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Tendou, Yamagata prefecture.
Yamadera ( mountain temple ) is founded in AD 850.
Fujica GF 670, EBC Fujinon 80mm F3.5, positive ISO 100 developed as described before ( 1st development: 10 minutes and 30 second at 37 Deg. C.).
About Dr. Takeshi Yamada:
Educator, medical assistant, author and artist Takeshi Yamada was born and raised at a traditional and respectable house of samurai in Osaka, Japan in 1960. He studied art at Nakanoshima College of Art in Osaka, Japan. As an international exchange student of Osaka Art University, he moved to the United States in 1983 and studied art at the California College of Arts and Crafts in Oakland, CA and Maryland Institute College of Art in Baltimore, MD in 1983-85, and completed his Bachelor of Fine Art degree in 1985.
Yamada obtained his Master of Fine Art Degree in 1987 at the University of Michigan, School of Art in Ann Arbor, MI. Yamada’s “Visual Anthropology Artworks” reflects unique, distinctive and often quickly disappearing culture around him. In 1987, Yamada moved to Chicago, and by 1990, Yamada successfully fused Eastern and Western visual culture and variety of cross-cultural mythology in urban allegories, and he became a major figure of the River North (“SUHU” district) art scene. During that time he also developed a provocative media persona and established his unique style of super-realism paintings furnishing ghostly images of people and optically enhanced pictorial structures. By 1990, his artworks were widely exhibited internationally. In 2000, Yamada moved to New York City.
Today, he is highly media-featured and internationally famed for his “rogue taxidermy” sculptures and large-scale installations, which he calls “specimens” rather than “artworks”. He also calls himself “super artist” and “gate keeper” rather than the “(self-expressing) artist“. His passion for Cabinet of Curiosities started when he was in kindergarten, collecting natural specimens and built his own Wunderkammer (German word to express “Cabinet of Curiosities“). At age eight, he started creating “rogue taxidermy monsters” such as two-headed lizards, by assembling different parts of animal carcasses.
Internationally, Yamada had over 600 major fine art exhibitions including 50 solo exhibitions including Spain, The Netherlands, Japan, Canada, Columbia, and the United States. Yamada also taught classes and made public speeches at over 40 educational institutions including American Museum of Natural History, Louisiana State Museum, Laurenand Rogers Museum of Art, International Museum of Surgical Science, University of Minnesota, Montana State University, Eastern Oregon University, Illinois Institute of Technology, Mount Vernon Nazarene College, Salem State College, Osaka College of Arts, Chemeketa Community College, Maryland Institute College of Art, etc. Yamada’s artworks are collection of over 30 museums and universities in addition to hundreds of corporate/private art collectors internationally. Yamada and his artworks were featured in over 400 video websites. In addition, rogue taxidermy artworks, sideshow gaffs, cryptozoological artworks, large sideshow banners and showfronts created by Yamada in the last 40 years have been exhibited at over 100 of state fairs and festivals annually nationwide, up to and including the present.
Yamada won numerous prestigious awards and honors i.e., “International Man of the Year”, “Outstanding Artists and Designers of the 20th Century”, “2000 Outstanding Intellectuals of the 21st Century”, “International Educator of the Year”, “One Thousand Great Americans”, “Outstanding People of the 20th Century”, “21st Century Award for Achievement”, “Who’s Who in America” and “Who’s Who in The World”. The Mayors of New Orleans, Louisiana and Gary, Indiana awarded him the “Key to the City”. Yamada’s artworks are collections of many museums and universities/colleges i.e., Louisiana State Museum, New Orleans Museum of Art, University of Michigan Museum of Art, Chicago Athenaeum Museum, Eastern Oregon University, Montana State University and Ohio State University.
Yamada was profiled in numerous TV programs in the United States, Japan and Philippine, Columbia, i.e., A&E History Channel, Brooklyn Cable Access Television, “Chicago’s Very Own” in Chicago, “Takeshi Yamada’s Divine Comedy” in New Orleans, and Chicago Public Television’s Channel ID. Yamada also published 22 books based on his each major fine art projects i.e., “Homage to the Horseshoe Crab”, Medical Journal of the Artist”, “Graphic Works 1996-1999”, “Phantom City”, “Divine Comedy”, “Miniatures”, “Louisville”, “Visual Anthropology 2000”, “Heaven and Hell”, “Citizen Kings” and “Dukes and Saints” in the United States. In prints, Yamada and his artworks have been featured in numerous books, magazine and newspapers internationally i.e., The New York Times, The Wall Street Journal, Time out New York (full page color interview), Washington Times, The Fine Art Index, New American Paintings, Village Voice 9full page interview), Chicago Art Scene (front cover), Chicago Tribune Magazine (major color article), Chicago Japanese American News, Strong Coffee, Reader, Milwaukee Journal, Clarion, Kaleidoscope, Laurel Leader-Call, The Advertiser News, Times-Picayune (front page, major color articles), Michigan Alumnus (major color article), Michigan Today (major color article), Mardi Gras Guide (major color article), The Ann Arbor News (front covers), Park Slope Courier (color pages), 24/7 (color pages), Brooklyn Free Press (front cover) and The World Tribune.
(updated November 24, 2012)
Reference (videos featuring sea rabbits and Dr. Takeshi Yamada):
www.youtube.com/watch?v=7Ek-GsW9ay0
www.youtube.com/watch?v=jJK04yQUX2o&feature=related
www.youtube.com/watch?v=XrCCxV5S-EE
www.youtube.com/watch?v=Q0QnW26dQKg&feature=related
www.youtube.com/watch?v=GpVCqEjFXk0
www.youtube.com/watch?v=5NlcIZTFIj8&feature=fvw
www.youtube.com/watch?v=8UPzGvwq57g
s87.photobucket.com/albums/k130/katiecavell/NYC%2008/Coney%20Island/?action=view¤t=SeaRabbitVid.mp4
www.animalnewyork.com/2012/what-are-you-doing-tonight-con...
www.youtube.com/watch?v=oeAdsChmSR8
Reference (sea rabbit artifacts)
www.wondersandmarvels.com/2012/06/coney-island-sea-rabbit...
www.flickr.com/photos/searabbit3/5417188428/in/photostream
www.flickr.com/photos/searabbit3/5417189548/in/photostream
www.flickr.com/photos/searabbit3/5416579163/in/photostream
www.flickr.com/photos/searabbit3/5417191794/in/photostream
www.flickr.com/photos/searabbit3/5417192426/in/photostream
www.flickr.com/photos/searabbit3/5417192938/in/photostream
Reference (flickr):
www.flickr.com/photos/searabbit15/
www.flickr.com/photos/searabbit14/
www.flickr.com/photos/searabbit13
www.flickr.com/photos/searabbit12
www.flickr.com/photos/searabbit11
www.flickr.com/photos/searabbit10
www.flickr.com/photos/searabbit9/
www.flickr.com/photos/searabbit8/
www.flickr.com/photos/searabbit7
www.flickr.com/photos/searabbit6
www.flickr.com/photos/searabbit5/
www.flickr.com/photos/searabbit4/
www.flickr.com/photos/searabbit3/
www.flickr.com/photos/searabbit2/
www.flickr.com/photos/searabbit1/
www.flickr.com/photos/museumofworldwonders3/
www.flickr.com/photos/museumofworldwonders2
www.flickr.com/photos/museumofworldwonders/
www.flickr.com/photos/takeshiyamadapaintings/
Reference (newspaper articles and reviews):
www.amctv.com/shows/immortalized/about
blogs.amctv.com/photo-galleries/immortalized-cast-photos/...
online.wsj.com/article/SB10001424052748704828104576021750...
www.villagevoice.com/2006-11-07/nyc-life/the-stuffing-dre...
karlshuker.blogspot.com/2011/06/giant-sea-serpents-and-ch...
amusingthezillion.com/2011/12/08/takeshi-yamadas-jersey-d...
amusingthezillion.com/2010/12/07/art-of-the-day-freak-tax...
amusingthezillion.com/2010/10/27/oct-29-at-coney-island-l...
amusingthezillion.com/2010/09/18/photo-of-the-day-takeshi...
amusingthezillion.com/2009/11/07/thru-dec-31-at-coney-isl...
4strange.blogspot.com/2009/02/ten-of-takeshi-yamada-colle...
www.flickr.com/photos/museumofworldwonders/5440224421/siz...
Reference (fine art websites):
www.roguetaxidermy.com/members_detail.php?id=528
www.brooklynartproject.com/photo/photo/listForContributor...
www.bsagarts.org/member-listing/takeshi-yamada/
www.horseshoecrab.org/poem/feature/takeshi.html
www.artfagcity.com/2012/09/06/recommended-go-brooklyn-stu...
Reference (other videos):
www.youtube.com/watch?v=otSh91iC3C4
www.youtube.com/watch?v=BhIR-lz1Mrs
www.youtube.com/watch?v=BttREu63Ksg
(updated November 24, 2012)
Firewheel Tree (Stenocarpus sinuatus)
in·flo·res·cence / inflôˈresəns
Noun
The complete flowerhead of a plant including stems, stalks, bracts, and flowers.
The arrangement of the flowers on a plant.
Synonyms
flowering - florescence - bloom
Zeiss Ikon Baldur 51/2
Ilford HP5 @ about 200 ASA
developed with Tetenal Dokumol, 1+9; 6 min @ 20°C - inversions for the first 30 s, then for 5 s every full min
Epson V550: manual modus - histogram settings, 1600 dpi
Affinity Photo: cropping, gradation setting, sharpening, cleaning
I got this camera as a gift with film already inside. Just went out today to expose the remaining 4 pictures without knowing what film was inside. Turned out to be HP5 - not plus - so probably about 35 years old. Unfortunately light got on the previous four exposures, so no information there. I was really amazed, though, by the image quality that was still possible to achieve with this old film!
mamiya 645 1000S - fuji neopan 400
first self-developped film. The scanner is not fit for medium format...
...Kiama silhouettes.
Taken with Olympus XA-2 on Kodak TMax 100, developed in D76 (1:1) for 12 minutes.
Nikon F2, test
Nikkor-S 5.8cm f/1.4 Auto
Kodak Gold 200
Home developed in Argentix/Unicolor
Scanned with Pakon F135
patrickjoust | tumblr | facebook | books
...
Olympus Trip 35
Kodak TMAX 100 developed in TMAX developer
...
This was taken with the Traveling Trip. It began its journey in Buenos Aires, made its way to Baltimore and is now off to visit William Buckley in San Francisco. Check out the group if you'd like to follow the journey.
Dirty Rotten Scoundrel
In …Regrets
Like most of us, I have regretted some of my actions over the years…
Which, coming from a journey” man” burglar and pickpocket, may seem to be quite the understatement, and possibly just a bit of a daft viewpoint…
But in my defense, the majority of them( actions done by me, that eventually came regretfully creeping into my consciousness) were not planned, but spur-of-the-moment, frying pan-hot, decisions. The vast majority of which were from my younger days, but not all, for as a thief, I am very much an opportunist of the moment.
Which sometimes can get the better of me.
^^^^^^^^^^^
A Regrettable Affair
As I developed my craft, growing older in the process, I began to lean towards mainly working those avenues that attracted the wealthiest of guests. There were several logical based reasons for this, which I will not expand upon here.
One of the first times, as a still young lady, was a large mega-ultra-rich wedding reception that I succeeded in crashing.
Security at this affair was very salt and peppered about, they had attempted to prevent gatecrashers, but the affair was so large, so very spread about, that the seams of the event had as many leaks as it had guarded entrances.
But getting in was the easy part.
The freedom to ply my trade was another.
As I stated security was scattered about, but instead of just watching certain main entrances and exits, they were watching the bar area, dance floors, and ( no surprises here) the buffet. The only problem was that those were my favorite patches to work over.
But that is not to say I was going away empty-handed, by no means.
I did manage to early on successfully lift solid gold lighter from an unattended evening purse in the lady's powder. The owner, resplendent in a taffeta dress, was busy applying colour to her eyelashes and had her shiny back to me.
A silver Rolex from a rather courteous young man who had somehow not seen me and had bumped my hand, spilling my drink on his sleeve in the process was next.
Then I ran into two wealthy young men, Gary and Sean, who soon tried to outdo themselves to grab my undivided attention.
I ended up seated at a far side table with both, dancing with first one and then the other.
At various times one would leave to get drinks and the other would seize the opportunity to say something incredibly sweet to me. I would then envelope them in a most feeling hug, during which I lifted in turn, both of their leather billfolds from fancy tux coat pockets.
Slipping my hand inside their tux jacket pockets, feeling the warmth of their bodies while we hugged, my hand carefully extracted the long leather billfolds each was carrying, as my eyes were lustfully locked into theirs. It was, and is, a very sensuous feeling when I perform a lift like that on my victims.
Especially these two, Gary and Sean, who were both such sweethearts that robbing them was such a delightfully heightened feeling for me. And I suspect there was a certain amount of pleasure coming from their end also.
But that is getting ahead of myself, for obviously none of that was regrettable.
^^^^^^^^^^^^^^^^
Now let us go back to the beginning:
An understatement would be to say that “The formal dress” wedding was a bit over the top.”
I have seldom seen such a collection of slinky designer gowns and tight-fitting tuxes, along with expensively glittery jewels and lovely designer purses, outside of a BAFTA after-party filled with overpaid actors and actresses.
Which, for the record, are events I have worked over.
For jewellery worn out on loan from upscale stores for such events is heavily insured, and simply worn loosely enough to fall easy victim to my lifting fingers at such affairs.
I very seldom lifted wallets from pockets or purses when attending.
That’s not atoll where the real money was at.
So that evening, as I watched the well-jeweled wedding reception guests arriving to party for this event, I licked my red-coloured lips, anticipating the same delicious scores to be made.
Knowing about this affair ahead of time, I came prepared. I was wearing an elegant sleek sky blue satin gown that I had acquired from a successful burglary of a mansion.
I modified it by adding secret pockets in several strategic locations. It was a nice fit and a smashing look, judging by the staring eyes of the males there that evening.
I was carrying a matching blue purse. My only other accessory was a pair of sparking long rhinestone earrings of the same style the bridesmaids had in. This was no coincidence, I had intentionally found out what they would be wearing and ordered a set so it would look like I was in with them.
Now the wealthy bride, dressed in white lace with a green/gold tartan sash, wanted her equally wealthy bridal party girl’s dresses to be something to be remembered, so the gowns she had designed were a little too over-the-top showy.
The maid of honour wore a red silk version; the six Bridesmaids wore theirs in black satin.” The gowns had plunge necklines, rhinestone-trimmed bodices and sleekly long straight skirts touching the tops of glittery silver open-toed shoes.
Each of the girls had also been presented with a matching collection of rather expensive Swarovski rhinestones. Which they proudly wore, throwing in some really expensive ones of their own to additionally show off with.
The blazing brite jewelry, when added to the bridal party girl’s ensemble, further enhanced the red carpet-like atmosphere of the Bridal party, and fit right in with her other guests over the top evening attire.
The groom wore a grey tux, and his groom’s men wore grey. All the men had on ascot ties that matched the colour of their escort's gowns, all the ties had gemstone pins, green tie, emerald for the groom, red tie, ruby for the best man, and all the rest grey tie, with diamond pins.
A handsome lot.
Watching the smart members of the wedding party interact was smashing fun, and I was enjoying the excitement of watching, inwardly drooling, over their shimmering shiny bits.
^^^^^^^^^
Now, for the regrettable part of my saga.
^^^^^^^^^
It involved two principal characters, not including myself.
The first principal character was a shy awkward 13-year-old girl, redhead, wearing heavy glasses whose makeup and style of dress made her appear far older, but not wiser.
Zeroing in, I soon learned she was named Cadey. Her glamorous parents were both with the bridal party, and a young Aunt who was a partying type, was supposed to be chaperoning her. So Cadey was alone, a lot.
But she was certainly a living doll, leaving me speechless as I watched the lass scurrying about in her smashing, fluidly flowing, shiny in the lights, fancy party attire, and dazzling emeralds and diamonds.
Sorry for all the verbiage, but it is hard to describe just how incredibly fetching she was.
That party attire was in the form of a fitted, richly slick long mint green satin gown with the neckline tied together with a ribbon bow with the ends hanging past her fast-developing, wriggling plump breasts. The slit shoulders of her gown ended in long scalloping ruffles at her elbows.
It was both very elegant and adorably attractive.
Though she wouldn’t be able to wear that gown again in a few months without letting the cleavage out.
Her bare minimum jewels, were very sparkly, very desirable calling out to the female and thief sides of me, especially her lovely necklace.
Cadey wore a longish silver chain embedded with diamonds, ending with a teardrop rhinestone pendant made up of a big round emerald surrounded by more diamonds. It fetchingly fell swinging down from where it hung around her neck, to just below her minty-coloured shiny gown tightly fitted bosom.
In later years I watched a fictitious movie about the Titanic where the wealthy main heroine wore a very similar necklace of sapphire, albeit a bit larger than Miss Cadey’s emerald one.
Still, it was an adult necklace and easily worth a nice around £10,000 to anyone capable of getting it from her.
I managed to discreetly be close enough several times to get a good examination of her delicious attire.
Close enough also to observe a few other things.
Miss Cadey would play with her pendant, and as she did, I notice her fingers blatantly stroking along her breasts, perking them up. Which explained her secret smiles.
Her only other jewel was an emerald Diamond ring that glittered from one of her self-stimulating bare fingers, all of which sported long emerald green painted manicured nails.
I also caught her at times sitting with her hands between her legs, probing inside her silken lap as Cadey watched the guests dancing to slow music. I could tell she was petting herself down there, using the ring on her finger to arouse herself, as Cadey’s breasts again noticeably were bulging from the self-stimulation
I thought if she was pleasing herself, I could perhaps please myself by liberating from her fanciful attired person, that sumptuous diamond/ emerald necklace. Especially since it was entirely on her sleekly slick gown, front and back, absolutely no part of the cold metal touched bare flesh.
With tingling fingers, I could imagine how easily the jeweled piece could smoothly be slipped off her like an ice cube will slip across a steamy slippery surface. It would be that easy to pluck it off.
But alas I never was quite close enough to her inner circle to use my light touch to acquire her dazzling necklace.
And I was just forced to be content on watching it sparkle as it dripped down from her throat, with Cadey oblivious to the sinister attention it was attracting that evening as she wore it.
^^^^^^^
The second principal character came in the form of a cheeky 15-year-old blonde boy, handsome as all get out. His name was Heyden.
I could tell from just watching him interacting with the guests that he was a brassy cocky self-assured sort of young male. With a rough cockney accent that helped promote a bad boy image that young girls swoon over.
He wore a fitted suit over some surprisingly bulging muscles. Rugby player I guessed.
He decidedly was a budding teenage player, with all the common burgeoning male attributes.
His raging hormones were a reflection of his character, as he was deliberately stalking, then going up to countless numbers of young well dressed female guests and giving hugs. Which they mostly returned giggling in the process. But to me, it was quite obvious the lad was doing it to cope with a feel from his victims, of both their touchable fine soft gowns and voluptuously fine nuzzling breasts.
His home base was a table in a far corner just off the dance floor where he sat for brief stints with two exceptionally well-dressed girls.
One lass shared some similarities to him but was not more than 5 years his senior, so I assumed she was a sister or cousin. The other also may have been related but also may have only been a friend of the other lass.
The supposed sister (or cousin) was stunning in velvet with an array of diamond sparklers that made my heart beat and fingers tingle. Her necklace was especially showy and worth just a bit over £75,000
The one I assumed was a friend was dressed like many of the lad’s hugging victims, a touchable gold halter style dress of shiny soft satin, with a pair of rather succulent unbridled breasts just peaking out of the dress's low v-cut neckline. She was wearing a petite set of sapphires, not showy, but worth a small kingdom's ransom. Half of which value was in the gold necklace set with a collection of larger sapphires and diamonds.
I saw he reluctantly was behaving himself while with the pair, (no hugging) though I saw him longingly looking both of the girls over. But he had to satisfy his hunger by sneaking off as much as he could get away with it, to play out his sexually charged games on other prey.
^^^^^^^^^^^^
Spoiler alert:
Now, I never made the appealing connection between the sexually charged touching 13-year-old Cadey and the equally sexually charged 15-year-old hugger Heyden, until much later… And then almost too late, or too early depending on one’s perspective.
^^^^^^^^^^^^
So watching the boy's antics as well as trying to catch peaks of roving finger Cadey’s dangling necklace, as well as playing my table mates, Gary and Sean, off on each other to try and win me over, I really was having me self a bloody enjoyable time.
Since I was still a young lady I was all for having fun with these types of affairs I crashed. So my mind at that point was being placed on pleasure rather than business.
Though I was eyeing the wristwatch worn by Gary, and the diamond tie pin Sean was sporting as potential targets to be further lifted from the now wallet-less lads.
Before I could let my thoughts turn into action, the bridal bouquet Toss was announced, I knew it was time to go back to serious work, and I indicated I was going to have a go for it to Gary and Sean.
Not caring to watch the show, both lads then took my leave to go upstairs to a
covered deck on the roof to join the other male guests for bourbon and cigar. Neither soul trusted the other to be alone with me.
I went up and joined in with the crowd of swishing-gowned ladies.
Wading into what felt like the inside of a diamond mine.
Licking my lips as I eagerly was looking around and soon set my thieve’s sights on a diamond-laden miss, whose flashy broach was hanging loosely at the waistline of the most silkiest of satin gowns imaginable. It was coloured purple and tightly worn over the voluptuous curves of the rather giddy-looking black-haired, red-lipped, vixen.
A perfect mark during a perfect opportunity!
As the bouquet was tossed and all the ladies were reaching up, I was leaning against the lady wearing my diamond-encrusted target.
My one hand touched the utter softness of her gown, whilst my left hand was slipping in and soon was caressing her glistening broach. In the process I nimbly undid the clasp and slipped it away, palming it.
As the bouquet was caught and everyone was squealing over the lucky lady. I slipped out and went back to my seat.
I was catching my breath before gathering my purse in preparation for leaving the premises before the boys came back.
The broach I had just nicked from “purple silk” was with around £8000 and it would take something special to make me risk staying.
It was then, out of the corner of my eye, I spied young master Heyden working the crowd of departing ladies by sneaking up and giving his usual touchy-feely “sneak” hugs.
He happened to give my vixen in the purple silk gown a from-behind hug and she turned with a squeal and hugged him back.
“Oh, ain’t you just a darling one!”
Inspired by her response, his eager hands wrapped around her pulling her close, and I saw his fingertips were mere centimeters away from the jeweled clasp of her necklace that was hanging loosely down from the back of her bare skin neckline.
A delicious epiphany swept warmly over me, and I knew that I had to stay and at least give it a try.
I picked up my purse and began following the lad after he left his total work over hugging Miss “Slithering Purple Silk.”
I reached him as he stopped to watch the dancers on the floor. The band had started up what would be a series of slow dances now that the bouquet toss was over.
I had to admit I didn’t blame Master Hayden, it was an amazing show, with the lights dimmed, jewels sparking, and tightly worn gowns shimmering as they swished about in the dim lights.
I walked up and tapped his shoulder, feeling him jump( I believe his horny thoughts had made him feel a wee bit guilty).
“Hello Heyden, luv. Remember me?”
He slyly turned and I pulled him into a very feeling, very enveloping hug. Employing my womanly attributes to the fullest.
When I let him go I saw a dazed mixture of perplexity and a slight sense of male arousal.
Perfect
He nodded and politely said, with a bit of a sneer.
“Sorry mum, I don’t remember where I know you from.
Mum!… I can’t be more than 12 years older than you, Mr cocky. I thought sardonically but bit my tongue and answered with a sweet smile.
“I guess we really have not officially met. But I heard a lot about you when you were in school. My friend Mrs. O spoke highly of you.”
He happily cut in,
“Mrs. O’Rielly. She taught my form last year.”
I nodded
“That’d be her. She told me about that marvelous trick you played.”
He smiled deviously. As did I, realized I had read his character right spot on.
“Yes miss, that was my idea planting the shrew in the girl's loo.”
I commended him while at the same time congratulating myself also as I placed a caressing hand along his chest.
“Brilliantly played out “
We then went on with small talk as I quickly began working him into my plan.
I had a lot of practice charming men( and women) into allowing me to get close enough to lure them off so I could make a lift. This really was no different. And it was buying me time to locate Cadey and see if she was poised enough to be vulnerable to the trap I was planning.
As we chatted I learned the two girls Heyden was with were his cousin and her friend. And he told me proudly of some of the tricks he had played on his cousin, as well as other tricks he and his mates had played, mostly on classmate females.
This was getting better and better I thought, and then I spied Cadey standing alone by the women’s service loo entrance, watching the dancers.
Was that a yearning look in her eyes, like the yearning I felt over that expensively takable necklace she was busily fingering? It was still just calling out to be taken from the unwary young girl.
I also spotted a rental Bobbie wanna-be standing nearby, looking the other way at a couple bickering.
So I still could not dare approach her myself and enjoy firsthand the opportunistic fun of parting Cade from that dangling necklace she so alluringly was wearing.
But then, that was not my current plan.
I place a hand on Heyden’s shoulder...
“Speaking of pranks laddie boy, I had in mind a trick to play on my niece Cadey tonight. But I couldn’t come up with a way to make it work out on my own.”
He had been looking around, bored, but I now had his full attention back.
“A trick mum? like what?”
I then explained that I lent my niece Cadey my own emeralds to wear tonight. and I earlier had thought that it would be brilliant if I could get my necklace away from her without her realizing it, then wear it and see the delicious response once she realized It was lost, and now I had it.
I looked at Heyden doubtfully…
“Or is that just a daft idea to try as a prank?”
He grinned...
No mum, sounds a lark to try pulling it off, if you could now. “
I looked him in the eyes, and as I looked surprised he agreed with me.
“Do you really think so? I did think it would be delicious if I could just somehow pull it off? But how?
I jumped with an excited squeal.
Oh look, there is my sweetheart now…”
I had him at the word prank, all the rest was icing as he gave me a broad smile while he turned his head to see whom I was pointing out.
I saw Hayden freeze with lustful eyes as he saw the enchantingly dressed pretty Cadey.
And I’ll admit the way Cadey looked under those lights would have melted the most indifferent of hearts. Mine included as I again salivated over her elegant, slinky-shiny mint green gown outlining tightly along her pretty figure, made even more desirable with the dazzling jewels she was wearing.
And Heyden was anything but indifferent to well-dressed ladies and girls...
And judging by the wicked little smile and horny-eyed gaze as he looked my “niece” over, I was spot on, tell no lie.
I now had a key, I just needed to turn it in the lock to open my door to riches.
He whispered out of the side of his mouth while taking inventory of pretty Cadey…
“One would have to not let her know it’s been taken, of course.”
I rubbed his shoulder from behind, pressing against him, as we both eyed susceptible Cadey….
“Totally correct, and it would be sweet if I had some help with taking it. So she wouldn’t suspect I’m up to something. It will make her surprise when finding her necklace had vanished all the more remarkable….”
He nodded thoughtfully.
“Your niece probably wouldn’t suspect a thing, would she know, If I was the one who took it. I could do it while holding onto her. I mean, like in a hug. Bet I could get it from her that way. Then you can play your trick.”
Aside from the mum bit, his words were music to my ears and I hugged him warmly, leaving nothing out as I whispered into his ear...
“Better yet, do it while dancing with her. Sort of like a prolonged hug. Gives you more time to carry it out? And I could slip you a fiver as you hand me the necklace, for your help of course….”
He broke away and gave me the most amazing gleaming look of agreement.
“I could do just that. It should be easy to hook it off her then!”
I added...
“Just look at the way it is hanging loosely around her throat. It would be child’s play for you I bet.”
Seeing that I now had him hot over the idea, I quickly coached him, fanning the coals before the desire burned out.
I described how he should start out not close, but apart, dance one full round with her, then invite her for a second dance. At that point draw her in closer. Then, perhaps, lift your knee up ever so slightly between her legs and see if she responds.
“Then if all signs show she is engaged and enjoying being with you, undo her necklace and slip it over her shoulder and into your pocket. And Bobs your Uncle, you’ll have played her in a trick of your own.”
With a nod and a wink, my brassy young male hugger-mugger was off.
The lad was a natural.
Instead of rushing his victim, he circled and approached Cadey unseen from the flank, his eyes never leaving her pretty figure.
He introduced himself and she readily agreed to a dance. They took to the floor, Heyden cuddling Cadie up in his arms.
I sweated the first dance, hoping Sean and Gary would not come back yet. Though I had contingencies ready if they did. Also, there were worries that young Heyden might become so enamored during the first dance he would forgo his mission.
But my money was placed on Heyden not losing focus. Right now he would indeed be planning, as he danced with Cadey. Deciding on how to best distract the sensuously attired, horny young darling enough to lift off the necklace she was so elegantly allowed to be trusted wearing out this glamorous evening.
I’ll admit to feeling jealous of Heyden as I watched his hands holding onto that luscious minty satiny green gown worn over the tantalizing figure that was Cadey. It was giving me proper chills just watching.
At the same time, I was also ready to flee down a nearby exit if needed.
But the first dance ended with nothing out of the ordinary.
The second dance came and my “protege” was perfect. The girl was swooning and leaning up against him as he clutched her tightly by her slippery waist as they moved to the slow rhythm of the music. I saw him look around and he moved his nimble hands up her sleek backside.
I saw him slightly raise his knee, and Cadey responded by rubbing it against her privates She smiled up at him, then closed her eyes and laid her head on his shoulders, her long red hair covering her face. I could almost hear her purring as Heyden’s knee was rubbing against her previously self-stimulated sweet spots.
As she placed her head on his shoulders he held her extra tight. It must have been electric for the young lady, as her raised nipples were brought rubbed between the luscious material of her gown and his muscular chest.
It was then that his fingers left her sleek back, deftly gliding up her silky smooth back, and then, ever so gently, lifted her necklace clasp away from the oblivious darling’s high-gowned neck.
He studied it, turning it, then with quick fingers, had it open and was pulling its glittering length up and whisked over her sleekly attired shoulder.
My guess was he had had practice helping his cousin with her own pricey necklace. So this was simply reversing that process.
I watched as the necklace fell behind her, sparkling momentary against the minty green satin backdrop of her gown.
That quickly he has it in his fist and pocketed it.
In the dim lighting, no one but me saw Heyden carry out his end of the “trick”.
Not even the rental cop whose eyes were gazing over the dancers focused on the buffet line on the opposite side, was aware of a young lady being robbed right under his puggish nose.
Then Heyden pressed Cadey in tighter, squeezing her into him as his now empty fingers started caressing her backside, while he rubbed up against her bosom frontside. I could imagine just how much Cadey’s breasts were being aroused since mine were doing the same just by watching.
I thought:
“That’s the lad, keep her distracted enough not to realize she has had her bloody jewels nicked.”
The music ended and as the others left he held onto her and the pair stayed locked in their embrace.
They only broke it off when they realized they were alone on the floor. With guests doing the “ooohs and awes” over them, Heyden led her off and she kissed him on the cheek thanking him. Her neckline delightfully bare now that the breathtaking necklace she had been wearing all that evening, had been slyly taken off from her.
I mean really? In my mind how could someone allow a lass that young to be dressed up so noticeably elegant that it attracts everyone’s attention, then on top of that allow her to be wearing such an expensive piece of jewelry, and not realize that it would make her a proper thief’s target?
Unless of course that “someone “ believed thieves only are found in dark back London alleyways and never would ply their nefariousness at upscale weddings. So of course it’s perfectly safe to allow a young lady to wear one’s good jewellery here, without worries of being robbed. I’ll be the first to drink to that belief.
The thought also popped into my head that Cadey was now warmly thanking the very thief who had, with a sexy surreptitiousness, been busy reliving her wriggling figure of the valuable jewels she had been so seductively, so vulnerably, allowed to be wearing, as he was dancing with her.
Cade swished happily off one way, while Heyden(and her necklace) moved off in the opposite.
Heyden circled around, eventually coming back to me, his smile was a devil's own. He reached into his pocket and handed me the necklace.
“Should I help you on with it mum?”
“No,” I said taking it from him,
“I’ll do it in the loo.”
I handed him the fiver, and with a wink, as he nodded, touching his nose, he turned and was off.
And so was I.
For I had outdid my welcome by lying to Heyden about who Cadey was.
Seeing that Cadey would probably sooner than later discover the loss of her necklace, she may very well seek him out again and ask questions that would create a situation impossible for me to wriggle from.
I skirted around the long bar area to a side hallway which had the closest exit.
On my way out I spy Heyden’s wealthy cousin and her pretty, equally wealthy, friend both now pissed out of their pretty heads on liquor. Both their expensive necklaces were glittering up a tantalizing storm as they giggled at each other.
I paused.
I dare not risk the time to do any more lifting.
Besides, there was yet another rental Bobbie leaning up against the bar with a smirk as he unabashedly was eyeballing the same two ladies ….
So I reluctantly passed them both up, left via the back exit, and made my successful escape from the premises.
^^^^^^^^
It was a very satisfactory two-hour drive back to the hotel that I was been currently using as my base.
And I was feeling anything but regret at that point.
^^^^^
It was not until I was back at the flat, while I stood naked in front of the full-length bathroom mirror, fingering and admiring the emerald/diamond necklace stolen from the youthfully innocent young lass, that I started to feel that twinge of creeping regret that I mention at the beginning.
As my mind went over the evening's antics, I reminisced how adorably Cade had been wearing this simply too-valuable necklace set with emeralds and diamonds that I simply had to have. knowing full well how easy it had been to talk master Heyden in tricking it from the child.
Not to mention how I had to end my evening early and miss out on partying further with Sean and Gary.
Regret had indeed seeped in as I held up the sparking necklace to the lights.
For,n reminiscing over the night's antics, I remembered that Heyden had said that he liked to play tricks with his cousin. A cousin flaunting a £75,000 diamond necklace that she also had been allowed to keep wearing.
But I had been so focused on using him to get this mesmerizing £10,000 necklace, I had given no thought to convincing Heyden in acquiring his cousin’s necklace instead, using the same plot.
And let Cadey keep wearing this one.
I’m other words, without thinking things through, and being hasty I lost a potential £65,000 in profit.
Meaning I could have instead talked him into playing the same trick on his giddy, trashed cousin as I had him do on Cadey.
I could see it clearly now, in hindsight.
Using a similarly tantalizing outline, I would have talked him into dancing close with his highly drunk cousin.
Coaching him into lifting and pocketing her necklace to later pull it from his pocket and ask if this was hers?
Then as the shock wore off, convinced Heyden she would probably give him a hug and kiss as a reward. Probably from her friend also. Then he could use their exuberance to convince both of the pretty ladies to a close dance as a reward!
I was now sure he would have gone in for it, judging how easily I had sweet-talked him into doing the same on gullible Cadey.
After watching him play it out on his cousin, I would have lured him back to me to be congratulated and dangled a fiver to seal the deal.
In my mind's eye, I saw me hugging Heyden, then I would easily pick his pocket clean in the process.
Then as Hayden turned to hastily go back to his cousin to play out his trick. I would have taken off with his cousin’s more valuable diamonds, instead of Cadey’s lesser.
Yes, I did so now regret not thinking it through entirely.
I took off the necklace and threw it inside my leather satchel. Promising myself that I would try not to make a similar mistake down the road.
I then went to bed, tossing and turning as I regretfully pondered over what may have been.
Fini
From the New South Wales Office of Environment and Heritage website (www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDe...):
History:
The railway from Wentworth Falls to Mount Victoria was opened in 1868, passing through what was to become Katoomba. The Great Western Railway was intended to initially reach Bathurst but, beyond that town, its terminus was not stated.
The station opened in 1874 as 'The Crushers'. A sandstone quarry suitable for producing ballast for the construction and maintenance of the line was developed just to the north of the line, and from 1874 The Crushers was a stopping-place for trains with quarrymen, equipment and wagons for transporting ballast. A platform was provided in 1877 close to the level-crossing keeper's cottage (demolished in 1902).
In 1881 a new timber platform and station were built, to the west of the level-crossing. The goods yard between the stations and Bathurst Road (then the Great Western Highway) was developed in 1883-4. This expansion was necessary because of Katoomba's growth in the 1880s and 1890s as a tourist and local commercial centre. The goods yard contains a valuable collection of traditional railway structures, including the 5 ton jib crane (no. T171), the goods shed 54’ x 12’ dating in part from 1881 and an unusual curved timber loading platform. There is also an office for the yard gatekeeper and for a signalman, all dating from the early 1900s.
In 1891, the 1881 station building was moved to the improved goods yard to the south. The Katoomba Times reported on 10 October 1891 that 'the old Katoomba station building is to be the goods shed, and was put into position last Wednesday (7 October 1891)', with the 1884 crane adjacent to the east. Around 1921 the goods yard was altered, the siding was realigned and the goods shed (the former station of 1881) was moved 18 metres to the east, where it still resides. The 1884 five-tonne crane was moved along with the shed to its present position.
The present island platform and building at Katoomba date from 1891 and was constructed for £6,922 (including the subway) by Quiggan and Kermode, builders. They are unusual for two reasons. Firstly, the timber building is curved and, secondly, the building design was only used in the Sydney metropolitan rail system. It is the only such building constructed outside the Central to Parramatta line. It is one of 4 such structures remaining extant from a number of stations containing Type 10 buildings including Newtown, MacDonaldtown, Ashfield, Lewisham (all demolished - possibly other examples) and Summer Hill, Homebush and Croydon (extant). Extensions to the building in the same style were carried out in 1913 for £216. Its dominant feature is the extension of the roof bearers to form awnings on both sides and the position of small ornate brackets under the awning beams, marking a transition from the use of posted verandas to cantilevered awnings. The platform was reached by the use of a pedestrian subway constructed in 1891, which were rare outside Sydney.
The other main platform building is the elevated, timber signal box, which was commissioned in 1903. The signal box contains a cam and tappet 40 lever interlocking machine that was installed in 1945. It is typical of the construction time and is similar to boxes at Mount Victoria, Newnes Junction, Lithgow Yard and Exeter.
The line was duplicated in 1902. A two-room timber building was built on the western end of the platform in 1909 for an inspector and an electrician and this building was extended in 1945 for use as a staff meal room. An 'out-of' shed completed the platform structures.
At the entrance to the Station are the ‘Progress Buildings’ which are shown on a plan as part of a new ‘Booking and Parcels Office Building’ dated 20/12/1938. The buildings are a single storey group of three shops facing south to Bathurst Road with an additional shopfront facing east to the exit from the railway station subway. The eastern most shop, 283-285 Bathurst Road, retains its original brass shopfront, albeit with some modification, and tiled piers between, the shop entries are recessed from the street with splayed shopfront reveals. The tiled and marble threshold records the name "MARX" an early Katoomba businessman who used the premises. The Progress Buildings are still owned by RailCorp and leased for private business.
The railway residence at 8 Abbotsford Rd was sold in 1964.
Why significant?
Katoomba Railway Station and Yard is of state significance as a unique railway site in NSW developed around a former ballast quarry and is significant for demonstrating Katoomba’s growth in the 1880s and 1890s as the first tourist and local commercial centre in the Blue Mountains, before the duplication of the Western line in 1902.
The 1891 station building is significant as one of few surviving timber railway station buildings known as ' Standard Eddy', designed under Commissioner Eddy, and demonstrating the introduction of island platform buildings in NSW. Katoomba station building is the only known example of this station type outside the inner city area and is unique to the other examples for its curved form along the platform. The adjacent signal box with its garden beds and planting is also an important and integral element within the station group and is a rare example of a timber on-platform signal box.
The site of the goods yard is of particular significance as it was part of the original Katoomba station precinct dating from 1878, which was used for locomotive turning and minor servicing and stabling of trains. While fulfilling a minor railway use at present for per way maintenance, it contains two relatively rare items, which are the former 1881 timber station building as its goods shed and the 1891 crane.
The station group comprises a homogenous collection of timber structures adding significance to the townscape and streetscape with direct relationships to both. Situated at the focal point of Katoomba, the station is connected visually and physically to the town's commercial heart by the pedestrian subway and landscaped surrounds. The adjacent Progress Buildings from part of the station group and contribute to the early 20th Century character of the commercial precinct of Katoomba with their largely intact shopfronts.
+++ 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 Westland Whirlwind was a British heavy fighter developed by Westland Aircraft. It was the Royal Air Force's first single-seat, twin-engine, cannon-armed fighter, and a contemporary of the Supermarine Spitfire and Hawker Hurricane.
A problem for designers in the 1930s was that most agile combat aircraft were generally small. These aircraft had limited fuel storage and only enough flying range for defensive operations, and their armament was relatively light, too. A multi-engine fighter appeared to be the best solution to the problem of range, but a fighter large enough to carry an increased fuel load might be too unwieldy to engage successfully in close combat. Germany and the United States pressed ahead with their design programs, resulting in the Messerschmitt Bf 110 and the Lockheed P-38 Lightning.
The Westland Whirlwind was one of the British answers to more range and firepower, and the first Whirlwind prototype (L6844) flew on 11 October 1938. Construction had been delayed chiefly due to some new features and also to the late delivery of the original Peregrine engines. The Whirlwind was of all-metal construction, with flush riveting, and featuring magnesium skinning on the rear fuselage. The control surface arrangement was conventional, with large one-piece Fowler flaps inboard and an aileron outboard on each wing, with the rear end of the engine nacelles hinging with the flaps; elevators; and a two-piece rudder, split to permit movement above and below the tail plane. Slats had been fitted on the outer wings at the outset as a stall protection measure, but they were soon locked down, having been implicated in an accident.
Service trials were carried out at Martlesham Heath, where the new type exhibited excellent handling and was very easy to fly at all speeds. It was one of the fastest aircraft in service when it flew in the late 1930s, and was much more heavily armed than any other fighter, toting four 20mm cannons.
However, protracted development problems with its Rolls-Royce Peregrine engines delayed the entire project. The combat radius also turned out to be rather short (only 300 miles), and the landing speed was relatively high, which hampered the type's utility. The major role for the Whirlwinds, however, became low-level attack, flying cross-channel "Rhubarb" sweeps against ground targets and "Roadstead" attacks against shipping.
Time went by and worked against the Whirlwind, though: By 1940, the Supermarine Spitfire was mounting 20 mm cannons as well, so the "cannon-armed" requirement was already met by lighter and simpler aircraft. Furthermore, the role of an escort fighter was becoming less important by this time, as RAF Bomber Command turned to night bomber missions.
The main qualities the RAF was looking for now in a twin-engine fighter were range and carrying capacity, e .g. to allow the large radar apparatus of the time to be carried as a night fighter. Concerning these requirements, the bigger Bristol Beaufighter and the fast De Havilland Mosquito could perform just as well as or even better than the Whirlwind.
Anyway, the Whirlwind's potential had not been fully exploited yet, and it was decided to adapt it to new roles and specialized duties, which would exploit its good low altitude handling. Such an opportunity arose when Allied Forces prepared for Operation Torch (initially called Operation Gymnast) in 1942, the British-United States invasion of French North Africa: the somewhat outdated aircraft was retrofitted for a new task as a dedicated tank hunter.
Background was the experience with the Hawker Hurricane Mk. IID, which had become operational at that time. The Mk IIDs were dedicated to ground support, where it was quickly learned that destroying German tanks was difficult; the Hurricanes’ standard 20mm cannons (the same the Whirlwind fighter originally carried) did not have the performance to punch through Gerrnan tanks’ armor, and bombing small tank target successfully was almost impossible.
The solution was to equip aircraft with 2 pounder (40 mm) cannon in a pod under each wing, reducing the other armament to a single Browning in each wing loaded with tracers for aiming purposes.
This equipment was originally tested on a converted Mk IIB in late 1941, and proved to be successful. A new-build Hurricane version of what was known as the Mk IID started in 1942, which, beyond the modified armament, also included additional armor for the pilot, radiator and engine. The aircraft were initially supplied with a pair of Rolls-Royce 'BF' ('Belt-Fed') guns and carried 12 rounds, but this was soon changed to the 40 mm (1.57 in) Vickers S gun with 15 rounds. The weight of the guns and armor protection had a detrimental effect on the aircraft's performance, though, and for the African environment it was feared that the liquid-cooled Merlin engine was too complicated and would hardly cope with the higher ambient temperatures.
A fallback option was needed, and the Whirlwind appeared to be a sound basis – even though the troublesome Peregrine engines were rejected. In a hurry, a Whirlwind Mk. I (P7102) was modified to carry a pair of 40 mm guns, but this time in the lower nose. Compared with the Hurricane’s wing-mounted pods the Whirlwind could carry a slightly bigger load of ammunition (20 RPG). For aiming purposes and against soft targets, a pair of 0.303" (7.7 mm) Browning machine guns with tracer ammunition was mounted above them.
In order to make the aircraft more resilient to the North-African temperatures and against damage, the Whirlwind's touchy Peregrines were replaced by a pair of Bristol Taurus radial engines under relatively narrow cowlings. The engine nacelles had to be widened accordingly, and the Peregrines’ former radiator intakes and installations in the wing roots were removed and simply faired over. Similar to the Hurricane Mk. IID, additional armor plating was added around the cockpit and the engines, raising overall weight.
Flight and weapon tests were conducted in early 1942. While the radial-powered Whirlwind was not as nimble and fast as the original, Peregrine-powered fighter anymore, the aircraft proved to be a stable weapon platform and fully suitable for the ground attack role. Due to its characteristic new nose with the two protruding gun barrels and their separate fairings, the machine was quickly nicknamed “Walrus” and “Buck teeth Whirlwind”.
For operation Torch and as a field test, a total of eleven Whirlwind Mk. Is were converted to Mk. Ic standard. The machines received new serials and were allocated to RAF No. 73 Squadron, which was preparing for deployment to Northern Africa and the Middle East after having been engaged in the Battle of Britain.
The squadron's Whirlwinds and Hurricanes (including some cannon-armed Mk. IIDs, too) were shipped to Takoradi on the Gold Coast onboard HMS Furious, and were then flown in stages across Africa to Egypt.
No. 73 Squadron took part in the series of campaigns in the Western Desert and Tunisia, helping cover the supply routes to Tobruk and taking part in various ground-attack operations.
Both types undertook an anti-tank role in limited numbers during the North African campaign where, provided enemy flak and fighters were absent, they proved accurate and highly effective, not only against armored vehicles but all kinds of motorized transport.
The converted Whirlwinds proved, thanks to their robust engines, to be very reliable and had a better operational status than the Hurricanes. The second engine boosted the pilots' confidence. In direct comparison, the cannon-armed Whirlwind proved to be a better weapon platform than the Hurricane – mainly because the heavy guns were mounted closer to the aircraft’s longitudinal axis. Both aiming and accuracy were better than the Hurricanes’ wing-mounted weapons.
Nevertheless, there were several drawbacks: the Whirlwind’s two engines meant that more service hours had to be spent on them for maintenance, binding ground crew capacities. This was very inconvenient during the highly mobile Northern Africa campaign. Additionally, the Whirlwind's higher fuel consumption and the limited fuel provisions in the Northern African theatre of operations with dispersed and improvised airfields eventually meant that, despite positive results, no further machines were converted. The high landing speed also persisted, so that operations were hazardous.
Eventually the Hurricane Mk IID was adopted for the tank hunter role, with ensuing series production, since it was regarded as the more versatile and also more common type.
The radial-powered Whirlwind Mk. Ic remained operational with No. 73 Squadron until June 1943, when the squadron converted to the Spitfire and moved from Northern Africa to Italy in October. Until then, only six Whirlwinds had remained airworthy.
General characteristics:
Crew: One pilot
Length: 31 ft 7 1/4 in (9,65 m)
Wingspan: 45 ft 0 in (13.72 m)
Height: 11 ft 0 in (3.35 m)
Wing area: 250 ft² (23.2 m²)
Airfoil: NACA 23017-08
Empty weight: 9,400 lb (4,267 kg)
Loaded weight: 12,158 lb (5,520 kg)
Max. take-off weight: 13,120 lb (5,946 kg)
Powerplant:
2× Bristol Taurus II 14-Cylinder sleeve valve radial engines, 1,015 hp (760 kW) each
Performance:
Maximum speed: 400 mph (644 km/h) at 15.000 ft (4.570 m)
Stall speed: 95 mph (83 knots, 153 km/h) with flaps down
Range: 800 mi (696 nmi, 1.288 km)
Service ceiling: 33.500 ft (10.970 m)
Armament:
2x belt-fed two pounder (1.57 in/40 mm) Vickers S cannon, 20 RPG each
2x 0.303 in (7.7 mm) Browning machine guns, 500 RPG (typically armed with tracer rounds)
Option for 2x 250 lbs (115 kg) or 500 lbs (230 kg) bombs under the outer wings
The kit and its assembly
My third whiffed Westland Whirlwind - I must say that this rather obscure aircraft type has some serious potential for mods and fictional uses. The inspiration for this radial-powered variant originally came from a profile drawing of fellow modeler and illustrator FrancLab at flickr.com, who had drawn more than twenty(!) fictional Whirlwinds (check this: www.flickr.com/photos/franclab/16724098644/in/faves-14802...), including one with radial engines and in RAF Tropical Scheme colors.
The kit is, again, the vintage Airfix offering. Modifications center around the engines and the nose section, the rest remained basically OOB.
I already had to learn with my first Whirlwind conversion that mounting bigger engines on this compact aircraft is not easy, and radials, with their bigger diameter and consequentially more voluminous nacelles, would be a challenge from the design perspective.
Figuring out a solution that would be feasible and not make the sleek Whirlwind look like Popeye was not easy. I considered the transplantation of complete engine nacelles from a Matchbox Bristol Beaufighter, but eventually refrained from this idea because everything would be at least one size too big... a mistake I had done before, with very mixed results.
After several trials, I settled on a compromise, because I could not find a satisfactory 'British' solution, at least in my spares vault: the implantation of "foreign" material in the form of cowlings and nacelles from an Airfix Mitsubishi Ki-46.
The transplantation started with the removal of the original Peregrine engine nacelles from the lower wing section and gluing these to the upper half, which remained intact. Then the Ki-46’s lower nacelle half, cut away from the model’s wing in a similar fashion, was grafted onto the Whirlwind’s lower wing, ensuring that the landing gear attachment points would match with the new openings. This stunt worked very well!
As a final step, the upper Ki-46 engine nacelle half was placed on top of the Whirlwind wings’ upper side, and the radial engines were used as a ruler for the overall fit. In the end, the modified nacelles sit perfectly in place, and the original distance between the propellers as well as the landing gear’s track width could be maintained, so that the change is rather subtle.
Propellers and spinners were taken from the Airfix Whirlwind, and in order to mount them into the deep and "hollow" Ki-46 cowlings I inserted a styrene tube as a simple adapter, which would also hold the added metal axis' behind the propellers. The parts fit snuggly together.
Details like the exhaust pipes and the carburetor intakes were scratched from sprue material. The landing gear is OOB, but I had to re-create the covers from sheet material since I could only find a single pair of doors from the Ki-46 kit. On the other side, this had the benefit that the material is much thinner.
The original radiator intake slits were closed with putty and blended into the wing’s leading edge.The respective outlets on the trailing edge were sanded away.
For the guns in the nose I added two long, shallow fairings (actually drop tank halves from an Airfix G.91) and re-located the original oils cooler and gun camera fairings under the wing roots.
The original gun mounts were covered with putty, and new openings for the modified armament drilled into the re-sculpted nose section. The 2-pounders' and machine gun barrels are hollow steel needles of different diameters.
Painting and markings:
Staying somewhat true to FrancLab's profile and the North Africa theatre of operations, the paint scheme was more or less pre-defined. The Tropical scheme is a rather unusual look on this sleek aircraft, but works very well!
The standard RAF camouflage pattern for the Whirlwind was retained, but the European colors replaced with Dark Earth (Humbrol 29) and Middle Stone (ModelMaster 2052, the best representation of the tone I could find so far). The undersides were painted with ModelMaster 2055 (US Navy Blue Grey) as an alternative to RAF Azure and Mediterranean Blue.
Interior surfaces were painted with Cockpit Green (Humbrol 78) and slightly dry-brushed with light grey.
The red spinners are typical Desert Force markings, and I added yellow ID markings to the outer wings’ leading edges (created from generic decal sheet). Not certain how authentic this is for Northern Africa, since the Hurricanes did not carry these markings – but the Spitfires did, as well as the few leftover Whirlwinds over Continental Europe? At least, it’s a colorful detail.
Even though many Hurricanes of 73 Squadron in Northern Africa carried the squadron’s colorful pre-war marking on the flanks instead of a two-letter code, I eventually rejected this option. IMHO it might have been simply too much for this whiffy aircraft?
Roundels and markings were puzzled together from the scrap box, the code letters are single digits from Xtradecal aftermarket sheets. I mixed medium sea grey and dull red letters – a practice frequently seen on Northern Africa aircraft (which also frequently did not carry squadron codes at all) in order to improve readability. The serial was puzzled together, too, using a free serial slot according to ukserials.com.
As another individual touch I added a small nose art motif under the cockpit: a Bugs Bunny cartoon toting a shotgun (actually from a P-51 from the late war Pacific TO), as an interpretation of the “Buck teeth” nickname for the aircraft.
Finally, the model was weathered, esp. on the upper surfaces in order to mimic sun bleaching, and some soot stains were added around the guns and the exhaust outlets. The cooling flaps were emphasized through a treatment with Tamiya “Smoke”, which is perfect for oil stains. Finally, the kit was sealed with matt acrylic varnish and finishing touches like the wire antenna and position lights applied.
Another subtle whif, the desert paint scheme is probably distracting enough that, at a casual glance, the radials and the modified nose are not obvious at all. Actually, the Japanese engines look pretty British after some cosmetics, and they are small enough to keep overall proportions in reasonable limits – the sleek Whirlwind quickly turns head-heavy and unbalanced with bigger engines grafted to the airframe! Actually, the converted aircraft looks now, when looked at it head-on, almost like a baby Beaufighter!
Developed in Caffenol C-L Semi-Stand 60min;Ilford HP5+; Pentax P30; SMC Pentax 55mm f1.8; Epson V600
Roll : 2017 - Décembre- N&B- Strasbourg
Developed by Orbital Sciences Corporation, the Pegasus is an air-launched orbital launch vehicle capable of carrying small payloads into a low earth orbit. It first flew in 1990 and has three solid propellant stages with an optional monopropellant fourth stage. Launched at 39,000ft, it was initially carried by a NASA B-52 Stratofortress, but more recently by modified Lockheed Tristar ‘N140SC’ known as “Stargazer” and operated by Orbital.
This example was built using a 1994 first-stage motor used for ground testing and the wing recovered from a Pegasus that had been to space. It was donated to the Smithsonian Institute by Orbital Sciences in 2004 and is now part of the National Air and Space Museum.
It is seen on display in the James S. McDonnell Space Hangar at the Steven F. Udvar Hazy Center
Washington Dulles International Airport, Chantilly, Virginia
7th May 2015
History
The Fiesta was originally developed under the project name "Bobcat" (not to be confused with the subsequent rebadged Mercury variant of the Ford Pinto) and approved for development by Henry Ford II in September 1972. Development targets indicated a production cost US$100 less than the current Escort. The car was to have a wheelbase longer than that of the Fiat 127 (although shorter than some other rivals, like the Peugeot 104, Renault 5 and Volkswagen Polo), but with an overall length shorter than that of the Escort. The final proposal was developed by Tom Tjaarda at Ghia. The project was approved for production in December 1973, with Ford's engineering centres in Cologne and Dunton (Essex) collaborating.
Ford estimated that 500,000 Fiestas a year would be produced, and built an all-new factory near Valencia, Spain; a trans-axle factory near Bordeaux, France; factory extensions for the assembly plants in Dagenham, UK. Final assembly also took place in Valencia.
The name Fiesta belonged to General Motors when the car was designed, as they had used the name for the Oldsmobile Fiesta in the 1950s; however, it was freely given for Ford to use on their new supermini. Ford's marketing team had preferred the name Bravo, but Henry Ford II vetoed it in favour of the Fiesta name. The motoring press had begun speculating about the existence of the Bobcat project since 1973, but it was not until December 1975 that Ford officially announced it as the Fiesta. A Fiesta was on display at the 24 Hours of Le Mans in June 1976, and the car went on sale in France and Germany in September 1976; to the frustration of UK dealerships, right hand drive versions only began to appear in the UK in January 1977.
Mechanically, the Fiesta followed tradition, with an end-on four-speed manual transmission of the Ford BC-Series mounted to a new version of the Ford Kent OHV engine, dubbed "Valencia" after the brand new Spanish factory in Almussafes, Valencia, developed especially to produce the new car. Ford's plants in Dagenham, England, and Saarlouis and Cologne (from 1979) in Germany, also manufactured Fiestas. To cut costs and speed up the research and development, the new powertrain package destined for the Fiesta was tested in Fiat 127 development "mules". Unlike several rivals, which used torsion bars in their suspension, the Fiesta used coil springs. The front suspension was of Ford's typical "track control arm" arrangement, where MacPherson struts were combined with lower control arms and longitudinal compression links. The standard rear suspension used a beam axle, trailing links and a Panhard rod, whilst an anti-roll bar was included in the sports package. All Mk1 Fiestas featured 12-inch wheels as standard, with disc brakes at the front and drum brakes at the rear.
Model history
Although not the first Ford vehicle to feature front-wheel drive (the 1960s Taunus produced by Ford of Germany laid claim to that title), the Fiesta is widely credited as being Ford's first globally successful front-wheel-drive model. UK sales began in January 1977, where it was available from £1,856 for the basic 950 cc-engined model.
It was only the second hatchback mini-car to have been built in the UK at this stage, being launched a year after the Vauxhall Chevette, but a year before the Chrysler Sunbeam and four years before the Austin Metro. The millionth Fiesta was produced in 1979.
The car was initially available in Europe with the Valencia 957 cc (58.4 cu in) I4 (high compression and low compression options), and 1,117 cc (68.2 cu in) engines and in Base, Popular, L, GL (1978 onward), Ghia and S trim, as well as a van. The U.S. Mark I Fiesta was built in Saarlouis, Germany but to slightly different specifications; U.S. models were Base, Decor, Sport, and Ghia, the Ghia having the highest level of trim.[7] These trim levels changed very little in the Fiesta's three-year run in the USA, from 1978 to 1980. All U.S. models featured the more powerful 1,596 cc (97.4 cu in) engine, (which was the older "Crossflow" version of the Kent, rather than the Valencia) fitted with a catalytic converter and air pump to satisfy strict Californian emission regulations), energy-absorbing bumpers, side-marker lamps, round sealed-beam headlamps, improved crash dynamics and fuel system integrity as well as optional air conditioning (a/c was not available in Europe). In the U.S. market, the Ford Escort replaced both the Fiesta and the compact Pinto in 1981.
A sporting derivative (1.3 L Supersport) was offered in Europe for the 1980 model year, using the 1.3 L (79 cu in) Kent Crossflow engine, effectively to test the market for the similar XR2 introduced a year later, which featured a 1.6 L version of the same engine. Black plastic trim was added to the exterior and interior. The small square headlights were replaced with larger circular ones resulting in the front indicators being moved into the bumper to accommodate the change. With a quoted performance of 0–60 mph (0–97 km/h) in 9.3 seconds and 105 mph (169 km/h) top speed, the XR2 hot hatch became a cult car beloved of boy racers throughout the 1980s.
Minor revisions appeared across the range in late 1981, with larger bumpers to meet crash worthiness regulations and other small improvements in a bid to maintain showroom appeal ahead of the forthcoming second generation.
In 1978, the Fiesta overtook the Vauxhall Chevette as Britain's best-selling supermini, but in 1981 it was knocked off the top spot by British Leyland's Austin Metro and was still in second place at the end of 1982.
[Text from Wikipedia]
en.wikipedia.org/wiki/Ford_Fiesta_(first_generation)
Kodak Developing Powders for Kodak Film Tank Made by Kodak (Australasia) PTY . LTD,. Works . Melbourne Australia.
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 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, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.
The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
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.
The versatile aircraft also 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 onwards, placed in a streamlined fairing on the upper side of the nose, just 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 also 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.
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 was frequently updated, leading to several “re-built” variants, 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 - 35 years after the type's service introduction!
This VF-1A was assigned to SVF-51 “Yellow Jackets”, and based onboard the UES Constellation platform in Lower Earth Orbit (LEO). The Constellation was tasked during the First Space War with the close defense of Moon Base Apollo, but also undertook atmospheric missions.
This particular fighter sported the squadron’s typical striped high visibility markings over a standard gloss light gray base on wings and legs, but unlike normal machines of this unit, with deep yellow and black markings, was, together with two sister ships, assigned to the unit’s staff flight. Each of these VF-1’s carried the unit markings and additional flight leader decoration on the noses in non-regular colors: turquoise on “001”, violet on “002” and pink on “003” – giving them one of the most distinctive and attractive paint schemes during the Space War.
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by 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 (at 20° minimum sweep)
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)
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 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:
1x internal Mauler RÖV-20 anti-aircraft laser cannon, 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:
It has been a while that I tackled one of these vintage ARII kits, and this time the build became a relief project from Corona cabin fever and a major conversion project. This garish Valkyrie is fictional but was heavily based on a profile drawing published in the Macross source book “Variable Fighter Master File VF-1 Valkyrie” of SVF-51 (originally with deep yellow accents)
The kit is a VF-1J, but the head unit was replaced with an “A” variant from the spares box. It was basically built OOB, with the landing gear down. The only mods are some standard blade antennae, an IRST fairing under the nose and the fins’ tops were slightly modified, too. The pylons were modified to take the new ordnance – optically guided glide bombs à la AGM-62 “Walleye”, scratched from obscure AAMs from a Kangnam MiG-29 and painted in the style of early USAF GBUs.
The gun pod was also modified to accept a scratched wire display in its tail and holds the Valkyrie in flight. The pilot figure was just a guest for the in-flight photo sessions, later the canopy was glued to a mount in open position.
Painting and markings:
I had wanted to apply this spectacular scheme onto a model for a while, but could not get myself to use yellow, because I already have a similar VF-1 in USN high-viz livery and with yellow and black decorations. I considered other tones, and eventually settled for pink – as an unusual choice, but there are canonical VF-1s with such an exotic tone in their liveries.
The rest was straightforwardly adapted from the profile, even though the creation of the trim lines without masking was a challenge. I used various stripes of generic decal material in black and white to create shapes and demarcation lines, filling up larger areas with paint. The overall basic tone is Humbrol 40 (glossy FS 36440), plus Humbrol 200 (Pink), 22 (Gloss Black) and Revell 301 (Semi-matt White) for the flaps’ upper surfaces and the landing gear. The cockpit became medium grey with a black seat and brown cushions. The ventral gun pod became aluminum.
After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals (including most trim lines, e. g. in black on the wings and the nose, in white on the fins) were applied. The following basic markings came from various 1:100 VF-1 sheets, the tail code letters came from an RAF SEAC Spitfire from WWII. The modex codes consist of single digit decals (2mm size, TL Modellbau).
Finally, after some detail painting and highlights with clear paint had been added, the VF-1 was sealed with a semi-gloss acrylic varnish.
A small and quick interim project, realized in just a few days – most time passed while waiting for the gloss Humbrol enamels to cure properly… There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Staying close to the benchmark profile was quite a challenge but worked out fine, even though I had hoped that the pink would stand out a little more. But the plan to change the unit’s ID color for a staff flight aircraft turned out well, even though some compromises had to be made.
Developing fruits.
They are ~3 inch diameter - one of the largest eucalypt flowers.
This image in Wikipedia now de.wikipedia.org/wiki/Eucalyptus_macrocarpa
Developed an obsession with the Ladas in Baku. A relic of the old Soviet era, they are so endearing and many people still use them daily!
Developed by Mosaïcultures Internationales of Montreal, the exhibition features up to 40 huge sculptures made of plants mounted on supporting frames, arrayed around a winding one-kilometre path through the Jacques-Cartier Park.
Home developed with Rodinal 1:50, 24° C, 6m 30s. Scanned with mirrorless and tweaked in Darktable.
There are many things I dislike about the old soviet camera, but one thing I like is the ability to do long exposures without a shutter release cable. Time mode or the ability to lock the shutter button while in bulb mode is rare.
This one from 24 pound white printer paper. Like folding damp leaves, the ones that stick to your boots.
Day 336 // Y4 // 28.01.2012
This is how the messy face-paint game generally works for Libby - line the colours up in a row, throw them on your face in now particular order and hope that the result is satisfactory.
Week 4: Develop and Emulation #121 for My Face is My Canvas (and inspired by).
Decaspermum humile
Family:Myrtaceae
Common name:Currant Myrtle; Grey Persimmon; Silky Myrtle; Brown Myrtle
Synonyms:Nelitris humilis .Decaspermum laxiflorum . Decaspermum paniculatum . Decaspermum paniculatum var. laxiflorum
Flowers white. Anther connective ending in a terminal gland.Leaves with lamina ovate to lanceolate, margins entire and recurved,
Grows in well developed rain forest
Endemic to Australia, occurs in CYP, NEQ, CEQ and southwards to coastal central New South Wales.