View allAll Photos Tagged Deflectors
Managed to calm Jack down for a brief moment using a touch of bribery.
Strobist:
Ranger A Head, A port at 4.2, 70cm white maxisoft with silver deflector and 25 degree grid, above camera.
Ranger Quadra A Head, A port at 3.0, 21cm reflector with grid, behind Jack for glow on background.
Shot on black seamless paper.
Triggered by Skyport Plus HS.
There was a a lot of studio photography of the original pilot Enterprise at close camera distance showing distortion but fairly interesting detail. This clip, digitized and restored from an original Lincoln Enterprises 35mm frame, shows the underside of the saucer, the larger pilot sensor /deflector dish, and some nice detail on the secondary hull. The studio lighting is producing uneven illumination of the lower saucer and some shadowing in this shot, which I do not believe was ever incorporated into a fully composited space scene.
I have seen debate about the nacelle spikes versus the antenna, from my film clip collection close-ups of the pilot 11 foot model these appear to be made of similar golden color metal but with a different shape. By the time the production series began filming, the sensor dish had shrunk in size (been replaced by a smaller less concave disk) and the nacelle spikes and front caps were replaced by the famous Christmas lights and translucent caps. See the spike detail here:
A dramatic view of the A-2 Test Stand, Mississippi Test Facility (MTF), Bay St. Louis, Mississippi. The Saturn V second stage all-systems test/dynamics test vehicle (S-II-T/D) can be seen surrounded by scaffolding & work platforms. The rims of at least three of the five Rocketdyne J-2 nozzles/thrust chambers can be seen along the lowest walkway/access platform, just above the row of three lights near the center of the photograph. Also, for scale, three gentlemen can be seen near the lower left-hand corner of the test stand, in front of the curving blast deflector segments.
The eventual destination beckons in the night sky.
The "border" within the image appears to be in the photo. No matter what light sources or angles I've applied, it does not appear to be removable.
An identical photo, bearing a stamped date of April 9, 1966, would then identify this photograph as being taken shortly before the first static test of the S-II-T. Per the online version of the “Saturn Illustrated Chronology - Part 7, January 1966 through December 1966”:
“On April 23 workmen at MTF successfully captive-fired for 15 seconds S-II-T, the Saturn V second stage all-systems test vehicle. This was the first test of a flight-weight S-II stage. The stage, largest and most powerful liquid oxygen-liquid hydrogen stage known, developed one million pounds of thrust from its five J-2 engines. This test also marked the first operational use of MTF.”
At:
history.nasa.gov/MHR-5/part-7.htm
Also…note this identifies the 23 April static firing as “the first operational use of the A-2 stand.”
At:
en.wikipedia.org/wiki/Stennis_Space_Center
Credit: Wikipedia
In fact, both above assertions are true. The first operational A-2 Test Stand firing was also the first operational use of MTF...space history.
www.nasa.gov/centers/stennis/pdf/428016main_FS-2010-02-00...
Finally, from the same NASA document cited above and pertinent to the S-II-T:
“Early in 1966 MSFC formally redesignated the S-II all-systems stage (S-II-T) as the all-systems test/dynamics test stage (S-II-T/D).”
As a true ‘first’- on two counts - the effort put forth in capturing this dramatic composition was merited.
The other photograph referenced:
www.vintagenasaphotographs.com/shop/rocket-testing-facili...
Credit: “VINTAGE NASA PHOTOGRAPHS” website
See also:
www.nasa.gov/centers/stennis/about/history/66-1443c.html
And:
THIS IS THE SOUTH-WEST FACADE of Meister's birth house in Ansfelden, Austria. Taken from the paved stairway leading to the parish church (the church itself has a deflected heading - its altar is directed N-E instead of E). I wonder if there is any kind of happening today there. Yes, they have built a Bruckner centrum, a Bruckner museum, a Brucknerhof (courtyard), his monument and a marked trail. But I think that – by and large – the most Ansfelden villagers there still don't have a real idea who this shy, humble resident of theirs was 150 years ago. The one who shall stand the test of time better than Wagner or Brahms and reach the heights nobody else ever have and shall.
The first to recognize the true magnitude of Bruckner's genius (perhaps thanks to Mahler's appearances with Concertgebouw orchestra in Amsterdam) may have been the Dutch. Notable authors and biographers such as Casper Höweler or Wouter Paap wrote volumes in praise. Eduard Beinum's enthusiastic early recordings had been brought out. American, Japanese and British audiences followed the suit. Half a century ago (when I first heard Bruckner in concert) merely the top professional elite among Germans and Austrians seemed to be aware of Bruckner's symphonic sweep and universal importance.
His opus is an everlasting legacy; the greatest artistic pinnacle that coincides with the steep ascent of industrial age; the adverse impact of which had not recoiled immediately in those days. Bruckner had concluded his work just 18 years before the start of the world wars. Those will spoil the humanistic ideals of XIX century and leave the humanity in rubbish – not only literally, as victims of crimes, the human flesh and blood, the sickness and the ruins; but as a mark over the living souls too; souls in shackles of disbelief and despondency.
We live in an age of material welfare now but accept all kinds of moral limitations to be allowed to stick to that welfare. It has never been as difficult to be a man before. Our wings are docked and hearts discharged. Therefore it would have been impossible for Bruckner to write anything like his 3rd–9th cycle after 1914. So much less could his account of unspoiled grandeur, of strong spirit looking straight ahead, of highest collective self-esteem and optimism – materialize and lift off after 1939 or 2020 for that matter.
This cameraphone capture was lightly edited in Snapseed app.
~SHORTCUTS~ ...→Press [F11] and [L] key to engage Full Screen (Light box) mode with black background ↔ Press the same key or [Esc] to return... →Press [F] to "Like" (Fave)... →Press [C] to comment.
Hans van Eijsden Photography, The Netherlands
Lens: Canon EF 70-200mm f/2.8L IS USM on full frame.
Light: Large clamshell setup with the Elinchrom ELC 1000 through a Deep Octa with silver deflector from the front-top-side, which creates the ultra high metallic contrast in her face. Elinchrom ELC 500 with small strip box from the front-bottom-side, to lower the density of some shadows. Elinchrom ELC 500 through a dish on the background. I measured the light with the Sekonic L-758DR.
Postprocessing: Some local adjustment curves, some local cloning.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
Lying in general and the form of lying known as gaslighting is one of the Trump regime's most important tools for gaining and holding onto power. Donald Trump constantly says things that are demonstrably false and, on the rare occasion when someone actually challenges his lie, Trump deflects the challenge and continues spouting the same lie.
A current example is the following baseless claim:
"Trump, April 28: We are way ahead on testing. We are the best in the world on testing. We’ve tested much more than anybody else, times two — or every country combined. We’ve tested more than every country combined." Now that it's in Trump's repertoire, we'll be hearing it until Trump finds something else big to lie about.
You don't believe it, I don't believe it, yet Trump's base absorbs the lie and the damage is done. Here's Fact Check's piece demolishing Trump's lie: www.factcheck.org/2020/04/trumps-covid-19-testing-claim-i...
This week Trump's spectral son-in-law Lil' Jared outdid his wife's old man when he, Jared, appeared on the ministry of propaganda's cable station to proclaim full victory in the effort to curb the covid virus. The reality could not be further from the truth. I felt compelled to respond.
Before getting to that, though, when I hear about the lies coming out of the Trump mob, I ask myself whether they are so cloistered and divorced from the world we inhabit that they actually believe what they're saying, or whether they're so morally bankrupt that they knowingly utter untruths and half-truths. Might both phenomena be occurring at the same time?
========================================================
Jared Kushner, a White House senior adviser and son-in-law to President Donald Trump, praised himself and the rest of the administration on Wednesday morning for its efforts to reopen the U.S. economy during the COVID-19 pandemic.
Kushner’s comments came after the nation’s death toll from coronavirus surpassed the Vietnam War.
“I think that we’ve achieved all the different milestones that are needed,” Kushner said during an interview on “Fox and Friends.” “So, the government — federal government — rose to the challenge and this is a GREAT SUCCESS STORY and I think that that’s really what needs to be told.”
talkingpointsmemo.com/news/jared-kushner-were-doing-amazi...
Bloody Hell.
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By: Rick Wilson
The Daily Beast
March 20, 2020
The cliché about authoritarian leaders being strong but brittle is coming true with Donald Trump. The cost of this lesson will be tallied in lives and a wrecked economy.
Donald Trump and his fans are learning that karmic externalities are a bitch. They're learning that you can get away with a chain of scams, business failures, bankruptcies, and branding disasters and win the presidency but still fail utterly as a president and a person.
It took a global pandemic, the bursting of the Fed-fueled stock market bubble, and an opponent Trump can't face. It doesn't read Twitter, watch Fox, or respond to derisive nicknames. It took a plague to peel back the scales from his eyes finally, and even now, too many Trumpist Republicans insist this is fine. Heckuva job, Trumpie.
His enablers know the truth and have tried to turn the battleship of bullshit toward it.
They know Trump didn't just mishandle the Coronavirus crisis, and he did so with his political standing and benefit in mind.
Trump spent six weeks claiming to his soft-minded followers that the worst public health crisis since the 1918 H1N1 Spanish Flu was a fake news Democratic media hoax.
He shook hands and shared microphones and touched his umber jowls and modeled what not to do even after he'd been in a room with people with the virus—doing his damnedest to make my warning that how Everything Trump Touches Dies a literal as well as a serious one.
Sure, we warned them a million times. The evidence before the election of 2016 was utterly clear to see and every damn minute of his corrupt and chaotic reign of misrule smacked Americans in the face like a cast-iron frying pan yielded by a vicious ex, but Republicans kept defending him. They kept excusing him. They kept cheering every fuckup, every crime, and every insult to America's charter and our character.
They excused every lie, forgave every incompetent utterance and ideological heresy. How's that working out now that the feces has impacted the rotating blades?
He can hold a thousand sweaty monster-Trump rallies, but when the call to leadership is bigger than shittweeting insults and delivering nicknames, Trump's world goes sideways.
He can do press conferences full of lies, whoppers, and time-machine hindsight like “I'd rate it at 10. I think we've done a great job” and “I don't take responsibility for anything at all” and “I felt it was a pandemic long before it was called a pandemic” were capped by today's gem about how “It kind of snuck up on us.” This is a president, and a White House, out of its depth and out of its mind with the plain reality that he's making it up as he goes along. The scientists and doctors on the stage with him seem as focused on avoiding his wrath as they are on defeating the virus.
When tested by the fire of crisis, Trump showed us what he's always been: a weak, spoiled, intellectually vacant conman who has stumbled through a life of betrayal and failure papered over by bullshit and public relations. The media image from The Apprentice that hypnotized so many Trump voters was always the product of Mark Burnett's writers' room, not reality. The bold leader was a teleprompter confection, a D-grade celebrity playing a C-grade CEO in a reality show.
Sorry, MAGAs, but Trump must face blame for the viral Chernobyl that is rolling over our population now; the one thing you never get back when fighting an epidemic is time. He spent weeks spinning that COVID-10 was no big deal, and that there was no crisis about to scythe through our nation.
He had the usual vigorous ass-kissing from the human centipede of Trump media bootlicks, toadies, and ball-washers from the Fox C-suite down to lunatic bloggers and social-media flotsam. They've been very busy the last few days trying to retcon Trump's colossal incompetence and indifference from January until this week.
He soft-pedaled the crisis even as it grew in scope and risk. His minions and minders repeatedly said that this crisis was contained. He promised a vaccine that is, at best, a year away. He promised testing, without the intention or ability to deliver. He compared it to the common flu, which left disease specialists and epidemiologists heads exploding worldwide. He failed as a leader, from the very start.
In my political practice, one thing I handled outside campaigns was crisis management for politicians, corporations, and governments. While it's not always glamorous, crisis management specialists do a vital job of—to use a term of political art—unfucking human errors.
Good leadership helps. Good leaders react to a crisis swiftly and honestly. Bad leaders blameshift, lie, cover-up, and try to rewrite history. Good crisis leadership has a set of consistent characteristics; it is honest, transparent, and prompt. The path Trump chose, naturally, was the opposite.
Terrible leaders pretend there is no crisis, lie to their stakeholders, the press, and the public. They are frequently shocked by how bad it really looks from the outside. They minimize impacts, and issue statements that are either overly lawyered or blustery swagger. They hold daily press briefings with more heat than light, more hat than cattle.
Donald Trump's mistake with the COVID-19 pandemic was simple; the virus doesn't follow him on Twitter. The virus doesn't care about his rages. The virus doesn't care about the Trumphadis of Fox News, Breitbart, and elsewhere. It does what it does, and exploits time and complacency in its human hosts. Trump gave it a six-week pass.
The men and women from the CDC, HHS, and corporate America being dragged before the cameras to serve as a backdrop for the daily press briefings show it in their haunted eyes.
They know the CEO of this particular operation is President von Munchausen, and that their jobs have been made infinitely more difficult by his ineptitude—“Hey, let's put Jared in charge” said no one, ever—lies, delays, and the agitprop culture war strategy of this White House.
Why is every part of the Trump media apparatus trying to drag the Democrats into a culture war battle by calling the Coronavirus or COVID-19 the “Chinese Flu” or the “Wu-Flu” or the “Kung-Flu”? It's because they understand that it's the last refuge of the scoundrel culture they've created.
They want the MAGA base to have a political enemy to attack, and there's nothing that pisses off Trump's followers more than being called racists, even as they earn that merit badge over and over. Secretary of Hate Stephen Miller and Oberst-Docuhenführer Steve Bannon are rubbing their hands and cackling like movie villains. They're delighted to expand their propaganda war beyond the usual fear centers; instead of Mexican rapists, immigrant caravans, and shithole countries, they're rebooting the old Yellow Peril tropes for their remixed racist memes.
The catalog of excuses for Donald Trump's mishandling of the early, vital weeks of the Coronavirus story will go down in the annals of political mendacity, in part because the evidence is so abundant, so much video exists, and the change in tone from complacency to panic is so evident.
The Trump media agitprop arm’s desperate attempt to pretend their robust “it's just the flu” and “this is just duh librul media trying to hurt Trump” defenses never happened is astounding. The internet remembers, and they can't undo the last six weeks of excuse-making on Trump's behalf.
There are good leaders, bad leaders, and lucky leaders. Sometimes good leaders have bad luck. Sometimes bad leaders have good luck. This time, we've got a bad leader whose luck finally ran out, and whose reservoir of trust outside his base is essentially zero.
And we're not even at the end of the beginning of this pandemic. God help us.
www.thedailybeast.com/you-cheered-as-he-fucked-up-no-take...
tech:
silver beauty dish 70cm with silver deflector;
photo shown is only is small part of photo taken;
Nikkor 60mm micro. This lens has crisp rendering of skin texture
Illinois GK Jaelynn Cunningham manages to deflect a shot just enough for it to roll to the right of the goal.
Hans van Eijsden Photography, The Netherlands
Model: Kristel de Sera
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Light: An Elinchrom ELB 400 with one HS head as key light from the front into an Elinchrom Deep Octa with silver deflector and with inner diffusor, triggered via the Skyport Plus HS. Light from the back is ambient light.
Postprocessing: Some local adjustment curves, some local cloning.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
A three-stage rocket ship – call it Geryon or the X-49 – will eventually be assembled. The large first stage will be put on top of a blast deflector – a yawning hole into which the rocket motors can discharge their exhaust blast. Then the second stage will be put on top of the first, and finally a delta-winged third stage will be placed on top of the second stage.
But first a two-stage ship will be tested, as shown in the illustration. Each stage has wings along with its own pilot and co-pilot. The pilot of the first stage, after the upper delta-winged stage has blasted away from it, will gradually put the rocket into level flight and keep it aloft until air resistance has killed off its high speed. He might even succeed in flying in an enormous circle so that his ship becomes subsonic again for landing.
“The piloted upper stage, in the meantime, has left the atmosphere along a tremendous arc, reaching a peak of 300 or 400 miles above sea level, and more than 2,500 miles from home base. Some 5,000 miles from home base the upper stage re-enters the atmosphere and lands at a base prepared in a suitable location. After this preparation the crew is ready for the three-stage ship, where the upper stage of the two-stage ship is the third stage.”
[Summarizing and Quoting from the text]
27.2.94 6233 Duchess of Sutherland with Duke of Gloucester doing the pushing into Bury Bolton Street station.
Copyright Neville Wellings
Amazing Stories / Magazin-Reihe
- Robert Moore Williams / The Lost Warship
- David Wright O'Brien [Clee Garson] / Direct Wire
- William P. McGivern [P. F. Costello] / Death Makes a Mistake
- David Wright O'Brien [John York Cabot] / Rats in the Belfry
- William P. McGivern [Gerald Vance] / Larson's Luck
- Howard Browne / Warrior of the Dawn [Tharn]
- Stanton A. Coblentz / The Cosmic Deflector
- Leroy Yerxa / Queen of the Flaming Diamond
- William P. McGivern / The Chameleon Man
- Raymond A. Palmer [Morris J. Steele] / Sailing Ship of Venus
cover: J. Allen St. John
(cover illustrates "The Lost Warship")
Editor: Raymond A. Palmer
Ziff-Davis Publishing Company / USA 1943
Reprint: Comic-Club NK 2010
ex libris MTP
“APOLLO 11 LM ON MOON -- A Grumman Aircraft Engineering Corporation artist’s [Craig Kavafes] concept depicting mankind’s first walk on another celestial body. Here, Astronaut Neil A. Armstrong, Apollo 11 commander, is making his first step onto the surface of the moon. Armstrong has just egressed Lunar Module 5. Still inside the LM is Astronaut Edwin E. Aldrin Jr., lunar module pilot. Astronaut Michael Collins, command module pilot, remains with the Command and Service Modules in lunar orbit. In the background is the Earth, some 240,000 miles away.”
Note that the RCS plume deflectors are included in this beautiful depiction. However, an RCS Quad 3 nozzle (specifically, A3R), seems to be missing. I probably should overlook it, seeing how it otherwise is fantastic, as was the norm for Mr. Kavafes!
As a child, this is the only thing I knew this image from:
www.discogs.com/No-Artist-We-Came-In-Peace-For-All-Mankin...
Credit: Discogs website
science.ksc.nasa.gov/mirrors/images/images/pao/AS11/10075...
I still have my album. If my contemporary, do you?
In addition to the LP, countless mass media/press publications, and who knows what else, it was also used in an Apollo 11 30th anniversary commemorative coin presentation:
www.coincommunity.com/forum/topic.asp?TOPIC_ID=97299
Credit: Coin Community Forum website
Cape Buffalo (male). Known as Black Death, the Cape Buffalo is one of the most dangerous creatures in Africa. They lie in the water holes and mud bogs to keep cool and to coat the skin with mud to deflect the heat and biting insects.
While on a trip to Boston I had a chance to catch this Leach. I had really wanted to catch a JRM because I found the wind deflectors very unique.
Tuesday 8th December, 847 without smoke deflectors on the Bluebell Railway. See the rest at davebowles.smugmug.com/Recent-events-and-uploads/8th-Dece...
6115 was built in 1927 by the North British Locomotive Company in Springburn, Glasgow. It was named Scots Guardsman in 1928 after the Scots Guards. After receiving smoke deflectors, it starred in the 1936 film Night Mail.
6115 was rebuilt in 1947 with a new tapered type 2A boiler, and was painted in LMS 1946-style black livery. It was the first of the rebuilt engines to receive smoke deflectors and the only one to run with them as an LMS engine. It was renumbered 46115 by British Railways in 1948 and was withdrawn in Jan 1966.
Scots Guardsman is one of two preserved Royal Scots, the other being LMS Royal Scot Class 6100 Royal Scot.
46115 was purchased by the West Coast Railway Company and in 2008, it was restored to main-line running standard. Her first test run from Carnforth to Hellifield was completed on 20 June 2008. The loco was then moved back into the depot at Steamtown and repainted BR Brunswick Green, appearing in this livery at the Steamtown Open Weekend on 26/27 July 2008. The loco then hauled its first railtour called 'The Settle-Carlisle Venturer' from Hellifield to Carlisle and return on 16 August 2008.
I just loved this Art Deco sign of Broadway, New York City contrasting with the modern building but it needed a noir style treatment to really show it off. Nicely equipped with pigeon deflectors.
Thanks to the new updates with LDD, I've built this newly developed Tie Interceptor for the First Order with new parts added.
Info
The First Order's newly developed Tie Interceptor was built for 501st Tie Pilots. Like the TIE/sf space superiority fighter, it is a two-seater starfighter with enhanced weapons and sensor systems as well as hyperdrives and deflector shields.
As the coronal mass ejection reaches Earth, the solar particles are deflected away by the planet's magnetic field in this NASA-created image, a still capture from a 4-minute excerpt of "Dynamic Earth: Exploring Earth's Climate Engine," a fulldome, high-resolution movie playing at planetariums around the world.
The excerpt explores the fundamental power of the sun and how its energy drives the climate on Earth, and is made up entirely of new visualizations -- created by NASA Goddard's Scientific Visualization Studio -- that illustrate NASA satellite and model data of a coronal mass ejection from the sun, Earth's magnetic fields, and winds and ocean currents circulating around our planet.
To see the full, narrated excerpt, go to: youtu.be/ujBi9Ba8hqs
These visualizations were recently accepted to be shown at the SIGGRAPH 2012 computer animation conference. To read more about this, go to:
www.nasa.gov/topics/earth/features/dynamic-earth.html
The excerpt was also the basis for the 100th story released through the Scientific Visualization Studio's iPad app, called NASA Visualization Explorer. To see the app story in web form and to download the app, go to:
After a day of hard work I took Sera Yosta, my most beautiful lens and my Elinchrom light outside to the streets of Amsterdam, just to see what light can do. The temperature was quite high here in The Netherlands, 14 degrees Celcius in mid-december! So, the perfect moment to make some simple clicks.
As light I used the ELB400 & Elinchrom Deep Octa with translucent deflector and inner diffuser.
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Hans van Eijsden Photography, The Netherlands
Postprocessing: Some local adjustment curves.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
Duchess of Sutherland (with smoke deflector and name plate added to the BR green version on photoshop) as a comparison.
Hans van Eijsden Photography, The Netherlands
Lens: Canon EF 85mm f/1.2L II USM on full frame
Light: Large clamshell setup with the Elinchrom ELC 1000 through a Deep Octa with silver deflector from the front-top-side, which creates the ultra high metallic contrast in her face. Elinchrom ELC 500 with small strip box from the front-bottom-side, to lower the density of some shadows. Elinchrom ELC 500 through a dish on the background. I measured the light with the Sekonic L-758DR.
Postprocessing: Some local adjustment curves, some local cloning.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
With its smoke deflectors cleaned up and with the name 'Robin Hood' painted on them, 70038 rushes through Tebay on a fully fitted van train as it heads towards Shap on 19 July 1967. It started its life working out of Stratford 30A on the East Anglian expresses and moved on to Norwich 32A, then to Immingham 40B, and then Carlisle Upperby 12B before being allocated to Kingmoor 12A, where it was withdrawn a month after this photograph was taken.
Northern Railway YP 4-6-2 2707 (Telco/1967), with chimney adornment and decorated smoke deflectors and tender, running light engine at Varanasi. 13/11/1989 [IND 045].
A view of the mobile launcher for the Artemis I mission on Launch Pad 39B at NASA's Kennedy Space Center in Florida on Oct. 23, 2020. The flame trench and flame deflector are in view below the mobile launcher. The nearly 400-foot-tall mobile launcher will remain at the pad while engineers with Exploration Ground Systems and Jacobs complete several tasks, including a timing test to validate the launch team's countdown timeline, and a thorough, top-to-bottom wash down of the mobile launcher to remove any debris remaining from construction and installation of the umbilical arms. Artemis I will test the Orion spacecraft and Space Launch System as an integrated system ahead of crewed flights to the Moon. Under the Artemis program, NASA will land the first woman and the next man on the Moon in 2024. Photo credit: NASA/Ben Smegelsky
Irisbus Cityclass GNC Castrosua City versus en la H8 circulando desviado por actos festivos de Carnaval.
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Irisbus Cityclass CNG Castrosua City Versus on the route H8 circulating deflected by festive carnival.
1/72 Airfix Scout converted to a Wasp using Air Graphics resin conversion set, Exocet deflector and NORD SS.12 set.
Trying a different way of using an external camera mounted flash gun for macro shots. Just a sheet of A4 paper folded in half and then two slots about 3cms long cut on both the long sides about halfway down and the paper is bent and stuck at these slot pints to make a slight curve. The paper is mounted on the flash gun as shown using a length of a sticky tape stuck to itself as a strap which is held round the flash and stuck to the paper on both sides. The flash is then used with the head swung away from the lens at an angle of about 30' to 45'
Main reason for trying this was to get more side lighting and hopefully reduce reflections.
This pic was taken using it
Hans van Eijsden Photography, The Netherlands
MUA: Martina Kató
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Light: Simple setup with one Elinchrom ELB 400 + HS Head through a Deep Octa with silver deflector and inner diffuser from the front-side, light from the back is ambient light. I shot in Hi-Sync Speed with the Elinchrom Skyport HS trigger, so I could open the lens almost completely.
Postprocessing: Some local adjustment curves, BW conversion, some local cloning, grain.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
Launch pad 39B where many of the Apollo Saturn V's and Space Shuttles launched from. The three large towers are lightning deflectors.
Monument de commémoration satirique du centenaire de l’« Exposition coloniale » de 1897 dans les jardins de l’ancien musée colonial du Congo, aujourd’hui renommé Africa Museum.
Le monument est composé d’un ensemble de quinze bronzes, hommes et animaux, et de végétation placés sur une construction de blocs de pierre au centre d’un bassin.
Chaque élément du monument présenté par l’artiste comme anticolonial et satirique possède une signification propre.
Le titre fait allusion à la première expédition de Henry Morton Stanley au Congo en 1871 à la recherche de David Livingstone porté disparu. L’épisode idéalisé de leur rencontre et la phrase que Stanley est sensé avoir prononcé à cette occasion « Dr Livingstone I Presume ? » seront enseignés à des générations d’écoliers.
La pièce d’eau circulaire rappelle les « villages indigènes » africains reconstitués au bord du grand étang de Tervuren lors de l’exposition coloniale de 1897, et où 267 Congolais sont exposés aux visiteurs constituant l’une des attractions de l’exposition.
Les blocs empilés font référence au surnom de « roi bâtisseur » souvent attaché au nom de Léopold II. Un buste du roi à l’air sévère, rappelle celui réalisé par le sculpteur Thomas Vinçotte, sculpteur officiel de Léopold II. Un exemplaire de celui-ci exécuté en ivoire sur un noyau de cuivre a longtemps occupé la place d’honneur de la rotonde du musée et était la première chose vue par les visiteurs, avant d’être déplacé. De la même manière celui du monument fait face au public.
Des deux côtés du monument, un éléphant et un lion symbolisent la puissance de la nature congolaise. Le premier rappelle le pillage de l’ivoire et des ressources naturelles, tout deux se détournent de l’image du roi. À l’arrière, un paon faisant la roue évoque la vanité, la mégalomanie et l’orgueil de l’homme.
Au sommet, trois guerriers sont exposés comme des trophées, leur absence de pieds est une évocation des mutilations des périodes les plus sombres de la colonisation.
Dans le bassin, se trouvaient à l’origine huit flamants roses, oiseaux migrateurs symbolisant la diaspora congolaise, il n’en reste que cinq aujourd’hui.
Source: be-monumen.be/patrimoine-belge/the-congo-i-presume-tervuren/
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Satirical commemorative monument for the centenary of the 1897 "Colonial Exhibition" in the gardens of the former Congo Colonial Museum, now renamed the Africa Museum.
The monument consists of a group of fifteen bronze figures, representing men and animals, and vegetation placed on a stone block structure in the center of a pool.
Each element of the monument, presented by the artist as anti-colonial and satirical, has its own meaning.
The title alludes to Henry Morton Stanley's first expedition to the Congo in 1871 in search of the missing David Livingstone. The idealized episode of their meeting and the phrase Stanley supposedly uttered on that occasion, "Dr. Livingstone, I Presume?", would be taught to generations of schoolchildren.
The circular pond recalls the African "native villages" reconstructed on the banks of the large pond of Tervuren during the 1897 Colonial Exhibition, where 267 Congolese people were exhibited to visitors, forming one of the exhibition's attractions.
The stacked blocks refer to the nickname "builder king" often attached to the name of Leopold II. A stern-looking bust of the king recalls the one created by the sculptor Thomas Vinçotte, Leopold II's official sculptor. A copy of this one, executed in ivory on a copper core, long occupied pride of place in the museum's rotunda and was the first thing seen by visitors before being moved. Similarly, the one on the monument faces the public.
On either side of the monument, an elephant and a lion symbolize the power of Congolese nature. The former recalls the plundering of ivory and natural resources, while both deflect the image of the king. In the background, a peacock displaying its tail evokes vanity, megalomania, and human pride.
At the top, three warriors are displayed like trophies, their missing feet an evocation of the mutilations of the darkest periods of colonization.
In the pond, there were originally eight flamingos, migratory birds symbolizing the Congolese diaspora; only five remain today.
Bulleid Light Pacific 34007 in its penultimate day of service before withdrawal for a major overhaul, heads past Arleside PW hut with the Devon Belle....
Looking very smart with high smoke deflectors is this Mikado (2-8-2) steam locomotive at Changchun depot.
The trench got some additional puttying, filing and sanding. Special attention was payed to the corners at the top of the wall behind the dish. Scribing tools came in handy.
“At its founding, the Marshall Space Flight Center (MSFC) inherited the Army's Jupiter and Redstone test stands, but much larger facilities were needed for the giant stages of the Saturn V. From 1960 to 1964, the existing stands were remodeled and a sizable new test area was developed. The new comprehensive test complex for propulsion and structural dynamics was unique.
Construction of the S-IC Static test stand complex began in 1961 in the west test area of MSFC, and was completed in 1964. The S-IC static test stand was designed to develop and test the 138-ft long and 33-ft diameter Saturn V S-IC first stage, weighing in at 280,000 pounds. Required to hold down the brute force of a 7,500,000-pound thrust produced by 5 F-1 engines, the S-IC static test stand was designed and constructed with the strength of hundreds of tons of steel and 12,000,000 pounds of cement, planted down to bedrock 40 feet below ground level. The foundation walls, constructed with concrete and steel, are 4 feet thick. The base structure consists of four towers with 40-foot-thick walls extending upward 144 feet above ground level. The structure was topped by a crane with a 135-foot boom. With the boom in the upright position, the stand was given an overall height of 405 feet, placing it among the highest structures in Alabama at the time. In addition to the stand itself, related facilities were constructed during this time. Built northeast of the stand was a newly constructed Pump House. Its function was to provide water to the stand to prevent melting damage during testing. The water was sprayed through small holes in the stand's 1900-ton flame deflector at the rate of 320,000 gallons per minute. In this photo, possibly taken late-1963 - early/mid-1964, the flame deflector is being installed in the S-IC test stand.”
The above is taken from the caption to one of the “NASA on The Commons”-posted photographs linked below, with minor paraphrasing of the portion specifically pertaining to the image.
Hans van Eijsden Photography, The Netherlands
Model: Kristel de Sera
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Light: An Elinchrom ELB 400 with one HS head as key light from the right-front into an Elinchrom Deep Octa with silver deflector and with inner diffusor, triggered via the Skyport Plus HS. Light from the back is ambient light.
Postprocessing: Some local adjustment curves, some local cloning, greyscale conversion, toning, added grain.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
Hans van Eijsden Photography, The Netherlands
MUA: Martina Kató
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Light: Simple setup with one Elinchrom ELB 400 + HS Head through a Deep Octa with silver deflector and inner diffuser from the front-side, light from the back is ambient light. I shot in Hi-Sync Speed with the Elinchrom Skyport HS trigger, so I could open the lens completely to f/1.2.
Postprocessing: Some local adjustment curves, BW conversion, some local cloning, grain.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
I set my camera to bulb mode, f-stop 13, and ISO 200, and then attached my remote. I made a small deflector for the light I used on the hood and engine to keep the light focused where I wanted it. Just a piece of cardboard taped to the light blocking it from being received by the camera.
Start with the hood open — it’s a lot easier than trying to find the hatch in the dark. Think of the engine and the hood as a square and make a diagonal line from the corner of the closest to the windshield either side is fine, this is important because you want to separate the light thats going on the engine from the light thats going on the hood.
Ok, time to open the shutter. Take your light and light paint half of the engine, then shut the hood and light paint the opposite side on the hood and you get the ghost engine effect in one shot. The red behind the wheels were two red traffic batons that I just placed behind the passenger wheels.
Tamara Terzic @ Hans van Eijsden Photography, The Netherlands
MUA: Martina Kató
Lens: Canon EF 85mm f/1.2L II USM on full frame.
Light: An Elinchrom Quadra ELB 400 with one HS head as key light from the front into an Elinchrom Deep Octa with silver deflector and inner diffuser and the second HS head through the large LiteMotiv strip from the back, triggered via Skyport HS.
Postprocessing: Some local adjustment curves, some local cloning.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
The South Australian Aviation Museum, at Port Adelaide, displays aircraft, aircraft engines, and rockets of relevance to South Australia and the history of aviation and the aerospace industry in Australia.
The museum’s origins can be traced to 1984 when it was started by a group of enthusiasts interested in aviation history and aircraft restoration.
In 1990 it became the official aviation museum for South Australia when it was awarded Provisional Accreditation by the History Trust of South Australia.
The following year it became responsible for the State’s historical aviation collection.
After several moves, the museum was set up at its present site in 2006.
A second hangar was added in 2017 to accommodate the growing collection.
*The building that now houses the Aviation Museum is an exhibit in its own right as it is a World War Two Pentad Aircraft Hangar.
The hangar is a 1943 design exclusive to Royal Navy Fleet Air Arm Airfields. It differs from conventional aircraft hangars in that it has sloping walls at an angle of eight degrees. The reason for the angle of the walls was to deflect the gale force winds often encountered at the usually more remote Fleet Air Arm airfields.
An interesting aspects of its construction is that all the frame sections are in six foot (1.8m) lengths. This made shipping and assembly a much simpler task. Originally the main doors could be fully opened and with 2200 square metres of floor space and plenty of height it could house quite large aircraft or a number of smaller aircraft. The hangar originally came to Darwin in WWII (1940–1945) and was used to house aircraft defending Darwin during some of the 67 Japanese air raids on that town. The building was brought to Port Adelaide after the war ended and was used as a wool store at Ocean Steamers Road for many years.
In 1996 it was occupied by this Museum. In 2005 the hangar was shifted to the present location and refurbished by the South Australian Government Department for Transport, Energy & Infrastructure. Adjoining extensions were added as workshop and administration areas at the same time.
Ref: South Australian Aviation Museum
*The Vickers Vimy G-EAOU aircraft was flown from England to Australia in 1919 by Ross Smith and Keith Smith, South Australian born pilots.
For some time the aircraft was placed at the Australian War Memorial in Canberra: however it is now enclosed in a protective pavilion located at the Smith brothers’ home town of Adelaide.
Sir Ross Macpherson Smith KBE, MC & Bar, DFC & Two Bars, AFC was an Australian aviator. He and his brother, Sir Keith Macpherson Smith, were the first pilots to fly from England to Australia, in 1919.
The brothers were born on 20 December 1890 in Adelaide, and on 4 December 1892 at Semaphore, Adelaide, sons of Scottish-born Andrew Bell Smith, station manager, and his wife Jessie, née Macpherson, born in Western Australia. In 1897 Andrew Smith became the manager of the Mutooroo Pastoral Co. and Mutooroo station, a property of some 3000 sq. miles (7700 km²). Both Keith and Ross were educated at Queen's School, Adelaide (as boarders), and for two years at Warriston School, Moffat, Scotland, their father's birthplace.
Ross Smith had served in the cadets and the militia before World War One when he left Australia as a sergeant with the 3rd Light Horse Regiment in October 1914: he was at Gallipoli the following year. He was later commissioned and was at the battle of Romani (in the Sinai) in August 1916. The next year he volunteered for the Australian Flying Corps.
Flying with No 1 Squadron AFC, Smith took part in attacks, aerial photography missions, and bombing raids on Turkish forces. On one occasion he landed in the face of the enemy to rescue a downed comrade. During his extensive war service he was twice awarded the Military Cross, received the Distinguished Flying Cross three times, as well as the Air Force Cross.
A gifted flyer, Smith became experienced in flying his squadron’s twin-engined Handley Page 0/400 bomber: on occasion Lawrence of Arabia was his passenger. While still with the flying corps, he made pioneering flights from Cairo to Calcutta, and from Calcutta to Timor.
On 12 November 1919, assisted by his brother Keith and two mechanics, Wally Shiers and Jim Bennett, he set out to fly from England to Australia in a large Vickers Vimy bomber. It was an epic 28 day flight, completed at an average speed of 137 kilometres per hour, but not without mishap. On their arrival, the pioneering flyers were welcomed home as national heroes. The brothers were knighted. Their mechanics were commissioned and awarded Bars to their Air Force Medals. The £10,000 reward offered by the South Australian Government was divided into four equal shares.
In a Vickers Vimy (a type similar to the 0/400 bomber), supplied by the manufacturer, and with Keith as assistant pilot and navigator and accompanied by two mechanics, the attempt began from Hounslow, England, on 12 November 1919. Flying conditions were very poor and most hazardous until they reached Basra on 22 November. From Basra to Delhi, a distance of 1600 miles (2575 km), they spent 25½ hours in the air out of 54. A poor landing-area at Singora and torrential rain almost brought disaster on 3 December. Disaster again almost came at Sourabaya where the aircraft was bogged and had to take off from an improvised airstrip made of bamboo mats. By 9 December, however, they were at Timor, only 350 miles (563 km) from Darwin. The crossing was made next day and at 3.50 p.m. on 10 December they landed in Darwin. The distance covered in this epic flight was 11,340 miles (18,250 km). It took just under 28 days with an actual flying time of 135 hours at an average speed of 85 mph (137 kmph).
SIR ROSS SMITH'S ARRIVAL
According to the latest official information Sir Ross Smith and his party are expected to arrive in Adelaide on Thursday afternoon next, assuming that the overhaul of the aeroplane proves to be satisfactory. After the aviators have flown over the metropolitan area, including Malvern, Hawthorn, Unley, Henley Beach, Port Adelaide, Woodville, Norwood, and Goodwood, they will soar above soar above Gilberton and Prospect, and thence proceed to the Northfield aerodrome, escorted by whatever aeroplanes may be able to meet them.
At the aerodrome they will be met by their parents and the official party, including the members of the Welcome Committee—the Premier (Hon A H Peake), who is Chairman, the Lord Mayor of Adelaide (Mr F B Moulden), the District Commandant (Brig-Gen Antill CB CMG), the Director of the Tourist Bureau (Mr V H Ryan), the secretary of the committee, and the secretary of the Aero Club (Captain Matthews).
The Premier has asked that the time of the arrival of the aviators shall be as nearly as possible 2.30pm.
The District Commandant, with the aid of the police and members of the Australian Army Reserve, will keep the enclosure at Northfield clear.
After the greeting and formal introductions there the party will proceed to the city. From St Peter’s Cathedral they will be escorted by mounted police, and on arriving at Parliament House, where the Returned Soldiers' Association Band will be in attendance, addresses of welcome will be delivered by the Lieutenant-Governor (Sir George Murray) and the Premier.
In the evening Sir Ross and Sir Keith Smith will be entertained by their old comrades of the 3rd Light Horse at the Town Hall: on the following day there will be a civic reception by the Lord Mayor. The Welcome Committee desires particularly to warn the public against the danger of crowding the enclosure at Northfield, and points out that the machine will not come to a full stop immediately it reaches the ground. [Ref: Journal (Adelaide) 13-3-1920]
SIR ROSS SMITH IN ADELAIDE
Sir Ross and Sir Keith Smith were given a civic reception this morning. The Lord Mayor (Mr F B Moulden) said that in the Smith family there were three sons, and all enlisted: in the Shiers family six sons, and five enlisted, while the other mechanic, Sergeant Bennett, was an only son. The Lord Mayor handed to Sir Ross Smith an address of welcome and congratulations from the inhabitants of the Northern Territory. [Ref: Argus (Melbourne) 25-3-1920]
ROUND of FESTIVITIES
Sir Ross and Sir Keith Smith spent a quiet morning, although the telephone to their home has been ringing almost continuously with messages of congratulation from friends and strangers.
They spent yesterday afternoon inspecting the Vickers-Vimy at Northfield, where a military picket of 12 men is posted to protect the machine.
This afternoon the aviators are being entertained by the Commonwealth Club. A tremendous crowd was present, and the reception to the guests lasted for several minutes. Tonight their friends are giving them a private dance in a large city hall.
Mr F B Moulden, the Lord Mayor is arranging a party in their honour at the Town Hall on Monday.
On Saturday afternoon Sir Ross Smith will lay the foundation stone of the War Chapel at St Peter's Church, Glenelg.
Sir Keith Smith goes to the races on that day. [Ref: Herald (Melbourne) 25-3-1920]
THE ROSS SMITH SEASON
The Adelaide Town Hall has been too limited in capacity for intending patrons, many of whom have been unable to gain admission to hear the story and see the films of “The Great Flight”.
The programme is divided into two sections, the first being from Darwin to Adelaide, photographed from the Vickers-Vimy by Captain Frank Hurley. In the second half Sir Ross Smith relates his experiences in racy vein between the 'story' with screen illustrations.
No one returning to Adelaide has ever been given a more enthusiastic ovation than Sir Ross Smith received on Monday night. [Ref: Register 10-5-1920]
Sir Ross Smith will make his final appearance in Adelaide at the St Peters Town Hall, on Thursday night prior to leaving on Friday for Tasmania. The story of the flight will be told for the last time in South Australia, and as Sir Keith and Sir Ross will be leaving for England early in August there is no likely return visit of the flight pictures in Adelaide.
The plan of reserve seats [is] at Dorling’s Sweet Shop, next to the Town Hall, St Peters. [Ref: Daily Herald 26-5-1920]
SHY AUSTRALIA FLIERS. Two rather shy-looking young men, bronzed and smiling (states The London Daily Mail of February 24), yesterday received endless congratulations from unknown people, autographed menu cards, and made two speeches— “more dangerous” they said, 'than flying to Australia’.
They were Sir Ross Smith and his brother, Sir Keith Smith— both of Adelaide— who flew to Australia in 1919 and were entertained at luncheon yesterday by the Overseas Club and Patriotic League at The Hyde Park Hotel. Memories of their romantic 11,000 miles journey were recalled when they spoke. With hardly a reference to their difficulties, both of them spoke in the first breath of their two mechanics, and avowed they would never have “got through” without them. When Sir Keith Smith mentioned his father and mother, who were waiting for them in their own home at the end of the journey, applause drowned the rest of the sentence.
Major-Gen Seely, who presided, recalled that the Air Ministry classified the day on which the brothers left England (November 12 1919) as “Class 5” which meant it was totally unfit for flying. [Ref: Register 5-4-1921]
ROSS SMITH MEMORIAL. THE UNVEILING ON SATURDAY
The Ross Smith Memorial in Creswell Gardens perpetuates a nation's admiration for South Australia's "most distinguished son," as the Lieutenant-Governor termed Sir Ross Smith on Saturday.
As the Lieutenant-Governor (Sir George Murray) was unveiling the memorial, the drone of circling aeroplanes recalled the deeds with which Sir Ross Smith won distinction as the first Australian air pilot in Palestine during the war, and carried the thoughts of the spectators back to the 12,000 miles pioneer flight with which the Smith brothers and their mechanics placed the seal of achievement on an audacious ambition.
With the face of Sir Ross Smith's figure to the rising sun, the statue is placed between the pathway to the Adelaide Oval entrance and the bank of the Torrens. To a large crowd of people the Lieutenant-Governor told how Sir Ross Smith had his mind turned to aviation from the time he landed in Egypt, and how he became the most famous pilot and observer in the East. His was the only aeroplane to take part in Lord Allenby's triumphal march into Cairo after the war.
In a letter to his mother during the war he spoke of the joy he would experience in flying straight to Australia to take Mr P Waite for a flight to Mutooroo Station, probably the germ of the famous enterprise.
Dr A A Lendon related Sir Ross Smith's desire, expressed to his mother during his last visit to Adelaide, that a monument to the Third Light Horse should occupy the place chosen for his own. The doctor went on to point out how fitting it was that the Ross Smith memorial should be placed there, and associated that gallant corps with it.
Sir George Murray was also filling the position of Lieutenant-Governor when Sir Ross Smith reached Adelaide after the flight, and at the time the aviator was killed while preparing for a flight around the world and his performance of the ceremony on Saturday was a natural completion of such notable coincidences. The time of the ceremony was an inconvenient one, but the crowd which assembled testified to the place Sir Ross Smith occupied in public esteem. At the conclusion of the ceremony there was a general movement inward to inspect the statuary, admiration of which was openly expressed. A guard of honour was provided by Queen's School, the present pupils of which were thus linked with a former scholar, whose name has become imperishable. [Ref: Register 12-12-1927]
Flight of 1922
The next proposal, to fly round the world in a Vickers Viking amphibian, ended in disaster. Both brothers travelled to England to prepare for the trip and on 13 April 1922, while Ross and his long-serving crew member Bennett were test flying the aircraft at Weybridge near London, it spun into the ground from 1000 feet (305 m), killing both. Keith, who arrived late for the test flight witnessed the accident. The flight was abandoned. The bodies of Sir Ross Smith and Lieutenant Bennett were brought home to Australia.
SIR ROSS SMITH
BODY TAKEN TO ADELAIDE
Wednesday—The Commonwealth liner ‘Largs Bay’ has brought home the bodies of Sir Ross Smith and Lieutenant Bennett. Sir Keith Smith was present at the Outer Harbor to watch the landing of the casket containing his brother's remains. Both bodies were conveyed from London in the forward hold of the vessel, but were kept separate from the cargo.
The casket holding the embalmed body of Sir Ross Smith was encased in a lead coffin, on the outside of which was a wooden case to prevent damage. Both coffins were under the direct care of the ship’s officers.
There was a large gathering on the wharf when the ship's siren gave a salute as the casket was lifted from the hold. As it came into the view of the crowd, draped with the Australian flag, every head was bared, and silence prevailed as it was lowered to the wharf. A band of sailors from the ship bore the coffin to the conveyance which was to take it to St Peter's Cathedral.
The first floral tribute to the dead hero from this State was a bunch of red geraniums, which was put on the coffin as a mark of respect from the sailors at the Outer Harbor. The flags on all the vessels and buildings at the harbor were at half-mast. No ceremony was attached to the conveyance to Adelaide of the coffin. After it had been removed from the case it was transferred to a hearse and was taken to the cathedral.
Although the public had been notified that there would be no admission to the cathedral until three o'clock in the afternoon a number of people had collected in the vicinity.
The Dean of Adelaide met a small official procession at the cathedral gates. Inside the building the precentor (Dr Milne) and Archdeacon Bussell preceded the coffin to a position between the choir stalls, where trestles had been placed to receive it. The coffin is of oak, lead lined and sealed, and bears the following inscription:
"Captain Sir Ross Macpherson Smith, KBE, MC, DFC, AFC died at Brooklands, 13th April, 1923 aged 29 years."
Nearly 30 airmen will participate in the funeral. [Ref: Recorder (Port Pirie) 15-6-1922]
THE LATE SIR ROSS SMITH
FUNERAL IN ADELAÏDE TODAY
THOUSANDS OF PEOPLE ATTEND
Adelaide. Thursday.
General Leane represented Lord Forster, the Governor-General, at the late Sir Ross Smith's funeral in Adelaide today. Thousands of people viewed the body lying in state at the Cathedral yesterday, and thousands watched the funeral procession today The city was deserted. The public offices, business places, and hotels were closed. The Town Hall bells were tolled, and flags were at half-mast. Mr Bickersteth, headmaster at St. Peter's College, delivered a brief address. Seventy Australian airmen participated. An aircraft trailer was used to carry the coffin and another carried the flowers.
The firing party at the graveside consisted of 40 men.
Three military aeroplanes flew over the route as the procession was making its way to the cemetery.
The interment was in the North-road cemetery, the grave being dug in a plot of green lawn close to the entrance of the picturesque little chapel. [Ref: Barrier Miner (Broken Hill) 15-6-1922]
LAID TO REST
SIR ROSS SMITH'S FUNERAL
The remains of Sir Ross Macpherson Smith, aviator and soldier, were laid to rest this afternoon in soil of his beloved homeland. Enormous crowds of sorrowing people assembled in the vicinity of St. Peter's Cathedral and thronged the route to the North Road Anglican Cemetery, desiring to pay a last tribute of respect to the memory of the illustrious airman. At the Cathedral the solemn service of mourning was held, immediately after which the body was borne from the edifice by members of the Royal Australian Flying Corps and placed on an aeroplane trailer at the head of the State Funeral cortege, which was of unprecedented dimensions.
From an early hour this morning a continuous procession of thousands of people filed quietly and sadly past the body as it lay in state in the Cathedral, draped with the British colours and guarded by members of the RAFC with arms reversed.
At the Cathedral the service, which was of a most impressive character, was conducted by Dean Young, and was attended by Mr and Mrs Andrew Smith, parents of Sir Ross Smith, and also by Mr and Mrs John Fordyce, of Melbourne (uncle and aunt of the deceased), and Sir Keith Smith and Lieutenant W Shiers, who flew with Sir Ross and Lieutenant Bennett to Australia in the Vickers Vimy. There was a fine muster of Sir Ross Smith's former comrades in the Third Light Horse, and other branches of the AIF.
We are not unmindful of his comrade, Lieutenant Bennett, who died with him, and whose body is to be laid to rest on Saturday, in Melbourne. [Ref: Daily Telegraph (Sydney) 16-6-1922]
A3 Gay Crusader at Grantham about 1958 and before a double chimney and trough deflectors were fitted.
Hans van Eijsden Photography, The Netherlands
MUA: Martina Kató
Lens: Canon EF 85mm f/1.2L II USM with 3-stop ND filter on full frame.
Light: An Elinchrom Quadra ELB 400 with one Pro head as key light from the front into an Elinchrom Maxi Spot with silver deflector, triggered via Skyports.
I measured the light with the Sekonic L-758DR.
Postprocessing: Some local adjustment curves, some local cloning.
Portfolio: www.hansvaneijsden.com
Facebook Page: www.facebook.com/hansvaneijsdenphotography
A feisty medium tank with a turret reinforced with Stalinium armor which can deflect asteroids, and nuclear bombs with its sleek shape, and the blessing of Allah.
Armed with a 122mm main gun, and a 14.7mm machine gun.
Final model will have a different gun, and will be dubbed the Mk 54 Mobarez.
Not to happy with this pic, but screw it I'm exhausted, been up since yesterday morning. Also need to make the light tan around the gun match the hull because I don't like how it looks.
St Martin's Church which has been called the "most crooked church in Great Britain." St Martin's Church is a stone parish church standing on a steep hillside on the east side of the valley and subject to slippage. The church chancel has been described as a remarkable example of a "weeping chancel", where the nave represents Christ's body and the deflected chancel his head fallen sideways in death. At Cwmyoy not only the axis but the whole chancel slews sideways. Hando calls it "the Church below the Landslide".