Natural arch developed in Jurassic sandstones in Utah, USA.

These are eolian sandstones of the Navajo Sandstone, a thick, Mesozoic-aged unit representing ancient sand dune deposits. The Navajo is a prominent cliff-forming unit in much of western America. The coloration is from hematite (Fe2O3 - iron oxide). Laterally-equivalent units are known by other names, but are all the same deposit: Glen Canyon Sandstone, Nugget Sandstone, and Aztec Sandstone.

Rock arches are rare features - they form by differential weathering and erosion of many different types of rocks, but often sandstone. If a creek or river passes underneath, it is a natural bridge. If no creek or river is present, it is a natural arch. Along lakeshores and ocean coastlines, they are called lake arches and sea arches. Very small erosional openings in rocks are called windows.

This example is Corona Arch, also known as Little Rainbow Bridge. It is not in Arches National Park, which is located northeast of here.

Stratigraphy: Navajo Sandstone, Glen Canyon Group, Lower Jurassic

Locality: Corona Arch, north of Bootlegger Canyon & east of the Colorado River, west of the town of Moab, eastern Utah, USA (38° 34' 47.66" North latitude, 109° 37' 12.35" West longitude)

Anzac Memorial Park was established as The Strand Park in the 1910s, but the foreshore along The Strand, Townsville's main frontage to Cleveland Bay, had developed as a recreation area from the 1860s, the earliest days of settlement. The whole of the foreshore between King and Howitt Streets was gazetted a temporary reserve for public purposes in February 1901, and a section of this, between the Customs House and King Street, was proclaimed a permanent reserve for park purposes in June 1912.

As early as 1866, Townsville's more affluent residents were constructing homes along the beachfront, and by 1872, three hotels had been erected opposite the present Anzac Memorial Park. The Strand was unformed at this time, being little more than a track along the foreshore, and there were no shade trees, but the beach was popular with bathers (mainly male) from at least the late 1870s. In 1881 the town council planted 30 cedar trees along the foreshore, and added cocoa and betel nut trees in early 1882. In 1883, following strong public demand, a road was made along the beach front to Kissing Point. By 1889, the Strand, between King Street and Kissing Point, made a glorious promenade on a moonlight night when the breeze blows straight and cool from Magnetic Island. Photographs of the Strand in 1888 show banyan trees several years old, as well as more recent plantings, and a reserve for public baths (opposite the then quarry site on the Strand) was gazetted in 1889.

One of the earliest structures erected along the foreshore was an ornamental fountain/bird-bath, extant by 1905, which remained in the park reserve to the 1950s at least. In 1908 a drinking fountain was constructed opposite Queen's Hotel, near the corner of Wickham Street and the Strand. It was located outside the park proper, on the road verge, and was erected as a memorial to WJ Castling, a butcher and former Mayor of Townsville. This drinking fountain was moved to the western end of the park, probably during road works after 1924.

One of the principal instigators of the establishment of a formal park along The Strand was John Henry Tyack, owner of Queen's Hotel 1899 - 1913, alderman in the Townsville City Council 1906 - 1913, and mayor of Townsville in 1912. He had commissioned the elaborate re-building of Queen's Hotel, one of the few grand hotels of Northern Queensland, starting in 1902 - 1904, and took an interest in beautifying the foreshore opposite. In April 1912, during Tyack's term as mayor, Townsville City Council applied to have the foreshore along the Strand, from the sea baths to King Street, gazetted as the Strand Park. The Council had already spent a considerable amount of money on foreshore improvements and intended to spend more. In June 1912, about 4.5 acres were proclaimed a permanent reserve for park purposes, extending from King Street to Cleveland Street.

As early as 1901, Council had considered erecting a new bandstand on the beach, but this project did not eventuate until 1913. Through Henry Tyack's efforts, a public subscription was raised for the construction of a small, ornate bandstand in the park. The structure was designed by Sydney architect AB Polin, who had designed the new Queen's Hotel for Tyack circa 1902, when resident in Townsville as the North Queensland representative of the architectural firm of Eaton, Bates and Polin. J Crase & Co., ironworkers and brass founders of Brisbane, supplied the cast iron scroll work and pillars for the bandstand, in the same design as that used on the Queen's Hotel, and construction was carried out by municipal employees. The bandstand was nearing completion when Tyack died on the 28th of July 1913, and it was dedicated in Tyack's memory on the 27th of September 1913, by Alderman RW McClelland, Mayor of Townsville. The stand was intended to cater for both band and vocal concerts, mainly during the summer months.

Initially, the bandstand was located opposite the main entrance gates to the park. It was relocated to the eastern end of the park when the Queensland Centenary Fountain was constructed on the same site in 1959.

In 1914 - 1915, a bowling green and clubhouse were constructed on land at the southern end of the Strand Park, the land being leased by the newly established Townsville Bowls Club from the City Council. The first clubhouse was destroyed during cyclone Althea in December 1971, the grass was replaced with an artificial green in 1992, and in 1994 the land occupied by the bowls club was excised from the park. It no longer forms part of the Entry in the Heritage Register for Anzac Memorial Park.

From at least the 1920s, the Strand Park was a focus for Anzac Day activities. In 1923 - 1924 a memorial clocktower was erected in the park, to the west of the bandstand. The memorial was financed by public subscription, and was designed and constructed by monumental masons Melrose and Fenwick of Townsville. The design had been finalised by September 1923, and the monument was completed by Anzac Day 1924, when it was unveiled and dedicated by the Governor of Queensland, Sir Matthew Nathan.

When first established, a picket fence divided the park from the roadway. By 1924, that section of the timber fence opposite Queen's Hotel, near the intersection of Wickham Street and the Strand, had been replaced with park entrance gates and fencing of wrought-iron panels set between masonry pillars. Also by 1924, several canon, probably trophies from the 1914 - 1918 war, were located east and west of the bandstand; the park was lit by gas? lamps; and a children's playground had been constructed at the western end of the park, near the sea baths. No evidence of this early playground survives.

In October 1925, the park was described as being tastefully laid out and planted with ornamental trees, shrubs with foliage of variegated colours, and lawns of couch grass, and attracted hundreds of people to the Sunday evening band and orchestral concerts. In the 1920s, the park was considered a tourist attraction, and was extended to over 6 acres in July 1926, by including the land up to the sea baths reserve.

Early in 1934, the name was changed to Anzac Memorial Park, and a metal arch bearing the new name was erected above the entrance gates, in time for the April the 25th Anzac Day commemorations.

In April 1953, Anzac Memorial Park was extended to 9 acres, and in 1959 the bandstand was relocated within the park to permit construction in its place of a fountain to commemorate the centenary of Queensland's separation from New South Wales.

In December 1971, cyclone Althea caused substantial damage to the park. Many of the 1880s trees were destroyed and others stripped of their leaves. Subsequently, the Townsville City Council erected a plaque in the park, to commemorate the role of the Australian Army in the restoration of Townsville after the cyclone.

Prior to the Battle of the Coral Sea Commemorations in 1992, the gardens in Anzac memorial Park were replanted and most of the memorial structures were cleaned and/or repainted. A large Coral Sea Battle Memorial was built to the north of the Centenary Fountain. The memorial commemorates the role of Australian and American servicemen in the Battle of the Coral Sea in 1942. About the same period, a new children's play area was created between the bandstand and the Centenary Fountain.

Source: Queensland Heritage Register.

iPad Air

Skribl App (beta)

Skribl is a vector app being developed by JKPP's very own Rick Shulman/iPad Junkie! So of course his had to be the first portrait I drew in the new app. Skribl isn't in the app store yet but stay posted.

Freehand from a photo.

Rick, USA for JKPP

Photos and portraits of Rick: www.flickr.com/groups/portraitparty/discuss/7215762493280...

Rick's own great work: www.flickr.com/photos/ipadjunkie/

This is a portrait for Julia Kay's Portrait Party (JKPP). If you're an artist, and you would like to engage with an active community of artists from all over the world through mutual portraiture, consider applying to join us at the party. Please read the entire home page before deciding whether to apply: www.flickr.com/groups/portraitparty/

Developed for BlueBrixx.

YouTube Video

Develop: Tetenal Monopack RA-4 21C-1,20 min

Zeiss Ikon Donata 9x12 , Tessar 1:4,5/135 ( 1928 )

Paper: Kodak Supra Endura

Stunning new additions to the Blackpool fleet are ten of these buses such as 407 (SN16OVH) painted in the company's new livery. These are the first brand new double-deckers for the company since a batch of East Lancs bodied Alexander Dennis Tridents came in 2006 - incidentally these were some of the last Tridents built before production switched to the then new Enviro 400.

Blackpool has been upgrading its fleet and introduced the 'Palladium' brand to specify services run with higher quality vehicles. It was first introduced on a batch of Mercedes-Benz Citaro's bought in 2015 and since then has been expanded to include a batch of Plaxton Centro bodied Volvo B7RLE, which until the Merc's were the fleets newest buses and which arrived in 2010.

However, for double-deckers it has bought something very different. This was a batch of the first single-door pure diesel Enviro 400 City buses for a UK-operator. The Enviro 400 City is a variant of the MMC which uses some New Routemaster styling cues. It was developed primarily for London and met Transport for London's desire to have more of the buses having a standard look. However, unlike the Wrightbus version - The SRM based Volvo B5LH - it is a distinctly ADL product. The SRM suffers - in my opinion - for looking too much like a New Routemaster and for the lack of a back window.

The ADL Enviro 400 City I feel is a better balanced design enhanced by the livery which follows the flow of the bus. Although launched as a hybrid it was always available as a pure diesel and has already achieved what the New Routemaster didn't as its attracted an order from a fleet outside London. Buses magazine reports that a further 25 are due to arrive in 2017.

Leica M2 + Voigtlander 35mm f1.2 ASPH ii

I was trying to find things round the house to take photos of to use the film up. This bucket of water in the bathroom was ready for rinsing the film after I had developed the film. I noticed the reflection of the towel rail in the water so took this shot.

I love how film captures light..

Sorry for the lack of models! Kodak T-Max 100 film 100@200

Rodinal 7ml:1000ml tap water

Semi-stand development -1 inversion

Temperature - "warm to touch" (thermometer had broken so guessed!)

Time - 35min. Why? I think the temperature was >20 degress c.

Epson v600 scan

matthewosbornephotography.wordpress.com/2014/03/20/1958-l...

Developed five raw images into an HDR image.

Equipment:

  - Dolica ZX600B103 tripod

Parameters:

 Software: Photomatix Pro version 5.0.1

  Presets: Balanced

 Software: Software: Image Data converter Ver. 4.2.02.10112

  Output

  Save as type: TIFF Files(*.TIF)

  Color space: sRGB 16 bit

 Software: Adobe Photoshop Lightroom 5.6

  Basic

   WB

    Temp: -10

    Tint: +10

   Tone

    Exposure: +0.10

  HSL

   Hue

    Red: +10

    Orange: +10

  Lens Correction

    Lens Vignetting

     Amount:-50

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   Graduate Filter(horizon)

   Effect: Custom

    Temp: -70

    Exposure: 3.50

    Contrast: 60

    Highlights: 25

    Clarity: 25

    Saturation: 10

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   Adjustment Brush(K)(bottom)

   Effect: Custom

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Copy : 1

loc: 33.976712, -117.967821

file: DSC03509_10_11_12_13_tonemapped_balanced-1

developed in Borax and Tartaric acid, no toning

OLYMPUS DIGITAL CAMERA

Port Erroll Harbour, Cruden Bay, Aberdeenshire

Port Erroll developed as a fishing community to some extent but the tidal nature of the harbour restricted the size of craft which could operate from it and the village missed out on the herring boom. Tourism provided another source of income for the village. Even before the coming of the railway, the long pink curve of the Bay of Cruden sands and scenic cliffscapes to the north were attracting visitors and a small seaside resort was grafting itself onto the fishing community.

Hasselblad SWC Delta400 ID11 stock

Delta400, Self-developed ID11 (stock), self-scanned with vuescan (linux)

21-09-2024

Maldon.

The Simson family took out pastoral runs around what is now Maldon in 1840. They had the Cairn Curran and the Tarrangower runs. It was near the foot of Mount Tarrangower that gold was discovered in December 1853 precipitating a gold rush in early 1854. The discovered of gold at Maldon was John Mechosk who received numerous government payouts for discovering gold fields apart from the one in Maldon. He also discovered the goldfields at Dunolly, Maryborough and Fryerstown. He received around £1,000 from the Victorian government for his efforts. A town was surveyed and developed in 1854 and it is believed that a member of the survey party suggested the name of Maldon because the hilly country reminded him of Maldon in Essex England. The diggers, up to 20,000 of them, were controlled by the District Gold Commissioner Bernard Smith who arrived and set up camp in 1854.The diggers had their canvas areas throughout the region but the town of Maldon soon had several public buildings including an early timber famed Wesleyan Methodist church built in 1855 and a brewery and several hotels built in 1854.

The Maldon gold finds were especially rich and mining companies developed areas to the north, east and south of the town with mining sites such as the Beehive Mine, the Nuggetty Mine, Eagle Hawk Mine, Bell’s Reef, the North British mine etc. Mining continued for a long period and as late as 1903 there were still over 1,000 diggers on the sites around Maldon following the last gold rush of 1897. But this was the last period of active mining around Maldon and the population had shrunk considerably by the 1920s. Because it was not on a main road to anywhere Maldon languished in semi-isolation for the next 50 years until the National Trust declared it the “First Notable Town in Australia” as its mining sites and historic buildings were still largely intact and the town showcased the life of a 19th century Australian gold mining town. Whole streetscapes of Maldon are heritage listed and a number of significant mining structures are still standing such as the 98 feet high Beehive Mine tower built in 1863. It stands at the top of the main street. The cemetery a few kilometres out of town has a fine Chinese funerary burning chamber probably from around 1865 when the gold mines were at their peak. The cemetery was opened in 1861 and the gate house was built in 1866. 121 Chinese are known to have been buried in the Maldon cemetery but only a couple of headstone are known. But there is little other evidence of the significant Chinese population of diggers that were once in the Maldon district. The town proudly proclaims that fact that over 2.1 million ounces of gold was extracted at Maldon worth about 3 billion dollars at today’s values.

Because of the wealth of Maldon it has numerous outstanding or significant historic buildings although it was never a really large town. Apart from the many fine hotels and commercial buildings the town has the Penny or Denominational School built as an Anglican school in 1856 but open to any child whose parents could afford the fees. 120 pupils were enrolled at this small school in 1857. The building was enlarged and rebuilt in 1862. The state school in Maldon was not built until 1875. It is still an impressive building. Near the Penny School is one of the early churches of Maldon the Welsh Congregational Church which was built in 1863. There were many Welsh and Cornish miners on the Maldon diggings. Nearby are several churches including the Anglican Church (1861), the Catholic Church built 1891 (replacing an earlier 1859 church), the former Wesleyan Methodist Church built in 1863 (replacing the 1855 wooden one), the Presbyterian Church built in 1905 (replacing an earlier 1861 church) and the Welsh Baptist Church built in 1865 with matching 1890 additions. Further away on the hill near the state school is the impressive Maldon Hospital. A wooden temporary hospital was established in 1859 but this grand classical designed hospital was built in 1867 beside the temporary building. One wing of the classical façade hospital was built in 1860 and the other in 1862. In 1867 the temporary structure in the middle was replaced with the central two storey hospital section which still stands. A further wing was added after this. The design for the hospital was chosen from entries to a public competition. The current town museum was once the Maldon Market which was erected in 1859. Near this central government camp area of Maldon which the Gold Commissioners used you can also find the Courthouse built in 1860 and the Post Office built in 1870. Nearby is the Athenaeum Library built in 1934 and still in use as the town library. This 1934 structure replaced the previous Athenaeum library built in 1863 and destroyed by fire in 1933. In addition to the usual commercial buildings, banks and hotels in the main street there is also an old grain store and further away is the railway station. A train line was built to service Maldon in 1884 and a fine red brick station built in 1888. It closed in 1976.

Other buildings of note in Maldon are MacArthur’s Cottage in High Street with the very unusual three dimensional brick work effect around the door and windows. It is next door to the Anglican Holy Trinity church. McArthur’s cottage was built in 1860s. The old Grain Store and Brooks’ Store were built in 1866 for the Maldon Cooperative Trading Company. This cooperative was not successful and went into liquidation in 1872 when John Brooks acquired the property and it is probably at this time additions were added. Members of the Brooks family ran this store until 1986. The Maldon Hotel was built in 1909 and the adjacent Shakespeare House and gallery was erected in 1907. Across the street is the 1854 established McArthur’s Bakery. The sign on this building relates to the establishment of the bakery not the actual building. This corner bakery was built in 1895. The old Beehive Market in Maldon began life as Franklin’s boot and shoe warehouse in 1870. The building later became a timber yard. Upton’s Butcher shop in the Main Street was established on this site in 1859 and the store was built then with the veranda added in 1860. The parapet is more modern being added to the shop in 1907. The Maldon Timber and Hardware building with the fancy parapet was built in 1897 after the earlier building on this site burnt down. It began life as a drapery.

Would be better with bigger, thicker paper. But conceptually there.

Lab developed XP2 Super (old one I had not posted)

..the start of a few days of 100% film photo posting while I am at home. :) ..i missed film!

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The Wheel of Fortune, or Rota Fortunae, is a concept in medieval and ancient philosophy referring to the capricious nature of Fate. The wheel belongs to the goddess Fortuna, who spins it at random, changing the positions of those on the wheel - some suffer great misfortune, others gain windfalls. Fortune appears on all paintings as a woman, sometimes blindfolded, "puppeteering" a wheel.Origins[edit]

The origin of the word is from the "wheel of fortune" - the zodiac, referring to the Celestial spheres of which the 8th holds the stars, and the 9th is where the signs of the zodiac are placed. The concept was first invented in Babylon and later developed by the ancient Greeks. The concept somewhat resembles the Bhavacakra, or Wheel of Becoming, depicted throughout Ancient Indian art and literature, except that the earliest conceptions in the Roman and Greek world involve not a two-dimensional wheel but a three-dimensional sphere, a metaphor for the world. It was widely used in the Ptolemaic perception of the universe as the zodiac being a wheel with its "signs" constantly turning throughout the year and having effect on the world's fate (or fortune). Ptolemaic model of the spheres for Venus, Mars, Jupiter, and Saturn with epicycle, eccentric deferent and equant point. Georg von Peuerbach, Theoricae novae planetarum, 1474.

Vettius Valens, a second century BC astronomer and astrologer, wrote. There are many wheels, most moving from west to east, but some move from east to west.

Seven wheels, each hold one heavenly object, the first holds the moon... Then the eighth wheel holds all the stars that we see... And the ninth wheel, the wheel of fortunes, moves from east to west, and includes each of the twelve signs of fortune, the twelve signs of the zodiac. Each wheel is inside the other, like an onion's peel sits inside another peel, and there is no empty space between them.[this quote needs a citation] In the same century, the Roman tragedian Pacuvius wrote: Fortunam insanam esse et caecam et brutam perhibent philosophical, Saxoque instare in globoso praedicant volubili: Id quo saxum inpulerit fors, eo cadere Fortunam autumant. Caecam ob eam rem esse iterant, quia nihil cernat, quo sese adplicet; Insanam autem esse aiunt, quia atrox, incerta instabilisque sit; Brutam, quia dignum atque indignum nequeat internoscere. Philosophers say that Fortune is insane and blind and stupid, and they teach that she stands on a rolling, spherical rock: they affirm that, wherever chance pushes that rock, Fortuna falls in that direction. They repeat that she is blind for this reason: that she does not see where she's heading; they say she's insane, because she is cruel, flaky and unstable; stupid, because she can't distinguish between the worthy and the unworthy.

—Pacuvius, Scaenicae Romanorum Poesis Fragmenta. Vol. 1, ed. O. Ribbeck, 1897

The idea of the rolling ball of fortune became a literary topos and was used frequently in declamation. In fact, the Rota Fortunae became a prime example of a trite topos or meme for Tacitus, who mentions its rhetorical overuse in the Dialogus de oratoribus. Fortuna eventually became Christianized: the Roman philosopher Boethius (d. 524) was a major source for the medieval view of the Wheel, writing about it in his Consolatio Philosophiae - "I know how Fortune is ever most friendly and alluring to those whom she strives to deceive, until she overwhelms them with grief beyond bearing, by deserting them when least expected. … Are you trying to stay the force of her turning wheel? Ah! dull-witted mortal, if Fortune begin to stay still, she is no longer Fortune."

The Wheel was widely used as an allegory in medieval literature and art to aid religious instruction. Though classically Fortune's Wheel could be favourable and disadvantageous, medieval writers preferred to concentrate on the tragic aspect, dwelling on downfall of the mighty - serving to remind people of the temporality of earthly things. In the morality play Everyman (c. 1495), for instance, Death comes unexpectedly to claim the protagonist. Fortune's Wheel has spun Everyman low, and Good Deeds, which he previously neglected, are needed to secure his passage to heaven. Geoffrey Chaucer used the concept of the tragic Wheel of Fortune a great deal. It forms the basis for the Monk's Tale, which recounts stories of the great brought low throughout history, including Lucifer, Adam, Samson, Hercules, Nebuchadnezzar, Belshazzar, Nero, Alexander the Great, Julius Caesar and, in the following passage, Peter I of Cyprus. O noble Peter, Cyprus' lord and king,

Which Alexander won by mastery, To many a heathen ruin did'st thou bring; For this thy lords had so much jealousy,

That, for no crime save thy high chivalry, All in thy bed they slew thee on a morrow. And thus does Fortune's wheel turn treacherously And out of happiness bring men to sorrow.

~ Geoffrey Chaucer, The Canterbury Tales, The Monk's Fortune's Wheel often turns up in medieval art, from manuscripts to the great Rose windows in many medieval cathedrals, which are based on the Wheel. Characteristically, it has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I am without a kingdom). Dante employed the Wheel in the Inferno and a "Wheel of Fortune" trump-card appeared in the Tarot deck (circa 1440, Italy). The wheel of fortune from the Burana Codex; The figures are labelled "Regno, Regnavi, Sum sine regno, Regnabo": I reign, I reigned, My reign is finished, I shall reign

In the medieval and renaissance period, a popular genre of writing was "Mirrors for Princes", which set out advice for the ruling classes on how to wield power (the most famous being The Prince by Niccolò Machiavelli). Such political treatises could use the concept of the Wheel of Fortune as an instructive guide to their readers. John Lydgate's Fall of Princes, written for his patron Humphrey, Duke of Gloucester is a noteworthy example. Many Arthurian romances of the era also use the concept of the Wheel in this manner, often placing the Nine Worthies on it at various points....fortune is so variant, and the wheel so moveable, there nis none constant abiding, and that may be proved by many old chronicles, of noble Hector, and Troilus, and Alisander, the mighty conqueror, and many mo other; when they were most in their royalty, they alighted lowest. ~ Lancelot in Thomas Malory's Le Morte d'Arthur, Chapter XVII.[3] Like the Mirrors for Princes, this could be used to convey advice to readers. For instance, in most romances, Arthur's greatest military achievement - the conquest of the Roman Empire - is placed late on in the overall story. However in Malory's work the Roman conquest and high point of King Arthur's reign is established very early on. Thus, everything that follows is something of a decline. Arthur, Lancelot and the other Knights of the Round Table are meant to be the paragons of chivalry, yet in Malory's telling of the story they are doomed to failure. In medieval thinking, only God was perfect, and even a great figure like King Arthur had to be brought low. For the noble reader of the tale in the Middle Ages, this moral could serve as a warning, but also as something to aspire to. Malory could be using the concept of Fortune's Wheel to imply that if even the greatest of chivalric knights made mistakes, then a normal fifteenth-century noble didn't have to be a paragon of virtue in order to be a good knight. The Wheel of Fortune motif appears significantly in the Carmina Burana (or Burana Codex), albeit with a postclassical phonetic spelling of the genitive form Fortunae. Excerpts from two of the collection's better known poems, "Fortuna Imperatrix Mundi (Fortune, Empress of the World)" and "Fortune Plango Vulnera (I Bemoan the Wounds of Fortune)," read: Sors immanis et inanis, rota tu volubilis, status malus,

vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fortune rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.Fate - monstrous and empty, you whirling wheel, status is bad,

well-being is vain always may melt away, shadowy

and veiled you plague me too; now through the game

bare backed I bear your villainy. The wheel of Fortune turns;

I go down, demeaned; another is carried to the height;

far too high up sits the king at the summit - let him beware ruin! for under the axis we read: Queen Hecuba. Later usage:

Fortune and her Wheel have remained an enduring image throughout history. Fortune's wheel can also be found in Thomas More's Utopia. Wheel of fortune in Sebastian Brant`s Narrenschiff, woodcut by A. Dürer William Shakespeare in Hamlet wrote of the "slings and arrows of outrageous fortune" and, of fortune personified, to "break all the spokes and fellies from her wheel." And in Henry V, Act 3 Scene VI[4] are the lines: Bardolph, a soldier who is loyal and stout-hearted and full of valour, has, by a cruel trick of fate and a turn of silly Fortune's wildly spinning wheel, that blind goddess who stands upon an ever-rolling stone—

Fluellen: Now, now, Ensign Pistol. Fortune is depicted as blind, with a scarf over her eyes, to signify that she is blind. And she is depicted with a wheel to signify—this is the point—that she is turning and inconstant, and all about change and variation. And her foot, see, is planted on a spherical stone that rolls and rolls and rolls. Shakespeare also references this Wheel in King Lear.[5] The Earl of Kent, who was once held dear by the King, has been banished, only to return in disguise. This disguised character is placed in the stocks for an overnight and laments this turn of events at the end of Act II, Scene 2:Fortune, good night, smile once more; turn thy wheel! In Act IV, scene vii, King Lear also contrasts his misery on the "wheel of fire" to Cordelia's "soul in bliss". Shakespeare also made reference to this in "Macbeth" throughout the whole play. Macbeth starts off halfway up the wheel when a Thane, but moves higher and higher until he becomes king, but falls right down again towards the end as his wife dies, and he in turn dies.

In Anthony Trollope's novel The Way We Live Now, the character Lady Carbury writes a novel entitled "The Wheel of Fortune" about a heroine who suffers great financial hardships.

Selections from the Carmina Burana, including the two poems quoted above, were set to new music by twentieth-century classical composer Carl Orff, whose well-known "O Fortuna" is based on the poem Fortuna Imperatrix Mundi.

Jerry Garcia recorded a song entitled "The Wheel" (co-written with Robert Hunter and Bill Kreutzmann) for his 1972 solo album Garcia, and performed the song regularly with the Grateful Dead from 1976 onward. The song "Wheel in the Sky" by Journey from their 1978 release Infinity also touches on the concept through the lyrics "Wheel in the sky keeps on turnin' / I don't know where I'll be tomorrow". The song "Throw Your Hatred Down" by Neil Young on his 1995 album Mirror Ball, recorded with Pearl Jam, has the verse "The wheel of fortune / Keeps on rollin' down". The term has found its way into modern popular culture through the Wheel of Fortune game show, where contestants win or lose money determined by the random spin of a wheel. Also, the video game series character Kain (Legacy of Kain) used the wheel of fate. Fortuna does occasionally turn up in modern literature, although these days she has become more or less synonymous with Lady Luck. Her Wheel is less widely used as a symbol, and has been replaced largely by a reputation for fickleness. She is often associated with gamblers, and dice could also be said to have replaced the Wheel as the primary metaphor for uncertain fortune. The Hudsucker Proxy, a film by the Coen Brothers, also uses the Rota Fortunae concept and in the TV series Firefly (2002) the main character, Malcolm Reynolds, says "The Wheel never stops turning, Badger" to which Badger replies "That only matters to the people on the rim". Likewise, a physical version of the Wheel of Fortune is used in Mad Max Beyond Thunderdome, a film by George Miller and George Ogilvie. In the movie, the title character reneges on a contract and is told "bust a deal, face the wheel." In the science fiction TV series Farscape, the fourth episode of the fourth season has main character Crichton mention that his grandmother told him that fate was like a wheel, alternately bringing fortunes up and down, and the episode's title also references this. Unlike many other instances of the wheel of fortune analogy, which focus on tragic falls from good fortune, Crichton's version is notably more positive, and meant as a message of endurance: those suffering from bad fortune must remain strong and "wait for the wheel" of fortune to turn back to eventually turn back to good fortune again. Ignatius J. Reilly, the central character from John Kennedy Toole's novel A Confederacy of Dunces, states that he believes the Rota Fortunae to be the source of all man's fate. In the Fable video game series, the wheel of fortune appears twice, somehow perverted. The Wheel of Unholy Misfortune is a torture device in Fable II. It is found in the Temple of Shadows in Rookridge. The Hero can use the wheel to sacrifice followers to the shadows. In Fable III, Reaver's Wheel of Misfortune is a device that, once activated, sends to The Hero a round of random monsters. The Wheel of Fortune is featured in a Magic: the Gathering card by that name that forces all players to discard their hands and draw new ones.

en.wikipedia.org/wiki/Rota_Fortunae

Wheel of Fortune is R.O.T.A or TARO and TORA all 3 are born in same meaning :the workings of a social engine ROTARY'S WHEEL EMBLEM

A wheel has been the symbol of Rotary since our earliest days. The first design was made by Chicago Rotarian Montague Bear, an engraver who drew a simple wagon wheel, with a few lines to show dust and motion. The wheel was said to illustrate "Civilization and Movement." Most of the early clubs had some form of wagon wheel on their publications and letterheads. Finally, in 1922, it was decided that all Rotary clubs should adopt a single design as the exclusive emblem of Rotarians. Thus, in 1923, the present gear wheel, with 24 cogs and six spokes was adopted by the "Rotary International Association." A group of engineers advised that the geared wheel was mechanically unsound and would not work without a "keyway" in the center of the gear to attach it to a power shaft. So, in 1923 the keyway was added and the design which we now know was formally adopted as the official Rotary International emblem. www.icufr.org/abc/abc01.htm

www.rotaryfirst100.org/history/history/wheel/

The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and ... Circle (Rotary symbol)

[These are the symbols used by the Reptilian proxy group, the Reptoids (Illuminati, & Freemasons), collectively are known as Satanists or Luciferians. The signs of Evil. The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and Movies will find all the usual suspects (proving Satanic control), along with some symbols for mind control. If you want a symbol to use stick with the heart, the exact opposite of Evil. They like to cut them out and offer them to Lucifer, see Blood sacrifice. All the worshiped 'Gods' are a few Anunnaki/Reptilians going under various names down the years such as: Nimrod/Anubis/Horus/Osiris/Baal/Shamash/Janus/Quetzalcoatl/Baphomet/Lucifer/Moloch etc, hence all the snake and horn symbols. The symbols are their secret language, and you can see the connections down the years by the use of the same symbols, e.g. Freemasonry, the US Government, and Communism with the Hidden hand, the hidden hand of history.]

www.whale.to/b/symbols_h.html

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.

Self developed Washi S sound recording film loaded into an Olympus om1.

Developed using darktable 3.0.0

Leica M3 Zeiss Planar 50mm f2 ZM

Long Expired Ektachrome 100 Professional

Arista Rapid E6 Slide Developing Kit

Kodak Portra 400 developed with Bellini.

back of the boat.

Home developed Kodak Tri-X 400, stock D76, 6.75 minutes @ 68F.

explored.

Developed using darktable 3.0.0 and GIMP 2.10

Developed by Shutterbug Copenhagen

Shot with a Minolta CLE

Voigtländer Nokton Classic 35mm f/1.4 lens

Fujifilm 200 (US) film

Shot at EI 200 and developed normally

Developed by The Darkroom

Scanned with a Coolscan 9000ED

Minolta Dynax 5

Ilford Delta 400

Developed in Bellini Eco-film (Xtol)

mirrorless scanned and converted in grain2pixel.

i have developed an obsession with the song russian unicorn .__."

anywho, i just felt like uploading this. i took it yesterday and liked it but was too lazy to do anything with it :P

yay, so far i've done really well on all the tests i had these past few weeks <3 i just did my last of them today and I'm waiting on getting the results of that one and 2 others. :P hopefully i can keep my streak of goodness up :P

Mamiya RB67 with Mamiya-Sekor 90/3.8 and 45 mm extension ring no. 1 equipped with yellow filter, and Rollei Superpan 200 developed with Kodak T-max developing kit. Scan Epson V600

ultramax + yashica t4 super d. home developed and scanned on epson v600

I have a Patreon page where you can support my work and have access to content I haven't shared anywhere else before! Link below.

Self-portrait

Film

Developed and scanned at home

You can support my work at:

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Developing a fault within Buchanan Bus Station and having to wait for assistance, Scania Omnidekka 36022 is captured leaving Glasgow over an hour late.

Developed using darktable 2.6.2

Little lockdown in the City

Mamiya RB67

Sekor 50mm

Kodak Ektar 💯

Tetenal C41 self-develop

The Lockheed P-38 Lightning was a World War II American fighter aircraft built by Lockheed. Developed to a United States Army Air Corps requirement, the P-38 had distinctive twin booms and a single, central nacelle containing the cockpit and armament. Named "fork-tailed devil" (der Gabelschwanz-Teufel) by the Luftwaffe and "two planes, one pilot" (2飛行機、1パイロット Ni hikōki, ippairotto?) by the Japanese, the P-38 was used in a number of roles, including dive bombing, level bombing, ground-attack, night fighting, photoreconnaissance missions, and extensively as a long-range escort fighter when equipped with drop tanks under its wings.

The P-38 was used most successfully in the Pacific Theater of Operations and the China-Burma-India Theater of Operations as the mount of America's top aces, Richard Bong (40 victories) and Thomas McGuire (38 victories). In the South West Pacific theater, the P-38 was the primary long-range fighter of United States Army Air Forces until the appearance of large numbers of P-51D Mustangs toward the end of the war.

The P-38 was unusually quiet for a fighter, the exhaust muffled by the turbo-superchargers. It was extremely forgiving, and could be mishandled in many ways, but the rate of roll in the early versions was too slow for it to excel as a dogfighter. The P-38 was the only American fighter aircraft in production throughout American involvement in the war, from Pearl Harbor to Victory over Japan Day.

Design and development[edit]

Lockheed designed the P-38 in response to a February 1937 specification from the United States Army Air Corps. Circular Proposal X-608 was a set of aircraft performance goals authored by First Lieutenant Benjamin S. Kelsey (later Brigadier General) and First Lieutenant Gordon P. Saville (later General) for a twin-engine, high-altitude "interceptor" having "the tactical mission of interception and attack of hostile aircraft at high altitude." Kelsey recalled in 1977 that he and Saville drew up the specification using the word interceptor as a way to bypass the inflexible Army Air Corps requirement for pursuit aircraft to carry no more than 500 lb (227 kg) of armament including ammunition, as well as the restriction of single-seat aircraft to one engine. Kelsey was looking for a minimum of 1,000 lb (454 kg) of armament. Kelsey and Saville aimed to get a more capable fighter, better at dog-fighting and at high-altitude combat. Specifications called for a maximum airspeed of at least 360 mph (580 km/h) at altitude, and a climb to 20,000 ft (6,100 m) within six minutes, the toughest set of specifications USAAC had ever presented. The unbuilt Vultee XP1015 was designed to the same requirement, but was not advanced enough to merit further investigation. A similar single-engine proposal was issued at the same time, Circular Proposal X-609, in response to which the Bell P-39 Airacobra was designed. Both proposals required liquid-cooled Allison V-1710 engines with turbo-superchargers and gave extra points for tricycle landing gear.

The Lockheed design team, under the direction of Hall Hibbard and Clarence "Kelly" Johnson, considered a range of twin-engine configurations, including both engines in a central fuselage with push-pull propellers.

The eventual configuration was rare in terms of contemporary fighter aircraft design, with only the preceding Fokker G.1, the contemporary Focke-Wulf Fw 189 Luftwaffe reconnaissance aircraft, and the later Northrop P-61 Black Widow night fighter having a similar planform. The Lockheed team chose twin booms to accommodate the tail assembly, engines, and turbo-superchargers, with a central nacelle for the pilot and armament. The XP-38 gondola mockup was designed to mount two .50-caliber (12.7 mm) M2 Browning machine guns, with 200 rpg, two .30-caliber (7.62 mm) Brownings, with 500 rpg, and a T1 Army Ordnance 23-mm (.90 in) autocannon with a rotary magazine as a substitute for the non-existent 25-mm Hotchkiss aircraft autocannon specified by Kelsey and Saville. In the YP-38s, a larger John Browning-designed, Colt-made M9 37-mm (1.46 in) autocannon with 15 rounds replaced the T1. The 15 rounds were in three 5-round clips, an unsatisfactory arrangement according to Kelsey, and the M9 did not perform reliably in flight. Further armament experiments from March to June 1941 resulted in the P-38E combat configuration of four M2 Browning machine guns, and one Hispano 20-mm (.79 in) autocannon with 150 rounds.

P-38 armament, concentrated in the nose of the aircraft

Clustering all the armament in the nose was unlike most other U.S. aircraft, which used wing-mounted guns with trajectories set up to crisscross at one or more points in a convergence zone. Nose-mounted guns did not suffer from having their useful ranges limited by pattern convergence, meaning that good pilots could shoot much farther. A Lightning could reliably hit targets at any range up to 1,000 yd (910 m), whereas other fighters had to pick a single convergence range between 100 and 250 yd (230 m). The clustered weapons had a "buzz saw" effect on any target at the receiving end, making the aircraft effective for strafing as well. The rate of fire was about 650 rounds per minute for the 20×110-mm cannon round (130-gram shell) at a muzzle velocity of about 2,887 ft/s (880 m/s), and for the .50-caliber machine guns (43–48-gram rounds), about 850 rpm at 2,756 ft/s (840 m/s) velocity. Combined rate of fire was over 4,000 rpm with roughly every sixth projectile a 20-mm shell. The duration of sustained firing for the 20-mm cannon and .50-caliber machine guns was approximately 14 seconds and 35 seconds, respectively.

The Lockheed design incorporated tricycle undercarriage and a bubble canopy, and featured two 1,000-hp (746 kW) turbo-supercharged 12-cylinder Allison V-1710 engines fitted with counter-rotating propellers to eliminate the effect of engine torque, with the superchargers positioned behind the engines, with the exhaust side of the units exposed along the dorsal surfaces of the booms. Counter-rotation was achieved by the use of "handed" engines, which meant that the crankshaft of each engine turned in the opposite direction of its counterpart. The V-12 engines required changing only the spark plug firing order in order for the direction of the crankshaft to be reversed, according to the General Motors Allison V-1710 Service School Handbook.

It was the first American fighter to make extensive use of stainless steel and smooth, flush-riveted butt-jointed aluminum skin panels. It was also the first fighter to fly faster than 400 mph (640 km/h).

Pacific theater

Wartime poster encouraging greater production of P-38s

The P-38 was used most extensively and successfully in the Pacific theater, where it proved ideally suited, combining excellent performance with very long range, and had the added reliability of two engines for long missions over water. The P-38 was used in a variety of roles, especially escorting bombers at altitudes between 18–25,000 ft (5,500-7,600 m). The P-38 was credited with destroying more Japanese aircraft than any other USAAF fighter. Freezing cockpits were not a problem at low altitude in the tropics. In fact, since there was no way to open a window while in flight as it caused buffeting by setting up turbulence through the tailplane, it was often too hot; pilots taking low altitude assignments would often fly stripped down to shorts, tennis shoes, and parachute. While the P-38 could not out-turn the A6M Zero and most other Japanese fighters when flying below 200 mph (320 km/h), its superior speed coupled with a good rate of climb meant that it could utilize energy tactics, making multiple high-speed passes at its target. Also, its focused firepower was even more deadly to lightly armored Japanese warplanes than to the Germans'. The concentrated, parallel stream of bullets allowed aerial victory at much longer distances than fighters carrying wing guns. It is therefore ironic that Dick Bong, the United States' highest-scoring World War II air ace (40 victories solely in P-38s), would fly directly at his targets to make sure he hit them (as he himself acknowledged his poor shooting ability), in some cases flying through the debris of his target (and on one occasion colliding with an enemy aircraft which was claimed as a "probable" victory). The twin Allison engines performed admirably in the Pacific.

Postwar operations[edit]

The end of the war left the USAAF with thousands of P-38s rendered obsolete by the jet age. The last P-38s in service with the United States Air Force were retired in 1949.[82] A total of 100 late-model P-38L and F-5 Lightnings were acquired by Italy through an agreement dated April 1946. Delivered, after refurbishing, at the rate of one per month, they finally were all sent to the AMI by 1952. The Lightnings served in 4 Stormo and other units including 3 Stormo, flying reconnaissance over the Balkans, ground attack, naval cooperation and air superiority missions. Due to unfamiliarity in operating heavy fighters, old engines, and pilot errors, a large number of P-38s were lost in at least 30 accidents, many of them fatal. Despite this, many Italian pilots liked the P-38 because of its excellent visibility on the ground and stability on takeoff. The Italian P-38s were phased out in 1956; none survived the inevitable scrapyard.

Surplus P-38s were also used by other foreign air forces with 12 sold to Honduras and 15 retained by China. Six F-5s and two unarmed black two-seater P-38s were operated by the Dominican Air Force based in San Isidro Airbase, Dominican Republic in 1947. The majority of wartime Lightnings present in the continental U.S. at the end of the war were put up for sale for US$1,200 apiece; the rest were scrapped. P-38s in distant theaters of war were bulldozed into piles and abandoned or scrapped; very few avoided that fate.

Variants:

Over 10,000 Lightnings were manufactured in all, becoming the only U.S. combat aircraft that remained in continuous production throughout the duration of American participation in World War II. The Lightning had a major effect on other aircraft; its wing, in a scaled-up form, was used on the L-049 Constellation.

Popular culture

1950 Studebaker Champion

Harley Earl arranged for several of his designers to view a YP-38 prototype shortly before World War II, and its design directly inspired the tail fins of the 1948–1949 Cadillac

The P-38 was also the inspiration for Raymond Loewy and his design team at Studebaker for the 1950 and 1951 model-year Studebakers.

The whine of the speeder bike engines in Return of the Jedi was partly achieved by recording the engine noise of a P-38, combined with that of a North American P-51 Mustang.

Studebaker Champion Convertible (1950)

Studebaker was proud to be "First by Far With a Postwar Car," but after three years on the market, its vehicles very much needed a distinctive new look for their carried-over bodies. In fact, the 1950-1951 Studebaker origins were as a counterpoint to the post-war car, when celebrated styling consultant Raymond Loewy decided his staff should look to the heavens for inspiration.

Perhaps no automaker is more identified with a single design than Studebaker with its 1950-1951 "bullet-nose" cars. The feisty South Bend independent didn't invent the "spinner" front end -- the 1948 Tucker and 1949-1950 Ford used similar themes, as have several European models. Studebaker's styling differed mainly in degree.

Ads called it "The Next Look," implying it would start a trend. It didn't, but that mattered little to company executives, who were content to chalk up sales unmatched in Studebaker's previous 48 years of auto production and in any of the next 16.

When Studebaker contracted Loewy Associates to design all-new 1947 models, Exner and Cole worked up their own proposal in secret -- with the advantage of engineering parameters not made available to the "official" Loewy team. It was this design that management ultimately chose and introduced in mid 1946. Studebaker was two years ahead of the competition -- "First by Far With a Postwar Car," as ads blared. To Exner's chagrin, advertising credited Loewy with the new styling.

Loewy promptly fired Exner for his treachery and replaced him with Bob Bourke, Exner's subordinate and friend. Bourke, who made significant contributions to the '47 design, would head Loewy's South Bend studio into 1955, after which Studebaker and Loewy parted company.

People loved the 1947 Studebakers, the little-changed '48s, and the modestly updated '49s. Though the fresh styling concealed mostly prewar mechanical concepts, refinements were made to improve longevity and reliability.

For example, the low-price Champion had arrived in spring 1939 with a lightweight L-head six of 164.3 cubic inches. This went to 169.6 cubic inches and 80 horsepower for 1941-49, then added five horsepower. The costlier Commanders used a larger six dating from Stude­baker's 1932 Rockne. By 1949, this engine was up to 245.6 cubic inches and 100 horsepower.

The 1947-1949 models were a great sales success, lifting Studebaker to eighth in the U.S. industry with a market share of 4.12 percent. Production was at record levels. So were corporate profits -- $27.56 million in calendar 1949 alone. Things looked great, and were about to get even better.

The bullet-nose idea had been on Bourke's drawing board since 1940-1941, when he first sketched several elements of the eventual 1950 Studebaker. Chief among them was a protruding nose with flanking pontoon fenders suggesting the front of an airplane.

Public reaction is what matters in the auto industry, and "The Next Look" 1950 Studebaker, featuring the company's signature "bullet-nose" look for the first time, was a winner -- more popular than even the 1947. Sales began in August 1949, nearly a month ahead of other 1950 cars.

For all this hoopla, the 1950s were identical to the 1947-49 models except for the bullet nose, minor trim, and vertical instead of horizontal taillights. However, the new front end added an inch to wheelbases, taking Champions to 113, Commanders to 120. Both lines again offered two- and four-door sedans, a convertible, and a five-passenger Starlight coupe with its distinctive panoramic rear window.

Demand for the bullet-nose '50s proved so strong that Studebaker added a third shift at its large South Bend factory and ran its Southern California and Hamilton, Ontario, assembly plants at or near capacity. A 14-month model "year" (July 15, 1949, to September 27, 1950) produced 343,164 cars -- the most for any vehicle in Studebaker's long history. By the end of 1950, company employment was up to 25,000, a peacetime record.

Text for the Lockheed P-38 Lightning has been taken from Wikipedia. Text regarding the 1950 Studebaker Champion Convertible has been reproduced from sections of the website "How Stuff Works".

This Lockheed P-38 Lightning from 1941, and 1950 Studebaker Champion Convertible has been created in Lego miniland-scale for Flickr LUGNuts 79th Build Challenge, - "LUGNuts goes Wingnuts", - featuring automotive vehicles named after, inspired by, or related to aircraft.

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 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”.

Canon AE1-Program

Canon FD 50mm, f1.4

Kodak Vision3 50D

Tetenal Colortec C41 kit

Reflecta RPS 10M

Colorperfect, Photoshop, Lightroom.

My wife walking on lake Shinonome, near Shikaribetsu, Kamishihoro, Hokkaido.

Pentax MZ-M, Pentax-M 28mm F3.5, positive ISO 100 (RDP3) expired, developed as described before ( 1st Dev.:9min ).

Her ski is short, stable and easy to handle, adopt warm, normal boots.

mixi.jp/show_diary_picture.pl?owner_id=5412090&id=195...

mixi.jp/show_diary_picture.pl?owner_id=5412090&id=195...

Mine is www.flickr.com/photos/threepinner/16885618887/

First time developing color film at home!

Snatched from the streets of San Diego in late March 2016 by a group of masked assailants, Diz has been spending some time (voluntarily) working on a guest post covering motion picture film development at home.

If you've ever thought about shooting and developing your own motion picture stock ...

emulsive.org/articles/developing-motion-picture-film-dark...

Articles, Experiments

#C41, #Darkroom, #Developing, #Diz, #ECN2, #Kodak, #Kodak_250D_5207, #Kodak_500T_5219, #Kodak_50D_5203

Developed using darktable 2.6.2

Voigtländer Vito III (lens: Ultron 50mm f/2) / waist-level

Kodak TriX 400 @ ISO 3200

Minolta Autometer IVF / Epson Perfection 4490

Self-developed with Kodak HC-110 (dilution H)

Development details on FilmDev

Semi-stand: 45 mins at 20 Celsius (a huge thanks to drasticgroove for his contribution, helping me getting the proper developing times on this one.)

'Dilutions spreadsheet' provided by Ralph Lundvall

© 2016 Prezioso PH

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Hey you! You didn't know that you can now follow my street work at my secondary Tumblr blog www.tumblr.com/blog/smilefromthestreetsyoushoot, did ya? Amazing, isn't it.

Ok, you go now, enjoy it, why not? Of course you will. I know, you know it.

OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 7-14mm F2.8 PRO

Developed by Adobe Photoshop Lightroom CC 2015.7

Develop: Paterson FX-37

Rollfilm: Fuji HR-U (x-ray) w/g 400 ASA

camera: Ercona II 6x9 with Tessar