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"Journal entry:
The Turaga told the village last week that no Toa are coming. There is no way to get a message off the island. We are completely surrounded.
If the Toa cannot come and save us, who will defeat the enemy? Perhaps the answer lies within our village."
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I spotted the Tesla portrait from halfway across the Tennessee River. He's always been someone I admire so I had to get closer to see what it was about. These portraits are on the side of a building in Chattanooga that is home to a tech company.
My build for Round 3 of The Tourney at MOCpages. Halhi141, Infernum, and Brick all gave me helpful suggestions for this build. Credit for the lantern design goes to Brick, though I modified it slightly. This was an extremely fun build. I tilted the wood sections using ball joints, for the first time. The idea of the build was to create a wacky, and whimsical atmosphere. Hence the unusual colorscheme for the build.
There's a full interior, and the elevator actually works. Also Amfridus has devised a bucket system whereby he procures water without leaving his home.
Amfridus the Inventor lives in his tower outside of Guaire. Unlike some inventors, he is very friendly. Naysayers claim his chemical experiments have polluted the stream which runs by his home, but the plentiful aquatic life seems to show otherwise. Rego and Dedan pay Amfridus a visit hoping to procure some new inventions and potions that will give them an edge in The Tourney.
See all the details here: brickbuilt.org/2015/Inventor.php
I've been attempting more risqué photos lately, (at least more risqué for me.) As much as I'm drawn to the wholesome portrait, there's a side of me that wants to experiment with racier images. I like the whole pantyhose/lingerie/pin-up feel, but I've never felt I have the body for it.
I had the idea for this picture in my head for at least a week before I was able to try it, and I was really excited about it, more excited than I would be about a sporadic (yet impressive) portrait of myself or a friend. I was really pleased with how it came out, but I can't help but wonder if I've crossed any lines. I like to talk to people at work, (my work =everyday office environment,) about photography, but I'm wondering if they would find it offensive if I sent them the link to my stream, and this was the first picture they saw...I dunno, what one person finds offensive, another finds tastefully artistic.
Historia de la fotografía
Retrato al daguerrotipo de una bailarina española de la escuela bolera, hacia el año 1850. Fototeca del IPCE.
Fotografía de J. Laurent, hacia el año 1875, de la Torre Nueva de Zaragoza. Fototeca del IPCE.
Diseño de una cámara oscura del siglo XVIII.
La historia de la fotografía estudia todos los aspectos relacionados con las imágenes fotográficas, a través del tiempo: procedimientos, inventores, fabricantes, autores de las fotografías, visión artística y documental, progreso técnico y evolución estética, aplicaciones, comercialización y consumo de imágenes fotográficas, difusión en otros medios de comunicación, conservación en museos y colecciones. Y su análisis, clasificación e interpretación.
Índice [ocultar]
1 Antecedentes
2 Inicios
2.1 Innovaciones técnicas y científicas
2.2 Fotografía en color
3 La fotografía en las artes visuales
3.1 Pictorialismo
4 Fotografía en el siglo XX: desde 1900 hasta la Segunda Guerra Mundial
5 La fotografía a partir de 1945
6 La fotografía en el siglo XXI: digitalización
7 Véase también
8 Referencias
9 Bibliografía
10 Enlaces externos
Antecedentes[editar]
La historia de la fotografía empieza oficialmente en el año 1839, con la divulgación mundial del primer procedimiento fotográfico: el daguerrotipo.1
Como antecedentes de la fotografía, se encuentran la cámara oscura y las investigaciones sobre las sustancias fotosensibles, especialmente el ennegrecimiento de las sales de plata. Ibn al-Haytham (Alhazen) (965 a 1040) llevó varios experimentos sobre la cámara oscura y la cámara estenopeica.2
Cronología
1521 La primera publicación sobre la cámara oscura es la de Cesare Cesarino, un alumno de Leonardo Da Vinci durante el Renacimiento. Por su parte, el científico Georgius Fabricus experimentaba ya con las sales de plata, notando algunas de sus propiedades fotosensibles.
1558, Giovanni Battista della Porta, por sus publicaciones sobre el funcionamiento de la cámara oscura, se hizo popular entre los pintores de la época. Gerolamo Cardano sugiere una importante mejora: un lente en la apertura de la cámara, anteriormente un simple orificio o estenopo.
1600, durante el siglo XVII, la cámara que hasta ese momento era una habitación como tal se transforma en un instrumento portátil de madera. Johann Zahn transformó esa caja en un aparato parecido al usado en los principios de la fotografía.
En este siglo los científicos continuaban experimentando con sales de plata, notando cómo se oscurecían con la acción del aire y del Sol, sin saber que era la luz la que les hacía reaccionar, hasta que científicos como el sueco Carl Wilhelm Scheele y el suizo Jean Senebier revelaron que las sales reaccionaban con la acción de la luz.
1685, de acuerdo a tratados publicados por Zahn, la cámara ya estaba lista para la fotografía; pero todavía no se podían fijar las imágenes.
1777, el sueco Carl Wilhelm Scheele publica su tratado sobre las sales de plata y la acción de la luz, en latín y alemán; en 1780 en inglés, y un año más tarde en francés. En el estilo de las pinturas de artistas exitosos de este siglo como Canaletto parece evidente el uso como herramienta de la cámara oscura. Una cámara de este tipo que tiene grabado el nombre de Canaletto, se conserva en Venecia, aunque no está confirmado que efectivamente perteneciera al artista.
Artistas que comercializaban con éxito retratos, como el de Maximilien Robespierre, hacían uso de todo tipo de instrumentos para lograr trabajos casi perfectos. La silueta, un invento derivado del teatro de sombras chinas, se empezó a usar en Francia a mediados del siglo XVIII, como método rápido, económico y automático para hacer retratos de la creciente clientela burguesa que no podía pagar los retratos tradicionales pintados, ni las miniaturas que por esa época estaban de moda entre la nobleza. La silueta era un retrato de perfil, que se hacía copiando el perímetro de la sombra de una persona sobre un papel negro, que luego se recortaba con muchísimo cuidado, para montarse finalmente en otro papel blanco.
En esa misma línea evolutiva, sobre fines del siglo XVIII aparece el fisionotrazo para hacer perfiles, inventado por Gilles Louis Chretien. Estos inventos han sido denominados por Gisèle Freund como "precursores ideológicos" de la fotografía,3 en tanto representan los esfuerzos de muchos investigadores y artistas de Europa sobre fines del siglo XVIII y principios del XIX, de dar respuesta a una necesidad social en la burguesía ascendente: tener una forma de representación objetiva, mecánica, económica y rápida. El retrato de personas fue, desde entonces, el principal motor de las innovaciones técnicas que la fotografía incorporó durante todo el siglo XIX.
1801, pocos años antes de su muerte, el inglés Thomas Wedgwood hizo nuevos descubrimientos para capturar imágenes, sin lograr fijarlas adecuadamente.
Inicios[editar]
Vista desde la ventana en Le Gras. Debido a las 8 horas de exposición, la luz del sol ilumina los edificios de ambos lados.
Daguerrotipo experimental de 1837. Bodegón, por Daguerre.
A principios del siglo XIX, en el año 1824, el científico francés Nicéphore Niepce obtuvo unas primeras imágenes fotográficas, inéditas.3 La fotografía más antigua que se conserva es una reproducción de la imagen conocida como Vista desde la ventana en Le Gras, obtenida en 1826 con la utilización de una cámara oscura y una placa de peltre recubierta en betún.
Cuando Niepce comenzó sus investigaciones necesitaba un poco más de ocho horas de exposición, a plena luz del día, para obtener sus imágenes. En 1827, Niepce entra en contacto con Daguerre, quien se interesa por su invento e insiste en un acuerdo de trabajo para que le revele su procedimiento, el cual logra firmar con Niepce poco antes de su muerte en 1833. Desde entonces, Daguerre continúa sus experimentaciones, regresando al uso de las sales de plata que habían sido desestimadas por Niépce, y en 1839 hace público -con apoyo del Estado Francés y gran despliegue mediático-, su proceso para la obtención de fotografías sobre una superficie de plata pulida, a la que denominó daguerrotipo. Resolvía algunos problemas técnicos del procedimiento inicial de Niepce y reducía los tiempos necesarios de exposición, para hacerlo más adecuado a los fines del retrato de personas.
Casi al mismo tiempo Hércules Florence, Hippolythe Bayard y William Fox Talbot desarrollaron otros métodos diferentes, sin conocerse entre sí. El procedimiento creado por Fox Talbot obtenía negativos sobre un soporte de papel, y a partir de esos negativos reproducía copias positivas, también en papel. El procedimiento negativo-positivo de Talbot se llamó calotipo o talbotipo.
Inicialmente el daguerrotipo era mucho más popular, ya que era muy útil para obtener retratos, y su calidad de imagen era muy superior al calotipo. Estos "retratos al daguerrotipo" empezaron a divulgarse entre la clase burguesa de la Revolución industrial, por ser mucho más baratos que los pintados, lo que dio un gran impulso a esta nueva técnica.
Innovaciones técnicas y científicas[editar]
GERONA.- Puente de Isabel II. En el invierno de 1866-1867, José Martínez Sánchez obtuvo este negativo original de vidrio al colodión, del formato 27 x 36 centímetros. Se conserva en el Instituto del Patrimonio Cultural de España.
Para captar las imágenes se empleó la cámara oscura que experimentó constantes mejoras en su diseño y tamaño, así como en las lentes ópticas u objetivos utilizados, debido a las aportaciones de diferentes investigadores.
Los procedimientos fotográficos utilizados durante el siglo XIX fueron muy diversos, empezando por el daguerrotipo, y el calotipo. A partir de 1855 triunfó el sistema de los negativos de colodión húmedo, que permitían positivar muchas copias en papel a la albúmina, con gran nitidez y amplia gama de tonos. Estas copias a la albúmina fueron el tipo de papel fotográfico más empleado en la segunda mitad del siglo XIX. Todos estos sistemas se basaban en procesos artesanales, y requerían destrezas manuales significativas por parte de los fotógrafos, así como conocimientos prácticos de química y física.
Después de 1880 se desarrollaron las nuevas placas secas al gelatino-bromuro, que podían ser producidas de modo industrial y comercializadas sin limitaciones. Los fotógrafos compraban cajas de placas vírgenes, ya sensibilizadas, listas para cargar en chasis y ser expuestas en la cámara. También eran placas de vidrio; pero pronto empezó a usarse el soporte flexible de película de nitrato.
Tampoco deben olvidarse las aportaciones de George Eastman y la casa Kodak, que permiten concluir el camino hacia la instantánea fotográfica. A partir de 1888, Kodak sacó al mercado una cámara que utilizaba carretes de película enrollable, en lugar de placas planas. El sistema inventado por Kodak se complementaba además con el revelado de las tomas luego de expuestas, y la carga de la cámara con nueva película. Bajo el concepto "Ud. aprieta el botón, nosotros hacemos el resto", Kodak inauguraba la fotografía de aficionados.
Procedimientos fotográficos utilizados durante el siglo XIX:
Daguerrotipo
Calotipo
En 1851 se inventa el colodión húmedo, que reemplazó casi inmediatamente a las demás técnicas, por las mejoras introducidas en los tiempos de exposición. Con el colodión húmedo se habla por primera vez de "instantánea" fotográfica.
En 1854 se patentó la ambrotipia, un proceso fotográfico que crea una imagen positiva en una placa de cristal, mediante el proceso del colodión húmedo, es una patente de James Ambrose Cutting quien utilizó el colodión húmedo para obtener una imagen positiva en lugar de un negativo. Una variante de los ambrotipos son los ferrotipos, realizados sobre una base metálica de hierro.
Charles E. Bennett en 1878 inventa las placas secas al gelatino-bromuro que permitían positivar muchas copias en papel a la albúmina.
Desde 1888, Kodak fabrica carretes de película enrollable.
En el campo de las investigaciones científicas efectuadas con la utilización de la fotografía pueden resaltarse los estudios sobre locomoción humana y animal de Étienne Jules Marey y Edward Muybridge. Así, muy interesante fue poder averiguar la secuencia de movimientos de las patas de un caballo al galope, que era un tema de amplio debate entre los pintores de la época.
Fotografía en color[editar]
Exterior del estudio fotográfico de Kimbei, en Yokohama, Japón. Vista coloreada a mano, hacia 1881.
Placa autocroma Lumière, hacia 1917. Biplano francés en sus colores fotográficos.
La fotografía en color fue experimentada durante el siglo XIX, pero no tuvo aplicaciones comerciales, por su dificultad e imperfección. Los experimentos iniciales no fueron capaces de conseguir que los colores quedaran fijados en la fotografía. Una primera fotografía en color fue obtenida por el físico James Clerk Maxwell en 1861, realizando tres fotografías sucesivas, con la lente con un filtro diferente: rojo, verde y azul. Cada una de las tres imágenes se proyectaba sobre la misma pantalla con la luz del color del filtro que se había empleado para tomarla.
A lo largo del siglo XIX, y principios del XX, algunas fotografías se coloreaban a mano, con acuarelas, óleo, anilinas, u otros pigmentos. Pero este coloreado manual era artístico y no técnicamente fotográfico. Ya en la época del daguerrotipo se empezaron a colorear los retratos, pagando un suplemento. En algunos países, como Japón, se coloreaban la mayoría de las copias a la albúmina para su venta a extranjeros, especialmente los retratos de tipos populares y las vistas de paisajes y ciudades. Kusakabe Kimbei destacó en el coloreado de fotografías, realizando verdaderas obras maestras, hasta el año 1912.
La auténtica primera placa fotográfica en color, conocida comercialmente como Autochrome, fue patentada en diciembre de 1903 por los hermanos Lumière,4 pero no llegó a los mercados hasta 1907. Esas placas autocromas se fabricaban en Francia, y eran transparencias o diapositivas en soporte de vidrio. El sistema se basaba en una rejilla con puntos, cada uno de los tres colores elementales, como las pantallas de TV en color, que se ponía sobre una placa fotográfica en blanco y negro, al revelarla, la intensidad de luz correspondía a la del color de cada punto, formándose una imagen en colores. El procedimiento: 'Cibachrome', puesto a la venta en el último cuarto del siglo XX, se basaba en la misma idea. Fueron utilizadas especialmente por fotógrafos aficionados de todo el mundo. La mayor colección de placas autocromas se conserva en el Museo Albert-Kahn.5
La primera película fotográfica en color moderna, Kodachrome, fue utilizada por primera vez en 1935, y dejó de fabricarse en 2009. Eran diapositivas en color, producidas y reveladas por la compañía Eastman Kodak. Las demás películas modernas se han basado en la tecnología desarrollada por Agfacolor en 1936.
La fotografía en las artes visuales[editar]
La discusión acerca del estatus artístico de las fotografías se inaugura desde su invención. Sin embargo, durante el siglo XIX serán sólo intentos aislados los que se animen a desafiar el lugar que la institución artística ha destinado para la fotografía: el de auxiliar científico a la observación de la realidad, sin ninguna posibilidad de aspirar a la categoría de obra de arte en cuanto se consideraba que era la máquina la que hacía todo el trabajo.
Pictorialismo[editar]
La primera iniciativa organizada de fotografía artística surge en 1890 en Europa. Un grupo de fotógrafos crea técnicas de manipulación en la toma y en el positivado, y propone que el resultante de su uso es una obra de arte fotográfico, en cuanto requieren de manipulación por parte del autor y generan obras únicas: dos de los puntos discutidos por parte de los pintores para negar la artisticidad de la fotografía. Algunos autores pictorialistas son: Peter Henry Emerson, Robert Demachy, Henry Peach Robinson, Comandante Puyo. Los pictorialistas reconocen influencias y antecedentes en la fotografía academicista de Oscar Gustav Rejlander y en la obra de Julia Margaret Cameron, ambas de la década del 60 del siglo XIX. La fotografía pictorialista también se conoce como fotografía impresionista por la similitud formal y temática con esta corriente de la pintura.
Fotografía en el siglo XX: desde 1900 hasta la Segunda Guerra Mundial[editar]
Fotografía aérea de Colonia, destruida por bombardeos aliados durante la Segunda Guerra Mundial
La aproximación a este período histórico de la fotografía nos lleva ineludiblemente al análisis del periodismo fotográfico, la relación de las vanguardias históricas y la fotografía y a una exposición de los diferentes realismos fotográficos que se desarrollan en estos años.
El periodismo fotográfico es el que nos da a conocer por medio de una foto lo que pasa en un lugar. Estas visualizaciones contienen mucha información, y permiten representarnos de un modo detallado -aunque siempre con limitaciones, como toda representación- lo que ha pasado en ese lugar y momento específico.
La posibilidad de imprimir fotografías junto al texto en periódicos y revistas fue investigada durante el siglo XIX mediante diferentes posibilidades, como la litografía o la xilografía. En 1880 se inventó la tećnica de impresión en medios tonos, que es la antecesora de los actuales procedimientos de ófset y fotocromía. Sin embargo, el fotoperiodismo también se enfrentaba a problemas técnicos en la toma fotográfica, ya que las emulsiones aún tenían sensibilidades muy bajas, por lo que tomar fotos en interiores o de noche se limitaba al uso irreemplazable del flash (de magnesio, en aquel entonces), cuyo funcionamiento tornaba indisimulable la presencia del fotógrafo. Sumado a esta dificultad, las cámaras de gran formato y la frecuente necesidad de usar trípode hacían que los fotoperiodistas estuvieran muy limitados en sus posibilidades de trabajar una suerte de "discurso fotográfico documental".
El primer fotógrafo que logró superar estas limitaciones fue Erich Salomon en Alemania, a partir de 1925. Salomon creó un estilo fotográfico documental conocido como "foto live" o fotografía cándida. Sus fotos se caracterizan por mostrar a los sujetos espontáneamente, sin pose ni arreglo, muchas veces sorprendidos por el fotógrafo, al estilo de los paparazzi.
A partir de entonces se inicia la época de las revistas ilustradas, como la francesa Vu, desde 1928, dirigida por Lucien Vogel y la estadounidense Life, a cargo de Henry Luce, desde 1936. Hasta la década de 1970 serán los soportes principales de publicación para los fotodocumentalistas, y luego irán perdiendo protagonismo frente a la televisión.
La fotografía a partir de 1945[editar]
Todos los géneros fotográficos surgidos en momentos históricos anteriores tienen su continuación tras la finalización de la Segunda Guerra Mundial. Especial relevancia presenta la evolución en estos años del periodismo fotográfico, en el ámbito de la fotografía documental y los nuevos diálogos que se establecen entre la fotografía y las artes plásticas, que comienzan a fundirse en la denominación genérica de artes visuales.
Asistimos, igualmente a la aparición de otros usos de la fotografía en este período, así como al desarrollo de nuevas visiones de la fotografía de paisaje y del empleo masivo de la fotografía en color, gracias a la obra de William Eggleston, entre otros autores.
En estos años merecen especial mención las obras de Robert Doisneau, W. Eugene Smith, Robert Frank, Diane Arbus, entre muchos otros.
Cronología
1947 Se funda la Agencia Magnum: una cooperativa de fotógrafos preocupados por la manipulación de la información fotográfica en los medios de prensa, que se autoorganiza para controlar los temas a cubrir, y la edición fotográfica a la hora de su publicación.
1950, nuevos procedimientos industriales permiten incrementar enormemente la velocidad y la sensibilidad a la luz de las películas en color y en blanco y negro. La velocidad de éstas últimas se elevó desde un máximo de 100 ISO hasta otro teórico de 5000 ISO, mientras que en las de color se multiplicó por diez.
1960, que los primeros VTR (video tape recorder) que en 1951, ya eran capaces de capturar imágenes de televisión, convertirlas en una señal eléctrica y guardarlas en soportes magnéticos) son utilizados por la NASA, para captar las primeras fotografías electrónicas de Marte.
1969, es considerado el inicio de la carrera digital. Willard Boyle y George Smith diseñan la estructura básica del primer CCD (acrónimo de Charge Couple Device ó Dispositivo de Carga Acoplada). Este dispositivo CCD planteado como un sistema para el almacenamiento de información es utilizado un año más tarde, por los laboratorios Bell como sistema para capturar imágenes al construir la primera videocámara.
La fotografía en el siglo XXI: digitalización[editar]
Artículo principal: Fotografía digital
Animación con la fotografía del [pPuente Golden Gate
de San Francisco, EE. UU. En la imagen se puede ver la original y el retoque.]]
A finales del siglo XX aparece un nuevo tipo de tecnología en los medios audiovisuales que supone un cambio de rumbo en la forma de utilizarlos. La aparición de la primera cámara digital en 1990 constituye la base de la creación inmediata de imágenes. A pesar de que en sus orígenes el precio de estas cámaras era elevado y las hacía inaccesibles para muchos, con el tiempo no sólo han bajado de precio sino que han aumentado su calidad técnica. La digitalización ha liberado a la fotografía del carácter documental histórico ya que la manipulación de imágenes a través de la infografía ha permitido recuperar el imaginario pictórico y narrativo que se había perdido de la cultura visual como consecuencia de la aparición de la cámara.
"La fotografía digital entronca con la ideología del collage entendido como fotomontaje de vanguardia dadaísta o constructivista, que mostraba el recorte y el carácter fragmentario de su construcción sin pretender engañar a nadie. No obstante, la fotografía digital consigue eliminar las marcas del proceso de construcción del "collage" y dotar al fotomontaje de carácter unitario".6
Desde su invención, la fotografía tenía total credibilidad como testimonio incuestionable de la realidad debido al funcionamiento del dispositivo de captura. Posteriormente, la manera de registrar la realidad se ha considerado un posicionamiento ideológico, que nada tiene que ver con el carácter neutral y objetivo de su funcionamiento.
Las nuevas tecnologías digitales tienen la capacidad de convertir lo real e intervenir sobre el registro de la imagen, hasta el punto de manipular y distorsionar las imágenes sin perder el realismo fotográfico con el que fueron captadas.
La digitalización desposee a la fotografía de su carácter objetivo y rompe la conexión física entre el referente y la impresión fotosensible, es decir, entre la experiencia perceptiva de la realidad por observación directa y la imagen mediada a través de una tecnología. Con la pérdida de objetividad de la imagen fotográfica, a comienzos de la década de los noventa, se empieza a hablar de la era post-fotográfica, en la que se supera el paradigma fotográfico como modelo de realismo. Lo real y lo virtual se mezclan dando lugar a un nuevo tipo de imagen híbrida para definir las nuevas creaciones pseudo-fotográficas. Los programas de manipulación de la imagen son protagonistas en esta etapa, así como el retoque fotográfico, la fusión de imágenes, la infografía o la generación de tridimensionalidad, holografía.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The OV-10 Bronco was initially conceived in the early 1960s through an informal collaboration between W. H. Beckett and Colonel K. P. Rice, U.S. Marine Corps, who met at Naval Air Weapons Station China Lake, California, and who also happened to live near each other. The original concept was for a rugged, simple, close air support aircraft integrated with forward ground operations. At the time, the U.S. Army was still experimenting with armed helicopters, and the U.S. Air Force was not interested in close air support.
The concept aircraft was to operate from expedient forward air bases using roads as runways. Speed was to be from very slow to medium subsonic, with much longer loiter times than a pure jet. Efficient turboprop engines would give better performance than piston engines. Weapons were to be mounted on the centerline to get efficient aiming. The inventors favored strafing weapons such as self-loading recoilless rifles, which could deliver aimed explosive shells with less recoil than cannons, and a lower per-round weight than rockets. The airframe was to be designed to avoid the back blast.
Beckett and Rice developed a basic platform meeting these requirements, then attempted to build a fiberglass prototype in a garage. The effort produced enthusiastic supporters and an informal pamphlet describing the concept. W. H. Beckett, who had retired from the Marine Corps, went to work at North American Aviation to sell the aircraft.
The aircraft's design supported effective operations from forward bases. The OV-10 had a central nacelle containing a crew of two in tandem and space for cargo, and twin booms containing twin turboprop engines. The visually distinctive feature of the aircraft is the combination of the twin booms, with the horizontal stabilizer that connected them at the fin tips. The OV-10 could perform short takeoffs and landings, including on aircraft carriers and large-deck amphibious assault ships without using catapults or arresting wires. Further, the OV-10 was designed to take off and land on unimproved sites. Repairs could be made with ordinary tools. No ground equipment was required to start the engines. And, if necessary, the engines would operate on high-octane automobile fuel with only a slight loss of power.
The aircraft had responsive handling and could fly for up to 5½ hours with external fuel tanks. The cockpit had extremely good visibility for both pilot and co-pilot, provided by a wrap-around "greenhouse" that was wider than the fuselage. North American Rockwell custom ejection seats were standard, with many successful ejections during service. With the second seat removed, the OV-10 could carry 3,200 pounds (1,500 kg) of cargo, five paratroopers, or two litter patients and an attendant. Empty weight was 6,969 pounds (3,161 kg). Normal operating fueled weight with two crew was 9,908 pounds (4,494 kg). Maximum takeoff weight was 14,446 pounds (6,553 kg).
The bottom of the fuselage bore sponsons or "stub wings" that improved flight performance by decreasing aerodynamic drag underneath the fuselage. Normally, four 7.62 mm (.308 in) M60C machine guns were carried on the sponsons, accessed through large forward-opening hatches. The sponsons also had four racks to carry bombs, pods, or fuel. The wings outboard of the engines contained two additional hardpoints, one per side. Racked armament in the Vietnam War was usually seven-shot 2.75 in (70 mm) rocket pods with white phosphorus marker rounds or high-explosive rockets, or 5" (127 mm) four-shot Zuni rocket pods. Bombs, ADSIDS air-delivered/para-dropped unattended seismic sensors, Mk-6 battlefield illumination flares, and other stores were also carried.
Operational experience showed some weaknesses in the OV-10's design. It was significantly underpowered, which contributed to crashes in Vietnam in sloping terrain because the pilots could not climb fast enough. While specifications stated that the aircraft could reach 26,000 feet (7,900 m), in Vietnam the aircraft could reach only 18,000 feet (5,500 m). Also, no OV-10 pilot survived ditching the aircraft.
The OV-10 served in the U.S. Air Force, U.S. Marine Corps, and U.S. Navy, as well as in the service of a number of other countries. In U.S. military service, the Bronco was operated until the early Nineties, and obsoleted USAF OV-10s were passed on to the Bureau of Alcohol, Tobacco, and Firearms for anti-drug operations. A number of OV-10As furthermore ended up in the hands of the California Department of Forestry (CDF) and were used for spotting fires and directing fire bombers onto hot spots.
This was not the end of the OV-10 in American military service, though: In 2012, the type gained new attention because of its unique qualities. A $20 million budget was allocated to activate an experimental USAF unit of two airworthy OV-10Gs, acquired from NASA and the State Department. These machines were retrofitted with military equipment and were, starting in May 2015, deployed overseas to support Operation “Inherent Resolve”, flying more than 120 combat sorties over 82 days over Iraq and Syria. Their concrete missions remained unclear, and it is speculated they provided close air support for Special Forces missions, esp. in confined urban environments where the Broncos’ loitering time and high agility at low speed and altitude made them highly effective and less vulnerable than helicopters.
Furthermore, these Broncos reputedly performed strikes with the experimental AGR-20A “Advanced Precision Kill Weapons System (APKWS)”, a Hydra 70-millimeter rocket with a laser-seeking head as guidance - developed for precision strikes against small urban targets with little collateral damage. The experiment ended satisfactorily, but the machines were retired again, and the small unit was dissolved.
However, the machines had shown their worth in asymmetric warfare, and the U.S. Air Force decided to invest in reactivating the OV-10 on a regular basis, despite the overhead cost of operating an additional aircraft type in relatively small numbers – but development and production of a similar new type would have caused much higher costs, with an uncertain time until an operational aircraft would be ready for service. Re-activating a proven design and updating an existing airframe appeared more efficient.
The result became the MV-10H, suitably christened “Super Bronco” but also known as “Black Pony”, after the program's internal name. This aircraft was derived from the official OV-10X proposal by Boeing from 2009 for the USAF's Light Attack/Armed Reconnaissance requirement. Initially, Boeing proposed to re-start OV-10 manufacture, but this was deemed uneconomical, due to the expected small production number of new serial aircraft, so the “Black Pony” program became a modernization project. In consequence, all airframes for the "new" MV-10Hs were recovered OV-10s of various types from the "boneyard" at Davis-Monthan Air Force Base in Arizona.
While the revamped aircraft would maintain much of its 1960s-vintage rugged external design, modernizations included a completely new, armored central fuselage with a highly modified cockpit section, ejection seats and a computerized glass cockpit. The “Black Pony” OV-10 had full dual controls, so that either crewmen could steer the aircraft while the other operated sensors and/or weapons. This feature would also improve survivability in case of incapacitation of a crew member as the result from a hit.
The cockpit armor protected the crew and many vital systems from 23mm shells and shrapnel (e. g. from MANPADS). The crew still sat in tandem under a common, generously glazed canopy with flat, bulletproof panels for reduced sun reflections, with the pilot in the front seat and an observer/WSO behind. The Bronco’s original cargo capacity and the rear door were retained, even though the extra armor and defensive measures like chaff/flare dispensers as well as an additional fuel cell in the central fuselage limited the capacity. However, it was still possible to carry and deploy personnel, e. g. small special ops teams of up to four when the aircraft flew in clean configuration.
Additional updates for the MV-10H included structural reinforcements for a higher AUW and higher g load maneuvers, similar to OV-10D+ standards. The landing gear was also reinforced, and the aircraft kept its ability to operate from short, improvised airstrips. A fixed refueling probe was added to improve range and loiter time.
Intelligence sensors and smart weapon capabilities included a FLIR sensor and a laser range finder/target designator, both mounted in a small turret on the aircraft’s nose. The MV-10H was also outfitted with a data link and the ability to carry an integrated targeting pod such as the Northrop Grumman LITENING or the Lockheed Martin Sniper Advanced Targeting Pod (ATP). Also included was the Remotely Operated Video Enhanced Receiver (ROVER) to provide live sensor data and video recordings to personnel on the ground.
To improve overall performance and to better cope with the higher empty weight of the modified aircraft as well as with operations under hot-and-high conditions, the engines were beefed up. The new General Electric CT7-9D turboprop engines improved the Bronco's performance considerably: top speed increased by 100 mph (160 km/h), the climb rate was tripled (a weak point of early OV-10s despite the type’s good STOL capability) and both take-off as well as landing run were almost halved. The new engines called for longer nacelles, and their circular diameter markedly differed from the former Garrett T76-G-420/421 turboprop engines. To better exploit the additional power and reduce the aircraft’s audio signature, reversible contraprops, each with eight fiberglass blades, were fitted. These allowed a reduced number of revolutions per minute, resulting in less noise from the blades and their tips, while the engine responsiveness was greatly improved. The CT7-9Ds’ exhausts were fitted with muzzlers/air mixers to further reduce the aircraft's noise and heat signature.
Another novel and striking feature was the addition of so-called “tip sails” to the wings: each wingtip was elongated with a small, cigar-shaped fairing, each carrying three staggered, small “feather blade” winglets. Reputedly, this installation contributed ~10% to the higher climb rate and improved lift/drag ratio by ~6%, improving range and loiter time, too.
Drawing from the Iraq experience as well as from the USMC’s NOGS test program with a converted OV-10D as a night/all-weather gunship/reconnaissance platform, the MV-10H received a heavier gun armament: the original four light machine guns that were only good for strafing unarmored targets were deleted and their space in the sponsons replaced by avionics. Instead, the aircraft was outfitted with a lightweight M197 three-barrel 20mm gatling gun in a chin turret. This could be fixed in a forward position at high speed or when carrying forward-firing ordnance under the stub wings, or it could be deployed to cover a wide field of fire under the aircraft when it was flying slower, being either slaved to the FLIR or to a helmet sighting auto targeting system.
The original seven hardpoints were retained (1x ventral, 2x under each sponson, and another pair under the outer wings), but the total ordnance load was slightly increased and an additional pair of launch rails for AIM-9 Sidewinders or other light AAMs under the wing tips were added – not only as a defensive measure, but also with an anti-helicopter role in mind; four more Sidewinders could be carried on twin launchers under the outer wings against aerial targets. Other guided weapons cleared for the MV-10H were the light laser-guided AGR-20A and AGM-119 Hellfire missiles, the Advanced Precision Kill Weapon System upgrade to the light Hydra 70 rockets, the new Laser Guided Zuni Rocket which had been cleared for service in 2010, TV-/IR-/laser-guided AGM-65 Maverick AGMs and AGM-122 Sidearm anti-radar missiles, plus a wide range of gun and missile pods, iron and cluster bombs, as well as ECM and flare/chaff pods, which were not only carried defensively, but also in order to disrupt enemy ground communication.
In this configuration, a contract for the conversion of twelve mothballed American Broncos to the new MV-10H standard was signed with Boeing in 2016, and the first MV-10H was handed over to the USAF in early 2018, with further deliveries lasting into early 2020. All machines were allocated to the newly founded 919th Special Operations Support Squadron at Duke Field (Florida). This unit was part of the 919th Special Operations Wing, an Air Reserve Component (ARC) of the United States Air Force. It was assigned to the Tenth Air Force of Air Force Reserve Command and an associate unit of the 1st Special Operations Wing, Air Force Special Operations Command (AFSOC). If mobilized the wing was gained by AFSOC (Air Force Special Operations Command) to support Special Tactics, the U.S. Air Force's special operations ground force. Similar in ability and employment to Marine Special Operations Command (MARSOC), U.S. Army Special Forces and U.S. Navy SEALs, Air Force Special Tactics personnel were typically the first to enter combat and often found themselves deep behind enemy lines in demanding, austere conditions, usually with little or no support.
The MV-10Hs are expected to provide support for these ground units in the form of all-weather reconnaissance and observation, close air support and also forward air control duties for supporting ground units. Precision ground strikes and protection from enemy helicopters and low-flying aircraft were other, secondary missions for the modernized Broncos, which are expected to serve well into the 2040s. Exports or conversions of foreign OV-10s to the Black Pony standard are not planned, though.
General characteristics:
Crew: 2
Length: 42 ft 2½ in (12,88 m) incl. pitot
Wingspan: 45 ft 10½ in(14 m) incl. tip sails
Height: 15 ft 2 in (4.62 m)
Wing area: 290.95 sq ft (27.03 m²)
Airfoil: NACA 64A315
Empty weight: 9,090 lb (4,127 kg)
Gross weight: 13,068 lb (5,931 kg)
Max. takeoff weight: 17,318 lb (7,862 kg)
Powerplant:
2× General Electric CT7-9D turboprop engines, 1,305 kW (1,750 hp) each,
driving 8-bladed Hamilton Standard 8 ft 6 in (2.59 m) diameter constant-speed,
fully feathering, reversible contra-rotating propellers with metal hub and composite blades
Performance:
Maximum speed: 390 mph (340 kn, 625 km/h)
Combat range: 198 nmi (228 mi, 367 km)
Ferry range: 1,200 nmi (1,400 mi, 2,200 km) with auxiliary fuel
Maximum loiter time: 5.5 h with auxiliary fuel
Service ceiling: 32.750 ft (10,000 m)
13,500 ft (4.210 m) on one engine
Rate of climb: 17.400 ft/min (48 m/s) at sea level
Take-off run: 480 ft (150 m)
740 ft (227 m) to 50 ft (15 m)
1,870 ft (570 m) to 50 ft (15 m) at MTOW
Landing run: 490 ft (150 m)
785 ft (240 m) at MTOW
1,015 ft (310 m) from 50 ft (15 m)
Armament:
1x M197 3-barreled 20 mm Gatling cannon in a chin turret with 750 rounds ammo capacity
7x hardpoints for a total load of 5.000 lb (2,270 kg)
2x wingtip launch rails for AIM-9 Sidewinder AAMs
The kit and its assembly:
This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?
The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...
The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.
For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!
All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it works well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model.
Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a (more or less) harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.
After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this, I raised the OV-10’s main landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit, which received an internal console to match the main landing gear’s length. Due to the chin turret and the shorter nose, the front wheel retracts backwards now. But this looks quite plausible, thanks to the additional space under the cockpit tub, which also made a belt feed for the gun’s ammunition supply believable.
To enhance the menacing look I gave the model a fixed refueling boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dispensers and an IR decoy were taken from the Academy kit.
The ordnance came from various sources. The Sidewinders under the wing tips were taken from an Italeri F-16C/D kit, they look better than the missiles from the Academy Bronco kit. Their launch rails came from an Italeri Bae Hawk 200. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-10 and -19 missile pods on the stub wings were taken from the OV-10 kit.
Painting and markings:
Finding a suitable and somewhat interesting – but still plausible – paint scheme was not easy. Taking the A-10 as benchmark, an overall light grey livery (with focus on low contrast against the sky as protection against ground fire) would have been a likely choice – and in fact the last operational American OV-10s were painted in this fashion. But in order to provide a different look I used the contemporary USAF V-22Bs and Special Operations MC-130s as benchmark, which typically carry a darker paint scheme consisting of FS 36118 (suitably “Gunship Gray” :D) from above, FS 36375 underneath, with a low, wavy waterline, plus low-viz markings. Not spectacular, but plausible – and very similar to the late r/w Colombian OV-10s.
The cockpit tub became Dark Gull Grey (FS 36231, Humbrol 140) and the landing gear white (Revell 301).
The model received an overall black ink washing and some post-panel-shading, to liven up the dull all-grey livery. The decals were gathered from various sources, and I settled for black USAF low-viz markings. The “stars and bars” come from a late USAF F-4, the “IP” tail code was tailored from F-16 markings and the shark mouth was taken from an Academy AH-64. Most stencils came from another Academy OV-10 sheet and some other sources.
Decals were also used to create the trim on the propeller blades and markings on the ordnance.
Finally, the model was sealed with a coat of matt acrylic varnish (Italeri) and some exhaust soot stains were added with graphite along the tail boom flanks.
A successful transplantation – but is this still a modified Bronco or already a kitbashing? The result looks quite plausible and menacing, even though the TOW Cobra front section appears relatively massive. But thanks to the bigger engines and extended wing tips the proportions still work. The large low-pressure tires look a bit goofy under the aircraft, but they are original. The grey livery works IMHO well, too – a more colorful or garish scheme would certainly have distracted from the modified technical basis.
My build for Round 3 of The Tourney at MOCpages. Halhi141, Infernum, and Brick all gave me helpful suggestions for this build. Credit for the lantern design goes to Brick, though I modified it slightly. This was an extremely fun build. I tilted the wood sections using ball joints, for the first time. The idea of the build was to create a wacky, and whimsical atmosphere. Hence the unusual colorscheme for the build.
There's a full interior, and the elevator actually works. Also Amfridus has devised a bucket system whereby he procures water without leaving his home.
Amfridus the Inventor lives in his tower outside of Guaire. Unlike some inventors, he is very friendly. Naysayers claim his chemical experiments have polluted the stream which runs by his home, but the plentiful aquatic life seems to show otherwise. Rego and Dedan pay Amfridus a visit hoping to procure some new inventions and potions that will give them an edge in The Tourney.
See all the details here: brickbuilt.org/2015/Inventor.php
My build for Round 3 of The Tourney at MOCpages. Halhi141, Infernum, and Brick all gave me helpful suggestions for this build. Credit for the lantern design goes to Brick, though I modified it slightly. This was an extremely fun build. I tilted the wood sections using ball joints, for the first time. The idea of the build was to create a wacky, and whimsical atmosphere. Hence the unusual colorscheme for the build.
There's a full interior, and the elevator actually works. Also Amfridus has devised a bucket system whereby he procures water without leaving his home.
Amfridus the Inventor lives in his tower outside of Guaire. Unlike some inventors, he is very friendly. Naysayers claim his chemical experiments have polluted the stream which runs by his home, but the plentiful aquatic life seems to show otherwise. Rego and Dedan pay Amfridus a visit hoping to procure some new inventions and potions that will give them an edge in The Tourney.
See all the details here: brickbuilt.org/2015/Inventor.php
Press L to view bigger and on black. It looks brighter and just better.
Another creation of Failed Inventor.
Had I not been shooting this for the article, I would have probably not have worn knickers and would probably have included my legs.
So I just may do another version soon.
To see the article about Failed Inventor - go to page 128.
Carlo Borromeo (Arona, Ducado de Milán, 2 de octubre de 1538 - Milán, 3 de noviembre de 1584) fue un cardenal italiano, arzobispo de Milán y uno de los grandes reformadores católicos de la época postridentina. Era sobrino del papa Pío IV y la Iglesia católica lo venera como santo.
es.wikipedia.org/wiki/Carlos_Borromeo
Charles Borromeo (Italian: Carlo Borromeo, Latin: Carolus Borromeus, 2 October 1538 – 3 November 1584) was the Latin archbishop of Milan from 1564 to 1584 and a cardinal of the Catholic Church. He was a leading figure of the Counter-Reformation combat against the Protestant Reformation together with St. Ignatius of Loyola and St. Philip Neri. In that role he was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests. He is honored as a saint by the Catholic Church, with a feast day on November 4.
en.wikipedia.org/wiki/Charles_Borromeo
La iglesia de san Carlos Borromeo (en alemán, Karlskirche) es una iglesia barroca de Viena, situada en Kreuzherrengasse, 1, en la parte sur de Karlsplatz, al borde del primer distrito, y doscientos metros por fuera de la Ringstrasse.
Durante la fuerte epidemia de peste que azotó Viena en 1713 y que se cobró la vida de unas 8.000 personas, el emperador Carlos VI prometió que, tan pronto, como la ciudad se viera libre de esta calamidad, levantaría un templo dedicado a san Carlos Borromeo, arzobispo de Milán y héroe de la epidemia de peste de 1576. Al año siguiente de la epidemia se anunció un concurso para el proyecto de la iglesia que fue adjudicado a Johann Bernhard Fischer von Erlach. Los fondos que permitieron sufragar la construcción de la iglesia fueron aportados forzosamente por los judíos de Viena. La iglesia es un símbolo de poder religioso y político de la dinastía imperial de los Habsburgo.
Las obras se iniciaron en 1716, y tras la muerte del arquitecto en 1723, las obras fueron continuadas, hasta su terminación en 1737, por su hijo Joseph Emanuel Fischer von Erlach.
La iglesia constituye una obra maestra del eclecticismo barroco, en el que se combinan diferentes estilos: la fachada central representa un pórtico griego, las columnas a su lado son de inspiración barroca y sobre la entrada domina una gigantesca cúpula. Los dos pabellones laterales muestran influencias del barroco romano y decoración oriental. El edificio tiene una altura de 80 metros por unos 60 de ancho y constituye el segundo templo más amplio de la capital después de la catedral de San Esteban
En el exterior destaca el frontis en el que se incluyen las dos columnas citadas, con relieves que muestran periodos de la vida de San Carlos Borromeo. Están inspiradas en la columna Trajana de Roma y su decoración espiral presenta escenas de la vida de San Carlos Borromeo. El tema que se representa en la columna izquierda es la constancia y el valor en la de la derecha.
En el frontón se encuentran relieves obra de Giovanni Stanetti, que describen los sufrimientos de la ciudad durante la peste de 1713, la estatua del santo patrón corona el frontón. Las escaleras de la entrada se encuentra flanqueada por ángeles que representan el antiguo y el nuevo testamento.
El interior alberga tallas y retablos realizados por los artistas más famosos de la época como Daniel Gran y Altomonte. Destaca la cúpula en la que se pueden contemplar un fresco pintado por Johann Michael Rottmayr de Salzburgo, realizado entre 1725 y 1730, denominado "La apoteosis de san Carlos Borromeo" y que sería el último encargo que cumplió el artista. En él se representa la intercesión de Carlos Borromeo, con el apoyo de la Virgen María, y en torno a ellos las virtudes cardinales.
El altar mayor en el que participaron Alberto Camesina y Ferdinand Maxmilián Brokoff, presenta un relieve de estuco con San Carlos sobre una nube, ascendiendo a los cielos.
Los pabellones que conducen a las entradas laterales tienen decoración de influencia china.
Los frescos de las capillas laterales fueron pintados por Daniel Gran.
La iglesia está cerca de la estación Karlsplatz del Metro de Viena, por la que pasan las líneas U1, U2 y U4; también se puede llegar desde las estaciones de tranvía Gußhausstrasse (línea D) o Wien Resselgasse (líneas 1 y 62).
es.wikipedia.org/wiki/Iglesia_de_San_Carlos_Borromeo_(Viena)
The Rektoratskirche St. Karl Borromäus, commonly called the Karlskirche (English: St. Charles Church), is a Baroque church located on the south side of Karlsplatz in Vienna, Austria. Widely considered the most outstanding baroque church in Vienna, as well as one of the city's greatest buildings, the church is dedicated to Saint Charles Borromeo, one of the great counter-reformers of the sixteenth century.
Located on the edge of the Innere Stadt, approximately 200 meters outside the Ringstraße, the church contains a dome in the form of an elongated ellipsoid.
In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716 under the supervision of Anton Erhard Martinelli. After J.B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historic architecture, the elder Fischer von Erlach united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered.
Next to the Church was the Spitaler Gottesacker. The composer Antonio Vivaldi died in Vienna and was buried there on July 28, 1741 but his tomb has been lost over time. The church hosts regular Vivaldi concerts in his honour.
Hedwig Kiesler (age 19), later American movie actress and inventor Hedy Lamarr, married Friedrich Mandl (age 32), businessman and Austrofascist, in the tiny chapel of this elaborate church on 10 August 1933. With over 200 prominent guests attending, Kiesler wore “a black-and-white print dress” and carried “a bouquet of white orchids.”
Since Karlsplatz was restored as an ensemble in the late 1980s, the church has garnered fame because of its dome and its two flanking columns of bas-reliefs, as well as its role as an architectural counterweight to the buildings of the Musikverein and of the Vienna University of Technology. The church is cared for by a religious order, the Knights of the Cross with the Red Star, and has long been the parish church as well as the seat of the Catholic student ministry of the Vienna University of Technology.
The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects Saint Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief and are intended to recall the two columns, Boaz and Jachim, that stood in front of the Temple at Jerusalem. They also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angels from the Old and New Testaments.
This program continues in the interior as well, above all in the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti, which displays an intercession of Charles Borromeo, supported by the Virgin Mary. Surrounding this scene are the cardinal virtues. The frescos in a number of side chapels are attributed to Daniel Gran.
The high altarpiece portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maxmilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte and Jakob van Schuppen. A wooden statue of St. Anthony by Josef Josephu is also on display.
As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. The large round glass window high above the main altar with the Hebrew Tetragrammaton/Yahweh symbolizes God's omnipotence and simultaneously, through its warm yellow tone, God's love. Below is a representation of Apotheosis of Saint Charles Borromeo.
Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the church is Fischer's greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.
The pulpit of the church was probably designed by Joseph Emanuel Fischer von Erlach, and his plans might have been executed by a French furniture maker, Claude Le Fort du Plessy in 1735 although there are no surviving documents attesting their authorship or the manufacturing of the church furniture. It is a wooden structure with rich floral, vegetal, rosette and rocaille ornaments, the finer carvings made of hard walnut, in a gold and brown colour scheme. The abat-voix forms a theatrical canopy with two putti holding a cross and a chalice with host; there is a flaming urn on the top. Around 1860 the abat-voix was enlarged. A wide rim was added distorting the original proportions, obscuring the elegant, swirling lines and creating a top-heavy effect. In 2006-2007 this rim was removed after a long debate and the pulpit was restored. The missing carvings of the canopy decorations were reconstructed and the original appearance of the structure was re-established.
My build for Round 3 of The Tourney at MOCpages. Halhi141, Infernum, and Brick all gave me helpful suggestions for this build. Credit for the lantern design goes to Brick, though I modified it slightly. This was an extremely fun build. I tilted the wood sections using ball joints, for the first time. The idea of the build was to create a wacky, and whimsical atmosphere. Hence the unusual colorscheme for the build.
There's a full interior, and the elevator actually works. Also Amfridus has devised a bucket system whereby he procures water without leaving his home.
Amfridus the Inventor lives in his tower outside of Guaire. Unlike some inventors, he is very friendly. Naysayers claim his chemical experiments have polluted the stream which runs by his home, but the plentiful aquatic life seems to show otherwise. Rego and Dedan pay Amfridus a visit hoping to procure some new inventions and potions that will give them an edge in The Tourney.
See all the details here: brickbuilt.org/2015/Inventor.php
Dreamland's 'Dan Dare style' Hurricane Jets.
Taken in Dreamland
Dreamland was created, by John Henry Iles in 1919, from the 'Hall by the Sea' an amusement park dating back to 1880. Dreamland was inspired by Coney Island.
Inspired by Coney Island which he had visited in 1906, Iles renamed the park Dreamland and initiated work on the construction of a Scenic Railway roller-coaster in 1919 having purchased the European rights to the Scenic Railway from inventor and patent holder LaMarcus Adna Thompson. The roller-coaster opened to visitors in 1920 with great success, carrying nearly half a million riders in its first year. Iles was quick to install other rides including a smaller coaster called the Whirlwind Racing Coaster, the Joy Wheel, the River Caves, Dreamland Miniature Railway and The Whip. A ballroom was constructed on the site of the roller-skating rink in 1920 and in 1923 Iles built his Variety Cinema on the site. In 1926 Iles undertook the construction of the Cliftonville Lido swimming pool on the seafront. Between 1920 and 1935 he invested more than £500,000 in Dreamland, adding new attractions and facilities and ultimately in the construction of the impressive Dreamland Cinema complex in 1934, now a grade 2 listed building. John Henry Iles retired in 1938 and the business was handed over to his son Eric.
[Dreamland.org]
The park was renovated in the 1970s, sold to the Bembom Brothers from Holland in 1981, later sold on to another amusement park owner in 1996, but finally closed in 2005. The future of the park was uncertain, until a restoration project began in 2010, with the park re-opening in 2015, following a major overhaul and reconstruction.
Gedenkstein im Avignonpark an Oskar Barnack. Barnack gilt als Erfinder der 35-mm-Kleinbildkamera von Leitz.
Er machte mit der Leica I von 1925 als erste Kamera in Serie die Stadt Wetzlar weltberühmt.
Memorial stone in Avignon Park to Oskar Barnack. Barnack is considered the inventor of the Leitz 35 mm camera.
He made the city of Wetzlar world-famous with the Leica I from 1925, the first camera in series production.
Dusty: OK, Ginger, when I say, "Engage," you throw the switch and my consciousness will be transferred to the two Danbos.
Jefa: NOOOOOOOOOOO!
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The ruins of inventor Thomas "Carbide" Willson's laboratory are located in Gatineau Park in Chelsea, Québec.
Les ruines de l'usine de l'inventeur Thomas 'Carbide' Willson sont situées dans le Parc de la Gatineau à Chelsea, Québec.
All rights reserved. Protected with PIXSY
Ilustraciones realizadas en colaboración entre Patricia Domínguez y Constanza Domínguez para el Museo Nacional de Historia Natural de Chile, en el marco de la exposición de Cetáceos 2015.
Ilustración recreada de ilustraciones científicas.
"The suit is complete. and not a moment too soon. The enemy has closed in. They are getting bolder, knowing there is no one to stop them.
But I can now.
I can't let them know it's me. The enemy would destroy my village for certain. They still might anyways. It's best if no one knows. especially not the Turaga. She tried to stop me already. She still believes the Toa will come.
The Toa will not.
But I will."
It took a bit of work for him to tolerate wearing a cardboard box... he never did wear the helmet. And as a robot inventor and repair person, she took great pleasure in tell him what to do (the remote control didn't work... LOL).
This photograph is from the Swan Collection of Tyne & Wear Museums, held at the Discovery Museum in Newcastle upon Tyne.
Sir Joseph Wilson Swan was a British Physicist, Chemist and Inventor. Swan lived at Underhill, on Kells Lane North in Low Fell, Gateshead. It was here that he conducted most of his experiments in the large conservatory.
His investigations in electro-chemistry led to the construction of a motor electric meter, an electric fire-damp detector, a miners' electric safety lamp. Most importantly, Swan was also a pioneer in photographic procedures such as carbon printing.
It was Swan's demonstration of the light bulb at a lecture in Newcastle upon Tyne on 18 December 1878, before its later development by the American Thomas Edison that he is most famous for. Swan and Edison later collaborated in their work with the incandescent light bulb in 1883, when they founded the Edison & Swan United Electric Light Company, otherwise known as 'Ediswan.'
Many items held at Tyne & Wear Archives & Museums relating to Joseph Swan offer an amazing insight in to his work as an inventor and his place in the History of Scientific progression. This set offers a small selection from these collections.
This set has been produced in support of the British Science Festival 2013, held in Newcastle upon Tyne. You can find more information on the Festival here
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
In early summer, ‘Abraham Darby’ bears large, deeply cupped blooms in shades of pink, apricot and yellow and, in spite of their size, they continue to be produced for the remainder of the season. They have a rich, fruity fragrance with a refreshing sharpness. ‘Abraham Darby’ is an excellent, vigorous, medium-sized shrub. It has a bushy, arching habit and large, polished, rather modern leaves; flower, growth and leaf are all in proportion and never clumsy. Named to celebrate the inventor Abraham Darby, who, with his son and grandson, played an important part in the industrial revolution.
The beautiful Saint Cuthbert's, by the edge of Princes Street Gardens, right below the Castle. Beautiful spring light hitting the old stone and casting tree shadows across it, There's something about sunlight on old stonework, especially spring or autumn, when the sun is at a lower angle.
Combined with the spire reaching up as it to god in the heavens above, even though I have taken photos of it before, I just had to take more. Snapped a closer spire shot in colour too, just because that blue, spring sky was glorious to behold. Easter Weekend, spring light, breeze whispering in the trees of the old kirkyard, should have been busy with worshippers for Easter services...
There has been a church of one sort of another dedicated to Cuthbert since around 850 AD, with the current building dating from the Victorian period. The surrounding cemetery still boasts a "ressurection tower" (a lookout post for the dreaded grave robbers made infamous by Burke & Hare), and famous "residents" such as John Napier, inventor of logarithims, Charles Darwin (uncle of the later Charles Darwin who revolutionised our thinking on evolution), the famous Scots artist SIr Henry Raeburn, artist & architect Alexander Nasmyth, George Meikle Kemp (who designed the astonishing Scott Monument a short stroll from here), and Thomas De Quincey, author of Confessions of an English Opium-Eater.