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Svema 200, my favorite B/W film has a very strong but thin base. It is so thin it can be a challenge to load on a developing reel. Thinking a wider flange, like the one pictured on the bottom would make life a lot easier since getting it started is the hardest part. It did seem to load easier but I was having unusual problems of large areas not developing. hummmmm. So I loaded a strip in daylight and found the film was loading in the same spiral right behind itself. No more Arista reels for Svema.
The top reel is my good old faithful Paterson, I have many of these. AP, Coast and many other brands make reels very close to this design, although I have used some that do not have plastic as smooth and slick as Paterson. I really stick to the Paterson brand on these. Some consider this to be a standard reel and offer the wide flange as a premium reel.
The middle reel is a Vivitar branded reel, I don't know who really made it but I have only seen it with the Vivitar name. It works well for any film including Svema. I would love a few more of these, they are a little easier to teach newbies how to load a reel.
The bottom is the Arista Premium wide flange reel, I have seen it made under Samigon, AP, and Omega names, often referred to as a premium reel. Sorry but I need a reel to work with any film I load on it so out it went.
The short pieces of film in reels are simply there to make the loading flanges easier to see although nano_burger's comment below about film chimping is hilarious.
I decided to use my new-found powers to fight crime, like my childhood hero, the Flash. I developed a thermally stable costume, suitable for high speed travel. The suit is made of highly compressible synthetic silk with ultrasonic welded components. In other words, I made a ring that will make my costume form around my body when I activate it.
With this suit my identity would be concealed. Plus the suit allows me to look awesome while fighting crime. That was important information, right?
I heard over police scanners that there was a prison break out. The Trickster, an old villain of the original Flash. Seems fitting of me to take him on as my first major case as the Flash.
I saw the Trickster evading CCPD squad cars heading down main street. I'll be down there in no time.
I got right behind the Trickster and suddenly he started throwing random toys at me. Now, these weren't normal toys. They exploded as I got close to them, jumped up at my face, and even exploded dust and smoke in front of me.
I was too quick to get hit by any of the effects though. The Trickster was right in front of me.
"Hehe! Catch me if you can, Flashy!"
"You asked for it."
I speed up and zoom right next to him. He was quick, almost as fast as me. I had a hard time trying to catch him. He kept throwing toys at me. How many of these things does he have?
We got to the docks and I knew he had to stop soon. I chased him all the way down to the end of a dock and I was ready catch him.
Wait, what? He is running on air? How is he doing this?
"Surprised, Flash? Well, don't be. Hehe, I can fly and you can't! Neener neener neener! See you later, I've got people to scare and places to explode."
Crap! That idiot can fly. I never knew that about him. I need to think a way to find him now. Knowing him he'll be back soon.
SONY a7II + SIGMA MC-11 ( EF-E ) + SIGMA 85mm F1.4 EX DG HSM
Developed by Adobe Photoshop Lightroom CC 2015.6.1
The Boeing B-17 Flying Fortress is a four-engined heavy bomber developed in the 1930s for the United States Army Air Corps. Competing against Douglas and Martin for a contract to build 200 bombers, the Boeing entry outperformed both competitors and exceeded the air corps' performance specifications.
Sally B / Memphis Belle. B17 bomber - Duxford, ENGLAND 2018
(Wikipedia)
Sally B is the name of an airworthy 1945-built Boeing B-17G Flying Fortress, it is the only airworthy B-17 left in Europe, as well as one of three B-17s in the United Kingdom. The aircraft is based at the Imperial War Museum Duxford, England, Sally B flies at airshows in the UK and across Europe as well as serving as an airborne memorial to the United States Army Air Forces airmen who lost their lives in the European theatre during World War II.
The aircraft was delivered to the United States Army Air Forces (USAAF) on 19 June 1945 as 44-85784, too late to see active service in the war. After being converted to both a TB-17G training variant and then an EB-17G it was struck off charge in 1954. In 1954 the Institut Géographique National in France bought the plane for use as a survey aircraft. In 1975 it moved to England and was registered with the CAA as G-BEDF to be restored to wartime condition.
The Sally B was first fitted with accurate gun turrets and other much needed additions for her role as Ginger Rogers, a B-17 bomber of the fictitious bomber unit featured in the 1981 LWT series We'll Meet Again.
During the winter of 1983–84, Sally B was painted in an olive drab and neutral grey colour scheme, in place of the bare metal scheme she had worn since construction, in order to protect the airframe from the damp UK weather. At the same time, she received the markings of the 447th Bomb Group.
The Sally B was used in the 1990 film Memphis Belle as one of five flying B-17s needed for various film scenes, and it was used to replicate the real Memphis Belle in one scene. Half of the aircraft is still in the Memphis Belle livery, following restoration of the Sally B nose art and the black and yellow checkerboard pattern on the cowling of the starboard inner (no 3) engine, carried as a tribute to Elly Sallingboe's companion Ted White, whose Harvard aircraft had the same pattern on its cowling. Sally B was reworked to B-17F configuration for filming.
Since 1985, Sally B has been operated by Elly Sallingboe's 'B-17 Preservation Ltd and maintained by Chief Engineer Peter Brown and a team of volunteers. The aircraft is flown by volunteer experienced professional pilots. The B17 Charitable Trust exists to raise funds to keep the plane flying. In 2008, Elly Sallingboe was awarded the Transport Trust 'Lifetime Achievement Award' in recognition of over thirty years of dedication to the preservation and operation of Britain's only airworthy Boeing B-17 Flying Fortress as a flying memorial to the tens of thousands of American aircrew who lost their lives in her sister aircraft during the Second World War.
One of the key events in the flying calendar for Sally B is an annual tribute flypast following the Memorial Day service at the American Military Cemetery at Madingley, Cambridge. This takes place over the May Bank Holiday weekend. Flypasts over former Eighth Air Force bases are also carried out whenever possible during the summer months.
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. It was preceded into production 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 was 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.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentradi 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 deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie and FAST Pack "Super" Valkyrie weapon systems.
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary VF of the UN Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
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, the fighter 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 - 35 years after the type's service introduction!
Equipment Type: all-environment variable fighter and tactical combat battroid
Government: U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation: pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (fully extended)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O 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)
4 x 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);
18 x 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 T-O 2.49; maximum T-O 1.24
Design Features: 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
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1 x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1 x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 rds fired at 1,200 rds/min
4 x 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-ship 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
Optional Armament:
Shinnakasu Heavy Industry GBP-1S ground-combat protector weapon system, or
Shinnakasu Heavy Industry FAST Pack augmentative space weapon system
The kit and its assembly:
This is one more 1:100 Bandai VF-1, IMHO a design masterpiece created by Shoji Kawamori and one of my favorite mecha designs ever, because it was created as an late 70ies style jet fighter that could transform into a robot in a secondary role, a simple, purposeful military vehicle.
I’ve built more than a dozen of these kits over the last 25 years, so I know it pretty well, especially its weaknesses. But the small Valkyries, originally manufactured by IMAI and now still on sale through Bandai (they pop up every 5 years when another Macross anniversary occurs…) are simple and easy to modify, and to me a kind of clean canvas for weird and colorful ideas. The VF-1 carries a huge creative potential.
This VF-1A was built almost OOB. I just made some minor mods, partly based on the design benchmark (see below). These include a pilot figure for the cockpit – actually a modified, HO (1:87) scale sitting soldier from Roco Minitanks; 1:100 pilot figures are hard to find, but I found that these squatted figures fill the cockpit and the relatively flat seat pretty well. A few characteristic blade antennae (four under the lower front fuselage and two behind the cockpit) were added.
Since this VF-1A was to be displayed in flight, the landing gear could be omitted and the covers mounted in closed position. The underwing ordnance was omitted and the pylons’ attachment points faired over. The handgun, hanging under the fuselage in flight mode, was replaced by a smoke generator and an associate tank - actually a drop tank from an Airfix 1:72 Saab Viggen. It also holds an adapter for a scratch-built display, which is taller and less obvious than the OOB offering.
Painting and markings:
This is where the actual work took place – and this Canadian VF-1 is a personal interpretation of a fictional custom Valkyrie profiles by CrazyCanuck, posted at macross.net in the fan art section (check
www.macross2.net/m3/forfansonly/crazycanuck/layouts-snowb... for reference).
There’s hardly a livery that does not suit the elegant VF-1, and I found the Snowbirds scheme very pleasing. I also liked the idea that the VF-1 would be used all over the world, with national adaptations like a Royal Navy(!) variant backed by official publications and source books. So, why not a Canadian Valkyrie?
For easy painting the kit was built in separate section (cockpit, fuselage with wings and butterfly tail, legs, head and the smoke generator), and the use of white AND red –together with yellow IMHO the most challenging tone to work with on models – scared me.
Due to the kit’s tininess I painted everything by brush with enamels. The basic tones are Humbrol 130 and 19, the latter turned out to be a very good representation of the Snowbirds’ deep scarlet red tone.
The cheatline all long the VF-1, literally from nose to feet, was created with decals. Most come from an 1:72 Snowbirds CL-141 Tutor sheet from Victoria productions in Canada (excellent stuff!), part of the trim had to be improvised and extended with generic blue and white decal sheet.
In contrast to the CrazyCanuck illustration, I decided to add Macross insignia instead of Canadian roundels – keeping in line with similar “nationalized” VF-1s in official source books. Some Canadian symbols like the flags on the fins, the roundels in the round depressions at the ankles and the huge Canadian flag on the starboard wing (a personal addition, the maple leaf is a decal while the rest was done with paint) were adopted, though, and they suit the Valkyrie well.
After basis painting was done I followed the engraved panel lines with a fine, very soft pencil. An experiment, because I just wanted a subtle emphasis esp. on the white surfaces, not the 2D/comic-style full black panel lines of former builds.
No other weathering was done, since this VF-1 was to look clean and bright. Finally, everything was sealed with a coat of gloss acrylic varnish, and the characteristic clear parts (visor on the head, position lights on the legs, laser muzzles, position lights) were laid out with acrylic silver and filled out with various shades of clear paint. Just small things, but they enhance the overall impression of the simple model kit a lot.
After a long time it’s a good feeling to build an VF-1 again, and creating a rather bright one was fun, even though the paint job was challenging. But patience and clever improvisation paid out: that Snowbird really stands out, the Snowbirds livery suits the VF-1 well! :-D
Scientists at the Defence Science and Technology Laboratory (Dstl) are continuing to work with a range of industry partners to develop the Army’s Future Soldier Vision (FSV), showcasing the personal equipment that soldiers could be using by the mid-2020s.
As well as the design of advanced combat clothing, which includes new materials like four-way stretch fabric and silent hook and loop pockets, new body armour will be lighter, and a new high-tech helmet will have state-of-the- art built-in communication systems.
The Vision is part of the Ministry of Defence’s (MOD) plan to ensure that British Soldiers have high-quality equipment utilising the latest technologies, as part of an integrated system. Future Soldier Vision (FSV) gives companies an aim point – an example of an integrated soldier system that balances military need with technology that delivers distributed power to data, scaleable and integrated protection, augmented surveillance and target acquisition, and a range of functional fabrics incorporated into the clothing.
Partners include The Royal College of Art (RCA) who provided professional designers, who – when they weren’t working in London on high-end jewellery – spent months working on the clothing to ensure prototypes were fitted to the body, were easy to run in and comfortable to wear.
-------------------------------------------------------
© Crown Copyright 2014
Photographer: DSTL Porton Down Photographer
Image 45163929.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45163929.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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Rollei 35 LED Triotar 2.8 40 mm
ORWO WOLFEN NC500
Film was exposed at normal 400 ISO
Negativ self-developed with Adox C-41 Kit
Negative photographed with Pentax KP + SMC Macro Limited 28 mm 2.8
On July 7, 2025 in western Ohio I was photographing clouds and storm development. Thunderstorms developed rapidly that afternoon in western Ohio. Cumulonimbus Cloud seen here with confirmed thunderstorms 12 miles south of my location, where this thundercloud is basically located at when I took this photo today.
Mikasa, Hokkaido.
Pentax ME, Pentax-M 28mm F3.5, negative for recording ISO 100 from Fujifilm, exposed as ISO 400, developed with C-41 based reversal process by Michitaro Kohno as described before www.flickr.com/photos/threepinner/34857256992/ , scanned at 7200DPI with Plustek OptikFilm 8100 + VueScan, edited with GIMP.
How about something a little more recent? This is from a couple of weeks ago, when we took a Saturday night drive out to Lee Creek on the Great Salt Lake. It was too dark to shoot a single image, so I doubled up! And if the blue tones don't give it away, it was extremely cold out there that night. This developed in a warm cold clip in my husband's pocket and it still turned blue.
And speaking of double exposures, Vanessa and I took our doubles project to Instagram! Follow us, won't you? @thedoublesproject
Kodak Gold 200 on 120 reel with backing paper, loaded onto Holga 120 CFN. Most images super soft in the middle, out of focus really, like this one.
Holga 120 CFN
Kodak Gold 200
Argentix/Unicolor developing
Scanned with Epson V550
Contemporary dance was developed during the mid twentieth century and has since then grown to become one of the dominant genres throughout the world. Technically, it is considered to be closely related to modern dance, ballet and other classical concert dance styles.
In terms of the focus of its technique, contemporary dance tends to combine the strong and controlled legwork of ballet with modern dance's stress on the torso, and also employs contract-release, floor work, fall and recovery, and improvisation characteristic of modern dance.
Contemporary dance by Atul Kumar on World Dance Day 2016 at Alliance Francaise, Bengaluru.
NORTH PACIFIC OCEAN (May 6, 2021) - An F-35B Lightning II, assigned to Marine Medium Tiltrotor Squadron 164 (Reinforced), 15th Marine Expeditionary Unit, prepares to land on the amphibious assault ship USS Makin Island (LHD 8) in support of Northern Edge 2021. Approximately 15,000 U.S. service members are participating in a joint training exercise hosted by U.S. Pacific Air Forces May 3-14, 2021, on and above the Joint Pacific Alaska Range Complex, the Gulf of Alaska, and temporary maritime activities area. Northern Edge 2021 is one in a series of U.S. Indo-Pacific Command exercises designed to sharpen the joint forces’ skills; to practice tactics, techniques, and procedures; to improve command, control and communication relationships; and to develop cooperative plans and programs. (U.S. Navy photo by Mass Communication Specialist 2nd Class Heath Zeigler) 210506-N-JC800-1070
** Interested in following U.S. Indo-Pacific Command? Engage and connect with us at www.facebook.com/indopacom | twitter.com/INDOPACOM |
www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **
© Rory O’Bryen, 2016. Leica MP + Summicron 50mm f/2 Ilford FP4+. Developed in Rodinal 1+25 for 9 mins. www.roryobryen.com
[BjD] Belial Japan Develop.
slurl.com/secondlife/Gomorra/150/252/2299
[BjD] Customer's gallery.
www.flickr.com/groups/1332562@N25/
Eros et Thanatos
Belial Japan Develop
Newport Fishing Pier, Pier Park, Sunny Isles Beach, FL
Going out for a sunrise shoot you never really know what you will get. When I arrived at the beach about 40 minutes before sunrise there were hardly any clouds in the sky. Then as the sun came up these clouds started to form out over the ocean. They grew bigger and bigger and about 45 minutes later I had to run for cover as the clouds unloaded a few buckets of water right over my head. Well that's a bit exaggerated, but it was quite a downpour. The good thing is, these downpours never last too long here. And soon the sun was shining again.
The village of Brem-sur-Mer, as the name indicates, has recently developed itself as a coastal resort, but the old heart of the village lies about one kilometer inland, centered around the Saint-Nicolas church.
In the Middle Ages, most of the people living along seaboards had a profound distrust of the ocean; it was a physically threatening environment, rumored to be populated with all sorts of creatures one didn’t want to see any closer. People who lived on fertile lands that could feed them, as is the case in Vendée, resolutely turned their backs on the ocean, contrary to some of the Bretons, whose granite land is often much less accommodating in terms of agriculture, and who therefore had to turn to the sea and marine resources to feed themselves as properly as possible, which was often not much.
The Saint-Nicolas church is a Year 1000 church, one of the oldest in all of Vendée, if not the oldest. It was originally built as a three-nave church by the Benedictine monks from the abbey of Marmoutier, who installed a priory there. When it was consecrated in 1070, it was a jewel of Romanesque architecture, as attested today by what remains of that original church.
It was then badly damaged during the Wars of Religion. The aisles were destroyed, and only the main nave was rebuilt, using stones from the aisles destroyed by the Protestants.
This remarkable church is mostly known among Mediævalists for its enigmatic portal which, curiously, was not an element of the original church, whose façade was devoid of decoration. The portal is believed to have been added around 1100. Treated in the archaic way called in French à l’antique, it includes a triangular gable sculpted in low relief.
The central figure is thought to represent Saint Nicolas, but no one has ever come with a satisfying explanation as to what the surrounding creatures (men, women and beasts) were, and why they were there. This enigma still puzzles art historians to this day.
A great romantic charm emanates from Saint-Nicolas, because of its obvious very old age and the fact that it is partly ruined, but a great sadness also grips the beholder as they assess the poor condition the church is in at this time (May 2024). The combination of rain infiltrations and the action of the humid, salty ocean air, have seriously damaged the monument. Restoration and repair works are urgently needed to protect both the structure itself, and the alfresco wall paintings that have recently been discovered inside.
One of the charities I work for as a pro bono photographer, the Fondation du Patrimoine, has launched a fundraising operation that has already collected more than 168,000 euros, versus a target figure of 300,000. If you too want to help, even in a very small way, you can make an online donation here: www.fondation-patrimoine.org/les-projets/eglise-saint-nic.... If you are a French tax resident, you will receive a certificate allowing you to deduct 75 percent of your donation against your taxes next year.
One last look at the enigmatically decorated portal. This angle better shows the inner architectural complexities of the arches. They denote influences from the neighboring province of Saintonge, which lies just south of Vendée, between it and the Bordeaux area.
Higashiura, Tobetsu town, Hokkaido.
Flax festival was held last weekend.
Mamiya Press Super 23 using back focusing and tilting system, Sekor 50mm F6.3, positive ISO 100 expired, developed as described previously.
This film roll was not in good condition, turned to be very magenta coloured. I barely corrected on GIMP.
Bigger sizes: www.flickr.com/photos/threepinner/14507499600/sizes/l
Curitiba developed a non subsidized, private owned, public transport system called BRT (Bus Rapid Transit). Today it stands as a model recognized internationally. Insightful, long term planning with several innovative solutions has provided the citizens with an effective system that gives priority to public instead of private transport. Besides being model in public transportation and urban planning, Curitiba is also considered the ecologic capital of Brazil. The city recently won the “Sustainable Transport Award 2010” a prize annually offered to the best public transport projects of the world, organized by the United States ITDP and a commission composed of more eight international institutions.
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Curitiba desenvolveu um sistema de transporte público denominado RIT (Rede Integrada de Transportes), que atualmente é reconhecido internacionalmente e serviu de inspiração para a implantação de sistemas semelhantes em diversas cidades do mundo. Além de ser referência mundial em transporte público e planejamento urbano, Curitiba é considerada também a capital ecológica do Brasil, devido a sua grande quantidade de parks e áreas verdes. A cidade ganhou recentemente o “Prêmio Transporte Sustentável 2010”, organizado pelo ITDP, dos Estados Unidos e por uma comissão com mais oito instituições internacionais que premia os projetos de transporte público do mundo.
(By Guilherme Mendes Thomaz)
Revueflex AC-1
Helios 44m-6 58mm f2
Kodak Ektar 100
Rollei Digibase C41 Kit
Reflecta RPS7200
Pictures from my recent trip to Spain.
Big drying issues with this roll as well, which is hardly surprising since they were developed together.
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Barrel rings rest on the side of the Blacksmith's Shop at Millbrook Village in Blairstown, NJ. Shot back on 10-20-2013.
Camera: Bronica SQ-A medium format film camera with a Bronica Zenzanon 50mm lens. Metered with Pentax 1 degree spot meter.
Film: Kodak Ektar 100 ISO color negative film.
Development: Self Developed film using Tetenal C41 color development press kit in a Paterson Universal Tank.
Scanning: Negative scanned with Epson V600. Cropped in Lightroom to intended size.
Fire Hydrant.
Taken in Alpbach, Austria.
24/6/18
Yashica Mat TLR camera with yellow filter
Ilford HP5+ 400 120 format film, 6 X 6.
Developed by me.
Rodinal 1+50, 11 mins, 20C, water stop, Fomafix p, spiral tank.
Scanned with Epson Scan V550.
Adjusted in darktable running in Linux Mint.
116007.
Canoes stacked up for winter storage on M-37 just south of M-55 and the Pine River. I believe the address here is technically Wellston Michigan.
Taken with Nikon F5 on 11/10/2012
Kodak Portra 400 exp 4/2014
f/5.6
1/160
Sigma 70-300mm lens @ 300mm
Developed at home using Tetenal Colortec C-41 Rapid Negative kit, scanned with Epson V500.
Camera: Yashica Mat 124 G,
Lens:Yashinon 80/3.5,
ight meter: Sekonic L-308B reading the incident light,
Film: Ilford FP4+,
Film Developing: PYROCAT HDC 1+1+100
Time: 20C° - 20 min,
scanned with Epson Photo V 500
My first attempt of home-developing E-6 in a 3-bath Tetenal kit using Jobo CPP-2 with FAILED temperature regulation.
Yes, the color balance isn't spot on, partially due to chemical process and temperature but there are some scanner software tweaks to blame as well. From what I saw through the film against the window and on the scanner, it's pretty close. Some ppl scared me not to expect much from a 3-bath kit but I can live with the result.
Processing went like this:
- 1st developer 7'00" at 39C
- aprox 2'30" washing, total of 3 rinses (same temperature)
- 2nd color developer 7'00" at already dropped 38.5C
- aprox same washing procedure as before
- bleach 7'00" at now close to 38C
- aprox 6'00" washing with 4 or 5 rinses of water at the same 38C +/- 1C
- dipped in a tank with stabilizer for a minute, afterwards dipped in a distilled water and hanged to dry
Jobo failed to regulate temperature so I used tapped hot water to reach a bit over 40C then let it naturally cool down. At point when chemicals were at 39C I started with the first bath, following as stated.
About 1925 Levitt Custer had developed a battery operated Custer Amusement Park Car. In the 1930s Custer patented the Custer Car meant for the public road. Available with a gasoline motor or battery-operated, the car came with an unusual type of transmission: The driver moved the steering handle forward or backward, and the car would move in that direction.
Black & white photo colorized, but not by me (Shorpy?)
Two Gulls stand watch over the Thompson Beach section of Heislerville in Southern New Jersey right next to the East Point Lighthouse.
Camera: Bronica SQ-A medium format film camera with a Bronica Zenzanon 50mm lens.
Film: Kodak Ektar 100 C41 Color Negative Film.
Development: Self Developed film using Tetenal C41 color development press kit in a Paterson Universal Tank. Negatives hung on shower curtain to dry on film clips.
Scanning: Negative scanned with Epson V600. Cropped to 12x4 in Lightroom 4.
Nikon F100 + Nikkor 50mm f1.4 D @ f2.0 + Red filter.
Spot metered on coat.
Developed: Semi Stand with Xtol 1:3, 20⁰C.
15sceconds agitation at start, 15 minutes stand, then
15 seconds agitation and another 15 minutes stand.
Conclusion: Negative a little thin. Grain seems a little larger than what I was expecting.
Print: 10x8"
Lens/easle hight: 47cm.
F: 11 6seconds grade 2 + burn sky 5 seconds
13seconds grade 5 + burn sky 8 seconds
Ilford MG RC
Selenium toned.
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”.