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A bespoke sculptural piece for TTP Group, based on their newly developed ‘Mirage’ glass concept. Picture by Martin Bond
15 Bury St Edmunds Hardwick Lane And Westgate Street Minolta Dynax 7000i Minolta 35-105mm F3.5-4.5 Kodak Gold 200 ISO Developed In Rollei Colorchem C41 30-1-2023
The Snail Shell Assassin figure recently released, and I got mine in a few days ago. Like Figma, Snail Shell has a very competent body that they tweak and provide for use in developing figures for the assortment of interesting character designs.
So I don't know the official names or anything, but this figure basically has two forms - some strange hybrid cybernetic animal form, and of course, the expected Waifu in skintight jumpsuit form.
It's an interesting design aesthetic, though for an assassin she seems awfully under armed, featuring a knife and a Grapnel Gun. The sheath for the knife and the harness for the Grapnel Gun plug directly into her lower spine. The interesting thing is that the hands are only meant to hold the knife - the Grapnel Gun is directly deployed from her harness... or that's what I think, as there's no real instructons.
Grapnel Gun comes with a coiled wire as well as three different tips, one for use when the tip has not been fired, and two actual projectiles to use with the wire.
Assassin is a return to average height for one of their figures, as Milk T Girl was just really short, though to be fair she was also really cheap to buy.
The cyborg mode head features multiple joints for articulation in the neck, covered with a fabric piece to hid the joints. There's also a joint at the base of the head, so overall this giraffe necked sculpt is actually very articulated. Compared to the normal head, which features effectively no neck articulation and limited head tilt, this feels somewhat like a step back.
Articulation has generally not been an issue with Snail Shell figures, and this is no different. mainly lacking a waist and butterfly shoulder joints. I've never removed the legs of any of the other figures (but this one I have to in order to swap out the groin pieces, and I notied the the hip design actually features some robust designs to allow for increased range of let motion without relying on a pull down hip design. The tail is actually articulated, tough the connection looks so fragile I'm afraid to actually manipulate the piece too much.
As always, use of the base will increase your posing options, and the base has cavities for you to store you spare pieces.
The two face plates are functional, and I can only presume they look like the source art. I can say, however, they're solid in terms of looking anime in nature, though again I wonder if this is simply because art direction insisted. There seems to be more rouge around the eyes on the finished product compared to the prototypes, and this shows up on the photos.
Otherwise, Paint and Build wise, pretty much on par with other Snail Shell items. in case you weren't aware, that is basically Storm Collectibles level of quality that should be coming out from these sets. Some questionable design choices as i've outlined above, but overall the figure certainly holds together than product from other companies.
First pictures developed from my "new" (expired 1993) 9x12 Fuji 160 NSP film.
9x12 is the european equivalent of 4x5. Film holders have the same external dimensions, but film area and dark slides are different.
I shot the film at ISO 100 with my Crown Graphic. Developed in Tetenal Colortek C41.
Although a 19 year old film, I am pleased with the results - colours are good, film is a bit grainy, but acceptable.
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
Bristol Type 175 Britannia 312 G-AOVT on display at Duxford
Like several others in the British Airliner Collection, the Bristol Britannia was developed in response to a Brabazon Committee specification, in this case the Type III, which also coincided with the BOAC (British Overseas Airways) requirement called MRE (Medium Range Empire). Originally designed to have Bristol Centaurus piston engines, range and economy considerations led to the aircraft’s redesign with turboprops, in this case Bristol’s own Proteus engine. The first flight was made by prototype 101 G-ALBO on 16 August 1952, but technical problems, particularly with icing of the engine air intakes, led to delays in the introduction of the Britannia into airline service until 1 February 1957 when a variant 102 flew to Johannesburg. Adverse publicity had undoubtedly damaged the prospects for the aircraft. One notable positive feature, however, was the unusual quietness of this large aircraft in flight, leading to its enduring nickname ‘The Whispering Giant’.
VT was purchased by the newly formed Monarch Airlines in May on 10 May 1969 and based at Luton Airport. It was used mainly on ad hoc charters throughout Europe and worldwide in both passenger and freight configurations and also on European holiday package tours before operating the last civil passenger service by a Britannia in Europe on 14 October 1974, from Lisbon to Luton. VT’s cabin was then stripped of all fittings and it was leased to Invicta Airlines at Manston who used it on cargo charter flights to Europe, Africa and the Middle East for three months. It returned to Luton on 10 March 1975 and was stored awaiting disposal.
It was donated by Monarch Airlines to Duxford Aviation Society for preservation, and made its final flight to Duxford on 29 June 1975, the day when that year’s air show was being held, and landed during the flying display. It had then flown a total of 35,739 hours and made 10,834 landings.
www.britairliners.org/airliner-detail?type=bristol-type-1...
Film Developing Minolta Dynax 5 Tamron AF 28-200mm Kentmere Pan 400 Home Developed Ilfosol 3 22-8-2022
From the Queensland Heritage Register.
"Yungaba" is a two-storey brick institutional building designed as an immigrant depot in 1885 by John James Clark, colonial architect for Queensland. Following his dismissal shortly after, the plan was developed by Edward Henry Alder and Robert Henry Mills. Constructed by William Peter Clark, the building is described as being of Italianate/Queensland/ Institutional style.
Following the subdivision of Kangaroo Point in 1843-44, lots 21 and 22 were purchased by Judah and Isaac Solomon and Thomas Adams. Some time later John "Tinker" Campbell, a neighbouring land-owner, purchased a share in both lots and transferred his boiling-down works to that location to gain the benefit of the small stream which crossed the properties. Following a series of financial transactions, the land was eventually purchased by Robert Douglas in 1853 for £400. Douglas constructed a house on lot 21 which he named "The Willows". Douglas was a prominent and popular person in Brisbane society at that time although some scandal arose when it was revealed that he had sold his Kangaroo Point property to the government for £14,000 in 1884.
The government had been aware for some time that the immigration facilities at William Street were inadequate for their needs. The decision to acquire the land at Kangaroo Point was justified by the need to provide 'pleasant surroundings' for those who were recently arrived in the colony. The pattern of immigration fluctuated wildly over the years and the period immediately preceding the construction of the Kangaroo Point depot, immigration had been at an all time high.
William Peter Clark, the successful tenderer for the work, ran into a series of difficulties with the construction which resulted in almost a year's delay in the completion. The interior layout was designed by William Hodgen and arranged in a manner typical of institutional buildings of the time. Married quarters were in the form of separate cubicles on the ground level, and single quarters (segregated by gender, and in dormitory form) on the upper level. Symmetrical pairs of laundry and privy facilities were ranged to the rear of the building.
The first administrator was William Edward Parry-Okeden. Parry-Okeden was already a highly competent and practical man with a reputation for fair-dealing and vigorous commitment to his occupation. He and his family moved to Brisbane from Blackall to take up his appointment at the Immigration Depot. Later in life he was to be appointed Under Colonial Secretary and to play an active role in both the management of Aborigines, the organisation of the Native Police and the resolution of the shearers' strikes. Following the floods of 1887, Parry-Okeden and his wife refurbished "The Willows" which continued as their residence during his four years as immigration agent.
From the outset Parry Okeden saw that a number of critical issues needed to be addressed before the depot could operate efficiently. Problems dogged the project throughout its early years. From the start, difficulties were experienced due to poor drainage resulting from the re-direction of the natural drainage into a stormwater drain. Subsequent drainage works had varying degrees of success but the building soon showed signs of rising damp which was exacerbated by the poor quality bricks used during construction. Gas and water connections were either very basic or completely absent from vital parts of the building, there was no wharf facility at which to disembark the immigrants and, once landed, there was no facility for isolating those suspected of suffering contagious disease.
For a long time it was argued that the damp problem was a result of rain beating on the sides of the building, rather than due to poor site drainage. In 1891 the verandahs on the eastern end of the northern side of the building were extended to shelter the walls from the rain. A matching verandah extension at the western end was not constructed until 1899 as the expense was considered too great when the source of the damp had not been proven. The later extension was made to regain the symmetry of the facade, rather than as a means of protecting the walls from the rain.
Wharf facilities were provided at the river bank in 1887 with a large luggage shed on the river bank. Parry-Okeden pointed out that the design was less than practical since a wide gap had been left between the two structures. At high tide the wharf was cut off from land by a twelve foot expanse of water. At low water the wharf was inaccessible from the river due to the shallow water at this point. Repeated requests were necessary before the problems were rectified.
An outbreak of scarlet fever in 1889 lent urgency to the already noted need for isolation wards in which to treat sick immigrants. The same year a facility was constructed, but, due to an oversight in the plans, it had no facilities for the provision of gas or water or for the disposal of waste and storm water. Similar problems dogged the long awaited 'disinfecting plant' which was first vandalised and later inundated due to faulty drainage.
When immigration levels were low, the building was used for a variety of purposes. In 1900 it served as temporary accommodation for the inmates of the Dunwich Asylum which had been appropriated as an isolation ward for plague victims. In 1904-'06 it was again appropriated as accommodation for South Sea Islanders being repatriated under the new Commonwealth laws. The arrival of an immigrant ship led to the re-location of the Islanders to rented accommodation nearby as it was considered inappropriate to expect the "two races" to co-habit.
The outbreak of World War I led to another change in use, the building being requisitioned for use as a military hospital. Few alterations to the fabric occurred as a consequence, although two single-storey wards were constructed to the southeast of the building. At the end of the war, the building provided an ideal reception area for returning servicemen who, with their wives, were feted at public receptions. Most of the building activity associated with this phase was removed at the end of the war.
From the end of WWI and throughout the '20s, immigration swelled. The Great Depression of the 1930s led to a rapid fall in numbers, exacerbated by the cancellation of the assisted passage schemes. In 1938 the assistance scheme was reinstated and numbers rapidly climbed, only to fall again with the commencement of WWII.
During the period of inactivity in the 1930s, the building was used to house the team working on the construction of the Story Bridge. Accommodation for the superintendent of works, J. J. C. Bradfield, was provided in the eastern room on the ground floor of the north wing. The entire upper floor of the north wing was devoted to offices and drafting rooms for the works in progress. Four dormer windows were inserted into the roof of the North wing dormitory to provide additional light for the draftsmen. The team for the concurrent Stanley River Dam project were relegated to a large room on the lower floor
The bridge construction was undertaken by Evans Deakin, who converted the immigration depot's grounds into an industrial site with workshops and storehouses. A row of three open sheds cut off the connection between the hostel and the river, remaining in place until some time after the works were completed. The bridge is carried on tall stone pylons across the site to the rear of the principal building. The danger from falling debris and intentionally thrown objects has resulted in the need to identify an easement across the property on which no buildings can be constructed.
With the commencement of WWII the hostel was used to accommodated a hundred women and children evacuated from Hong Kong in 1940. In 1941 the depot was once again converted into a hospital, treating general patients. In 1942 it was devoted to 'special' cases - those soldiers suffering the effects of venereal diseases. The buildings along the river frontage continued to be occupied by Evans Deakin, however most of the other structures on the site were used for the treatment of patients. Most of these buildings are now demolished.
The post-war immigration boom led to a renewed life for the building which was now named Yungaba State Immigration Office and Reception Centre. The name "Yungaba" derives from the Gubbi Gubbi Aboriginal language from the Maroochy area and means "place of sunshine". The volume of post-war immigration was such that the hostel was unable to cope with more than a small proportion of new arrivals, and the bulk were re-directed to the many empty military camps around the city. Of these, Camp Columbia at Wacol was perhaps the best known.
This period saw what were probably the most extensive alterations to the building that have occurred to date. Cubicles were provided in the downstairs dormitories, toilet facilities were re-modelled or re-built, the kitchen was enlarged and refurbished and the exterior brickwork was limewashed. In the period since, the building has been subjected to various minor intrusions and alterations, with the removal of the verandahs and their reconstruction in 1990 being a major impact on the original fabric. Poor management and an inadequate maintenance program have contributed to loss of fabric, and the various internal subdivisions have had a negative impact on the effectiveness of the internal ventilation designed into the building by William Hodgen. In 1993 the building was refitted to provide office accommodation for the Department of Family Services. This refit involved the demolition of the partitions in the North wing. The access to the river was regained following the demolition of the sheds occupied by Evans Deakin and the new accommodation facilities erected in the 1970s respected this important axis.
In 1988 Yungaba became the first building to entered on the Queensland Estate Register maintained under the Cultural Record (Landscapes Queensland and Queensland Estate) Act 1987. The entry was a result of community concern over the impact of the re-development of Kangaroo Point and the need to conserve significant elements of the community's heritage.
Developing ferns - Helechos desenrollándose; camino de regreso del mirador; Parque Nacional Omar Torrijos Herrera, El Copé, Coclé, Panamá
This is from my first home-developed roll of color, using the Tetenal Colortec C-41 Rapid Negative Kit. I'm really excited to have decent first results. :-)
Yashica 44 Twin Lens Reflex
Bluefire Murano 160
A Norwich street scene taken with a folding camera.
Agfa Isolette I. 1954 folding camera.
Ilford HP5 Plus medium format film
Developed in ID11
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
Following the RLM’s selection of the Bf 109 as its next single-seat fighter (beating Heinkel’s He 112, based on a tactical requirement dating back to 1933), Ernst Heinkel became interested in a new fighter that would leap beyond the performance of the Bf 109 as much as the Bf 109 had over the biplanes it replaced. Other German designers had similar ambitions, including Kurt Tank at Focke-Wulf. There was never an official project on the part of the RLM, but new designs were important enough to fund projects from both companies to provide "super-pursuit" designs for evaluation. This would result in the single-engined He 100 fighter, and the promising twin-engine Fw 187 Falke Zerstörer-style heavy fighter.
The He 100 was a radical, new approach with the aim of ultimate performance in a simple airframe. Walter Günter, one half of the famous Günter brothers, looked at the existing He 112, which had competed against the Bf 109 in 1936 and already been heavily revised into the He 112B version. Looking at the aircraft’s potential he decided it had reached the end of its evolution. So he started over with a completely new design, called "Projekt 1035".
Learning from past mistakes on the 112 project, the design was to be as easy to build as possible, yet 700 km/h (440 mph) was a design goal. To ease production, the new design had considerably fewer parts than the 112 and those that remained contained fewer compound curves. In comparison, the 112 had 2,885 parts and 26,864 rivets, while the P.1035 was made of 969 unique parts with 11.543 rivets. The new straight-edged wing was a source of much of the savings; after building the first wings, Otto Butter reported that the reduction in complexity and rivet count (along with the Butter brothers' own explosive rivet system) saved an astonishing 1.150 man hours per wing.
The super-pursuit type was not a secret, but Ernst Heinkel preferred to work in private and publicly display his products only after they were developed sufficiently to make a stunning first impression. As an example of this, the mock-up for the extremely modern-looking He 100 was the subject of company Memo No.3657 on 31 January that stated: "The mock-up is to be completed by us... as of the beginning of May... and be ready to present to the RLM... and prior to that no one at the RLM is to know of the existence of the mock-up."
In order to get the promised performance out of the aircraft, the design included a number of drag-reducing features. On the simple end were a well-faired cockpit and the absence of struts and other drag-inducing supports on the tail. The landing gear (including the tail wheel) was retractable and completely enclosed in flight.
The He 100 was based on the DB 601 power plant, the same engine as the Bf 109 (and also used in the Bf 110 heavy fighter). In order to achieve the designed performance increase, drag reduced as well as weight and frontal area: the engine was mounted directly to the forward fuselage, which was strengthened and literally tailored to the DB 601, as opposed to conventional mounting on engine bearers. The cowling was very tight-fitting, and as a result the aircraft had something of a slab-sided appearance.
Walter turned to the somewhat risky and still experimental method of cooling the engine via evaporative cooling. Such systems had been in vogue in several countries at the time. Heinkel and the Günter brothers were avid proponents of the technology, and had previously used it on the He 119, with promising results. Evaporative or "steam" cooling promised a completely drag-free cooling system. The DB 601 was a pressure-cooled engine in that the water/glycol coolant was kept in liquid form by pressure, even though its temperature was allowed to exceed the normal boiling point. Heinkel's system took advantage of that fact and the cooling energy loss associated with the phase change of the coolant as it boils.
Beyond the technical risk of the cooling system, the engine itself became a problem: the production priority for Messerschmitt aircraft caused a serious shortage of advanced aero engines in Germany during the late 1930s, as there was insufficient capacity to support another aircraft using the same engines. The only available alternate engine was the Junkers Jumo 211, and Heinkel was encouraged to consider its use in the He 100. However, the early Jumo 211 then available did not use a pressurized cooling system, and it was therefore not suitable for the He 100's innovative evaporative cooling system. Furthermore, a Jumo 211-powered He 100 would not have been able to outperform the contemporary DB 601-powered Bf 109 because the supercharger on the early Jumo 211 was not fully shrouded.
In order to provide as much power as possible from the DB 601, the 100 used exhaust ejectors for a small amount of additional thrust. The supercharger inlet was moved from the normal position on the side of the cowling to a location in the leading edge of the left wing. Although cleaner-looking, the long, curved induction pipe most probably negated any benefit.
One aspect of the original Projekt 1035 was the intent to capture the absolute speed record for Heinkel and Germany. Both Messerschmitt and Heinkel vied for this record before the war. Messerschmitt ultimately won that battle with the first prototype of the Me 209, but the He 100 briefly held the record when Heinkel test pilot Hans Dieterle flew the eighth prototype to 746.606 km/h (463.919 mph) on 30 March 1939.
The third and eighth prototypes were specially modified for speed, with unique outer wing panels of reduced span. The third prototype crashed during testing. The record flight was made using a special version of the DB 601 engine that offered 2,010 kW (2,700 hp) and had a service life of just 30 minutes.
Despite all these successes, the He 100 did not catch up immediately: it took until 1941 that series production was started - or better: allowed. The reason for this delay is subject to debate. Officially, the Luftwaffe rejected the He 100 for years to concentrate single-seat fighter development on the Messerschmitt Bf 109, despite its shortcomings. Following the adoption of the Bf 109 and Bf 110 as the Luftwaffe's standard fighter types, the RLM also announced a "rationalization" policy that placed fighter development at Messerschmitt and bomber development at Heinkel.
Based on the "D" model, which was a refined version of the prototypes and pre-production aircraft, the "G" model became the final evolution of the He 100 and was in late 1943 finally put into service as a pure interceptor, when massive Allied bomber raids started to threaten Germany.
The He 100 G had the D's enlarged horizontal stabilizer, but the big change was the eventual abandonment of the surface cooling system, which proved to be too complex and failure-prone. Instead a larger and simpler version of the D’s retractable radiator was installed, and this appeared to completely cure the vaporization system problems with only a little sacrifice in top speed and rate of climb. The radiator was inserted in a "plug" below the cockpit, and as a result the wings were widened slightly.
Armament was also improved: the engine-mounted 20mm MG FF Motorkanone (firing through the propeller hub) was replaced by the new, very powerful and compact MK 108 30mm cannon. The original pair of 7.92mm MG 17 machine guns in the wing roots (synchronized to fire through the propeller disc) was replaced by a pair of more powerful 13mm MG 131 machine guns, necessitating characteristic bulges on the wings’ upper surface – the MG 131s were placed behind the landing gear wells, their barrels running through them.
This initial G-1 type was soon followed by the G-2 variant, which featured a new canopy with a lowered spine, offering a much better all-round view. The first He 100 G-2s were delivered in early 1944, and many of these aircraft had additional weapons installed, e. g. a pair of 20mm MG 151/20 machine cannons in the outer wings – the “leftover” internal space from the defunct vaporization cooler system was effectively recycled . From late 1944 on, these machines were also outfitted with the more powerful DB 601E engine, even though there was no dedicated designation of this version.
While the aircraft didn't match its original design goal of 700 km/h (430 mph) once it was loaded down with weapons, and despite the larger canopy and the external radiator, it was still capable of sustained speeds in the 644 km/h (400 mph) range. Additionally, the low drag airframe proved to be good for both speed and range: as a result the He 100 had a combat range between 900 and 1.000 km (560 to 620 mi) compared to the Bf 109's 600 km (370 mi). While not in the same league as the later escort fighters, this was at the time a superb range and might have offset the need for the Bf 110 to some degree.
The He 100 only filled a niche role, though, and the Bf 109 and Fw 190 became the backbone of the Jagdwaffe (Fighter Force). The He 100 did not prove flexible enough to be used in different roles, as its external ordnance load was very limited. In spite of its successes in the interceptor role and the fact that it was well liked by its pilots, the He 100 never was able to rival both Bf 109 and also the later Fw 190. Production numbers remained low, only a total of about 300 aircraft were built (50 G-1 and 250 G-2, 150 of them powered by the DB 601E) until early 1945, when production ceased and was switched to other types, including jet and rocket fighters.
General characteristics:
Crew: One (pilot)
Length: 8.2 m (26 ft 11 in)
Wingspan: 9.4 m (30 ft 10 in)
Height: 3.6 m (11 ft 10 in)
Wing area: 14.6 m2 (157 sq ft)
Empty weight: 1,810 kg (3,990 lb)
Max takeoff weight: 2,500 kg (5,512 lb)
Powerplant:
1× Daimler-Benz DB 601E supercharged V12 piston engine, rated at up to 1,350 PS (993 kW) at sea-level with 2,700 RPM and up to 1,450 PS (1,066 kW) at 2.1 km altitude with 2,700 rpm
Performance:
Maximum speed: 685km/h (425 mph; 378 kn)
Cruising speed: 552 km/h (343 mph; 298 kn)
Range: 1,010 km (628 mi; 545 nmi)
Service ceiling: 11,000 m (36,089 ft)
Time to altitude: 2.2 minutes to 2,000 meters (6,600 ft), 7.9 minutes to 6,000 meters (20,000 ft)
Armament:
1x 30mm MK 108 cannon, firing through the propeller hub
2x 13mm MG 131 machine guns or 20mm MG 151/20 machine cannons in the wing roots
2x hardpoints under the wings, each able to carry up to 250kg (550lb), including bombs, drop tanks or unguided missiles; optional placement of additional guns (e .g. 2x MG 131 or 2x MG 151/20) in this position instead of external stores
The kit and its assembly:
This one is a kind of tribute work, dedicated to fellow user Franclab at flickr.com from Canada who came up with a profile of/for this model as a reaction to my He 100 Reno Racer conversion (The orange "Jägermeister"):
[http://www.flickr.com/photos/franclab/9485705184/]
It's a fantasy aircraft, as the He 100 did not enter service and production was stopped after about 20 aircraft. But I liked Franclab's realistic and colorful profile, and only at second glance it reveals a twist: a sliding canopy from a Fw 190 instead of the Bf 109-like original. A nice challenge for a whif kit conversion!
Said and done, I tried to create a 1:72 scale model from/for that profile. The basic kit is the Special Hobby He 100, mostly built OOB. It is a very good model, with fine recessed panel lines and some PE parts, and the recent re-issue with Russian and Japanese markings let the prices drop.
What outwardly looks simple - the implantation of a Fw 190 canopy - became more tricky than expected. The He 100 is small! It’s much smaller and slender than the Fw 190, which itself is not a big bird. I had a complete spare glazing sprue from an Italeri Fw 190 D-9 in store which I tried to install, and after some trials the front window ended up steeper than on a Fw 190.
The sliding canopy is actually shorter and higher than on Franclab's sketch (doing mash-ups in Photoshop is probably much easier than in real life!), so I had to improvise and re-sculpt the rear fuselage step by step. As a consequence, the new glazing looks rather "bubbletop"-like and tall, reminiscent of a P-51D? It took some serious surgery (including some implanted styrene wedges under clear parts) and putty work to integrate the Fw 190 parts. While I was successfully able to blend these into the He 100 fuselage, the result still looks a bit odd?
Other, less obvious kit mods are a metal axis for the propeller and an added pair of guns in the outer wings, taking up Franclab's idea of heavier armament (which the original He 100 did not feature). The cannon nozzles are hollow steel needles of different diameter, those in the wing root even run through the landing gear wells. A pilot figure was added, too (from a HUMA kit).
Painting and markings:
Well, the profile was the benchmark, and I tried to stay true to it. It looks like a typical Fw 190 paint scheme from 1943 on. The grey/green upper color would be RLM 75/83, coupled with RLM65 on the lower side. The latter is a bit unlikely, as RLM 76 became the standard at that time. Still, it looks good, esp. with the rather light upper tones, so that's what I went for.
I used Model Master Authentic tones for the RLM 75/83/65 combo, and later some lighter Humbrol shades for a subtle counter-shading of panels and upper surfaces (e. g. with 140, 120 and 65). The yellow ID markings (typical for the Eastern Front) were painted with Revell 310, Lufthansa Gelb. It’s a RAL tone (RAL 1028), but matches RLM 04 very well.
The cockpit interior was painted in Schwarzgrau (RLM 66) and dry-brushed with lighter shades, the landing gear wells are in RLM 02 – everything very conventional, Fw 190s from late 1944 were the benchmark.
The black-white-black stripe on the real fuselage was created with decal strips, instead of trying to paint this delicate detail by hand. In contrast to that, the propeller spinner with the B/W spiral was done with a brush and “free hand”. The same goes for the unique mottling on the flanks and fin – this was also done with a brush, and partly with thinned paint in order to create a “washed” effect and blurred contours. The result looks O.K..
A dubious element in the profile is the "ace of spades" emblem under the canopy. The tactical stripe codes on the rear fuselage were introduced in 1943, and the BWB-marking correctly belongs to JG 4, which was preliminarily formed as I./JG 4 on August 7, 1942 in Mizil, Romania, from the Ölschutzstaffel/JG 77. It became a full home defense Geschwader much later, on June 15, 1944 in Ansbach - but the spade symbol actually belongs to JG 53. There have been cases that pilots decorated their aircraft with symbols from former units, though, so this small detail is not impossible – but unlikely and a bit controversial. In order to fit into the time frame, this He 100 would be one of the final I./JG 4 aircraft used to defend the Romanian refineries and oil fields - a suitable task for the aircraft.
Additionally, the red number and the absence of any other code symbol identifies the machine as part of the 2nd Gruppe of I./JG 4, everything is very plausible! Anyway, in September 1944 the Jagdgeschwader 4 was finally commanded back to German home territory, after heavy losses against B-24 interceptions, and re-grouped in the Reichsverteidigung.
In order to avoid logical conflicts I decided to replace the squadron emblem with a more generic “Ace of Spades” game card icon. I found it on a Fantasy Forge decal sheet for 28mm miniatures in the scrap box.
AFAIK, some JG 4 aircraft displayed the Geschwaderzeichen on the engine cowling, a blue escutcheon with a grey or silver knight’s helmet with a red (red-white) plume. This insignia was first used by II. Gruppe, but later also appeared on other JG 4 Gruppen aircraft.
National markings and the red "10" come from TL Modellbau sheets - a lucky and handy purchase, as I had these in store for the recent Wellesley conversion: I wanted to use the red letters for the tactical code, but had to drop this idea because the German letters have a black rim. Now they come in just with perfect timing, and the letters/digits are even in the right typo for Franclab's profile!
The warning stencils were taken from the original Special Hobby sheet.
After that, I did some additional detail painting with thinned Humbrol 224 (Dark Slate Gray) and light exhaust and soot stains were added with dry-brushed black. Finally, the kit received a thin coat with Revells’ Acrylic Matt Varnish.
All in all, a nice and quick project, even though I invested more work (and putty!) than expected or what is finally visible. It’s (relatively) colorful, and the light livery beyond the typical RLM 70/71/65 paint scheme of the early He 100 Ds suits the elegant aircraft very well. The Heinkel He 100 has some serious whif potential!
Merci bien à Franclab pour l’inspiration!
+++ 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 North American FJ-4 Fury was a swept-wing carrier-capable fighter-bomber, originally developed for the United States Navy and Marine Corps. It was the final development in a lineage that included the Air Force's F-86 Sabre. The FJ-4 shared its general layout and engine with the earlier FJ-3, but featured an entirely new wing design. And it was, as a kind of final embodiment with the FJ-4B, a very different aircraft from the F-86 .
The first FJ-4 flew on 28 October 1954 and delivery began in February 1955. Of the original order for 221 FJ-4 fighters, the last 71 were modified into the FJ-4B fighter-bomber version, of which the Netherlands received 16 aircraft under the designation FJ-4B from the USA in the course of NATO support. Even though the main roles of the MLD were maritime patrol, anti-submarine warfare and search and rescue, the FJ-4B was a dedicated fighter-bomber, and these aircraft were to be used with the Dutch Navy’s Colossus-Class carrier HNLMS Karel Doorman (R81).
Compared to the lighter FJ-4 interceptor, the FJ-4B had a stronger wing with six instead of four underwing stations, a stronger landing gear and additional aerodynamic brakes under the aft fuselage. The latter made landing safer by allowing pilots to use higher thrust settings, and were also useful for dive attacks. Compared to the FJ-4, external load was doubled, and the US FJ-4Bs were capable of carrying a nuclear weapon on the inboard port station, a feature the MLD Furies lacked. The MLD aircraft were still equipped with the corresponding LABS or Low-Altitude Bombing System for accurate delivery of ordnance.
The Dutch Furies were primarily intended for anti-ship missions (toting up to five of the newly developed ASM-N-7 missiles - renamed in AGM-12B Bullpup after 1962 - plus a guidance pod) and CAS duties against coastal targets, as well as for precision strikes. In a secondary role, the FJ-4B could carry Sidewinder AAMs for interception purposes.
The MLD's FJ-4B became operational in 1956, just in time to enhance the firepower of the Karel Doorman, which just had its 24 WW-II era propeller driven Fairey Firefly strike fighters and Hawker Sea Fury fighter/anti-ship aircraft backed up with 14 TBF Avenger ASW/torpedo bombers and 10 Hawker Sea Hawk fighters (the MLD owned 22 of these) for an ASW/Strike profile. The Furies joined the carrier in late 1957 and replaced the piston-engined attack aircraft.
In 1960, during the Dutch decolonization and planned independence of Western New Guinea, a territory which was also claimed by Indonesia, the Karel Doorman set sail along with two destroyers and a modified oil tanker to 'show the flag'. In order to avoid possible problems with Indonesia's ally Egypt at the Suez Canal, the carrier instead sailed around the horn of Africa. She arrived in Fremantle, Australia, where the local seamen's union struck in sympathy with Indonesia; the crew used the propeller thrust of aircraft chained down on deck to nudge the carrier into dock without tugs! In addition to her air wing, she was ferrying twelve Hawker Hunter fighters to bolster the local Dutch defense forces, which the Karel Doorman delivered when she arrived at Hollandia, New Guinea.
During the 1960 crisis, Indonesia prepared for a military action named Operation Trikora (in the Indonesian language, "Tri Komando Rakyat" means "The Three Commands of the People"). In addition to planning for an invasion, the TNI-AU (Indonesian Air Forces) hoped to sink the Karel Doorman with Soviet-supplied Tupolev Tu-16KS-1 Badger naval bombers using AS-1 Kennel/KS-1 Kometa anti-ship missiles. This bomber-launched missile strike mission was cancelled on short notice, though, because of the implementation of the cease-fire between Indonesia and the Netherlands. This led to a Dutch withdrawal and temporary UN peacekeeping administration, followed by occupation and annexation through Indonesia. While the Dutch aircraft served actively during this conflict, flying patrols and demonstrating presence, visibly armed and in alert condition, no 'hot' sortie or casualty occured, even though one aircraft, 10-18, was lost in a start accident. The pilot ejected safely.
The MLD FJ-4Bs only served on the carrier until its overhaul in 1964, after which the carrier-borne attack role was eliminated and all aircraft were transferred to land bases (Valkenburg) or in reserve storage. The Seahawks were retired from service by the end of the 1960s after the sale of the Karel Doorman to Argentina, and the FJ-4Bs were returned to the United States, where they were re-integrated into the USMC until the end of the 1960ies, when all FJ-4 aircraft were phased out.
General characteristics:
Crew: 1
Length: 36 ft 4 in (11.1 m)
Wingspan: 39 ft 1 in (11.9 m)
Height: 13 ft 11 in (4.2 m)
Wing area: 338.66 ft² (31.46 m²)
Empty weight: 13,210 lb (6,000 kg)
Loaded weight: 20,130 lb (9,200 kg)
Max. take-off weight: 23,700 lb (10,750 kg)
Powerplant: 1 × Wright J65-W-16A turbojet, 7,700 lbf (34 kN)
Performance:
Maximum speed: 680 mph (1,090 km/h) at 35,000 ft (10,670 m)
Range: 2,020 mi (3,250 km) with 2× 200 gal (760 l) drop tanks and 2× AIM-9 missiles
Service ceiling: 46,800 ft (14,300 m)
Rate of climb: 7,660 ft/min (38.9 m/s)
Wing loading: 69.9 lb/ft² (341.7 kg/m²)
Thrust/weight: .325
Armament:
4× 20 mm (0.787 in) cannon
6× pylons under the wings for 3,000 lb (1,400 kg) external ordnance, including up to 6× AIM-9 Sidewinder AAMs, bombs and guided/unguided ASM, e .g. ASM-N-7 (AGM-12B Bullpup) missiles.
The kit and its assembly
Originally, this model project was inspired by a (whiffy) Dutch F3H Demon profile, designed by fellow user Darth Panda at whatifmodelers.com. I found the idea of a foreign/NATO user of one of these early carrier-borne jet fighters very inspiring – not only because of the strange design of many of these aircraft, but also since the USN and USMC had been the only real world users of many of these types.
Initially, I planned to convert a F3H accordingly. But with limited storage/display space at home I decided to apply the MLD idea to another smaller, but maybe even more exotic, type: the North American FJ-4B Fury, which was in 1962 recoded into AF-1E.
I like the beefy Sabre cousin very much. It’s one of those aircraft that received little attention, even from model kit manufacturers. In fact, in 1:72 scale there are only vintage vacu kits or the very basic Emhar kit available. Th Emhar kit, which I used here and which is a kind donation of a fellow modeler (Thanks a lot, André!), a rather rough thing with raised panel lines and much room for improvements. As a side note, there's also a FJ-4B from Revell, but it's just a 1996 re-issue with no improvements, whatsoever.
Another facet of the model: When I did legwork concerning a possible background story, I was surprised to find out that the Netherlands actually operated aircraft carriers in the 1950s, including carrier-borne, fixed-wing aircraft, even jets in the form of Hawker Sea Hawks. The real life FJ-4Bs service introduction, the naissance of NATO and the Indonesian conflict as well as the corresponding intervention of the Karel Doorman carrier all fell into a very plausible time frame – and so there’s a very good and plausible story why the MLD could actually have used the Fury fighter bomber!
The Emhar kit was not modified structurally, but saw some changes in detail. These include a scratch-built cockpit with side walls, side consoles and a new ejection seat, plus a Matchbox pilot figure, a new front wheel (from a Kangnam Yak-38, I believe), plus a lot of added blade aerials and a finer pitot.
The flaps were lowered, for a more lively look- Another new feature is the opened air intake, which features a central splitter - in fact a vertically placed piece of a Vicker Wellesley bomb container from Matchbox. At the rear end, the exhaust pipe was opened and lengthened internally.
The six weapon hardpoints were taken from the original kit, but I did not use the four Sidewinder AAMs and the rather bulky drop tanks. So, all ordnance is new: the Bullpups come from the Hasegawa air-to-ground missile set, the drop tanks are leftover pieces from a Hobby Boss F-86. They are much more 'delicate', and make the Fury look less stout and cumbersome. The guidance pod for the Bullpups (a typical FJ-4B feature with these weapons) is a WWII drop tank, shaped with the help of benchmark pictures. Certainly not perfect, but, hey - it's just a MODEL!
Painting and markings
I used mid-1950ies MLD Sea Furys and Sea Hawks as a design benchmark, but this Fury is placed just into the time frame around 1960 when the MLD introduced a new 3-digit code system. Before that, a code "6-XX" with the XX somewhere in the 70 region would have been appropriate, and I actually painted the fuselage sides a bit darker so as if the old code had recently been painted over.
Dutch MLD aircraft tended to keep their former users’ liveries, but in the FJ-4B’s case I thought that a light grey and white aircraft (USN style) with Dutch roundels would look a bit odd. So I settled for early NATO style with Extra Dark Sea Grey upper sides (Humbrol 123) and Sky from below (Testors 2049 from their Authentic Line).
I also went for an early design style with a low waterline - early Hawker Sea Furies were painted this way, and a high waterline would probably be more typical. But in the face of potential seriosu action, who knows...? Things tend to be toned down quickly, just remember the RN Harriers during the Falkland conflict. I'll admit that the aircraft looks a bit simple and dull now, but this IMHO just adds to the plausible look of this whif. I prefer such subtleties to garish designs.
The surfaces were weathered with dry-brushed lighter shades of the basic tones (mostly Humbrol 79, but also some 140 and 67, and Humbrol 90 and 166 below), including overpainted old codes in a slightly darker tone of EDSG, done with Revell 77. A light wash with black ink emphasizes edges and some details - the machine was not to look worn.
The interior was painted in medium grey (Humbrol 140), the landing gear is white (Humbrol 130), and some details like the air intake rim, the edges of the landing gear covers, the flaps or the tips of the wing fences were painted in bright red (Humbrol 174), for some contrast to the overall grey upper sides.
The MLD markings were puzzled together. The roundels come from an Xtradecal sheet for various Hawker Sea Furies, the '202' code comes, among others, from a Grumman Bearcat aftermarket sheet. The 'KON. MARINE' line is hand-made, letter by letter, from a TL Modellbau aftremarket sheet.
Most stencils and warning sign decals come from the original decal sheet, as well as from a FJ-4 Xtradecal aftermarket sheet, from F-86 kits and the scrap box. I wanted these details to provide the color to the aircraft, so that it would not look too uniform, but still without flashy decorations and like a rather utilarian military item.
finally, the model received a coat of semi-matt varnish (Tamiya Acryllic), since MLD aircraft had a pretty glossy finish. No dirt or soot stains were added - the Dutch kept their (few) shipborne aircraft very clean and tidy!
So, all in all, a simple looking aircraft, but this Dutch Fury has IMHO a certain, subtle charm - probably also because it is a rather rare and unpopular aircraft, which in itself has a certain whiffy aura.
© István Pénzes.
Please NOTE and RESPECT the copyright.
14th., May 2010, Heerlen, The Netherlands, "the glaspaleis"
Leica M7
Summicron 35mm
Fuji Provia 100
Developed by Photo Studio 13
Coolscan 5000
developed in Caffenol-C-M 15 min @ 20°C. First fixed 3 days with NaCl with water, then Tetenal Superfix Plus.
I thought the fixing was too bad due to the right-most histogram. After fixing with Tetenal only a little difference can be seen (little bit finer grain, other color).
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
The General Dynamics F-16 Fighting Falcon is an American single-engine supersonic multirole fighter aircraft originally developed by General Dynamics for the United States Air Force (USAF). Designed as an air superiority day fighter, it evolved into a successful all-weather multirole aircraft with over 4,600 built since 1976. Although no longer purchased by the U.S. Air Force, improved versions are being built for export. In 1993, General Dynamics sold its aircraft manufacturing business to the Lockheed Corporation, which became part of Lockheed Martin after a 1995 merger with Martin Marietta.
The F-16's key features include a frameless bubble canopy for enhanced cockpit visibility, a side-mounted control stick to ease control while maneuvering, an ejection seat reclined 30 degrees from vertical to reduce the effect of g-forces on the pilot, and the first use of a relaxed static stability/fly-by-wire flight control system that helps to make it an agile aircraft. The F-16 has an internal M61 Vulcan cannon and 11 hardpoints. Although officially named "Fighting Falcon", the aircraft is more commonly known by the nickname "Viper".
In addition to active duty in the U.S. Air Force, Air Force Reserve Command, and Air National Guard units, the aircraft is also used by the U.S. Air Force Thunderbirds aerial demonstration team, the US Air Combat Command F-16 Viper Demonstration Team, and as an adversary/aggressor aircraft by the United States Navy. The F-16 has also been procured by the air forces of 25 other nations. As of 2024, it is the world's most common fixed-wing aircraft in military service, with 2,145 F-16s operational.
The F-16C (single seat) and F-16D (two seat) variants entered production in 1984. The first C/D version was the Block 25 with improved cockpit avionics and radar which added all-weather capability with beyond-visual-range (BVR) AIM-7 and AIM-120 air-air missiles. Block 30/32, 40/42, and 50/52 were later C/D versions. The F-16C/D had a unit cost of US$18.8 million (1998). Operational cost per flight hour has been estimated at $7,000 to $22,470 or $24,000, depending on the calculation method.
Kodak 2238 shot at ISO 100 and developed in H&W Control 1:15. Underexposed and overdeveloped this is the first experiment. H&W Control was invented by Harold Holden and Arnold Weichert and “perfected” to work with Agfa Copex Pan Rapid microfilm which was rebranded by H&W as a house film to work with Control developer. The purpose of the creation was to use the high contrast film for aerial reconnaissance who H&W contracted with. Here I’m trying to see how high we could reasonable run 2238 as a standard film for snapshots etc.
H&W Control’s patent states it’s normal initial use should be 1:15 dilution at 68 degrees F for 12 minutes and then expand from there. This roll was shot at ISO 100 then split. I developed the first half of the roll at 68 degrees for 13 Minutes and the second half for 14 minutes. Standard agitation is constant for the first 2 minutes and then 6 seconds every minute thereafter. Stop/washed in tap water at 68 degrees and fixed in Ilford Hypam 1:4 for 3 minutes (H&W suggests 2 minutes).
These were shot on the same 2 days, overcast with little direct sunlight. The shots are obviously underexposed. But some of them are pretty adequate with some post process. There is a tendency for the picture to go dark and appear as evening or even well lit night. However it is easy to brighten the scene.
After some thought I think the goal will be to get clear ISO 80 pictures on 2238. I will next extend the developing time in order to clear up some of the blocked parts. I may try some sodium thiocyanate something around 1 g/Liter of stock so 0.06 gram in the working solution.
H&W Control
Water (60ºC)75 ml
Sodium Sulfite, anhydrous1.9 gpreservative
Hydroquinone0.3 gdeveloper agent
Sodium Carbonate8.7 galkali, accelerator
Phenidone2.07 gdeveloper agent
Water to make125 ml
Sodium Sulfite15.15 gpreservative
Water to make250 ml
Capacity at 1+15 dilution4 L for 13 rolls
After coming from the countryside I went to visit the bazaar of my hometown.This is not even the worst!
Is it a wonder that electrical items break and people die because of electricity? Low and high voltages, current peaks, phase differences, power cuts and Allah/Jahve/God/Shiva/Vishnu/Chthulhu/[place your divine entity here] only knows - if even he/she/it/them - what else are everyday problems come with this kinds of works of art.
From circles of 10.5 inch 60 lb. red paper with a little blue ink for artsiness reasons. Same crease pattern, just different orientations on the curves.
Homage to Gretter and to the mysterious Suzuki of Aichi province.
In 1935, Donald Roebling developed the Alligator, a wide-hull, tracked vehicle that could operate in swampland. As it was equally mobile in water and land, the Alligator was meant for rescue work, but when the US Marine Corps learned of it, they commissioned Roebling to develop a larger version for amphibious operations as the Landing Vehicle Tracked (LVT).
The Marines, after studying the failed Gallipoli operation during World War I, determined that the reason why such operations failed was a lack of ability to quickly move troops and supplies from ships to shore. The LVT was meant to solve that problem: it could use its tracks to "swim" from offshore ships to land, then go further inland like a tank, just like Roebling's Alligator. It went into full production just before the US got involved in World War II. Roebling, for his part, refused to accept payment for his design, regarding it as part of his patriotic duty.
First used at Guadalcanal in 1942, the LVT-1 was found to have several flaws. It was unarmored, leaving it vulnerable to enemy fire, while the Marines inside would have to dismount by going over the sides, also exposing them to enemy fire. It was slow through the water and had a tendency to throw its tracks on land. Finally, it lacked firepower. In the words of Herman Wouk, "It could do neither job [sea or land transportation] well, but it existed because it could do either at all." In Marine lexicon, the LVTs were referred to as "amtracs," for amphibious tractor.
The Marines began working on options. Field modification kits were issued, adding armor to the sides and increasing its armament; the LVT(A)-1 was modified with turrets taken from M3 Stuarts and dubbed the "amtank" (amphibious tank). Later versions, such as the LVT-4, added a rear ramp for easier and safer disembarkation, and in LVT(A)-4s, added a turret with a 75mm howitzer for use against Japanese strongpoints. LVT(A)s were invaluable in providing fire support for landing operations, especially as Japanese fortifications on their islands became more elaborate and well-protected.
LVTs were used in every landing operation in the Pacific, and in later operations in Europe, where they were useful in clearing out the Scheldt estuary and crossing the Rhine. The lack of an adequate replacement kept them in service until the 1950s, when they were replaced by the much larger LVT-5.
I believe this is a LVT-1, given the more pointed sides of the forward hull, but I may be wrong. This is one of two LVTs in the possession of the National Museum of Military Vehicles, though this particular vehicle is unrestored. "Big Ugly" sits outside in the NMMV's storage shed, and likely will at some point join the other LVT inside in a new display.
There were many things to love about the NMMV, but one was the very friendly and helpful staff. When I asked if I could photograph their vehicles in storage, they replied "Please do, that's what they're there for." It's something of at-your-own-risk, as these vehicles are crammed under the shed, and negotiating them means opening yourself to be cut by sometimes rusty equipment. Still, good photos can be had from the periphery. It's probably the only museum I've been to where I stopped photographing everything, since I'd already shot several of any particular type of vehicle inside the museum!
On December 8th, 2012 P4K and EPN launched the Farmers of the Future program officially in Gueriguinde. Both the Minister of Education and the Minister of Livestock participated in front of a huge crowd of 400! This program is being piloted in three schools in Libore, with the goal of changing the mindset of children about agriculture -- teaching them that it is a business not merely a way to subsist.
English after Thai.
20 กันยายน 2552, ฉะเชิงเทรา - พระนั่งบนหลังช้าง ในขณะที่คาราวานช้างนำโดยกรีนพีซเดินรณรงค์กับประชาชนในชุมชน ข้าราชการท้องถิ่น และกลุ่มประชาสังคม ในฉะเชิงเทรา ราว 100 กม. ทางเหนือของกรุงเทพฯ กิจกรรมนี้เป็นส่วนหนึ่งของโครงการ “39 วันมหัศจรรย์รักษ์ลุ่มน้ำบางปะกง เทิดพระเกียรติแม่ของแผ่นดิน” ของจังหวัด ลุ่มน้ำบางปะกงให้น้ำในการชลประทาน การเกษตร การบริโภค และอุตสาหกรรม ผลการสำรวจเมื่อเร็วๆ นี้โดย WWF กรีนพีซ เอเชียตะวันออกเฉียงใต้ และ 350.org เพื่อสนับสนุนการรณรงค์ tcktcktck เผยว่า ชาวเอเชียกังวลเรื่องการขาดแคลนน้ำมากที่สุด จากผลกระทบภาวะโลกร้อนอันรุนแรงทั้งหลาย “เดินกับช้าง ร่วมสร้างการเปลี่ยนแปลง” เป็นคาราวานมวลชนเพื่อการเปลี่ยนแปลง 15 วัน ร่วมกับช้างที่ได้รับการฟื้นฟูสุขภาพโดยกองทุนวิจัยและอนุรักษ์ช้างไทย ซึ่งจะเดินทางผ่านพื้นที่ที่ได้รับผลกระทบจากการเปลี่ยนแปลงสภาพภูมิอากาศ และสิ้นสุดลงในวันที่ 27 กันยายน 1 วันก่อนการประชุมกรอบอนุสัญญาสหประชาชาติด้านการเปลี่ยนแปลงสภาพภูมิอากาศในกรุงเทพฯ ก่อนการประชุมสุดยอดโลกร้อนที่โคเปนเฮเกน กรีนพีซเรียกร้องให้ผู้นำโลก โดยเฉพาะบารัค โอบามา ประธานาธิบดีสหรัฐ เห็นชอบข้อตกลงที่มีเป้าหมายสูง เป็นธรรม และมีผลบังคับใช้ตามกฎหมาย และให้จัดหาเงินทุนบรรเทาและปรับตัวจากประเทศพัฒนาให้กับประเทศกำลังพัฒนา เริ่มด้วยเงินทุนปกป้องป่าในเอเชียตะวันออกเฉียงใต้ ซึ่งเป็นบ้านของสายพันธุ์พืชและสัตว์ 20% ของโลก รวมถึงช้างเอเชีย © Greenpeace / อฐิษฐ์ พีระวงศ์เมธา
Chacheongsoa Province, Thailand, 20 September 2009 -- Monks ride an elephant as the Greenpeace-led Chang(e) Caravan rallies with
communities, local government and civic groups in Chacheongsoa
Province, around 100 kilometers North of Bangkok. The activity is
part of the province’s “Rehabilitate and protect the Bangpakong River
Basin” event. Bangpakong River Basin’s watershed provides water for
irrigation, agriculture, drinking and industrial uses. A recent poll
commissioned by WWF, Greenpeace Southeast Asia and 350.org to support
the Tcktcktck campaign revealed that among the serious impacts of
climate change, Asians are most worried about water shortage. The
Greenpeace Chang(e) Caravan is a 15-day people’s caravan for change
with elephants rehabilitated by the Thai Elephant Research and
Conservation Fund (TERF), which will pass through climate change
impacted areas of Thailand and end on September 27, a day before the
start of the UN Framework Convention on Climate Change intercessional
meeting in the capital. Greenpeace is calling on world leaders,
particularly United States President Barack Obama, for an ambitious,
fair and binding global climate treaty, and for funds for mitigation
and adaptation from developed to developing countries, starting with
funds to protect forests in Southeast Asia, home to 20 percent of all
known species of plants and animals, including the Asian Elephant
(chang in Thai). (c)Greenpeace/Athit Perawongmetha