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Lambretta is the brand name of a line of motor scooters initially manufactured in Milan, Italy, by Innocenti.
The name is derived from the word Lambrate, the suburb of Milan named after the river which flows through the area, and where the factory was located. Lambretta was the name of a mythical water-sprite associated with the river which runs adjacent to the former production site.
In 1972, the Indian government bought the machinery of the Milanese factory, creating Scooters India Limited (SIL) in order to produce the Lambro three-wheeler under the name Vikram for the domestic market. Lambretta scooters were also manufactured under licence by Fenwick in France, NSU in Germany, Serveta in Spain, API in India, Yulon in Taiwan, Pasco in Brazil, Auteco in Colombia and Siambretta in Argentina.
Source: Wikipedia
Innocenti S.A. (also known as Lambretta Consortium) based in Lugano, Switzerland is the owner of the international trademark Lambretta and has licensed the brand throughout the world. The Lambro 550N, launched in 1967 was the first of the Lambro models with the engine outside of the cabin. This reduced the noise, vibration and heat created by having the engine under the seat. Slight cosmetic changes were made to the cab such as the removal of the enlarged horn cover plate in the centre which was replaced with a 550N badge similar to those used on the Lambro 175, 200 and 450 models. Window hinges changed from two small hinges to a strip hinge running down the window. A 'front air intake' was added to the front of the cabin in the form of a flap to allow air in.
The three point engine mountings from the earlier models were replaced by 4 rubber buffers as engine mountings, supported by a solid cradle under the engine. The new location for the engine meant accessing it for general maintenance became a problem unless the back was removed. To overcome this, a removable inspection panel was inserted on the lower half of the back of the cabin, meaning if the seat was removed, and the panel, the engine could be accessed. Rubber drive couplings were upgraded to larger versions. The rear axle changed in design to move the differential to accomodate the new engine position. Leaf springs were also changed.
Source: www.thelambro.com/information/Lambro550N_550A_500L.html
Taken at Gärdesloppet 2019, Stockholm
From the 1946 catalogue issued by the Mitchell Engineering group, a company whose interests spanned a wide range both the manufacturing of many types of engineering equipment as well as constructing and fitting out industrial and commercial buildings and structures. One of their areas of expertise was in electricity generating where they made boilers, fuel handling an ash disposal equipment.
Seen here is a contract undertaken for the pre-nationalisation municipal electricity undertaking of Bristol City Council. The City Council had started to generate electricity in 1891 but by the mid-1920s the two original stations, within the city, were proving too small and increasingly obsolete. Construction at the dockside site at Portishead began in 1926 and the station was commissioned in 1929. As a 'selected' station it provided power to the National Grid under the control of the Central Electricity Board. In 1937 the station underwent partial reconstruction including the erection of this single chimney stack, seen here, to replace the original six seperate steel ones. It was, in post war years, joined by Portishead "B" station, at which point this became "A" and after a short period following conversion to oil firing after local coal fields became exhausted and closed, A station ceased generation in 1976 with demolition of the chimneys taking place in the early 1980s - B station closed in 1982.
Between the Sambre and Carsid metal manufactures.
Sur le chemin de halage de la Sambre, le long des usines Carsid.
Ilford HP5+ 800iso
Santa cruz Jason Jessee
BULLET Speed Wheels
INDEPENDENT Truck Co
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+++ 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 Saab 35 Draken ('The Kite' or 'The Dragon') was a Swedish fighter-interceptor developed and manufactured by Svenska Aeroplan Aktiebolaget (SAAB) between 1955 and 1974. Development of the Saab 35 Draken started in 1948 as the Swedish air force future replacement for the then also in development Saab 29 Tunnan dayfighter and Saab 32B Lansen night fighter. It featured an innovative but unproven double delta wing, which led to the creation of a sub-scale test aircraft, the Saab 210, which was produced and flown to test this previously unexplored aerodynamic feature. The full-scale production version entered service with frontline squadrons of the Swedish Air Force on 8 March 1960. It received the designation Flygplan 35 (Fpl 35; 'Aeroplane 35') and was produced in several variants and types, most commonly as a fighter type with the prefix J (J 35), standing for Jaktflygplan (Pursuit-aircraft), the Swedish term for fighter aircraft.
The Saab 35 Draken was known for, among other things, its many "firsts" within aviation. It was the first Western European-built combat aircraft with true supersonic capability to enter service and the first fully supersonic aircraft to be deployed in Western Europe. Design-wise it was one of, if not the first, combat aircraft designed with double delta wings, being drawn up by early 1950. The unconventional wing design also had the side effect of making it the first known aircraft to perform and be capable of the Cobra maneuver. It was also one of the first Western-European-built aircraft to exceed Mach 2 in level flight, reaching it on 14 January 1960.
The Draken functioned as an effective supersonic fighter aircraft of the Cold War period. Even though the type was designed and intended as an interceptor, the Draken was considered to be a very capable dogfighter for the era, and its large wing area allowed the compact Saab 35 to carry a relatively high payload, too. In Swedish service, it underwent several upgrades, the ultimate of these being the J 35 J model which served until 1999. The Draken was also exported to several countries and remained operational in Austria until 2005.
In Swedish service, the Saab 35 was replaced by the Saab 37 “Viggen”. Development work on the new type was already initiated at Saab in 1952 and, following the selection of a radical canard delta wing configuration, the resulting aircraft performed its first flight on 8 February 1967 and entered service on 21 June 1971. However, being a radical and new design, the service introduction of the Viggen – esp. of its initial version, the AJ 37 fighter-bomber – was not without teething troubles, and in the late Sixties the Swedish Air Force expected an attack aircraft gap in its line-up. The former A 32 A Lansen attack aircraft were reaching the end of their airframe lifetime and were simply outdated, even though it was still needed as an anti-ship attack platform for the indigenous Rb 04 guided missile, so that Saab suggested an interim solution: the conversion of seventy of the 120 produced J 35 D fighters into dedicated attack aircraft, with the designation A 35 G (Gustav).
The Saab A 35 G was heavily modified to make it into a fighter bomber aircraft. Compared to the fighter versions the outer wings where completely redesigned and the aircraft featured 9 hardpoints in total. Airframe and landing gear were strengthened to cope with an increased payload of 10,000 lb (4,540 kg) vs. the fighters’ usual 6,393 lb (2,900 kg). Several airframe components were restored or replaced to extend the life of the aircraft, and the landing gear featured low-pressure tires for a better field performance on improvised/dispersed airfields.
A wide array of ordnance could be carried, such as bombs of up to 1.000 lb (454 kg) caliber, MERs with up to six 100 kg (220 lb) bombs each, pods with unguided 75 mm or 135 mm rockets, single 14.5 cm psrak m49/56 high-explosive anti-tank rockets and, as a new weapon, the indigenous guided Rb 05 air-to-ground missile. This had been developed for the AJ 37 "Viggen in 1967 and was roughly comparable with the American AGM-12 Bullpup, but had some unique features. The Rb 05’s supersonic speed was deemed necessary to reduce the threat of surface-to-air missiles, and it allowed the missile to be deployed against slow/large aerial targets, too, making it a dual-purpose weapon. Consequently, the Rb 05’s fuze could be set by the pilot to impact mode for ground targets, or proximity mode for attacking air targets such as bombers.
The missile had a maximum range of 9 km (5.6 ml) and would usually be launched after a high-speed attack run on very low altitude and a climb to 400m for launch. Since the RB 05 was roll-stabilized, the aircraft did not need to be aimed straight at the target when launching and could immediately descend into terrain cover again, and this also made it possible to attack aerial targets from unusual angles and flight paths. Tracking the flares on the missile, the pilot would then visually guide the missile (the missile's engine was smokeless as to not obscure the view) with a small manual joystick towards the target. Guidance commands were transmitted to the missile via a jam-proof radio transmission link.
The A 35 G kept the J 35 D’s two 30 mm ADEN cannons, and a limited air defense capability was retained, too: the Gustav could carry up to four IR-guided Rb 24 (AIM-9B Sidewinder) AAMs, in addition to the Rb 05 in air-to-air mode. However, the aircraft lacked any air intercept radar, and had instead a Ferranti LRMTS (laser rangefinder and marked target seeker) and a counterweight installed in the nose, which resembled the S 35 E photo reconnaissance version’s nose, just without the windows for the side-looking cameras. For its attack role, the A 35 G received a new inertial navigation system, new altimeters and a ballistic computer from Saab called BT-9Rm, which worked with both bombs and rockets and even allowed for toss bombing. The Gustav Draken was furthermore fitted with electronic countermeasure (ECM) systems, a RHAWS and chaff and flare dispensers in their tail cones to improve its survivability over the battlefield.
The Gustav conversion program was accepted by the Swedish government in 1968. Work started in early 1969, the first revamped aircraft reached the operational units in late 1971. However, since production of the AJ 37 was starting at the same time, only 61 aircraft were eventually re-built from existing J 35 D airframes (one prototype and sixty production aircraft). Västgöta Wing (F 6) at Karlsborg was the first squadron to receive the A 35 G, replacing its A 32 A fighter bombers, the other unit to operate the type was Skaraborg Wing (F 7) at Såtenäs.
Among Sweden’s Draken fleet the Gustav was easy to recognize because it was the only version that carried the new “Fields & Meadows” splinter camouflage as standard livery. Service of the A 35 G lasted only until the early Eighties, though: as more and more AJ 37 all-weather fighter bombers reached the Swedish frontline units during the Seventies, the interim attack Draken, which was only effective under daylight and more or less good weather conditions, was withdrawn and either used for spares in the running J 35 J modernization program or directly scrapped, because many airframes had, suffering from the special stress of low-level flight operations, reached the end of their lifespan.
Another factor for the quick withdrawal was the disappointing performance of the type’s primary weapon, the Rb 05 missile: Its manual joystick steering in the cramped Draken cockpit (to be operated while the pilot was expected to fly at low altitude and evade enemy fire!) presented a number of problems, and the Rb 05’s ultimate accuracy was, even under ideal conditions, on the order of just 10 meters (33 ft), greater than desired. Targets like tanks or even ships were hard to hit with this level of scattering, combined with imminent danger for the pilot, and the air-to-air mode was even less effective. On the more modern Saab 37 the Rb 05 was therefore replaced by the Rb 75, a license-produced version of the American TV-guided AGM-65 Maverick “fire and forget” weapon. TV and laser seeker heads for the Rb 05 to improve the weapon’s accuracy and handling had been planned since the early Seventies, but were never realized.
General characteristics:
Crew: 1
Length: 15.35 m (50 ft 4 in)
Wingspan: 9.42 m (30 ft 11 in)
Height: 3.89 m (12 ft 9 in)
Wing area: 49.2 m² (530 ft²)
Airfoil: 5%
Empty weight: 8,175 kg (18,006 lb)
Gross weight: 11,500 kg (25,330 lb)
Max takeoff weight: 13,554 kg (29,845 lb)
Powerplant:
1× Svenska Flygmotor RM6C (license-built Rolls Royce Avon with Swedish EBK67 afterburner)
turbojet engine, 56.5 kN (12,700 lbf) thrust dry, 77.3 kN (17,240 lbf) with afterburner
Performance:
Maximum speed: 2,150 km/h (1,335 mph, 1,168 kn) at 11,000 m (36,089 ft), clean
1,430 km/h (888 mph, 777 kn) w. two dop tanks and two 454 kg (1.00 lb) bombs
Range: 1.120 km (605 nmi; 696 mi); clean, internal fuel only
Ferry range: 2,750 km (1,480 nmi; 1,710 mi) with four external 500 l drop tanks
Service ceiling: 20,000 m (66,000 ft)
Rate of climb: 199 m/s (39,200 ft/min)
Wing loading: 231.6 kg/m² (47.4 lb/ft²)
Thrust/weight: 0.7
Takeoff roll: 800 m (2,625 ft)
Armament:
2× 30 mm akan m/55 ADEN cannon with 100 rounds per gun
9× hardpoints with a total capacity of 4,500 kg (10.000 lb)
The kit and its assembly:
Even though the model depicts a what-if aircraft, the Draken’s proposed “Gustav” attack variant based on the J 35 D interceptor was real – even though I could not find much detail information about it. So, I took some inspiration from the contemporary Danish Saab 35XD export version, which probably had similar features to the Gustav? Another inspiring factor was a pair of Rb 05 missiles (from an Airfix Viggen) that I had bought with a spare parts lot some time ago – and an attack Draken would be the perfect carrier for these exotic (and unsuccessful) missiles.
For a low-budget build I used one of Mistercraft’s many recent re-boxings of the vintage Revell Draken from 1957(!), and this kit is nothing for those who are faint at heart. It is horrible.
The kit probably depicts a late J 35 A (already with a long tail section), but even for this variant it lacks details like the air scoops for the afterburner or a proper landing gear. The Draken’s characteristic tail wheel is also missing completely. Worst pitfall, however: there is NO interior at all, not even a lumpy seat! The canopy, the early model with struts, is disturbingly clean and crisp, though. The overall fit is mediocre at best, too – there are only a few visible seams, but any of them calls for filling and PSR. It’s a very toyish kit, even though the general outlines are O.K.
And the Mistercraft instructions are really audacious: they show all the parts that are actually NOT there at all. Suddenly a seat appears in the cockpit, a fin fairing from a J 35 D or later, or the tail wheel… And the decal sheets only roughly meet the aircraft you see in the painting instructions - there are three sheets, totally puzzled together, including material for aircraft not mentioned in the instructions, but that’s a common feature of most Mistercraft kits. But: how much can you taunt your disappointed customers?
So, this leaves lots of room for improvements, and calls for a lot of scratching and improvisation, too. First measure was to open both the air intakes (which end after 2mm in vertical walls) and the exhaust, which received an afterburner dummy deep inside to create depth. Next, I implanted a complete cockpit, consisting of s scratched dashboard (styrene sheet), the tub from an Italeri Bae Hawk trainer’s rear cockpit (which comes with neat side consoles and fits quite well) plus a shallow vintage ejection seat, probably left over from an early MiG from a KP kit or one of its many later reincarnations. As an alternative, there’s a Quickboost resin aftermarket set with a complete cockpit interior (even including side walls, IIRC intended to be used with the Hasegawa Draken) available but using it on this crappy kit would have been a waste of resources – it’s more expensive than the kit itself, and even with a fine cockpit the exterior would still remain sh!t.
Since I could not find any detail about the Gustav Draken’s equipment I gave it a laser rangefinder in a poor-fitting S 35 E (or is it a Danish export F-35?) nose that comes as an optional part with the vintage Revell mold – which is weird, because the recce Draken was built between 1963 and 1968 in 2 series, several years after the kit’s launch? Maybe the Mistercraft kit is based on the 1989 Revell re-boxing? But that kit also features an all-in-one pilot/seat part and a two-piece canopy… Weird!
Once the hull was closed many surface details had to be added. The afterburner air scoops were created from plastic profiles, which are aftermarket roof rails in H0 scale. Styrene profile material was also used to create the intakes behind the cockpit, better than nothing. The OOB pitot on the fin was very robust, and since it would be wrong on a J 35 D I cut it off and added a fairing to the fin tip, a shortened/modified ACMI pod, which bears a better pitot alternative at its tip. The pitot on the nose was scratched from heated styrene, since the kit offers no part at all.
Under the rear fuselage the whole tail wheel arrangement had to be scratched. The shallow fairing consists of a section from a Matchbox EA-6B drop tank, the wheel and its strut were tinkered together with bits from the scrap box and profile material. Not stellar, but better than OOB (= nothing!).
The landing gear struts were taken from the kit but beefed up with some details. The main wheels had to be replaced, the new ones come from a KP MiG-21, IIRC.
The ordnance consists of a pair of Rb 05’s from an Airfix Viggen, a pair of OOB drop tanks and MERs from a Matchbox A-7D, together with fourteen streamlined bombs from the same kit – twelve on the MERs and single bombs on the outer pylons. AFAIK, Sweden never used MERs on their aircraft, but the bombs come pretty close to some small bombs that I have seen as AJ 37 ordnance. Most pylons are OOB, I just added a single ventral station and two outer hardpoints under the wings. The Rb 05s received a prominent place under the air intakes on Sidewinder launch rails.
Painting and markings:
Finally a good excuse to apply the famous and complex “Fields & Meadows” paint scheme to a Draken model! However, this “combo” actually existed in real life, but only on a single aircraft: around 1980 a J 35 B (s/n 35520), aircraft “20” of F18, was painted in this fashion, but AFAIK it was only an instructional airframe. You find some pictures of this aircraft online but getting a clear three-side view (esp. from above!) as a reliable painting benchmark is impossible. However, a complete paint scheme of this aircraft is provided with one of Mistercraft’s Revell Draken re-boxings (not the one I bought, though), even though it is mismarked as a J 35 F of F10 in the instructions. One of the common Mistercraft errors, err, “surprises” (*sigh*).
Finding suitable model paints for the elaborate scheme is not easy, either, and after having applied it several times I stuck to my favorites: Humbrol 150 (Forest Green, FS 34127), 75 (Bronze Green), 118 (US Light Tan, FS 30219, a bit light but RAF Dark Earth is too somber) and Revell 06 (Tar Black, RAL 9021) on the upper surfaces and Humbrol 247 (RLM76) underneath.
A large ventral section was, typical for the J 35, left in bare metal, since leaking fuel and oil would frequently eat away any paint there. The section was painted with Revell 91 (Iron) and later treated with Matt Aluminum Metallizer (Humbrol). As per usual, the model received an overall light black ink washing and some post-shading in order to emphasize the panels, correct the splinter camouflage and dramatize the surface. Some extra weathering was done around the gun ports and the jet nozzle with graphite.
Internal details like the cockpit and the landing gear were painted with the help of Swedish Saab 35 reference pictures. The cockpit tub was painted in a dark, bluish green (Humbrol 76) with grey-green (Revell 67) side walls.
The landing gear and its respective wells were painted in a bluish grey (Revell 57), parts of the struts were painted in a bright turquoise (a mix of Humbrol 89 and 80; looks quite weird, but I like such details!). The wheel hubs became medium grey (Revell 47). The Rb 05 missiles were painted in white as live weapons, so that they stand out well from the airframe. The drop tanks received the same blue-grey as the underside (Humbrol 247). MERs and launch rails were painted in a neutral grey (RAL 7001) and the bombs became olive drab (RAL 6014, Gelboliv) with yellow rings and golden fuzes.
Decals/markings were puzzled together from a Moose Republic Saab 32 sheet (unit code number and emblem) and the spares box, including the red tactical tail code from an Italeri 1:72 Gripen and roundels from a Hasegawa Draken. Stencils were taken from the kit’s OOB sheet and also from the Hasegawa Draken sheet. Finally, the model was sealed with matt acrylic varnish (Italeri).
What a horror trip! The paint scheme itself was/is challenging enough, but modding the crappy vintage Revell kit into something more presentable was already a fight in itself. However, I like the outcome. “Fields & Meadows” suits the Draken with its huge and flat upper surface well, and while the Gustav conversion did not take much effort the “mud mover” ordnance under this Mach 2 fighter really looks strange and makes you wonder what this is. A nice what-if model, despite its blurriness!
Manufactured in 1988
Purchased on 25/02/1988
Mileage at last MOT 178,023 (107,000 more miles than mine!)
"‘The Hall’ in Bradford on Avon is an outstanding example of English Renaissance architecture in which an extent of symmetry and fenestration (windows) are blended with the Gothic pinnacles and small size panelling of the previous period. It is built of freestone from the quarry on the Estate. The Hall was previously known as ‘Kingston House’ (not to be confused with the KIngston House on Kingston Road), ‘The Great House’, and ‘The Duke’s House’ Bradford was a notable wool manufacturing centre in the 14th - 18th Centuries. The Hall was built around 1600 for John Hall, a prominent clothier owning the woollen mills opposite – later to be the Moulton Rubber Works. The Hall family are known to have been active in the town’s weaving industry as early as 1170. After his death in 1631, the mansion passed his son Thomas and in 1663 to Thomas’ son John. After this the estates passed to Rachel Baynton of Little Chalfield, Wiltshire. She married William Pierrepont (Earl Manvers), the son and heir of Evelyn Pierrepont, later the first Duke of Kingston; subsequently The Hall was renamed Kingston House." - from the Moulton Trust website.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
“And so the noose closes tighter…late night, I moved with my forces to take Scarecrow’s latest “Fear Factory”—a manufacturing plant altered to produce fear gas. It had only been set up less than a week ago, but it looked as if it was build years ago. Scarecrow’s men operate fast—no doubt due to fearing the harsh replies of their master should they waste too much time.
Immediately after we busted in the building was engulfed in green smoke…most likely a defense put in by the good doctor…his men fled in...fear...but they were easily gunned down…well a few of them were, I think some of my men drank a bit too much last night—their aim was horrible. It didn’t matter though, the facility was a death trap, and immediately after it was cured of the plague that infected it, the building was burned to the ground—along with the fear of Scarecrow.”
The Penguin moves from Finnigain’s (#27) to attack and takeover a Manufacturing Plant (#13) from Scarecrow.
This graphic was on the Carpenter website right as they were going out of business. Beneath this graphic was a note to their former customers and suppliers thanking them for their business and relationship. Unfortunately, I didn't save the text of the note because it was pretty well written considering what a sad time it was in their corporate history. I right clicked on the graphic and saved it to my computer because I thought it was a pretty cool looking with the lightening in the background.
Valley City Manufacturing was founded in 1884 and closed operations in January 2012. They made custom furniture for churches, offices, laboratories, etc.
Looking east to the church hall and the church itself - This view features the apse (The Lord’s Supper Window), the southwest transept (The Redemption Window), and the spire.
-———
Links for background information ...
Australian Capital Territory Heritage (Decision about Registration of St Andrew’s Church Precinct, Forrest) Notice 2014 - Notifiable Instrument NI2014–43
www.legislation.act.gov.au/ni/2014-43/current/pdf/2014-43...
Church Tour
www.standrewscanberra.com/churchlife/church-tour/
My thanks to the staff and volunteers for granting access to the church and for their kindness in making me feel so very welcome.
-———
[ Location - Forrest, Australian Capital Territory, Australia ]
Photography notes ...
The photograph was taken using the following hardware configuration ...
(Year of manufacture indicated in braces where known.)
- Hasselblad 501CM Body (Chrome) - S/N 10SH26953 (2002).
- Hasselblad CFV-50c Digital Back for Hasselblad V mount camera.
- Hasselblad Focusing Screen for the CFV-50c digital back, with focussing prism and crop markings.
- Hasselblad 45 Degree Viewfinder PME-45 42297 (2001).
- Hasselblad Carl Zeiss lens - Distagon 50mm f/4 CF FLE T* (1991).
- FotodioX B60 Lens Hood for Select Hasselblad Wide-Angle CF Lenses - MFR # HASSY-HD-6050.
- Really Right Stuff (RRS) TFC-14 Series 1 Carbon Fiber Tripod - MFR # 13996.
- Really Right Stuff (RRS) BH-30 Ball Head with Mini Screw-Knob Clamp - MFR # BH-30 PRO.
- Hasselblad HATQCH (3043326) Tripod Quick Coupling.
- Arca-Swiss ARUCP38 Universal Camera Plate 3/8”.
- Nikon AR-3 Shutter Release Cable.
- Artisan & Artist ACAM-302 Silk Cord for Hassleblad Cameras (Black).
I acquired a total of 4 photographs (8272 x 6200 pixels, 2 rows and 2 columns, landscape format) with an ISO of 100. I did not record the exposure time nor the aperture.
Post-processing ...
Finder - Removed the CF card from the camera digital back and placed it in a Lexar 25-in-1 USB card reader. Then used Finder on my MacBook Air to download the raw image file (3FR extension) from the card.
Lightroom - Imported the images. Applied a standard metadata preset (20161110 Import 001) during the import process.
Lightroom - Used the Map module to add the location details to the EXIF header.
Lightroom - Exported the images as 16-bit TIFF files.
AutoPanoGiga - Opened the TIFF files and compiled the panorama with a Spherical projection (Kolor stitching | 4 pictures | Size: 12849 x 8504 | Lens: Standard | RMS: 4.34 | FOV: 68.09 x 45.06 ~ 10.28 | Projection: Spherical | Color: LDR)
AutoPanoGiga - Rendered the cropped panorama as a JPEG image using the “Maximum” quality option.
Lightroom - Imported the image. Applied a standard metadata preset (20161110 Import 001) during the import process.
Lightroom - Used the Spot Removal tool (Clone and Heal modes) to attenuate a number of sensor dust spots.
Lightroom - Made various lighting and color adjustments to the image.
Lightroom - Straightened the image.
Lightroom - Applied a crop with a 4:3 aspect ratio.
Lightroom - Saved the Develop module settings as a preset.
Lightroom - Output the image as a JPEG image using the “Maximum” quality option (10094 x 7571 pixels).
PhotoSync - Copied the JPEG file to my iPad Mini for any final processing, review, enjoyment, and posting to social media.
@MomentsForZen #MomentsForZen #MFZ #Hasselblad #501CM #CFV50c #Lightroom #AutoPanoGiga #WideAngleLens #Church #PresbyterianChurch #StAndrews #StAndrewsChurch #Exterior #Apse #Hall #Spire #Gothic #GothicArchitecture #Panorama
I assume that we all attempted to photograph the super Moon a few weeks ago, I decided to go to Sunshine Beach. I didn't take anything too peculiar apart from some cloudy shots with the Moon behind. I am not too sure about this image, not because of the way it looks, although because of what I have done to produce it. In the original shot, I overexposed the Moon just so the landscape was exposed. I then placed another, exposed one of my images of the Moon on top of the over exposed Moon, creating this. I'd like to hear feedback (:
Lago di Molveno, Gennaio '07 (Trento) Italia.
Quelli che si vedono sono corpi morti, ovvero le pietre dove si attaccano le boe nautiche.
Purtroppo una centrale elettrica utilizza l'acqua del lago e questo è il risultato.
Prendendo spunto dal documentario sul fotografo Edward Burtynsky "Paesaggi Modificati" (Manufactured Landscapes).
With Mf pickles & pastes, add flavours to your dishes and curries. A wide range of pickles & pastes manufacturing company offers 29 flavours in all Middle East countries and UK. buy now @ mf-food.com/pickles-and-pastes-manufacturing-company/
Grade I listed historic main building.
"The Bowes Museum has a nationally renowned art collection and is situated in the town of Barnard Castle, Teesdale, County Durham, England.
The museum contains paintings by El Greco, Francisco Goya, Canaletto, Jean-Honoré Fragonard and François Boucher, together with a sizable collection of decorative art, ceramics, textiles, tapestries, clocks and costumes, as well as older items from local history. The early works of French glassmaker Émile Gallé were commissioned by Joséphine, wife of the founder John Bowes. A great attraction is the 18th-century Silver Swan automaton, which periodically preens itself, looks round and appears to catch and swallow a fish.
The Bowes Museum was purpose-built as a public art gallery for John Bowes and his wife Joséphine Benoîte Coffin-Chevallier, Countess of Montalbo, who both died before it opened in 1892. Bowes was the son of John Bowes, the 10th Earl of Strathmore and Kinghorne, although he did not inherit the title as he was deemed illegitimate under Scottish law.
It was designed with the collaboration of two architects, the French architect Jules Pellechet and John Edward Watson of Newcastle. The building is richly modelled, with large windows, engaged columns, projecting bays, and mansard roofs typical of the French Second Empire, set within landscaped gardens. An account in 1901 described it as "... some 500 feet in length by 50 feet high, and is designed in the French style of the First Empire. Its contents are priceless, consisting of unique Napoleon relics, splendid picture galleries, a collection of old china, not to be matched anywhere else in the world, jewels of incredible beauty and value; and, indeed, a wonderful and rare collection of art objects of every kind."
Among those with less favourable opinions was Nikolaus Pevsner, who considered it to be "... big, bold and incongruous, looking exactly like the town hall of a major provincial town in France. In scale it is just as gloriously inappropriate for the town to which it belongs (and to which it gives some international fame) as in style".
The building was begun in 1869 and was reputed to have cost £100,000 (equivalent to £9.3 million in 2019). Bowes and his wife left an endowment of £125,000 (£11.6 million in 2019) and a total of 800 paintings. Their collection of European fine and decorative arts amounted to 15,000 pieces.
A major redevelopment of the Bowes Museum began in 2005. To date, improvements have been made to visitor facilities (shop, cafe and toilets); galleries (new Fashion & Textile gallery, Silver gallery and English Interiors gallery); and study/learning facilities. The three art galleries, on the second floor of the museum, were updated at the same time.
The museum hosts an internationally significant programme of exhibitions, recently featuring works by Monet, Raphael, Turner, Sisley, Gallé, William Morris, and Toulouse-Lautrec.
The BBC announced in 2013 that a Portrait of Olivia Boteler Porter was a previously unknown Anthony van Dyck painting. It had been found in the Bowes Museum storeroom by art historian Dr. Bendor Grosvenor who had observed it on-line at the Your Paintings web site. The painting itself was covered in layers of varnish and dirt, and had not been renovated. It was originally thought to be a copy, and valued at between £3,000 to £5,000. Christopher Brown, director of the Ashmolean Museum, confirmed it was a van Dyck after it had been restored.
Barnard Castle (locally [ˈbɑːnəd ˈkæsəl], BAH-nəd KASS-əl) is a market town in Teesdale, County Durham, England. It is named after the castle around which it was built. It is the main settlement in the Teesdale area, and a popular tourist destination. The Bowes Museum has the best collection of European fine and decorative arts in the North of England, housed in a magnificent 19th-century French-style chateau. Its most famous exhibit is the 18th-century Silver Swan automaton, and its artworks include paintings by Goya and El Greco.
Barnard Castle sits on the north bank of the River Tees, opposite Startforth and 21 miles (34 km) south-west of the county town of Durham. Nearby towns include Bishop Auckland to the north-east, Darlington to the east and Richmond in North Yorkshire to the south-east.
Barnard Castle's largest single employer is GlaxoSmithKline, which has a manufacturing facility on the town outskirts.
Before the Norman conquest the upper half of Teesdale had been combined into an Anglo-Norse estate which was centred upon the ancient village of Gainford and mortgaged to the Earls of Northumberland. The first Norman Bishop of Durham, Bishop Walcher, was murdered in 1080. This led to the surrounding country being attacked and laid waste by the Norman overlords. Further rebellion in 1095 caused the king William II to break up the Earldom of Northumberland into smaller baronies. The Lordship of Gainford was given to Guy de Balliol.
The earthwork fortifications of the castle were rebuilt in stone by his successor, Bernard de Balliol I during the latter half of the 12th century, giving rise to the town's name. The castle passed down through the Balliol family (of which the Scottish king, John Balliol, was the most important member) and then into the possession of Richard Neville, Earl of Warwick. King Richard III inherited it through his wife, Anne Neville, but it fell into ruins in the century after his death.
The remains of the castle are a Grade I listed building, whilst the chapel in the outer ward is Grade II* listed. Both sets of remains are now in the care of English Heritage and open to the public.
John Bowes lived at nearby Streatlam Castle (now demolished). His Streatlam stud never had more than ten breeding mares at one time, but produced no fewer than four Derby winners in twenty years. The last of these, "West Australian", was the first racehorse to win the Triple Crown, in 1853.
Bowes and his wife Joséphine Benoîte Coffin-Chevallier founded the Bowes Museum, which is of national status. Housed in its own ornate building, the museum contains an El Greco, paintings by Goya, Canaletto, Boucher, Fragonard and a collection of decorative art. A great attraction is the 18th century silver swan automaton, which periodically preens itself, looks round and appears to catch and swallow a fish.
Although never a major manufacturing centre, in the 18th century industry centred on hand loom wool weaving, and in the early 19th century the principal industry was spinning and the manufacture of shoe thread." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Joy Manufacturing #2 is a 12-ton diesel-mechanical locomotive. It is seen here during IRM's 2007 Diesel Days.
A worksheet of multiple elements for a reducing CanStack of elements - a mashup of BoyWolf's face with my Dalíesque Series.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The TIE/LN starfighter, or TIE/line starfighter, simply known as the TIE Fighter or T/F, was the standard Imperial starfighter seen in massive numbers throughout most of the Galactic Civil War and onward.
The TIE Fighter was manufactured by Sienar Fleet Systems and led to several upgraded TIE models such as TIE/sa bomber, TIE/IN interceptor, TIE/D Defender, TIE/D automated starfighter, and many more.
The original TIEs were designed to attack in large numbers, overwhelming the enemy craft. The Imperials used so many that they came to be considered symbols of the Empire and its might. They were also very cheap to produce, reflecting the Imperial philosophy of quantity over quality.
However, a disadvantage of the fighter was its lack of deflector shields. In combat, pilots had to rely on the TIE/LN's maneuverability to avoid damage. The cockpit did incorporate crash webbing, a repulsorlift antigravity field, and a high-g shock seat to help protect the pilot, however these did next to nothing to help protect against enemy blaster fire.
Due to the lack of life-support systems, each TIE pilot had a fully sealed flight suit superior to their Rebel counterparts. The absence of a hyperdrive also rendered the light fighter totally dependent on carrier ships when deployed in enemy systems. TIE/LNs also lacked landing gear, another mass-reducing measure. While the ships were structurally capable of "sitting" on their wings, they were not designed to land or disembark their pilots without special support. On Imperial ships, TIEs were launched from racks in the hangar bays.
The high success rate of more advanced Rebel starfighters against standard Imperial TIE Fighters resulted in a mounting cost of replacing destroyed fighters and their pilots. That, combined with the realization that the inclusion of a hyperdrive would allow the fleet to be more flexible, caused the Imperial Navy to rethink its doctrine of using swarms of cheap craft instead of fewer high-quality ones, leading to the introduction of the TIE Advanced x1 and its successor, the TIE Avenger. The following TIE/D Defender as well as the heavy TIE Escort Fighter (or TIE/E) were touted as the next "logical advance" of the TIE Series—representing a shift in starfighter design from previous, expendable TIE models towards fast, well armed and protected designs, capable of hyperspace travel and long-term crew teams which gained experience and capabilities over time.
The TIE/E Escort, was a high-performance TIE Series starfighter developed for the Imperial Navy by Sienar Fleet Systems and it was introduced into service shortly before the Battle of Endor. It was a much heavier counterpart to the agile and TIE/D fighter, and more of an attack ship or even a light bomber than a true dogfighter. Its role were independent long range operations, and in order to reduce the work load and boost morale a crew of two was introduced (a pilot and a dedicated weapon systems officer/WSO). The primary duty profile included attack and escort task, but also reconnoiter missions. The TIE/E shared the general layout with the contemporary TIE/D fighter, but the cockpit section as well as the central power unit were much bigger, and the ship was considerably heavier.
The crew enjoyed – compared with previous TIE fighter designs – a spacious and now fully pressurized cockpit, so that no pressurized suits had to be worn anymore. The crew members sat in tandem under a large, clear canopy. The pilot in front had a very good field of view, while the WSO sat behind him, in a higher, staggered position with only a limited field of view. Both work stations had separate entries, though, and places could not be switched in flight: the pilot mounted the cockpit through a hatch on port side, while the WSO entered the rear compartment through a roof hatch.
In a departure from the design of previous TIE models, instead of two parallel wings to either side of the pilot module, the TIE Escort had three quadanium steel solar array wings mounted symmetrically around an aft section, which contained an I-s4d solar ionization reactor to store and convert solar energy collected from the wing panels. The inclusion of a third wing provided additional solar power to increase the ship's range and the ship's energy management system was designed to allow weapons and shields to be charged with minimum loss of power to the propulsion system.
Although it was based on the standard twin ion engine design, the TIE/E’s propulsion system was upgraded to the entirely new, powerful P-sz9.8 triple ion engine. This allowed the TIE/E a maximum acceleration of 4,220 G or 21 MGLT/s and a top speed of 144 MGLT, or 1,680 km/h in an atmosphere — almost 40 percent faster than a former standard TIE Fighter. With tractor beam recharge power (see below) redirected to the engines, the top speed could be increased to 180 MGLT in a dash.
In addition to the main thrusters located in the aft section, the TIE Escort's triple wing design allowed for three arrays of maneuvering jets and it featured an advanced F-s5x flight avionics system to process the pilot's instructions. Production models received a class 2, ND9 hyperdrive motivator, modified from the version developed for the TIE Avenger. The TIE/E also carried a Sienar N-s6 Navcon navigation computer with a ten-jump memory.
Special equipment included a small tractor beam projector, originally developed for the TIE Avenger, which could be easily fitted to the voluminous TIE Escort. Models produced by Ysanne Isard's production facility regularly carried such tractor beams and the technology found other uses, such as towing other damaged starfighters until they could achieve the required velocity to enter hyperspace. The tractor beam had limited range and could only be used for a short time before stopping to recharge, but it added new tactics, too. For instance, the beam allowed the TIE/E crews to temporarily inhibit the mobility of enemy fighters, making it easier to target them with the ship's other weapon systems, or prevent enemies from clear shots.
The TIE Escort’s weapons systems were primarily designed to engage bigger ships and armored or shielded targets, like armed freighters frequently used by the Alliance. Thanks to its complex weapon and sensor suite, it could also engage multiple enemy fighters at once. The sensors also allowed an effective attack of ground targets, so that atmospheric bombing was a potential mission for the TIE/E, too.
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The TIE Escort Fighter carried a formidable array of weaponry in two modular weapon bays that were mounted alongside the lower cabin. In standard configuration, the TIE/E had two L-s9.3 laser cannons and two NK-3 ion cannons. The laser and ion cannons could be set to fire separately or, if concentrated power was required, to fire-linked in either pairs or as a quartet.
The ship also featured two M-g-2 general-purpose warhead launchers, each of which could be equipped with a standard load of three proton torpedoes or four concussion missiles. Depending on the mission profile, the ship could be fitted with alternative warheads such as proton rockets, proton bombs, or magnetic pulse warheads.
Additionally, external stores could be carried under the fuselage, which included a conformal sensor pallet for reconnaissance missions or a cargo bay with a capacity for 500 kg (1.100 lb).
The ship's defenses were provided by a pair of forward and rear projecting Novaldex deflector shield generators—another advantage over former standard TIE models. The shields were designed to recharge more rapidly than in previous Imperial fighters and were nearly as powerful as those found on capital ships, so that the TIE/E could engage other ships head-on with a very high survivability. The fighters were not equipped with particle shields, though, relying on the reinforced titanium hull to absorb impacts from matter. Its hull and wings were among the strongest of any TIE series Starfighter yet.
The advanced starfighter attracted the attention of several other factions, and the Empire struggled to prevent the spread of the technology. The ship's high cost, together with political factors, kept it from achieving widespread use in the Empire, though, and units were assigned only to the most elite crews.
The TIE/E played a central role in the Empire's campaign against rogue Grand Admiral Demetrius Zaarin, and mixed Defender and Escort units participated in several other battles, including the Battle of Endor. The TIE Escort continued to see limited use by the Imperial Remnant up to at least 44 ABY, and was involved in numerous conflicts, including the Yuuzhan Vong War..
The kit and its assembly:
Another group build contribution, this time to the Science Fiction GB at whatifmodelers.com during summer 2017. Originally, this one started as an attempt to build a vintage MPC TIE Interceptor kit which I had bought and half-heartedly started to build probably 20 years ago. But I did not have the right mojo (probably, The Force was not strong enough…?), so the kit ended up in a dark corner and some parts were donated to other projects.
The sun collectors were still intact, though, and in the meantime I had the idea of reviving the kit’s remains, and convert it into (what I thought was) a fictional TIE Fighter variant with three solar panels. For this plan I got myself another TIE Interceptor kit, and stashed it away, too. Mojo was still missing, though.
Well, then came the SF GB and I took it as an occasion to finally tackle the build. But when I prepared for the build I found out that my intended design (over the years) more or less actually existed in the Star Wars universe: the TIE/D Defender! I could have built it with the parts and hand and some improvisation, but the design similarity bugged me. Well, instead of a poor copy of something that was more or less clearly defined, I rather decided to create something more individual, yet plausible, from the parts at hand.
The model was to stay a TIE design, though, in order to use as much donor material from the MPC kits as possible. Doing some legwork, I settled for a heavy fighter – bigger than the TIE Interceptor and the TIE/D fighter, a two-seater.
Working out the basic concept and layout took some time and evolved gradually. The creative spark for the TIE/E eventually came through a Revell “Obi Wan’s Jedi Starfighter” snap fit kit in my pile – actually a prize from a former GB participation at phoxim.de (Thanks a lot, Wolfgang!), and rather a toy than a true model kit.
The Jedi Fighter was in so far handy as it carries some TIE Fighter design traits, like the pilot capsule and the characteristic spider web windscreen. Anyway, it’s 1:32, much bigger than the TIE Interceptor’s roundabout 1:50 scale – but knowing that I’d never build the Jedi Starfighter OOB I used it as a donor bank, and from this starting point things started to evolve gradually.
Work started with the cockpit section, taken from the Jedi Starfighter kit. The two TIE Interceptor cockpit tubs were then mounted inside, staggered, and the gaps to the walls filled with putty. A pretty messy task, and once the shapes had been carved out some triangular tiles were added to the surfaces – a detail I found depicted in SW screenshots and some TIE Fighter models.
Another issue became the crew – even though I had two MPC TIE Interceptors and, theorectically, two pilot figures, only one of them could be found and the second crewman had to be improvised. I normally do not build 1:48 scale things, but I was lucky (and happy) to find an SF driver figure, left over from a small Dougram hoovercraft kit (from Takara, as a Revell “Robotech” reboxing). This driver is a tad bigger than the 1:50 TIE pilot, but I went with it because I did not want to invest money and time in alternatives. In order to justify the size difference I decided to paint the Dougram driver as a Chiss, based on the expanded SW universe (with blue skin and hair, and glowing red eyes). Not certain if this makes sense during the Battle of Endor timeframe, but it adds some color to the project – and the cockpit would not be visible in much detail since it would be finished fully closed.
Reason behind the closed canopy is basically the poor fit of the clear part. OOB, this is intended as an action toy – but also the canopy’s considerable size in 1:50 would prevent its original opening mechanism.
Additional braces on the rel. large window panels were created with self-adhesive tape and later painted over.
The rear fuselage section and the solar panel pylons were scratched. The reactor behind the cockpit section is actually a plastic adapter for water hoses, found in a local DIY market. It was slightly modified, attached to the cockpit “egg” and both parts blended with putty. The tail opening was closed with a hatch from the OOB TIE Interceptor – an incidental but perfect match in size and style.
The three pylons are also lucky finds: actually, these are SF wargaming/tabletop props and would normally be low walls or barriers, made from resin. For my build, they were more or less halved and trimmed. Tilted by 90°, they are attached to the hull with iron wire stabilizers, and later blended to the hull with putty, too.
Once the cockpit was done, things moved more swiftly. The surface of the hull was decorated with many small bits and pieces, including thin styrene sheet and profiles, steel and iron wire in various strengths, and there are even 1:72 tank tracks hidden somewhere, as well as protective caps from syringes (main guns and under the rear fuselage). It’s amazing how much stuff you can add to such a model – but IMHO it’s vital in order to create some structure and to emulate the (early) Star Wars look.
Painting and markings:
The less spectacular part of the project, even though still a lot of work because of the sheer size of the model’s surface. Since the whole thing is fictional, I tried to stay true to the Imperial designs from Episode IV-VI and gave the TIE/E a simple, all-light grey livery. All basic painting was done with rattle cans.
Work started with a basic coat of grey primer. On top of that, an initial coat of RAL 7036 Platingrau was added, esp. to the lower surfaces and recesses, for a rough shading effect. Then, the actual overall tone, RAL 7047, called “Telegrau 4”, one of Deutsche Telekom’s corporate tones, was added - mostly sprayed from abone and the sides onto the model. Fuselage and panels were painted separately, overall assembly was one of the final steps.
The solar panels were to stand out from the grey rest of the model, and I painted them with Revell Acrylic “Iron Metallic” (91) first, and later applied a rather rich wash with black ink , making sure the color settled well into the many small cells. The effect is pretty good, and the contrast was slightly enhanced through a dry-brushing treatment.
Only a few legible stencils were added all around the hull (most from the scrap box or from mecha sheets), the Galactic Empire Seal were inkjet-printed at home, as well as some tactical markings on the flanks, puzzled together from single digits in "Aurebash", one of the Imperial SW languages/fonts.
For some variety and color highlights, dozens of small, round and colorful markings were die-punched from silver, yellow, orange, red and blue decal sheet and were placed all over the hull - together with the large panels they blur into the the overall appearance, though. The hatches received thin red linings, also made from generic decals strips.
The cockpit interior was a bit challenging, though. Good TIE Fighter cockpit interior pictures are hard to find, but they suggest a dark grey tone. More confusingly, the MPC instructions call for a “Dark Green” cockpit? Well, I did not like the all-grey option, since the spaceship is already monochrome grey on the outside.
As a compromise I eventually used Tamiya XF-65 "Field Grey". The interior recieved a black ink in and dry-brushing treatment, and some instruments ansd screens were created with black decal material and glossy black paint; some neon paint was used for sci-fi-esque conmtraol lamps everywhere - I did not pay too much intention on the interior, since the cockpit would stay closed, and the thick clear material blurs everything inside.
Following this rationale, the crew was also painted in arather minimal fashion - both wear a dark grey uniform, only the Chiss pilot stands aout with his light blue skin and the flourescent red eyes.
After an overall black ink wash the model received a dry brusing treatment with FS 36492 and FS 36495, for a weathered and battle-worn look. After all, the "Vehement" would not survive the Ballte of Endor, but who knows what became of TIE/E "801"'s mixed crew...?
Finally, the kit was sealed with matt acrylic varnish, and some final cosmetic corrections made.
The display is a DIY creation, too, made from a 6x6" piece of wood, it's edges covered with edgebonder, a steel wire as holder, and finally the display was paited with semi-matt black acrylic paint from the rattle can.
A complex build, and the TIE/E more or less evolved along the way, with only the overall layout in mind. Work took a month, but I think it was worth the effort. This fantasy creation looks pretty plausible and blends well into the vast canonical TIE Fighter family - and I am happy that I finally could finish this mummy project, including the surplus Jedi Starfighter kit which now also find a very good use!
An epic one, and far outside my standard comfort zone. But a wothwhile build!
austin, texas
1977
motorola semiconductor plant
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
dystopian sheet metal future! people were trying to kill the big block by crashing their car bumpers into it...but...the metal forest consumes you. choose the big opening! just some thoughts while walking around Möbel Roller.
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego Speed Champions (1:37)-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).
Serial #JA252730
Dimensions:
Bed...……………...…....7" x 14 3/4"
Height...………………..7 3/8"
Balance Wheel...….6 1/8"
O.A.I...…………………..16 3/8"
Configurations:
Treadle
Cabinet Electric
Although identical both in size and shape to the Singer Model 15, the Singer Model 115 was a rotary sewing machine based upon machines from the Wheeler & Wilson company which Singer required in 1905. The Model 115 was also Singer's first family use rotary sewing machine developed by itself.
It is likely that Singer Model 115 was the replacement of the Model 9W, which was basically a W&W No. 9 with a large bedplate that Singer manufactured from about 1905 - 1913.
Unlike the Model 15 which is among the most commonly found of Singer machines, the Model 115 is not frequently encountered.
This beautiful example of the Singer Model 115 Rotary was originally made as a treadle driven machine. It has the decal set variously known as the "Tiffany" or "Gingerbread" pattern.
The 115 has a full rotary hook mechanism. The faceplate shows very strong similarity to the Singer Model 15 which was made in much greater numbers, and the 115 is often confused with it.
PDF Singer Sewing Machine Model 115 Online Manual:
ismacs.net/singer_sewing_machine_company/manuals/singer-m...
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Thank-you for your visit, and any faves or comments are always sincerely appreciated.
Sonja
Issued by Tom Dirnberger and manufactured by Great Lighting Models-GLM in 2020. It is 1:43 scale and crafted in resin.
A Limited Edition, 1 of 60.
The model is finished in Moonstone Blue.
There are still a couple of these available. My photos don't quite capture the beauty of this color, but are far better than the others I've seen. I passed on this model because it looked drab in blue, it isn't. Instead, it is a very vibrant color, and really pops.
The Tupolev Tu-22 was the first supersonic bomber to enter production in the Soviet Union and the world's first aircraft of its class. Manufactured by Tupolev, the Tu-22 entered service with the Soviet military in the 1960s. The last examples were retired during the early 2000s.
Source: Wikipedia
Daisy was manufactured at Douglas Aircraft Company's plant in Long Beach in South Los Angeles, California 1943, with serial number (c/n) 13883, as a C-47 A-60-DL Skytrain, a military version of the DC-3 with large cargo door, strengthened floor and larger fuel tanks. She was delivered to the US Army Air Forces on 5 October 1943 as USAAF s/n 43-30732. On tail fin the number 330732 was painted.
Daisy was shipped directly to US Army Air Forces in October 1943 and was based in Oran in Algeria, where she transported troops, cargo and supplies. In 1944 she moved to England in preparation for the Allied invasion of occupied Europe. Daisy took part in the parachuting drop on D-Day on June 6, 1944, dropping members of “Easy Company”, the Role Models for the TV-serie “Band of Brothers”. Daisy is probably one of very few DC 3’s that was used for parachute jumping during WW2 and is still licensed to do this.
On 23 september 1945 she returned to the United States and was transferred to the Reconstruction Finance Corporation (RFC), an organization within the U.S. Government Administration that sold out military war surplus materials. In 1946 she was converted from a military C-47 to a civilian DC-3 of Canada Air Ltd. The conversion included the large cargo doors were replaced with an ordinary passenger door, the cabin soundproofed and she got more comfortable chairs.
After the conversion Daisy was sold to the Norwegian Aviation AS. In Norway, and given civilian registration number LN-IAF and the name Nordfugl. In 1948 Scandinavian Airline System, SAS, was formed by Denmark, Norway and Sweden. Nordfugl was now painted in SAS’ classic colours and given the name Fridtjof Viking, which she still carries. Daisy thus became one of SAS' first airplanes.
Daisy was sold to ABA 1957 for use in the Swedish domestic airline, Linjeflyg, with the Swedishregistration SE-CFP.
In 1960 Daisy was sold to the Swedish Air Force. She was operated by the Swedish Air Force from 1960 to 1982 under the designation TP79. Daisy's military number became 79006. Having first regained military cargo doors again at the Swedish Aviation workshops at Bulltofta, she was first based at F7 Såtenäs, and then at F Malmslätt. During her time in the Swedish Air Force, she was hired out to the Red Cross for humanitarian operations in Ethiopia. During the three months she transported 325 tonnes of supplies and 826 passengers.
Daisy was sold by the Air Force 1982 and 1983 to her present owner, Flying Veterans Foundation. Daisy is operated by Flying Veterans Association. The Foundation's founder, together with voluntary forces conducted a comprehensive technical review and restoration to civilian condition of the aircraft. On 26 June 1984, she regained the same civil registration she had during her time with Linjeflyg, SE-CFP. And since 1984 Daisy is operated as a vintage airplane.
Manufactured from 1964 to 1965 by Bilora in Germany for Zeiss Ikon A.G. An inexpensive square-looking 126 Cartridge point and shoot camera, model number 10.0553. It has a Frontar zone focus lens and no exposure control except for setting for “daylight” (1/60 sec) or “flash” (1/30 sec). It is identical to the Ikomatic F except that the CF uses a flash cube instead of a bulb flash.
Bethlehem Steel Corporation (1857–2003), based in Bethlehem, Pennsylvania, was once the second-largest steel producer in the United States, after Pittsburgh, Pennsylvania-based U.S. Steel. After a decline in the U.S. steel industry and management problems leading to the company's 2001 bankruptcy, the company was dissolved and the remaining assets sold to International Steel Group in 2003. In 2005, ISG merged with Mittal Steel, ending U.S. ownership of the assets of Bethlehem Steel.
Bethlehem Steel was also one of the largest shipbuilding companies in the world and one of the most powerful symbols of American industrial manufacturing leadership. Bethlehem Steel's demise is often cited as one of the most prominent examples of the U.S. economy's shift away from industrial manufacturing, its inability to compete with cheap foreign labor, and its traits of business management that value short-term benefit over long-term strategy.
Transformers 2 was filmed here!
Brand: Matchbox
Series: 2021 Matchbox
Livery: Black graphics, Yellow stripe on sides, White MATCHBOX logo
Scale: 1/64
Base: Grey plastic - ©2020 Mattel
Collector/casting number: 17/100 - MB1243
Country of manufacture: Thailand
Place/date of purchase: Wal-Mart 2020
Condition: Minty fresh 10/10
Remarks/comments:
De Immigrant is an authentic Dutch windmill built in the Netherlands specifically for the city of Fulton. It sets on a berm along the flood control dike for the Mississippi River. Fulton's Dutch windmill is a "beltmolen." In Dutch, "belt" means mound of dirt and "molen" means mill. De Immigrant, like most beltmolens, has an entrance at ground level. Fulton's Wellcome center is housed there.
This windmill was designed, manufactured, and partially assembled in the Netherlands then disassambled, and transported to Fulton via ship, rail, and truck. Two craftsmen from the Netherlands journeyed to Fulton to reassemble the mill, the job lasted nearly 10 months. The bricks were salvaged from a building in the Netherlands that was 120 years old. The brick at the base of the mill are from a Dutch building that was 150 years old.
The 35 foot tall base is constructed of solid wooden beams made from bilinga wood, a heavy, dence,durabls wood from Africa. Eight bilinga beams, each weighing one ton, provide the octagon shaped framework for the mill The framework is secured with wooden pegs. The base unit alone weighs fifty tons.
The 25 ton cap sits on top of the octagon base; it contains the sails, the shaft for the sails, the brake wheel and the brake. The break wheel is located in the cap and has many large wooden cogs (teeth). As the wind moves the sails, the brake wheel rotates causing the the other interior shafts and gears to move. Sheep fat is used to lubricate the wooden beams on which the cap turns while beeswax is used to lubricate the brake wheel cogs.
The 90 foot tall windmill is a fully operational mill. The entire cap can turn and the sails operate by wind power. Though fund raising efforts, grinding stones were added and officially dedicated on May5, 2001.
The grinding stones are 55 inches in diameter. The bed and runner stones weight 2000 pounds and 2650 pounds respectively. They are made of blue basalt, a hard. volcanic rock, quarried in Germany.
For more info chamber@cityoffulton.us or
Leitersdorfer House, later known as Rózsavölgyi House.
Late Art Nouveau/Secession siyle, premodern building.
Ceramics: Zsolnay Manufacture
My Zsolnay set: www.flickr.com/photos/37578663@N02/sets/72157636928215363/
Art Nouveau/Secession style, pre-modern building.
My Lajta set: www.flickr.com/photos/37578663@N02/sets/72157645708831478
About Lajta Béla: lajtaarchiv.hu/az-archivumrol/?lang=en
About the building: lajtaarchiv.hu/muvek/1911-1912-lajta-henrik-es-rezso-uzle...
About Rózsavölgyi & Co. (founded in 1850): "Everything about music – Rózsavölgyi."
"The Rózsavölgyi & Co. Firm, which has a special role in the Hungarian music scene, was founded by Gyula Rózsavölgyi and his financial partner, Norbert Grinzweil, more than 150 years ago. Rózsavölgyi Márk, the father of Gyula Rózsavölgyi, was a world class representative of the most authentic Hungarian music genre called "verbunk" (verbunks are Hungarian recruitment songs). Gyula Rózsavölgyi intended to follow his father's footsteps by trying to be a music composer, but his lack of talent as a composer made him become a music copyist, which was considered to be a well-respected profession at the time. Shortly after the foundation, the music shop became the very centre of the Hungarian music scene. It wasn't only a music shop anymore, but also a book and music publisher, an organiser of concerts, a manager of music bands. It was originally a meeting place of regular guests like Ferenc Liszt, Richard Wagner and many other well-known Hungarian and foreign composers and musicians. After a while the shop was widely referred to as „Rózsavölgyi Casino". Works of more than a thousand composers - including Ferenc Erkel, Ferenc Liszt, Károly Aggházy, Béla Bartók, Zoltán Kodály, Ernő Dohnányi, Leó Weiner -, were introduced, and the most significant pieces of light music were published here. In 1908, the publishing of Bartók's and Kodály's works began here. The Rózsavölgyi family organised Ferenc Liszt's, Claude Debussy's and Maurice Ravel's concerts in Budapest. As a significant music publisher of the first decades of the 20th century, the music shop shared several essential sheet music and some other works of great importance such as the collection of short piano pieces called "For Children", composed by Béla Bartók.
The Rózsavölgyi & Co. Firm's new music shop re-opened as a cultural centre at 5 Szervita Square in 1912 in a building which was designed by Béla Lajta. It was well-established and furnished according to the style of the age. A new era began, and the name "Rózsavölgyi" has become legendary ever since. The motto was born: "Everything about music – Rózsavölgyi."
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Leitersdorfer-ház, később Rózsavölgyi-ház: Lajta Henrik és Rezső Üzletbérháza, 1911–1912
Szecessziós, premodern épület
Lajta Béláról: lajtaarchiv.hu/az-archivumrol/
vandoriskola.hu/sites/all/files/vandor-termuves-hu/tartal...
Az épületről: lajtaarchiv.hu/muvek/1911-1912-lajta-henrik-es-rezso-uzle...
Rózsavölgyi és Társa: kiadok.lira.hu/kiado/rozsavolgyi/index.php?action=kiadorol