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Even a grizzly is allowed a little vanity, don't you suppose? Alaska Wildlife Conservation Center, Portage, Alaska, USA, July 2016
Best viewed large by pressing "L". All rights reserved
Photographed here departing Chester Railway Station is an Alexander Dennis E40D Enviro400 City on loan to Arriva Buses Wales with the registration SN66WLK and fleet code 7921, which was new to Alexander Dennis, Falkirk in October 2016 and is seen operating the 11:40 Sapphire service 1 to Wrexham.
Colorado Springs, CO
Calliope Hummingbird (Male)
Selasphorus calliope
ORDER: Caprimulgiformes
FAMILY: Trochilidae
A lolvely young Belted Kingfisher gives me a wary look, but decided I wasn't a threat as I floated up to her in the kayak. She sat with me for about 20 minutes before flying off to join her parents in the woods behind.
Colorado Springs Labor Day Lift Off
Final (3rd) Morning Sunrise
Prospect Lake / Memorial Park
Colorado Springs, CO
www.coloradospringslabordayliftoff.com
Some of the gloom lifted today, at least enough to have a partial glimpse of sunrise and some pastel color. The winds were also calm enough to allow the balloons to launch for a successful conclusion to our fine city's annual holiday weekend Hot Air Balloon festival!
Beech T-34 Mentor done up in the markings of a chase plane from the Naval Weapons Evaluation Facility at Kirtland AFB, New Mexico. Seen taxiing in at the 2014 Copperstate Fly-In in Casa Grande, Arizona.
53d Test and Evaluation Group
Red Flag 17-1: Jan. 23 to Feb. 10, 2017
Las Vegas - Nellis AFB (LSV / KLSV)
USA - Nevada, February 7, 2017
Photo: TDelCoro
85 degree drop, loose stones, 40 foot straight down. It's a yes. He managed this without a moment's hesitation and without losing footing once.
So I have turned this into a bit of an exercise in lens evaluation. This time I shot this still life with the 4x5 Intrepid and the Schneider Xenotar f2.8 lens (105mm) to see how things rendered. This lens is made for a much smaller format than 4x5 so you can see significant vignetting in the corners. Sometimes that is an asset, sometimes not so much.
I'm surprised at how different the rendering of the scene is using the Xenotar, compared to the Kodak Ektar 12". There's really a huge difference! The Ektar delivers a much softer, more pleasing image, in my opinion.
What do YOU think? Do you have a favorite so far? Next comes the Voigtlander Petzval on 5x7!
An archaeologist inspects an evaluation trench in the fields above Barton Park and site of future planned housing.
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Canadian National TEST ( Track Evaluation System) train 0998, led by CN 4791 (GP38-2W) is seen here departing Canadian National's Bell Yard south down the Beaumont Subdivision. Hattiesburg MS.
Day 2 of evaluation of Hybrid Optare Versa YJ12 GUA on hire to The Big Lemon. This vehicle was last with Preston Bus.
Evaluating the new Google Pixel 7 Pro smartphone cameras.
Lightroom reports this as a 13mm equivalent lens (0.5x, cropped to 64:27, Magic Eraser to takeout people, lamp post, and sculpture).
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About 10 meters from my door at 3:15 in the afternoon. Had taken my dog out saw the cat coming whisked the dog back inside grabbed my point & shooter. Quality not quite up to par as I'm limited to one hand till after things heal.
GWR 387131 seen here on test runs for the final time before entering into service the following Monday(05/09/2016)
#Athamallik
#Odisha
#India
#EmraldDove
#June2017
Canon 1D MK IV
Canon 500MM
ISO 800
F6.3
1/320
Manual Exposure
Evaluative Metering.
Hope you like it :)
Thanks for looking.
Anupam!!
#Manglajodi
#Odisha
#India
#WhiskeredTern
#Dec2016
Canon 1D MK IV
Canon 500MM
ISO 800
1/3200
F5.6
Manual Exposure
Evaluative Metering
Hope you like it :)
Thanks for looking.
Anupam!!
For the 50 layers project I noted that quite a few people we're going for a 'post-apocalyptic' theme where I decided to go for something a little more subtle, I decided upon a' jungle' theme as I believed it would look nice and work well. Before reaching the final design, I noted a few imperfections and was able to act upon them with the help of class feedback, some of those imperfections being: the size and scaling of the bee on the front-right in comparison to the dolphins at the back, the lack of individuality with the lotuses, being only duplicates and also the sheer amount of lily pads in the back left. The comments on Thinglink stated that:
"It would look more realistic if you used different images for the lily pads and flowers, instead of just the same one over and over".
"the bee is the same size as the dolphins".
"It's a great picture with nice colours. Perhaps take out some of the lily pads".
I acted upon the feedback by deleting several lily pad images, adding and editing a second lotus image by changing the colour using the 'colour replacement tool' and resizing the bee image.
As well as feedback, their we're additional comments stating what was liked on the design, such as:
"The birds look subtle but when you see them, they are awesome"
"I like how you've made the dolphins look realistic jumping out of water"
"Really well done with the colours as they are vibrant and exciting, this makes your image stand out and makes it look good, well done"
"Good way of using ripples in your work maybe use shadows, but other than that it's perfect".
Editing the images on the document was particularly easy as I have only needed to use basic tools such as the 'magic wand', 'eraser' and 'colour replacement'. The magic wand I used in most if not all my layers to remove the background, the eraser I used like the magic wand but to do a more precise and careful job and the colour replacement tool I used to make the images of the water ripple blend in with the water in the background.
My favourite piece of the document was the water ripples under the leaves as it was easy to edit and looked naturally realistic.
Get Carter is a 1971 British gangster film, written and directed by Mike Hodges in his directorial debut and starring Michael Caine, Ian Hendry, John Osborne, Britt Ekland and Bryan Mosley. Based on Ted Lewis's 1970 novel Jack's Return Home, the film follows the eponymous Jack Carter (Caine), a London gangster who returns to his hometown in North East England to learn about his brother's supposedly accidental death. Suspecting foul play, and with vengeance on his mind, he investigates and interrogates, regaining a feel for the city and its hardened-criminal element.
Producer Michael Klinger optioned Lewis's novel shortly after its publication and made a deal with the ailing Metro-Goldwyn-Mayer (MGM) to finance and release the film, making Get Carter the last project to be approved by the studio's Borehamwood division before its closure. The production went from novel to finished film in ten months, with principal photography taking place from July to September 1970 in and around Newcastle upon Tyne, Gateshead and County Durham. Hodges, Klinger and Caine intended to create a more realistic portrayal of violence and criminal behaviour than had previously been seen in British films: Caine, who also served as an uncredited co-producer, incorporated aspects of criminal acquaintances into his characterisation of Carter, while Hodges conducted research into the criminal underworld of Newcastle (in particular the one-armed bandit murder). Cinematographer Wolfgang Suschitzky worked with Hodges to give scenes a naturalistic feel, drawing heavily on their backgrounds in documentary films.
Turning a respectable profit upon its initial UK release, Get Carter initially attracted mixed reviews. Critics begrudgingly appreciated the film's technical achievements and Caine's performance while criticizing the complex plot, violence and amorality, in particular Carter's apparent lack of remorse for his actions. American critics were generally more enthusiastic, but the film languished on the drive-in circuit, while MGM focused its resources on producing Hit Man, a blaxploitation-themed remake of the film.
Get Carter eventually garnered a cult following, and further endorsements from directors such as Quentin Tarantino and Guy Ritchie led to the film being critically re-evaluated, with its depiction of class structure and life in 1970s Britain and Roy Budd's minimalist jazz score receiving considerable praise. In 1999, Get Carter was ranked 16th on the BFI Top 100 British films of the 20th century; five years later, a survey of British film critics in Total Film magazine chose it as the greatest British film of all time. A poorly received second remake under the same title was released in 2000, with Sylvester Stallone portraying Jack Carter and Caine in a supporting role.
Sir Michael Caine CBE (born Maurice Joseph Micklewhite; 14 March 1933) is an English retired actor. Known for his distinctive Cockney accent, he has appeared in more than 160 films over a career spanning eight decades and is considered a British film icon. He has received numerous awards including two Academy Awards, a BAFTA Award, three Golden Globe Awards, and a Screen Actors Guild Award. As of 2017, the films in which Caine has appeared have grossed over $7.8 billion worldwide. Caine is one of only five male actors to be nominated for an Academy Award for acting in five different decades. In 2000, he received a BAFTA Fellowship and was knighted by Queen Elizabeth II.
Often playing a Cockney, Caine made his breakthrough in the 1960s with starring roles in British films such as Zulu (1964), The Ipcress File (1965), The Italian Job (1969), and Battle of Britain (1969). During this time he established a distinctive visual style wearing thick horn-rimmed glasses combined with sharp suits and a laconic vocal delivery; he was recognised as a style icon of the 1960s. He solidified his stardom with roles in Get Carter (1971), The Last Valley (1971), The Man Who Would Be King (1975), The Eagle Has Landed (1976), and A Bridge Too Far (1977).
Caine received two Academy Awards for Best Supporting Actor for his roles as Elliot in Woody Allen's comedy Hannah and Her Sisters (1986), and as Dr. Wilbur Larch in Lasse Hallström's drama The Cider House Rules (1999). His other Oscar-nominated films include Alfie (1966), Sleuth (1972), Educating Rita (1983), and The Quiet American (2002). Other notable performances include in the films California Suite (1978), Dressed to Kill (1980), Mona Lisa (1986), Little Voice (1998), Quills (2000), Children of Men (2006), Harry Brown (2009), and Youth (2015).
Caine is also known for his performance as Ebenezer Scrooge in The Muppet Christmas Carol (1992), and for his comedic roles in Dirty Rotten Scoundrels (1988), Miss Congeniality (2000), Austin Powers in Goldmember (2002), and Secondhand Lions (2003). Caine portrayed Alfred Pennyworth in Christopher Nolan's Batman trilogy (2005–2012). He has also had roles in five other Nolan films: The Prestige (2006), Inception (2010), Interstellar (2014), Dunkirk (2017), and Tenet (2020). He announced his retirement from acting in October 2023, with his final film being The Great Escaper, which came out in the same month.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
"Like everyone else I have at my disposal only three means of evaluating human existence: the study of self, which is the most difficult and most dangerous method, but also the most fruitful; the observation of our fellowmen, who usually arrange to hide secrets where none exist; and books, with the particular errors of perspective to which they inevitably give rise."
(Quotes from "Memoirs of Hadrian" by French writer Marguerite Yourcenar)
This marble statue of Antinoüs stands at Le Louvre museum, it allowed me to try a Canon EOs 500D and to take a few pictures where there is no edition.
Memoirs of Hadrian (French: Mémoires d'Hadrien) is a novel by the French writer Marguerite Yourcenar about the life and death of Roman Emperor Hadrian.
The book was first published in France in French in 1951 as Mémoires d'Hadrien, and was an immediate success, meeting with enormous critical acclaim.
Antinous was born to a Greek family in Bithynion-Claudiopolis, in the Roman province of Bithynia in what is now north-west Turkey.
He joined the entourage of the Emperor when Hadrian passed through Bithynia in about 124, and soon became his beloved companion who accompanied him on his many journeys through the empire.
Although some have suggested the two might have had a romantic relationship, it is uncertain if this was true.
In October 130, according to Hadrian, "Antinous was drowned in the Nilus."
It is not known whether his death was the result of accident, suicide, murder, or religious sacrifice.
After his death, the grief of the emperor knew no bounds, causing the most extravagant respect to be paid to his memory abd he decreed his deification.
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The A-14 program originally started in 2005 as a private venture, initiated by Northrop-Grumman together with the Elbit Group as a joint venture through Elbit’s Texas-based aircraft division M7 Aerosystems, an approved supplier to major aerospace clients. The aircraft was intended to replace the USAF’s A-10 attack aircraft as well as early F-16s in the strike role from 2010 onwards. The time slot for the project turned out to be advantageous, because at that time the USAF was contemplating to replace the simple and sturdy A-10 with the much more complex F-35, eventually even with its VTOL variant, and the highly specialized F-117 was retired, too.
The A-14 revived conceptual elements of Grumman’s stillborn A-12 stealth program for the US Navy, which had also been part of the USAF’s plans to replace the supersonic F-111 tactical bomber, but on a less ambitious and expensive level concerning technology, aiming for a more effective compromise between complexity, survivability and costs. The basic idea was an updated LTV A-7D (the A-10’s predecessor from the Vietnam War era), which had far more sophisticated sensor and navigation equipment than the rather simple but sturdy A-10, but with pragmatic stealth features and a high level of survivability in a modern frontline theatre or operations.
M7 Aerosystems started on a blank sheet, even though Northrop-Grumman’s A-12 influence was clearly visible, and to a certain degree the aircraft shared the basic layout with the F-117A. The A-14 was tailored from the start to the ground attack role, and therefore a subsonic design. Measures to reduce radar cross-section included airframe shaping such as alignment of edges, fixed-geometry serpentine inlets that prevented line-of-sight of the engine faces from any exterior view, use of radar-absorbent material (RAM), and attention to detail such as hinges and maintenance covers that could provide a radar return. The A-14 was furthermore designed to have decreased radio emissions, infrared signature and acoustic signature as well as reduced visibility to the naked eye.
The resulting airframe was surprisingly large for an attack aircraft – in fact, it rather reminded of a tactical bomber in the F-111/Su-24 class than an alternative to the A-10. The A-14 consisted of a rhomboid-shaped BWB (blended-wing-and-body) with extended wing tips and only a moderate (35°) wing sweep, cambered leading edges, a jagged trailing edge and a protruding cockpit section which extended forward of the main body.
The majority of the A-14’s structure and surface were made out of a carbon-graphite composite material that is stronger than steel, lighter than aluminum, and absorbs a significant amount of radar energy. The central fuselage bulge ended in a short tail stinger with a pair of swept, canted fins as a butterfly tail, which also shrouded the engine’s hot efflux. The fins could have been omitted, thanks to the aerodynamically unstable aircraft’s fly-by-wire steering system, and they effectively increased the A-14’s radar signature as well as its visual profile, but the gain in safety in case of FBW failure or physical damage was regarded as a worthwhile trade-off. Due to its distinctive shape and profile, the A-14 quickly received the unofficial nickname “Squatina”, after the angel shark family.
The spacious and armored cockpit offered room for the crew of two (pilot and WSO or observer for FAC duties), seated side-by-side under a generous glazing, with a very good field of view forward and to the sides. The fuselage structure was constructed around a powerful cannon, the five-barrel GAU-12/U 25 mm ‘Equalizer’ gun, which was, compared with the A-10’s large GAU-8/A, overall much lighter and more compact, but with only little less firepower. It fired a new NATO series of 25 mm ammunition at up to 4.200 RPM. The gun itself was located under the cockpit tub, slightly set off to port side, and the front wheel well was offset to starboard to compensate, similar in arrangement to the A-10 or Su-25. The gun’s ammunition drum and a closed feeding belt system were located behind the cockpit in the aircraft’s center of gravity. An in-flight refueling receptor (for the USAF’s boom system) was located in the aircraft’s spine behind the cockpit, normally hidden under a flush cover.
Due to the gun installation in the fuselage, however, no single large weapon bay to minimize radar cross section and drag through external ordnance was incorporated, since this feature would have increased airframe size and overall weight. Instead, the A-14 received four, fully enclosed compartments between the wide main landing gear wells and legs. The bays could hold single iron bombs of up to 2.000 lb caliber each, up to four 500 lb bombs or CBUs, single laser-guided GBU-14 glide bombs, AGM-154 JSOW or GBU-31/38 JDAM glide bombs, AGM-65 Maverick guided missiles or B61 Mod 11 tactical nuclear weapons, as well as the B61 Mod 12 standoff variant, under development at that time). Retractable launch racks for defensive AIM-9 Sidewinder air-to-air missiles were available, too, and additional external pylons could be added, e.g. for oversize ordnance like AGM-158C Long Range Anti-Ship Missile (LRASM) or AGM-158 Joint Air to Surface Standoff Missile (JASSM), or drop tanks for ferry flights. The total in- and external ordnance load was 15,000 lb (6,800 kg).
The A-14 was designed with superior maneuverability at low speeds and altitude in mind and therefore featured a large wing area, with high wing aspect ratio on the outer wing sections, and large ailerons areas. The ailerons were placed at the far ends of the wings for greater rolling moment and were split, making them decelerons, so that they could also be used as air brakes in flight and upon landing.
This wing configuration promoted short takeoffs and landings, permitting operations from primitive forward airfields near front lines. The sturdy landing gear with low-pressure tires supported these tactics, and a retractable arrester hook, hidden by a flush cover under the tail sting, made it possible to use mobile arrested-recovery systems.
The leading edge of the wing had a honeycomb structure panel construction, providing strength with minimal weight; similar panels covered the flap shrouds, elevators, rudders and sections of the fins. The skin panels were integral with the stringers and were fabricated using computer-controlled machining, reducing production time and cost, and this construction made the panels more resistant to damage. The skin was not load-bearing, so damaged skin sections could be easily replaced in the field, with makeshift materials if necessary.
Power came from a pair of F412-GE-114 non-afterburning turbofans, engines that were originally developed for the A-12, but de-navalized and lightened for the A-14. These new engines had an output of 12,000 lbf (53 kN) each and were buried in blended fairings above the wing roots, with jagged intakes and hidden ducts. Flat exhausts on the wings’ upper surface minimized both radar and IR signatures.
Thanks to the generous internal fuel capacity in the wings and the fuselage, the A-14 was able to loiter and operate under 1,000 ft (300 m) ceilings for extended periods. It typically flew at a relatively low speed of 300 knots (350 mph; 560 km/h), which made it a better platform for the ground-attack role than fast fighter-bombers, which often have difficulty targeting small, slow-moving targets or executing more than just a single attack run on a selected target.
A mock-up was presented and tested in the wind tunnel and for radar cross-section in late 2008. The A-14’s exact radar cross-section (RCS) remained classified, but in 2009 M7 Aerosystems released information indicating it had an RCS (from certain angles) of −40 dBsm, equivalent to the radar reflection of a "steel marble". With this positive outcome and the effective design, M7 Aerosystems eventually received federal funding for the production of prototypes for an official DT&E (Demonstration Testing and Evaluation) program.
Three prototypes/pre-production aircraft were built in the course of 2010 and 2011, and the first YA-14 made its maiden flight on 10 May 2011. The DT&E started immediately, and the machines (a total of three flying prototypes were completed, plus two additional airframes for static tests) were gradually outfitted with mission avionics and other equipment. This included GPS positioning, an inertial navigation system, passive sensors to detect radar usage, a small, gyroscopically stabilized turret, mounted under the nose of the aircraft, containing a FLIR boresighted with a laser spot-tracker/designator, and an experimental 3-D laser scanning LIDAR in the nose as a radiation-less alternative to a navigation and tracking radar.
Soon after the DT&E program gained momentum in 2012, the situation changed for M7 Aerosystems when the US Air Force considered the F-35B STOVL variant as its favored replacement CAS aircraft, but concluded that the aircraft could not generate a sufficient number of sorties. However, the F-35 was established as the A-14’s primary rival and remained on the USAF’s agenda. For instance, at that time the USAF proposed disbanding five A-10 squadrons in its budget request to cut its fleet of 348 A-10s by 102 to lessen cuts to multi-mission aircraft in service that could replace the specialized attack aircraft.
In August 2013, Congress and the Air Force examined various proposals for an A-10 replacement, including the A-14, F-35 and the MQ-9 Reaper unmanned aerial vehicle, and, despite the A-14’s better qualities in the ground attack role, the F-35 came out as the overall winner, since it was the USAF’s favorite. Despite its complexity, the F-35 was – intended as a multi-role tri-service aircraft and also with the perspective of bigger international sales than the more specialized A-14 – regarded as the more versatile and, in the long run, more cost-efficient procurement option. This sealed the A-14’s fate and the F-35A entered service with U.S. Air Force F-35A in August 2016 (after the F-35B was introduced to the U.S. Marine Corps in July 2015). At that time, the U.S. planned to buy 2,456 F-35s through 2044, which would represent the bulk of the crewed tactical airpower of the U.S. Air Force, Navy, and Marine Corps for several decades.
Since the A-14’s technology was considered to be too critical to be marketed to export customers (Israel showed early interest in the aircraft, as well as South Korea), the program was cancelled in 2016.
General characteristics:
Crew: 2 (pilot, WSO)
Length: 54 ft 11 1/2 in (16.78 m)
Wingspan: 62 ft 11 1/2 in (19.22 m)
Height: 11 ft 3 3/4 in (3.45 m)
Wing area: 374.9 ft² (117.5 m²)
Empty weight: 24,959 lb (11,321 kg)
Loaded weight: 30,384 lb (13,782 kg)
Max. takeoff weight: 50,000 lb (22,700 kg)
Internal fuel capacity: 11,000 lb (4,990 kg)
Powerplant:
2× General Electric Whitney F412-GE-114 non-afterburning turbofans
with 12,000 lbf (53 kN) thrust each
Performance:
Maximum speed: 630 mph (1,010 km/h, 550 kn) at 40,000 ft altitude /
Mach 0.95 at sea level
Cruise speed: 560 mph (900 km/h, 487 kn) at 40,000 ft altitude
Range: 1,089 nmi (1,253 mi, 2,017 km)
Ferry range: 1,800 nmi (2,100 mi, 3,300 km)
Service ceiling: 50,000 ft (15,200 m)
Rate of climb: 50,000 ft/min (250 m/s)
Wing loading: 133 lb/ft² (193 kg/m²)
Thrust/weight: 0.48 (full internal fuel, no stores)
Take-off run: 1,200 m (3,930 ft) at 42,000 lb (19,000 kg) over a 15 m (30 ft) obstacle
Armament:
1× General Dynamics GAU-12/U Equalizer 25 mm (0.984 in) 5-barreled rotary cannon
with 1,200 rounds (max. capacity 1,350 rounds)
4x internal weapon bays plus 4x external optional hardpoints with a total capacity of
15,000 lb (6,800 kg) and provisions to carry/deploy a wide range of ordnance
The kit and its assembly:
A major kitbashing project which I had on my idea list for a long time and its main ingredients/body donors already stashed away – but, as with many rather intimidating builds, it takes some external motivation to finally tackle the idea and bring it into hardware form. This came in August 2020 with the “Prototypes” group build at whatifmodellers.com, even though is still took some time to find the courage and mojo to start.
The original inspiration was the idea of a stealthy successor for the A-10, or a kind of more modern A-7 as an alternative to the omnipresent (and rather boring, IMHO) F-35. An early “ingredient” became the fuselage of a Zvezda Ka-58 stealth helicopter kit – I liked the edgy shape, the crocodile-like silhouette and the spacious side-by-side cockpit. Adding wings, however, was more challenging, and I remembered a 1:200 B-2A which I had turned into a light Swedish 1:72 attack stealth aircraft. Why not use another B-2 for the wings and the engines, but this time a bigger 1:144 model that would better match the quite bulbous Ka-58 fuselage? This donor became an Italeri kit.
Work started with the fuselage: the Ka-58’s engine and gearbox hump had to go first and a generous, new dorsal section had to be scratched with 1mm styrene sheet and some PSR. The cockpit and its glazing could be retained and were taken OOB. Under the nose, the Ka-58’s gun turret was omitted and a scratched front landing gear well was implanted instead.
The wings consist of the B-2 model; the lower “fuselage half” had its front end cut away, then the upper fuselage half of the Ka-58 was used as benchmark to cut the B-2’s upper wing/body part in two outer wing panels. Once these elements had been glued together, the Ka-58’s lower nose and tail section were tailored to match the B-2 parts. The B-2 engine bays were taken OOB and mounted next, so that the A-14’s basic hull was complete and the first major PSR session could start. Blending the parts into each other turned out to be a tedious process, since some 2-3 mm wide gaps had to be filled.
Once the basic BWP pack had been finished, I added the fins. These were taken from an 1:72 F-117 kit (IIRC from Italeri), which I had bought in a lot many moons ago. The fins were just adapted at their base to match the tail sting slope, and they were mounted in a 45° angle. This looks very F-117ish but was IMHO the most plausible solution.
Now that the overall length of the aircraft was defined, I could work on the final major assembly part: the wing tips. The 1:144 B-2 came with separate wing tip sections, but they proved to be much too long for the Squatina. After some trials I reduced their length by more than half, so that the B-2’s jagged wing trailing edge was kept. The result looks quite natural, even though blending the cut wing tips to the BWB turned out to be a PSR nightmare because their thickness reduces gently towards the tip – since I took out a good part of the inner section, the resulting step had to be sanded away and hidden with more PSR.
Detail work started next, including the cockpit glazing, the bomb bay (the B-2 kit comes with one of its bays open, and I kept this detail and modified the interior) and the landing gear, the latter was taken from the F-117 donor bank and fitted surprisingly well.
Some sensors were added, too, including a flat glass panel on the nose tip and a triangular IRST fairing under the nose, next to the landing gear well.
Painting and markings:
For a stealth aircraft and a prototype I wanted something subdued or murky, but not an all-black or -grey livery. I eventually settled for the rather dark paint scheme that the USAF applied to its late B-52Gs and the B-1Bs, which consists of two tones from above, FS 36081 (Dark Grey, a.k.a. Dark Gunship Grey) and 34086 (Green Drab), and underneath (FS 36081 and 36118 (Gunship Grey). The irregular pattern was adapted (in a rather liberal fashion) from the USAF’s early B-1Bs, using Humbrol 32, 108 and 125 as basic colors. The 108 turned out to be too bright, so I toned it down with an additional coat of thinned Humbrol 66. While this considerably reduced the contrast between the green and the grey, the combination looks much better and B-1B-esque.
The wings’ leading edges were painted for more contrast with a greyish black (Tar Black, Revell 09), while the landing gear, the interior of the air intakes and the open bomb bay became glossy white. The cockpit was painted in medium grey (Humbrol 140) and the clear parts received a thinned inner coating with a mix of transparent yellow and brown, simulating an anti-radar coating – even though the effect turned out to be minimal, now it looks as of the plastic parts had just yellowed from age…
After the initial livery had been finished the model received a black ink washing and some post-panel shading with slightly brightened variations of the basic tones (using Humbrol 79, 144 and 224). Decals were added next, an individual mix from various sources. The “Stars-and-Bars” come from a PrintScale A-7 sheet, most stencils come from an F-16 sheet.
After some more detail painting and a treatment with graphite on the metal areas (exhausts, gun port), the model was sealed with matt acrylic varnish (Italeri).
Batman’s next Batwing? Maybe, there’s certainly something fictional about this creation. But the “Squatina” turned out much more conclusive (and even pretty!) than I expected, even though it became a bigger aircraft than intended. And I am positively surprised how good the bodywork became – after all, lots of putty had to be used to fill all the gaps between parts that no one ever expected to be grafted together.
gabbyjaws.blogspot.com/2025/01/he-said-she-said.html
www.youtube.com/watch?v=4sTHw7HEfHo
[AURA DESIGN]
Left to Right
[Aura Design] Jack Street Outfit - FATPACK
♥ TSHIRT ♥ JOGGERS ♥ SNEAKERS ♥
••• PLEASE READ BEFORE •••
• Check if the product is compatible with your body before buying!
• Please, before buying try the free DEMO.
•No refunds!
- Fitted for
• Legacy • Gianni • Jake
- CONTENTS:
• 40 SOLID + 40 PATTERN COLORS TSHIRT
• 40 SOLID + 40 PATTERN COLORS JOGGERS
• 40 SOLID + 40 PATTERN COLORS SNEAKERS
• FATPACK HUD CONTROLLER AURA
[Aura Design] Star Street Outfit- FATPACK
♥ TOP ♥ JOGGERS ♥ SNEAKERS ♥
••• PLEASE READ BEFORE •••
• Check if the product is compatible with your body before buying!
• Please, before buying try the free DEMO.
•No refunds!
- Fitted for
• Reborn • Waifu • Legacy • Bombshell • LaraX
- CONTENTS:
• 40 SOLID + 40 PATTERN COLORS TOP
• 40 SOLID + 40 PATTERN COLORS JOGGERS
• 40 SOLID + 40 PATTERN COLORS SNEAKERS
• FATPACK HUD CONTROLLER AURA
• Thank you for purchasing this product.
• When you have any questions, please let me know by Note Card. I will reply as soon as possible.
• And please provide your evaluate at the Marketplace. It helps inspiring my creativity and keeping my motivation.
• Also, please give me a message before leaving a negative review. I will try to solve it as soon as possible. Also, if the problem is solved, please write a review of joy. Your joyful review will increase my motivate to create.
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Vango Greg
Belleza Jake
Birth EON
Lel EvoX EON
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LILO'S FIT Aria
WINGSDG ES0126
Evaluation of FED-S 50/2 lens
Lens: FED-50/2 with deep hood.
Camera: Sony A7III
Helical Adapter, M39-FE
Tripod: Hollywood Jr (vintage 35mm Cine, 15lbs)
Location: Forest with Overcast skies and drizzle, good dynamic range for an uncoated lens. On each shot I rechecked focus and stopped down one stop from previous exposure.
Pirate and Crunchy bring their formation of L-39s past the crowd on Saturday afternoon.
To view a hi-res version and for more information visit my website:NAS Oceana Air Show 2015
Title: Building 2, Administration, South facade, Boston State Hospital
Creator: Commonwealth of Massachusetts
Date: 1997 February
Source: Boston Landmarks Commission image collection, Dorchester series, 5210.004
File name: 5210004_012_553
Rights: Rights status not evaluated
Citation: Boston Landmarks Commission image collection, Dorchester, Collection 5210.004, City of Boston Archives, Boston