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Direct Rail Services Class 37/4 No. 37419 'Carl Haviland' is seen at Great Yarmouth before operating 2P21 the 13:17 Greater Anglia service to Norwich on Tuesday 15th November 2016.
The gorgeous Performance Direct promo girl Faye Evette Betts looks sensational at Autosport International car show in the NEC, Birmingham, UK.
Stunning Faye is one of my favourite UK models and always draws a huge crowd when she is at an event.
Nikon D-800, Nikkor 28-300mm f/3.5-5.6 IF-ED-VR-2 (FX), Nikon SB-910 Speedlight. 115mm, flash with diffuser, 1/125, F5.6, ISO 400
© MSI Ireland 2016
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Photography by JOB/MSI Ireland
© John O’Brien / MSI Ireland 2016
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Direct Rail services (DRS) 66426 passes Markinch heading 6K11 10:20 Dundee Central Jn to Millerhill S.S.
Direct Rail Services Vossloh/Caterpillar UK Light Class 68s 68033 and 68002 'Intrepid' diesel-electric locomotives at Seascale on the Cumbrian coast railway line with 6C53 the 06:25 Crewe Coal Yard to BNFL Sellafield nuclear flask train.
Direct Rail Services 66428 Disturbs The Sunday Morning Quiet As It Accelerates 4V38, The 09.06 Daventry International Rail Freight Terminal (DIRFT) to Wentloog Tesco Containers Alongside The Worcester & Birmingham Canal As It Approaches University Station, Running 15 Minutes Early.
Sunday 11th March 2018
Direct Rail Services Class 37/6 37604 diesel-electric locomotive stabled near Workington Main railway station on the Cumbrian coast railway line. It is here as a training loco for the Arriva train crew who work on the 37/4 powered passenger train on this line.
Unprepared for the red shouldered hawk to come directly at me, I did all I could do. Held the camera up and pressed the shutter. The hawk sailed about 3 feet over my head. Though backlit and soft, you get the idea. Was it after my camera??
Neon Direct Dyed Diagonal Block Color : I updated Valerie’s hair color blocks / underlights with Pravana Locked-in Colors and Neons custom mixtures. Reshaped her hair with my magical Hattori Hanzo Shears.
sarasotabradentonhairsalon.com/neon-direct-dyed-diagonal-...
Direct Rail Services class 37 no. 37714 runs round its train at Leicester North prior to forming 2B20 to Loughborough on 20th March 2016.
Seen on 2P29 1718 Great Yarmouth - Norwich running on time.
It left Great Yarmouth on time.
It arrived at Norwich on time
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 6 exposures processed with Photomatix. Tokina 11-16mm lens
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
en.wikipedia.org/wiki/Infrared_photography
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Direct Rail Services 68 003 / 002 passing Cheney Longville, Craven Arms with the diverted 6M63 Nuclear Flasks from Bridgewater to Crewe, diverted via the marches due to engineering works at Bristol
My travels around the UK by car for three weeks with my son. June/July 2019 Scotland.
Day fourteen .. making our way to Inverness, where we are staying the night.
Glenfinnan is a hamlet in Lochaber area of the Highlands of Scotland. In 1745 the Jacobite rising began here when Prince Charles Edward Stuart raised his standard on the shores of Loch Shiel. Seventy years later, the 18 m Glenfinnan Monument, at the head of the loch, was erected to commemorate the historic event.
Glenfinnan lies about halfway between Fort William and Mallaig on the picturesque West Highland Railway. Along with a regular rail service by Abellio ScotRail, the line is used by the Jacobite steam train. A small, privately-owned railway museum operates at the station, utilising the former booking office, the disused signalbox and some stored coaches.
Sir Robert McAlpine had the Glenfinnan Viaduct constructed between 1897 and 1898. The structure, which is built entirely out of concrete, has 21 arches with spans of 15 m (49 ft) and reaches a height of 30 m (100 ft) above the valley. To commemorate the viaduct's centenary in 1997, a plaque was unveiled at the base of one of its arches.
The landscape in which the viaduct is located has made it popular with film producers. In 1969, it was used in Ring of Bright Water, starring Bill Travers and Virginia McKenna. It has since come to prominence in the cinematic releases of the Harry Potter series. The Hogwarts Express, is filmed crossing the viaduct in several of the films beginning with Harry Potter and the Chamber of Secrets in 2002. The train filmed is the Jacobite Steam-Locomotive Train, a tourist train.
Framed by spectacular Highland scenery at the head of Loch Shiel, the Glenfinnan Monument is a striking tribute to those who fought in the Jacobite Risings.
Less than a year before the Battle of Culloden, Prince Charles Edward Stuart raised his father’s Standard at Glenfinnan, marking the start of the 1745 Jacobite campaign. An army of 1,500 rallied to join Bonnie Prince Charlie – they marched as far south as Derby before the retreat began that would seal their fate.
In 1815, the 18m-high monument was built here, with the lone, kilted Highlander at the top providing a poignant reminder of the clansmen who gave their lives to the Jacobite cause.
For More Info: en.wikipedia.org/wiki/Glenfinnan
Seen crawling through York Station working 1Q99 Leeds - York having finished its shift as the TDF Support Train at Leeds. 20305 was on the front of the train.
For the first time since at least 2016 when the DB 92s were restricted to the Channel Tunnel/HS1 only, a Class 92 ran under its own power direct from Dollands Moor to Crewe ETD.
GB Railfreight Class 92, 92 032 "IMechE Railway Division" made the c.225 mile trip from the Kent coast to Cheshire for a brief visit to DB Cargo's Crewe ETD - or Crewe International Electric Maintenance Depot (IEMD) to give it its full name.
Crewe IEMD was the original base for the entire Class 92 fleet and after over a decade away, the 92s owned by GB Railfreight are once again regular visitors for major repairs and certain specific work that cannot be done at Wembley.
032 - seen at Crewe - was on its way to have its annual TVM430 recertification performed. Crewe ETD is one of only two places to have the equipment to do this - the other being Eurotunnel in France.
TVM430 is the in-cab signalling used in the Tunnel/HS1 - the antennae is housed in the black box beneath the buffers. TVM stands for "Transmission Voie-Machine" or "track-to-train transmission" with the 430 referring to the maximum speed in km/h it can control trains up. 430 km/h is required for the TGVs where this system is used in France, but is more than enough for the 140 km/h top speed of the 92s.
unscientific comparision of paper negatives, left Harman Direct Positive Paper - right Imago Direct Positive Paper RC
Both images are metered on a gray card with a spotmeter, for Harman i assumed an ISO of 1.5, Imago is around ISO 12 for me.
Personally, i prefer the RC of the Imago, but i'm having big difficulties getting real blacks. Tried diffferent developers (Adonal, Neutol and Rodinal 1:25) and extended dev time a significant amount, but still no real black.
Please share your experiences with Imago and Harman :)
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No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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AN IN DEPTH LOOK AT CORVUS CORONE
LEGEND AND MYTHOLOGY
Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.
In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.
In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.
The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.
Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.
In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.
In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.
The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug
In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.
In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.
In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:
1 Crow Meaning: To carry a message from your near one who died recently.
2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.
3 Crows Meaning: An upcoming wedding in your family.
4 Crows Meaning: Symbolizes wealth and prosperity.
5 Crows Meaning: Diseases or pain.
6 Crows Meaning: A theft in your house!
7 Crows Meaning: Denotes travel or moving from your house.
8 Crows Meaning: Sorrowful events
Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....
There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.
The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.
TAKING A CLOSER LOOK
So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.
Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.
Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone
Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!
They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.
Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.
A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.
Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.
Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!
Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!
They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.
In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.
OBSERVATIONS ON THE PAIR IN MY GARDEN
Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.
Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.
The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....
I swear she was expressing happiness, joy....
On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.
A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.
I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rambunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.
Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months.
Corvus Corone.... magnificently misunderstood by some!
Paul Williams June 4th 2021
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©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty three metres at 15:25pm on a summer afternoon on Tuesday 8th June 2021, of an adult Carrion crow (Corvus corone), standing beside some ground covering Geranium macrorrhizum off Hythe Avenue and Chessington Avenue in Bexleyheath, Kent.
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Nikon D850 Focal length 460mm Shutter speed: 1/800s Aperture f/7.1 iso250 Hand held with Tamron VC Vibration control set to ON in position 1 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1 (4600k) Colour space: RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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LATITUDE: N 51d 28m 28.35s
LONGITUDE: E 0d 8m 10.48s
ALTITUDE: 54.0m
RAW (TIFF) FILE: 130.00MB NEF FILE: 90.80MB
PROCESSED (JPeg) FILE: 41.40MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
Direct Rail Services BR Large Logo 37407 Blackpool Tower InterCity Mainline 37419 and Regional Railway's 37425 Concrete Bob at Holgate Works in York on the 16.12.23
This year school wheels direct has a fleet of 50 IC and Blue bird buses. This is SC 50, though it only says 50 and not SC 50. So odd.
Anyways other bus news especially for the James Island buses
Buses 306, 308, and 310 are brand New Durham school services IC buses. These buses look exactly like the school wheels direct buses . The have double stop signs, and orange tire rims. And guess where else the buses have orange tire rims, that’s right Florida. As a matter of fact one of the three buses has a Florida license plate. It doesn’t have a South Carolina bus license plate yet. Why are these three jI buses like this? Well at the moment the JI buses don’t have a permanent home on the island. They are split to three out of the four elementary schools on the island at the moment plus up at main lot in North Charleston, the main big lot is closed cause they are building a large garage on the lot. The main lot moved to a lot by the I-526 Dorchester road exit. The South Carolina Public schools lot is still there though with all the retired buses. My opinion is as soon as the JI buses get a permanent home, the SCPS buses will come back to buses 306, 308 and 310. Remember, 304 is not my neighborhood’s bus anymore. Bus 308 is the elementary bus and bus 305 is the middle school route. By the way bus 305’s state number is 508-3330. Bus 308 has a burnt out wig wag front warning light. Hopefully I’ll get a picture of both buses soon. See y’all later.
Direct Rail Services Class 37, 37029, pauses at Carlisle with 6C11 13:11 from Carlisle Kingmoor Yard to Sellafield
Direct Rail Services Class 37s, 37603 and 37601, are seen leaving Bristol Temple Meads Station working the 1Z29 Crewe-Kingswear 'Dartmouth Flyer' Pathfinder Tour.
Direct Rail Services Class 37s, 37601 "Class 37 - 'Fifty'" and 37607 are seen on Whisker Hill at Retford working top and tail on a Network Rail test train.
1Q64 08:53 Derby RTC - Neville Hill T&R.S.M.D.
Dragon Age: Inquisition In Dragon Age: Inquisition the world of Thedas is being torn apart by a massive, mysterious breach in the sky. Players must assume the role of the Inquisitor and lead a team of legendary heroes to uncover the truth behind the impending devastation. Your New Adventure Begins. When the sky opens up ...
The post Dragon Age: Inquisition appeared first on Direct Download Stuffs.
via Download Dragon Age: Inquisition here : www.directdownloadstuffs.com/dragon-age-inquisition-pc-ga...
Direct rail services (DRS) 37608 and 37605 arrive into Cambridge, working the 1Q05 1916 Cambridge T.&R.S.M.D. to Cambridge T.&R.S.M.D.
DISCLAIMER
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Chinese J-7FS was a direct descendant of the J-7E. The Chengdu J-7 itself has a long heritage of development, even though it is originally a Soviet design, a license-built MiG-21F, which has its roots in the mid 50ies.
It took China long way to develop and produce a true supersonic fighter aircraft: in March, 1964, Shenyang Aircraft Factory began the first domestic production of the J-7 jet fighter. However, the mass production of the aircraft, which had been developed through Soviet help, license production and reverse-engineering, was severely hindered by an unexpected problem—the Cultural Revolution. This incident and its consequences resulted in poor initial quality and slow progress.
This, in turn, resulted in full scale production only coming about in the 1980s, by which time the J-7 design was showing its age. However, through the years the J-7 saw constant development and refinement in China, and the J-7FS was one of the many directions the simple, basic design went in order to imporve performance and to keep it up to date.
The J-7FS was designed in the late 90ies as a dedicated interceptor, and as a lighter option than the twin-engined J-8 fighter of indigenous design. Main task was to incorporate a true air-to-air radar with surveillance capabilities, since the J-7 only featured a rader-based range finder in the central shock cone of the air intake.
Fitting a more capable radar required a larger radome, which meant either a bigger central shock cone (as in the 2nd generation MiG-21 fighters) or a totally new nose and air intake arrangement. The accordingly modified J-7FS saw first daylight as a technology demonstration aircraft built by CAC. Its most prominent feature was a redesigned under-chin inlet, reminiscent of the F-8 or A-7 nose, which provided air for a WP-13IIS engine. Above the air intake, a fixed conical radome offered space for a bigger radar dish. “139 Red”, how the first aircraft was coded, first flew in June 1998, starting a 22-month test program. Two prototypes were built, but only the first aircraft was to fly – the second machine was only used for static tests.
"139 Red" soon saw major progress in design and equipment: it received a new double-delta wing which nearly doubled internal fuel capacity and improved performance, a modified fin, a more potent WP-13F turbojet engine, and a new 600 mm slot antenna planar array radar using coherent technology to achieve scan, look-down and shoot-down capabilities.
The revamped aircraft also received a sand/green camouflage paint scheme, less flashy than the original white/red livery. The new wing, which was also introduced on the J-7E, made the aircraft 45% more maneuverable than the MiG-21F-like J/F-7M, while the take-off and landing distance is reduced to 600 meters, in comparison to the 1.000 meter take-off distance and 900 meter landing distance of earlier versions of the J-7.
The production J-7FS which was ready for service in summer 2000 featured even more changes and novelties: the J-7FS incorporated HOTAS, which has since become standard on other late J-7 versions, too. This version is also the first of J-7 series to be later upgraded with helmet mounted sights (HMS). However, it is reported that the helmet mounted sight is not compatible with radars, and air-to-air missiles must be independently controlled by either HMS or radar, but not both.
The serial production radome now had an ogival shape with an even larger base diameter, and for additional avionics such as weapon management, global positioning and flight data recording systems, the production J-7FS featured a bulged spine, reminiscent of the 3rd generation MiG-21 (or the respective Chengdu J-7C, a reverse-engineered MiG-21MF). The aircraft was even able to carry medium range AAMs, e .g. the Chinese PL-11 missile, a license-built Selenia Aspide AAM from Italia, itself a modernized descendant of the venerable AIM-7 Sparrow. Another feature which set the FS version apart was the ventral, twin-barreled Type 23-III gun instead of the single-barelled 30mm cannon at the flank.
The role of the J-7FS in the People's Liberation Army was to provide local air defense and tactical air superiority, even though it certainly was only a stop-gap until the introduction of the much more potent Chengdu J-10, which started to enter PLAAF service in 2005 after a long development time. With its more powerful radar the J-7FS was supposed to act as a kind of mini AWACS platform, guiding groups of less potent J-7Es to potential targets. It is known that the J-7FS’s new radar had a range greater than 50 km and could track up to eight targets simultaneously. The aircraft's overall performance is expected to be similar to early F-16 variants.
The number of built specimen is uncertain, but it is supposed to be less than 100, probably even less than 50. It is rumored that the type had also been offered to Bangladesh and Sri Lanka around 2001, but was not bought.
General characteristics:
Crew: 1
Length: 14.885 m (Overall) (48 ft 10 in)
Wingspan: 8.32 m (27 ft 3½ in)
Height: 4.11 m (13 ft 5½ in)
Wing area: 24.88 m² (267.8 ft²)
Aspect ratio: 2.8:1
Empty weight: 5,292 kg (11.667 lb)
Loaded weight: 7,540 kg (16.620 lb)
Max. take-off weight: 9.100 kg (20.062 lb)
Powerplant:
1 × Guizhou Liyang WP-13F(C) afterburning turbojet with 44.1 kN (9.914 lb) dry thrust and 66.7 kN (14.650 lb) with afterburner:
Performance
Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)
Stall speed: 210 km/h (114 knots, 131 mph) IAS
Combat radius: 850 km (459 nmi, 528 mi) (air superiority, two AAMs and three drop tanks)
Ferry range: 2,200 km (1.187 nmi, 1.367 mi)
Service ceiling: 17,500 m (57.420 ft)
Rate of climb: 195 m/s (38.386 ft/min)
Armament:
1× twin-barreled Type 23-III 23mm (0.9") cannon with 250 rounds under the fuselage;
5× hardpoints (4× under-wing, 1× centerline under-fuselage) with a capacity of 2,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber could be carried
The kit and its assembly:
This whif is based on the real world J-7FS, which actually flew but never made it beyond the technical demonstrator stage. However, I found the air intake design with its raked shape and the pointed radome interesting, and since I had a crappy Matchbox MiG-21MF with misprinted decals in store I decided to use that kit for a whif conversion. There’s even a resin kit of the first J-7FS (still with the standard delta wing, though, and horribly expensive) available, but I wanted to create a more advanced what-if model, if the type had somehow entered service.
The kit saw major modification all around the fuselage: the wing tips were clipped and scratch-built ends for the J-7E double delta wing shape attached. The shape is certainly not correct, but it's IMHO the impression that counts. The MiG-21MF's deep fin was replaced by a donation part from an F-16 – the 2nd J-7FS already featured a distinctive kink at the fin’s top which made it already look rather F-16ish, and the taller and more slender fin suits the MiG-21 well.
A brake parachute housing with a disctinctive, blunt end was added just above the jet exhaust, and some antennae and pitots were added in order to enhance the bleak Matchbox kit a little. The Type 23-III cannon was sculpted from a piece of sprue, just like the brake parachute housing.
The nose section/radome is the front half of an F-18 drop tank. An oval, tapered piece of styrene was implanted as the raked intake lip, trying to copy the look of the real thing according to the few pictures I had at hand. I also added a central splitter in the air intake, which houses the front wheel bay.
Some putty work was necessary to blend the new nose into the front fuselage, as well as the dorsal spine into the new fin, but that turned out to be easier than expected.
The jet exhaust originally is just a vertical "plate" in the MiG-21's tail. I opened it and implanted a new cover inside of the fuselage, in a deeper position. For some more detail I also added a (simple) jet nozzle, IIRC it is a leftover part from a Matchbox Jaguar kit, probably 30 years old... Not much, but it defininitively enhances the rear view of the machine.
The original cockpit only consists of a bulky seat and the pilot figure, and the clear canopy is clear but horribly thick. Hence, I decided to keep the cockpit closed, but nevertheless I added a floor and some side panels, and used an Airfix pilot figure.
The missile ordnance comes from the scrap box, reflecting “modern” Chinese air-to-air weaponry: two PL-7 (Matra Magic AAMs from an Italeri NATO weapons kit) on the outer and two PL-11 (two Aspide missiles from the same set ) on the inner wing hardpoints. All wing hardpoints come from MiG-21F kits, one pair is from the Academy kit, the other from the vintage Hasegawa kit, both have the launch rails molded into the weapon pylon. The drop tank is a typical Chinese item - it resembles the Russian/soviet PTB-490 drop tank, but has a more blunt nose and smaller fins - it comes from a FC-1 kit from Trumpeter.
Paintings and markings:
Since it is an air superiority aircraft, I wanted an appropriate livery, but not the dull overall grey of contemporary PLAAF fighters. But I found some weird real life paint schemes which inspired the final camouflage.
Since the plane was not supposed to look too American through FS tones I rather used 'other' colors for a wraparound scheme. The basic tone is Testors 2123 (Russian Underside Blue), and from above a darker contrast color was added, Humbrol 230 (PRU Blue). Both tones have a greenish/teal hue, which complements each other well. Together they create a pretty distinctive look, though, esp. with the red and yellow insignia and codes. IMHO these colors suit the fighter well.
The kit received a light black ink wash and some dry painting with lighter blue-grey shades (Humbrol 87 and 128), but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine.
The decals were puzzled together from the scrap box, IIRC the insignia originally they belong to a Il-28 Trumpeter kit. The 5 digit code comes from a Revell MiG-29 and the number itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic ;)
So, all in all a rather simple kit conversion, and certainly not a creative masterpiece. To be honest, the similarity with the real thing is just at first glance - but since it is whif world, I am fine with the outcome. ^^