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Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was built and deployed in four minor variants (designated A, J, and S single-seater and the D two-seater/trainer) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie exoskeleton with enhanced protection and integrated missile launchers, the so-called FAST (“Fuel And Sensor Tray”) packs that created the fully space-capable "Super" Valkyries and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S “Super Valkyrie”.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
In the course of its career the versatile VF-1 underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 on, placed in a streamlined fairing in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could be used for target illumination and guiding precision weapons. Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wingtips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods. Specialized reconnaissance and ECM sub-versions were developed from existing airframes, too.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68). However, beyond this original production several “re-built” variants existed, too, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet, even after 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid, used by U.N. Spacy, U.N. Navy, U.N. Space Air Force. 3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Accommodation:
Single pilot in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Empty weight: 13.25 metric tons
Standard take-off mass: 18.5 metric tons
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2);
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard TOW 2.49; maximum TOW 1.24
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs and other guided and unguided ordnance
The kit and its assembly:
After a long time, I found enough mojo to tackle another ARII 1:100 VF-1, but this time in Battroid mode. Unlike the simple Fighter mode kits, ARII’s Battroid kit of the iconic Valkyrie is more demanding and calls for some structural modifications to create a decent and presentable “giant robot” model – OOB, the model remains quite two-dimensional and “stiff”. The much newer WAVE kit in 1:100 scale is certainly a better model of the VF-1, but I love the old ARII kits because of their simplicity.
The kit is a “Super Valykrie” model, but it donated its FAST pack extra parts to a space-capable VF-1 Fighter build a long time ago and has been collecting dust in The Stash™ (SF/mecha sub-department at the Western flank) since then. The complete Battroid model was still left, though, even with most of the decals, and when I recently searched for artwork/visual references for another Macross project I came across screenshots from the original TV series of a canonical VF-1 that I had been planning to build for some years, and so I eventually set things in motion.
The kit was basically built OOB, but it received some upgrades. More severe surgery would be necessary to create a “good” Battroid model – e. g. creating vertical recesses around the torso – but this is IMHO not worthwhile. These updates included additional joints in the upper arms and legs, created with styrene tubes, as well as a new hip construction made from coated steel wire and styrene tube material that allows a three-dimensional posture of the legs - for a more vivid appearance and more dynamic poses. Other small mods that enhance the overall impression are “opened” exhausts inside of the feet and a different, open left hand. The GU-11 pod/handgun was taken OOB, it just received a shoulder belt created with painted masking tape. The single laser cannon on the head received a fairing made from paper tissue drenched with white glue.
Even though the model kit itself is not complex, it is a very early mecha kit: the VF-1 Battroids already came with vinyl caps (some of the contemporary ARII Macross models did not feature these useful items yet), but the model was constructed in an “onion layer” fashion that makes building and painting a protracted affair, esp. on arms and legs. You are supposed to finish a certain section, and then you add the next section like a clamp, while areas of the initial section become inaccessible for sanding and painting inside of the new section. You can only finish the single sections up to basic painting, mask them, and then add the next stage. Adding some joints during the construction phase helped but building an ARII VF-1 Battroid simply takes time and patience…
Painting and markings:
As mentioned above, this Valkyrie’s livery is canonical and it depicts a so-called “Alaska Guard” VF-1, based at the U.N. Spacy’s headquarters at Eielson Air Force Base in the far North of the United States around 2008/9. Several Battroid mode VF-1s in this guise appear during episode #15 of the original Macross TV series and offer a good look at their front and back, even though close inspection reveals that the livery was – intentionally or incidentally – not uniform! There are subtle differences between the VF-1s from the same unit, so that there’s apparently some room for artistic freedom.
However, this rather decorative livery IMHO works best on a VF-1 Battroid model, because the green areas, esp. on head and arms, mostly disappears when the Valkyrie transforms into Fighter mode – in the original TV livery the VF-1 is completely white from above, just with green wing tips and rudders on the V-tail.
A full profile of an “Alaska Guard” VF-1 with more details concerning markings and stencils can furthermore be found in Softbank Publishing’s (discontinued) “Variable Fighter Master File VF-1 Valkyrie” source book, even though these drawings show further differences to the original TV appearance. In the book the unit is identified as SVF-15 “Blue Foxes”, evolved from the real USAF’s 18th Aggressor Squadron in 2008. Looking at the VF-1’s colors, this unit name appears a bit odd, because the livery is basically all-white with olive-green trim? This could be a simple translation issue, though, because “blue” and “green” are in written Japanese described with the same kanji (青, “ao”). On the other side, the 18th Aggressor Squadron was/is nicknamed “Blue Foxes”? Strange, strange…
To ease painting, the model was built in sub-assemblies (see comments above) and treated separately. To avoid brush painting mess with the basic white, the sub-sections received a coat of very light grey (RAL 7047 Telegrau) and a pure white tone, both applied from rattle cans with an attempt to create a light shading effect. The green trim and further details were added with brushes. I used Revell 360 (Fern Green, RAL 6025), because it is a strong but still somewhat dull/subdued tone that IMHO matches the look from the TV series well. Some detail areas like the air intake louvres, the hollow of the knees and the handgun were painted in medium grey (Humbrol 140), so that the contrast to the rest was not too strong. The “feet” received an initial coat of Humbrol 53 (Iron) as a dark primer.
In “reality”, parts of the VF-1’s torso in Battroid mode are actually open – the kit is very simplified. To create an optical illusion of this trench and to visually “stretch” the rather massive breast section, the respective areas were painted with dark grey (Humbrol 79). There are also many position lights all around the hull; these were initially laid out with silver, the bigger ones received felt tip pen details, and they were later overlaid with clear acrylic paints.
Once the basic painting had been done, a light black ink washing was applied to the parts to emphasize engraved panel lines and recesses. After that the jet exhaust ‘feet’ were painted with Humbrol’s Steel Metallizer and some post-shading through dry-brushing was done, concentrating on the green areas. This was rather done for visual plasticity than for a worn look: this Valkyrie was supposed to look quite bright and clean, after all it’s from a headquarter unit and not an active frontline vehicle.
The feet received a thorough graphite treatment, so that the Metallizer’s shine was further enhanced. Some surface details that were not molded into the parts (esp. around the shoulders and the covers of the main landing gear) were painted with a thin black felt tip pen.
Stencils and markings were taken from the kit’s OOB decal sheet. The thin bands around the arms and legs were created with generic 1mm decal strips and all the vernier thrusters (sixteen are visible on the Battroid) were created with home-printed decals – most of them are molded into the parts and apparently supposed to be painted, but the decals are a tidier and more uniform solution.
Before the final assembly, the parts received a coat with matt acrylic varnish. As final measures some black panel lines were emphasized with a felt tip pen and color was added to several lamps and small windows with clear paints.
I can hardly remember when I built my last VF-1 Battroid, but tackling this one after a long while was a nice distraction from my usual what-if builds. I am pleased that this model depicts a canonical Valkyrie from the original TV series beyond the well-known “hero” liveries. Furthermore, green is a rare color among VF-1 liveries, so that it is even more “collectible”.
While the vintage ARII kit is a rather limited affair, adding some joints considerably improved the model’s impression, even though there are definitively better kit options available today when you want to build a 1:100 Battroid — but these do certainly not provide this authentic “Eighties feeling”.
Developing a fault within Buchanan Bus Station and having to wait for assistance, Scania Omnidekka 36022 is captured leaving Glasgow over an hour late.
Snatched from the streets of San Diego in late March 2016 by a group of masked assailants, Diz has been spending some time (voluntarily) working on a guest post covering motion picture film development at home.
If you've ever thought about shooting and developing your own motion picture stock ...
emulsive.org/articles/developing-motion-picture-film-dark...
Articles, Experiments
#C41, #Darkroom, #Developing, #Diz, #ECN2, #Kodak, #Kodak_250D_5207, #Kodak_500T_5219, #Kodak_50D_5203
Kottingwörth developed from a settlement on an island ("Werder") in the Altmühl river. The first wooden church may date back to the time of Christianisation. The first stone church was built in the 12th century. It got consecrated between 1183 and 1195. The towers were built between 1250 and 1310. In the first half of the 16th century, the towers were raised. In the years 1760/61, the medieval church building was replaced by a baroque new building.
The oldest part of the church is the basement of the west tower, dated to the 13th century. Around 1310 the choir of the church (now the Vitus chapel) was adorned with frescoes. During the renovation work in the chapel in 1891 these murals were rediscovered under a coat of paint. The paintings are still well preserved.
Under the dome are a "Majestas Domini" (Christ in Majesty), the four evangelists (two by two) and two saints.
I do not suppose an infidel or any such person will ever be chosen to any office unless the people themselves be of the same opinion.
Spaight, Elliot’s Debates, as quoted in The Making of America by Cleon Skousen, 1985, pg. 668
Source: en.wikipedia.org/wiki/Arizona
Arizona is a state in the Southwestern region of the United States, sharing the Four Corners region of the western United States with Colorado, New Mexico, and Utah. Its other neighboring states are Nevada to the northwest and California to the west. It also shares an international border with the Mexican states of Sonora and Baja California to the south and southwest. It is the 6th-largest and the 14th-most-populous of the 50 states. Its capital and largest city is Phoenix, which is the most populous state capital in the United States.
Arizona is the 48th state and last of the contiguous states to be admitted to the Union, achieving statehood on February 14, 1912. Historically part of the territory of Alta California and Nuevo México in New Spain, it became part of independent Mexico in 1821. After being defeated in the Mexican–American War, Mexico ceded much of this territory to the United States in 1848, where the area became part of the territory of New Mexico. The southernmost portion of the state was acquired in 1853 through the Gadsden Purchase.
Southern Arizona is known for its desert climate, with extremely hot summers and mild winters. Northern Arizona features forests of pine, Douglas fir, and spruce trees; the Colorado Plateau; mountain ranges (such as the San Francisco Mountains); as well as large, deep canyons, with much more moderate summer temperatures and significant winter snowfalls. There are ski resorts in the areas of Flagstaff, Sunrise, and Tucson. In addition to the internationally known Grand Canyon National Park, which is one of the world's seven natural wonders, there are several national forests, national parks, and national monuments.
Arizona is home to a diverse population. About one-quarter of the state is made up of Indian reservations that serve as the home of 27 federally recognized Native American tribes, including the Navajo Nation, the largest in the state and the country, with more than 300,000 citizens. Since the 1980s, the proportion of Hispanics has grown significantly owing to migration from Mexico and Central America. A substantial portion of the population are followers of the Roman Catholic Church and the Church of Jesus Christ of Latter-day Saints. Arizona's population and economy have grown dramatically since the 1950s because of inward migration, and the state is now a major hub of the Sun Belt. Cities such as Phoenix and Tucson have developed large, sprawling suburban areas. Many large companies, such as PetSmart and Circle K, have headquarters in the state, and Arizona is home to major universities, including the University of Arizona, Arizona State University, and Northern Arizona University. The state is known for a history of conservative politicians such as Barry Goldwater and John McCain, though it has become a swing state in recent years.
Source: en.wikipedia.org/wiki/Page,_Arizona
Page is a city in Coconino County, Arizona, United States, near the Glen Canyon Dam and Lake Powell. As of the 2010 census, the population of the city was 7,247.
Source: en.wikipedia.org/wiki/Glen_Canyon
Glen Canyon is a natural canyon carved by a 169.6-mile (272.9 km) length of the Colorado River, mostly in southeastern and south-central Utah, in the United States. Glen Canyon starts where Narrow Canyon ends, at the confluence of the Colorado River and the Dirty Devil River. A small part of the lower end of Glen Canyon extends into northern Arizona and terminates at Lee's Ferry, near the Vermilion Cliffs. Like the Grand Canyon farther downstream, Glen Canyon is part of the immense system of canyons carved by the Colorado River and its tributaries.
In 1963, a reservoir, Lake Powell, was created by the construction of the Glen Canyon Dam, in the Arizona portion of Glen Canyon near the brand new town of Page, inundating much of Glen Canyon under water hundreds of feet in depth. Contrary to popular belief, Lake Powell was not the result of negotiations over the controversial damming of the Green River within Dinosaur National Monument at Echo Park; the Echo Park Dam proposal was abandoned due to nationwide citizen pressure on Congress to do so. The Glen Canyon Dam remains a central issue for modern environmentalist movements. Beginning in the late 1990s, the Sierra Club and other organizations renewed the call to dismantle the dam and drain Lake Powell in Lower Glen Canyon. Today, Glen Canyon and Lake Powell are managed by the U.S. Department of the Interior within Glen Canyon National Recreation Area.
Source: www.usbr.gov/uc/rm/crsp/gc/
Glen Canyon Dam is the second highest concrete-arch dam in the United States, second only to Hoover Dam which stands at 726 feet. The 25.16 million acre-feet of water storage capacity in Lake Powell, created by Glen Canyon Dam, serves as a ‘bank account’ of water that is drawn on in times of drought. This stored water has made it possible to successfully weather extended dry periods by sustaining the needs of cities, industries, and agriculture throughout the West.
Hydroelectric power produced by the dam’s eight generators helps meet the electrical needs of the West’s rapidly growing population. With a total capacity of 1,320 megawatts, Glen Canyon Powerplant produces around five billion kilowatt-hours of hydroelectric power annually which is distributed by the Western Area Power Administration to Wyoming, Utah, Colorado, New Mexico, Arizona, Nevada, and Nebraska. In addition, revenues from production of hydropower help fund many important environmental programs associated with Glen and Grand canyons.
The designation of Glen Canyon National Recreation Area in 1972, underscores the value and importance of the recreation benefits associated with Lake Powell and the Colorado River downstream of the dam. The recreation area is managed by the National Park Service.
Glen Canyon Dam is the key water storage unit of the Colorado River Storage Project, one of the most complex and extensive river resource developments in the world. Without it, development of the Upper Colorado River Basin states’ portion of the Colorado River would not have been possible.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "米国" "美国" "미국" "Estados Unidos" "États-Unis" "ארצות הברית" "संयुक्त राज्य" "США"
(Arizona) "أريزونا" "亚利桑那州" "אריזונה" "एरिजोना" "アリゾナ州" "애리조나" "Аризона"
+++ 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 Mikoyan-Gurevich MiG-15 (Russian: Микоян и Гуревич МиГ-15; NATO reporting name: "Fagot") was a jet fighter aircraft developed by Mikoyan-Gurevich OKB for the Soviet Union. The MiG-15 was one of the first successful jet fighters to incorporate swept wings to achieve high transonic speeds. Introduced in combat over the skies of Korea, it outclassed straight-winged jet day fighters which were largely relegated to ground attack roles. The MiG-15 is believed to have been one of the most widely produced jet aircraft ever made; in excess of 12,000 were manufactured. Licensed foreign production may have raised the production total to over 18,000.
One of the foreign operators was the Bulgarian Air Force. In 1955 a massive modernisation program started and a wave of deliveries began that would replace many piston engine aircraft from the WWII era. This included the MiG-15, and later also the MiG-17 and MiG-19 fighters and Ilyushin Il-28 bombers, as well as the first helicopters (Mil Mi-1).
In late Fifties the Bulgarian Air Force already had a number of obsolescent MiG-15s with only some 30% of their flying hours used. Dimitr Atanasov was the head of the Bulgarian Air Force's 149 Aircraft Repair Base at Tolbukhin, and he became known through several suggestions for upgrades of the MiG-15 fighter.
One of these works was the conversion of surplus fighters into two-seated fighter bombers/trainers, called the UMiG-15MT, which were more or less a MiG-15 UTI trainers with full weapon capability. The 'MT' suffix simply stood for модифициран в Толбухин ('Modified at Tolbukhin'). The most radical proposal of Dimitr Atanasov was a twin jet fighter bomber, though, based on two MiG-15s mated together through a short, straight central wing and stabilizer. This would allow the new aircraft to carry an external ordnance of 1.500 kg (3.300 lb) while maintaining the MiG-15's performance, especially range and take-off/landing. This was a considerable offensive improvement, since the original MiG-15 could only carry light loads like a pair of 100 kg (220 lb) bombs or unguided rockets on 2 underwing hardpoints - or, alternatively, drop tanks.
Initial studies for the 'близнак (Bliznak = Twin)' derivative envisaged two standard fighter airframes to be used, with two separate cockpits, or just a single seat cockpit in the port fuselage. Calculated performance figures for the twin MiG were even better than required by the Bulgarian Air Force, so some extra equipment like more fuel or armour could also be carried. Consequently, the space in the starboard fuselage formerly occupied by the cockpit was used for an additional fuel tank and an avionics bay, while the leftover cockpit received additional armor. The full cannon armament from both airframes was retained, and additional hardpoints under the central wings as well as in- ndd outside of the original wet wing pylons for light loads were added, for a total of seven plyons. In this form, two Atanasov BMiG-15MT protytypes were built and tested in 1958.
Much like the indigenous UMiG-15MT, the "new" aircraft was no offcial product of the OKB Mikoyan-Gurevich, but it received a 'thumbs up' and support from the original manufacturer.
Flight tests and acceptance trials lasted until 1960, when the MiG Bliznak was finally cleared for production/retrofitting at the Krumovo repair plant.
Thirty MiG-15Bs were created until 1963, not only from Bulgarian airframes, but also from other Eastern European Air Forces' stocks, e .g. from Czechoslovakia, where the MiG-15 was under license production. NATO's ASCC reporting name for the BMiG-15MT became "Fagot Z".
The Bulgarian Air Force remained the only operator of this exotic aircraft, since many countries had already received the more modern and potent Suchoj Su-7 fighter bomber or already used the MiG-17 in the fighter bomber role.
The BMiG-15MT would eventually expand its role, though. It is a well-known fact that the Soviet Air Forces in Eastern Europe received a large number of nuclear weapons in the early 1960s. During this period, the Yak-28 'Brewer' tactical bomber and the first genuine Soviet jet fighter-bomber, the Su-7 'Fitter', were introduced to service and provided the most potent offensive capabilities. For the Soviet Forces in Bulgaria, several Atanasov MiG-15 twins were converted as tactical nuclear bombers, designated BAMiG-15MT (атомен/atomen = 'nuclear').
These machines received a similar conversion like the UMiG-15MT, with a tandem cockpit in the port fuselage. The cannon armament was reduced in order to save weight, only a single 23mm cannon remained in the port fuselage, while the standard armament in the starboard fuselage was retained.
A BDZ-56FNM pylon for nuclear stores was added to the central wing, and the wiring for an RN-25 or RN-28 tactical nuclear weapon was added. These weapons were equipped with a remote or a direct impact fuse that determined the moment of detonation in order to create an aerial or a ground burst. Tactical nuclear bombs could be dropped using a LABS maneuver or during horizontal flight. In that latter case, a braking parachute was deployed behind the bomb.
In order to be able to deliver a weapon with precision during a toss bombing or LABS manoeuvre, the original MiG-15 weapon system had to be supplemented by an additional switchbox and indicator. The latter was called PBK (Pritsel dliya Bombometaniya s Kabrirovaniya or toss-bombing sight). On jets like the Su-7, the PBK was a separate box which was added to the left side of the instrument panel, in the BAMiG-15MT it was operated by the WSO/navigator on the rear seat, leaving the pilot free to concentrate on handling the aircraft. The LABS avionics were installed in the starboard fuselage.
A fixed point had to be selected on the ground to start the bombing run. That fixed point could be identified visually or it could be a radio beacon put in place by a commando unit or an helicopter. The PBK gave the informations necessary to complete the final bombing run.
Even though these machines were operated by the Bulgarian Air Force, the crews - at least when carrying nuclear stores or just when operated at the air bases with storage bunkers for nuclear weapons, were Soviet, even though Bulgarian crews were trained in the procedures for nuclear weapon delivery, too, and the BAMiG-15MT was a very good trainer for this task, even though unique in handling, especially on the ground where its wide track caused frequently taxiing accidents with unfamiliar crews.
The BA and remaining BMiG-15MTs were operated until the late Seventies, primarily as trainers. In the strike role they were already withdrawn in 1970, though, because the performance had become totally inadequate for the potential European battleground.
General characteristics:
Crew: 2
Length: 10.08 m (33 ft 1 in)
Wingspan: 12.68 m (41 ft 6 in)
Height: 3.7 m (12 ft 2 in)
Wing area: 24.6 m2 (265 sq ft)
Airfoil: TsAGI S-10 / TsAGI SR-3
Empty weight: 5,800 kg (12,775 lb)
Gross weight: 8,000 kg (17,620 lb)
Max takeoff weight: 9,770 kg (21,515 lb)
Fuel capacity: 2,450 l (540 imp gal; 648 US gal)
Powerplant:
2× Klimov VK-1 centrifugal flow turbojet, 26.5 kN (6,000 lbf) thrust
Performance:
Maximum speed: 1,059 km/h (658 mph; 572 kn) at sea level
1,033 km/h (558 kn; 642 mph) at 5,000 m (16,000 ft)
992 km/h (536 kn; 616 mph) at 10,000 m (33,000 ft)
Cruising speed: 850 km/h (528 mph; 459 kn)
Range: 1,640 km (1,020 mi; 890 nmi)
Service ceiling: 15,500 m (50,853 ft)
Rate of climb: 51.2 m/s (10,080 ft/min) at sea level
36.2 m/s (7,130 ft/min) at 5,000 m (16,000 ft)
21 m/s (4,100 ft/min) at 10,000 m (33,000 ft)
Armament:
3x NR-23 23 mm (0.906 in) cannon in the lower left fuselage
(one in the port side fuselage, two in the starboard fuselage, 80 RPG)
1x Nudelman N-37 37 mm (1.457 in) cannon, lower right starboard fuselage (40 RPG)
Seven underwing hardpoints for a total of 1.500 kg (3.300 lb) ordnance, including bombs,
napalm tanks, drop tanks, or unguided rockets.
The kit and its assembly:
The Atanasov twin MiG is a bit of a mystery. and controversial. Sources claim that the project is legit and 100% real, but anything known about is is based on information and a sketch from the Polish Krile ("Wings") magazine, issue 1 from January 2009.
Anyway, this thing is SO bizarre and Cold War, that I had to build one - be it real or not! I am not the first to do so, but I'd add a personal touch, though... The original drawing suggests two separate cockpits, but I found this layout to be a bit unpractical for service, either as a trainer but also as an attack aircraft, since obviosuly no radar or other aiming device could be discerned. Hence I dediced that the original crew number would be one, augmented to a tandem under one canopy in my nuclear fighter bomber version. As a benefit, the resulting asymmetrical layout adds to the design's overall oddness.
This route was made easy through the Hobby Boss kits of the MiG-15 - a fighter and a trainer, based on the same moulds, even though the fuselages differ. The kits are really nice and much more like traditional model kits than the usual Hobby Boss offerings that only consist of two parts and feature a rudimentary interior. Here, you have traditional fuselage halves, separate wings and stabilizers, even detailed cockpit tubs with dashboards and a splitter for the air intake. The landing gear is nice, too. A nice surprise, much like Hobby Boss' Bf 109.
Building the MiG twin went pretty straightforward, biggest conversion works were the covered single cockpit (done with a simple 2C putty plug) and the unswept wing connectors, which had to be improvised. The central wing actually is a piece from an ARTmodel Bv 155's wing, while the stabilizer comes from a Revell Focke Wulf Flitzer. In both cases the wing chord had to be enlarged, in order to match the swept outer wing parts, which were taken OOB.
Some PSR was needed all around the kit, more massive around the new wing sections.
Because only the outer main landing gear struts were left I also opted to beef the construction up, for a better weight distribution - otherwise, the orginal landing gear would have to carry almost twice the weight?
Similar to the Dassault Barougan I opted for twin main wheels (with narrower tires, two pairs from a Bf 109) for a bigger footprint - a small detail, but without I found the overall construction to be less plausible? The wells were deepened accordingly and the covers had to be modified and re-arranged, too.
The ordnance was adapted to the nuclear strike role, in this case as a trainer. Two underwing drop tanks appeared appropriate (since no AAMs for self defense were available in the Sixties), and the bomb on the central pylon is a scratched IAB-500 dummy round.
Painting and markings:
This one was to remain Bulgarian, and while Bulgarian MiG-15 typically were left unpainted, I opted for a camouflage paint scheme that was also introduced with some MiG-17 and -19 in their late career.
The striped/spotted scheme itself was lent from a Bulgarian MiG-21U trainer ('21 White')and consists basically of Humbrol 168 (Hemp), 102 (Army Green), and Humrol 65 (RLM 65, even though a rather bright version) from below. The pattern was painted with brushes free-handed and later, after a black ink wash for the recessed panel lines, brightened up through dry-painted panels and leading edges with Humbrol 121 and 103, FS 34096 and Humbrol 78 as well as FS 35414, but Federal Standard tones from ModelMaster. The result looks somehow Chinese to me, at least on a tubby MiG-15?
The cockpit was painted in PRU Blue, while the landing gear bays received a lighter Humbrol 87 (Steel Grey) and 115 (Russian Underside Blue) finish. The air intakes were kept in Aluminum, the wheel discs feature a classic bright green.
The drop tanks (OOB) were painted in Aluminum, since Bulgarian MiG-15s were typically painted with a simple clear coat, and the IAB-500 bomb was painted according to a color picture I could find with a dark green front end, an olive rear and silver stabilizers.
The few decals come from a Begemot MiG-25 sheet (Bulgarian roundels) and the OOB sheet of the MiG-15 single seater. On the bomb and all around the hull, small stencils were painted, just for a more interesting look.
After some soot stains ariound the guns and jet exhausts, the kit was finally sealed with matt acrylic varnish.
A bizarre aircraft, and an impressive result. This kitbash was easier than expected, thanks to the good Hobby Boss kits -finding the connecting wing parts was actually the most complicated task. A "real" whif.
The M8D was developed for the 1970 Can-Am season. The high strut-mounted rear wing of the M8B had been banned by Can-Am, so the M8D's rear wing was mounted low on fins, earning the car the nickname "Batmobile". The Chevrolet V8 was again built by Bolthoff, who enlarged the engine to 7,620 cc (465 cu in). It now developed 670bhp at 6800rpm. Bruce McLaren won in the searing heat at Riverside and Denny Hulme won in Las Vegas. Hulme won the 1968 championship with 35 points, and McLaren finished second with 24 points
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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Until the end of 2013, Etna's recent eruptive activity was mainly focused on the latest creation of the volcano, the new cone of the Southeast Crater, which was the site of 21 episodes of intense Strombolian activity and - in all cases except the latest two - lava fountaining accompanied by the emission of copious loose volcanic rock material, called tephra. The latest - and weakest - of these episodes took place between 29 and 31 December 2013, although minor lava outflow continued through the two first days of the year 2014, ending altogether during the night of 2-3 January 2014.
For some time, though, we've seen some activity also at the Northeast Crater, the tallest - and since many years, least violently active - of Etna's four summit craters. On 26 October 2013, when the new cone of the Southeast Crater was the site of the first episode of lava fountaining for six months, spectacular ash emissions started also from the Northeast Crater, where the latest significant visible activity had occurred during the summer of 2002. Strangely enough, the conduit of this crater has remained open - possibly down to 1000 or even more meters below the summit - and it has been the source of the most intense and continuous gas emissions of Etna over the past decade.
As the new cone of the Southeast Crater continued to make its eruptive episodes through the fall of 2013, we often saw some sympathetic minor ash emissions at the Northeast Crater, but over the past few days they have become virtually continuous. Today, 9 January 2014, the weather conditions are particularly favorable, with clear skies and a virtually complete absence of wind at Etna's summit, and the plume of ash is rising straight to a few hundred meters above the peak of the mountain. This phenomenon is also well visible from Catania, and from the roof of the INGV building in the center of town, from where I took this photograph on the early afternoon of 9 January 2014 (I admit that I deleted the metal thread of an antenna out of the right upper part of the image).
This is something different, and now everybody is wondering whether old Northeast Crater, after many years of steaming and producing rumbling sounds from deep within its conduit is feeling the drive to return on the scene on a grander scene. The signals that are constantly monitored by the INGV - seismic activity, gas emissions, ground deformation - do not presently indicate that something big is on the move. But Etna, after all, is an active volcano. So we should not be surprised if she gave us another surprise, after all the surprises she's unleashed on us over the years ...
So I finally bit the bullet and bought some chemicals to develop my own colour negatives. This is partially for financial reasons (i.e. it works out quite a bit cheaper), and also I was curious as to how difficult it would be.
Turns out it was really simple (arguably less hassle than black and white), and the thing that I was most worried about (the temperature control) was not a problem.
The colours from what I have scanned so far seem fairly accurate (at least for me), so maybe this is the way forward?
Minolta SRT-101
Rokkor 50 / 1.7
Fuji Superia 200
Developed in Tetenal (3:15 @ 100F)
Finally had some activity at El Franco Lee this past week and this huge cloud began to catch a bit of the setting sun. Photo was taken with my old venerable Sony A700 at the park.
DSC00373ulp
I've just posted a big blog entry on developing your own 4x5 colour film. It's quite a breakthrough for me as it reduces developing costs from about £2.00 per sheet to about 16p per sheet. This is one of the images that came off the batch that I processed on video for the blog article..
Home Developing of 4x5 Sheet Film
I also started using sheet film which further brings the cost down from £2.00 per sheet to about £1.00 per sheet and I also bought some post dated film in bulk from Fuji that works out at 40p per sheet...
Soo .. Big saving going from 4.50 per photo to 56p per photo! I just need to take more pictures now :-)
While browsing through old family photos recently, I came across two old photo-related items that one could find at the Wal-Mart 1-Hour Photo lab in the mid-'90s.
I love stickers on old campers, they develop so much personality and tell a story and show your journy, also each individual sticker will have a story related to it.
More shots to come soon.
Enjoy!
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san francisco, ca
taken 9 selptember 2024
rolleiflex 3.5f
zeiss planar 75mm/ 3.5
kodak portra 800
Scanned with dslr
Home developed
cinestill cs41
3 min 30 sec
Shingu, Wakayama prefecture.
I am afraid the rock on the top is not so stable, though it is respected as the god himself....
Canon AE-1, Tokina RMC 24mm F2.8, Kodak Microfilm Imagelink HQ exposed as ISO 25, developed as described previously.
Bigger sizes: www.flickr.com/photos/threepinner/19276300714/sizes/l up to 4929 x 7350.
Develop: Pyrocat HD
Planfilm: X-ray Fuji HR-U (green)
Zeiss Ikon Donata 9x12, Tessar 1:4,5/135 ( 1928 )
Naie, Hokkaido.
Mamiya Universal Press set on a monopod, Sekor 100mm F2.8, Velvia 50 expired 2006, developed as described before ( 1st: Korectol 37Deg.C 10min.20sec, 2nd: BAN ), scanned with Plustek OpticFilm 120, edited with GIMP. Bigger sizes: www.flickr.com/photos/threepinner/52137943301/sizes/ up to 10000 × 6776 pixels compatible. Learn DIY development and upgrade to film !
Rolleiflex SL35
Carl Zeiss QMB HFT Distagon 25mm/F2.8
Chines Lucky Film ISO100
Self Developing
Developing time 6 mins.
© All Rights Reserved
I had a lot of cameras the day I spent at Deception Pass. Long last, I am getting to the film I shot that day. Comparing to the digital shots I took, I think the film is showing some its additional range, especially with the details on the bridge. Still, I think my favored digital shot "works" better.
I swear that I couldn't see any vignette in the finder on the day, but there it is on the print. I guess it's not such a great idea to use my CPL on the 20mm.
Shot with a Nikon FE and 20mm f3.5 AIS with circular polarizer on Neopan and developed in D-76 1:1.
attempted to develop film on vacation in Mexico - reblixed weeks later for four hours
Arista C-41 kit diluted to 1:12 of recommended stock solutions
stand developed for 1 hour at 20C 68F in Paterson tank with inversions initially and at 30 mins
Blix for 45 mins at 1:12 dilution, Stabilizer for 10 mins
Kodak Portra NC 160 ISO 120 roll film
Zenza Bronica ETRS 6:4.5 medium format SLR
Zenzanon f3.5 150mm EII aspherical lens with electronic leaf shutter
(~85mm effective vs 35mm frame) AE prism view finder and speed grip
Scanned with Epson Perfection 4490 at 4800 dpi 48 bit
See [www.youtube.com/watch?v=hawoHRGaDFw] for Bronica medium format camera operation
Picassocam pinhole camera, paper negative, 45 sec exp developed in Caffenol C, colorized in Photoshop, a wee bit of texture added to an otherwise bland sky
Back in the early '90s, my then-boyfriend and I were traveling to San Diego in July. By the time we got to Yuma, it was hot, glaringly bright, and the A/C couldn't keep up. By the time we got to El Centro, it was brighter (2pm) and hotter. (120 deg F) I was fading fast. Then, it was the sight of this fertilizer tank, with the words, "sea level", marked with a line half way up the tank, that made me feel like I was about to dry up and blow away out the window. "Below sea level!!!" I exclaimed in disbelief. I felt like I was sinking down into Hell, taking all the heat with me. At the time, we were attending college up at 7,000 feet altitude, so it was quite a difference from everyday life!
The boyfriend became the husband a few years later, and last week, we came by this way again, with the kiddos. Thank goodness it was January instead of July! Husband pulled off I-8, and found the dirt road along the fence line, so I could get my pinhole of the tank. Two employees road up in their little golf cart, leery of what we were doing. We excused ourselves as crazy tourists, taking a picture of their fertilizer tank, with a metal can. I can't believe they bought it!
Image made January 24, 2013
ps for Husband: Yes, I concede- the tank is on the ((left)) side of the freeway!