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Jack Shainman Gallery is pleased to present an exhibition of large-scale sculptures by internationally acclaimed artist El Anatsui. Several monumental wall sculptures made from thousands of discarded bottle tops, will be on view. Anatsui transforms simple materials into large shimmering forms by assembling elements into vibrant patterns with a unique visual impact. An astute observer, he composes his sculptures with meticulous orchestration, masterfully managing material and color. Here Anatsui’s palette ranges from black and red to silver and gold.
Fluidity of form is a significant quality inherent to the sculptures. As Alexi Worth from the New York Times Magazine pointed out in a recent feature on Anatsui from Spring 2009, Their most peculiar feature is that they are physically unfixed: Anatsui insists that his hangings be draped rather than hung flat, but he doesn’t insist on draping them himself, and in fact is perfectly happy to have galleries or museums do so. He has preferences — horizontal ripples are better than vertical ones — but he doesn’t regard any particular arrangement as final. Naturally, professional curators are disconcerted by this freedom; Anatsui has little patience with their scruples. Museum people are trained not to be creative, Anatsui complains. I find that very frustrating. To Storr, the provisional, shifting shape of Anatsui’s art is one of the keys to its originality. In the catalog to the coming Museum for African Art retrospective, Storr argues that Anatsui’s work is fundamentally anti-monumental: it does not stand its ground. . . . Rather it takes the shape of circumstances and so epitomizes contingency. For Storr, that is no minor innovation: Anatsui opens a new chapter in the history of sculpture. It’s possible that the appetite for contingency that Storr praises is particularly African. Lisa Binder, the curator in charge of the Anatsui exhibition, points out that‘traditional African objects, unlike European paintings and sculpture, are often highly adaptable, designed to be reused. Anatsui’s work brings this adaptable, unfixed quality into sculptural practice — as jazz brought an African unfixedness into Western music.
El Anatsui was born in Anyako, Ghana in 1944, and holds degrees in sculpture and art education from the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana. He is Professor of Sculpture at the University of Nigeria, Nsukka, where he has lectured since 1975. His work has been exhibited extensively in international solo and group exhibitions, including the 1990 and 2007 Venice Biennales, the 1995 Johannesburg Biennale, the 2004 Gwangju Biennale, Prospect.1 New Orleans in 2008, and the 2009 Sharjah Biennale. A solo show, Gawu, traveled throughout Europe, North America, and Asia. His work is in numerous public and private collections throughout the world including The British Museum, London; The Centre Pompidou, Paris; The Metropolitan Museum of Art, and The Museum of Modern Art, New York; Los Angeles County Museum of Art, and the Nelson-Atkins Museum, Kansas City. Most recently, Anatsui created an installation on-site at Rice Gallery at Rice University, Houston, TX, on view through March 14.
A major retrospective of Anatsuis work, When I Last Wrote to You About Africa, curated by Lisa Binder from the Museum for African Art, New York, begins a North American tour at the Royal Ontario Museum in Toronto, Canada, on October 2, 2010, followed by its presentation at the Museum for African Art, New York, as one of the inaugural exhibitions at the museums new building.
This is El Anatsuis second solo exhibition at Jack Shainman Gallery. A hardcover catalogue is available.
Upcoming exhibitions at the gallery include Ross Rudel and Todd Hebert opening March 18, on view through April 17, 2010, and Lynette Yiadom Boakye and Carrie Mae Weems opening April 22 on view through May 22, 2010.
www.jackshainman.com/exhibitions79.html
+++
The Armory Show is the United States’ leading art fair devoted to the most important artworks of the 20th and 21st centuries. In its twelve years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.
The Armory Show 2010 also features The Armory Show – Modern, specializing in modern and secondary market material on Pier 92. Pier 94 continues to be a venue to premiere new works by living artists. With one ticket, visitors to The Armory Show on March 4–7, 2010 have access to the latest developments in the art world, and to the masterpieces which heralded them.
Piers 92 and 94 on 55th Street and 12th Avenue, NYC
March 4-7, 2010
People hung out by the lake inside the Beishan Park (北山公園) with the cityscape of Jilin (吉林) in the far back.
Photographed with the Canon EOS 7D + Canon EF 100-40mm f/4.5-5.6L IS USM.
Bridge / 中國東北吉林市北山公園 Jilin Beishan Park, Dongbei, China / SML.20140727.7D.52133.P1.BW
Jennifer Steinkamp
Orbit 2, 2008
video installation
dimensions variable
Edition of 3, 1 AP
LM12122
Jennifer Steinkamp studied at CalArts and ArtCenter in Los Angeles, and has had solo exhibitions at The Museum of Contemporary Art, North Miami, The Nevada Museum of Art and the Henry Art Gallery, Seattle, Washington, among others. Her group shows include the 8th Annual Istanbul Biennial; she represented the United Stated in the 11th Cairo Biennial; and participated in shows at MASSMoca and the Seoul Museum of Art. Her work has been included in Visual Music at the Hirshhorn Museum and Sculpture Garden, Washington D.C., and the Museum of Contemporary Art, Los Angeles. A retrospective of her work opened at the San Jose Museum of Contemporary Art in 2006 and traveled onto the Kemper Museum and the Albright-Knox Gallery.
www.lehmannmaupin.com/#/artists/jennifer-steinkamp/
+++
720p HD Simulcast
The best time to photograph photographers is where there are rallies. I wonder if it may be too hot to keep a beard in Hong Kong. Good posture, nice shirt.
# SML Data
+ Date: 2013-06-15T16:28:38+0800
+ Dimensions: 3831 x 2554
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 180 mm
+ ISO: 2500
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 100-400 f/4.5-5.6L IS USM
+ GPS: 22°16'40" N 114°9'32" E
+ Location: 香港中環花園路26號美國總領事館 US Consulate General, 26 Garden Road, Central, Hong Kong
+ Workflow: Lightroom 4
+ Serial: SML.20130615.7D.42650.C23
+ Series: 香港人 Hong Kong Humans, 男 Men
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
新聞攝影 Photojournalism / 香港人 Hong Kong Humans / SML.20130615.7D.42650.C23
/ #香港人 #HKHumans #男 #Men #SMLMen #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Rally #photojournalism #photojournalist #people #cute #photographer
The bovine soul array (牛魂陣) originates from the witchcraft tradition of the Miao minorities in China. They enjoy a bullfighting game called “bull robbing,” where the horn is treated as a symbol of bravery. They believe that wearing artefacts from the bulls would transform them into brave warriors. By adorning their bodies with the horns, bull heads and bull tooth, they would then be able to communicate with deities and ghosts.
Photographed with the Canon EOS 6D + Canon EF 24-70mm f/2.8L USM in Sanya, Hainan, China.
牛魂陣 Bovine Soul Array / 苗族文化 Culture of the Miao minorities / 中國海南三亞 Sanya, Hainan, China / SML.20140507.6D.32199.P1.BW
Situated in the middle of buzzing streets of Hong Kong, there lies a 3.5-hectare Chinese Classical Garden called Nan Lian Garden (南蓮園池) built in the Tang Dynasty style with hills, water features, trees, rocks and wooden structures.
Whenever visitors to Hong Kong asked me where they should go, I always recommend them to visit here. Not only is the garden filled with exotic plants unique to Chinese landscape, it also has one of the best vegetarian restaurant and tea house in the city.
The garden is completed in 2006 as a joint project of the Chi Lin Nunnery and the Hong Kong Government.
Photographed handheld, this panorama is stitched using eleven 7D RAW captures.
# More information
+ Wikipedia: EN: Nan Lian Garden: en.wikipedia.org/wiki/Nan_Lian_Garden
+ Hong Kong Leisure and Cultural Services Department: www.lcsd.gov.hk/parks/nlg/en/index.php
+ Hong Kong Tourism Board: www.discoverhongkong.com/eng/see-do/culture-heritage/chin...
# SML Data
+ Date: 2013-03-29T15:42:24+0800
+ Dimensions: 9690 x 3474
+ Exposure: 1/50 - 1/80 sec at f/2.8
+ Focal Length: 24 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 24-70mm f/2.8L USM
+ Panorama FOV: 154 degree horizontal, 58 degree vertical
+ Panoramic Projection: Cylindrical
+ GPS: 22°24'12" N 114°12'25" E
+ Altitude: 21.6 m
+ Location: 中國香港九龍鑽石山鳳德道60號南蓮園池 Nan Lian Garden, 60 Fung Tak Road, Diamond Hill, Kowloon, Hong Kong, China
+ Serial: SML.20130329.7D.37068-SML.20130329.7D.37078-Pano.Cylindrical.154x58
+ Workflow: Hugin 2012, Lightroom 4
+ Series: 中國旅遊 中国旅游 China Tourism, 全景攝影 Panoramic Photography
“南蓮園池 Nan Lian Garden” / 香港園林建築全景 Hong Kong Landscape Architecture Panorama / 中國旅遊 中国旅游 China Tourism / SML.20130329.7D.37068-SML.20130329.7D.37078-Pano.Cylindrical.154x58
/ #中國旅遊 #中国旅游 #ChinaTourism #全景 #Pano #SMLPano #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #鑽石山 #DiamondHill #建築 #建筑 #Architecture #園林 #Garden #城市 #Urban #攝影 #摄影 #photography #山水 #landscape #自然 #Nature
www.flickr.com/photos/seeminglee/8602303024/
www.flickr.com/photos/seeminglee/8602303024/sizes/o/ (9690 x 3474)
Its amazing just how many views I have had. Mind you I do have thousands of photos. Thank you all for viewing :-)
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
•• 4.2 Lightweight E-Type (1963-1964)
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "'Lightweight' E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar's fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar's second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger's wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham's Quail Auction. Sale price was US$4.5 million
Production versions
Series 1 (1961-1968)
Series I
• Production
2-door coupe
2-door convertible
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren't fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Production
2-door coupe
2-door convertible
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
2-door convertible
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type's styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar's 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 - predecessor to the E-Type
• Jaguar XJS - successor to the E-Type
• Jaguar XK8 - The E-Type's current and spiritual successor
• Guyson E12 - a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"'69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja...
I wanted to see what the depth of field, bokeh and sharpness when the 100-400 is wide open at f/5.6 at 400mm, so I shot this. If you zoom in up close you can see that the lens resolution is good, ads I can make out pieces of hair under the sparrow’s cheeks. The bokeh is creamy but it does look somewhat odd at these geometric forms as it also seems like there is a ghosted image. It could also have been the IS. It is unclear.
# SML Data
+ Date: 2013-04-21T12:38:01+0800
+ Dimensions: 5403 x 3602
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 400 mm
+ ISO: 640
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°25'13" N 114°13'37" E
+ Location: + 中國香港馬鞍山遊樂場籃球場 中国香港马鞍山游乐场篮球场 Basketball Courts, Ma On Shan Recreation Ground, Ma On Shan, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130421.6D.02045
+ Series: 形 Forms, 體育 Sports, 自然 Nature
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“籃球場麻雀 Sparrow at the Basketball Court” / 自然與體育之形 Nature and Sports Forms / SML.20130421.6D.02045
/ #形 #Forms #SMLForms #體育 #体育 #Sports #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #鳥 #Birds #籃球 #Basketball #自然 #Nature #馬鞍山 #MaOnShan
The same bridge, from roughly the same angle, can be seen from a distance as well.
The Arboretum has an interactive map on their web site. This map is found at the Arborway Gate.
Pasting from Wikipedia: Arnold Arboretum:
• • • • •
The Arnold Arboretum of Harvard University is an arboretum located in the Jamaica Plain and Roslindale sections of Boston, Massachusetts. It was designed by Frederick Law Olmsted and is the second largest "link" in the Emerald Necklace.
History
The Arboretum was founded in 1872 when the President and Fellows of Harvard College became trustees of a portion of the estate of James Arnold (1781–1868).
In 1842, Benjamin Bussey (1757–1842), a prosperous Boston merchant and scientific farmer, donated his country estate Woodland Hill and a part of his fortune to Harvard University "for instruction in agriculture, horticulture, and related subjects". Bussey had inherited land from fellow patriot Eleazer Weld in 1800 and further enlarged his large estate between 1806 and 1837 by acquiring and consolidating various farms that had been established as early as the seventeenth century. Harvard used this land for the creation of the Bussey Institute, which was dedicated to agricultural experimentation. The first Bussey Institute building was completed in 1871 and served as headquarters for an undergraduate school of agriculture.
Sixteen years after Bussey's death, James Arnold, a New Bedford, Massachusetts whaling merchant, specified that a portion of his estate was to be used for "...the promotion of Agricultural, or Horticultural improvements". In 1872, when the trustees of the will of James Arnold transferred his estate to Harvard University, Arnold’s gift was combined with 120 acres (0.49 km2) of the former Bussey estate to create the Arnold Arboretum. In the deed of trust between the Arnold trustees and the College, income from Arnold’s legacy was to be used for establishing, developing and maintaining an arboretum to be known as the Arnold Arboretum which "shall contain, as far as practicable, all the trees [and] shrubs ... either indigenous or exotic, which can be raised in the open air of West Roxbury". The historical mission of the Arnold Arboretum is to increase knowledge of woody plants through research and to disseminate this knowledge through education.
Charles Sprague Sargent was appointed director and Arnold Professor of Botany shortly after the establishment of the institution in 1872.[2] Together with landscape architect Frederick Law Olmsted he developed the road and pathway system and delineated the collection areas by family and genus, following the then current and widely accepted classification system of Bentham and Hooker. The Hunnewell building was designed by architect Alexander Wadsworth Longfellow, Jr. in 1892 and constructed with funds donated by H. H. Hunnewell in 1903. From 1946 to 1950 the landscape architect Beatrix Farrand was the landscape design consultant for the Arboretum. Her early training in the 1890s included time with Charles Sprague Sargent and chief propagator and superintendent Jackson Thornton Johnson.[3] Today the Arboretum occupies 265 acres (107 hectares) of land divided between four parcels, viz. the main Arboretum and the Peters Hill, Weld-Walter and South Street tracts. The collections, however, are located primarily in the main Arboretum and on the Peters Hill tract. The Arboretum remains one of the finest examples of a landscape designed by Frederick Law Olmsted and it is a Frederick Law Olmsted National Historic Site) and a National Historic Landmark.
Robert E. Cook is the seventh and current Director of the Arnold Arboretum. He is also the Director of the Harvard University Herbaria located in Cambridge, Massachusetts.
Status
The Arboretum is privately endowed as a department of Harvard University. The land, however, was deeded to the City of Boston in 1882 and incorporated into the so-called "Emerald Necklace". Under the agreement with the City, Harvard University was given a thousand-year lease on the property, and the University, as trustee, is directly responsible for the development, maintenance, and operation of the Arboretum; the City retains responsibility for water fountains, benches, roads, boundaries, and policing. The annual operating budget of $7,350,644 (fiscal year 2003) is largely derived from endowment, which is also managed by the University, and all Arboretum staff are University employees. Other income is obtained through granting agencies and contributors.
Location
The main Arborway gate is located on Route 203 a few hundred yards south of its junction with the Jamaicaway. Public transportation to the Arboretum is available on the MBTA Orange Line to its terminus at Forest Hills Station and by bus (#39) to the Monument in Jamaica Plain. The Arboretum is within easy walking distance from either of these points.
Hours
The grounds are open free of charge to the public from sunrise to sunset 365 days of the year. The Visitor's Center in the Hunnewell Building, 125 Arborway, is open Monday through Friday 9 a.m.–4 p.m.; Saturdays 10 a.m.–4 p.m.; Sundays 12 p.m.–4 PM. The Visitor’s Center is closed on holidays. The Library, located in the Hunnewell Building, is open Monday through Saturday, 10 a.m.–4 p.m.. The Library is closed on Sundays and holidays. Stacks are closed and the collection does not circulate.
Area
Two hundred and sixty-five acres (107 hectares) in the Jamaica Plain and Roslindale sections of Boston, Massachusetts, located at 42°19′N 71°5′W / 42.317°N 71.083°W / 42.317; -71.083, with altitudes ranging from 46 feet (15 m) in the meadow across the drive from the Hunnewell Building to 240 feet (79 m) at the top of Peters Hill.
Climate
Average yearly rainfall is 43.63 inches (1,102 mm); average snowfall, 40.2 inches (102 centimeters). Monthly mean temperature is 51.5 °F (10.8 °C); July's mean temperature is 73.5 °F (23 °C); January's is 29.6 °F (-1.3 °C). The Arboretum is located in USDA hardiness zone 6 (0 to −10 °F, −18 to −23 °C).
Collections (as of September 14, 2007)
At present, the living collections include 15,441 individual plants (including nursery holdings) belonging to 10,216 accessions representing 4,099 taxa; with particular emphasis on the ligneous species of North America and eastern Asia. Historic collections include the plant introductions from eastern Asia made by Charles Sprague Sargent, Ernest Henry Wilson, William Purdom, Joseph Hers, and Joseph Rock. Recent introductions from Asia have resulted from the 1977 Arnold Arboretum Expedition to Japan and Korea, the 1980 Sino-American Botanical Expedition to western Hubei Province, and more recent expeditions to China and Taiwan.
Comprehensive collections are maintained and augmented for most genera, and genera that have received particular emphasis include: Acer, Fagus, Carya, Forsythia, Taxodium, Pinus, Metasequoia, Lonicera, Magnolia, Malus, Quercus, Rhododendron, Syringa, Paulownia, Albizia, Ilex, Gleditsia and Tsuga. Other comprehensive collections include the Bradley Collection of Rosaceous Plants, the collection of conifers and dwarf conifers, and the Larz Anderson Bonsai Collection. Approximately 500 accessions are processed annually.
Collections policy
The mission of the Arnold Arboretum is to increase our knowledge of the evolution and biology of woody plants. Historically, this research has investigated the global distribution and evolutionary history of trees, shrubs and vines, with particular emphasis on the disjunct species of East Asia and North America. Today this work continues through molecular studies of the evolution and biogeography of the floras of temperate Asia, North America and Europe.
Research activities include molecular studies of gene evolution, investigations of plant-water relations, and the monitoring of plant phenology, vegetation succession, nutrient cycling and other factors that inform studies of environmental change. Applied work in horticulture uses the collections for studies in plant propagation, plant introduction, and environmental management. This diversity of scientific investigation is founded in a continuing commitment to acquire, grow, and document the recognized species and infraspecific taxa of ligneous plants of the Northern Hemisphere that are able to withstand the climate of the Arboretum’s 265-acre (1.07 km2) Jamaica Plain/Roslindale site.
As a primary resource for research in plant biology, the Arboretum’s living collections are actively developed, curated, and managed to support scientific investigation and study. To this end, acquisition policies place priority on obtaining plants that are genetically representative of documented wild populations. For each taxon, the Arnold Arboretum aspires to grow multiple accessions of known wild provenance in order to represent significant variation that may occur across the geographic range of the species. Accessions of garden or cultivated provenance are also acquired as governed by the collections policies herein.
For all specimens, full documentation of both provenance and history within the collection is a critical priority. Curatorial procedures provide for complete and accurate records for each accession, and document original provenance, locations in the collections, and changes in botanical identity. Herbarium specimens, DNA materials, and digital images are gathered for the collection and maintained in Arboretum data systems and the herbarium at the Roslindale site.
Research
Research on plant pathology and integrated pest management for maintenance of the living collections is constantly ongoing. Herbarium-based research focuses on the systematics and biodiversity of both temperate and tropical Asian forests, as well as the ecology and potential for sustainable use of their resources. The Arboretum's education programs offer school groups and the general public a wide range of lectures, courses, and walks focusing on the ecology and cultivation of plants. Its quarterly magazine, Arnoldia, provides in-depth information on horticulture, botany, and garden history. Current Research Initiatives
Plant Records
Plant records are maintained on a computerized database, BG-BASE 6.8 (BG-Base Inc.), which was initiated in 1985 at the request of the Arnold Arboretum and the Threatened Plants Unit (TPU) of the World Conservation Monitoring Centre (WCMC). A computerized mapping program (based on AutoCAD (Autodesk)) is linked to BG-BASE, and each accession is recorded on a series of maps at a scale of 1-inch (25 mm) to 20 feet (1:240) or 1-inch (25 mm) to 10 feet (1:120). A computer-driven embosser generates records labels. All accessioned plants in the collections are labeled with accession number, botanical name, and cultivar name (when appropriate), source information, common name, and map location. Trunk and/or display labels are also hung on many accessions and include botanical and common names and nativity. Stake labels are used to identify plants located in the Leventritt Garden and Chinese Path.
Grounds Maintenance
The grounds staff consists of the superintendent and assistant superintendent, three arborists, and ten horticultural technologists. A service garage is adjacent to the Hunnewell Building, where offices and locker rooms are located. During the summer months ten horticultural interns supplement the grounds staff. A wide array of vehicles and modern equipment, including an aerial lift truck and a John Deere backhoe and front loader, are used in grounds maintenance. Permanent grounds staff, excluding the superintendents, are members of AFL/CIO Local 615, Service Employees International Union (SEIU).
Nursery and Greenhouse Facilities
The Dana Greenhouses, located at 1050 Centre Street (with a mailing address of 125 Arborway), were completed in 1962. They comprise four service greenhouses totaling 3,744 square feet (348 m²), the headhouse with offices, cold rooms, storage areas, and a classroom. Staffing at the greenhouse includes the manager of greenhouses and nurseries, the plant propagator, two assistants, and, during the summer months, two horticultural interns. Adjacent to the greenhouse is a shade house of 3,150 square feet (293 m²), a 12,600 cubic foot (357 m³) cold storage facility, and three irrigated, inground nurseries totaling approximately one and one-half acres (6,000 m²). Also located in the greenhouse complex is the bonsai pavilion, where the Larz Anderson Bonsai Collection is displayed from the middle of April to the end of October. During the winter months the bonsai are held in the cold storage unit at temperatures slightly above freezing.
Isabella Welles Hunnewell Internship Program
The living collections department of the Arnold Arboretum offers a paid summer internship program [2] that combines hands-on training in horticulture with educational courses. Intern trainees will be accepted for 12- to 24-week appointments. Ten interns will work with the grounds maintenance department and two in the Dana Greenhouses.
As part of the training program, interns participate in mandatory instructional sessions and field trips in order to develop a broader sense of the Arboretum’s horticultural practices as well as those of other institutions. Sessions and field trips are led by Arnold staff members and embrace an open question and answer format encouraging all to participate. Interns often bring experience and knowledge that everyone, including staff, benefits from. It is a competitive-free learning environment.
Horticultural Apprenticeship
The Arboretum created the horticultural apprenticeship program in 1997 to provide hands-on experience in all aspects of the development, curation, and maintenance of the Arboretum's living collections to individuals interested in pursuing a career in an arboretum or botanical garden.
The Living Collections department of the Arnold Arboretum offers a summer internship program[4] that combines practical hands-on training in horticulture with educational courses. Fourteen Interns/Horticultural Trainees are accepted for twelve to twenty-four week appointments. Interns receive the majority of their training in one of three departments: Grounds Maintenance, Nursery and Greenhouse, or Plant Records.
Lilac Sunday
The second Sunday in May every year is "Lilac Sunday". This is the only day of the year that picnicing is allowed. In 2008, on the 100th anniversary of Lilac Sunday, the Arboretum website touted:
Of the thousands of flowering plants in the Arboretum, only one, the lilac, is singled out each year for a daylong celebration. On Lilac Sunday, garden enthusiasts from all over New England gather at the Arboretum to picnic, watch Morris dancing, and tour the lilac collection. On the day of the event, which takes place rain or shine, the Arboretum is open as usual from dawn to dusk.[5]
Associated Collections
The Arboretum's herbarium in Jamaica Plain holds specimens of cultivated plants that relate to the living collections (ca. 160,000). The Jamaica Plain herbarium, horticultural library, archives, and photographs are maintained in the Hunnewell building at 125 Arborway; however, the main portions of the herbarium and library collections are housed in Cambridge on the campus of Harvard University, at 22 Divinity Avenue.
Publications
The inventory of living collections is updated periodically and made available to sister botanical gardens and arboreta on request; it is also available on the Arboretum’s website (searchable inventory). Arnoldia, the quarterly magazine of the Arnold Arboretum, frequently publishes articles relating to the living collections. A Reunion of Trees[6] by Stephen A. Spongberg (curator emeritus) recounts the history of the introduction of many of the exotic species included in the Arobretum’s collections. New England Natives[7] written by horticultural research archivist Sheila Connor describes many of the trees and shrubs of the New England flora and the ways New Englanders have used them since prehistoric times. Science in the Pleasure Ground[8] by Ida Hay (former curatorial associate) constitutes an institutional biography of the Arboretum.
Institutional Collaborations
The Arboretum maintains an institutional membership in the American Public Garden Association (APGA) and the International Association of Botanical Gardens and Arboreta. Additionally, members of the staff are associated with many national and international botanical and horticultural organizations. The Arboretum is also a cooperating institution with the Center for Plant Conservation (CPC), and as an active member of the North American Plant Collections Consortium (NAPCC), it is committed to broadening and maintaining its holdings of: Acer, Carya, Fagus, Stewartia, Syringa, and Tsuga for the purposes of plant conservation, evaluation, and research. The Arboretum is also a member of the North American China Plant Exploration Consortium (NACPEC).
See also
Larz Anderson Bonsai Collection, donated by businessman and ambassador Larz Anderson
The Case Estates of the Arnold Arboretum
List of botanical gardens in the United States
North American Plant Collections Consortium
External links
Arnold Arboretum Official Website
Arnold Arboretum Visitor Information
American Public Gardens Association (APGA)
Virtual Information Access (VIA) Catalog of visual resources at Harvard University.
Garden and Forest A Journal of Horticulture, Landscape Art, and Forestry (1888–1897)
This is the setup I currently use for most of my panorama shots. It includes the following:
+ Canon EOS 6D. An affordable (and my first) digital full-frame body. Here shown without the battery grip, as it the Manfrotto 303SPH does not extend far enough for me to use the grip in order to setup the nodal center point correctly.
+ Canon EF 17-40 f/4L. The widest lens I own. This allows me to capture for as far as I can.
+ Manfrotto 303SPH pano head. For a cool 670 USD, this baby certainly does not come cheap for a slab of metals, but after wrangling with parallax I made the plunge to buy it. I have now shot several scenes both with and without the panoramic head and you can see that it does make a huge difference. It is quite heavy though.
+ Manfrotto 190XPROB tripod. This is a versatile tripod with an easily rotatable center-column which is nothing short of genius. It replaces the 3021BPro tripod which I previously own.
+ Canon TC-80N3. My remote release. You do need this to minimize vibration. A lot of my photos shot in crowdy areas are somewhat long-exposures. Longer exposure renders moving objects as a blur, and thus hides the identity of people, so if I choose to publish it I will not need to get model release from every single one.
This setup was used to photograph www.flickr.com/photos/seeminglee/9404825673/ — some of my followers have expressed that the tutorials are helpful so I will try to do some more tutorials presentations in the future.
# SML Data
+ Date: 2013-07-30T23:30:38+0800
+ Dimensions: 2903 x 3817
+ Exposure: 1/40 sec at f/2.0
+ Focal Length: 22 mm
+ ISO: 125
+ Flash: Did not fire
+ Camera: Canon EOS M
+ Lens: Canon EF-M 22mm f/2 STM
+ GPS: 22°18'10" N 114°10'56" E
+ Location: 香港紅磡火車站 (港鐵紅磡站) Hung Hom MTR Station, Hong Kong
+ Workflow: Lightroom 5
+ Serial: SML.20130730.EOSM.04089
+ Series: SML Setup, SML Opinions
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
SML Panorama Setup: Canon EOS 6D + Canon EF 17-40 f/4L + Manfrotto 303SPH + Manfrotto 190XPROB + Canon TC-80N3 / SML Opinions / SML.20130730.EOSM.04089
/ #SMLSetup #SMLOpinions #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLPano
/ #全景 #Pano #Panorama #SMLPano #Canon #Manfrotto #tripod #camera #setup #config #nerds #geekporn #攝影 #摄影 #photography #opinions
Quoting New York TImes | Robert T. McCall, Space Artist, Dies at 90 March 5, 2010:
Robert T. McCall, Space Artist, Dies at 90
Published: March 5, 2010
Robert T. McCall, an artist whose fervor for space exploration found expression in his six-story-tall mural at the National Air and Space Museum and two postage stamps canceled on the Moon, died on Feb. 26 in Scottsdale, Ariz. He was 90.
The cause was heart failure, his wife, Louise, said.Mr. McCall eagerly translated his youthful enthusiasm for drawing knights in shining armor on spirited steeds into paintings of intrepid astronauts in gleaming space vehicles, both real and imagined. When NASA in 1962 hit on the idea of enlisting artists to promote its mission, Mr. McCall was one of the first three chosen.
He went on to create hundreds of vivid paintings, from representations of gleaming spaceships to futuristic dream cities where shopping centers float in space. His most famous image may be the gargantuan mural, showing events from the creation of the universe to men walking on the Moon, on the south lobby wall of the National Air and Space Museum on the National Mall in Washington. More than 10 million people a year pass it.
Or it might be his painting showing a space vehicle darting from the bay of a wheel-shaped space station, which was used in a poster for Stanley Kubrick’s landmark 1968 film, “2001: A Space Odyssey.”
Then there are the mission patches he made for astronauts, including one for the last men to walk on the Moon; the many paintings that hang in military buildings from the Pentagon to the Air Force Academy; and the enormous mural at the Johnson Space Center in Houston showing the progression of the American space program, from the first Mercury missions to the space shuttle.
He also designed more than a dozen stamps for the United States Postal Service, and a set was ceremoniously canceled on the lunar surface by David Scott, commander of the Apollo 15 mission.
H. Lester Cooke, former curator of painting at the National Gallery of Art, once noted that Mr. McCall had “the quality and scope of imagination to travel in space, and carry us along with him.” Isaac Asimov was widely quoted as calling Mr. McCall “the nearest thing we have to an artist in residence in outer space.”
IFC Tower 2 is currently the second tallest architecture in Hong Kong. It is 415 meters in length, and is quoted as having 88 storeys and 22 high-ceiling trading floors [1]. The number 8 in Cantonese sounds like “fortune” whereas the number 2 in Cantonese sounds like “easy”—together it means get rich easily. Chinese are crazy like that.
The building is designed by César Pelli & Association Architects and Rocco Design Architects Limited. Besides being very tall I am never really quite fond of them. I like architecture with character, not just another phallic skyscraper.
However, I have always found the “claws” on its roof to be interesting, and I can finally reached its height! This was shot from ground level with the 100-400 at 400mm so you can see just how amazing it is. I am still getting used to the zoom level and it simply is incredible—along with the 6D this is one of my best buys in recent years.
# Notes
1. The International Finance Centre (abbr. IFC, branded as "ifc") is an integrated commercial development on the waterfront of Hong Kong's Central District. en.wikipedia.org/wiki/International_Finance_Centre
# SML Data
+ Date: 2013-04-18T15:51:46+0800
+ Dimensions: 5293 x 3529
+ Exposure: 1/320 sec at f/5.6
+ ISO: 250
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°16'59" N 114°9'17" E
+ Location: 香港中環金融街8號國際金融中心二期 Two International Finance Centre, 8 Financial Street, Central, Hong Kong
+ Serial: SML.20130418.6D.01022
+ Workflow: Lightroom 4
+ Series: 建築 Architecture, 形 Forms
“國際金融中心二期 Two International Finance Centre (IFC2)” / 香港中環金融建築之形 Hong Kong Central Financial Architecture Forms / SML.20130418.6D.01022
/ #建築 #建筑 #Architecture #形 #Forms #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #中環 #Central #城市 #Urban #攝影 #摄影 #photography #skyscraper #IFC
Thanks to everyone that viewed my pictures, getting it to half a million this morning! I can remember when it was exceedingly rare to have a thousand views in a day, now I regularly get over 2000 a day!
It took 28 months to get to 250'000, and then 6 months to get here! I definitely can't wait for the 1 million mark!
Born in 1933 in a family of Swedish and Norwegian descent in North Dakota, American artist James Rosenquist grew up as the only child. His parents were amateur pilots and they moved from town to town looking for work before eventually settling in Minneapolis.
In this early years, he earned his living as a billboard painter. Such training would eventually allow the artist to flourish in the pop art scene by applying sign-painting techniques to the large-scale paintings he began creating in 1960.
Although he is well considered by critics to be a protagonist of the pop art movement, his work emerged separately from other pop art icons such as Warhol and Lichtenstein. He is especially known for combining fragmented images in abstract and provocative ways.
# Art Info
James Rosenquist (b. 1933)
Females and Flowers, 1984
Oil on canvas
68 x 112 inches (173 x 285 cm)
占士·勞森傑斯 (生於 1933)
女性與花, 1984
帆布油畫
68 x 112 英寸 (173 x 285 厘米)
# James Rosenquist
James Rosenquist (born November 29, 1933) is an American artist and one of the protagonists in the pop-art movement. Rosenquist was a 2001 inductee into the Florida Artists Hall of Fame.
en.wikipedia.org/wiki/James_Rosenquist
# Richard Gray Gallery
Founded in 1963. Specializing in contemporary art and European and American modern master paintings, drawings, and sculpture.
1018 Madison Avenue, 4th Floor
New York, NY 10075
USA
# SML Data
+ Date: 2013-05-23T16:00:11+0800
+ Dimensions: 4229 x 2092
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 33 mm
+ ISO: 800
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°16'58" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13865
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by James Rosenquist: Females and Flowers, 1984 (Oil on canvas)” / Richard Gray Gallery / Art Basel Hong Kong 2013 / SML.20130523.6D.13865
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #Painting #oil #JamesRosenquist #Rosenquist #US #RichardGrayGallery #Female #Flowers
I can't decide if I love this house or if I hate it. Pasting from the real estate listing:
[start-quote]
Techbuilt model home by architect Carl Koch defines mid-century modernism. One of 12 homes featured on the Lexington Historical Society modernism tour. Versatile design w/ option for expansion/change. Upstairs family room was 2 additional bedrooms and can easily be restored back. Set high on a knoll, 3/4 acre wooded/private lot in area of more expensive homes. Deep 1 car garage w/ loft has heater. Neighborhood pool, Estabrook school, Lexpress @ driveway.
[end-quote]
I like the design, but it looks like it would be hard to make any changes without ruining the character of it. I like the setting (no lawn to mow!) but I don't like that it's about 100 meters from a major Interstate highway. I like that it's cheaper than other houses in the neighborhood, but that isn't saying much (and, bleh, suburbs).
Pasting from the Wikipedia entry on Carl Koch:
[start-quote]
Carl Koch ( May 11, 1912- 03 July 3, 1998) was a noted American architect. He was most associated with the design of prefabricated homes and development of the Techcrete building system.
Education
He was born Albert Carl Koch in Milwaukee, Wisconsin. He was educated at Harvard College and received his Master of Architecture degree from the Harvard University Graduate School of Design. He completed his studies in 1937. The time he spent at Harvard overlapped with arrival of Walter Gropius, founder of the Bauhaus in Germany.[1]
Career
After completing his education, he moved to Sweden where he worked for Sven Markelius for six months.[2] There he blended what he had learned in his formal education with clean Scandinavian design. These influences were evident in his work, especially the Techbuilt homes.
Work
Koch believed that the American lifestyle would be best served by a housing system which could be easily assembled, disassembled and reconfigured. This passion led him to pioneer prefabrication technologies. His Techbuilt series of homes was designed to be built with prefabricated panels for the walls, floor and roof. [3]
Buildings
His prime legacy is the Techbuilt system of home construction. In the Techbuilt house, the master bedroom is upstairs while the other bedrooms, kitchen and living space are all on the first floor. [4]
Projects
• Snake Hill, Massachusetts group of eight houses (1942) [5]
• Acorn House (1948)
• Staff housing for the US Embassy, Belgrade (1956)
• The Techcrete Academy Homes (1962)
• Eliot House, Mount Holyoke College (1962)
Legacy
Carl Koch is known for his successful early designs for prefabricated housing. He created the Techbuilt System of home construction. Progressive Architecture magazine gave him the unofficial title "The Grandfather of Prefab" in 1994. [6] In total, over 3,000 Techbuilt homes were sold. [7] He outlined his thoughts and experiences on prefabrication in a book which he wrote with Andy Lewis entitled At Home With Tomorrow (NYC: Rinehart Rinehart and Company, Inc., 1958.)[8]
Awards
• First Award American Institute of Architects (1954)
References
1. ^ "Carl Koch". National Trust for Historic Preservation. http://www.preservationnation.org/travel-and-sites/sites/northeast-region/new-canaan-ct/architects/carl-koch.html. Retrieved 15 November 2009.
2. ^ McCallum, Ian (1959), Architecture U. S. A., New York: Reinhold Pub. Corp., pp. 170–174, http://hdl.handle.net/2027/mdp.39015009424741
3. ^ Ford, Katherine (1955), Designs for living; 175 examples of quality home interiors., New York: Reinhold Pub. Corp., pp. 22–23, http://hdl.handle.net/2027/mdp.39015006327749
4. ^ Ford, Katherine (1955), Designs for living; 175 examples of quality home interiors., New York: Reinhold Pub. Corp., pp. 22–23, http://hdl.handle.net/2027/mdp.39015006327749
5. ^ Gutheim, Frederick (1957), One hundred years of architecture in America, 1857-1957, celebrating the centennial of the American Institute of Architects., New York: Reinhold Pub. Corp., http://hdl.handle.net/2027/mdp.39015006723400
6. ^ Long, Tom (1998). "Carl Koch, 86; noted architect". The Boston Globe. http://www.encyclopedia.com/doc/1P2-8498009.html. Retrieved 15 November 2009.
7. ^ "Carl Koch". National Trust for Historic Preservation. http://www.preservationnation.org/travel-and-sites/sites/northeast-region/new-canaan-ct/architects/carl-koch.html. Retrieved 15 November 2009.
8. ^ Modernism 101: Architecture [1]
Retrieved from "http://en.wikipedia.org/wiki/Carl_Koch_(architect)"
Categories: American architects | Harvard University alumni | Modernist architects | 1998 deaths | 1912 births
[end-quote]
www.flickr.com/photos/seeminglee/8558922303/sizes/o/ (7973 x 3033 original)
The Landmark (Chinese: 置地廣場) is an office and shopping development owned by Hongkong Land in Central, Hong Kong. It is commonly known as the home of numerous prestigious international brands and the gathering place of well-heeled shoppers.
This panorama is stitched together using 9 full res RAW of the EOSM by photographing in portrait mode with the 17-40 f/4L.
# SML Data
+ Date: 2013-03-15 14:33:22 GMT+0800
+ Dimensions: 7973 x 3033
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 17 mm
+ ISO: 500-640
+ Camera: Canon EOS M
+ Lens: Canon EF 17-40 f/4L USM
+ Panorama FOV: 156 degree horizontal, 68.5 degree vertical
+ Panoramic Projection: Cylindrical
+ GPS: 22°16'53" N 114°9'28" E
+ Location: 中國香港中環皇后大道中15號置地廣場 中国香港中环皇后大道中15号置地广场 The Landmark, 15 Queen's Road Central, Central, Hong Kong, China
+ Serial: SML.20130315.EOSM.03305-SML.20130315.EOSM.03313-Pano.Cylindrical.156x68.5
+ Workflow: Hugin 2012, Lightroom 4
+ Series: 商場 Shopping Malls, 全景攝影 Panoramic Photography
“中環置地廣場 The Landmark, Central” / 香港商場建築全景攝影 Hong Kong Shopping Malls Architecture Panoramic Photography / SML.20130315.EOSM.03305-SML.20130315.EOSM.03313-Pano.Cylindrical.156x68.5
/ #商場 #ShoppingMalls #全景 #Pano #SMLPano #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #中環 #Central #攝影 #摄影 #photography #城市 #Urban #建築 #建筑 #Architecture
Someone on Facebook asked me how I could love the architectures designed Frank Gehry as well as Norman Foster. He sees them in different genres because they follow very different methods of construction, but I see them as the same—as pure expression of forms. While Gehry’s architecture is sculpturally organic and Foster’s designs feature very geometric compositions, they are ultimately about the beauty of forms. My art education from Yale is based in Bauhaus, so perhaps my appreciation of forms differs from his Harvard GSD background.
This is a handheld panorama of Terminal 1 at the Hong Kong International Airport (HKG). It was stitched together using nine 6D full-res RAW captures with the 17-40. I still haven’t bought a pano head yet so parallax is a bit of an issue, but I am planning on getting one any day now.
My mom saw some panorama shots I took recently and asked me if it was a single shot because I have been raving about the super wide angle I was able to achieve with the 17-40 + full frame 6D body. No—a full frame body cannot really achieve wider than 180-degree shots—perhaps a fish eye lens can but I do not yet have one. 8-15 f/4L looks good, will do some research perhaps.
# SML Data
+ Date: 2013-04-25T06:22:08+0800
+ Dimensions: 5622 x 2575
+ Exposure: 1/30 sec at f/8.0
+ Focal Length: 17 mm
+ ISO: 400-640
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ Panorama FOV: 190 degree horizontal, 154 degree vertical
+ Panoramic Projection: Equirectangular
+ GPS: 22°18'52" N 113°56'11" E
+ Location: Terminal 1, 香港國際機場 Hong Kong International Airport (HKG)
+ Workflow: Hugin 2012, Lightroom 4
+ Serial: SML.20130425.6D.02842-SML.20130425.6D.02850-Pano.Equirectangular.190x154
+ Series: 建築 Architecture, 形 Forms, 全景攝影 Panoramic Photography
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“香港國際機場一號客運大樓 Terminal One, Hong Kong International Airport (HKG)” / 香港旅遊建築全景之形 Hong Kong Travel Architecture Panoramic Forms / SML.20130425.6D.02842-SML.20130425.6D.02850-Pano.Equirectangular.190x154
/ #建築 #建筑 #Architecture #形 #Forms #SMLForms #全景 #Pano #SMLPano #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #機場 #Airport #NormanFoster
f/8 at night! Seriously. Clearly for the Canon EOS 6D—impossible is nothing! I can’t wait til the 100-400 f/4.5-5.6L arrives. I ordered it last week so I should get it any day now.
# SML Data
+ Date: 2013-04-13T21:59:57+0800
+ Dimensions: 5388 x 3592
+ Exposure: 1/30 sec at f/8.0
+ Focal Length: 27 mm
+ ISO: 10000
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°25'11" N 114°13'42" E
+ Altitude: 15.7 m
+ Location: 中國香港馬鞍山遊樂場人造草地足球場 中国香港马鞍山游乐场人造草地足球场 Artificial Turf Soccer Pitch, Ma On Shan Recreation Ground, Ma On Shan, Hong Kong, China
+ Serial: SML.20130413.6D.00556
+ Workflow: Lightroom 4
+ Series: 體育 Sports, 男 Men
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“夜間足球 Nighttime Football (Soccer)” / 香港體育男運動員 Hong Kong Men in Sports / SML.20130413.6D.00556
/ #體育 #Sports #男 #Men #SMLMen #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #足球 #Football #Soccer #夜 #Night
See also video interview with the artist (Flickr HD video).
Deadly Sins
A new collectible, slated to set the mark as an icon for the 22nd Century - collect all Seven Deadly Sins. Due out by December in an exclusive limited edition set.
Pure Products USA | Ligorano/Reese Collaboration in Art
Towards a Surreal Politik…
In 1992, we began Pure Products of America as a series of multiple editions focusing on the impact of marketing on politics. Over the past 17 years, the series has expanded and now includes 14 pieces running the gamut from snow globes to underwear (our underwear was the first to pack a political message), to happy meals.
Each object is signed and numbered in various sized editions. When we introduce Pure Products, we send some of them as gifts to government officials. Presidents Obama, Bush, and Clinton, members of the Supreme Court and various Senators and Congressional representatives have all received a pure product at one time or another.
Pure Products also function as discreet elements in installations. The installations The Bible Belt, Pillars of the Clean Order, and Steel Nipples incorporated them in sculptural settings with video and other media. In 2001, we expanded on this idea with the inauguration of an online retail website as part of the project.
Each piece is grounded within a framework that satirizes political values and, often, lampoons morality. Some pure products, like Line Up and Contract with America underwear, became media sensations, reported in the press, on television and radio. The commentary surrounding the artwork is a mixture of absurdity and culture jamming, amplifying how much the media interprets and misinterprets contemporary art and blurs the connections between art, activism and commerce.
ligoranoreese.net/pure-products-usa
Bio
NORA LIGORANO and MARSHALL REESE have collaborated together as Ligorano/Reese since the early 80’s. They use collaboration to blend diverse talents into a singular voice and vision. In the process of creating their work, their individual contributions cross and criss-cross between each other from brainstorming to realizing and making the art on location or in the studio.
They use unusual materials and industrial processes to make their limited edition multiples, videos, sculptures and installations, moving easily from dish towels, underwear, and snow globes, to electronic art and computer controlled interactive installations.
They take and manipulate images, audio and text from old media: print, television, radio and combine that with the new: internet and mobile telecommunications. Their pursuit is an ongoing investigation into the impact of technology on culture and the associations and meanings that the media brings to images, language and speech in politics.
They have an interest with using open forms to involve community interaction, like their drawing contests, Crater Bay Area for the 01 Festival in San Jose and Crater New York at Location1. Installations that combine sculpture with public participation in drawing, within the context of a contest that is also streamed on the internet and in Second Life. Their ice sculptures, “Main Street Meltdown” and “The State of Things” share that same sense of open possibility, fusing natural processes of erosion and decay as flexible durations and markers to determine the experience of the work.
Many of their sculptures and installations reinterpret and reexamine older forms of technology - using objects that signify truth, authority and manifest cultural historicity. Ligorano/Reese use mirrors, clocks, metronomes and medieval codex bindings and combine them with video screens. They have invented micro-projection systems to display films on the head of a pin or the counterweight of a metronome.
Since 2004, they’ve investigated portraiture as a construct of social representation. Line Up (2004-5), their series of portraits of Bush administration officials in mug shot, acknowledges that the mug shot is the preeminent form of portraiture now that more people are incarcerated in the U.S. than any other country in the world. In December, 2007, the exhibition of these photos at the New York Public Library caused a firestorm of controversy with heavy rotation on FoxNews, DrudgeReport’s homepage and many, many other publications.
In 2001, they launched www.pureproductsusa.com, the online retail website for their infamous political art series the Pure Products of America. Since 1992, Ligorano/Reese have made 11 multiples in signed editions of 3 to 100. They are best selling editions at Printed Matter, artbook@ps1 and the New Museum store and have prompted, at least on one occasion, the RNC to threaten them with copyright infringement.
For more information see “The Joy of Collaborating: recipes for time-based art.”
Eyebeam Open Studios: Fall 2009
eyebeam.org/events/open-studios-fall-2009
Eyebeam is pleased to host Open Studios for its 2009 Senior Fellows, Resident Artists, and Student Residents at Eyebeam’s state-of-the-art design, research, and fabrication studio; showcasing video performance, wearable technologies, code and humor, party technology, and sustainablity design.
///////////////
Eyebeam is the leading not-for-profit art and technology center in the United States.
Founded in 1996 and incorporated in 1997, Eyebeam was conceived as a non-profit art and technology center dedicated to exposing broad and diverse audiences to new technologies and media arts, while simultaneously establishing and demonstrating new media as a significant genre of cultural production.
Since then, Eyebeam has supported more than 130 fellowships and residencies for artists and creative technologists; we've run an active education program for youth, artists' professional development and community outreach; and have mounted an extensive series of public programs, over recent years approximately 4 exhibitions and 40 workshops, performances and events annually.
Today, Eyebeam offers residencies and fellowships for artists and technologists working in a wide range of media. At any given time, there are up to 20 resident artists and fellows onsite at Eyebeam's 15,000-square foot Chelsea offices and Labs, developing new projects and creating work for open dissemination through online, primarily open-source, publication as well as a robust calendar of public programming that includes free exhibitions, lectures and panels, participatory workshops, live performances and educational series.
Chiharu Shiota (塩田 千春 Shiota Chiharu) is my favorite artist seen at Art Basel Hong Kong 2013. There are at least four sculptures from this series seen at the show. By the end of my visit I have learned her name intimately [1].
These series of sculptures all feature the same three raw materials: metal, threads and an everyday object. Their structural construction is the same. Color threads are secured to the metal frame where they travel in midair organically to form a cocoon-like structure to hold an everyday item—a children’s dress in this case—in mid air.
Great art to me always hold one property which is universal—pure magic through the process of an artist’s imagination. This is one such instance. Its presence is beyond what an image or words alone can transpire.
Highly recommended.
# Art Info
Chiharu Shiota
Zustand des Seins (Kinderkleid) / State of Being (Children’s Dress), 2013
Metal, children’s dress, red thread
120 x 80 x 45 cm
47.24 x 31.5 x 17.72 in
# Chiharu Shiota
Chiharu Shiota (塩田 千春 Shiota Chiharu?) is a Japanese installation artist born in 1972 in Osaka. She has been living and working in Berlin since 1996.
She studied at the Seika University in Kyoto and at various schools in Germany and is represented by ARNDT in Berlin and Galerie Daniel Templon in Paris.
en.wikipedia.org/wiki/Chiharu_Shiota
# ARNDT
Arndt & Partner was established in 1994 as one of the first contemporary art galleries in former East Berlin with an international profile. In the gallery's eighteen years of operation, it has presented more than 270 exhibitions, produced sixty publications, and participated in approximately ninety international art fairs. Within this period the gallery has also operated spaces and offices in Zurich and New York City.
In 2010, the gallery changed its structure and location from Arndt & Partner at Zimmerstrasse, Checkpoint Charlie, to Arndt at Potsdamer Strasse, Schöneberg – again launching a new gallery district and adding to the everexpanding Berlin art scene.
In addition to the ongoing exhibition program of the Berlin gallery, Arndt is expanding its operations to the vibrant art landscapes of Asia – particularly Southeast Asia and the Pacific Region. While Arndt Berlin continues to present shows of international talents from around the world and to organize curatorial projects, Arndt also stages pop-up shows in unconventional, temporary spaces in Hong Kong, Sydney, Singapore, and Jakarta.
In January 2013 Arndt opened a project space, viewing room, and Asian office in Singapore: Arndt Singapore is situated in Gillman Barracks, the new art destination located in the center of Singapore, which houses galleries and creative businesses as well as the Centre for Contemporary Art (CCA), opening in 2013.
Potsdamer Strasse 96
10785 Berlin
Germany
Lock Road 22 #01-35
108939 Singapore
Singapore
# Notes
1. It usually takes me years to learn any one artist’s name, and for me to fall in love with one within an afternoon says something.
# SML Data
+ Date: 2013-05-23T14:05:28+0800
+ Dimensions: 3258 x 4523
+ Exposure: 1/100 sec at f/2.0
+ Focal Length: 22 mm
+ ISO: 100
+ Camera: Canon EOS M
+ Lens: Canon EF-M 22mm f/2 STM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.EOSM.03954
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Mixed Media Sculpture by Chiharu Shiota: Zustand des Seins (Kinderkleid) / State of Being (Children’s Dress), 2013” / ARNDT / Art Basel Hong Kong 2013 / SML.20130523.EOSM.03954
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #ChiharuShiota #ARNDT #dress #red #thread #sculpture #installation
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Curtiss P-40E Warhawk (Kittyhawk IA):
Whether known as the Warhawk, Tomahawk, or Kittyhawk, the Curtiss P-40 proved to be a successful, versatile fighter during the first half of World War II. The shark-mouthed Tomahawks that Gen. Claire Chennault's "Flying Tigers" flew in China against the Japanese remain among the most popular airplanes of the war. P-40E pilot Lt. Boyd D. Wagner became the first American ace of World War II when he shot down six Japanese aircraft in the Philippines in mid-December 1941.
Curtiss-Wright built this airplane as Model 87-A3 and delivered it to Canada as a Kittyhawk I in 1941. It served until 1946 in No. 111 Squadron, Royal Canadian Air Force. U.S. Air Force personnel at Andrews Air Force Base restored it in 1975 to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.
Donated by the Exchange Club in Memory of Kellis Forbes.
Manufacturer:
Date:
1939
Country of Origin:
United States of America
Dimensions:
Overall: 330 x 970cm, 2686kg, 1140cm (10ft 9 15/16in. x 31ft 9 7/8in., 5921.6lb., 37ft 4 13/16in.)
Materials:
All-metal, semi-monocoque
Physical Description:
Single engine, single seat, fighter aircraft.
Left: Cameo by Diana Eng
Peach silk organza edged with electroluminescent wire. Circuit boards are housed in 3-D printed Cameo.
Right: EL Wire Dress by Diana Eng
Aqua silk chiffon organically draped dress edge with electroluminescent wire controlled by an accelerometer. Circuit boards are housed in 3-D printed neck piece.
+++
Fairytale Fashion Show
2010-02-24
7pm - 9pm
Eyebeam
Diana Eng presented the Fairytale Fashion Collection in a technology fashion show on Wed., February 24, 7PM, at Eyebeam. Models hit the runway while an orchestra of circuit bending DJ’s create music from hacked video game consoles.
The Fairytale Fashion Collection uses technology to create magical clothing in real life. Electronics, mechanical engineering, and mathematics are used to create clothing with blooming flowers, changing colors and transforming shapes. Research and development for the Fairytale Fashion collection are shared online at FairytaleFashion.org as an educational tool that teaches about science, math, and technology through fashion. Fairytale Fashion was created with the support of Eyebeam Art and Technology Center, the leading not-for-profit art and technology center in the United States.
Diana Eng is a fashion designer who specializes in technology, math, and science. Her designs range from inflatable clothing to fashions inspired by mechanical engineering. She is a designer from Bravo’s Emmy nominated TV show, Project Runway season 2 and author of Fashion Geek: Clothes, Accessories, Tech. Diana is cofounder of NYC Resistor hacker group. Diana is currently a resident artist at Eyebeam.
Since I reached 20 million views last September I've not been posting these Stats but early this morning I reached 25 million so that seemed like something worth 'celebrating'.
Interestingly it's taken 11 months to add this latest five million views, whereas the last 5 million only took 9 months. This is the result of my average daily view count has dropped over the past year from about 25-30,000 to more like 10-15,000.
I guess this either reflects a change in the way flickr count views or, probably more likely, a decline in the use of the site.
Still, can't complain........ I'm still amazed at the exposure flickr has given to my photography and the opportunities, financial and otherwise, that my involvement with the website has provided.
Long may it remain that way.
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
Aside from photojournalism, the core focus of my photography from day 1 has been form composition. It is mostly an extension of graphic design education really. In graphic design, the objective is to create a balanced layout using type and images.
Using the urban environment as an ever-changing puzzle, I try to capture what I feel is balanced an interesting, and that is really all there is to it.
I did not get very far in the analog days mainly because there is a hidden cost to time and materials, but when digital photography came about to be reasonably priced, I bought one in 1997—a 640x480 Sony Mavica FD-7 for $999USD which stores images on the floppy disks.
Obviously technology has advanced quite a bit these days but Forms remain an active focus. This was shot at a hard-surfaced soccer pitch in Hong Kong. It is best described as a wet dream for photographers like me—filled with curves and lines ready to be framed and composed.
# SML Data
+ Date: 2013-04-10T14:25:02+0800
+ Dimensions: 5184 x 3456
+ Exposure: 1/125 sec at f/8.0
+ Focal Length: 28 mm
+ ISO: 100
+ Camera: Canon EOS 7D
+ Lens: Canon EF 17-40mm f/4L USM
+ Location: 中國香港馬鞍山遊樂場硬地足球場 国香港马鞍山游乐场硬地足球场 Hard-Surface Soccer Pitch, Ma On Shan Recreation Ground, Ma On Shan, Hong Kong, China
+ Workflow: Photoshop CS6, Lightroom 4
+ Serial: SML.20130410.7D.37667.P1.L1.tif
+ Series: 形 Forms, 界 Division, 體育 Sports
“藍白黃綠 Blue White Yellow Green” / 香港體育形之界 Hong Kong Sports Forms Divisions / SML.20130410.7D.37667.P1.L1
/ #形 #Forms #SMLForms #抽象 #Abstract #SMLAbstracts #界 #Division #體育 #Sports #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #china #香港 #HongKong #攝影 #摄影 #photography #足球 #Football #Soccer
Flickr stats :: rumoto images | 255,726 views per day (Mar 7)
10. Jänner 2019 - Die 70-Millionen-Marke wurde geknackt.
6. März 2019 - Neuer Rekord: 303.747 Bildaufrufe in 24 Stunden
7. März 2019 - Wieder 255.726 Bildaufrufe pro Tag.
Woche 06/2019 - 805.304 Bildaufrufe in einer einzigen Woche (bisheriger Wochen-Rekord).
Februar 2024 - die 100-Millionen-Marke wurde überschritten.
:: Я фотограф, Nikon photographs, Nikon photographers, 写真家, фотограф, photographer, фото, rumoto images, Bernard Egger, fine art, photography, Fotografie, Fotográfico, Fotografo, Nikon, Nikon DSLR, Nikon FX, full frame, Берни Эггер, stunning, supershot, work, Lichtbildwerk, Werk, art, gallery, collection, gear, retro, classics, equipment, FX, full-frame, Nikkor, DSLR, камера, camera, FM, F3, F3HP, F4, F4s, F5, D4, D5, D850, D750, NPS, Gitzo, Poster, posters, art print, Kunstdruck, Flickr stats, stats, Statistik, record, Rekord, Bildaufrufe, views, Bildansichten,
Please don't hesitate to add my works to your faves, it's my reward.
Pasting from the Wikipedia page on the Rosetta Stone:
[[[
The Rosetta Stone is an Ancient Egyptian artifact which was instrumental in advancing modern understanding of Egyptian hieroglyphic writing. The stone is a Ptolemaic era stele with carved text made up of three translations of a single passage: two in Egyptian language scripts (hieroglyphic and Demotic) and one in classical Greek. It was created in 196 BC, discovered by the French in 1799 at Rosetta, and transported to England in 1802. Once in Europe, it contributed greatly to the deciphering of the principles of hieroglyph writing, through the work of the British scientist Thomas Young and the French scholar Jean-François Champollion. Comparative translation of the stone assisted in understanding many previously undecipherable examples of hieroglyphic writing. The text on the stone is a decree from Ptolemy V, describing the repeal of various taxes and instructions to erect statues in temples. Two Egyptian-Greek multilingual steles predated Ptolemy V's Rosetta Stone: Ptolemy III's Decree of Canopus, 239 BC, and Ptolemy IV's Decree of Memphis, ca 218 BC.
The Rosetta Stone is 114.4 centimetres (45.0 in) high at its highest point, 72.3 centimetres (28.5 in) wide, and 27.9 centimetres (11.0 in) thick.[1] It is unfinished on its sides and reverse. Weighing approximately 760 kilograms (1,700 lb), it was originally thought to be granite or basalt but is currently described as granodiorite of a dark grey-pinkish colour.[2] The stone has been on public display at The British Museum since 1802.
Contents
• 1 History of the Rosetta Stone
• 5 Notes
History of the Rosetta Stone
Modern-era discovery
In preparation for Napoleon's 1798 campaign in Egypt, the French brought with them 167 scientists, scholars and archaeologists known as the 'savants'. French Army engineer Lieutenant Pierre-François Bouchard discovered the stone sometime in mid-July 1799, first official mention of the find being made after the 25th in the meeting of the savants' Institut d'Égypte in Cairo. It was spotted in the foundations of an old wall, during renovations to Fort Julien near the Egyptian port city of Rashid (Rosetta) and sent down to the Institute headquarters in Cairo. After Napoleon returned to France shortly after the discovery, the savants remained behind with French troops which held off British and Ottoman attacks for a further 18 months. In March 1801, the British landed at Aboukir Bay and scholars carried the Stone from Cairo to Alexandria alongside the troops of Jacques-Francois Menou who marched north to meet the enemy; defeated in battle, Menou and the remnant of his army fled to fortified Alexandria where they were surrounded and immediately placed under siege, the stone now inside the city. Overwhelmed by invading Ottoman troops later reinforced by the British, the remaining French in Cairo capitulated on June 22, and Menou admitted defeat in Alexandria on August 30.[3]
After the surrender, a dispute arose over the fate of French archaeological and scientific discoveries in Egypt. Menou refused to hand them over, claiming they belonged to the Institute. British General John Hely-Hutchinson, 2nd Earl of Donoughmore, refused to relieve the city until de Menou gave in. Newly arrived scholars Edward Daniel Clarke and William Richard Hamilton agreed to check the collections in Alexandria and found many artifacts that the French had not revealed.[citation needed]
When Hutchinson claimed all materials were property of the British Crown, a French scholar, Étienne Geoffroy Saint-Hilaire, said to Clarke and Hamilton that they would rather burn all their discoveries — referring ominously to the destruction of the Library of Alexandria — than turn them over. Clarke and Hamilton pleaded their case and Hutchinson finally agreed that items such as biology specimens would be the scholars' private property. But Menou regarded the stone as his private property and hid it.[4]
How exactly the Stone came to British hands is disputed. Colonel Tomkyns Hilgrove Turner, who escorted the stone to Britain, claimed later that he had personally seized it from Menou and carried it away on a gun carriage. In his much more detailed account however, Clarke stated that a French 'officer and member of the Institute' had taken him, his student John Cripps, and Hamilton secretly into the back-streets of Alexandria, revealing the stone among Menou's baggage, hidden under protective carpets. According to Clarke this savant feared for the stone's safety should any French soldiers see it. Hutchinson was informed at once, and the stone taken away, possibly by Turner and his gun-carriage. French scholars departed later with only imprints and plaster casts of the stone.[5]
Turner brought the stone to Britain aboard the captured French frigate HMS Egyptienne landing in February 1802. On March 11, it was presented to the Society of Antiquaries of London and Stephen Weston played a major role in the early translation. Later it was taken to the British Museum, where it remains to this day. Inscriptions painted in white on the artifact state "Captured in Egypt by the British Army in 1801" on the left side and "Presented by King George III" on the right.
Translation
Experts inspecting the Rosetta Stone during the International Congress of Orientalists of 1874
In 1814, Briton Thomas Young finished translating the enchorial (demotic) text, and began work on the hieroglyphic script but he did not succeed in translating them. From 1822 to 1824 the French scholar, philologist, and orientalist Jean-François Champollion greatly expanded on this work and is credited as the principal translator of the Rosetta Stone. Champollion could read both Greek and Coptic, and figured out what the seven Demotic signs in Coptic were. By looking at how these signs were used in Coptic, he worked out what they meant. Then he traced the Demotic signs back to hieroglyphic signs. By working out what some hieroglyphs stood for, he transliterated the text from the Demotic (or older Coptic) and Greek to the hieroglyphs by first translating Greek names which were originally in Greek, then working towards ancient names that had never been written in any other language. Champollion then created an alphabet to decipher the remaining text.[6]
In 1858, the Philomathean Society of the University of Pennsylvania published the first complete English translation of the Rosetta Stone as accomplished by three of its undergraduate members: Charles R Hale, S Huntington Jones, and Henry Morton.[7]
Recent history
The Rosetta Stone has been exhibited almost continuously in the British Museum since 1802. Toward the end of World War I, in 1917, the Museum was concerned about heavy bombing in London and moved the Rosetta Stone to safety along with other portable objects of value. The Stone spent the next two years in a station on the Postal Tube Railway 50 feet below the ground at Holborn.
The Stone left the British Museum again in October 1972 to be displayed for one month at the Louvre Museum on the 150th anniversary of the decipherment of hieroglyphic writing with the famous Lettre à M. Dacier of Jean-François Champollion.
In July 2003, Egypt requested the return of the Rosetta Stone. Dr. Zahi Hawass, secretary general of the Supreme Council of Antiquities in Cairo, told the press: "If the British want to be remembered, if they want to restore their reputation, they should volunteer to return the Rosetta Stone because it is the icon of our Egyptian identity". In 2005, Hawass was negotiating for a three-month loan, with the eventual goal of a permanent return.[8][9] In November 2005, the British Museum sent him a replica of the stone.[10] In December 2009 Hawass said that he would drop his claim for the return of the Rosetta Stone if the British Museum loaned the stone to Egypt for three months.[11]
Inscription
In essence, the Rosetta Stone is a tax amnesty given to the temple priests of the day, restoring the tax privileges they had traditionally enjoyed from more ancient times. Some scholars speculate that several copies of the Rosetta Stone must exist, as yet undiscovered, since this proclamation must have been made at many temples. The complete Greek portion, translated into English,[12] is about 1600–1700 words in length, and is about 20 paragraphs long (average of 80 words per paragraph):
n the reign of the new king who was Lord of the diadems, great in glory, the stabilizer of Egypt, but also pious in matters relating to the gods, superior to his adversaries, rectifier of the life of men, Lord of the thirty-year periods like Hephaestus the Great, King like the Sun, the Great King of the Upper and Lower Lands, offspring of the Parent-loving gods, whom Hephaestus has approved, to whom the Sun has given victory, living image of Zeus, Son of the Sun, Ptolemy the ever-living, beloved by Ptah;
In the ninth year, when Aëtus, son of Aëtus, was priest of Alexander and of the Savior gods and the Brother gods and the Benefactor gods and the Parent-loving gods and the god Manifest and Gracious; Pyrrha, the daughter of Philinius, being athlophorus for Bernice Euergetis; Areia, the daughter of Diogenes, being canephorus for Arsinoë Philadelphus; Irene, the daughter of Ptolemy, being priestess of Arsinoë Philopator: on the fourth of the month Xanicus, or according to the Egyptians the eighteenth of Mecheir.
THE DECREE: The high priests and prophets, and those who enter the inner shrine in order to robe the gods, and those who wear the hawk's wing, and the sacred scribes, and all the other priests who have assembled at Memphis before the king, from the various temples throughout the country, for the feast of his receiving the kingdom, even that of Ptolemy the ever-living, beloved by Ptah, the god Manifest and Gracious, which he received from his Father, being assembled in the temple in Memphis this day, declared: Since King Ptolemy, the ever-living, beloved by Ptah, the god Manifest and Gracious, the son of King Ptolemy and Queen Arsinoë, the Parent-loving gods, has done many benefactions to the temples and to those who dwell in them, and also to all those subject to his rule, being from the beginning a god born of a god and a goddess—like Horus, the son of Isis and Osiris, who came to the help of his Father Osiris; being benevolently disposed toward the gods, has concentrated to the temples revenues both of silver and of grain, and has generously undergone many expenses in order to lead Egypt to prosperity and to establish the temples... the gods have rewarded him with health, victory, power, and all other good things, his sovereignty to continue to him and his children forever.[13]
Idiomatic use
The term Rosetta Stone came to be used by philologists to describe any bilingual text with whose help a hitherto unknown language and/or script could be deciphered. For example, the bilingual coins of the Indo-Greeks (Obverse in Greek, reverse in Pali, using the Kharo??hi script), which enabled James Prinsep (1799–1840) to decipher the latter.
Later on, the term gained a wider frequency, also outside the field of linguistics, and has become idiomatic as something that is a critical key to the process of decryption or translation of a difficult encoding of information:
"The Rosetta Stone of immunology"[14] and "Arabidopsis, the Rosetta Stone of flowering time (fossils)".[15] An algorithm for predicting protein structure from sequence is named Rosetta@home. In molecular biology, a series of "Rosetta" bacterial cell lines have been developed that contain a number of tRNA genes that are rare in E. coli but common in other organisms, enabling the efficient translation of DNA from those organisms in E. coli.
"Rosetta" is an online language translation tool to help localisation of software, developed and maintained by Canonical as part of the Launchpad project.
"Rosetta" is the name of a "lightweight dynamic translator" distributed for Mac OS X by Apple. Rosetta enables applications compiled for PowerPC processor to run on Apple systems using x86 processor.
Rosetta Stone is a brand of language learning software published by Rosetta Stone Ltd., headquartered in Arlington, VA, USA.
The Rosetta Project is a global collaboration of language specialists and native speakers to develop a contemporary version of the historic Rosetta Stone to last from 2000 to 12,000 AD. Its goal is a meaningful survey and near permanent archive of 1,500 languages.
Rosetta Stone was also a pseudonym used by Theodor Seuss Geisel (Dr. Seuss) for the book "Because a Little Bug Went Ka-Choo"
See also
• Decree of Canopus, stele no. 1 of the 3-stele series
Notes
• Allen, Don Cameron. "The Predecessors of Champollion", Proceedings of the American Philosophical Society, Vol. 144, No. 5. (1960), pp. 527–547
• Adkins, Lesley; Adkins, Roy. The Keys of Egypt: The Obsession to Decipher Egyptian Hieroglyphs. HarperCollins, 2000 ISBN 0-06-019439-1
• Budge, E. A. Wallis (1989). The Rosetta Stone. Dover Publications. ISBN 0486261638. http://books.google.com/books?id=RO_m47hLsbAC&printsec=frontcover&dq=rosetta+stone&as_brr=3&sig=ACfU3U1_VaJ_NxkLmbZuYyDLji99DXwY6w.
• Downs, Jonathan. Discovery at Rosetta. Skyhorse Publishing, 2008 ISBN 978-1-60239-271-7
• Downs, Jonathan. "Romancing the Stone", History Today, Vol. 56, Issue 5. (May, 2006), pp. 48–54.
• Parkinson, Richard. Cracking Codes: the Rosetta Stone, and Decipherment. University of California Press, 1999 ISBN 0-520-22306-3
• Parkinson, Richard. The Rosetta Stone. Objects in Focus; British Museum Press 2005 ISBN 978-0-7141-5021-5
• Ray, John. The Rosetta Stone and the Rebirth of Ancient Egypt. Harvard University Press, 2007 ISBN 978-0-674-02493-9
• Reviewed by Jonathon Keats in the Washington Post, July 22, 2007.
• Solé, Robert; Valbelle, Dominique. The Rosetta Stone: The Story of the Decoding of Hieroglyphics. Basic Books, 2002 ISBN 1-56858-226-9
• The Gentleman's Magazine: and Historical Chronicle, 1802: Volume 72: part 1: March: p. 270: Wednesday, March 31.
References
• ^ "The Rosetta Stone". http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/t/the_rosetta_stone.aspx. Retrieved 2008-05-21.
• ^ "History uncovered in conserving the Rosetta Stone". http://www.britishmuseum.org/explore/highlights/article_index/h/history_uncovered_in_conservin.aspx. Retrieved 2008-11-11.
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ Downs, Jonathan, Discovery at Rosetta, 2008
• ^ See University of Pennsylvania, Philomathean Society, Report of the committee [C.R. Hale, S.H. Jones, and Henry Morton], appointed by the society to translate the inscript on the Rosetta stone, Circa 1858 and most likely published in Philadelphia. See later editions of circa 1859 and 1881 by same author, as well as Randolph Greenfield Adams, A Translation of the Rosetta Stone (Cambridge, MA: Harvard University Press, 1925.) The Philomathean Society holds relevant archival material as well as an original casting.
• ^ Charlotte Edwardes and Catherine Milner (2003-07-20). "Egypt demands return of the Rosetta Stone". Daily Telegraph. http://www.telegraph.co.uk/news/worldnews/africaandindianocean/egypt/1436606/Egypt-demands-return-of-the-Rosetta-Stone.html. Retrieved 2006-10-05.
• ^ Henry Huttinger (2005-07-28). "Stolen Treasures: Zahi Hawass wants the Rosetta Stone back—among other things". Cairo Magazine. http://www.cairomagazine.com/?module=displaystory&story_id=1238&format=html. Retrieved 2006-10-06. [dead link]
• ^ "The rose of the Nile". Al-Ahram Weekly. 2005-11-30. http://weekly.ahram.org.eg/2005/770/he1.htm. Retrieved 2006-10-06.
• ^ [1] "Rosetta Stone row 'would be solved by loan to Egypt'" BBC News 8 December 2009
• ^ "Translation of the Greek section of the Rosetta Stone". Reshafim.org.il. http://www.reshafim.org.il/ad/egypt/texts/rosettastone.htm. Retrieved 2009-01-22.
• ^ "Text of the Rosetta Stone". http://pw1.netcom.com/~qkstart/rosetta.html. Retrieved 2006-11-26.
• ^ The National Institute of Allergy and Infectious Diseases (2000-09-06). "International Team Accelerates Investigation of Immune-Related Genes". http://www3.niaid.nih.gov/news/newsreleases/2000/ihwg.htm. Retrieved 2006-11-23.
• ^ Gordon G. Simpson, Caroline Dean (2002-04-12). "Arabidopsis, the Rosetta Stone of Flowering Time?". http://www.sciencemag.org/cgi/content/abstract/296/5566/285?ijkey=zlwRiv/qSEivQ&keytype=ref&siteid=sci. Retrieved 2006-11-23.
External links
• Wikimedia Commons has media related to: Rosetta Stone
• Wikisource has original text related to this article: Text on the Rosetta Stone in English
• Greek Wikisource has original text related to this article: Greek Text from the Rosetta Stone
• The Rosetta Stone in The British Museum
• More detailed British Museum page on the stone with Curator's comments and bibliography
• The translated text in English – The British Museum
• The Finding of the Rosetta Stone
• The 1998 conservation and restoration of The Rosetta Stone at The British Museum
• Champollion's alphabet – The British Museum
• people.howstuffworks.com/rosetta-stone.htm
Retrieved from "http://en.wikipedia.org/wiki/Rosetta_Stone"
Categories: 196 BC | 2nd century BC | 2nd-century BC steles | 2nd-century BC works | 1st-millennium BC steles | Ancient Egyptian objects in the British Museum | Ancient Egyptian texts | Ancient Egyptian stelas | Antiquities acquired by Napoleon | Egyptology | Metaphors referring to objects | Multilingual texts | Ptolemaic dynasty | Stones | Nile River Delta | Ptolemaic Greek inscriptions | Archaeological corpora documents
]]]
Pasting from Copley Motorcars:
1966, Ford Mustang GT 350
Exterior color
Acapulco Blue
Interior color
white
Mileage
8,100
Price
$54,800.00
Shelby GT350 re-creation superbly restored and created in 2004, new Ford 302ci V8 with 347ci stroker kit from HP/Probe Industries with Coach Hi-Po Street Fighter forged pistons, Edelbrock aluminum heads, competition cam shaft and lifter kit, Edelbrock dual aluminum quad intake with 2 Holley 600 carburetors, Mallory Unilite ignition, modern Ford heavy duty T5 transmission with Ford Motorsports HP clutch and pressure plate, 4 wheel disc brakes, rebuilt suspension, Vintage Air heating and air conditioning, power convertible top with plexi-glass rear window, fresh major servicing by Tony Calise’s Thunder Road Performance.
• • • • •
Pasting from Wikipedia: Ford Mustang (first generation):
The first-generation Ford Mustang was the original pony car, manufactured by Ford Motor Company from 1964 until 1973.
Contents
Conception and Styling
As Lee Iacocca's assistant general manager and chief engineer, Donald N. Frey, was the head engineer for the Mustang project — supervising the development of the Mustang in a record 18 months[3][4] — while Iacocca himself championed the project as Ford Division general manager. The Mustang prototype was a two-seat, mid-mounted engine roadster, styled in part by Phil Clark. Stylist John Najjar, in a 1984 interview with David R. Crippen, archivist of the Henry Ford Museum spoke about the genesis of the two-seat prototype:
We had a studio under Bob Maguire,and in it were Jim Darden, Ray Smith, plus an artist, Phil Clark, several modelers, and me. We drew up a 2-seater sports car in competition with the other studios, and when they saw ours - saw the blackboard with a full-sized layout and sketches- they said, 'That's it! Let's build it.' So we made a clay model, designed the details, and then built a fiberglass prototype." This car was simply a concept study rather than the final configuration, but it included a lot of the sporty, rakish flair the later showcar embodied.[5]
The Mustang I was later remodeled as a four-seat car styled under the direction of Project Design Chief Joe Oros and his team of L. David Ash, Gale Halderman, and John Foster[6][7] — in Ford's Lincoln–Mercury Division design studios, which produced the winning design in an intramural design contest instigated by Iacocca.
The design team had been given five goals[8] for the design of the Mustang: it would seat four, have bucket seats and a floor mounted shifter, weigh no more than 2500 pounds and be no more than 180 inches in length, sell for less than $2500, and have multiple power, comfort and luxury options.
Having set the design standards for the Mustang[9], Oros said:
I told the team that I wanted the car to appeal to women, but I wanted men to desire it, too. I wanted a Ferrari-like front end, the motif centered on the front – something heavy-looking like a Maseratti, but, please, not a trident – and I wanted air intakes on the side to cool the rear brakes. I said it should be as sporty as possible and look like it was related to European design.[9]
Oros added:
I then called a meeting with all the Ford studio designers. We talked about the sporty car for most of that afternoon, setting parameters for what it should look like -- and what it should not look like -- by making lists on a large pad, a technique I adapted from the management seminar. We taped the lists up all around the studio to keep ourselves on track. We also had photographs of all the previous sporty cars that had been done in the Corporate Advanced studio as a guide to themes or ideas that were tired or not acceptable to management.
Within a week we had hammered out a new design. We cut templates and fitted them to the clay model that had been started. We cut right into it, adding or deleting clay to accommodate our new theme, so it wasn't like starting all over. But we knew Lincoln-Mercury would have two models. And Advanced would have five, some they had previously shown and modified, plus a couple extras. But we would only have one model because Ford studio had a production schedule for a good many facelifts and other projects. We couldn't afford the manpower, but we made up for lost time by working around the clock so our model would be ready for the management review.[6]
L. David Ash is often credited with the actual styling of the Mustang. Ash, in a 1985 interview speaking of the origin of the Mustang design, when asked the degree of his contribution, said:
I would say substantial. However, anyone that says they designed the car by themselves, is wrong. Iacocca didn't design it. He conceived it. He's called the father of it, and, in that respect, he was. I did not design it in total, nor did Oros. It was designed by a design group. You look at the photograph taken at the award banquet for the Industrial Designers’ Society where the Mustang received the medal; it’s got Damon Woods in it (the group that did the interior), and Charlie Phaneuf (who was with Damon), and it’s got myself and John Foster (who was with me), it’s got (John) Najjar in it.[10]
So nobody actually did the car, as such. Iacocca in his book flat out comes and says I did the car. It's right there in print, "It's Dave Ash's Mustang." Bordinat will tell you I did the car. This book tells you I did the car, but, in actual fact, I had a lot of help, and I don't think anyone ever does a car by himself, not in these times anyway.[10]
To decrease development costs, the Mustang used chassis, suspension, and drivetrain components derived from the Ford Falcon and Fairlane. It used a unitized platform-type frame from the 1964 Falcon, and welded box-section side rails, including welded crossmembers. Although hardtop Mustangs accounted for the highest sales, durability problems with the new frame led to the engineering of a convertible first, which ensured adequate stiffness. Overall length of the Mustang and Falcon was identical, although the Mustang's wheelbase was slightly shorter. With an overall width of 68.2 inches (1,732 mm), it was 2.4 inches (61 mm) narrower, yet the wheel track was nearly identical. Shipping weight, approximately 2,570 pounds (1,170 kg) with the straight six-cylinder engine, was also similar to the Falcon. A fully-equipped V8 model weighed approximately 3,000 pounds (1,400 kg). Although most of the mechanical parts were from the Falcon, the Mustang's body was completely different; sporting a shorter wheelbase, wider track, lower seating position and lower overall height. An industry first, the "torque box" was an innovative structural system that greatly stiffened the Mustang's construction and helped contribute to better handling.
1964–1966
Since it was introduced five months before the normal start of the production year and manufactured among 1964 Ford Falcons and 1964 Mercury Comets, the earliest Mustangs are widely referred to as the 1964½ model.[11] A more accurate description is the "early 1965" model because it underwent significant changes at the beginning of the regular model year. All the early cars, however, were marketed by Ford as 1965 models. The low-end model hardtop used a "V-code" 170 cu in (2.8 L) straight-6 engine and three-speed manual transmission and retailed for US$2,368.
Several changes to the Mustang occurred at the start of the normal 1965 model year production, five months after its introduction. These cars are known as "late 65's," and were built after factory retooling in August 1964. The engine lineup was changed, with a 200 cu in (3.3 L) "T-code" engine that produced 120 hp (89 kW). Production of the "L-code" 260 cu in (4.3 L) engine ceased when the 1964 model year ended. It was replaced with a new 200 hp (150 kW) "C-code" 289 cu in (4.7 L) engine with a two-barrel carburetor as the base V8. An "A-code" 225 hp (168 kW) four-barrel carbureted version was next in line, followed by the unchanged "Hi-Po" "K-code" 271 hp (202 kW) 289. The DC electrical generator was replaced by a new AC alternator on all Fords (the quickest way to distinguish a 1964 from a 1965 is to see if the alternator light on the dash says "GEN" or "ALT"). The now-famous Mustang GT (Gran - Touring) was introduced as the "GT Equipment Package" and included a V8 engine (most often the 225 hp (168 kW) 289), grille-mounted fog lamps, rocker panel stripes, and disc brakes. A four-barrel carbureted engine was now available with any body style. Additionally, reverse lights were an option added to the car in 1965. The Mustang was originally available as either a hardtop or convertible, but during the car's early design phases a fastback model was strongly considered. The Mustang 2+2 fastback made its inaugural debut with its swept-back rear glass and distinctive ventilation louvers.
The standard interior features of the 1965 Mustang included adjustable driver and passenger bucket seats, an AM radio, and a floor mounted shifter in a variety of color options. Ford added additional interior options during the 1965 model year. The Interior Decor Group was popularly known as "Pony Interior" due to the addition of embossed running ponies on the seat fronts, and also included integral armrests, woodgrain appliqué accents, and a round gauge cluster that would replace the standard Falcon instrumentation. Also available were sun visors, a (mechanical) remote-operated mirror, a floor console, and a bench seat. Ford later offered an under-dash air-conditioning unit, and discontinued the vinyl with cloth insert seat option, offered only in early 1965 models.
One option designed strictly for fun was the Rally-Pac. Introduced in 1963 after Ford's success at that year's Monte Carlo Rally and available on other Ford and Mercury compacts and intermediates, the Rally-Pac was a combination clock and tachometer mounted to the steering column. It was available as a factory ordered item for US$69.30. Installed by a dealer, the Rally-Pac cost US$75.95. Reproductions are presently available from any number of Mustang restoration parts sources.
The 1966 Mustang debuted with moderate trim changes including a new grille, side ornamentation, wheel covers and gas cap. An automatic transmission for the "Hi-Po," a large number of new paint and interior color options, an AM/eight-track sound system, and one of the first AM/FM mono automobile radios were also offered. It also removed the Falcon instrument cluster; the previously optional features, including the round gauges and padded sun visors, became standard equipment. The Mustang convertible would be the best-selling in 1966, with 72,119 sold, beating the number two Impala by almost 2:1.[12]
The 1965 and 1966 Mustangs are differentiated by variations in the exterior, despite similar design. These variations include the emblem on the quarter-panels behind the doors. In 1965 the emblem was a single vertical piece of chrome, while in 1966 the emblem was smaller in height and had three horizontal bars extending from the design, resembling an "E". The front intake grilles and ornaments were also different. The 1965 front grille used a "honeycomb" pattern, while the 1966 version was a "slotted" style. While both model years used the "Horse and Corral" emblem on the grille, the 1965 had four bars extending from each side of the corral, while on the 1966, these bars were removed.
When Ford began selling the Mustang in Germany, they discovered a company had already registered the name. The German company offered to sell the rights for US$10,000. Ford refused and removed the Mustang badge, instead naming it T-5 for the German market.
Quoting Smithsonian National Air and Space Museum | Curtiss P-40E Warhawk (Kittyhawk IA):
Whether known as the Warhawk, Tomahawk, or Kittyhawk, the Curtiss P-40 proved to be a successful, versatile fighter during the first half of World War II. The shark-mouthed Tomahawks that Gen. Claire Chennault's "Flying Tigers" flew in China against the Japanese remain among the most popular airplanes of the war. P-40E pilot Lt. Boyd D. Wagner became the first American ace of World War II when he shot down six Japanese aircraft in the Philippines in mid-December 1941.
Curtiss-Wright built this airplane as Model 87-A3 and delivered it to Canada as a Kittyhawk I in 1941. It served until 1946 in No. 111 Squadron, Royal Canadian Air Force. U.S. Air Force personnel at Andrews Air Force Base restored it in 1975 to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.
Donated by the Exchange Club in Memory of Kellis Forbes.
Manufacturer:
Date:
1939
Country of Origin:
United States of America
Dimensions:
Overall: 330 x 970cm, 2686kg, 1140cm (10ft 9 15/16in. x 31ft 9 7/8in., 5921.6lb., 37ft 4 13/16in.)
Materials:
All-metal, semi-monocoque
Physical Description:
Single engine, single seat, fighter aircraft.
• • • • •
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:
No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world's fastest jet-propelled aircraft. The Blackbird's performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.
This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight's conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.
Transferred from the United States Air Force.
Manufacturer:
Designer:
Date:
1964
Country of Origin:
United States of America
Dimensions:
Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)
Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)
Materials:
Titanium
Physical Description:
Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.
• • • • •
Quoting Smithsonian National Air and Space Museum | Vought F4U-1D Corsair :
By V-J Day, September 2, 1945, Corsair pilots had amassed an 11:1 kill ratio against enemy aircraft. The aircraft's distinctive inverted gull-wing design allowed ground clearance for the huge, three-bladed Hamilton Standard Hydromatic propeller, which spanned more than 4 meters (13 feet). The Pratt and Whitney R-2800 radial engine and Hydromatic propeller was the largest and one of the most powerful engine-propeller combinations ever flown on a fighter aircraft.
Charles Lindbergh flew bombing missions in a Corsair with Marine Air Group 31 against Japanese strongholds in the Pacific in 1944. This airplane is painted in the colors and markings of the Corsair Sun Setter, a Marine close-support fighter assigned to the USS Essex in July 1944.
Transferred from the United States Navy.
Manufacturer:
Date:
1940
Country of Origin:
United States of America
Dimensions:
Overall: 460 x 1020cm, 4037kg, 1250cm (15ft 1 1/8in. x 33ft 5 9/16in., 8900lb., 41ft 1/8in.)
Materials:
All metal with fabric-covered wings behind the main spar.
Physical Description:
R-2800 radial air-cooled engine with 1,850 horsepower, turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch; wing bent gull-shaped on both sides of the fuselage.
Pasting from the Copley Motorcars website:
• • • • •
1964, Austin Healey 3000 MkIII BJ8
Exterior color
Colorado Red
Interior color
black
Mileage
70,900
Price
$34,800.00
The first of the MkIII "big" Healeys, 150hp 2.9 litre in-line 6 cylinder engine, 4 speed manual transmission, electronic over drive, wire wheels, original steering wheel, roll up windows, proper soft top, seat belts front and rear, well preserved older restoration.
• • • • •
Exterior color
Blue
Interior color
blue
Mileage
74,300
Price
$7,800.00
Iconic Bug coupe, 54hp air cooled 4 cylinder, 4 speed manual transmission, am radio, multi-speed windshield wipers, "modern" 12 volt charging system, 74,000 original miles, owner's manual, a top original and unrestored example from the 21 million Beetles manufactured.
• • • • •
1971, Mercedes Benz 280SE 3.5 coupe
Exterior color
180 Silver
Interior color
cognac
Mileage
120,400
Price
incoming
Superb W111 chassis 3.5 coupe, DB180 Silver with cognac leather, 3.5 litre V8 engine, floor mount automatic transmission, factory Behr air conditioning, factory sunroof, power windows, Becker Europa radio, original manuals, tools and spare keys, extensive service file dating back to 1970, delivered new August 4, 1970 by Mercedes Benz of Hollywood to then Mexican Ambassador Pedro Ezarzaga, traded in to Slemons Mercedes Benz of Newport Beach in 1973 and sold to Mr. Hirsch where the coupe stayed in his family until 1990. of the 3,270 280SE 3.5 coupes manufactured, fewer than 100 have both floor shift and sunroof.
• • • • •
Exterior color
Red
Interior color
tan
Mileage
15,100
Price
$8,800.00
Early USA import, 1.9 litre 4 cylinder engine, "4 on the tree" manual transmission, 2 wheel drive, same owner from new until 2006, painted once in the 1980s, fully sorted and ready for the farm.
• • • • • • • • • • Wikipedia details • • • • • • • • • •
Pasting from Wikipedia: Mercedes-Benz W111:
The "Fintail" (German: Heckflosse) was a series of luxury vehicles produced by Mercedes-Benz from 1959 to 1968 under the W111 chassis code.
Though never officially designated as such (they were designated Peilstege, marking the end of the car in rear view mirror), the cars gained the nickname because of the distinctive rear-end which incorporates small tailfins, thought to be an understated attempt to appeal to the United States market at the time (with domestic finned cars, such as the Cadillacs and Buicks of the times).
The Fintail is considered part of the lineage of the Mercedes-Benz S-Class flagship model, particularly the initial 6-cylinder W111 and more luxurious W112 models. A 4-cylinder version, the W110, was introduced in 1962. In the S-Class lineage, the Fintail models were succeeded by the larger W108/W109 lines. A special version was made for the US market from 1960 to 1964. The front headlamps were "stacked" to meet US lighting requirements giving the car a unique look. Some of the earlier 220S models exported to the US also sported a chromium strip on either side of the car.
The Fintail models were pioneers of the automotive safety feature of crumple zones, which absorb the energy of a collision. The idea for crumple zones came from Bela Barenyi who worked as an engineer for Mercedes-Benz.[1]
• • • • • • • • • •
Quoting from Wikipedia: Toyota Stout:
The Toyota Stout was a light truck produced by the Japanese automaker Toyota.
Contents
First generation
RK
• Manufacturer: Toyota
• Assembly: Japan
• Predecessor: SG
• Successor: RK45,100,101
• Class: light truck
• Platform: ladder frame
• Wheelbase: 2500 mm
• Length: 4265 mm
• Width: 1675 mm
• Height: 1735 mm
• Curb weight: 860 kg
• Related: SG
Introduced in April 1954 as the Toyopet RK 1¼ ton truck, it was larger than the similar Toyota SG light truck but smaller than the Toyota FA medium duty truck.[1] In 1955 it was upgraded to carry 1.5 tons.[2]
The standard body was a 2-door, 3 seater pickup with a separate well body (with a fold down tailgate). Other bodies advertised by Toyota included a van, an ambulance, double cab coupe utility (2-doors, 6 seater, integral well body), drop-side pickup, pickup with stake sides, a pickup with full height metal side with a canvas top, a light bus (precursor to the Coaster) and an ice cream van.[1][2]
All models used mechanicals common to new vehicles of its time, such as a ladder frame chassis, leaf springs, solid axles and 4 wheel drum brakes. The engine was the 48HP 1500 cc Type R with a manual transmission. The body was professionally finished with windscreen wipers, dual outside mirrors (1955 onwards), hubcaps, chrome trim and dual headlights.
The 1954 model was designated as a 1¼ ton truck but was actually rated to carry 1220 kg.[1] The 1955 model was designated as a 1.5 ton truck but was actually rated to carry 1330 kg.[2]
In 1957 the RK was revised to become the RK30 and the RK35. In May 1959 it was named the Stout.
Second generation
RK45, RK100, RK101
• Manufacturer: Toyota
• Assembly: Japan
• Predecessor: RK
• Successor: RK110
• Class: light truck
• Body style(s): pickup
• Layout: front-engine, rear-wheel drive
• Platform: ladder frame
• Transmission(s): 4 speed manual
• Wheelbase: 2800 mm
• Length: 4695 mm
• Width: 1690 mm
• Height: 1750 mm
• Curb weight: 835 kg
• Related: Hilux
Completely redesigned in 1960 this is the most familiar version of the Stout. The Japanese market had the 1453 cc Type R engine in the RK45 and the 1897 cc 3R-B engine in the RK100.[3]
Export out of Japan began in September 1967 with the RK101. In some markets (e.g. North America) it was replaced by the slightly smaller Hilux in 1968 but in many other markets (e.g. South-East Asia and Australia) it was sold alongside the Hilux. The RK101 used the 1994 cc 5R engine.[4]
Conventional mechanical parts were used in the form of leaf springs and 4 wheel drum brakes on a ladder frame chassis. Body styles included a pickup (2-door, 3 seater), a double-cab pickup (4-door, 6 seater) and a 2-door van.[4]
Third generation
Facelifted and modernised in March 1979, the Stout now looked more like the smaller Hilux but still fulfilled the same role as before. It also continued to use the same 1994 cc 5R engine.[4]
Body styles included a pickup (2-door, 3 seater) and a double-cab pickup (4-door, 6 seater).
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Vought F4U-1D Corsair:
By V-J Day, September 2, 1945, Corsair pilots had amassed an 11:1 kill ratio against enemy aircraft. The aircraft's distinctive inverted gull-wing design allowed ground clearance for the huge, three-bladed Hamilton Standard Hydromatic propeller, which spanned more than 4 meters (13 feet). The Pratt and Whitney R-2800 radial engine and Hydromatic propeller was the largest and one of the most powerful engine-propeller combinations ever flown on a fighter aircraft.
Charles Lindbergh flew bombing missions in a Corsair with Marine Air Group 31 against Japanese strongholds in the Pacific in 1944. This airplane is painted in the colors and markings of the Corsair Sun Setter, a Marine close-support fighter assigned to the USS Essex in July 1944.
Transferred from the United States Navy.
Manufacturer:
Date:
1940
Country of Origin:
United States of America
Dimensions:
Overall: 460 x 1020cm, 4037kg, 1250cm (15ft 1 1/8in. x 33ft 5 9/16in., 8900lb., 41ft 1/8in.)
Materials:
All metal with fabric-covered wings behind the main spar.
Physical Description:
R-2800 radial air-cooled engine with 1,850 horsepower, turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch; wing bent gull-shaped on both sides of the fuselage.
Long Description:
On February 1, 1938, the United States Navy Bureau of Aeronautics requested proposals from American aircraft manufacturers for a new carrier-based fighter airplane. During April, the Vought Aircraft Corporation responded with two designs and one of them, powered by a Pratt & Whitney R-2800 engine, won the competition in June. Less than a year later, Vought test pilot Lyman A. Bullard, Jr., first flew the Vought XF4U-1 prototype on May 29, 1940. At that time, the largest engine driving the biggest propeller ever flown on a fighter aircraft propelled Bullard on this test flight. The R-2800 radial air-cooled engine developed 1,850 horsepower and it turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch.
The airplane Bullard flew also had another striking feature, a wing bent gull-shaped on both sides of the fuselage. This arrangement gave additional ground clearance for the propeller and reduced drag at the wing-to-fuselage joint. Ironically for a 644-kph (400 mph) airplane, Vought covered the wing with fabric behind the main spar, a practice the company also followed on the OS2U Kingfisher (see NASM collection).
When naval air strategists had crafted the requirements for the new fighter, the need for speed had overridden all other performance goals. With this in mind, the Bureau of Aeronautics selected the most powerful air-cooled engine available, the R-2800. Vought assembled a team, lead by chief designer Rex Biesel, to design the best airframe around this powerful engine. The group included project engineer Frank Albright, aerodynamics engineer Paul Baker, and propulsion engineer James Shoemaker. Biesel and his team succeeded in building a very fast fighter but when they redesigned the prototype for production, they were forced to make an unfortunate compromise.
The Navy requested heavier armament for production Corsairs and Biesel redesigned each outboard folding wing panel to carry three .50 caliber machine guns. These guns displaced fuel tanks installed in each wing leading edge. To replace this lost capacity, an 897-liter (237 gal) fuselage tank was installed between the cockpit and the engine. To maintain the speedy and narrow fuselage profile, Biesel could not stack the cockpit on top of the tank, so he moved it nearly three feet aft. Now the wing completely blocked the pilot's line of sight during the most critical stages of landing. The early Corsair also had a vicious stall, powerful torque and propeller effects at slow speed, a short tail wheel strut, main gear struts that often bounced the airplane at touchdown, and cowl flap actuators that leaked oil onto the windshield. These difficulties, combined with the lack of cockpit visibility, made the airplane nearly impossible to land on the tiny deck of an aircraft carrier. Navy pilots soon nicknamed the F4U the 'ensign eliminator' for its tendency to kill these inexperienced aviators. The Navy refused to clear the F4U for carrier operations until late in 1944, more than seven years after the project started.
This flaw did not deter the Navy from accepting Corsairs because Navy and Marine pilots sorely needed an improved fighter to replace the Grumman F4F Wildcat (see NASM collection). By New Year's Eve, 1942, the service owned 178 F4U-1 airplanes. Early in 1943, the Navy decided to divert all Corsairs to land-based United States Marine Corps squadrons and fill Navy carrier-based units with the Grumman F6F Hellcat (see NASM collection). At its best speed of 612 kph (380 mph) at 6,992 m (23,000 ft), the Hellcat was about 24 kph (15 mph) slower than the Corsair but it was a joy to fly aboard the carrier. The F6F filled in splendidly until improvements to the F4U qualified it for carrier operations. Meanwhile, the Marines on Guadalcanal took their Corsairs into combat and engaged the enemy for the first time on February 14, 1943, six months before Hellcat pilots on that battle-scared island first encountered enemy aircraft.
The F4U had an immediate impact on the Pacific air war. Pilots could use the Corsair's speed and firepower to engage the more maneuverable Japanese airplanes only when the advantage favored the Americans. Unprotected by armor or self-sealing fuel tanks, no Japanese fighter or bomber could withstand for more than a few seconds the concentrated volley from the six .50 caliber machine guns carried by a Corsair. Major Gregory "Pappy" Boyington assumed command of Marine Corsair squadron VMF-214, nicknamed the 'Black Sheep' squadron, on September 7, 1943. During less than 5 months of action, Boyington received credit for downing 28 enemy aircraft. Enemy aircraft shot him down on January 3, 1944, but he survived the war in a Japanese prison camp.
In May and June 1944, Charles A. Lindbergh flew Corsair missions with Marine pilots at Green Island and Emirau. On September 3, 1944, Lindbergh demonstrated the F4U's bomb hauling capacity by flying a Corsair from Marine Air Group 31 carrying three bombs each weighing 450 kg (1,000 lb). He dropped this load on enemy positions at Wotje Atoll. On the September 8, Lindbergh dropped the first 900-kg (2,000 lb) bomb during an attack on the atoll. For the finale five days later, the Atlantic flyer delivered a 900-kg (2,000 lb) bomb and two 450-kg (1,000 lb) bombs. Lindbergh went ahead and flew these missions after the commander of MAG-31 informed him that if he was forced down and captured, the Japanese would almost certainly execute him.
As of V-J Day, September 2, 1945, the Navy credited Corsair pilots with destroying 2,140 enemy aircraft in aerial combat. The Navy and Marines lost 189 F4Us in combat and 1,435 Corsairs in non-combat accidents. Beginning on February 13, 1942, Marine and Navy pilots flew 64,051 operational sorties, 54,470 from runways and 9,581 from carrier decks. During the war, the British Royal Navy accepted 2,012 Corsairs and the Royal New Zealand Air Force accepted 364. The demand was so great that the Goodyear Aircraft Corporation and the Brewster Aeronautical Corporation also produced the F4U.
Corsairs returned to Navy carrier decks and Marine airfields during the Korean War. On September 10, 1952, Captain Jesse Folmar of Marine Fighter Squadron VMF-312 destroyed a MiG-15 in aerial combat over the west coast of Korea. However, F4U pilots did not have many air-to-air encounters over Korea. Their primary mission was to support Allied ground units along the battlefront.
After the World War II, civilian pilots adapted the speedy bent-wing bird from Vought to fly in competitive air races. They preferred modified versions of the F2G-1 and -2 originally built by Goodyear. Corsairs won the prestigious Thompson Trophy twice. In 1952, Vought manufactured 94 F4U-7s for the French Navy, and these aircraft saw action over Indochina but this order marked the end of Corsair production. In production longer than any other U.S. fighter to see service in World War II, Vought, Goodyear, and Brewster built a total of 12,582 F4Us.
The United States Navy donated an F4U-1D to the National Air and Space Museum in September 1960. Vought delivered this Corsair, Bureau of Aeronautics serial number 50375, to the Navy on April 26, 1944. By October, pilots of VF-10 were flying it but in November, the airplane was transferred to VF-89 at Naval Air Station Atlantic City. It remained there as the squadron moved to NAS Oceana and NAS Norfolk. During February 1945, the Navy withdrew the airplane from active service and transferred it to a pool of surplus aircraft stored at Quantico, Virginia. In 1980, NASM craftsmen restored the F4U-1D in the colors and markings of a Corsair named "Sun Setter," a fighter assigned to Marine Fighter Squadron VMF-114 when that unit served aboard the "USS Essex" in July 1944.
• • •
Quoting from Wikipedia | Vought F4U Corsair:
The Chance Vought F4U Corsair was a carrier-capable fighter aircraft that saw service primarily in World War II and the Korean War. Demand for the aircraft soon overwhelmed Vought's manufacturing capability, resulting in production by Goodyear and Brewster: Goodyear-built Corsairs were designated FG and Brewster-built aircraft F3A. From the first prototype delivery to the U.S. Navy in 1940, to final delivery in 1953 to the French, 12,571 F4U Corsairs were manufactured by Vought, in 16 separate models, in the longest production run of any piston-engined fighter in U.S. history (1942–1953).
The Corsair served in the U.S. Navy, U.S. Marines, Fleet Air Arm and the Royal New Zealand Air Force, as well as the French Navy Aeronavale and other, smaller, air forces until the 1960s. It quickly became the most capable carrier-based fighter-bomber of World War II. Some Japanese pilots regarded it as the most formidable American fighter of World War II, and the U.S. Navy counted an 11:1 kill ratio with the F4U Corsair.
F4U-1D (Corsair Mk IV): Built in parallel with the F4U-1C, but was introduced in April 1944. It had the new -8W water-injection engine. This change gave the aircraft up to 250 hp (190 kW) more power, which, in turn, increased performance. Speed, for example, was boosted from 417 miles per hour (671 km/h) to 425 miles per hour (684 km/h). Because of the U.S. Navy's need for fighter-bombers, it had a payload of rockets double the -1A's, as well as twin-rack plumbing for an additional belly drop tank. Such modifications necessitated the need for rocket tabs (attached to fully metal-plated underwing surfaces) and bomb pylons to be bolted on the fighter, however, causing extra drag. Additionally, the role of fighter-bombing was a new task for the Corsair and the wing fuel cells proved too vulnerable and were removed.[] The extra fuel carried by the two drop tanks would still allow the aircraft to fly relatively long missions despite the heavy, un-aerodynamic load. The regular armament of six machine guns were implemented as well. The canopies of most -1Ds had their struts removed along with their metal caps, which were used — at one point — as a measure to prevent the canopies' glass from cracking as they moved along the fuselage spines of the fighters.[] Also, the clear-view style "Malcolm Hood" canopy used initially on Supermarine Spitfire and P-51C Mustang aircraft was adopted as standard equipment for the -1D model, and all later F4U production aircraft. Additional production was carried out by Goodyear (FG-1D) and Brewster (F3A-1D). In Fleet Air Arm service, the latter was known as the Corsair III, and both had their wingtips clipped by 8" per wing to allow storage in the lower hangars of British carriers.
I asked Juhan Sonin (Flickr / SML Wiki) to send me his business cards (half jokingly) two days ago and they arrived in the mail today!
These business cards are printed by Print 100. The quality is stunning and I am very impressed!
The company is based in Hong Kong. The cards are printed using Heidelberg digital press. Turn around is 5 business days. Pricing is extremely reasonable: 29.99 USD / 300 to 189.99 USD / 5,000. Die-cut is $7 extra.
I am in awe with the price point and quality. Kudos!
SML Thank You
I would further like to thank Juhan Sonin for the speedy snail mailing. You rock!
Wow...I never expected to reach this milestone when I started out on Flickr. I don't think I had a single view for several weeks!.
Thank you to everyone who stops by and looks at my work.
Related Flickr Sets
+ Coney Island Mermaid Parade 2008
+ Coney Island Mermaid Parade 2007
Related Flickr Collection
See the set index page for more general information, but in summary, this photo was from the "Wings of Freedom Tour", at Norwood (MA) Airport, sponsored by the Collings Foundation, featuring a B-17G Flying Fortress, "one of only fourteen B-17s still flying in the United States", a B-24J Liberator, "the only restored flying B-24J in the world", and a TP-51C Mustang, "the world’s only dual control P-51C Mustang".
Whether Edward Snowden is a “hero” is up for debate, but what the NSA PRISM whistleblower did achieve is providing evidence which many have suspected—that the US government is mining valuable data on the Internet.
Big data analysis is nothing new—companies who provide free internet services have been doing this for years. Why did you think that Twitter has no advertising but manage to get so much venture capital investments? It is because it is very easy to decipher trending opinions on the web.
Google’s company tagline has always been “Don’t be evil”—mostly because the same technology that can be used for good can be used for evil. Mint.com uses big data to track consumer spending and financial status. Biomedical researchers can use big data to track virus outbreaks. United State government certainly can use big data to track anti-terrorism activities — but the real question is if they would not mine the data for other purposes also.
The other claims which Snowden made and enraged many Hong Kong citizens are evidence which points to US Government’s active hacking of local universities and businesses. Hacking for personal gain is definitely criminal. When the US pointed at China for cyber attacks, they have utilised the media on the side to paint an ugly picture of China, but pointing fingers first simply shows hypocrisy on the country’s own politics. And this fact provided ample ammunition for political activists world wide.
# SML Data
+ Date: 2013-06-15T15:42:31+0800
+ Dimensions: 5184 x 3456
+ Exposure: 1/250 sec at f/5.0
+ Focal Length: 190 mm
+ ISO: 800
+ Camera: Canon EOS 7D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°16'43" N 114°9'39" E
+ Location: 香港中環花園道 Garden Road, Central, Hong Kong
+ Workflow: Lightroom 4
+ Serial: SML.20130615.7D.42298
+ Series: SnowdenHK: 香港聲援斯諾登遊行 Hong Kong Rally to Support Snowden, 新聞攝影 Photojournalism
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
Is Snowden a Hero? / SnowdenHK: 香港聲援斯諾登遊行 Hong Kong Rally to Support Snowden / SML.20130615.7D.42298
/ #SnowdenHK #新聞攝影 #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLPublicMedia #SMLOpinions
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Rally #Snowden #EdwardSnowden #events #people #Banner #street #Hero #US #Gov #opinions #bigdata
Today was the last day that the Charles Hayden Planetarium's Carl Zeiss projector was used at the Museum of Science in Boston.
It has been here since 1970, though it itself replaced the museum's original projector from ten years earlier.
Tomorrow, this projector gets decommissioned, dismantled, and shipped to another museum in Colorado.
I remember going to see presentations with it as a kid in the early 1980s, and maybe even earlier than that. (I also remember seeing laser shows to Pink Floyd albums as a teenager in the 1990s, but I'm not sure if the projector has anything to do with the laser shows.)
The new projector is going to be an egg-shaped Zeiss Starmaster, instead of the "barbell" shaped version that we had here.
It looks like it is going to have some impressive capabilities -- digital projection via fiber optic links of color-accurate objects, yadda yadda yadda -- but I'll probably always miss this one, and will picture a giant dumbbell-shaped contraption in the middle of the room whenever I think of what a planetarium is "supposed" to look like.
So it goes.
Interesting detail, which completely doesn't come across in my photos here: the projector is actually blue, similar to many of the ones on display at the Planetarium Museum web site.
* * * * *
We lucked out on making it in to a show on the last day. I'd read in December that the planetarium was to close for renovations, but I wasn't sure when the last day would be, and I didn't know that the projector was going away in the process. More to the point, by January I'd forgotten about the renovations to begin with.
We just happened to decide to go to the museum that day, and we just happened to decide to use the planetarium passes that we'd bought almost a year ago. We only found out once the show started that this was to be the last day the theatre would be open before closing for a year, and that the projector was getting shipped to another museum in Colorado. If the museum presenter said the name, I didn't catch it.
If I'd realized 5 minutes earlier that this was it, I'd have set the camera to night photography mode & tried to get some pictures of the show. But it was on Automatic, and wouldn't lock an exposure on the ceiling in the dark, and I didn't want to be fumbling with the controls (and the bright LCD screen on the back) while the show was underway.
Oh well.
* * * * *
Seen on:
* Universal Hub: The planetarium won't be the same without it
* Chris Devers's linkblog thingy
* Granite Geek: After 40 years, Museum of Sciences retires planetarium projector
See also Agata Olek talks about her 100% Acrylic Art Guards (Flickr 720p HD video)
Agata Olek (Flickr)
100% Acrylic Art Guards
"I think crochet, the way I create it, is a metaphor for the complexity and interconnectedness of our body and its systems and psychology. The connections are stronger as one fabric as opposed to separate strands, but, if you cut one, the whole thing will fall apart.
Relationships are complex and greatly vary situation to situation. They are developmental journeys of growth, and transformation. Time passes, great distances are surpassed and the fabric which individuals are composed of compiles and unravels simultaneously."
Agata Olek Biography. The SPLAT! of colors hits you in the face, often clashing so ostentatiously that it instantly tunes you into the presence of severely cheeky humor. A moment later the fatigue of labor creeps into your fingers as a coal miner's work ethic becomes apparent. Hundreds of miles of crocheted, weaved, and often recycled materials are the fabric from which the wild and occasionally wearable structures of her fantasylands are born.
Olek was born Agata Oleksiak in Poland and graduated from Adam Mickiewicz University in Poland with a degree in cultural studies. In New York, she rediscovered her ability to crochet and since then she has started her crocheted journey/madness.
Resume sniffers may be pleased to know Olek's work has been presented in galleries from Brooklyn to Istanbul to Venice and Brazil, featured in "The New York Times", "Fiberarts Magazine", "The Village Voice", and "Washington Post" and drags a tail of dance performance sets and costumes too numerous to mention.
Olek received the Ruth Mellon Award for Sculpture, was selected for 2005 residency program at Sculpture Space, 2009 residency in Instituto Sacatar in Brazil, and is a winner of apex art gallery commercial competition. Olek was an artist in an independent collective exhibition, "Waterways," during the 49th Venice Biennale. She was also a featured artist in "Two Continents Beyond," at the 9th International Istanbul Biennale.
Olek herself however can be found in her Greenpoint studio with a bottle of spiced Polish vodka and a hand rolled cigarette aggressively re-weaving the world as she sees.
13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)
www.dumboartfestival.org/press_release.html
The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.
Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.
The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.
Related SML
+ SML Flickr Collections: Events
+ SML Flickr Sets: Dumbo Arts Center: Art Under the Bridge Festival 2009
I was going to PolyU to see a drama performance yesterday. Noting that I would pass through the Hung Hom MTR Station for this performance, I took the tripod and the Manfrotto 303SPH pano head with me so I can photograph the station on my way back home.
You can see that I have a similar shot earlier [1], which was a 360-degree pano shot without a panoramic head, and it was full of parallax error. But the earlier shot was done during rush hour so there were definitely more interesting things happening—you could do people watching, for example.
For this shot, the architecture is more pronounced, but more succinctly, you can see that although pano heads are not exactly cheap, they do serve a very functional purpose.
Stitched with 12 captures with the 6D + 17-40 f/4L. To accentuate the ceiling, these shots were angled 30-degree to the horizon, and thus require spherical projection to stitch accurately.
# References
+ en.wikipedia.org/wiki/Hung_Hom_Station
# SML Data
+ Date: 2013-07-30T23:29:09+0800
+ Dimensions: 18741 x 4628
+ Exposure: 1/4 sec at f/8.0
+ Focal Length: 17 mm
+ ISO: 400
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ Accessories: Canon TC-80N3 remote release, Manfrotto 303 SPH panoramic head, Manfrotto tripod
+ Panorama FOV: 360 degree horizontal, 96 degree vertical
+ Panoramic Projection: Spherical
+ GPS: 22°18'10" N 114°10'56" E
+ Location: 香港紅磡火車站 (港鐵紅磡站) Hung Hom MTR Station, Hong Kong
+ Workflow: Autopano Giga 3.0, Lightroom 5
+ Serial: SML.20130730.6D.24926-SML.20130730.6D.24937-Pano.i12.360x96.Spherical
+ Series: 人流 Human Logistics, 建築 Architecture, 全景攝影 Panoramic Photography
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
# Notes
1. 紅磡火車站 Hung Hom MTR Station / 香港人流建築全景 Hong Kong Human Logistics Architecture Panorama / SML.20130527.6D.15067-SML.20130527.6D.15088-Pano.i22.360x97: www.flickr.com/photos/seeminglee/9075901907/
港鐵紅磡站 Hung Hom MTR Station / 香港人流建築全景 Hong Kong Human Logistics Architecture Panorama / SML.20130730.6D.24926-SML.20130730.6D.24937-Pano.i12.360x96.Spherical
/ #人流 #HumanLogistics #建築 #建筑 #Architecture #全景 #Pano #Panorama #SMLPano #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #城市 #Urban #people #metro #MTR #station
The hyperrealist / surrealist (hyper surrealist?) painting “Paradox” by Turkish artist Rasim Aksan is a collage of facial features from different people.
In the age of Photoshop I often wonder if I would like these as much if they are done on the computer instead of by hand. If done on the computer I would have expected better workmanship. When I spoke to many hyperrealist painters in the past they too told me that they work from photographs instead of painting from memories. So what you are looking is a very skilled human producer of a Photoshop rendering, perhaps?
The painting peeked my interest enough to take a photograph but in regarded to whether I would consider purchasing it for my collection my feeling is a bit lukewarm. It might also simply not be my “thing,” but it is interesting nevertheless.
Rasim Aksan
Paradox
2011
Acrylic airbrush on canvas
100 x 150 cm
# Rasim Aksan
Lives and works in Turkey. (no further data available)
# Galerist
Founded in 2001, Galerist is the pioneering contemporary art gallery that hosts exhibitions for Turkish and international artists in Istanbul’s two different locations, Tepebaşı and Hasköy.
Mesrutiyet Cad. No. 67/1 Beyoglu
34430 Istanbul
Turkey
# SML Data
+ Date: 2013-05-23T17:44:06+0800
+ Dimensions: 4260 x 2817
+ Exposure: 1/30 sec at f/8.0
+ Focal Length: 31 mm
+ ISO: 320
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.14124
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by Rasim Aksan (Turkey): Paradox, 2011 (Acrylic airbrush on canvas)” / Galerist / Art Basel Hong Kong 2013 / SML.20130523.6D.14124
/ #ABHK #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #RasimAksan #Gallerist #hyperrealism #surrealism #painting #acrylic #airbrush
Nature has a very magical property: under the right condition, one can look like another.
This looks like an aerial view of a snowy mountain, but in fact is a 11 second long exposure of the sea. The white streaks are mostly a result of the sunlight being reflected on the moving water surface. Eleven seconds is a long time for water to travel, and so it renders a rather unexpected capture.
In my mind, I had imagined that it would leave a long trail of something, but I too did not expect these results. Trust that I will be trying this more in the future, perhaps with a wider lens also.
The uneven exposure on the left side of the frame is somewhat unfortunate—it comes from the shadow of the building I am in. I tried to fix it a bit inside Photoshop but perhaps I should just try to avoid this spot next time.
# SML Data
+ Date: 2013-05-19T15:04:03+0800
+ Dimensions: 5472 x 3648
+ Exposure: 11.0 sec at f/32
+ Focal Length: 84 mm
+ ISO: 100
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 70-200 f/4L USM
+ Accessories: Canon TC-80N3 Timer Remote Release, Manfrotto tripod, H&Y ND2-ND400
+ GPS: 22°25'7" N 114°13'18" E
+ Location: SML Universe HKG
+ Subject: 香港吐露港 Tolo Harbour, Hong Kong
+ Serial: SML.20130519.6D.06942.P1.L1
+ Workflow: Photoshop CS6, Lightroom 4
+ Series: 寧 Serenity, 自然 Nature, 抽象 Abstract, 形 Forms, Long Exposure 長時間曝光
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“自然抽象之形: 白浪如雪山 Nature Abstract Forms: Waves as snowy mountains” / 香港吐露港之寧 Hong Kong Tolo Harbour Serenity (11-sec ND LE) / SML.20130519.6D.06942.P1.L1
/ #寧 #Serenity #SMLSerenity #自然 #Nature #抽象 #Abstract #形 #Forms #SMLForms #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #山水 #Seascape #LongExposure #LE #ND
Even if you do not follow the art world, it is hard to not notice the works by Chinese artist 岳敏君 YUE Minjun—a man in tighty whities frozen in his laughter would put a smile in anyone’s face.
The men depicted in his paintings and sculptures are in fact the artist himself, and they are seen doing all kinds of activities which read more WTF than reality. If his work features more than one person, it would be a whole array of them. The joy is so overdone that it seems more like irony than reality. And that seems to be the artist’s intention, as his work has been described by theorist Li Xianting as “a self-ironic response to the spiritual vacuum and folly of modern-day China.”
Art critics have often associated Yue with the Cynical Realism art movement in contemporary Chinese art, although he himself rejects the label, while at the same time “doesn't concern himself about what people call him.”
YUE Minjun (b. 1962 China)
Free Sky No. 1, 2012
Oil on canvas
100 x 90 cm
39 3/8 x 35 3/8 in
岳敏君 (生於 1962年, 中國)
自由的天空 No. 1, 2012
布油畫
100 x 90 cm
39 3/8 x 35 3/8 in
# Yue Minjun
Yue Minjun (Chinese: 岳敏君; born 1962) is a contemporary Chinese artist based in Beijing, China. He is best known for oil paintings depicting himself in various settings, frozen in laughter. He has also reproduced this signature image in sculpture, watercolour and prints.
en.wikipedia.org/wiki/Yue_Minjun
# Galerie Daniel Templon
Founded in 1966
30, rue Beaubourg
75003 Paris
France
# SML Data
+ Date: 2013-05-23T16:51:37+0800
+ Dimensions: 2662 x 2971
+ Exposure: 1/40 sec at f/9.0
+ Focal Length: 32 mm
+ ISO: 800
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.14035
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by 岳敏君 Yue Minjun: 自由的天空 Free Sky No. 1, 2012 (Oil on canvas)” / Galerie Daniel Templon / Art Basel Hong Kong 2013 / SML.20130523.6D.14035
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #岳敏君 #YueMinjun #WTF #LOL #Beijing #portrait #painting #oiloncanvas
It’s Nara’s puppies! Need I say more? Loooove. :)
Yoshitomo Nara
Big Pup Head, 2007
FRP (Fibre-reinforced plastic)
59 x 48 1/2 x 49 1/4 in
150 x 123 x 125 cm
# Yoshitomo Nara
Yoshitomo Nara (美智奈良 Nara Yoshitomo, born 5 December 1959 in Hirosaki, Japan) is a Japanese artist. He lives and works in Tokyo, though his artwork has been exhibited worldwide. Nara has had nearly 40 solo exhibitions since 1984. He is represented in New York City by Pace Gallery, in Los Angeles by Blum & Poe and in London by Stephen Friedman Gallery.
Nara received his B.F.A. (1985) and an M.F.A. (1987) from the Aichi Prefectural University of Fine Arts and Music. Between 1988 and 1993, Nara studied at the Kunstakademie Düsseldorf, in Germany.
en.wikipedia.org/wiki/Yoshitomo_Nara
# Blum & Poe
2727 S. La Cienega Boulevard
Los Angeles, CA 90034
USA
# SML Data
+ Date: 2013-05-23T16:15:07+0800
+ Dimensions: 5199 x 3466
+ Exposure: 1/40 sec at f/4.0
+ Focal Length: 40 mm
+ ISO: 250
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40 f/4L USM
+ GPS: 22°16'59" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13914
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Sculpture by 美智奈良 Yoshitomo Nara: Big Pup Head, 2007 (FRP)” / Blum & Poe / Art Basel Hong Kong 2013 / SML.20130523.6D.13914
/ #Photojournalism #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLFineArt #Crazyisgood #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #Art #FineArt #ArtBasel #ABHK #美智奈良 #YoshitomoNara #Nara #BlumAndPoe #Japan #puppy
A man jogs on the blue jogging trail at the Ma On Shan Promenade in the morning while an old lady walks behind him.
Although I have a huge problem with most of the color choices that the Hong Kong Government makes regarding most of their architecture, I absolutely love the color for this path against the greens around it.
# SML Data
+ Date: 2013-04-18T09:24:41+0800
+ Dimensions: 5472 x 3648
+ Exposure: 1/320 sec at f/5.6
+ Focal Length: 400 mm
+ ISO: 500
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 100-400mm f/4.5-5.6L IS USM
+ GPS: 22°25'10" N 114°13'24" E
+ Location: SML Universe HKG
+ Subject: 中國香港新界馬鞍山海濱長廊 Ma On Shan Promenade, New Territories, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130418.6D.00964
+ Series: 體育 Sports, 男 Men, 形 Forms
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“晨光慢跑 Morning Jog” / 香港體育之形 Hong Kong Sports Forms / SML.20130418.6D.00964
/ #形 #Forms #SMLForms #體育 #Sports #男 #Men #SMLMen #CreativeCommons #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #馬鞍山 #MaOnShan #人 #people #攝影 #摄影 #photography #跑 #Run
A sculpture made with cardboards and other paper waste materials found lying on the street during the 13th Annual Art Under the Bridge Festival organized by the Dumbo Arts Center in New York City. Particularly interesting is their forms which resemble tree logs, though at the same time when one thinks of paper, one also thinks of its effect with regarding to the environment. It's like a before and after dialog about the trees.
13th annual D.U.M.B.O. Art Under the Bridge Festival® (Sept 25 to Sept 27, 2009)
www.dumboartfestival.org/press_release.html
The three-day multi-site neighborhood-wide event is a one-of-a-kind art happening: where serendipity meets the haphazard and where the unpredictable, spontaneous and downright weird thrive. The now teenage D.U.M.B.O. Art Under the Bridge Festival® presents touchable, accessible, and interactive art, on a scale that makes it the nation's largest urban forum for experimental art.
Art Under the Bridge is an opportunity for young artists to use any medium imaginable to create temporary projects on-the-spot everywhere and anywhere, completely transforming the Dumbo section of Brooklyn, New York, into a vibrant platform for self-expression. In addition to the 80+ projects throughout the historical post-industrial waterfront span, visitors can tour local artists' studios or check out the indoor video_dumbo, a non-stop program of cutting-edge video art from New York City and around the world.
The Dumbo Arts Center (DAC) has been the exclusive producer of the D.U.M.B.O Art Under the Bridge Festival® since 1997. DAC is a big impact, small non-profit, that in addition to its year-round gallery exhibitions, is committed to preserving Dumbo as a site in New York City where emerging visual artists can experiment in the public domain, while having unprecedented freedom and access to normally off-limit locations.
Related SML
+ SML Flickr Collections: Events
+ SML Flickr Sets: Dumbo Arts Center: Art Under the Bridge Festival 2009
See more photos of this, and the Wikipedia article.
Details, quoting from Smithsonian National Air and Space Museum | Lockheed SR-71 Blackbird:
No reconnaissance aircraft in history has operated globally in more hostile airspace or with such complete impunity than the SR-71, the world's fastest jet-propelled aircraft. The Blackbird's performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War.
This Blackbird accrued about 2,800 hours of flight time during 24 years of active service with the U.S. Air Force. On its last flight, March 6, 1990, Lt. Col. Ed Yielding and Lt. Col. Joseph Vida set a speed record by flying from Los Angeles to Washington, D.C., in 1 hour, 4 minutes, and 20 seconds, averaging 3,418 kilometers (2,124 miles) per hour. At the flight's conclusion, they landed at Washington-Dulles International Airport and turned the airplane over to the Smithsonian.
Transferred from the United States Air Force.
Manufacturer:
Designer:
Date:
1964
Country of Origin:
United States of America
Dimensions:
Overall: 18ft 5 15/16in. x 55ft 7in. x 107ft 5in., 169998.5lb. (5.638m x 16.942m x 32.741m, 77110.8kg)
Other: 18ft 5 15/16in. x 107ft 5in. x 55ft 7in. (5.638m x 32.741m x 16.942m)
Materials:
Titanium
Physical Description:
Twin-engine, two-seat, supersonic strategic reconnaissance aircraft; airframe constructed largley of titanium and its alloys; vertical tail fins are constructed of a composite (laminated plastic-type material) to reduce radar cross-section; Pratt and Whitney J58 (JT11D-20B) turbojet engines feature large inlet shock cones.
Long Description:
No reconnaissance aircraft in history has operated in more hostile airspace or with such complete impunity than the SR-71 Blackbird. It is the fastest aircraft propelled by air-breathing engines. The Blackbird's performance and operational achievements placed it at the pinnacle of aviation technology developments during the Cold War. The airplane was conceived when tensions with communist Eastern Europe reached levels approaching a full-blown crisis in the mid-1950s. U.S. military commanders desperately needed accurate assessments of Soviet worldwide military deployments, particularly near the Iron Curtain. Lockheed Aircraft Corporation's subsonic U-2 (see NASM collection) reconnaissance aircraft was an able platform but the U. S. Air Force recognized that this relatively slow aircraft was already vulnerable to Soviet interceptors. They also understood that the rapid development of surface-to-air missile systems could put U-2 pilots at grave risk. The danger proved reality when a U-2 was shot down by a surface to air missile over the Soviet Union in 1960.
Lockheed's first proposal for a new high speed, high altitude, reconnaissance aircraft, to be capable of avoiding interceptors and missiles, centered on a design propelled by liquid hydrogen. This proved to be impracticable because of considerable fuel consumption. Lockheed then reconfigured the design for conventional fuels. This was feasible and the Central Intelligence Agency (CIA), already flying the Lockheed U-2, issued a production contract for an aircraft designated the A-12. Lockheed's clandestine 'Skunk Works' division (headed by the gifted design engineer Clarence L. "Kelly" Johnson) designed the A-12 to cruise at Mach 3.2 and fly well above 18,288 m (60,000 feet). To meet these challenging requirements, Lockheed engineers overcame many daunting technical challenges. Flying more than three times the speed of sound generates 316° C (600° F) temperatures on external aircraft surfaces, which are enough to melt conventional aluminum airframes. The design team chose to make the jet's external skin of titanium alloy to which shielded the internal aluminum airframe. Two conventional, but very powerful, afterburning turbine engines propelled this remarkable aircraft. These power plants had to operate across a huge speed envelope in flight, from a takeoff speed of 334 kph (207 mph) to more than 3,540 kph (2,200 mph). To prevent supersonic shock waves from moving inside the engine intake causing flameouts, Johnson's team had to design a complex air intake and bypass system for the engines.
Skunk Works engineers also optimized the A-12 cross-section design to exhibit a low radar profile. Lockheed hoped to achieve this by carefully shaping the airframe to reflect as little transmitted radar energy (radio waves) as possible, and by application of special paint designed to absorb, rather than reflect, those waves. This treatment became one of the first applications of stealth technology, but it never completely met the design goals.
Test pilot Lou Schalk flew the single-seat A-12 on April 24, 1962, after he became airborne accidentally during high-speed taxi trials. The airplane showed great promise but it needed considerable technical refinement before the CIA could fly the first operational sortie on May 31, 1967 - a surveillance flight over North Vietnam. A-12s, flown by CIA pilots, operated as part of the Air Force's 1129th Special Activities Squadron under the "Oxcart" program. While Lockheed continued to refine the A-12, the U. S. Air Force ordered an interceptor version of the aircraft designated the YF-12A. The Skunk Works, however, proposed a "specific mission" version configured to conduct post-nuclear strike reconnaissance. This system evolved into the USAF's familiar SR-71.
Lockheed built fifteen A-12s, including a special two-seat trainer version. Two A-12s were modified to carry a special reconnaissance drone, designated D-21. The modified A-12s were redesignated M-21s. These were designed to take off with the D-21 drone, powered by a Marquart ramjet engine mounted on a pylon between the rudders. The M-21 then hauled the drone aloft and launched it at speeds high enough to ignite the drone's ramjet motor. Lockheed also built three YF-12As but this type never went into production. Two of the YF-12As crashed during testing. Only one survives and is on display at the USAF Museum in Dayton, Ohio. The aft section of one of the "written off" YF-12As which was later used along with an SR-71A static test airframe to manufacture the sole SR-71C trainer. One SR-71 was lent to NASA and designated YF-12C. Including the SR-71C and two SR-71B pilot trainers, Lockheed constructed thirty-two Blackbirds. The first SR-71 flew on December 22, 1964. Because of extreme operational costs, military strategists decided that the more capable USAF SR-71s should replace the CIA's A-12s. These were retired in 1968 after only one year of operational missions, mostly over southeast Asia. The Air Force's 1st Strategic Reconnaissance Squadron (part of the 9th Strategic Reconnaissance Wing) took over the missions, flying the SR-71 beginning in the spring of 1968.
After the Air Force began to operate the SR-71, it acquired the official name Blackbird-- for the special black paint that covered the airplane. This paint was formulated to absorb radar signals, to radiate some of the tremendous airframe heat generated by air friction, and to camouflage the aircraft against the dark sky at high altitudes.
Experience gained from the A-12 program convinced the Air Force that flying the SR-71 safely required two crew members, a pilot and a Reconnaissance Systems Officer (RSO). The RSO operated with the wide array of monitoring and defensive systems installed on the airplane. This equipment included a sophisticated Electronic Counter Measures (ECM) system that could jam most acquisition and targeting radar. In addition to an array of advanced, high-resolution cameras, the aircraft could also carry equipment designed to record the strength, frequency, and wavelength of signals emitted by communications and sensor devices such as radar. The SR-71 was designed to fly deep into hostile territory, avoiding interception with its tremendous speed and high altitude. It could operate safely at a maximum speed of Mach 3.3 at an altitude more than sixteen miles, or 25,908 m (85,000 ft), above the earth. The crew had to wear pressure suits similar to those worn by astronauts. These suits were required to protect the crew in the event of sudden cabin pressure loss while at operating altitudes.
To climb and cruise at supersonic speeds, the Blackbird's Pratt & Whitney J-58 engines were designed to operate continuously in afterburner. While this would appear to dictate high fuel flows, the Blackbird actually achieved its best "gas mileage," in terms of air nautical miles per pound of fuel burned, during the Mach 3+ cruise. A typical Blackbird reconnaissance flight might require several aerial refueling operations from an airborne tanker. Each time the SR-71 refueled, the crew had to descend to the tanker's altitude, usually about 6,000 m to 9,000 m (20,000 to 30,000 ft), and slow the airplane to subsonic speeds. As velocity decreased, so did frictional heat. This cooling effect caused the aircraft's skin panels to shrink considerably, and those covering the fuel tanks contracted so much that fuel leaked, forming a distinctive vapor trail as the tanker topped off the Blackbird. As soon as the tanks were filled, the jet's crew disconnected from the tanker, relit the afterburners, and again climbed to high altitude.
Air Force pilots flew the SR-71 from Kadena AB, Japan, throughout its operational career but other bases hosted Blackbird operations, too. The 9th SRW occasionally deployed from Beale AFB, California, to other locations to carryout operational missions. Cuban missions were flown directly from Beale. The SR-71 did not begin to operate in Europe until 1974, and then only temporarily. In 1982, when the U.S. Air Force based two aircraft at Royal Air Force Base Mildenhall to fly monitoring mission in Eastern Europe.
When the SR-71 became operational, orbiting reconnaissance satellites had already replaced manned aircraft to gather intelligence from sites deep within Soviet territory. Satellites could not cover every geopolitical hotspot so the Blackbird remained a vital tool for global intelligence gathering. On many occasions, pilots and RSOs flying the SR-71 provided information that proved vital in formulating successful U. S. foreign policy. Blackbird crews provided important intelligence about the 1973 Yom Kippur War, the Israeli invasion of Lebanon and its aftermath, and pre- and post-strike imagery of the 1986 raid conducted by American air forces on Libya. In 1987, Kadena-based SR-71 crews flew a number of missions over the Persian Gulf, revealing Iranian Silkworm missile batteries that threatened commercial shipping and American escort vessels.
As the performance of space-based surveillance systems grew, along with the effectiveness of ground-based air defense networks, the Air Force started to lose enthusiasm for the expensive program and the 9th SRW ceased SR-71 operations in January 1990. Despite protests by military leaders, Congress revived the program in 1995. Continued wrangling over operating budgets, however, soon led to final termination. The National Aeronautics and Space Administration retained two SR-71As and the one SR-71B for high-speed research projects and flew these airplanes until 1999.
On March 6, 1990, the service career of one Lockheed SR-71A Blackbird ended with a record-setting flight. This special airplane bore Air Force serial number 64-17972. Lt. Col. Ed Yeilding and his RSO, Lieutenant Colonel Joseph Vida, flew this aircraft from Los Angeles to Washington D.C. in 1 hour, 4 minutes, and 20 seconds, averaging a speed of 3,418 kph (2,124 mph). At the conclusion of the flight, '972 landed at Dulles International Airport and taxied into the custody of the Smithsonian's National Air and Space Museum. At that time, Lt. Col. Vida had logged 1,392.7 hours of flight time in Blackbirds, more than that of any other crewman.
This particular SR-71 was also flown by Tom Alison, a former National Air and Space Museum's Chief of Collections Management. Flying with Detachment 1 at Kadena Air Force Base, Okinawa, Alison logged more than a dozen '972 operational sorties. The aircraft spent twenty-four years in active Air Force service and accrued a total of 2,801.1 hours of flight time.
Wingspan: 55'7"
Length: 107'5"
Height: 18'6"
Weight: 170,000 Lbs
Reference and Further Reading:
Crickmore, Paul F. Lockheed SR-71: The Secret Missions Exposed. Oxford: Osprey Publishing, 1996.
Francillon, Rene J. Lockheed Aircraft Since 1913. Annapolis, Md.: Naval Institute Press, 1987.
Johnson, Clarence L. Kelly: More Than My Share of It All. Washington D.C.: Smithsonian Institution Press, 1985.
Miller, Jay. Lockheed Martin's Skunk Works. Leicester, U.K.: Midland Counties Publishing Ltd., 1995.
Lockheed SR-71 Blackbird curatorial file, Aeronautics Division, National Air and Space Museum.
DAD, 11-11-01
Quoting Smithsonian National Air and Space Museum | Curtiss P-40E Warhawk (Kittyhawk IA):
Whether known as the Warhawk, Tomahawk, or Kittyhawk, the Curtiss P-40 proved to be a successful, versatile fighter during the first half of World War II. The shark-mouthed Tomahawks that Gen. Claire Chennault's "Flying Tigers" flew in China against the Japanese remain among the most popular airplanes of the war. P-40E pilot Lt. Boyd D. Wagner became the first American ace of World War II when he shot down six Japanese aircraft in the Philippines in mid-December 1941.
Curtiss-Wright built this airplane as Model 87-A3 and delivered it to Canada as a Kittyhawk I in 1941. It served until 1946 in No. 111 Squadron, Royal Canadian Air Force. U.S. Air Force personnel at Andrews Air Force Base restored it in 1975 to represent an aircraft of the 75th Fighter Squadron, 23rd Fighter Group, 14th Air Force.
Donated by the Exchange Club in Memory of Kellis Forbes.
Manufacturer:
Date:
1939
Country of Origin:
United States of America
Dimensions:
Overall: 330 x 970cm, 2686kg, 1140cm (10ft 9 15/16in. x 31ft 9 7/8in., 5921.6lb., 37ft 4 13/16in.)
Materials:
All-metal, semi-monocoque
Physical Description:
Single engine, single seat, fighter aircraft.
• • • • •
Quoting Smithsonian National Air and Space Museum | Vought F4U-1D Corsair:
By V-J Day, September 2, 1945, Corsair pilots had amassed an 11:1 kill ratio against enemy aircraft. The aircraft's distinctive inverted gull-wing design allowed ground clearance for the huge, three-bladed Hamilton Standard Hydromatic propeller, which spanned more than 4 meters (13 feet). The Pratt and Whitney R-2800 radial engine and Hydromatic propeller was the largest and one of the most powerful engine-propeller combinations ever flown on a fighter aircraft.
Charles Lindbergh flew bombing missions in a Corsair with Marine Air Group 31 against Japanese strongholds in the Pacific in 1944. This airplane is painted in the colors and markings of the Corsair Sun Setter, a Marine close-support fighter assigned to the USS Essex in July 1944.
Transferred from the United States Navy.
Manufacturer:
Date:
1940
Country of Origin:
United States of America
Dimensions:
Overall: 460 x 1020cm, 4037kg, 1250cm (15ft 1 1/8in. x 33ft 5 9/16in., 8900lb., 41ft 1/8in.)
Materials:
All metal with fabric-covered wings behind the main spar.
Physical Description:
R-2800 radial air-cooled engine with 1,850 horsepower, turned a three-blade Hamilton Standard Hydromatic propeller with solid aluminum blades spanning 13 feet 1 inch; wing bent gull-shaped on both sides of the fuselage.