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Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. It was preceded into production by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible.
After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I, and was the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentradi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment. The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie and FAST Pack "Super" Valkyrie weapon systems.
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies. Although the VF-1 would eventually be replaced as the primary VF of the UN Spacy by the more capable, but also much bigger, VF-4 Lightning III in 2020, a long service record and continued production after the war proved the lasting worth of the design.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters.
The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
Equipment Type: all-environment variable fighter and tactical combat battroid
Government: U.N. Spacy, U.N. Navy, U.N. Space Air Force
Accommodation: pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (fully extended)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)
4 x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);
18 x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features: 3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min time from Fighter to Battroid (manual): 0.9 sec.
Armament:
1 x internal Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1 x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 rds fired at 1,200 rds/min
4 x underwing hard points for a wide variety of ordnance, including
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs
Optional Armament:
Shinnakasu Heavy Industry GBP-1S ground-combat protector weapon system, or
Shinnakasu Heavy Industry FAST Pack augmentative space weapon system
The kit and its assembly:
This is one more 1:100 Bandai VF-1, IMHO a design masterpiece created by Shoji Kawamori and one of my favorite mecha designs ever, because it was created as an late 70ies style jet fighter that could transform into a robot in a secondary role, a simple, purposeful military vehicle.
I’ve built more than a dozen of these kits over the last 25 years, so I know it pretty well, especially its weaknesses. But the small Valkyries, originally manufactured by IMAI and now still on sale through Bandai (they pop up every 5 years when another Macross anniversary occurs…) are simple and easy to modify, and to me a kind of clean canvas for weird and colorful ideas. The VF-1 carries a huge creative potential.
This VF-1A was built almost OOB. I just made some minor mods, partly based on the design benchmark (see below). These include a pilot figure for the cockpit – actually a modified, HO (1:87) scale sitting soldier from Roco Minitanks; 1:100 pilot figures are hard to find, but I found that these squatted figures fill the cockpit and the relatively flat seat pretty well. A few characteristic blade antennae (four under the lower front fuselage and two behind the cockpit) were added.
Since this VF-1A was to be displayed in flight, the landing gear could be omitted and the covers mounted in closed position. The underwing ordnance was omitted and the pylons’ attachment points faired over. The handgun, hanging under the fuselage in flight mode, was replaced by a smoke generator and an associate tank - actually a drop tank from an Airfix 1:72 Saab Viggen. It also holds an adapter for a scratch-built display, which is taller and less obvious than the OOB offering.
Painting and markings:
This is where the actual work took place – and this Canadian VF-1 is a personal interpretation of a fictional custom Valkyrie profiles by CrazyCanuck, posted at macross.net in the fan art section (check
www.macross2.net/m3/forfansonly/crazycanuck/layouts-snowb... for reference).
There’s hardly a livery that does not suit the elegant VF-1, and I found the Snowbirds scheme very pleasing. I also liked the idea that the VF-1 would be used all over the world, with national adaptations like a Royal Navy(!) variant backed by official publications and source books. So, why not a Canadian Valkyrie?
For easy painting the kit was built in separate section (cockpit, fuselage with wings and butterfly tail, legs, head and the smoke generator), and the use of white AND red –together with yellow IMHO the most challenging tone to work with on models – scared me.
Due to the kit’s tininess I painted everything by brush with enamels. The basic tones are Humbrol 130 and 19, the latter turned out to be a very good representation of the Snowbirds’ deep scarlet red tone.
The cheatline all long the VF-1, literally from nose to feet, was created with decals. Most come from an 1:72 Snowbirds CL-141 Tutor sheet from Victoria productions in Canada (excellent stuff!), part of the trim had to be improvised and extended with generic blue and white decal sheet.
In contrast to the CrazyCanuck illustration, I decided to add Macross insignia instead of Canadian roundels – keeping in line with similar “nationalized” VF-1s in official source books. Some Canadian symbols like the flags on the fins, the roundels in the round depressions at the ankles and the huge Canadian flag on the starboard wing (a personal addition, the maple leaf is a decal while the rest was done with paint) were adopted, though, and they suit the Valkyrie well.
After basis painting was done I followed the engraved panel lines with a fine, very soft pencil. An experiment, because I just wanted a subtle emphasis esp. on the white surfaces, not the 2D/comic-style full black panel lines of former builds.
No other weathering was done, since this VF-1 was to look clean and bright. Finally, everything was sealed with a coat of gloss acrylic varnish, and the characteristic clear parts (visor on the head, position lights on the legs, laser muzzles, position lights) were laid out with acrylic silver and filled out with various shades of clear paint. Just small things, but they enhance the overall impression of the simple model kit a lot.
After a long time it’s a good feeling to build an VF-1 again, and creating a rather bright one was fun, even though the paint job was challenging. But patience and clever improvisation paid out: that Snowbird really stands out, the Snowbirds livery suits the VF-1 well! :-D
I haven't developed a roll of film since my summer of 2010. After a photo shoot in the morning, I went to the photo store to get my Dad's old Canon EOS 500 film camera fixed (switch batteries). I then shopped around, bought some more film and got a cheap offer of a kit to develop film. So I got it and tried it out, it was pretty fun. Other than the part at the end where I couldn't open the tank and had to use my sister's baseball bat to bust it open. The negatives looks okay, I'm going to go try to print them tomorrow after school.
Mid-demo at Westborough State Hospital.
Shot on my Bessa R4A w/ Voigtlander 21mm f4.
Ilford Delta 3200 (shot at box speed). Developed with exhausted Ilfotec DD-X at 75 degrees for 7 minutes.
From September 15th to 19th the second of the four JCOM Masterclasses, educational programmes aimed at an international audience and held by international experts takes place. For the 20 selected participants this interactive course represents a unique opportunity to discuss the state-of-the-art of science exhibition development with particular focus on the possible different design approaches, helping participants to reflect on the relationship between the different media, contents and visitors' experience.
Linhof Technika Early-type 9x12
Schｎeider-Kreuznach
Symmar 210mm F5.6
ROLLEX_6x9Film_Holder
ILFORD DELTA400
Self_developed
ID11_Developer
Develop Don't Destroy Brooklyn
Atlantic Yards Junkyard Bonds Protest
December 14, 2009
Standard & Poor's
55 Water Street
New York
From September 15th to 19th the second of the four JCOM Masterclasses, educational programmes aimed at an international audience and held by international experts takes place. For the 20 selected participants this interactive course represents a unique opportunity to discuss the state-of-the-art of science exhibition development with particular focus on the possible different design approaches, helping participants to reflect on the relationship between the different media, contents and visitors' experience.
Developing two rolls of film from test runs in a camera my cousin asked me to take a look at: Canon AE-1. Replaced battery. Worked fine for a while with intermittent shutter errors related to the shutter button and a electronix release. Hmmm...
Secretary of Defense Ash Carter meets with Amazon CEO and founder Jeff Bezos in Seattle March 3, as part of his ongoing efforts to strengthen ties between DOD and the tech community. (Photo by Navy Petty Officer 1st Class Tim D. Godbee, Office of the Secretary of Defense (OSD) Public Affairs)
To develop the UK-India relationship on few strategic themes such as ‘Future Cities’, Science and Innovation Network India organised a ‘UK-India future cities workshop’. The aim of the event was to bring together UK stakeholders in future cities research and innovation to create a network with the Indian side which we would use a basis for our new strategic relationship with India on cities. The workshop took place on 24-25 February 2014 at Taj Palace Hotel, New Delhi. Follow us on twitter @UKinIndia
4 Testing Ilford Delta 3200 Minolta Dynax 5, Sigma 28-70mm F3.5-4.5 Minolta Program 3200i Flash Ilford Delta 3200 Developed In Ilford Ilfotec DD-X (1+4) January 2023
I'm always looking to blend the beautiful aesthetic of traditional media while hybridizing the process of digital painting.
My latest investigations have been very productive. I have worked with fellow artists to obtain real world oil paint samples, then after importing and color correcting these samples I have developed a baseline for the actual colors to be used in my digital paintings.
The colors in the digital workflow are generally too saturated in comparison with real paint. Including knowledge of color theory and dynamics, my new Authentic Digital Colors will yield more painterly and acceptable results.
This studio aimed to develop and further a students' understanding of architecture by studying the intersection of at, design and materials science. Three primary exercises helped develop student’s techniques of drawing, making and organizing structures. This course was specifically created to play off students' non-architectural education by introducing a domain of investigation whereby students learned to design through the lens of cross-disciplinary experimentation.
Throughout the semester students investigated generative art, design and materials science through the lens of “pattern formation” and attempted to extract principles, learned techniques and developed strategies for design. By studying the formation of materials students explored both the fundamental science as well as new advances in research to understand the building blocks of matter, organizational patterns, processes of material creation and micro-to-macro material behavior. To draw comparison, students also researched both contemporary and historic works of generative art and design to understand the rules, logic and components of the work and how high-level patterns emerge from local interaction. These seemingly opposite fields converged and become precedents for three exercises: 1. Generative drawings, 2. New material formations and 3. Living objects / growing structures.
Learn more at arts.mit.edu
All photos ©L. Barry Hetherington
lbarryhetherington.com/
Please ask before use
From September 15th to 19th the second of the four JCOM Masterclasses, educational programmes aimed at an international audience and held by international experts takes place. For the 20 selected participants this interactive course represents a unique opportunity to discuss the state-of-the-art of science exhibition development with particular focus on the possible different design approaches, helping participants to reflect on the relationship between the different media, contents and visitors' experience.
This is a test of the FPP C41 developing kit comparing age and temperature. All 4 photos were taken with Minolta X Series SLR cameras with the same 50mm 1.4 lens. Film is fresh Fujifilm Superia 200. 3.5 minute develop, 6.5 minute blix.
Top left - Old chemicals @105F that have developed 25+ rolls (kit recommends 12-15)
Top Right - Fresh batch of chemicals @105F
Bottom Left - Fresh chemicals @85F
Bottom Right - Fresh chemicals @120F
Photographers must develop awareness of the quality of light. I love shooting landscapes and the quality of light is every bit as important as the subject when shooting scenics. Sometimes the light and its palette in the sky is all the subject needed. Tonight was one of those nights, and, while sitting at home just before dinner, I saw a red glow develop in the eastern sky. A quick glance to the west confirmed that the sun was painting the clouds, so off to the closest open field I drove, and capturd the beauty of a lovely humid November sunset.
From September 15th to 19th the second of the four JCOM Masterclasses, educational programmes aimed at an international audience and held by international experts takes place. For the 20 selected participants this interactive course represents a unique opportunity to discuss the state-of-the-art of science exhibition development with particular focus on the possible different design approaches, helping participants to reflect on the relationship between the different media, contents and visitors' experience.
Natural arch developed in chalk & impure chalk in the Cretaceous of Kansas, USA.
This western Kansas landscape consists of chalk badlands and chalk pillars and a natural arch. The rocks are chalks and impure chalks (e.g., argillaceous chalk and chalky shale) that range in color from whitish to light gray to yellowish. Chalk is a biogenic, calcitic, marine sedimentary rock composed of numerous coccolith microfossils (see: www.soes.soton.ac.uk/staff/tt/eh/pics/lith2.gif). Coccoliths are individual calcareous plates that covered a single-celled photosynthetic marine organism called a coccolithophorid (a.k.a. coccolithophore) (see: upload.wikimedia.org/wikipedia/commons/d/d9/Emiliania_hux...). These beds were deposited in the ancient Western Interior Seaway, a section of ocean that existed during parts of the Mesozoic Era in what is now the American and Canadian Great Plains.
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Rock arches are rare erosional features - those developed in chalk beds are even rarer. If a stream goes under an arch, it is known as a natural bridge. If no stream is present, the feature is a natural arch. Along lakeshores, they are called lake arches. Along oceanic coastlines, they are called sea arches. The highest concentration of natural arches on Earth is Arches National Park in eastern Utah.
Stratigraphy: Smoky Hill Chalk Member (a.k.a. Smoky Hills Member), Niobrara Formation, mid-Upper Cretaceous
Locality: Monument Rocks (also known as the Chalk Pyramids), along Gove County Road 16, north of the Smoky Hill River, Gove County, western Kansas, USA (38° 47' 43.24" North latitude, 100° 45' 52.06" West longitude)
Taken with a Zenit SLX camera in week 371 of my 52 film cameras in 52 weeks project:
52cameras.blogspot.com/
www.flickr.com/photos/tony_kemplen/collections/7215762311...
Agfa Vista ISO200 film from Poundland, developed in the Rollei Digibase C41 kit.
This one was taken with an f2.8 24mm Prakticar lens