module which housed the two-man crew throughout the flight. At far right is the adapter of the Agena D with which Gemini will rendezvous and dock in space.”
This cannot be the appropriate caption. QC anyone? Thus, the tradition begins…”unlike any other.”
At least, this original 1962 photograph is in remarkable condition!
Based on other variants of this image, linked to below, I’m quite sure it’s by Arnold Pierce.
An early configuration of the extra bike racks (for 40 bike capacity) had those rear seats turned into the bike car. I think I like this -- gives more real seating capacity over the current configuration where the seats face each other and we're bumping knees.
Photo courtesy of Devon Yates.
Jen Rizzo has a photo of a new rack that shows the height a little better than my photos do.
For the current configuration (as of Thursday 2/26), see the other photos in the Caltrain new bike racks set. Caltrain operations are experimenting with rack design and placement so send your feedback to Mark Simon @ Caltrain and let him know what you think.
Low Taillights configuration from the lions coach body.
Taken at Greenhills San Juan in front of BDO beside Bonaventure building near Samsung Service Center.
I lucked out getting the new business class configuration on the Cathay Pacific flight from Hong Kong to Sydney for my snoozing phase of the return journey. Completely flat bed, massage in-built in the chair, big screen tv, herringbone layout of the seats so no leaping required over the person next to you to go for a wander. Very comfy flying!
My other flights had the older configuration which have flat beds but they are positioned on a bit of a slope so you feel like you're sleeping (comfortably though) on a gentle hill.
Needless to say I'm not looking forward to going back to self-funded long-haul economy class international travel after getting a taste of such comfort!
Finally got this one done!!! This is for my sister's birthday. She collects bears (has all kinds except live ones and I wouldn't be surprised if she got one of those too - LOL!) so the collection theme was pretty obvious for me. The problem with the boxes is the individual boxes are pretty small so I really had to search for small enough items.
The baseline 4x4 configuration of the SMTV family, the Mk401A short bed is the mobile and versatile vehicle ready to move all types of cargo across any sort of terrain you can throw at it.
Features include opening doors and top hatch, a cab capable of seating 2 minifigs with body armor and headgear, foldable gunner’s bench, turning front wheels, a center-pivoting rear axle, and spare tire with lift arm.
As with my other builds, this is made with all purchasable parts and can be built in real life.
If you're interested in this build, a file can be found here:
Manufacturer: Boeing
Operator: Qatar Emiri AIr Force/ Boeing
Type: F-15QA Ababil (QA536) multirole fighter aircraft
Evnet/ Location: 2024 RIAT/ RAF Fairford
Comment: The demonstration of the Qatari Boeing two F-15QA consisted of two different configurations: one with a 'clean' fit, the second with a simulated full weapons load to demonstrate how little the aircraft's aerodynamic performance is affected by the additional weight/drag. The aircraft themselves were en route to Qatar on their delivery flights from the US, with the demos at RIAT provided by Boeing test-pilots.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The P-74 "Charger" was a fighter aircraft built by Lockheed for the United States Army Air Forces (USAAF). Its configuration was unusual as it was designed as a twin boom pusher configuration, where the propeller is mounted in the rear of the fuselage, pushing the aircraft forward.
The P-74 entered service with the USAAF in late 1944, its conception dated back to 1939 when the U.S. Army Air Corps requested with the Circular Proposal R40C domestic manufacturers to develop high performance fighter types, allowing (even demanding) unusual configurations. Lockheed did not respond immediately and missed the chance to sign a development contract in mid-1940 until early 1941. Twenty-three proposals were submitted to R40C, and after a fist selection of ideas three companies, Vultee with the large XP-54 Swoose Goose, Curtiss with its XP-55 Ascender and Northrop's XP-56 Black Bullet were able to secure prototype contracts.
Vultee eventually won the competition, but all these innovative new aircraft suffered from various flaws or development delays, missing various performance goals, so that none ever entered service.
In the meantime, Lockheed had been working on the 1939 request in the background on a private venture basis, as it was clear that by 1944 a successor to the company's own P-38 Lightning had to be offered to the USAAC.
The new North American P-51 Mustang was also a sharp competitor, esp. for the Pacific conflict theatre where long range was needed. This role was filled out very well by the P-38, but it was a relatively large and complicated aircraft, so an alternative with a single engine was strived for. Even though jet engines already showed their potential, it was clear that the requested range for the new type could only be achieved through a piston engine.
This aircraft became the XP-74, originally christened “Laelaps”, following Lockheed’s tradition, after a female Greek mythological dog who never failed to catch what she was hunting. It was presented as a mock-up to USAAC officials on August 8th 1942 and immediately found sponsorship: with the disappointing results from the XP-54,55 and 56 was immediately ushered into the prototype stage. Its name, though, was rejected, and the more common name “Charger” was adopted.
Just like Lockheed’s successful P-38 the XP-74 Charger was designed as a twin-boom aircraft, but it was driven by only a single Packard (License-built Rolls Royce Merlin) V-1650 pusher engine in the aft part of the fuselage. The tail was mounted rearward between two mid-wing booms, with a four-bladed 12-ft propeller between them. The design also included a "ducted wing section" developed by the NACA that enabled installation of cooling radiators and intercoolers in the wing root section.
The advantages of a pusher design are that the view forward is unobstructed and armament can be concentrated in the nose, while a major drawback is difficulty in escaping from the aircraft in an emergency, as the pilot could get drawn into the propeller blades. Lockheed deliberated between systems that would eject the pilot, or jettison the propeller or the engine, via a system of explosive bolts. Lockheed eventually installed an early ejector seat which was driven by pressurized air, combined with a mechanism that would blow the canopy off. The system was successfully tested in summer 1943, even though skepticism remained among pilots.
Initial armament comprised one 20mm Hispano cannon and four 12.7mm Browning machine guns, the same as in the P-38, but two machine guns were relocated from the nose into the front ends of the tail booms because of the new aircraft’s smaller overall dimensions.
The first prototype was ready in October 1943, with a different engine and heavier armor fitted. The second prototype was built to this specification from the start, which would become the serial production standard, the P-74A.
The P-74A used the new V-1650-9 engine, a version of the Merlin that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW). Another change concerned the armament: a longer weapon range was deemed necessary, so the gun armament was changed into four 20mm Hispano cannons, two of the placed in the fuselage nose and one in each tail boom front end. Each gun was supplied with 250 RPG.
Alternatively, a nose installment with a single 37mm cannon and two 12.7mm Browning MGs was tested on the first prototype, but this arrangement was found to be less effective than the four 20mm cannons. Another factor that turned this option down was the more complicated logistics demands for three different calibers in one aircraft.
The P-74A was ready for service in summer 1944, but its deployment into the Pacific region took until December – the 5th Air Force first units replaced most of its P-38 and also early P-47Ds with the P-74A.These new aircraft had their first clashes with Japanese forces in January 1945.
The P-74 was used in a variety of roles. It was designed as an intreceptor against bombers, but its good range and handling at all altitudes made it suitable for tasks like fighter sweeps against enemy airfields, support for U.S. ground forces and protection of sea convoys and transport routes.
While the P-74 could not out-turn the A6M Zero and most other Japanese fighters when flying below 200 mph (320 km/h), its superior speed coupled with a good rate of climb meant that it could utilize energy tactics, making multiple high-speed passes at its target. Also, its focused firepower was deadly to lightly armored Japanese warplanes.
Because of its late service introduction, only 305 P-74s were ever produced until the end of hostilities, and they were exclusively used in the Pacific theatre. The P-74's service record shows mixed results, but usually because of misinformation. P-74s have been described as being harder to fly than traditional, single-engined aircraft, but this was because of inadequate training in the first few months of service.
Another drawback was the ejection seat system – it worked basically well, but the tank for the pressurized air turned out to be very vulnerable to enemy fire. Several P-74s literally exploded in midair after cannon fire hits, and this poeblem could only be cured when the tank section behind the cockpit received a more rigid structure and additional armor. Anyway, the P-74 was quickly retired after WWII, as the USAAF focussed on P-47 and P-51.
General characteristics
Crew: 1
Length: 10.45 m (34 ft 3 in)
Wingspan: 11.6 m (38 ft 0 in)
Height: 3.97 (13 ft 0 in)
Wing area: 22.2 m² (238.87 ft²)
Empty weight: 3,250 kg (7,165 lb)
Loaded weight: 4,150 kg (9,149 lb)
Max. take-off weight: 4,413 kg (9,730 lb)
Powerplant:
1× Packard (License-built Rolls Royce Merlin) V-1650-9 ,
rated at 1,380 hp (1,030 kW) and 2,218 hp (1,500 kW) w. water injection
Performance
Maximum speed: 640 km/h (343 knots, 398 mph)
Cruise speed: 495 km/h (265 knots, 308 mph)
Range: 1,105 mi (1,778 km)
Ferry range: 1,330 nmi (1,530 mi, 2,460 km)
Service ceiling: 11,000 m (36,090 ft)
Rate of climb: 15 m/s (2,950 ft/min)
Armament
4× 20 mm (0.79 in) Hispano-Suiza HS.404 cannons with 250 RPG
2× hardpoints for up to 2,000 lb (907 kg) of bombs, 6 or 10× T64 5.0 in (127 mm) H.V.A.R rockets
The kit and its assembly:
This whif was inspired by a CG rendition of a Saab J21 in a natural metal finish and with (spurious) USAAF markings, probably a skin for a flight simulator. Anyway, I was more or less enchanted by the NMF on the Saab – I had to build one, and it would become the P-74, the only USAF fighter code that had never been used.
The kit is the venerable Heller Saab J21A, an “old style” design with raised panel lines. But it is still around and affordable. No big mods were made to the kit during its transition into a USAAF fighter, even though I changed some minor things:
● Main landing gear was completely exchanged through struts from an Airfix A-1 Skyraider and the wheels from a Hasegawa P-51D; thin wire was added as hydraulic tubes
● New propeller blades: instead of the three-bladed original I added four much broader blades with square tips (from a Heller P-51D) to the original spinner
● Different exhaust stubs, which actually belong to a Spitfire Merlin (Special Hobby kit)
● Underfuselage flap was slightly opened
● A pilot figure was added to the nice cockpit
● The gun barrels were replaced with hollow styrene tubes
Painting and markings:
NMF was certain, but the rest…? I wanted to have a colorful aircraft, and eventually settled for a machine in the Pacific theatre of operations. When I browsed for options I eventually decided to apply broad black stripes on wings and fuselage, typical 5th Air Force markings that were used e. g. on P-47Ds and P-51Ds.
Overall design benchmark for my aircraft is a P-47D-28 of 310th FS/58th FG. The tail would be all white, and the rudder sported red and white stripes, early war insignia. The red nose trim and the deep yellow spinner were taken over from this aircraft, too. The blue individual code number is a personal addition, as well as the nose art, which was puzzled together from a Czech 'Perdubice' Meeting MiG-21 and leftover bits from a Pacific use P-51.
The aircraft was basically painted with Aluminum Metallizer (Humbrol 27002) and Polished Steel Metallizer (Modelmaster), and some panels were contrasted with Aluminum (Humbrol 56).
The anti-glare panel in front of the cockpit was painted in Olive Drab (Humbrol 66), the red nose trim with Humbrol 19. The tail was painted with a mix of Humbrol 34 & 196, for a very light grey, and later dry-painted with pure white.
The black ID stripes as well as the red and blue rudder trim were not painted, but rather created through decal sheet material (from TL Modellbau), cut to size and shape to fit into their respective places. The tail was a PITA, but for the black stripes this turned out to be very effective and convenient - an experiment that willcertainly see more future use.
Cockpit interior was painted in Humbrol 226 (Cockpit Green) and Zinc Chromate Green from Model Master, the landing gear wells received a chrome yellow primer (Humbrol 225) finish.
The landing gear struts were kept in bare Aluminum.
For weathering the kit received a rubbing treatment with grinded graphite, which adds a dark, metallic shine and emphasizes the kit’s raised panel lines. Some dry painting with Aluminum was added, too, simulating chipped paint on the leading edges, and on the black ID stripes some dark grey shading was added.
A relatively simple whif, but I love how the Saab 21 looks in the unusual, shiny NMF finish - and the USAAF markings with the prominent ID stripes suit it well, even though it looks a bit like a circus attraction now?
In "guide boat" configuration.
Windshield seen here www.flickr.com/photos/49353569@N00/5316081368/
was removed after this accident, www.flickr.com/photos/49353569@N00/6106220903/
and a small spray dodger was added similar to the one on the Mackenzie Cuttyhunk "Bevie C" that was in Wooden Boat #138 October '97 page 80.
This canvas "tent' was donated, and we are in the process of modifying it for use next season.
www.flickr.com/photos/49353569@N00/7672218782/in/photostream Many early bass boats sported pipe and canvas tops and I've always liked the "look".
Ready to launch.
How to configure Raspberry Pi for the first time
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
Dornier Do 335 A-0 Pfeil (Arrow)
Smithsonian National Air and Space Museum, Udvar-Hazy Center, Chantilly, Va, October 29, 2009.
The Do-335 was one of a small group of aircraft marking the pinnacle of international piston-engined development. It was the fastest production piston-engined fighter ever built, attaining 846 kilometers per hour (474 mph) in level flight at a time when the official world speed record was 755 kph (469 mph). Powered by two 1800-hp engines in a unique low-drag configuration and weighing 9600 kg (21,000 lb) loaded, it was an exceptional heavy fighter. This very innovative design also featured an ejection seat, for pilot safety, and a jettisoning fin.
The unconventional layout of the Do-335 -- one engine "pulling" in the nose and another "pushing" in the tail - was patented by Claudius Dornier in 1937. The configuration provided the power of two engines, but with reduced drag and better maneuverability. The German Aviation Ministry (RLM) was interested in the design, but initially wanted Dornier only to produce bombers. By 1942, Dornier was still continuing design work and the war situation was worsening. The Luftwaffe now needed a multi-purpose fighter, and the prototype Do-335V-1 ("V" indicating "versuchs" or "experimental") flew in fighter form in September, 1943 - six years after its conception. Orders were immediately placed for 14 prototypes, 10 A-0 preproduction aircraft, 11 production A-1 single-seaters, and 3 A-10 and A-12 two-seat trainers.
The aircraft was quite large for a single-seat fighter, with a cruciform tail and a tricycle landing gear. The two massive liquid-cooled Daimler-Benz DB-603 engines were used in four different versions, each displacing 44.5 liters (2670 cu in) and weighing 910 kg (2006 lb). The engine produced 1750 hp from 12 cylinders in an inverted V layout using fuel injection and an 8.3:1 compression ratio. The rear three-bladed propeller and dorsal fin were jettisoned by explosive bolts in an emergency, to allow the pilot to bail out safely using a pneumatic ejection seat. The seat, inclined 13 degrees to the rear, was ejected with a force of 20 times gravity. The ventral fin could be jettisoned for a belly landing.
Unlike a normal twin-engined aircraft, with wing-mounted engines, loss of an engine on the Do-335 did not cause a handling problem. Even with one engine out, speed was a respectable 621 kph (348 mph). Because of its appearance, pilots dubbed it the "Ant eater" ("Ameisenbar"), although they described its performance as exceptional, particularly in acceleration and turning radius. The Do-335 was very docile in flight and had no dangerous spin characteristics. Many Do-335 prototypes were built, as the Reich strained desperately to provide day and night fighters and fast reconnaissance aircraft to the failing war effort. One of the many RLM production plans, issued in December 1943, called for the production of 310 Do-335s by late 1945. Initial production was at the Dornier Manuel plant, but this factory was bombed heavily in March-April, 1944, and the Do-335 tooling was destroyed.
Ten Do-335A-0 preproduction aircraft were then produced at Dornier's Oberpfaffenhofen plant in July-October 1944, by which time the Allied bombing campaign was delaying arrivals of engines, propellers, radios, and structural subcomponents. This had a serious effect, because the Do-335 was not a simple aircraft: installation of the electronics alone took 60 hours of assembly, and the electrical parts list was 112 pages long. Production of Daimler-Benz engines, for example, was switched to factories set up in underground salt mines and gypsum mines, but high humidity caused corrosion problems and production dropped 40 percent. Although several preproduction aircraft were issued to combat conversion units some 10 months before the war ended, no Do-335s actually entered combat. Deliveries began to the 1st Experimental Squadron of the Commander-in-Chief of the Luftwaffe ( I/Versuchsverband Ob.d.L.) in late July 1944 for operational trials.
The first of the Do-335A-1 production version left the Dornier line at Friedrichshafen early in 1945, one of only four produced in 1945. It was armed with one 30 mm MK-103 cannon (70 rounds were carried) firing through the propeller hub and two 15 mm MG-151/15 cannon (200 rounds per gun) firing from the top of the forward engine. Even with the fighter situation as desperate as it was, these aircraft were still equipped to carry 500 kg (1100 lb) of bombs internally. Further operational testing, including use of air-to-ground guided missiles, began in Spring 1945 with Trials Unit (Erprobungskommando) 335.
The Do-335A-6 was to be a two-seat night fighter version with the advanced FFO FuG-217J Neptun radar having triple "trident"-like antennas (hence the name "Neptun") on the fuselage and wings, but only a prototype was completed. A total of 37 prototypes, 10 A-0s, 11 A-1s and 2 A-12 trainers were built, although nearly 85 additional aircraft were in assembly when U.S. troops overran the Friedrichshafen factory in late April, 1945. The Vienna-Swechat plant of the Ernst Heinkel AG was also scheduled to build the Do-335 beginning in February, 1945, but production never started.
The NASM aircraft is the second Do-335A-0, designated A-02, with construction number (werke nummer) 240102 and factory registration VG+PH. It was built at Dornier's Rechlin-Oberpfaffenhofen, Germany, plant on April 16, 1945. It was captured by Allied forces at the plant on April 22, 1945. After checkout, it was flown from a grass runway at Oberweisenfeld, near Munich, to Cherbourg, France. During this flight, the Do-335 easily outclimbed and outdistanced two escorting P-51s, beating them to Cherbourg by 45 minutes. Under the U.S. Army Air Force's "Project Sea Horse," two Do-335s were shipped to the United States aboard the Royal Navy ship HMS "Reaper" together with other captured German aircraft, for detailed evaluation. This aircraft was assigned to the U.S. Navy, which tested it at the Test and Evaluation Center, Patuxent River Naval Air Station, Maryland. The other aircraft, with registration FE-1012 (later T2-1012), went to the USAAF at Freeman Field, Indiana, where it was tested in early 1946. Its subsequent fate is unknown, and this is the only Do-335 known to exist.
Following Navy flight tests in 1945-48, the aircraft was donated to the Smithsonian's National Air Museum in 1961 but was stored at NAS Norfolk until 1974. It was then returned to Oberpfaffenhofen, Germany, where the Dornier company restored it to original condition in 1975. The return trip to Germany required an exemption under U.S. laws concerning the export of munitions. The Dornier craftsmen doing the restoration - many of whom had worked on the original aircraft -- were astonished to find that the explosive charges fitted to blow off the tail fin and rear propeller in an emergency were still in the aircraft and active, 30 years after their original installation! The Do-335 was put on static display at the May 1-9, 1976, Hannover Airshow, and then loaned to the Deutsches Museum in Munich, where it was on prominent display until returned to Silver Hill, MD, for storage in 1986.
IP Office 500 uses Secure Digital technology for system software, firmware, configurations, voice messaging, and licensing; all on a single card.
Gemini a configuration of stars as seen from the Earth, Castor is actually an unusual discovered as a six multiple star of a system in relation from or attached to a sextuple star system,individual stars gravitationally held with another element, together,made of three binaries real example of a system with ranks in an administrative body, out is important a communication argued between since Castor and Pollux are always considered together in ancient literature, highly unusual rare example to put in effect Castor is not a only star but something more that making both the northern and southern night sky naked eye to be qualified for or allowed as worthy in being chosen that approach representing a continuous scene historical period before the fall of the Western Roman Empire, so the rejection of belief but consistent with fact or reality a vivid mental image that involves numbers relating to resembling the physical or orbital characteristics of a planet or the star map name in this subjected to experimental in the other observational of today within telescope technology.
Trust the British to make really nice raingear. The Carradice Pro-Route rain cape is heavy-duty, highly visible, well constructed, and ideal for standard diamond-frame bikes. For recumbents it has one obnoxious flaw: the front zipper has no sewn-in web/backing (like around the tongues of zippered rain boots), and since it's a local minimum, rain collects in the zipper and happily trickles on through. Still working on that...
In other respects it's great, though. It's velcro'd to the Streamer fairing (just like Peder Torgersen's, which was the inspiration for mine) and allows plenty of maneuverability, including access to the front water bottle. Shifting blind and being unable to see the speedometer are only minor nuisances.
Update 21 Nov 2010: Friday night's 12-mile ride in 46F temps with even colder water dribbling down chest and, shall we say, subarctic regions, served only to validate the utter retardedness of a topside zipper. However, the back is also sufficiently long to reach the fairing, so one 180-degree rotation later (plus another strip of sticky velcro), it looks like we have a solution. More cold rain is predicted for the next couple of days, so we'll find out shortly...
Composed of 4 separate benches that can be moved and rearranged: 32W x 24D x 30H, Corner 46 x 46 x 24 x 24 x 30H, 42W x 24D x 30H, and 36.5W x 24D x 30H with semi-circular island projection.
Drivers are now following a newly aligned section of highway west of Devonshire Road in Montesano. The temporary roadway configuration gives the crews room to remove and replace the culvert that has been identified as a barrier to fish passage.
Showing one configuration of period attachment of the sword belt to the scabbard. This is my most successful recreation of the integrated scabbard belt that was period from the mid-eleventh through the mid-fourteenth centuries.
A great example of this style still exists in the scabbard of Infante Fernando de la Cerda dating to the 1270s. It is also depicted in various forms of artwork including tomb effigies of knights. Probably the most prominent examples of it are the fantastic statues of the patrons of Naumburg Cathedral. Margrave Ekkehard's sword is sheathed in a scabbard very similar to the one I recreated above.
As complex as it may look, this is deceptively simple to accomplish with nothing more than an exacto knife, a punch, and a straight edge. The buckle end of the belt is split into two halves that lace through a series of slits in the scabbard leather. The long end of the belt merely loops around the scabbard.
The scabbard is a modified Albion campaign scabbard; two slats of wood covered with leather, just like the originals.
1963 Porsche 356B Super-90 Coupe
Chassis No. 122550
Engine: 1600 (Super-90)
Transmission: 741 4-Speed
History
The Porsche 356 was the company's first production automobile. It was a lightweight and nimble handling rear-engine rear-wheel-drive 2 door sports car, available in hardtop and convertible configurations. Design innovations continued during the years of manufacture, contributing to its motorsports success and popularity. Production started in 1948 at Gmünd, Austria where approximately 50 cars were built. In 1950 the factory relocated to Zuffenhausen, Germany and general production of the 356 continued until April 1965.
In 1960 Porsche first offered the offered the S90, or 'Super 90' motor as an available option in the 356B.
Porsche Super 90 Engine
Sports Car Graphic reported that the Porsche Super 90 was “tamer in traffic and [in the] lower speed ranges than the 1600 Super. Getting off the mark fast from a standing start takes some practice, as the big carburetors can’t be dumped open too fast. Once the biggest chunk of inertia is overcome, you can [floor the accelerator] and start moving out very fast indeed. In fact, one of the most impressive things about this engine is the feeling of torque -- the sheer push in the shoulders -- that one gets on booting the throttle...”
Objectively, the Super 90 was quick: with less than 10 seconds 0-60 mph in SCG’s test.
Testers generally praised the B’s handling, especially in 1961 when Koni shock absorbers became standard for both Supers, matched by suitably lower spring rates. More significant was a reduction in rear roll stiffness via 23-mm torsion bars and the addition of a transverse leaf spring -- sometimes called a “camber compensator” -- as standard for S90s (optional elsewhere).
Unique features of the Super 90 Engine appealed to performance-minded drivers. Super 90s could be revved about 800 rpm higher than other 356B 1600s thanks to a special cooling layout that gathered in more air, plus nitrided crank and cam-bearing surfaces, a lighter flywheel, stiffer valve springs, light-alloy rockers, larger-diameter (by 5 mm) main bearings, and cylinders lined with Ferral, a coating of steel over molybdenum. S90s also had a unique oil pickup system that allowed the engine to draw lubricant from the sump’s full side in hard cornering, thus ensuring proper lubrication at all times. It was an important advance that Porsche racers had wanted for several years and was especially welcome in the high-performance 90.
1963 was the last year for the 356B, it was succeeded by the 356C.
Presented here is an incredible three-owner example of the rare and highly desirable Super 90 Coupe; special ordered from the Porsche factory in 1962. This rare S-90 Reutter Coupe’s history is complete and well known, with the second owner possessing the car for 40 years! Finished in the gorgeous, yet seldom seen original Bali Blue/Light Brown factory color combination, this beauty has a beautiful older restored with no expense spared and no detail overlooked. An original California Black Plate car with extensive service records and history, this S90 has been well maintained and cared for its entire life.
It is accompanied by all the great accessories and documentation that are so important for a serious collector; spare tire, complete tool kit, reproduction 356B drivers manual, a full set of keys, service documentation, Porsche Certificate of Authenticity, and Larry Aguilar’s 40-year owner biography.
An original Bali Blue S90 with matching #’s as per Porsche Certificate of Authenticity!
Incredibly restored and immaculate interior with working radio!
One of the most delightful 356’s we’ve ever driven, tight and smooth shifting, great power and tight steering! A great set up!
Rare and Desirable Super 90 Engine!
Fully Restored!
Contact Jose Romero: jose@driversource.com
Visit our website for more info:
We buy all classic European and American sport cars! Finder’s fees paid!!
This is a photograph from the 4th and final round of the 2017 Pat Finnerty Memorial 5KM Road League which was held in Belvedere House and Gardens, Mullingar, Co. Westmeath, Ireland on Wednesday 24th May 2017 at 20:00. This is the final round and consequently some of the decisions around the final configuration of the category prizes are still open for resolution. The Road League is promoted and organised by Mulligar Harriers Athletic Club and sponsored by local sponsors including O'Brien's Renault dealership. This is a very well established as an annual event which takes place on every Wednesday night in the month of May. Tonight's weather was absolutely wonderful. Warm summer air filled the Belvedere area as the runners were treated to perfect summer weather. Just under 200 participants took part in the race which runs a traffic free course over a mix of road and hilly forest trail. Congratulations are due to all of the Mullingar Harriers club who put this excellent series together.
Timing and event management was provided by http://www.myrunresults.com/. Their website will contain the results to today's race.
The full set of photographs is available at: www.flickr.com/photos/peterm7/albums/72157684232399025
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Dull screenshot of the configuration of a Drupal view that I took for the question I've asked on Stack Exchange
on-chip IDE configuration AMI BIOS SETTING boot off PATA IDE see SATA IDE MS-6728 ATX motherboard DSCN1714
Carabus auronitens, carabidae
Mitutoyo M Plan Apo 5X/0.14 + Apo Gerogon 210/9 (f. 9) + Canon 5D mark II (ISO 100, 0.3, EFSC) + Jansjö LED
90 shots at 0.04 µm step stacked with Zerene Stacker (Pmax).
Image Disclaimer - Please note that all of the images shown are for illustrative purposes only. The rooms pictured are not necessarily typical of the accommodation available at Student Apartments, which can vary in terms of size, configuration, and finish.
Broadway, Tribeca East Historic District
This four-story store and loft building, located at the northwest corner of the intersection, extends thirty feet along Broadway and 100 feet along Walker Street. Erected in 1862-65 for Augustus Hemenway of Boston, it replaced a masonry structure that housed part of Florence's Hotel. The stone exterior (now painted) is articulated in the Second Empire style by the superimposed tiers of intermediate cornices, coursed end piers, and column-framed flat-arched openings with curved corners, and by the paired brackets of the metal terminal cornice. The Walker Street facade is further distinguished at the center bay by its window surrounds with bracketed pediments, and at the cast-iron ground story by its large, pilaster-framed and flat-arched openings. Additional surviving historic elements include a decorated iron fire escape and double-hung wood sash windows in a variety of configurations. Granite-slab vault covers remain at the sidewalk.
This structure was connected via a passageway to No. 402 in 1908. In 1912 the show windows on both facades were set back to the building line and a projecting front staircase was also replaced; in 1928 the vault was altered. The storefronts on Broadway and in the two westernmost bays on Walker Street were subsequently altered.
Among the building's occupants were J.M. Romme & Company, manufacturers and jobbers of hats, caps, furs, straw goods, and umbrellas; and the Herring-Hall-Marvin Safe Company. The building has been used for light manufacturing, storage, display, and sales. Current occupants include a textile firm specializing in cottons and synthetics.
-- Description of the District---
The Tribeca East Historic District, which encompasses 197 buildings and four undeveloped lots, is located in the area bounded roughly by Canal Street on the north, Worth Street on the south, and Broadway and Cortlandt Alley on the east. Church Street forms much of the western boundary of the district, although blockfronts along Franklin and White Streets extend the district to West Broadway. The district extends east of Broadway, between Franklin and Canal Streets, to include buildings on the east side of Cortlandt Alley. While many of the district's cast-iron and masonry commercial buildings were erected beginning at mid-nineteenth century and continuing into the early twentieth century, when the dry goods district was located in this area, later buildings in the district — office buildings and banks — also served the textile trade.
The Tribeca East Historic District takes its name from the acronym TriBeCa, for Triangle Below Canal Street. Coined in the mid-1970s as the result of City Planning studies and the adoption of a Special Lower Manhattan Mixed Use District, the Tribeca name came to be applied to the area south of Canal Street, between Broadway and West Street, extending south to Vesey Street, which is larger than the zoning district. The Tribeca East Historic District has a distinct and special character within the larger Tribeca area defined by its many blockfronts of ornate store and loft buildings which reflect the district's role as the center for dry goods and related businesses in New York City.
During the decades after textile mills were established in New England with its abundant sources of water power, American textile markets began to flourish in New York City and other northern urban centers, where dry goods importers, general merchants, and wholesalers were concentrated. As New York City developed as the country's major port and trading center, a dry goods district sprang up on Pearl Street near the East River docks. After the disastrous fire of 1835, these merchants were scattered to various locations around Pearl Street, in proximity to the South Street seaport. As commercial shipping interests switched to longer ships and steam boats, it was found that these vessels could not easily navigate the East River, and new piers on the deeper Hudson River prospered. Beginning in the 1850s, the dry goods merchants relocated to the area north and west of Broadway and Chambers Street, allowing competitors to be in close contact with each other and closer to the Hudson River piers, and offering buyers the convenience of a central marketplace. That area of the city was transformed into a new commercial center after the A.T. Stewart Store, the fashionable "Marble Palace" which housed the first American department store, was built in 1845-46 on the east side of Broadway between Chambers and Reade Streets. During the early 1850s the first stories of many earlier residences were converted to commercial use, and some two dozen new store and loft buildings were constructed by the decade's end. By the end of the 1860s, the area of the district had been thoroughly transformed by the rapidly-growing textile trade, which continued to construct store and loft buildings during the next two decades to meet its needs.
The initial residential character of the area is recalled by No. 2 White Street (a designated New York City Landmark), which was built around 1808-09, most likely as a dwelling with a shop at the ground floor. Residences continued to be constructed in the area throughout the 1830s. Three in particular, within the boundaries of the district, retain their historic character — No. 35 Walker Street (c.1800), No. 74 Franklin Street (1815), and No. 58 Lispenard Street (1821-22) — although all were converted to commercial use.
The many store and loft buildings, which now define this district, were characterized by nineteenth-century critics as palatial and substantial, enabling New York "to vie with the greatest continental cities of Europe." These buildings have trabeated cast-iron storefronts, many of which retain such historic elements as paneled and glazed wood doors, wood-framed transoms, show windows, roll-down shutters, and stepped vaults. The upper facades are faced with high-quality materials, such as marble, sandstone, brick, or cast iron, and terminated by prominent cornices. Multiple signbands and fire escapes were often attached to these facades.
Within the district, there is a significant number of buildings with cast-iron facades, which include examples of the work of two important pioneers and disseminators of architectural cast iron in James Bogardus's cast-iron fronts for the building at 85 Leonard Street (1860-61) and in the fourteen buildings in the district that have facades that were manufactured in whole or in part by Daniel D. Badger's Architectural Iron Works foundry between 1854 and 1868. The Cornell family foundry and the Excelsior Iron Works of George R. Jackson, among others, are also represented in the cast-iron work in the district. Late examples of cast-iron work include No. 268-270 Canal Street (1886-87, Lansing C. Holden) and No. 43-45 Walker Street (1888, Charles C. Haight).
The design of the A.T. Stewart Store (1845-46, Trench & Snook), one of the first American examples of the "Italianate" style and a turning point in the commercial architecture of New York, strongly influenced the architectural character of the district as dry goods businesses that aspired to Stewart's success erected modest versions of the Stewart Store. Nearly thirty surviving store and loft buildings in the district, which were erected between 1851 and 1868, follow closely the Stewart Store model.
Some twenty buildings in the district have a cage-like design quality and features influenced by Renaissance Venetian palaces, popularized in New York City by the Bowen & McNamee Store at 112-114 Broadway (c.1849, Joseph C. Wells, demolished). Over a dozen surviving buildings with such Venetian-derived facades incorporate two-story "sperm candle" columns in distinctive double-height arcades, including No. 388 Broadway (1858-59, King & Kellum). There are also a small number of more utilitarian store and loft buildings in the district which exhibit such modest Italianate features as curved window lintels and piers or quoins framing the facades. The influence of Parisian buildings, manifested in what is known as the Second Empire style, is evident in buildings designed in a commercial variant of that style and erected between 1864 and 1871.
Some buildings in the district exhibit other variants of the Second Empire style, such as those where Italianate elements are evident; for example, the cast-iron fronted No. 8-10 White Street (1869-70, Henry Fernbach), and those with qualities of Roman palaces, like No. 299-301 Church Street (1867-68, John B. Snook). Later store and loft buildings erected in the district, from the late 1870s to the early 1890s, were designed in the then-popular neo-Grec, Queen Anne, and Renaissance Revival styles. Several important architects, many of whom specialized in commercial design, were responsible for the ornate yet functional store and loft buildings in the district, including the firms of John Kellum & Son, John B. Snook, D. & J. Jardine, Isaac F. Duckworth, Benjamin W. and Samuel A. Warner, Henry Fernbach, and J. Morgan Slade.
A number of buildings planned to accommodate offices of dry goods-related firms and other functions were erected around the turn of the century. This phase of development culminated in the erection of two large corner structures in the Art Deco style. Among the few twentieth-century structures are small commercial buildings, two bank buildings, a neo-Expressionist synagogue, and a high-rise apartment building.
The side streets of the district extending between Broadway and Church Street, which are filled with nineteenth-century store and loft buildings, form exceptionally strong streetscapes. Twentieth-century development patterns have bounded this area by Worth Street on the south and Canal Street on the north, helping to reinforce the district's distinct sense of place. The long expanse of White Street within the district contains buildings which represent the full historical context of the area — a few early nineteenth century dwellings converted at mid-century for commercial use, many five- and six-story store and loft buildings in a variety of materials and mid-nineteenth-century styles, and a limited number of late-nineteenth-Century structures. The blocks of Broadway within the district, on which stand some of the district's finest surviving Italianate and Second Empire style store and loft buildings, constitute a significant reminder of the historic mercantile character of that preeminent thoroughfare.
Church Street, which forms much of the western boundary of the district, contributes to the district's character with its mid-nineteenth-century store and loft buildings as well as two taller twentieth-century office buildings, constructed for tenants associated with the textile trade. The two small service alleys, Cortlandt Alley and Franklin Place, which are elements of the early-nineteenth century street plan of the area, add to the district's historic character. Both are fronted by side or rear elevations of brick store and loft buildings which have distinctive iron shutters. Throughout the district, granite slab sidewalks and streetbeds of granite pavers further contribute to its historic commercial architectural character.
The history of the Tribeca East Historic District is characterized by rapid development and redevelopment with commercial pressures displacing residential neighborhoods and pushing the city's urban limits northward. Progress in the American textile industry, especially in its production and distribution methods, combined with these pressures to mold the area into the leading district for dry goods and related businesses in New York City from the mid-nineteenth through the early twentieth century. While the development of this market was to a large extent empowered by the growth of the American textile mills outside of the city, the business operations of the market located in New York City enabled the expansion and ultimate success of the industry as a whole.
Early Residential Development
Throughout the seventeenth and most of the eighteenth centuries, the area of the Tribeca East Historic District was open marshland. In 1646, Governor Kieft granted to Jan Jansen Damen forty-five acres of land which came to be known as the Calk Hook Farm. This property was bounded by the Collect Pond, a forty-foot-deep body of water located southeast of the district near today's Foley Square, and extended into the marshland north and west of the pond to what is today Canal Street and West Broadway, and south as far as Reade Street. The property was divided among several individuals after Damen's death and later, between 1723 and 1725, was purchased and reassembled by Anthony Rutgers, a city Alderman and a member of the colonial assembly. While in his possession the area became known as the Rutgers Farm.2 Rutgers wanted to improve the swampland and the pond adjoining his property and in 1730 petitioned for a grant of that land. He subsequently received the grant and began to drain the area.
The Rutgers Farm was acquired by Leonard Lispenard in 1746 and was incorporated into the Lispenard Farm, a portion of the larger area known as Lispenard Meadows.3 Lispenard continued the improvements which Rutgers had begun. A ditch was dug from the pond through the swampland to the Hudson River. The ditch was eventually covered over, and Canal Street was laid out along its path. The filling in of the Collect Pond was completed by 1811. Lispenard's property within the area of the district was dispersed by 1812, transferred to Anthony Lispenard, Rev. Henry Barclay (a son-in-law), Henry White, John Jay, Peter Jay Munro, John Van Blarcum, Jr., Thomas Duggan, Effingham Embree, and the City of New York, among others.
Through the eighteenth century, Manhattan's population was concentrated at the southern tip of the island, generally below Wall Street. As the city's population grew following the Revolutionary War, new residential neighborhoods
'This section is based on information found in Manual of the Common Council of the City of New York (New York, 1860) and Frank L. Walton, Tomahawks to Textiles (New York, 1953).
With this purchase, Rutgers's landholdings included most of the land west of Lafayette Street between Chambers and Canal Streets. His residence was constructed near the current intersection of Broadway and Duane Street, and his grounds, laid out in geometric gardens, were opened to the public in 1760 as Ranleigh Gardens. Part of this property was later occupied by the New York Hospital.
By 1810, most of the streets within the present-day historic district had been laid out. The names of the district's streets recall the early history of the area.4 Broadway, one of the city's oldest streets, follows the path of an Indian trail and was incorporated into the plan of New Amsterdam. The original width of the street was distinctive enough to suggest its name. Broadway is paralleled by Church Street (named in honor of Trinity Church, south of the district), and West Broadway (originally Chapel Street after St. Paul's Chapel), both west of Broadway and later widened to relieve congestion on the main thoroughfare. Two of the cross streets in the area — Leonard Street and Anthony Street (later changed to Worth Street) — were named after the children of Leonard Lispenard, and one was named for Lispenard himself. Cortlandt Alley recalls the early landholdings of Jacobus Van Cortlandt.
Other streets honor political figures; Franklin Street and Franklin Place were both named after the prominent statesman Benjamin Franklin; Walker Street commemorates Benjamin Walker, a soldier in the Revolution and a Congressional Representative; and Worth Street was named for William Jenkins Worth, considered the first American soldier to enter Mexico City in the Mexican-American War. Canal Street recalls the early geographic features of the area; and Sixth Avenue, at the northwestern corner of the district, was cut through to Franklin and Church Streets in 1930.
By the early nineteenth century, the first phase of urbanization in the district was underway with the construction of modest, two-and-one-half- and three-and-one-half-story brick or brick and frame structures in the Federal style. Built both by speculators and by individuals for their own use, these houses were typical of those built for middle-class New Yorkers. One of the surviving structures from this period stands at the northeast corner of White Street and West Broadway (2 White Street, a designated New York City Landmark). Constructed in 1808-09, this two-and-one-half-story dwelling was most likely constructed with a shop at the ground floor (since altered). The original owner, Gideon Tucker, was an assistant alderman, school commissioner, and Commissioner of Estimates and Assessments who operated the Tucker & Ludlum plaster factory located at the eastern end of the block.
Residences continued to be constructed in the area through the 1830s, including those which survive at No. 74 Franklin Street (1815), constructed for John Wood, a merchant; No. 58 Lispenard Street (1821-22), constructed for coach-maker William Ross and one of only two Greek Revival buildings remaining in the district; and No. 103 Franklin Street (1833-34) which was built by James Russell and sold to George Ehninger, a merchant. These buildings, and all of the other buildings originally constructed as residences within the district boundaries, were eventually converted to commercial use.
- From the 1992 NYCLPC Historic District Designation Report
Configuration: Apple M1 Max chip with 10-core CPU and 32-core GPU; 32GB unified memory; 1TB SSD. This replaces my late-2019 model, which I part with a year earlier than planned.
Some quick first-impressions, with less than eight hours screen time:
Liquid Retina XDR display is visually stunning. Spectacular is better. Text is super sharp and colors are rich and vibrant—like nothing I have experienced on any laptop. Scrolling is super smooth. Hello, ProMotion! Technical resolution is 3024 by 1964 pixels. Actually available maximum scaling: 2056 by 1329. Bright, bright, bright—love it.
M1 Max chip looks promising but I will need to embark on several planned heavy-duty projects to truly assess. I will say this: Performance is fluid, and I can’t say the same about my late-2019 MBP.
Keyboard is unexpectedly better. The keys feel fabulous, require light touch, and caress the fingers. I am surprised by the subtle but absolutely significantly improved experience compared to the 16-inch MBP.
MagSafe 3 and return of other ports (HDMI and SDXC) are nice-to-haves but not need-to-haves. Over time, surely I will appreciate them.
3.5-mm headphone jack supports high-impedance headphones, which I own. My daughter is fanatical about vinyl records; to make for a more authentic listening experience, I gave her my Grado GS1000e. I now use the Audio-Technica ATH-R70x, which impedance is fairly high at 470 ohms. But, I haven’t opportunity to truly test.
Construction is solid, like a tank. The hinge is incredibly rigid (in a good way). My initial trepidation gives way to satisfaction with the apparent ruggedness.
Design is stately and strong. I don’t notice the camera notch, in case you wondered. The thin bezel makes interaction with the 16.2-inch panel both expansive and immersive. The laptop looks and feels Pro—no, premium—oddly emphasized by the brand name machine-embossed/etched onto the underside.
I will need more time using the late-2021 MBP before conveying much (much) more about it.
Regarding the photo, I feel black and white appropriately suits the Space Gray color and tank-like conveyance.
BASIC DETAILS
Bus Company/Operator: VALLACAR TRANSIT, INC.
Bus Name: CERES TOURS
Fleet Number: 80017
Classification: Air-Conditioned Inter Provincial Operation Bus
Franchise Route: Daan Bantayan-Daan Bantayan
Route:
Seating Configuration: 3x2 seater
Seating Capacity: 46 passengers
BUS BODY
Bus Manufacturer: Zhengzhou Yutong Bus Co., Ltd.
Bus Model: Yutong ZK8658H9
CHASSIS
Chassis Manufacturer: Zhengzhou Yutong Bus Co., Ltd.
Chassis Model: Yutong ZK6810CRA LZYTDTD6
(LZYTDTD69C1029372)
Suspension: Air Suspension
ENGINE
Engine Manufacturer: China Yuchai International, Ltd./Guangxi Yuchai Machinery Group, Ltd.
Engine Model: Yuchai YC6J210-20 J42YD
(YC6J21020J42YDC00017)
TRANSMISSION
Type: Manual Transmission
Gear: 6 speed fonward and 1 speed reverse
BASIC DETAILS
Bus Company/Operator: SUGBO TRANSIT EXPRESS, INC.
Bus Name: SUGBO TRANSIT
Fleet Number: 8627
Classification: Air-Conditioned Inter Provincial Operation Bus
Franchise Route: Cebu City-Daan Bantayan
Route:
Seating Configuration: 3x2 seater
Seating Capacity: 46 passengers
BUS BODY
Bus Manufacturer: Zhengzhou Yutong Bus Co., Ltd.
Bus Model: Yutong ZK8658H9
CHASSIS
Chassis Manufacturer: Zhengzhou Yutong Bus Co., Ltd.
Chassis Model: Yutong ZK6810CRA LZYTDTD6
(LZYTDTD63G1049591)
Suspension: Air Suspension
ENGINE
Engine Manufacturer: China Yuchai International, Ltd./Guangxi Yuchai Machinery Group, Ltd.
Engine Model: Yuchai YC6J210-20 J42YD
(YC6J21020J42YDG30027)
TRANSMISSION
Type: Manual Transmission
Gear: 6 speed fonward and 1 speed reverse
BASIC DETAILS
Bus Company/Operator: VALLACAR TRANSIT, INC.
Bus Name: CERES TOURS
Fleet Number: 826
Classification: Air Conditioned Inter Provincial Operation Bus
Franchise Route: Cebu City-Daan Bantayan
Route:
Seating Configuration: 2x2 seater
Seating Capacity: 45 passengers
BUS BODY
Bus Manufacturer: VTI-TEBBAP (Vallacar Transit, Inc.-Transport Engineering Bus Body Power Plant)
Bus Model: Yanson Viking 10th Generation "Iron Bird"
CHASSIS
Chassis Manufacturer: Hino Motors, Ltd.
Chassis Model: Hino RK1JMT
(RK1JMT12701)
Suspension: Leaf Spring Suspension
ENGINE
Engine Manufacturer: Hino Motors, Ltd.
Engine Model: Hino J08C-TK
(J08CTK16260)
TRANSMISSION
Type: Manual Transmission
Gear: 6 speed forward and 1 speed reverse
BASIC DETAILS
Bus Company/Operator: ROROBUS TRANSPORT SERVICES, INC.
Bus Name: ROROBUS TRANSPORT
Fleet Number: 907
Classification: Air Conditioned Provincial Operation Bus
Franchise Route: Market-Market, Taguig City-Cebu City
Route: Cebu City-Masbate City via Cataingan
Seating Configuration: 3x2 seater
Seating Capacity: 61 passengers
BUS BODY
Bus Manufacturer: Hino Motors Philippines, Inc.
Bus Model: Pilipinas Hino MR Series
CHASSIS
Chassis Manufacturer: Hino Motors, Ltd.
Chassis Model: Hino RK1JMT
(RK1JMT10738)
Suspension: Leaf Spring Suspension
ENGINE
Engine Manufacturer: Hino Motors, Ltd.
Engine Model: Hino J08C-TK
(J08CTK13452)
TRANSMISSION
Type: Manual Transmission
Gear: 6 speed forward and 1 speed reverse
Location: Cebu North Bus Terminal
M. Logarta Avenue, Subangdaku, Mandaue City, Cebu, Philippines
Date Taken: September 05, 2018
*Specifications are subject to verification and may be changed without any prior notice.