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Maximizing last few days of gym time Thank you @eacarlosmalvar for getting me these shoes 😍 I shall use them well 💪 by Flair Candy

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McLaren Senna GTR by Brad Harding

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The McLaren Senna image is from the internet. I altered the windows and created the reflection as well as enhanced the car color for this artwork.

The McLaren Senna is the personification of McLaren’s DNA at its most extreme, creating the purest connection between car and driver. It is the most track-focused road car we have ever built, and it will set the fastest lap times of any McLaren to date. That is what has driven us to build a track car that is unashamedly without compromise. One that is legalized for road use, but not sanitized to suit it. Nothing else matters but to deliver the most intense driving experience around a circuit.

Inspired by one of McLaren’s greatest racing drivers, the McLaren Senna is utterly dedicated to allowing the driver to be the best they can possibly be.

The McLaren Senna has a single-minded purpose. In the pursuit of the most rewarding and intuitive driving experience, pioneering active aerodynamics generate unprecedented levels of downforce. It is also the lightest vehicle we have built since the iconic F1, with our most powerful road car engine to date. This combination creates a staggering power-to-weight ratio of 668PS-per-tonne (659bhp). It is the most direct and responsive McLaren ever built, surpassing even the McLaren P1™ GTR, to create the purest connection with the driver. The McLaren Senna is a new track benchmark for McLaren.

We think of the McLaren Senna as a race car – we have designed and built it to perform on the track first and foremost. The active aerodynamics are pioneering, and the unprecedented visibility achieved through the unique glazed doors gives the driver total confidence. Exhaustive, fearless engineering has led us to revaluate and reassess every component, no matter how small or insignificant, to maximize performance. We have used carbon fibre for the monocoque, the body and everywhere we need lightness, rigidity and strength – it is the reason the McLaren Senna is the lightest road vehicle McLaren Automotive has ever built.

800PS and 800Nm from a 4.0-litre twin-turbocharged V8, the most powerful internal combustion engine McLaren has ever built. 800kg of downforce made possible by pioneering active aerodynamics. The lightest McLaren since the iconic F1 with dry weight of under 1200kg. A power-to-weight ratio of 668PS-per-tonne (659bhp) that ensures it will set the fastest lap times of any McLaren road car to date. 0-124mph (0-200km/h) in 6.8 seconds and a top speed of 211mph (340km/h). Next-generation carbon ceramic brakes that utilize racing technology. Discover the savage performance of the McLaren Senna.

When Ayrton Senna arrived at McLaren in 1988 he was an outstanding young driver, but he wasn’t yet the complete champion he would become during his time with the team. At 28 years old he was starting his fifth season in Formula 1 with six wins under his belt; at McLaren he would convert all that promise into three World Drivers’ Championships.

Source: cars.mclaren.com/ultimate-series/mclaren-senna

NLDC 2018: Jan Lehman - Maximize Your Talent and Theirs by Mike Rohde

Sketchnote captured live at the NLDC conference in Hinckley, MN, June 2018.

DSC_0168 by Governor Earl Ray Tomblin

Gov. Earl Ray Tomblin will join officials on Wednesday, August 24, 2016, in Huntington, from the Appalachian Regional Commission (ARC) and the U.S. Economic Development Administration, along with local partners, for an announcement regarding ARC POWER Grant awards.

Below is a list of the West Virginia projects receiving funds:

Coalfield Development Corporation

$1,870,000

Natural Capital Investment Fund

$1,250,000

New River Gorge Regional Development Authority

$967,500

Mercer County Regional Airport

$1,500,000

Hatfield-McCoy Trail

$1,372,275

EntreEd K-14

$2,196,450

Randolph County Development Authority

$622,500

EdVenture Coding

$10,000

Hobet site planning

$200,000

TOTAL

$9,988,725

West Virginia Grants POWER Grant Descriptions:

$1,870,000 ARC grant to the Coalfield Development Corporation in Wayne, WV for the Appalachian Social Entrepreneurship Investment Strategy. ARC funds will be used to incubate job-creating social enterprises; scale-up Coalfield Development Corporation’s innovate 33-6-3 work-training/education/life skills workforce development model; and expand Coalfield Development Corporation’s service territory to other coal-impacted areas in Southern West Virginia. The award will create 85 new jobs and equip 60 trainees to pursue good-paying jobs in high-demand industries in the Appalachian Region, and will be supported by funding from the Claude Worthington Benedum Foundation.

$1,250,000 ARC grant to the Natural Capital Investment Fund, Inc. in Shepherdstown, WV for the Growing Triple Bottom Line Small Businesses in Coal Impacted Communities in Central Appalachia project. The ARC award will expand coal-impacted communities’ access to capital in Southern West Virginia by capitalizing a $4,000,000 tourism-related revolving loan fund, and develop a West Virginia New Markets Tax Credit Fund. The project will create 200 new jobs and 20 new businesses, bring $5,000,000 of leveraged private investment into the region, and will be supported by funding from the Claude Worthington Benedum Foundation.

$967,500 ARC grant to the New River Gorge Regional Development Authority in Beckley, WV for the New River Gorge Region - Developing an Entrepreneurial Economy project. ARC funds will be used to establish a sustainable technical assistance grant and revolving loan fund—which will assist start-up businesses with hands-on technical aspects of their operations—and to hire social enterprise and region-wide business coaches. The project will yield 15 new businesses, improve 294 existing businesses, create 225 new small business jobs, and utilize the capacity of a VISTA volunteer.

$1,500,000 ARC grant to the Bluewell Public Service District in Bluefield, WV for the Mercer County Regional Airport Development and Diversification Initiative. EDA is also awarding $1,000,000 as part of this project. ARC funds will be used to extend public water service along Route 52 and Airport Road to the Mercer County Regional Airport. In addition to providing essential infrastructure to the regional airport, the project will create 38 new jobs, and will capitalize on an existing regional asset by providing funding for a strategic plan that will position the airport and its adjoining 200 acres of flat, developable land as an economic driver for four counties in Southern West Virginia and Southwestern Virginia.

$1,372,275 ARC grant to the Hatfield McCoy Regional Recreation Authority in Man, WV for the Southern Coalfields Sustainable Tourism & Entrepreneurship Program. ARC funds will develop and implement a comprehensive program to expand tourism-related employment and businesses in southern West Virginia, and will foster Trail expansion in Kentucky and Virginia. In addition, the award provides for the deployment of a coordinated marketing effort, which will increase the region-wide economic impact of the Trails by $13,000,000 per year. The project will create 225 jobs and 50 new businesses along the Trails, and will be supported by funding from the Claude Worthington Benedum Foundation.

$2,196,450 ARC grant to the Consortium for Entrepreneurship Education in Charleston, WV for the EntreEd K-14: Every Student, Every Year project. The EntreEd program enables K-12 teachers to integrate entrepreneurial content and context into delivery of required standards in any subject or grade level. The project will educate the next generation of Appalachia’s workforce to create their own businesses to drive the local economy. ARC funds will expand the footprint of the proven EntreEd program into five additional counties in West Virginia, eleven counties in Kentucky, three counties in Ohio, one county in Tennessee, and two counties in Virginia. The program will be supported by expertise from the National Association for Community College Entrepreneurship (NACCE), project management from the EdVenture Group, and funding from the Claude Worthington Benedum Foundation. The EntreEd program will serve 15,000 K-12 Appalachian students in 50 individual schools and 7 community colleges over the life of the award.

$622,500 ARC grant to the Randolph County Development Authority in Elkins, WV for the Hardwood Cluster Manufacturing Expansion Project. EDA is also awarding $1,200,000 as part of this project. ARC funds will be utilized to expand a major cabinet manufacturer’s operation by 27,000 square feet—creating 45 new jobs and adding $2,500,000 in annual wages to the regional economy. In addition, the award will strengthen the Hardwood Alliance Zone – a nine-county region in Central West Virginia containing a cluster of hardwood businesses.

$10,000 ARC grant to the EdVenture Group to provide grant-writing assistance to apply for a POWER Implementation grant to train displaced workers in computer coding and other IT skills.

$200,000 ARC grant to provide funding for development of a strategic plan for the Hobet Surface Mine site in Boone and Lincoln Counties. The strategic plan will assist in maximizing the fullest use of the site for economic development.

Breakdown of States Receiving Funding:

Percentage distribution of grant funds

West Virginia- $9,988,725- 39.6%

Kentucky- $8,736,384- 34.6%

Virginia- $2,917,375- 11.6%

Ohio- $2,022,758- 8.0%

Alabama- $1,057,352- 4.2%

Pennsylvania- $500,000 - 2.0%

TOTAL- $25,222,594- 100.0%

ARC Implementation Award Summaries, 8-22-16

•$2,750,000 ARC grant to the Eastern Kentucky Concentrated Employment Program (EKCEP) in Hazard, KY for the TechHire Eastern Kentucky (TEKY) Initiative: Developing a Technology-Driven Workforce project. The project will serve young adults aged 17-29 who are out of school, and older adults who are unemployed, laid-off, or underemployed by offering several avenues to industry-led accelerated technology training, paid work-based internships, and employment opportunities in IT careers. This comprehensive workforce development program will train 200 new workers, create 160 jobs, and serve to bolster existing and emerging sectors that rely on a skilled information technology workforce in 23 Eastern Kentucky counties. The program will provide the trained workers necessary for a private technology company to expand its operations into Eastern Kentucky.

•$2,500,000 ARC grant to the University of Pikeville in Pikeville, KY for the Kentucky College of Optometry (KYCO). EDA is also awarding $4,974,100 as part of this project. ARC funds will be used to purchase equipment, instructional supplies, and other materials to help launch a new College of Optometry. The college will both grow the healthcare workforce and improve access to vision care in Central Appalachia. KYCO will be only the second optometry college in the Appalachian Region, and will primarily serve Eastern Kentucky, Southern West Virginia, and Southwestern Virginia. Within the first three years of the award, KYCO will graduate 60 optometrists, provide care to 12,000 patients, and bring $26,000,000 in direct economic impact to the regional economy.

•$2,196,450 ARC grant to the Consortium for Entrepreneurship Education in Charleston, WV for the EntreEd K-14: Every Student, Every Year project. The EntreEd program enables K-12 teachers to integrate entrepreneurial content and context into delivery of required standards in any subject or grade level. The project will educate the next generation of Appalachia’s workforce to create their own businesses to drive the local economy. ARC funds will expand the footprint of the proven EntreEd program into five additional counties in West Virginia, eleven counties in Kentucky, three counties in Ohio, one county in Tennessee, and two counties in Virginia. The program will be supported by expertise from the National Association for Community College Entrepreneurship (NACCE), project management from the EdVenture Group, and funding from the Claude Worthington Benedum Foundation. The EntreEd program will serve 15,000 K-12 Appalachian students in 50 individual schools and 7 community colleges over the life of the award.

•$2,022,133 ARC grant to the Mountain Association for Community Economic Development (MACED) in Berea, KY for the Economic Transition for Eastern Kentucky (ETEK) Initiative. The ARC award will expand fast-track retraining and entrepreneurial technical assistance services targeted to dislocated coal workers; establish an intern program aimed at placing former coal workers in the energy efficiency sector; and increase access to capital through a $1,000,000 venture capital loan fund. The project will create 200 new jobs and 100 new enterprises, serve 500 existing businesses, and bring $12,000,000 in leveraged financing to a 54-county region in Eastern Kentucky.

•$2,000,000 ARC grant to Ohio University in Athens, OH for the Leveraging Innovation Gateways and Hubs Toward Sustainability (LIGHTS) project. The ARC award will strengthen Southern Ohio’s entrepreneurial ecosystem by leveraging the capacity of four strategically located “Innovation Hubs” -- which provide facilities, equipment and design/engineering expertise to entrepreneurs – and five regional “Gateway Centers” that link local entrepreneurs to a broad array of support services throughout the ecosystem. The project will build on the successful TechGROWTH Ohio model, create 360 new jobs, 50 new small businesses, and bring $5,000,000 in leveraged private investment to the area.

•$1,870,000 ARC grant to the Coalfield Development Corporation in Wayne, WV for the Appalachian Social Entrepreneurship Investment Strategy. ARC funds will be used to incubate job-creating social enterprises; scale-up Coalfield Development Corporation’s innovate 33-6-3 on-the-job training/education/life skills workforce development model; and expand Coalfield Development Corporation’s service territory to other coal-impacted areas in Southern West Virginia. The award will create 85 new jobs and equip 60 trainees to pursue quality jobs in high-demand industries in the Appalachian Region, and will be supported by funding from the Claude Worthington Benedum Foundation.

•$1,500,000 ARC grant to Appalachian Sustainable Development in Abington, VA for the Central Appalachian Food Enterprise Corridor. This 5-state, 43-county project will develop a coordinated local foods distribution network throughout Central Appalachia, and will connect established and emerging producers in Ohio, West Virginia, Tennessee, Southwest Virginia, and Eastern Kentucky to wholesale distribution markets. The ARC award will support planning, partner convening, and capacity building, as well as production and processing equipment, supplies, and labor costs, and will be supported by funding from the Just Transition Fund. The strengthened food corridor will act as regional economic driver -- creating 120 jobs, retaining 250 jobs, and ultimately creating 95 new businesses.

•$1,500,000 ARC grant to the Bluewell Public Service District in Bluefield, WV for the Mercer County Regional Airport Development and Diversification Initiative. EDA is also awarding $1,000,000 as part of this project. ARC funds will be used to extend public water service along Route 52 and Airport Road to the Mercer County Regional Airport. In addition to providing essential infrastructure to the regional airport, the project will create 38 new jobs, and will capitalize on an existing regional asset by providing funding for a strategic plan that will position the airport and its adjoining 200 acres of flat, developable land as an economic driver for four counties in Southern West Virginia and Southwestern Virginia.

•$1,464,251 ARC grant to the University of Kentucky Research Foundation in Lexington, KY for the Downtown Revitalization in the Promise Zone project. The ARC award -- partnering with the Community and Economic Development Initiative of Kentucky, the Foundation for Appalachian Kentucky, the Kentucky Promise Zone, Shaping Our Appalachian Region (SOAR), and the Kentucky Mainstreet Program – will help revitalize the downtowns of 8 distressed towns in the Southeastern Kentucky Promise Zone. The project will provide each community with tailored economic studies that identify economic opportunities, support strategic planning sessions to capitalize on those opportunities, provide financial support for key steps to implement those strategies, and build local leadership and business capacity. The project will create 24 new downtown businesses, 72 new jobs, and leverage $800,000 in private investment.

•$1,417,375 ARC grant to Southwest Virginia Community College (SWCC) in Cedar Bluff, VA for the Retraining Energy Displaced Individuals (REDI) Center for Dislocated Coal Miners program. The REDI program will provide fast-track reemployment services directly to displaced coal miners -- equipping them with the necessary skills to get back to work in a high-demand field, earning comparable wages to their previous employment. Through an intensive, accelerated program of coursework, workers can obtain credentialed skills in as little as four months, rather than the more traditional training periods of a year or more. Training will be focused on three sectors with local employment opportunities: advanced manufacturing, construction, and health technology. The program will certify 165 new trainees over the life of the award, and will be supported by funding from the Thompson Charitable Fund and the Virginia Tobacco Commission.

•$1,372,275 ARC grant to the Hatfield McCoy Regional Recreation Authority in Man, WV for the Southern Coalfields Sustainable Tourism & Entrepreneurship Program. ARC funds will develop and implement a comprehensive program to expand tourism-related employment and businesses in southern West Virginia, and will foster Hatfield McCoy Trail expansion in Kentucky and Virginia. In addition, the award provides for the deployment of a coordinated marketing effort, which will increase the region-wide economic impact of the Trails by $13,000,000 per year. The project will create 225 jobs and 50 new businesses along the Trails, and will be supported by funding from the Claude Worthington Benedum Foundation.

•$1,250,000 ARC grant to the Natural Capital Investment Fund, Inc. in Shepherdstown, WV for the Growing Triple Bottom Line Small Businesses in Coal Impacted Communities in Central Appalachia project. The ARC award will expand coal-impacted communities’ access to capital in Southern West Virginia by capitalizing a $4,000,000 tourism-related revolving loan fund and developing a West Virginia New Markets Tax Credit Fund. The project will create 200 new jobs and 20 new businesses, bring $5,000,000 of leveraged private investment into the region, and will be supported by funding from the Claude Worthington Benedum Foundation.

•$997,150 ARC grant to the Shoals Entrepreneurial Center in Florence, AL for the Shoals Shift project. ARC funds will be used to offer a wide range of entrepreneurial programming, including improved access to capital and credit and development of strategies to increase the profitability of the region’s start-ups and existing businesses through more efficient use of broadband technologies. The programming includes training and activities for community members and student entrepreneurs from middle schools all the way to the university level. Activities will take place in a nine-county region covering parts of northwest Alabama, northeast Mississippi, and south central Tennessee. The project is expected to help create or retain 110 jobs, start 20 new businesses, and leverage $10,000,000 in private investment.

•$967,500 ARC grant to the New River Gorge Regional Development Authority in Beckley, WV for the New River Gorge Region - Developing an Entrepreneurial Economy project. ARC funds will be used to establish a technical assistance support program -- which will assist start-up businesses with hands-on technical aspects of their operations -- and to hire social enterprise and region-wide business coaches. The project will yield 15 new businesses, improve 294 existing businesses, and create 225 new small-business jobs.

•$622,500 ARC grant to the Randolph County Development Authority in Elkins, WV for the Hardwood Cluster Manufacturing Expansion Project. EDA is also awarding $1,200,000 as part of this project. ARC funds will be utilized to expand a major cabinet manufacturer’s operation by 27,000 square feet -- creating 45 new jobs and adding $2,500,000 in annual wages to the regional economy. In addition, the award will strengthen the Hardwood Alliance Zone – a nine-county region in Central West Virginia containing a cluster of hardwood businesses.

•$500,000 ARC grant to Pennsylvania Wilds Center for Entrepreneurship, Inc. in Russell, PA for the Nature Tourism Cluster Development in the PA Wilds project. The ARC award will be used to create a coordinated regional cluster development system to capitalize on Pennsylvania’s numerous nature-tourism assets that spread across 2,000,000 acres in 12 counties. This strategy will drive attendance to these natural attractions, and will be leveraged by $500,000 in match investments to develop a network of small businesses to support the increased demand for products and services in the area.

ARC Technical Assistance Award Summaries

Through the POWER Initiative, ARC is making funds available to assist organizations to develop plans, assess needs and prepare proposals to build a stronger economy for Appalachia's coal-impacted communities.

•$200,000 ARC grant to the West Virginia Development Office for the Hobet Strategic Plan. West Virginia will receive technical assistance to develop a detailed economic assessment and strategic plan for the best use of the Hobet Surface Mine Site in Boone and Lincoln Counties, previously the largest surface mining operation in the state.

•$10,000 ARC grant to The EdVenture Group in Morgantown, West Virginia for the Creating Opportunities, Diversifying Economy for displaced coal miners (CODE) project to develop a sustainable plan for economic diversification. The project being developed is expected to serve 12 counties in West Virginia.

•$60,202 ARC grant to the Southern Research Institute in Birmingham, Alabama, for the development of a strategic plan focusing on entrepreneurship in coal-impacted counties in the Appalachian part of Alabama. Innovation and increasing business startup activity will be the primary focus.

•$22,758 ARC grant to Youngstown State University in Youngstown, Ohio, to analyze and develop a project plan for the Advanced Manufacturing Innovation and Commercialization Center. The project is expected to serve 14 counties in OH, PA, and WV.

POWER Special Projects Summaries

As part of the POWER Initiative, ARC is supporting several special projects to strengthen entrepreneurship, expand market opportunities, and address key issues in Appalachia's coal communities.

•$60,000 for a partnership with the National Association of Counties Research Foundation to provide additional technical assistance to 11 teams from Appalachian coal communities that participated in the EDA-funded Innovation Challenge for Coal-Reliant Communities Program. This support includes grant writing, feasibility studies, strategic plan development or updates and capacity building to facilitate strategic and sustainable investments. Community teams are located in Kentucky, Pennsylvania, Virginia, and West Virginia.

•$750,000 to continue a collaborative effort with the National Institute on Drug Abuse (NIDA) at the National Institutes of Health (NIH) and other federal partners to research opioid abuse and related problems of HIV and Hepatitis C (HCV) in Appalachia's coal communities.

•$400,000 for a partnership with the U.S. Environmental Protection Agency (EPA) and the U.S Department of Agriculture (USDA) to expand the Cool & Connected Initiative to help 10 Appalachian coal-impacted communities use broadband service to revitalize small-town main streets and promote economic development. Participating communities will receive technical assistance for strategic planning, as well as initial implementation support for the first steps of their plans. The communities are located in Alabama, Ohio, Pennsylvania, Tennessee, Virginia, and West Virginia.

•$352,000 to provide training, technical support, and expanded market opportunities to Appalachian-based coal supply chain companies through partnerships developed at MineExpo 2016, the world’s largest and most comprehensive exposition dedicated to mining equipment, products , and services. This trade show is part of the 2016 U.S. Commercial Service International Buyer Program schedule, which connects U.S. exhibitors with foreign buyer delegations at the show. ARC funds will be used to ensure the participation of companies from Appalachia and enable them to get international trade support tailored to the specific needs of the individual companies. Southern Alleghenies Planning and Development Commission in Altoona, Pennsylvania, is coordinating the ARC assistance.

Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”

Torso van een jong meisje III by Pit Spielmann

De geboorte van de moderne beeldhouwkunst

Constantin Brancusi (Hobita, Roemenië 1876-1957 Parijs, Frankrijk) wordt beschouwd als de grondlegger van de moderne beeldhouwkunst. Na een academische kunstopleiding in Roemenië reisde hij door Europa en vestigde zich op 28-jarige leeftijd in Parijs. Daar werd hij opgemerkt door beeldhouwer Auguste Rodin en werkte hij in 1907 kort als een van diens assistenten, voordat hij vertrok om zijn eigen ideeën na te streven.

In de daaropvolgende jaren ontwikkelde Brancusi een nieuwe benadering van beeldhouwen die een blijvende invloed zou hebben. Zijn stijl legde de nadruk op direct beeldhouwen en polijsten om de essentie van zijn materialen (steen, hout, gips en brons) te onthullen. Hij wilde dat de eenvoud van zijn vormen de uiterlijke verschijningsvormen overstijgt en universele archetypen uitdrukt. De elementaire geometrie wordt voortdurend versterkt door het stapelen van sokkels en bases en door een spel van reflecties te creëren dat de kijker in het werk trekt.

(…) De tentoonstelling (de eerste Brancusi-retrospectief in Nederland in 50 jaar), die in zeven secties is opgedeeld, toont de belangrijkste revoluties die Brancusi teweegbracht: het overstijgen van het zichtbare, het heruitvinden van portretkunst en dierensculptuur, en het benutten van de relatie tussen sculptuur en ruimte, de ambiguïteit van vormen, het spel van licht en serialiteit.

Bron: informatiepaneel bij de ingang van de tentoonstelling.

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Torso van een jong meisje III, 1925

Brancusi koos ervoor om witte onyx, een kristallijn gesteente, te slijpen en te polijsten om de doorschijnende gloed van de jeugd op te roepen. Hij maximaliseerde de formele abstractie van het stuk door de ronde heupen te reduceren tot een uitlopende ovaal, die eindigt in een vlak gedeelte. Verheven en versterkt door een dubbele sokkel – een perfecte kubus van kalksteen op een eikenhouten zandloper – bereikt Torso van een jong meisje III (Torse de jeune fille III) totale perfectie van vorm en symmetrie.

Bron: Tekst bij het werk in de tentoonstelling

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The birth of modern sculpture

Constantin Brancusi (Hobita, Romania 1876-1957 Paris, France) is seen as the founder of modern sculpture. Following an academic art education in Romania, he traveled across Europe to settle in Paris at the age of 28. There, he was spotted by sculptor Auguste Rodin and worked briefly as one of his assistants in 1907 before leaving to pursue his own ideas.

Over the next few years, Brancusi invented a new approach to sculpture that was to have a lasting influence. His idiom emphasized direct carving and polishing to reveal the quintessence of his materials (stone, wood, plaster and bronze). He intended the simplicity of his forms to transcend outward appearances and express universal archetypes. Their elementary geometry is constantly invigorated by stacking plinths and bases on top of each other and by creating a a play of reflections that draws the viewer into the work.

(…) Arranged in seven sections, the exhibition (the first Brancusi retrospective in the Netherlands in 50 years) showcases the major revolutions brought about by Brancusi: transcending the visible, reinventing portraiture and animal sculpture, and exploiting the relationship of the sculpture to space, the ambiguity of forms, the play of light, and seriality.

Source: info panel at the exhibition’s entrance

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Torso of a Young Girl III, 1925

Brancusi chose to cut and polish white onyx, a crystalline rock, to evoke the translucent glow of youth. He maximized the formal abstraction of the piece, reducing the rounded hips to a flared oval, terminated by a flat section. Elevated and enhanced by a double plinth – a perfect cube of limestone on a oak hourglass – Torso of a Young Girl III (Torse de jeune fille III) achieves total perfection of form an symmetry.

Source: Text accompanying the work in the exhibition

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Achieve your own profitable business safeguarded by our professional, experienced network

Clear, Comprehensive Certification gives you a recognized Life Coaching Accreditation within 6 weeks!

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Evolved Life Visions is an A rated member of WAOLS - World Alliance of Life coaches and Stylists.

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Lego ECHenry Pegasus by Asgardian Studio

I designed this model by using the 3D model ECHenry put up for sale as reference. I was able to get a lot more detail out of it that way. Not to mention as close to perfect proportions as I could possibly get. Having the actual model gave me some unique insight on the inner workings of ECHenry's design process. Like having differently scaled and oriented greebles duplicated in several places. Which is very much in the spirit of ILM model makers working on the original trilogy.

What that means for a Lego model is a lot of different techniques. The greebles on the engines and fuselage are as accurate as I could get them, and I'm super happy with the result. I even did my best to mimic panel detailing instead of maximizing tiles to be as efficient as possible.

The turret is a completely custom addition. The design was made by ThrawnsRevenge. We thought the underside looked a bit bare without something. And my head cannon is that one of the three people in the cockpit remotely operate it similar to an Apache helicopter's turret.

All in all I'm really happy with how this model turned out. I'd like to upload some IRL photos once I find space...

Instructions are available on Rebrickable if you want to build your own!

DSC06295 by Urko Castanos

Maximize for better detail and resolution

Maximizing Decisions by World Economic Forum

Ilene S. Gordon, Chairman, President and Chief Executive Officer,.Ingredion, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017

1:72 Mikoyan-Gurewitsch Izdeliye 71.2 "жура́вль/Crane” (NATO ASCC code “Fastback”); aircraft “12 Blue”, 2nd prototype during flight and weapon tests at Savasleyka Air Base, 1995 (Whif/kit-bashing) by Dizzyfugu

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

In the late 1970s the Mikoyan OKB began development of a hypersonic high-altitude reconnaissance aircraft. Designated "Izdeliye 301" (also known as 3.01), the machine had an unusual design, combining a tailless layout with variable geometry wings. The two engines fueled by kerosene were located side by side above the rear fuselage, with the single vertical fin raising above them, not unlike the Tu-22 “Blinder” bomber of that time, but also reminiscent of the US-American SR-71 Mach 3 reconnaissance aircraft.

Only few and rather corny information leaked into the West, and the 301 was believed not only to act as a reconnaissance plane , it was also believed to have (nuclear) bombing capabilities. Despite wind tunnel testing with models, no hardware of the 301 was ever produced - aven though the aircraft could have become a basis for a long-range interceptor that would replace by time the PVO's Tupolew Tu-28P (ASCC code "Fiddler"), a large aircraft armed solely with missiles.

Despite limitations, the Tu-28P served well in its role, but the concept of a very fast interceptor aircraft, lingered on, since the Soviet Union had large areas to defend against aerial intruders, esp. from the North and the East. High speed, coupled with long range and the ability to intercept an incoming target at long distances independently from ground guidance had high priority for the Soviet Air Defence Forces. Even though no official requirement was issued, the concept of Izdeliye 301 from the Seventies was eventually developed further into the fixed-wing "Izdeliye 701" ultra-long-range high-altitude interceptor in the 1980ies.

The impulse for this new approach came when Oleg S. Samoylovich joined the Mikoyan OKB after having worked at Suchoi OKB on the T-60S missile carrier project. Similar in overall design to the former 301, the 701 was primarily intended as a kind of successor for the MiG-31 Foxhound for the 21st century, which just had completed flight tests and was about to enter PVO's front line units.

Being based on a long range cruise missile carrier, the 701 would have been a huge plane, featuring a length of 30-31m, a wing span of 19m (featuring a highly swept double delta wing) and having a maximum TOW of 70 tons! Target performance figures included a top speed of 2.500km/h, a cruising speed of 2.100km/h at 17.000m and an effective range of 7.000km in supersonic or 11.000km in subsonic mode. Eventually, the 701 program was mothballed, too, being too ambitious and expensive for a specialized development that could also have been a fighter version of the Tu-22 bomber!

Anyway, while the MiG-31 was successfully introduced in 1979 and had evolved in into a capable long-range interceptor with a top speed of more than Mach 3 (limited to Mach 2.8 in order to protect the aircraft's structural integrity), MiG OKB decided in 1984 to take further action and to develop a next-generation technology demonstrator, knowing that even the formidable "Foxhound" was only an interim solution on the way to a true "Four plus" of even a 6th generation fighter. Other new threats like low-flying cruise missiles, the USAF's "Project Pluto" or the assumed SR-71 Mach 5 successor “Aurora” kept Soviet military officials on the edge of their seats, too.

Main objective was to expand the Foxhound's state-of the-art performance, and coiple it with modern features like aerodynamic instability, supercruise, stealth features and further development potential.

The aircraft's core mission objectives comprised:
- Provide strategic air defense and surveillance in areas not covered by ground-based air defense systems (incl. guidance of other aircraft with less sophisticated avionics)
- Top speed of Mach 3.2 or more in a dash and cruise at Mach 3.0 for prolonged periods
- Long range/high speed interception of airspace intruders of any kind, including low flying cruise missiles, UAVs and helicopters
- Intercept cruise missiles and their launch aircraft from sea level up to 30.000m altitude by reaching missile launch range in the lowest possible time after departing the loiter area

Because funding was scarce and no official GOR had been issued, the project was taken on as a private venture. The new project was internally known as "Izdeliye 710" or "71.0". It was based on both 301 and 701 layout ideas and the wind tunnel experiences with their unusual layouts, as well as Oleg Samoylovich's experience with the Suchoi T-4 Mach 3 bomber project and the T-60S.

"Izdeliye 710" was from the start intended only as a proof-of-concept prototype, yet fully functional. It would also incorporate new technologies like heat-resistant ceramics against kinetic heating at prolonged high speeds (the airframe had to resist temperatures of 300°C/570°F and more for considerable periods), but with potential for future development into a full-fledged interceptor, penetrator and reconnaissance aircraft.

Overall, “Izdeliye 710" looked like a shrinked version of a mix of both former MiG OKB 301 and 701 designs, limited to the MiG-31's weight class of about 40 tons TOW. Compared with the former designs, the airframe received an aerodynamically more refined, partly blended, slender fuselage that also incorporated mild stealth features like a “clean” underside, softened contours and partly shielded air intakes. Structurally, the airframe's speed limit was set at Mach 3.8.

From the earlier 301 design,the plane retained the variable geometry wing. Despite the system's complexity and weight, this solution was deemed to be the best approach for a combination of a high continuous top speed, extended loiter time in the mission’s patrol areas and good performance on improvised airfields. Minimum sweep was a mere 10°, while, fully swept at 68°, the wings blended into the LERXes. Additional lift was created through the fuselage shape itself, so that aerodynamic surfaces and therefore drag could be reduced.

Pilot and radar operator sat in tandem under a common canopy with rather limited sight. The cockpit was equipped with a modern glass cockpit with LCD screens. The aircraft’s two engines were, again, placed in a large, mutual nacelle on the upper rear fuselage, fed by large air intakes with two-dimensional vertical ramps and a carefully modulated airflow over the aircraft’s dorsal area.

Initially, the 71.0 was to be powered by a pair of Soloviev D-30F6 afterburning turbofans with a dry thrust of 93 kN (20,900 lbf) each, and with 152 kN (34,172 lbf) with full afterburner. These were the same engines that powered the MiG-31, but there were high hopes for the Kolesov NK-101 engine: a variable bypass engine with a maximum thrust in the 200kN range, at the time of the 71.0's design undergoing bench tests and originally developed for the advanced Suchoj T-4MS strike aircraft.
With the D-30F6, the 71.0 was expected to reach Mach 3.2 (making the aircraft capable of effectively intercepting the SR-71), but the NK-101 would offer in pure jet mode a top speed in excess of Mach 3.5 and also improve range and especially loiter time when running as a subsonic turbofan engine.

A single fin with an all-moving top and an additional deep rudder at its base was placed on top of the engine nacelle. Additional maneuverability at lower speed was achieved by retractable, all-moving foreplanes, stowed in narrow slits under the cockpit. Longitudinal stability at high speed was improved through deflectable stabilizers: these were kept horizontal for take-off and added to the overall lift, but they could be folded down by up to 60° in flight, acting additionally as stabilizer strakes.

Due to the aircraft’s slender shape and unique proportions, the 71.0 quickly received the unofficial nickname "жура́вль" (‘Zhurávl' = Crane). The aircaft’s stalky impression was emphasized even more through its unusual landing gear arrangement: Due to the limited internal space for the main landing gear wells between the weapons bay, the wing folding mechanisms and the engine nacelle, MiG OKB decided to incorporate a bicycle landing gear, normally a trademark of Yakovlew OKB designs, but a conventional landing gear could simply not be mounted, or its construction would have become much too heavy and complex.

In order to facilitate operations from improvised airfields and on snow the landing gear featured twin front wheels on a conventional strut and a single four wheel bogie as main wheels. Smaller, single stabilizer wheels were mounted on outriggers that retracted into slender fairings at the wings’ fixed section trailing edge, reminiscent of early Tupolev designs.

All standard air-to-air weaponry, as well as fuel, was to be carried internally. Main armament would be the K-100 missile (in service eventually designated R-100), stored in a large weapons bay behind the cockpit on a rotary mount. The K-100 had been under development at that time at NPO Novator, internally coded ‘Izdeliye 172’. The K-100 missile was an impressive weapon, and specifically designed to attack vital and heavily defended aerial targets like NATO’s AWACS aircraft at BVR distance.

Being 15’ (4.57 m) long and weighing 1.370 lb (620 kg), this huge ultra-long-range weapon had a maximum range of 250 mi (400 km) in a cruise/glide profile and attained a speed of Mach 6 with its solid rocket engine. This range could be boosted even further with a pair of jettisonable ramjets in tubular pods on the missile’s flanks for another 60 mi (100 km). The missile could attack targets ranging in altitude between 15 – 25,000 meters.

The weapon would initially be allocated to a specified target through the launch aircraft’s on-board radar and sent via inertial guidance into the target’s direction. Closing in, the K-100’s Agat 9B-1388 active seeker would identify the target, lock on, and independently attack it, also in coordination with other K-100’s shot at the same target, so that the attack would be coordinated in time and approach directions in order to overload defense and ensure a hit.

The 71.0’s internal mount could hold four of these large missiles, or, alternatively, the same number of the MiG-31’s R-33 AAMs. The mount also had a slot for the storage of additional mid- and short-range missiles for self-defense, e .g. three R-60 or two R-73 AAMs. An internal gun was not considered to be necessary, since the 71.0 or potential derivatives would fight their targets at very long distances and rather rely on a "hit-and-run" tactic, sacrificing dogfight capabilities for long loitering time in stand-by mode, high approach speed and outstanding acceleration and altitude performance.

Anyway, provisions were made to carry a Gsh-301-250 gun pod on a retractable hardpoint in the weapons bay instead of a K-100. Alternatively, such pods could be carried externally on four optional wing root pylons, which were primarily intended for PTB-1500 or PTB-3000 drop tanks, or further missiles - theoretically, a maximum of ten K-100 missiles could be carried, plus a pair of short-range AAMs.

Additionally, a "buddy-to-buffy" IFR set with a retractable drogue (probably the same system as used on the Su-24) was tested (71.2 was outfitted with a retractable refuelling probe in front of the cockpit), as well as the carriage of simple iron bombs or nuclear stores, to be delivered from very high altitudes. Several pallets with cameras and sensors (e .g. a high resolution SLAR) were also envisioned, which could easily replace the missile mounts and the folding weapon bay covers for recce missions.

Since there had been little official support for the project, work on the 710 up to the hardware stage made only little progress, since the MiG-31 already filled the long-range interceptor role in a sufficient fashion and offered further development potential.
A wooden mockup of the cockpit section was presented to PVO and VVS officials in 1989, and airframe work (including tests with composite materials on structural parts, including ceramic tiles for leading edges) were undertaken throughout 1990 and 1991, including test rigs for the engine nacelle and the swing wing mechanism.

Eventually, the collapse of the Soviet Union in 1991 suddenly stopped most of the project work, after two prototype airframes had been completed. Their internal designations were Izdeliye 71.1 and 71.2, respectively. It took a while until the political situation as well as the ex-Soviet Air Force’s status were settled, and work on Izdeliye 710 resumed at a slow pace.

After taking two years to be completed, 71.1 eventually made its roll-out and maiden flight in summer 1994, just when MiG-31 production had ended. MiG OKB still had high hopes in this aircraft, since the MiG-31 would have to be replaced in the next couple of years and "Izdeliye 710" was just in time for the potential procurement process. The first prototype wore a striking all-white livery, with dark grey ceramic tiles on the wings’ leading edges standing out prominently – in this guise and with its futuristic lines the slender aircraft reminded a lot of the American Space Shuttle.

71.1 was primarily intended for engine and flight tests (esp. for the eagerly awaited NK-101 engines), as well as for the development of the envisioned ramjet propulsion system for full-scale production and further development of Izdeliye 710 into a Mach 3+ interceptor. No mission avionics were initially fitted to this plane, but it carried a comprehensive test equipment suite and ballast.

Its sister ship 71.2 flew for the first time in late 1994, wearing a more unpretentious grey/bare metal livery. This plane was earmarked for avionics development and weapons integration, especially as a test bed for the K-100 missile, which shared Izdeliye 710’s fate of being a leftover Soviet project with an uncertain future and an even more corny funding outlook.

Anyway, aircraft 71.2 was from the start equipped with a complete RP-31 ('Zaslon-M') weapon control system, which had been under development at that time as an upgrade for the Russian MiG-31 fleet being part of the radar’s development program secured financial support from the government and allowed the flight tests to continue. The RP-31 possessed a maximum detection range of 400 km (250 mi) against airliner-sized targets at high altitude or 200 km against fighter-sized targets; the typical width of detection along the front was given as 225 km. The system could track 24 airborne targets at one time at a range of 120 km, 6 of which could be simultaneously attacked with missiles.

With these capabilities the RP-31 suite could, coupled with an appropriate carrier airframe, fulfil the originally intended airspace control function and would render a dedicated and highly vulnerable airspace control aircraft (like the Beriev A-50 derivative of the Il-76 transport) more or less obsolete. A group of four aircraft equipped with the 'Zaslon-M' suite would be able to permanently control an area of airspace across a total length of 800–900 km, while having ultra-long range weapons at hand to counter any intrusion into airspace with a quicker reaction time than any ground-based fighter on QRA duty. The 71.0, outfitted with the RP-31/K-100 system, would have posed a serious threat to any aggressor.

In March 1995 both prototypes were eventually transferred to the Kerchenskaya Guards Air Base at Savasleyka in the Oblast Vladimir, 300 km east of Mocsow, where they received tactical codes of '11 Blue' and '12 Blue'. Besides the basic test program and the RP-31/K-100 system tests, both machines were directly evaluated against the MiG-31 and Su-27 fighters by the Air Force's 4th TsBPi PLS, based at the same site.

Both aircraft exceeded expectations, but also fell short in certain aspects. The 71.0’s calculated top speed of Mach 3.2 was achieved during the tests with a top speed of 3,394 km/h (2.108 mph) at 21,000 m (69.000 ft). Top speed at sea level was confirmed at 1.200 km/h (745 mph) indicated airspeed.
Combat radius with full weapon load and internal fuel only was limited to 1,450 km (900 mi) at Mach 0.8 and at an altitude of 10,000 m (33,000 ft), though, and it sank to a mere 720 km (450 mi) at Mach 2.35 and at an altitude of 18,000 m (59,000 ft). Combat range with 4x K-100 internally and 2 drop tanks was settled at 3,000 km (1,860 mi), rising to 5,400 km (3,360 mi) with one in-flight refueling, tested with the 71.2. Endurance at altitude was only slightly above 3 hours, though. Service ceiling was 22,800 m (74,680 ft), 2.000 m higher than the MiG-31.

While these figures were impressive, Soviet officials were not truly convinced: they did not show a significant improvement over the simpler MiG-31. MiG OKB tried to persuade the government into more flight tests and begged for access to the NK-101, but the Soviet Union's collapse halted this project, too, so that both Izdeliye 710 had to keep the Soloviev D-30F6.

Little is known about the Izdeliye 710 project’s progress or further developments. The initial tests lasted until at least 1997, and obviously the updated MiG-31M received official favor instead of a completely new aircraft. The K-100 was also dropped, since the R-33 missile and later its R-37 derivative sufficiently performed in the long-range aerial strike role.

Development on the aircraft as such seemed to have stopped with the advent of modernized Su-27 derivatives and the PAK FA project, resulting in the Suchoi T-50 prototype. Unconfirmed reports suggest that one of the prototypes (probably 71.1) was used in the development of the N014 Pulse-Doppler radar with a passive electronically scanned array antenna in the wake of the MFI program. The N014 was designed with a range of 420 km, detection target of 250km to 1m and able to track 40 targets while able to shoot against 20.

Most interestingly, Izdeliye 710 was never officially presented to the public, but NATO became aware of its development through satellite pictures in the early Nineties and the aircraft consequently received the ASCC reporting codename "Fastback".

Until today, only the two prototypes have been known to exist, and it is assumed – had the type entered service – that the long-range fighter had received the official designation "MiG-41".

General characteristics:

Crew: 2 (Pilot, weapon system officer)

Length (incl. pitot): 93 ft 10 in (28.66 m)

Wingspan:

- minimum 10° sweep: 69 ft 4 in (21.16 m)

- maximum 68° sweep: 48 ft 9 in (14,88 m)

Height: 23 ft 1 1/2 in (7,06 m )

Wing area: 1008.9 ft² (90.8 m²)

Weight: 88.151 lbs (39.986 kg)

Performance:

Maximum speed:

- Mach 3.2 (2.050 mph (3.300 km/h) at height

- 995 mph (1.600 km/h) supercruise speed at 36,000 ft (11,000 m)

- 915 mph (1.470 km/h) at sea level

Range: 3.705 miles (5.955 km) with internal fuel

Service ceiling: 75.000 ft (22.500 m)

Rate of climb: 31.000 ft/min (155 m/s)

Engine:

2x Soloviev D-30F6 afterburning turbofans with a dry thrust of 93 kN (20,900 lbf) each

and with 152 kN (34,172 lbf) with full afterburner.

Armament:

Internal weapons bay, main armament comprises a flexible missile load; basic ordnance of 4x K-100 ultra long range AAMs plus 2x R-73 short-range AAMs: other types like the R-27, R-33, R-60 and R-77 have been carried and tested, too, as well as podded guns on internal and external mounts. Alternatively, the weapon bay can hold various sensor pallets.

Four hardpoints under the wing roots, the outer pair “wet” for drop tanks of up to 3.000 l capacity, ECM pods or a buddy-buddy refueling drogue system. Maximum payload mass is 9000 kg.

The kit and its assembly

The second entry for the 2017 “Soviet” Group Build at whatifmodelers.com – a true Frankenstein creation, based on the scarce information about the real (but never realized) MiG 301 and 701 projects, the Suchoj T-60S, as well as some vague design sketches you can find online and in literature.

This one had been on my project list for years and I already had donor kits stashed away – but the sheer size (where will I leave it once done…?) and potential complexity kept me from tackling it.

The whole thing was an ambitious project and just the unique layout with a massive engine nacelle on top of the slender fuselage instead of an all-in-one design makes these aircraft an interesting topic to build. The GB was a good motivator.

“My” fictional interpretation of the MiG concepts is mainly based on a Dragon B-1B in 1:144 scale (fuselage, wings), a PM Model Su-15 two seater (donating the nose section and the cockpit, as well as wing parts for the fin) and a Kangnam MiG-31 (for the engine pod and some small parts). Another major ingredient is a pair of horizontal stabilizers from a 1:72 Hasegawa A-5 Vigilante.

Fitting the cockpit section took some major surgery and even more putty to blend the parts smoothly together. Another major surgical area was the tail; the "engine box" came to be rather straightforward, using the complete rear fuselage section from the MiG-31 and adding the intakes form the same kit, but mounted horizontally with a vertical splitter.

Blending the thing to the cut-away tail section of the B-1 was quite a task, though, since I not only wanted to add the element to the fuselage, but rather make it look a bit 'organic'. More than putty was necessary, I also had to made some cuts and transplantations. And after six PSR rounds I stopped counting…

The landing gear was built from scratch – the front wheel comes mostly from the MiG-31 kit. The central bogie and its massive leg come from a VEB Plasticart 1:100 Tu-20/95 bomber, plus some additional struts. The outriggers are leftover landing gear struts from a Hobby Boss Fw 190, mated with wheels which I believe come from a 1:200 VEB Plasticart kit, an An-24. Not certain, though. The fairings are slender MiG-21 drop tanks blended into the wing training edge. For the whole landing gear, the covers were improvised with styrene sheet, parts from a plastic straw(!) or leftover bits from the B-1B.

The main landing gear well was well as the weapons’ bay themselves were cut into the B-1B underside and an interior scratched from sheet and various leftover materials – I tried to maximize their space while still leaving enough room for the B-1B kit’s internal VG mechanism.

The large missiles (two were visible fitted and the rotary launcher just visibly hinted at) are, in fact, AGM-78 ‘Standard’ ARMs in a fantasy guise. They look pretty Soviet, though, like big brothers of the already not small R-33 missiles from the MiG-31.

While not in the focus of attention, the cockpit interior is completely new, too – OOB, the Su-15 cockpit only has a floor and rather stubby seats, under a massive single piece canopy. On top of the front wheel well (from a Hasegawa F-4) I added a new floor and added side consoles, scratched from styrene sheet. F-4 dashboards improve the decoration, and I added a pair of Soviet election seats from the scrap box – IIRC left over from two KP MiG-19 kits.

The canopy was taken OOB, I just cut it into five parts for open display. The material’s thickness does not look too bad on this aircraft – after all, it would need a rather sturdy construction when flying at Mach 3+ and withstanding the respective pressures and temperatures.

Painting

As a pure whif, I was free to use a weirdo design - but I rejected this idea quickly. I did not want a garish splinter scheme or a bright “Greenbottle Fly” Su-27 finish.

With the strange layout of the aircraft, the prototype idea was soon settled – and Soviet prototypes tend to look very utilitarian and lusterless, might even be left in grey. Consequently, I adapted a kind of bare look for this one, inspired by the rather shaggy Soviet Tu-22 “Blinder” bombers which carried a mix of bare metal and white and grey panels. With additional black leading edges on the aerodynamic surfaces, this would create a special/provisional but still purposeful look.

For the painting, I used a mix of several metallizer tones from ModelMaster and Humbrol (including Steel, Magnesium, Titanium, as well as matt and polished aluminum, and some Gun Metal and Exhaust around the engine nozzles, partly mixed with a bit of blue) and opaque tones (Humbrol 147 and 127). The “scheme” evolved panel-wise and step by step. The black leading edges were an interim addition, coming as things evolved, and they were painted first with black acrylic paint as a rough foundation and later trimmed with generic black decal stripes (from TL Modellbau). A very convenient and clean solution!

The radomes on nose and tail and other di-electric panels became dark grey (Humbrol 125). The cockpit tub was painted with Soviet Cockpit Teal (from ModelMaster), while the cockpit opening and canopy frames were kept in a more modest medium grey (Revell 57). On the outside of the cabin windows, a fat, deep yellow sealant frame (Humbrol 93, actually “Sand”) was added.

The weapon bay was painted in a yellow-ish primer tone (seen on pics of Tu-160 bombers) while the landing gear wells received a mix of gold and sand; the struts were painted in a mixed color, too, made of Humbrol 56 (Aluminum) and 34 (Flat White). The green wheel discs (Humbrol 131), a typical Soviet detail, stand out well from the rather subdued but not boring aircraft, and they make a nice contrast to the red Stars and the blue tactical code – the only major markings, besides a pair of MiG OKB logos under the cockpit.

Decals were puzzled together from various sheets, and I also added a lot of stencils for a more technical look. In order to enhance the prototype look further I added some photo calibration markings on the nose and the tail, made from scratch.

A massive kitbashing project that I had pushed away for years - but I am happy that I finally tackled it, and the result looks spectacular. The "Firefox" similarity was not intended, but this beast really looks like a movie prop - and who knwos if the Firefox was not inspired by the same projects (the MiG 301 and 701) as my kitbash model?

The background info is a bit lengthy, but there's some good background info concerning the aforementioned projects, and this aircraft - as a weapon system - would have played a very special and complex role, so a lot of explanations are worthwhile - also in order to emphasize that I di not simply try to glue some model parts together, but rather try to spin real world ideas further.

Mighty bird!

Microsoft Event by ephron systems

#Microsoft Windows 10 Event

To maximize the use of the new operating system “Windows 10” Microsoft has unveiled devices under the #event named Microsoft Windows 10 devices event”

In this Event it has revealed its first ever #laptop and two new brand #smartphones with #Windows10 operating system.

Microsoft’s first laptop, the surface book, built with a detachable screen, sixth generation #Intel processor, 13.5 inch and 12 hours battery back up

Along with its surface book it has show cased 2 new #lumia handsets with windows 10 operating system namely lumia 950 and 950 xl whereas 950 screen size is 5.2 inch Hd screen and 20 mega pixel camera and 950 Xl has 5.7 –inch screen

The main high light of both smart phones can be connected by a small portable display dock accessory into a personal computer. A keyboard or a mouse can be connected, Expanding the capacity of the smart phone to operate like a personal computer

Isn’t that interesting…?? To know more about Microsoft Windows 10 device event check this video www.microsoft.com/october2015event/en-us/live-event

Art Cheek's Organic Garden by Florida Memory

Persistent URL: www.floridamemory.com/items/show/252943

Title: Art Cheek's Organic Garden

Date of film: 1975

Physical descrip: color; sound; original length: 12:33

Local call number: BA281; V-190; S.1239

General note: Art Cheek describes the benefits of organic gardening, while sharing methods he uses to maximize vegetable yields in his 4,000-square-foot garden. This work film contains several segments that document the garden's evolution from seeded soil to a lush cornucopia. Also see BA279 & BA282. Produced by WFSU-TV.

Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.myflorida.com

Maximizing the Potential of the New Advanced Research Projects Agency for Health (ARPA-H) by Milken Institute

Howard Fillit, Co-Founder and Chief Science Officer, Alzheimer's Drug Discovery Foundation

HDR Infrared San Antonio Texas River Walk by David

2 2

10 Sept 2008 IR HDR Images.

High Dynamic Range (HDR)

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

en.wikipedia.org/wiki/High-dynamic-range_imaging

Infrared Photography

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

Phase One digital camera backs can be ordered in an infrared modified form.

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

en.wikipedia.org/wiki/Infrared_photography

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Lego HST 5-car set by Michael Gale

The HST was my first “serious” Lego train MOC; I had built various generic locomotives as well as TLG sets. I started with the nose since it was the most challenging shape to capture. I liberally used 1x1 “cheese” slopes, SNOT, and half-brick offsets in order to render the HST’s distinctive tapered shape. At this time I had decided to make the HST a “7-wide” design. Different Lego train MOC builders whose work I admire a great deal, work in 6, 7, and 8 wide “scales”. Seven wide represents a good compromise between prototype scale and undersized. It represents a bigger challenge from a build point of view due to the scarcity of odd numbered plates and bricks. However, the extra stud in the middle makes a big difference in terms of fitting extra detail. I then turned my attention to the diagonal blue stripe on the side which cleverly disguises the body-height vents and provides a transition from the BR blue from bottom to top. Cheese slopes were used in both upright and inverted configurations to maximize the stripe extent.

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