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Maximizing my time. Why waste a train journey doing nothing? I'm using the time writing ideas for blog posts and videos for my channel! Let the pen meet the paper! #blog #youtube #train #ideas #writer #inspired #pentopaper by Natasha Antoinette

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

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speaking Workshop: Maximizing Hub Recruitment and Diversity at the Global Shapers Annual Summit 2022 in Geneva, Switzerland, 3 September, Copyright: World Economic Forum/Pascal Bitz

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This log retreat located on a serene 9+ acre fenced property was designed to maximize it’s potential with an appropriately scaled yet fully equipped modern home. The double tongue and groove log construction is beautifully accented by hand hewn log beams, railings, large windows, and impressive vaulted ceilings offering scale and charm. Despite the quaint quality of the exterior an expansive interior awaits………

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Helpful Tips On Flea Control and Prevention by Enzie Ibbott

Helpful Tips On Flea Control and Prevention

Prevention and control of fleas is an issue in many parts of this country as pet owners work to keep their pets healthy and itch-free. The flea general life span is only two weeks to eight months in length, depending on the species, with much of that being in the larval and pupal stages of life which don’t affect your dog.

Flea Control San Antonio

Fleas lay eggs in likely hatching zones where the larvae will best survive once they have hatched. Larvae love sand, gravel, loose dirt, cracks and crevices, insides of furniture, and other dry, out-of-the-way places. Eggs take from two days to two weeks to hatch and larvae will wrap themselves into a cocoon and gestate further for another five to fourteen days. At this point, they are virtually immune to chemical pesticides until they emerge as adult fleas. Flea bites cause a myriad of problems for pets and their owners, including itching and skin problems, hair loss, and infection.

Allergies

Do fleas also cause flea dermatitis. Luckily, there are many ways to deal with fleas to prevent or treat their attacks. Complete treatment will care not only for the pet, but also the pet’s environment, keeping the fleas from reemerging once the pet has been treated.Flea bites – Pest Control San Antonio Around the house and yard, fleas can live in many places, including your pet’s bedding, the furniture, in and around cushions, in thick carpeting, and more. Before using any treatment, it’s a good idea to vacuum everything thoroughly to remove debris that might shield the fleas. This will also likely pull up many of the flea eggs, larvae, and adults, so make sure to dispose of the bag as soon as you are finished vacuuming so they don’t live and grow inside the bag and find an escape later. Simple tasks like washing pet bedding in hot water regularly and keeping pet areas clean will prevent fleas from mounting any major assaults on your pet. Out in the yard, areas that your pet spends a lot of time in are very susceptible to flea infestations. These include the dog house, flower beds, under and around decks and porches, and in piles of brush, leaves, and debris. Before using any flea treatment, as in your house, make sure all debris and clutter are cleared out to maximize the fleas exposure to your treatment. Mow, rake, and sweep areas clear. Prevention includes cleaning the dog house regularly (usually with the garden hose and soap or bleach), vacuuming the car regularly, and sweeping and mopping areas of bare floor, paying special attention to the crevices and tight corners. There are many options for treating affected areas inside and out, just be sure that whichever one you choose, you follow the directions carefully. If you have a serious infestation, whether you do it yourself or hire a professional, you will probably want to re-treat it again in two or three weeks.

Here are a few ways to control fleas on your dog

Shampoos Using a flea shampoo and thoroughly bathing and rinsing your dog will kill almost all adult fleas. If you have the capacity (a large tub or container the dog can immerse in), dipping is the most effective method in this regard if you have a serious flea problem. There are side effects to dipping, however, such as heavy residues and the fact that your dog and children could become sick if they contact the dip. For most infestations, a good and thorough flea shampooing is enough. Topicals: These are the drops or rubs you see on the shelf that are applied between the dogs shoulder blades, directly on the skin. They last about a month and kill most adult fleas. Some are growth inhibitors for immature fleas as well, but can’t be used on puppies under 8 weeks of age. Bathing reduces this treatments effectiveness and longevity. Orals For indoor pets, this treatment can be quite effective. Since fleas are naturally attracted to your dog, they will eventually find the dog and bite it (this is where the itching comes from). These pills cause sterility in the fleas, thus eventually killing off the flea population through birth control. This is a long-term solution for light or burgeoning infestations and each pill lasts about a month. Don’t use this for pregnant or nursing dogs. Natural organic solutions are also available and include a lot of options. Dried pennyroyal (a plant), pyrethrum powder (an extract from flowers), or Diatomaceous Earth (also called fossilized phytoplankton or DE) are all natural solutions commonly available.

These are usually sprinkled around pet areas, into bedding, and even directly on the pet. After a day or two, repeat. Eventually, no more fleas. Pennyroyal should not be used on pregnant or nursing dogs or puppies under 8 weeks. Other natural remedies include herbal treatments that can be added to your pet’s bath water or even into their food. DE can also be used in carpeting, lawns, gardens, and more without harm and it kills many insects besides just fleas. Often, two or more of the solutions mentioned herein are combined in products you’ll see available. Fleas are a nasty bunch and can be tricky to get rid of, especially if your infestation is worse than you think it is. Usually, though, with some prevention and diligence, they can be eradicated in just a few days.

Fleas in Carpets

If you’ve got a pet with fleas, you’re soon going to discover you’ve got fleas in your carpets or rugs. It is also possible to get fleas in your house, even if you have bare floors.Flea Control San Antonio How do they get there? They got there because the flea eggs just fell off your pet – it’s as simple as that. Fleas are clever creatures. Sure they can jump pretty well, but fleas don’t spend their lives jumping. If the lifestyle is good, the average flea will try to spend all of their life on the one animal. They live, mate (and if they are female) lay eggs onto your pet. After some time, or with their own grooming, these flea eggs will fall off your pet and into their surroundings. And so, if your pet loves to spend time on a particular mat then you will get fleas on that mat. The longer a pet spends in a particular location the more flea eggs will fall off into that environment. What next? Well, after some time that flea egg will hatch and a larvae, will come out. Flea larvae are actually surprisingly large – up to about 5 mm long. Which is visible!! Except you won’t see them, because these flea stages will be deep in your carpet. There they will feed on scurf and flea dirt (which is the partly digested dry blood which falls off your pet – just like the flea egg did). So these flea larvae will spend a few days to a few weeks feeding deep inside the carpet pile or between the floor boards. Then they will spin themselves a cocoon – the flea stage inside the cocoon is called the pupae. This is the difficult bit. There are a number of flea control products, Frontline springs to mind, which say they will kill all flea stages. The fleas can exist inside the cocoon which is deep in the carpet for months – up to 18-month if the conditions are right. After this time, when the conditions are right and a friendly host, like your dog or cat wanders past, these immature fleas will dig their way out of the cocoon and (this is why they have jumping back legs) spring onto your pet. Within a minute they will feed and within 24-36 hours the females will begin laying flea eggs. And in time these flea eggs will fall off your pet and into your carpet. And low and behold, you have fleas in your carpets or rugs (and fleas in the cracks between floor boards) and that’s where we started the journey. So what to do. It’s not rocket science – don’t get all concerned about the carpets – get the fleas killed. With flea control that is the most important thing. If you want to control fleas in your carpets and rugs, just kill the fleas. Kill the fleas on your pet first, and if things are desperate, consider getting a synthetic pyrethroid spray to kill the flea pupae in the carpet.

Types of Natural Flea Treatments for Controlling Pet Fleas

Have you even wondered about using natural flea treatments on your pet dog or cat? Have you wondered whether there is a natural alternative to chemical treatments for flea infestation? Do you want to treat fleas the â€˜old fashionedâ€™ way, with a natural flea therapy? Or perhaps you just want to save money by using a natural flea treatment rather than a chemical treatment for fleas. Whatever your reasons you have come to the right place â€“ in this article we will look at options for natural flea treatment as well as some of the â€˜modernâ€™ products which actually have their roots in natural therapy.

Types of Natural Flea treatments

There are three main types of natural flea control methods/products: Flea products for killing fleas Flea products for repelling fleas

Natural methods for controlling flea larvae, flea pupae and flea eggs

Generally, the ideal way of controlling fleas using natural products is to use a flea product which actually kills the fleas. The reason for this is that while your pet may get a short term benefit from a flea repellent â€“ the repelled fleas my feed on another pet and still allow flea eggs to be laid in the surroundings of your pet. So in time you may have an even worse flea infestation to deal with if you used a repellent. Ideally you should look for a product that claims to kill fleas.

Natural Flea Products for killing fleas

One of the natural flea treatments which has been known for many centuries is the chrysanthemum daisy. This daisy is responsible for producing a natural chemical called pyrethrum. Pyrethrum has natural insecticide qualities â€“ which is why it is present in the chrysanthemum in the first place. However, generally natural pyrethrum is not a very widely used product. The reason for this is the great expense of growing enough flowers to extract insecticidal quantities of the material. However, pyrethrum is notable because it is the precursor or basis for the development of the synthetic â€˜pyrethroids.â€™ These are chemicals which are similar to pyrethrum in chemical structure and mode of action. There are quite a number of dog and cat shampoos which contain pyrethrum and piperonyl butoxide. Piperonyl butoxide is a â€˜synergistâ€™ for the action of the pyrethrum â€“ which means it works together with the pyrethrum to increase the flea killing power â€“ both chemicals work better together than they would apart. In fact, the plant based piperonyl butoxide would not actually have any effectiveness as a flea killer on its own. So while some of the shampoos which contain pyrethrum may not say they are natural â€“ they are certainly related to the pyrethrum which is derived from the chrysanthemum daisy. Borax (boric acid or boracic acid) Another often mentioned natural product is Borax (boric acid or boracic acid). This is claimed to control fleas (but since adult fleas live on pets, it is the environmental stages which we are talking about) in and around pets. When ingested, boric acid can interfere with the internal metabolism of fleas â€“ however, fleas are unlikely to substantially feed on the chemical unless it is mixed with blood. However, the powder form sprinkled around areas where flea stages are to be found can cause irritation of the outer cuticle which can cause death of the flea. Diatomaceous Earth Diatomaceous earth is ironically the fossilized remains of diatoms â€“ which were a type of hard shelled algae â€“ now millions of years after their own deaths, the resulting diatomaceous earths can be sprinkled around areas where environmental control of fleas is required. The diatomaceous earth acts by causing dehydration of the cuticle of the flea or flea larva. Since the cuticle or outer surface is essential for proper functioning of the flea, the diatomaceous earth can cause irritation and death of the flea. It is normal to vacuum up any remaining diatomaceous earth. However, as scientific studies are minimal, it may be that a lot of the effect of diatomaceous earth is the thorough vacuuming that is required after use in the house for the control of fleas. Natural flea products for repelling fleas It is claimed that garlic can be used to repel fleas in small amounts. The active principle in garlic for its healing properties is allicin. However, garlic also contains thiosulfate which can cause hemolytic anemia in dogs. Large quantities of garlic would need to be eaten to cause these signs â€“ up to 50 cloves of garlic at the one time, but it does highlight that â€˜naturalâ€™ does not always equal safe when it comes to flea treatments. Garlic should be used with caution and ideally in a formulated product which has been sold for some time and which is not known to cause symptoms in dogs. However, as has been noted previously, there is not a lot of value in repelling fleas, particularly if your home environment is infested. In this case you actually want fleas to jump on your pet so that the â€˜on animalâ€™ treatment (natural or otherwise) which you have applied can take effect. Natural methods for controlling flea larvae, flea pupae and flea eggs We should all know by now the importance of controlling the off insect stages of fleas â€“ these include flea larvae, flea pupae and flea eggs. There is an amazingly simple â€˜naturalâ€™ flea control method which does not involve any sort of chemical at all. Vacuuming!!! According to an article called â€œRidding your home of Fleasâ€, Mike Potter, an expert entomologist states that â€œVacuuming removes many of the eggs, larvae and pupae developing within the home.â€ Just good old fashioned suction! To put it simply, if you can remove a lot of the flea life stages from your home, these same stages will no longer be able to reproduce and infest your pet dog or cat. A further benefit of vacuuming is that the vibrations from the cleaner actually stimulate the immature flea (or pre-adult flea) inside the pupa to come out earlier â€“ this means that the flea will come in contact with your on-animal flea control sooner, thus cleaning up your home sooner. Conclusion It is a worthwhile aim to use a natural flea treatment or control if you can. But please be aware that there is not a lot of scientific data to support the use of natural methods of controlling fleas, according to Merchant and Robinson, both entomologists from Texas A&M. If you are looking to purchase a natural flea treatment â€“ rather than using â€˜trial and errorâ€™ you would be best sticking with a commercially available flea treatment if possible. There are a number on the market which are available for purchase via the internet. Try these first, as since these are successfully being sold it is likely that they are working for at least a number of people. Once youâ€™ve had good success with these flea treatments, you may care to try using some of the natural ingredients that you find on the product label and seeing if you can make up a treatment yourself â€“ but first think about purchasing a commercial flea control product. Treating Fleas It is important for caring pet owners to know, because they will create the most common skin infection of dogs and cats, and therefore fleas cause more skin disease than any other parasite. But while skin disease and flea bite irritation are the most common symptoms of a flea infestation they can also be the vector for diseases such as the flea tapeworm, which can cause anal irritation in affected dogs and cats. Who’s who in the flea family In the flea world, the cat flea Ctenocephalides felis (the first ‘C’ is silent) has generally won the war for dominance on pet dogs and cats. If a survey of a pet population is performed, then it’s likely that some dog fleas would be found particularly in remote areas, but this is uncommon and their numbers much lower than their cat flea counterparts. But then it could also be argued that actually the terms dog fleas and cat fleas are a bit irrelevant – just because long ago a scientist named a particular flea species C. felis, does not mean that it is a ‘cat flea’ any more than C. canis is a ‘dog flea’. Of course, cats and dogs are not just infected with their own species of flea – there are also other species such as: Pulex irritans the human flea; Leptosylla segnis the mouse flea; Spilopsyllus cuniculi the rabbit flea; and Echidnophaga gallinacea the chicken or ‘sticktight’ flea. The common name of the sticktight flea is derived from the fact that on biting a host, it actually permanently attaches using its mouth parts. This allows it to remain attached to the pet (or chicken) long after an effective flea treatment has killed it. This may lead to the mistaken impression that the flea control product did not work effectively. San Antonio Flea Control Another infamous flea is the oriental rat flea Xenopsylla cheopis. This is the flea responsible for causing so much fear in human populations in past times because it is the vector (along with the rat) of the Bubonic Plague or the Black Death – a bacterium called Yersinia pestis which is spread by flea bites. Naturally, the rat flea would prefer to infest rats but when rats are in close contact with humans, there is the possibility of spread of the plague. More nasty consequences! There are other, nasty infections which fleas spread. So called ‘cat scratch fever’ is caused by a bacterium Bartonella henselae which is spread between cats by fleas. The bacterium is actually passed in flea feces which is the likely source of contamination of catâ€™s claws during their self-grooming. It is estimated that in the US around 2,000 of the 24,000 people infected each year actually require hospital treatment for the infection. Another disease being investigated by veterinary scientists is a condition called ‘Flea Borne Spotted Fever’ or cat flea typhus, which is caused by a bacterium called Rickettsia felis. Interestingly, research would appear to indicate that while the bacteria is present in fleas, it has not been detected in cats. The signs in humans include rash, headache, and central nervous system involvement, with some sufferers reporting nausea, vomiting, diarrhea and abdominal pain. Without doubt, cat flea typhus would not be the most pleasant way to spend a few days. Natural flea repellants It is apparent that finding and developing all-natural solutions to societyâ€™s everyday problems has becoming increasingly popular over the past few decades. Anyone can see the appeal of using products that are less likely to pose potential health hazards to its users and their loved ones. This is especially true when it comes to applying something to your pet, which is in close contact with your home and your family. Consequently, the idea of using a natural flea repellant can seem extremely enticing. There unfortunately are no proven natural flea repellants or natural flea killers on the market currently. However, by word of mouth, there are a number of natural flea repellants that are currently being suggested. Some of these are listed below. Placing eucalyptus leaves in and around your home can be an excellent natural flea repellant due to their unique odor. By mixing garlic and yeast in your petâ€™s food, you can cause their blood to have an adverse taste so that fleas donâ€™t want to feed on them. (Please keep in mind that raw garlic can be toxic to cats, so this should probably only be used on dogs.) Borax is a natural flea repellant that can be sprinkled on your carpet, in your yard, and along your fence (but be careful because it can apparently kill plants). Food grade Diatomaceous Earth (DE) is inexpensive and can be sprinkled on your yard as well. Some people suggest using a 50:50 mixture of Borax and DE in your yard, on your carpet, and on your furniture. After a few days, be sure to vacuum up the dust mixture. Skin So Soft from Avon, when applied to your petâ€™s coat, can repel fleas and mosquitoes. Placing cedar chips along your fence line can act as a natural flea repellant and can keep fleas from entering your yard. Planting tansy (a perennial, herbaceous flowering plant) in your yard can repel fleas as well. Using nematodes in your yard can be a way to keep the flea populations under control because the small worms will eat the developing flea larvae. Some people suggest setting a trap for the fleas that enter your yard by placing a desk lamp next to a shallow plate of soapy water. The fleas are attracted to the light and jump onto the plate where they end up sinking in the water and drowning. If natural flea repellants are what youâ€™re looking for, thereâ€™s no reason not to give some of the methods mentioned above a shot. However, if they arenâ€™t working for you and your pet, or your petâ€™s flea infestation is so severe that your pet is obviously suffering, it may be best to consult a veterinarian and treat the existing flea problem now with one of the recommended commercially available products. After the flea situation is under control, it may then be a better time for you to try a natural flea repellant

. If you have any further questions please call Jenkins Pest Control today!

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Luxury Log Cabin Retreat - Magnolia Texas by Luxury Log Cabin

29525 Tudor Way Magnolia, TX 77355

pine and oak forest, a wraparound deck, sauna, hot tub, and terraced patio.

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Maximize your Screen and then Click Here for Larger Version

My Brother-in-law Phill, my friend Sawyer & I all packed into my Subaru and headed up Little Cottonwood Canyon, UT for some long exposure snowy night shots while he still had mostly clear skies and a full moon. To much of our dismay, the roads were mostly restricted, so we could not stop or stand anywhere. Not only that, but the snow was 12' deep in some places, so it's not like we could just go off to the side. After we ran into two coyotes near Alta, we headed back down the canyon and over to Big Cottonwood Canyon.

We decided to stick to this area because there was not much vertical terrain around us (no threat of avalanches or being hit by cars) along with an actual area that we could get out and walk around.

Fun trip, super cold. The snow at the bottom of the frame is about 5' tall off the road.

20110410-_DSC4332

Maximizing Space by L A White

The Philadelphia Museum Of Art’s recent upgrades gave a lot of thought to maximizing their space. (That’s sarcasm)

DSC06295 by Urko Castanos

Maximize for better detail and resolution

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

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

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

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

IR HDR with Polarizing filter by David

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Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.

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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Rodin Studios by Emilio Guerra

Midtown Manhattan, Manhattan, New York City, New York, United States

200 West 57th Street, Midtown, Manhattan, New York City, New York, United States

The Rodin Studios building, built in 1916-17, was designed by Cass Gilbert specifically for artists. Named for the most innovative living artist of the time, it represents a refinement on the earlier essays in what was a relatively new building type. The two principal elevations of this fourteen-story, reinforced concrete frame building, are sheathed in rough brick, polychromatic — buff to gray, laid in American bond. The elaborate and extensive terra cotta and iron trim is molded and cast in the late Gothic-early Classical motifs which characterize the French Renaissance style, the style of the neighboring Arts Students League as well as a style Gilbert thought appropriate for- artists. The studio windows on the West 57th Street elevation with their cast iron canopies are particularly noteworthy. The brickwork is remarkable also; the broad and narrow bay reveals, linking the building's base and cap, give this elevation a distinct visual coherence.

Background of the Studio Building Type

The Rodin Studios building is prominent in the development of the studio building type in the early years of this century. The Van Dyck Studios, c.1889, 939 Eighth Avenue, and the studios in Carnegie Hall, 1894, at 881 Seventh Avenue, were mixed use buildings. The first studio buildings designed in this century specifically for artists were built on West 67th Street between Central Park West and Columbus Avenue.

In an effort to provide satisfactory space for artists, Henry Ward Ranger , the successful landscape painter, rallying a group of artists agreeable to renting space in any building erected for that purpose, approached potential investors to underwrite the financing of such a building. Because so novel a concept found little support, the artists themselves raised the necessary capital.

They elected officers and formed a corporation to which each contributed and, in return, became an owner with the exclusive right to occupy or sublet one of the studio apartments within the building. Maintenance costs were assessed according to the amount of space each artist owned. Not all the studios were sold; it was decided to hold a few for rental. The income thus produced provided capital to maintain the building.

The earliest West 67th Street studio buildings were designed by Pollard & Steinam . Inevitably any new concept is evaluated against existing standards and the initial building, The Sixty-seventh Street Studios, was found to be in violation of the city's tenement law. To qualify for reclassification from tenement to Class A Hotel, a public restaurant was introduced on the ground floor, and as a result of building code requirements subsequent studio buildings were constructed on avenues, not streets.

Securing capital to construct the Rodin Studios building was, like its predecessors on West 67th Street and Central Park South, done through a corporation of artists. The president of Rodin Studios, Inc. was Lawton S. Parker , the vice-president was Georgia Timken Fry , and her husband John Hemming Fry was treasurer. All three were painters and all three had travelled from early training in the Midwest to study in Paris: Parker from Michigan to the Academie Julian, Fry from Indiana also to the Academie Julian, and Mrs. Fry from Saint Louis to work with Aimee Morot and Jules Cazin Both Mr. and Mrs. Fry had attended the Saint Louis School of Fine Arts in the early 1880s where Parker was later to teach in 1892. Though not one of them is well-known today, the least obscure of the three in the second decade of this century was Parker.

Lawton S. Parker was identified in the early 1910s with the small group of Americans in Paris calling themselves The Giverny Group. Frederick Carl Frieseke is by far the best known of these Monet devotees. Like Frieseke, Parker had turned from his academic training in the late 1880s and embraced Impressionism. Back in New York" he studied with Harry Siddons Mowbray and William Merritt Chase at the Art Students League in 1897. He exhibited with the Giverny Group at New York's MacBeth Gallery in 1910 and was accorded a one man show at the Art Institute of Chicago two years later.

Georgia Timken Fry's strength was landscape in which she synthesized the humble subject matter of Francois Millet with the misty Impressionism of her teacher Cazin; the painting Harvest in Normandy was exhibited at the Paris Salon of 1885.

John Fry appears to have remained true to the academic principles first established by Poussin and as this pedagogy deteriorated, he was given to diatribes against contemporary art — "a bedlam of confusion." Fry had formed a small teaching collection, leaving it to the Canton Art Institute with the conviction — no doubt founded on his own experience — that a sound national culture could only develop in the Midwest far from the vulgarization and novelty of New York and Hollywood-

Included was the small Rodin bronze Maternity, which Fry purchased three years after his wife's death-

Parker and the Frys were but part of the wave of young American artists who, from the mid-seventies on, had been drawn to Paris and who, upon their return to New York, populated the area near the Art Students League. The League was housed in Henry H. J. Hardenburgh's recently completed American Fine Arts Society Building, 1892, at 215 West 57th Street, just half a block from the new Carnegie Hall, 1891. Harderbergh's use of the Francois I style for the building's West 57th Street facade was in keeping with the League's French sympathies. From the late nineties until the First World War, Parker was back and forth between Paris and this country, teaching and painting.

The Frys returned to New York about 1902 and resided in several studio buildings until, nine years later, they moved to 222 Central Park South, the Gainsborough Studios. They remained at the Gainsborough for at least seven years in which time John Fry became vice-president of the Gainsborough corporation, no doubt learning the responsibilities of running a studio building corporation.

The Architect

In retrospect, the Rodin corporation officers' choice of Cass Gilbert as architect for their new studio building should not surprise us. Gilbert was known to be sympathetic to artists. Had he not shewn himself a worthy inheritor of McKim's ideal of the unity of the arts when he selected at least a dozen nationally known artists to embellish his well -publicized Minnesota State Capitol ?

This patronage continued throughout his professional career; however, following his Minnesota Capitol and New York Customs House commissions he often contracted the interior work out to a firm of architectural decorators. One such firm with when Gilbert collaborated frequently was Paris £ Wiley .

Like Gilbert, William Francklyn Paris was an unabashed francophile. It was Paris who initiated the Hall of American Artists at New York University's Gould Memorial Library in 1917. Based on the Institute de France, it has served as a pantheon in which the most accomplished artists of the so-called American Renaissance — the academic tradition that bred Lawton and the Frys — are honored. Supported through an agency of volunteer patrons committees, both Cass Gilbert and John Hemming Fry were committee chairmen.' Paris also admired Albert Besnard, the French painter and etcher, in whose atelier Lawton Parker had worked.

These mutually cherished, aesthetic sympathies suggest that Parker, the Frys, William Francklyn- Paris and Cass Gilbert were acquainted or could easily become so.

Certainly by 1915 Gilbert's reputation as an architect was not unknown to Lawton Parker and to John and Georgia Timken Fry. Not only had the Wool worth Building , a "cathedral for commerce," been his design, but Gilbert's training, though not identical, approximated theirs. He had studied at the Massachusetts Institute of Technology with Eugene Letang — whom William Ware had brought from the Ecole des Beaux Arts — and though he did not study at the Ecole himself, Gilbert admired the national French school's principles and method.

After travel abroad in 1881 he returned to New York to work for McKim, Mead & White within the same year. Like the Rodin Studios' corporate officers, Gilbert had cone from the Midwest as well — Zanesville, Ohio and St. Paul, Minnesota. And again like the Rodin's officers Gilbert thought of himself as an artist.

Gilbert returned to St. Paul in 1883 where he opened an office, joining James Knox Taylor in partnership the following year — an arrangement which continued until Taylor became Supervising Architect of the Treasury in 1892. But seven years later Gilbert's Broadway Chambers

project brought him back to New York. Models and drawings of this building were featured at the International Universal Exposition held in Paris in 1900, garnering Gilbert some recognition abroad and useful publicity at home.

Meanwhile, his design for the New York Customs House won the national competition . Gilbert then turned to commercial office building design in New York; the West Street Building and the Wool worth Building are the best known of these. Both, though steel frame structures, are articulated in the late Gothic style characteristic of 15th century France. Net only was this style considered an appropriate one for - tall building, but it evoked for Gilbert the dawn of the French Renaissance, an epoque exemplary for the conscientiousness of its craftsmen and the reawakening of classical values. These allusions he would see as equally valid for his artist contemporaries. And there is no reason to doubt that the Rodin corporation officers were in accord.

The Building

In choosing a name for their building and corporation in 1916, Parker and the Frys chose to honor Auguste Rodin - a Frenchman, a sculptor and a living artist. The Frys bad occupied the studio buildings named in honor of Van Dyck and Gainsborough, painters associated with the English School. Although their francophilia has been acknowledged, we must rely upon contemporary evaluations of Rodin to understand the significance of the corporate officers' choice.

Towards the end of his lifetime Auguste Rodin was recognized as an undisputed genius. His dedication to his craft triumphed over the adverse criticism that attended his early production so that Rodin had become a symbol to American artists trained in France. In 1905 Kenyon Cox discussed the essential character of Rodin's work — his reverence for the quality of his material was as important as his romantic realism.

So too, these Americans, immersed in Impressionism, returned to the challenge of acceptance in their own land. , Rodin's was an appropriate name to grace their efforts and distinguish their abode.

The site of the Rodin Studios building would have been familiar to former tenants at Carnegie Hall. Originally- .part of the Cornelius Cozine farm devised to his gran-daughter Rebecca Cozine and conveyed into lots in 1833, this parcel on the southwest corner of Seventh Avenue and West 57th Street saw several owners until 1881 when it was purchased by William F. Croft.

Croft secured John D. Prague to design and construct a seven story, brick and stone building of French flats to house twenty-four families. It was called "The Inverness" and subsequently "The Grenoble." The Inverness/Grenoble changed hands three times before 1916 when Rodin Studios, Inc. purchased it from the executors of Mary Chisholm and were issued a demolition permit. This corner site with its adjacent broad street widths was well-chosen; any of the problems which Ranger's corporation had incurred on West 67th Street were precluded.

The Rodin officers were looking for a new and homogeneous expression of the several functions their building would serve. Gilbert's program for the Rodin Studios building called for stores on the first floor and business offices on the second and part of the third floor. Simplex apartments and two sizes of duplex studio were to occupy the balance of the third floor and the eleven floors above.

The studios were either working studios or studios with adjacent living apartments. All of the duplex studios were to be positioned across the building's northern front — a room height and orientation which provided the maximum light with minimum shadow, the conditions necessary to a painter's work.

To maximize this important orientation fully, Gilbert repeated Buckham's solution at the Gainsborough Studies, one he could easily have seen upon a visit to the Frys' Gainsborough studio. The Rodin's broad corner site allowed him to place five studios abreast across the West 57th Street elevation rather than the two to which the Gainsborough's narrower mid-block site had limited Buckham.

But, as Buckham had, Gilbert isolated the smaller, working studios in the central three bays of this elevation, staggering the studies of the center bay so that a portion of each studio unit, a bathroom or kitchenette, overlapped that of its neighbor — as in an interlocking joint. The building's corner studios were the ones with apartment accomodations behind them . The simplex apartments were behind these.

As a consequence, in plan the Rodin Studios building does not fill its let but roughly approximates the letter F. Two wings extend south from the F's staff — the building's full northern front on West 57th Street . The longer wing along Seventh Avenue reaches to within ten feet of the southern lot line. The shorter is separated from the longer to the east and the western lot line by open light wells and extends almost as far into the lot. These wings contain the simplex apartments.

The fourteen-story structure is of reinforced concrete and the walls are faced with rough, subtly varicolored brick, predominantly buff, rising from a base faced with granite. The comprehensive ornamental program is iron and terra cotta. The building's principal elevations, on West 57th Street and on Seventh Avenue , follow the traditional tall building canon: a two story base, ten story shaft, and a cap consisting of the upper two stories and the cornice. An alternating rhythm of broad and narrow bays, articulated both at the base and the top by the building's decorative program, is spread horizontally across the two elevations.

The West 57th Street Elevation

The building's base is comprised of five broad bays with a central entrance and four shop windows; the narrow bays contain shop doors or smaller shew windows. A row of five double-hung sash windows fill the five bays on the second story.

Single, double-hung sash windows fill the narrow bays. The five broad bays within the building's main-section contain the duplex studio windows . The staggered studio windows within the center bay are the only exterior clue to the system of interlocking units within. Instead of five, the center bay contains four duplex windows; single story windows compensate for the interlocking arrangement.

The four narrow bays contain single double-hung windows on each story, lighting the overlapping bathrooms and kitchenettes of the interlocked studio units in the building's three center bays. Within the building's cap the five broad bays contain duplex studio windows and the narrow bays, as below, single windows at each of the cap's two stories, repeating the interlocked system below.

The Seventh Avenue Elevation

Here , as on the West 57th Street facade, the broad bays at the building's base contain four shop windows, though not all the narrow bays contain these shops' entrances. On the second story paired double-hung sash windows fill the broad bays and single, double-hung sash windows the narrow bays. This pattern is repeated across the building's main-section although, originally, there were no windows on the fourth, sixth, eighth, tenth and twelfth stories of the northernmost broad bay .

The left-hand windows in the southernmost broad bay, again on the fourth, sixth, eighth, tenth and twelfth stories, remain blind . In the building's two-story cap, the pattern of paired and single windows is retained, though the paired windows in the northernmost bay on the fourteenth story, as well as the single window in the niche to the right and the left-hand window in the southernmost broad bay, are blind.

South Elevation

Looking north on Seventh Avenue from West 56th Street, several bays of the building's southern elevation are apparent but only the first contains a window type unlike those in either of the preceding elevations. These windows are tripartite, a broad, central double-hung sash flanked by narrower fixed lights. The face brick here is uniformly buff; there are neither polychrome brick nor other decorative elements.

West Elevation

The visible portion of the western elevation, a lot line wall, is faced with stucco over brick and contains a vertical row of windows.

Ornamental Program

Much of the building's original ground story ornament was removed by its second owner, especially at the base. However, these portions of the building had been photographically recorded by Gilbert's firm and are described below. The building's architectural ornament is expressed in three materials, the brickwork itself, terra cotta and cast and wrought iron.

The Brickwork

The binding's rough, face brick is laid in common, or American, bend . On the two principal facades a tight range of polychromatic hue was specified. Though predominantly buff in color, there are stretchers of gray and headers of a burnt gold color randomly placed throughout the bond, a combination giving the surface a particularly rich texture.

The correspondence between building parts does not rely so ley on the building's more conspicuous decorative materials; where there is little terra cotta and no cast iron, the continuity of the building's decorative program is continued in the brickwork- Hie reveals , a column of headers next to a column of stretchers, separating the broad and narrow bays on both elevations are more visible on the Seventh Avenue facade where, without the duplex winders to offer contrast, they function visually as piers, connecting the building's base to its cap.

Some of the ornamental brickwork can still be seen below the shop windows' terra cotta corbel table cornices. The terra-cotta panels in the bread bay spandrels between the thirteenth and fourteenth stories are framed in two borders of brick : a border of headers inside a border of stretchers.

Terra Cotta Ornament

Like the Broadway Chambers, West Street and Woolworth Buildings, the Rodin Studios attests to Gilbert's predilection for terra cotta. It is the rich combination of classical motives and late Gothic tracery molded in terra cotta which gives the building its early French Renaissance character. On closer inspection the brittle character of the ornament make it very much of this century. It is remarkable for two reasons: much of it has been molded in high relief and the consequent shading and deep shadow offer a striking contrast to the building's planar surfaces; and the mythic animal and human representations are rendered in vivid caricature. The repetition of motifs emphasizes the cohesion of the building's decorative scheme.

Adjacent to the gateway south of the building's Seventh Avenue elevation are a broad terra-cotta molding — fluted molding between cable moldings — just above the granite base and a string course , suggesting the top rail of a dado, a bit above it. The building's entrance is arched and now faced with travertine.

At present the travertine revetment extends to and around the building's northeastern corner to the second broad bay from its southeastern corner, incorporating the building's rhythm of broad and narrow bays. The broad bays are square headed and glazed with narrow, bronzed metal framing; a horizontal mull ion, bearing the shop's name , separates the lower plate glass window and door from the upper. Two openings, one above -the other, articulate the narrow bays including those at the building's" northeast corner.

The lower openings contain a single plate glass window set in bronzed metal framing. The upper contain gold color metal grilles pierced with a symmetrical pattern incorporating the building's West 57th Street number, 200, right side up, upside down and inverted. Only on the Seventh Avenue elevation has the integrity of the broad and narrow bays been compromised; the second narrow bay from the building's northeast corner has a doorway flanked by glazed, single pane windows abutting the plate glass windows of the adjacent, broad bays. The horizontal muntin extends south across the travertine to include a broad bay, a narrow bay and a portion of the second southernmost bay, an arrangement necessitated by the BMT Subway staircase.

The original corbel table cornices above the broad bay show windows remain . The twelve corbel arches are supported by a series of five antic figures, or "marmosets": a frog, a rapt reader, a sky gazer, a frontal supporting figure and a supporting figure in profile, repeated as necessary. Above the corbel arches the cornice comprises a fluted frieze and Roman molding. The cornice carries a long paneled sill the width of the paired windows above.

In a wall extending from the building's south wall to the southern lot line, a few feet back from the building line along Seventh Avenue, there is an arched gateway , originally permitting access to the building's basement and rear yard but new the service entrance to the one-story restaurant addition of 1932-33. The gateway's foliated surround and ogee drip molding terminate in a crocketed accolade. Still in place within the arch's head is the original wrought-iron tympanum and lantern. Above the arch, three rectangular plaques containing a tracery design — a circle and four mouchettes — ornament the wall surface. The accolade's finial becomes the central element in the design of the middle plaque. The wall's coping is supported on a corbel table cornice like those above the shop windows.

Most of the ornament in the building's main-section is on the West 57th Street elevation and most of this is iron. Terra cotta is limited to two string courses and five drip moldings. The string courses run the breadth of the 57th Street and Seventh Avenue elevations : the thinner just above the second story windows, the thicker above it at the third-story windows' sill. These separated the building's base from its main-section. Above each of the adjacent windows in the northernmost broad bay of the Seventh Avenue facade — at the third, fifth, seventh and eleventh stories — there is an ogee, drip molding and accolade, borne on "marmoset" corbels. Not unlike the gateway diagonally below, the accolade finial is incorporated into the tracery design — a circle and four mouchettes — of the rectangular plaque above the window.

The terra cotta of the building's two-story cap is largely intact and the arched corbel motif from over the shop windows below is reintroduced in great variety. An arched corbel course and frieze between the twelfth and thirteenth stories on both the 57th Street and Seventh Avenue elevations separates the building's cap from its main-section.

Across the broad bays the corbelled course comprises twelve arches, like the shop window cornices, and thirteen marmosets; the narrow bays course have only four arches and five "marmosets." The Marmosets" are not a repetition of those below. There are three: one wears a head band, another is hooded, and the third bears an expression of stress. In both the broad and narrow bays all but the narrow panels at the extreme ends of the deeply molded frieze depict paired dolphins supporting a disk above a reeded basin? the narrower panels contain flambeaux in lew relief.

Corbelled pilasters corresponding to the brick reveals below mark the broad and narrow bays in the building's cap. Like the masks of comedy and tragedy the '•marmosets" alternate in expression: one depicts a grinning ancient grasping a palette; the other a distraught ancient pointing to a slender statuette. Each "marmoset" supports a paneled plinth faced with an urn in low relief.

The pilaster rises from this plinth and, like the plinth is paneled. Its lower portion is fluted. like the "marmosets," the pilaster capitals alternate also, though both are early Renaissance variations of the Corinthian order. The volutes of one are griffins; instead of a fleuron, a flambeau appears between them. The griffin capital crowns the pilaster resting on the "marmoset" of the grinning painter. The volutes of the other capital are cornucopia flanking a palmette; instead of the fleuron there is a mask of a hooded gnome. The "marmoset" of the distraught sculptor supports the pilaster with the cornucopia capital.

Terra cotta plaques in brick borders face the spandrels between the paired windows of the thirteenth and fourteenth stories.

Canopies of small pendant arches articulate the tops of the broad bays, above the duplex windows of the 57th Street elevation and the paired fourteenth story windows of the Seventh Avenue elevation. All of the single windows on the fourteenth story in both elevations , have become niches with corbelled sills articulated with escutcheons bearing fleur de lys and flanked by antic eagles. Repeated above each face of the tri-faceted canopies is the mask of the hooded gnome.

The cornice itself is an elaborate corbel table ; the small arches therein incorporate the shell motif and are supported on modillions. Between each of these modillions, on the bottom face of the corbel table, the winged heads of putty are molded in low relief. The cornice cymatium is articulated in a variation of a Roman molding; the acanthus leaves alternate with fleur de lys. A parapet originally rested on the cornice; it carried a pattern, most likely, akin to that of the frieze between the twelfth and thirteenth stories.

Cast and Wrought Iron Ornament

Cast and wrought iron in combination are also used within the building's decorative program. Except for the tympanum in the gateway adjacent to the Seventh Avenue elevation, most of the iron is found on the West 57th facade . Iron is used exclusively for the canopies which project from between the duplex windows. Gothic choir stall canopies appear to have been the model for these elements. Each is five bays wide, corresponding to the windows below and above, and each bay is separated by a thin rib and pinnacle. It is on these pinnacles that the winged finial figures perch.

One of these iron canopies should -be described from bottom to top . A narrow ivy frieze runs across the top. The thin ribs correspond with the mull ions between windows and rise across the ivy to become brackets supporting the canopy; the top of the bracket is attached to the back of the pendant pinnacle.

The panel above the window and be lew the canopy is divided in half vertically by a thinner rib. Running behind the canopy pinnacles are three horizontal moldings: the lowest one of pendant arches; a broad rinceaux; and a cable molding on top. Each pinnacle carries a winged creature finial; a foliate boss is the pinnacle's lower terminal feature.

Iron grilles once covered the second story, narrow bay windows . Ten stories above there were once balconies fronting the single windows on the West 57th Street elevation .

Conclusion

The Rodin Studios , commissioned by a corporation of artists — the painters Lawton S. Parker, Georgia Timken Fry and her husband John Hemming Fry— was designed by Cass Gilbert for a site in the heart of what once was Manhattan's artistic community. Not only did he refine the existing studio building type for them but he gave them a building comprising the best of contemporary building technology. And because he empathized with the earlier tradition of fifteenth-century French artists and artisans he gave his clients a building articulated in the French Renaissance style. Handsome and elaborate molded terra cotta and cast iron were the mediums of the style and where the building's function and its style came together, imaginative solutions, like the cast-iron canopies between studio windows on the West 57th Street elevation, were introduced. And for their building the corporate officers chose the name of the most innovative and revered contemporary artist, the sculptor Auguste Rodin .

- From the 1988 NYCLPC Landmark Designation Report

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Sunset at the city's centre. Antalya, Turkije. by George Ino

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Dates have been a staple food of the Middle East and the Indus Valley for thousands of years. They are believed to have originated around Iraq, and have been cultivated since ancient times from Mesopotamia to prehistoric Egypt, possibly as early as 4000 BCE. The Ancient Egyptians used the fruits to make date wine, and ate them at harvest. There is archaeological evidence of date cultivation in eastern Arabia in 6000 BCE.

There is also archeological evidence of date cultivation in Mehrgarh around 7000 BCE, a Neolithic civilization in India now western Pakistan. Evidence of cultivation is continually found throughout later civilizations in the Indus Valley, including the Harappan period 2600 to 1900 BCE.

+++ 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 S 13A was a reconnaissance aircraft that entered the Swedish armed forces in 1940, and it was only built and operated in a very limited number - actually only a pre-production batch of 20 aircraft. Originally, the aircraft was known as the "P7", and it was to be the only design of AB Förenade Flygverkstäder (AFF for short) that entered the hardware stage before the company was integrated into Saab again.

AFF had been formed in 1937 by ASJA and Saab as a measure to push the Swedish aircraft industry forward, in a complicated historical period with looming war in Europe, a tense, competitive situation in the domestic aircraft/military industry and Sweden's pursuit of neutrality. AFF was more or less a joint venture in defense against the Bofors group, and the design bureau not only consisted of Swedish engineers but also a considerable number of American technicians.

One of AFF's first designs was the P7 in response to a competition in 1938 for a new Army and Naval reconnaissance aircraft. Good visibility for both pilot and observer was an important factor for the military, so that a high-winged layout was chosen. The mission envelope included tactical reconnaissance and artillery reconnaissance capability – photographic reconnaissance and observation of artillery fire in daylight – up to about 15,000 yards (14 km) behind the enemy front. The top speed had to be at least 400 km/h (250 mph), the aircraft was to operate from short, unprepared airfields and the engine had to be a domestic design - or at least a licensed product, in order to ensure Sweden's independence from other countries as suppliers.

The resulting aircraft resembled the British Westland Lysander a lot, with high wings of a high aspect ratio The wings had a reverse taper towards the root, which gave the impression of a bent gull wing from some angles, although the spars were straight. It had a girder type construction faired with a light wood stringers to give the aerodynamic shape. The wing itself was fabric covered, and with its thickness maximized at the lift strut anchorage location,

Unlike the Lysander, the complete fuselage was duralumin tube joined with brackets and plates, which were cut from channel extrusions rather than forming from sheet steel. The front spar and lift struts were extrusions, too. The complete tail was fabric-less, too.

Unlike the Lysander, with its spatted, fixed landing gear, the P7 had a fully retractable landing gear - a kind of desperate measure to improve aerodynamic somewhat and achieve the 400 km/h goal. The tail wheel retracted forward into the rear fuselage, while the main wheels retracted inwards into thick stub wings, which also carried a single stabilizer strut each supporting the high and slender wings.

The crew of two sat under a well-glazed greenhouse canopy, separated by the internal wing support structure. The pilot enjoyed very good view over the short nose cowling for the license-built Pratt & Whitney R-1830 Twin Wasp radial engine, while the observer faced rearwards and had good side view. Armament consisted of a single, fixed 0.303" (7.7 mm) Browning machine gun in the outer starboard stub wing. Another machine gun was available for the observer on a manual mount for rear defense. Under the fuselage a single hardpoint could take bombs of up to 500 lb caliber (227 kg), or a 250l drop tank.

The P7 was developed in a hurry, since the political situation worsened day by day, and the first prototype made its maiden flight in May 1939. As already suggested by wind tunnel tests, the stub wing configuration was almost as draggy as the Lysander's fixed, spatted landing gear, and the extra weight for the retraction mechanisms was also not in favor of the P7's performance. Despite the stronger engine and a better aerodynamic quality than the Lysander, the P7 would hardly become faster than 380 km/h (236 mph) in level flight. The initial flights also revealed serious stability and airflow problems around the stabilizers, induced by the stub wings, and these issues had to be cured before the P7 could enter military service.

In the meantime, the original service profile for the aircraft had been changed to include a light bomber role - a task that was out of the P7's scope. Anyway, the Swedish army direly needed a modern reconnaissance aircraft. There had been high hopes for the Dornier Do 215 from Germany, but the outbreak of WWII prevented any exports and Sweden was left with no modern recce type in its arsenal.
As a consequence, the P7 was - after changes to the aircraft's tail section with a taller fin and a higher position of the stabilizers - an initial batch of 20 aircraft was ordered in late 1939. In service, the AFF P7 became known as S 13A; the designation had formerly been reserved for the Fokker G.I, but that type never entered Swedish service after the German inavion of the Netherlands. Anyway, despite the type's production, the P7 had only little hope for a prolonged production, since modern fighters and bombers now had top priority and its performance was mediocre, at best. Another lethal blow for the company in general and the P7 in specific came in March 1940, when AFF's American staff was ordered back to the United States and left the company so crippled that business had to be shut down. The firm was later re-integrated into Saab, but production of the P7 or any further development was never resumed.

Eventually, the P7's competitor, the Saab 17 dive bomber/recce aircraft entered serial production and took the P7's aspired place in the Swedish Air Force's arsenal. The few S 13s in service mostly served in observation and recce roles, or were used for liaison duties and target tugging, and the war survivors remained in service until the late Forties when all remaining airframes were scrapped.

General characteristics:

Crew: two (Pilot and observer or passenger)

Length: 30 ft 5 in (9.27 m)

Wingspan: 50 ft 0 in (15.24 m)

Height: 12 ft 6 in (3.81 m)

Wing area: 260 ft² (24.2 m²)

Empty weight: 4,365 lb (1,984 kg)

Max. takeoff weight: 6,330 lb (2,877 kg)

Powerplant:
1× Pratt & Whitney R-1830-S1C3G Twin Wasp 14 cylinder radial engine
with 1,050 hp (780 kW), driving a three blade metal propeller

Performance:
Maximum speed: 236 mph (210 knots, 380 km/h) at 5,000 ft (1,520 m)
Range: 600 miles (522 nmi, 966 km)
Service ceiling: 21,500 ft (6,550 m)
Climb to 10,000 ft (3,050 m): 8 min
Take-off run to 50 ft (15 m): 305 yards (279 m)

Armament:
One fixed 0.303 in (7.7 mm) Browning machine gun in the starboard stub wing outside of the
propeller arc, firing forward, plus another, moveable Browning machine gun for the observer
A single hardpoint under the fuselage for 500 lb (227 kg) of bombs or a 250 l drop tank

The kit and its assembly:
Despite the weird looks the AFF P7 isactually a real Swedish aircraft project from early WWII - but it never entered any hardware stage and it's also one of those funky designs between the World Wars that took both old and modern design details and mixed them into something ...strange!

The only visual referrence for the P7 I know is a drawing by C. G. Ahrenmark which pops up everywhere in literature and in the WWW when the obscure P7 is mentioned:

i.imgur.com/qyShSYt.png

It shows an aircraft that resembles a Westland Lysander a lot in general layout and outlines, but with a different tail surface shapes and low stub wings instead of the Lysander's large, spatted landing gear - and into these the landing gear could be fully retracted, inlcusing the tail wheel. Even the wing planform looks very Lysander-esque, even though there are only single stabilizer struts. I copuld not find information concerning the engine - but I assume that the P&W R-1830 was a serious option, since it was used in other Swedish contemporary designs like the Saab 17 and later in the FFVS 22, too.

So, it's no wonder to start with a Westland Lysander as a conversion basis - in my case, it's the Matchbox kit, even though in Revell's "Vintage Kit" re-boxing.

Anyway, only the fuselage, wings, propeller and interior was used, and several donor parts added in order to come closer to the P7's illustration:
- Rear fuselage and fin from a P-47 (actually from an MPM kit)
- Stabilizers from a Heller Curtiss SBC Helldiver
- A Twin Wasp engine, left over from a Matchbox PB4Y-2 Privateer
- Wing tips from a VEB Plasticart 1:100 An-24 as stub wings

The propeller is from the Matchbox Lysander, but with a new, stout spinner. On the rear fuselage, the fabric-covered, tubular structure was hidden under a coat of putty. The flaps were lowered for a less static appearance, and the whole Lysander tail chopped off and replaced by the Thunderbolt fin and tail section. While the change is subtle, I think the different fin shape changes the overall look of the Lysander a lot - somehow the profile reminds me now of a DHC Beaver or a Noorduyn Norseman?

The landing gear is a mix of Spitfire struts and wheels (Airfix) and covers from a Hawker Tempest (Matchbox), IIRC, with lots of improvisation. For example, the wells had to be drilled out of the massive and brittle VEB Plasticart material. Looks a bit shaggy if you look directly into them, but when the model rests on the ground, noone will ever tell... ;)

Painting and markings:
Well, this was a bit experimental. I wanted to add another unique Swedish Air Force aircraft to my growing collection, and a simple olive green/blue grey livery would certainly have been the more conservative option. But there were exceptions in the P7's time frame, had the aircraft entered service around 1939. One of these was the J 9 fighter, how the Severski P-35A was called in Swedish service. These American machines were delivered in NMF, but locally received a rather special camouflage: a zinc chromate yellow overall base coat with olive green streaks and mottles applied on top, so that the primer would still show through - reminding a bit of Italian aircraft camouflage (e. g. the Fiat CR.42, which was flown in Sweden, too, and basically retained its original Italian paint scheme). The undersides were standard blue grey.

To make things even more exciting I decided to add temporary winter camouflage on top of the basic scheme - inspired by a picture of J 9s in wintertime and the fact that there was an official pattern catalogue for tactical whitewash application. The creative patterns would leave the original camouflage partly visible and create dark shapes on the white surroundings, including shapes that look like small rivers or paths, and even bushes and leafless trees were part of the styles!

At first, the kit received a basis of uniform Humbrol 225 (Mid Stone), which is very yellow-ish and darker than true inc chromate yellow (Humbrol 81). The latter was added for some post-shading, though.
Once dry, I created the blurred, green pattern through thinned acrylic paints. A first layer was done with a mix of Revell 16 and 65 (Sand and Bronze Green, respectively), and on top of that - once dry - another layer with pure 65.

Then the decals were applied, puzzled together from various sources. Around these, the whitewash winter camouflage was added - again with acrylic paint, but this time with a more viscous artist paint: titanium white, with a bit of grey and beige added, and applied with a relatively small brush for visible streaks and a hand-made, provisional impression.

After some soot stains (with Tamiya's Smoke) and a few pencil-painted panel lines, the kit received a final coat of matt acrylic varnish.

Finally, a model of a rather obscure Swedish aircraft. Except for the landing gear (which is not exactly like the benchmark drawing, a compromise through the parts at hand) I am quite happy with the result, and the paint scheme with the added whitewash on top really makes the P7 model different.

gordipuerta-06784 by Urko Castanos

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Maximize your Space by Andrew Bone

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Reba likes to stretch out...

Maximizing Cabinet/Wall Space by teachingpalette

name: Dawn Lagerstedt

school: Washington Elementary 4th and 5th Grade

town:Schiller Park

state: Illinois

She (MGM, 1965). Lobby Card (11" X 14") by Morbius19

youtu.be/mqD7pkVyoOw Highlight Reel

Starring Ursula Andress, Peter Cushing, Bernard Cribbins, John Richardson, Rosenda Monteros, and Christopher Lee. Directed by Robert Day.

synopsis

Hammer Films co-produced this lavishly mounted adventure, the fourth adaptation of the novel by H. Rider Haggard. In Jerusalem, Leo Vincey (John Richardson) meets with a slave girl, Ustane (Rosenda Monteros), who has been charged with bringing him to an immortal queen, Ayesha (Ursula Andress). Ayesha, who desires Leo because of his resemblance to her long-dead lover, offers riches if he will travel to her lost city in the mountains, where a magical flame will also give him eternal life. Accompanied by his adventurous friend Major Horace Holly (Peter Cushing), Leo sets out for the fabled city across the desert, but along the way Ustane causes trouble when she decides she wants Leo for her own. She (1965) was followed by a sequel, The Vengeance of She (1968), although the follow-up did not star Andress.

Hammer Films, best known as the House of Horror, enjoyed a long history reaching as far back as the 1930s when it began as a production unit of the distribution company Exclusive Films. Exclusive had been started by William Hinds and Enrique Carreras, and Hammer remained a family-run firm throughout its heyday as a producer of small-budget but stylish horror movies. James Carreras, son of Enrique, presided over Hammer's famous repertory group of horror directors, writers, actors, editors, production designers, and composers, bringing his son Michael into the fold as a producer in the 1960s alongside William Hinds's son, Tony.

Though a small company with a modest studio at Bray, Hammer proved to be successful enough by the 1960s to attract the interests of Hollywood, and studios such as 20th Century Fox, Warner Bros., and MGM made deals with the House of Horror to coproduce films and distribute them in the U.S. Taking advantage of these deals, Hammer sought to maximize profits and diversify their output by increasing budgets and branching out into other genres. She, released in 1965, proved a successful foray into a new direction for Hammer, though Michael Carreras soon grew leery of the increased budgets that accompanied his studio's change in course.

She, H. Rider Haggard's story of a lost world in the jungles of Africa, was destined for cinema almost from the beginning. Haggard published his novel in 1887, and by 1908, a one-reeler of the story had been directed by Edwin S. Porter for Thomas Edison's company. In 1917, a longer interpretation was released by Fox Film starring forgotten actress Valeska Suratt, promoted in publicity materials as the Vampire Woman. Eight years later, an English version surfaced with Betty Blythe as the title character. Prior to Hammer's production, the most well-known interpretation of She was produced by Merian C. Cooper for RKO in 1935. Cooper changed the setting to the frozen north and cast Helen Gahagan as She in her only film role. The material was ripe for an update when Hammer took on the project in 1963.

Originally, Universal partnered with Hammer to produce She, and the project was assigned to Tony Hinds. He hired John Temple Smith to write the first draft of the script, which mirrored the original novel, but the content proved too dark and violent for Universal. Hinds had the script rewritten by Berkeley Mather, but Universal still did not warm up to the material. The project passed to Michael Carreras, who asked David T. Chantler to write another version and steer it toward an adventure tale. MGM stepped in to co-finance and coproduce, tripling the budget of the average Hammer film and making She its most expensive production to date. But MGM knew how to exploit the film, which starred Ursula Andress--famous for her turn as the bikini-clad Bond Girl walking out of the ocean in Dr. No. The posters for She featured Andress's impressive physique, and publicity took advantage of her jet-set lifestyle. She became a commercial hit on two continents.

The film opens in Palestine just after World War I. Three adventure-loving war buddies, Leo Vincey, Holly, and Holly's valet, Job, are enjoying themselves in a bar when a sultry local named Ustane approaches them. Hammer stalwart Peter Cushing plays Holly with his typical charisma and charm, while Bernard Cribbins complements him as his right-hand man Job--a fitting name for a character who is defined by his devotion to his employer. John Richardson costars as leading man Leo Vincey, though he lacks the magnetism of Cushing. Unknown to the men, Ustane secretly serves She, called Ayesha, and the young maiden recognizes Vincey as the reincarnation of her queen's long-dead lover, Kallikrates. Ayesha had murdered Kallikrates 2,000 years earlier for being unfaithful to her, but she pines for him regardless.

Based on Ustane's story, the trio is lured by the idea of a quest for a lost civilization and set out on a journey across the desert. They soon discover they are lost, though they are not without the creature comforts of the upper-crust adventurer. Job the valet, who never forgets his place, serves Holly and Leo their whiskey despite the dire circumstances. The trio reunites with Ustane in her desert village, where her father rules a lost tribe who guard the entrance to Kuma, Ayesha's kingdom. The three adventurers enter Kuma, which had been the scheming queen's long-term plan all along. Ustane has fallen in love with Leo, but Leo has become entranced by Ayesha, known variously as She Who Waits and She Who Must Be Obeyed. Ayesha wants Leo to step into her eternal flame so the two can be united for all eternity, but her priest, Billali, played by Hammer legend Christopher Lee, is jealous of the newcomer. A beautiful but selfish despot, Ayesha does not care about her subjects, including Ustane. She foolishly executes several of her subjects, causing an uprising and complicating the situation for the adventurers.

She was the first film from Hammer to be built around a female star. Tall and statuesque, Ursula Andress was a perfect choice to play Ayesha, though in retrospect she claims to have disliked the role. Andress has been criticized by reviewers for her icy demeanor and aloof detachment, but these characteristics proved beneficial for playing the steely-eyed Ayesha. Costumed in a selection of warm-colored, Grecian-styled gowns and gold jewelry, she glows onscreen, partly due to the flattering, high-key lighting of cinematographer Harry Waxman. Born in Switzerland to German parents, the exotic-looking beauty spoke with an accent, which Hammer's producers found too distracting. Andress's entire role was then re-voiced and dubbed over by an actress named Monica Van Der Syl, who mimicked a slight Swiss accent so audiences did not suspect the truth. John Richardson's lines were also dubbed in post-production by the actor himself, perhaps to give his line readings an added emphasis, since he tended to be overshadowed by Cushing and Lee.

The large budget for She is apparent on screen in the effective location shooting. Instead of the original jungle setting of the novel, writer David T. Chantler opted for a Middle Eastern background. The production shot for two weeks in Israel's Negev desert and then returned to England to shoot the interiors. Hammer's modest Bray Studio proved too small for the scale of the lavish Kuma sets, so the production set up at Elstree Studios. The authentic desert scenes gave She an epic quality not associated with Hammer's stylish but intimate horror films.

She did propel Hammer in a new direction, launching its so-called Hammer Glamour films of the 1960s, which starred or spotlighted female characters. A sequel, The Vengeance of She, was released in 1968, starring Olinka Berova in the starring role. It was yet another Hammer adventure tale with a sexy female lead that quickly outshone Andress and She at the box office. Released in 1966, One Million Years B.C. starred Raquel Welch in a role that propelled her to stardom and created one of the most memorable movie posters of the 1960s. Hammer would continue to place emphasis on women characters into the 1970s, but, just as Michael Carreras predicted, the big budgets that allowed for the location work in She and One Million Years B.C. quickly evaporated. Due to changes in tax laws and industry financing, American studios pulled out of British coproduction deals in the late 1960s, leaving Hammer with higher budgets and higher financial expectations from unions.

Gordi by Urko Castanos

10 2

Sony A7R+Nikon 75-150 f 3.5E @150mm, f 3,5. Better seen maximized/full screen for higher res.

20191122_224278 by Victoria M. Williams

Maximize your time, you don't have any to waste!

1:72 Hawker S 34B ‘Hunter’; ‘Röda Två (Red Two)’ of the Swedish Air Force Södermanland (F11) Wing, 1st Squadron; Nyköping (Sweden), 1968 (Whif/modified Revell kit) by Dizzyfugu

+++ 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 Hawker Hunter was a transonic British jet-powered fighter aircraft that was developed by Hawker Aircraft for the Royal Air Force (RAF) during the late 1940s and early 1950s. It was designed to take advantage of the newly developed Rolls-Royce Avon turbojet engine and the swept wing and was the first jet-powered aircraft produced by Hawker to be procured by the RAF. On 7 September 1953, the modified first prototype broke the world air speed record for aircraft, achieving a speed of 727.63 mph (1,171.01 km/h; 632.29 kn).

The single-seat Hunter was introduced to service in 1954 as a maneuverable day interceptor aircraft, quickly succeeding first-generation jet fighters in RAF service such as the Gloster Meteor and the de Havilland Venom. The all-weather/night fighter role was filled by the Gloster Javelin. Successively improved variants of the type were produced, adopting increasingly more capable engine models, and expanding its fuel capacity amongst other modifications being implemented.

The Hunter was exported to many countries all over the world, and one of the first foreign customers was Sweden. In the early 1950s, the Swedish Air Force saw the need for an interceptor that could reach enemy bombers at a higher altitude than the J 29 Tunnan that formed the backbone of the fighter force. A contract for 120 Hawker Hunter Mk 50s (an export version, equivalent to the RAF’s contemporary Mk. 4) was therefore signed on 29 June 1954 and the first aircraft was delivered on 26 August 1955. The model was locally designated J 34 and was assigned to two fighter wings F 8 (Barkaby) and F 18 (Tullinge) near Stockholm to defend the country’s capital as an interim solution before a more modern interceptor in the form of the indigenous Saab J 35 Draken was ready for service.
The J 34 was not fitted with a search radar, it only had a simple ranging radar for the guns and was consequently a pure day fighter aircraft. Its flying characteristics were excellent, though. It was a fast aircraft, with a maximum speed of 1.150 km/h, in spite of the fact that the Rolls-Royce Avon 23 (locally designated RM 5B) engine with a thrust of 4.080 kp lacked an afterburner. The Swedish Hunters’ mission was primarily to intercept enemy bombers, which were expected to attack from high altitudes, and they complemented the Swedish Air Force’s fleet of Saab J 32B, a radar-equipped all-weather/night fighter version of the Saab 32 Lansen fighter-bomber..

The J 34 was initially only armed with four 30 mm (1.18 in) cannon but soon retrofitted with launch rails for two AIM-9 Sidewinders (Swedish designation Rb 24) under the outer wings that markedly improved the interceptor’s effectiveness. A project to improve the performance of the J 34 further resulted in one Hunter being fitted with a Swedish-designed afterburner in 1958. While this significantly increased the engine's thrust, there was little improvement in overall performance, so that the project was shelved.
The Hunters’ career as an interceptor in Swedish service did not last long, though: During the 1960s, the J 34s were gradually replaced by supersonic J 35 Draken and reassigned to less prominent air wings, F 9 in Gothenburg and F 10 in Ängelholm.

At that time the Swedish Air Force was in a critical transitory phase concerning tactical photo reconnaissance. The current standard type for this mission was the Saab S 29C from the late Forties, complemented by the bigger Saab S 32C, which was a photo reconnaissance version developed from the A 32A attack aircraft. 45 of the latter aircraft had been built between 1958 and 1959 and the machines were equipped with a PS-432/A radar with extended range and with six cameras. Additionally, a photo reconnaissance version of the state-of-the-art supersonic Saab 35 Draken was under development, but when its first prototype flew in 1963, it was uncertain when it would become fully operational - the Draken’s interceptor variants had priority, and technology was advancing so fast at that time that upgrades were already in the making while the first production J 35s were delivered. In the meantime, the S 29C had become outdated and the more modern S 32C was rather optimized for maritime patrol. The relatively young surplus of J 34s fighters offered the opportunity to convert several airframes into tactical photo reconnaissance aircraft for low-level use over land, primarily as a replacement for the S 29Cs and as a stopgap until the S 35E would arrive at frontline reconnaissance units.

This led to the S 34B (the J 34s were consequently re-designated J 34A for better differentiation) conversion program. Sixteen airframes with relatively few flying hours were set aside and modified by Saab at Linköping in 1963. The airframe remained at the Hunter Mk. 50/Mk.4s’ standard and retained the type’s original non-afterburner engine and unmodified wings (in the meantime, a dog-toothed wing had been introduced with the Mk.6 that improved handling). The nose section was thoroughly modified to carry a broad array of cameras, and lengthened by about 4'. To compensate for the center of gravity shift through the extra equipment in the nose and create enough space for it, the Hunter’s fuselage-mounted 30 mm guns were completely deleted. The area under the cockpit was widened into a shallow tub with a flat floor, together with an extended, pointed tip which improved low-level flight stability with the now nose but still lacked any radar.
The re-contoured nose/cockpit section contained climatized compartments and windows for a total of six cameras, optimized for low-level reconnaissance and mountable in different angles:
- a long focal-length forward-looking SKA 16b (Vinten F.95) camera in the nose tip
- a sideways-looking wide angle SKA 42-44 camera (facing either to portside or starboard)
- a left oblique/forward infrared camera (various types were used, e.g. an SKA 16a/150 or an SKA 10/92
- a right oblique/forward SKA 16/10
- a vertical SKA 15/15 (F.49 Eagle IX Mk. 2)
- a vertical SKA 16a/150 infrared camera

The Hunter’s four underwing hardpoints were retained, though. All were plumbed to accept drop tanks for long-range missions and the capability to carry a pair of Sidewinders on the outer stations for self-defense was retained, too – even though this option was later in service almost never used. Later during their career, the S 34Bs could alternatively carry defensive equipment like chaff dispensers (e.g. the Motmedelskapsel KB a.k.a. BOZ-100) and early ECM devices like the Petrus/Adrian jamming pods from the Saab 32. However, most of the time the S 34Bs were operated in clean configuration to maximize low-level speed and handling, or just with a pair of drop tanks for long-range patrols along the Swedish borders.

An initial S 34B prototype was built in 1964 and flown late during the same year. Thorough operational tests with the camera installations lasted until mid-1965 at the Swedish Air Force’s Försökscentralen in Linköping. The full conversion program started in June 1964 and the first S 34B conversions were delivered to the Södermanland Wing (F11) in August 1965, where they were exclusively operated and replaced all S 29Cs of the unit’s first squadron, while the second squadron stuck to the S 29C but received four Sk 35C Draken trainers, a measure to prepare the unit for the eventual complete conversion to the S 35D. A total of seventeen Hawker Hunter Mk.50s were modified until 1966, including the prototype, which was brought to the operational S 34B status, too, and integrated into the active fleet. Unlike the J 34A fighters, the recce Hunters received a disruptive and unique three-tone camouflage in dark blue and two shades of dark green on the upper surfaces, reflecting their low-altitude mission profile. Another odd feature of F11’s J 34Bs were their individual tactical codes in the form of colored (red) numeric characters instead of letters, sharing this practice with F11’s contemporary S 32C Lansens.

Overall, the Hunter’s service with the Swedish Air Force was not long, though. The J 34A day fighters were already retired from service in 1969 and partly sold, while the S 34Bs were kept active until 1974, when operations at F11’s home base were expanded: the Swedish Air Force Intelligence School (FV UndS) was relocated to Nyköping and Saab 35 Draken fully replaced the last S 29Cs and the recce Hunters (which both lacked trainer versions). But already a year later, when the Palme government presented its bill 1975:75, a dismantling of two flotilla administrations, Södermanland's air fleet (F 11) and Kalmar air fleet (F 12), was proposed. The background was that the Swedish Defense Forces' peace organization investigation (FFU) in January 1971, tasked with investigating how the air force's peace organization from the mid-1980s could be adapted to the development of the war organization. That the flotilla would be dismantled was a matter of course, as the FFU considered that the reconnaissance divisions should be redistributed to other flotillas, primarily for operational and readiness reasons. Furthermore, the aircraft that the flotilla was armed with, the S 32C Lansen and the S 35D Draken, were to be replaced in the 1980s with the new SH/SF 37 Viggen. This also meant that aerial reconnaissance could then be solved in three aviation divisions, instead of the five reconnaissance aviation divisions that then existed within the Air Force.

General characteristics:

Crew: 1

Length: 49 ft 0.5 in (14.98 m)

Wingspan: 33 ft 8 in (10.26 m)

Height: 13 ft 2 in (4.01 m)

Wing area: 349 sq ft (32.4 m²)

Airfoil: Hawker 8.5% symmetrical

Empty weight: 14,122 lb (6,406 kg)

Gross weight: 17,750 lb (8,051 kg)

Max takeoff weight: 24,600 lb (11,158 kg)

Powerplant:

1× Rolls-Royce RM5B1 (Avon 23) turbojet engine, 9,000 lbf (40.8 kN) thrust

Performance:

Maximum speed: 623 mph (1,003 km/h, 541 kn, Mach 0.94) at 36,000 ft (11,000 m)

715 mph (621 kn; 1,151 km/h) at sea level

Range: 385 mi (620 km, 335 nmi) with internal fuel only,

1,900 mi (3,100 km, 1,700 nmi) ferry range with maximum external fuel

Service ceiling: 50,000 ft (15,000 m)

Rate of climb: 17,200 ft/min (87 m/s)

Wing loading: 51.6 lb/sq ft (252 kg/m²)

Thrust/weight: 0.56

Armament:

No internal guns;

4× underwing hardpoints with a total capacity of 7,400 lb (3,400 kg)

The kit and its assembly:

This fictional converted Hawker Hunter is a submission to the 2022 “Lightning, Canberra & Hunter” group build at whatifmodellers.com. The idea for a recce Hunter came when I wondered why there had not been a more dedicated variant than the FR.10, and when the GB came up I decided to build one from a Revell 1:72 kit. Sweden appeared as a good potential and attractive operator, as the Hunter would fit well between the Tunnan and Draken era – and I also had some donor parts from Swedish aircraft that would find their way into the rhinoplasty.

The kit is Revell’s 1:72 Hawker Hunter F.6 – initially I wanted to use an FGA.9 variant of this kit, but upon close inspection I found out that the Swedish Hunters were of a much earlier standard that made the FGA.9 an unsuitable starting point. While the Mk.4/50’s dog-teeth-less wings would be realized with a conversion set from Wolfpack, the early variants’ non-afterburner jet exhaust would have had to be scratched. It was eventually easier to procure a suitable variant of the Revell kit that offered this nozzle OOB, #04350, the first boxing from 2007 which was subsequently re-issued several times with slightly modified parts/sprues that depict later Hunter variants.

When I started building the kit, however, I found out that the kit was missing two parts – very untypical for Revell?! Apparently, the missing parts had broken off of the sprues during the packaging process, since both box and bag inside were still sealed when I received the kit. One missing piece was one of the separate dog-tooth slat sections for the wings, which could be easily replaced with the parts from the very crisp Wolfpack Hunter F.1/2/4/5 resin conversion set (which also includes a longer metal pitot) that was actually designed for the Revell kit, the other was a main landing gear cover. The latter was replaced by Revell of Germany for free within a couple of days after I had placed a request for a spare part at their service touchpoint. Great service!

The Revell Hunter is nice and probably the best contemporary kit of this aircraft in 1:72, even though it needs some PSR, esp. around the wing attachment seams on the fuselage. Beyond the wing modifications to create a Swedish F.4/Mk. 50 export variant I decided to thoroughly change the nose section, more than the FR.10’s small camera nose tip (which is available as a clear resin piece from Quickboost). I used the Saab 29 as a design benchmark and decided to replace the Hunter’s gun bays with camera compartments, using a leftover optional tray from a Heller S 29C to re-shape the area under the cockpit sides. I wanted to retain the original front landing gear well, though, so that only the “edges” from the Tunnan’s camera ports were transplanted under the Hunter’s front fuselage, creating pronounced “cheeks” and a more or less flat bottom.

To take the photo recce conversion even further I replaced the Hunter’s stub nose with a pointed alternative, a spare SF 37 nose with a forward-facing camera window from a Heller kit that I had received from a good friend a while ago. The Viggen nose was trimmed down to the same diameter as the Hunter’s, and its pitot was removed since the Hunter would retain the original wing-mounted sensor.

This recontoured nose section was blended into the Hunter’s fuselage with several layers/turns of PSR. My initial hope to retain the clear parts’ transparency for the finished S 34B soon evaporated, though, because the body work became so thorough that everything disappeared under layers of putty. At least the parts’ shape was retained, and they thoroughly changed the Hunter’s profile! At times I thought that the modified aircraft had a Soviet touch, and when I installed the landing gear it struck me that the pointed nose gave the Hunter a very F-105-ish look, like a missing link between the Thunderchief and the earlier RF-84G Thunderflash? Well, an idea for a potential future what-if project…

Anything else was taken OOB from the Revell kit, including the cockpit and the short drop tanks on the inner wing pylons.

Painting and markings:

This was a challenge. I did not want to give the fictional recce Hunter the J 34’s simple camouflage with dark green upper surfaces (Olive Green 328M) and grey undersides. The contemporary dark blue/olive green paint scheme was an alternative, but I found it to be quite boring and I also already had some Swedish whiffs with this scheme in my collection.

A suitable alternative eventually came from literature, where I found pictures of privately operated J 32E Lansen target tugs (SE-DCM and -DCN) which carried in the early Nineties a three-tone camouflage on their upper sides, consisting of mörk olivgrön (328M), mörkgrön (326M) and mörkblå (438M). I was not able to find pictures that provided detail information about the aircrafts’ concrete camouflage pattern, though, esp. from above, so that I adapted a pattern from an USN aggressor A-4E Skyhawk with adjusted colors to the Hunter airframe. The blue/green pattern on the contemporary J 32 and J 35 could not simply be expanded to a third shade, since the dark blue forms a kind of net pattern over the green background. The lighter green would always have looked like an enforced foreign matter, so that I rather went for an SEA-ish application in which all three colors appear pari passu. The aggressor pattern yet ensured that the dark blue would still form a kind of “river delta” within a murky green landscape.

The paints I used were Humbrol 77, 163 and 224 – lighter than the original tones, but for better contrast, scale effect and some weathering it turned out O.K. The undersides were painted in standard Swedish grey (058M), and I used Humbrol 165 (RAF Medium Sea Grey) as a proxy. The drop tanks were painted in standard J 34 colors, as a small contrast, in Humbrol 116 (FS 34079) and 165.

The cockpit interior was painted in anthracite, the ejection seat received bright green cushions (seen on a Swedish Hunter on museum display); the landing gear and the respective wells’ interior became aluminum bronze (Humbrol 56), while the interior of the air intakes became shiny aluminum (Revell 99) except for the splitter plates, which received the external camouflage colors. Copying the real J 34s’ look, the area around the jet efflux was painted in Aluminum (Revell 99) and separated from the rest of the hull with a thin 0.5 mm black line (generic decal material). The camera windows were created with black decal material, which had some light reflexes manually added and received a coat with glossy varnish.

The kit received the usual light black ink washing and some post-panel-shading for dramatic effect, and with markedly lightened tones from above to simulate bleached paint.

The decals/marking came mostly from RBD Studio (today Moose Republic, very good stuff!) sheets for Saab 32 Lansen in Swedish service. The unusual tactical code in the form of a number in the squadron’s color (instead of a colored letter or a white or yellow two-digit numeral that came next) was taken over from a real-world F11 S 32C from around 1963 – an exotic option, but it falls into the S 34B’s time frame and was a suitable option for this whiffy model, too. To reflect the 1st squadron’s code color even more and add a small color highlight, I painted the front wheel well cover in red and placed a white “2” on it.

Finally, the model was sealed overall with matt acrylic varnish. The Swedish Hunters’ rather glossy finish was only carried during the aircrafts’ early career years, when the machines still carried the factory finish with British colors under a clear protective coat. When the machines were later re-painted with Swedish paints during overhauls, they received a matt finish.

This modified photo reconnaissance Hunter looks simple, but the nose modifications were more severe and demanding than expected. The result looks pretty strange, esp. the pointed nose takes away the Hunter’s Fifties look. The Swedish markings and the three-tone camouflage suit the Hunter well, though, the S 34B looks quite convincing.

Decorative Bird Houses: The 10 Rules to Follow by Recyclart

www.1001gardens.org/2017/06/decorative-bird-houses-10-rul...

There are several ways to attract birds to their garden or balcony: feeding them in winter, providing them with water for drinking and bathing, planting favorable plants, not using chemicals, or installing a nest box. Many species need artificial nesting sites because their natural habitats are becoming poorer: dead hedgerows and trees disappear, facades of new buildings are smooth and hermetic, old piles of wood and rocks are eliminated, and Walls are destroyed.

Even if the installation of a nest box does not compensate for this heavy trend, it is a concrete gesture for our winged friends and a source of wonder for adults and children. In this article, we have selected ten important principles or "commandments" to maximize the chances that your birdhouse will be used and appreciated by birds.

1 - Choose The right model

The size of the entry hole allows you to select the hosts you wish to privilege (read the different types of nest boxes):

For blue tits (Cyanistes caeruleus), black tits (Parus ater) and tits (Poecile palustris), the hole will have a diameter of 25 mm.

For the Great Tit (Parus major), Sparrow (Passer montanus) and Black Flycatcher (Ficedula hypoleuca), the diameter of the hole will be 28 mm.

It will reach 32 mm for the House Sparrow (Passer domesticus) and the Nuthatch (Sitta europaea), and 45 mm for the Common Starling (Sturnus vulgaris).

The shape is also important: if the chickadees, nuthatches or sparrows prefer the traditional nesting boxes, the familiar Red Robin (Erithacus rubecula) and the Blackbird (Turdus merula) prefer those with a large rectangular opening in the front and middle depths 100 mm).

The Gray Flycatcher (Muscicapa striata) needs a very shallow (60 mm) nest box in order to monitor the entry hole, while the Crested Troglodyte (Troglodytes troglodytes) is looking for a high nest box (140 mm ).

The interior of the nest should not be too smooth so that the young can grip and easily get out.

There are many types of ready-to-use nest boxes for different species in the market, but you can also build them yourself by associating your children. There are several plans available on the web, and do not forget that there are also nest boxes for bats!

2 - Fix it solidly

It is necessary to tie your nest box to a solid and stable support, thanks to one or to fixings which do not risk to rust or to alter with time (galvanized wire, sheathed electric wire, etc.). If you attach it to a living tree, be careful not to hurt it: do not use nails.

The growth of the tree will not be impeded by placing a piece of wood between the trunk and the wire.

3 - Choose a good material

The nest box must be solid, robust, made with boards at least 15 mm thick. Avoid treated wood (or use non-hazardous products): over time, it will take a duller shade that will help melt it into the environment.

The softest woods can, however, be treated with Sadolin, a product that is not very dangerous for birds: limit its application outside the nest box, avoiding the perimeter of the hole, and allowing it to dry well before installation.

Pressure impregnated wood should not be used with copper arsenate and chromium.

But the good nest boxes are not necessarily made of wood: for example, those of the company Schwegler are made of "wooden concrete", a mixture of cement and sawdust.

Do not have trim in the nest box (straw, moss ...), the birds will bring. However, for large species such as owls or peaks, a layer of sawdust or chips may be placed in the bottom.

4 - Choose a sheltered place

The place chosen should be quiet, rather far from a busy road or road. It is especially important to install the nest box in a place as sheltered as possible from the weather.

The orientations East, South-East or even Northeast are ideal. The nest box should not be exposed all day long to the sun or the permanent shade. Place it away from the prevailing winds, for example behind a bush, avoiding leaves from obstructing the entrance of the nest.

Be careful, the inside of the nest box must remain dry: it is necessary to ensure that the planks are well joined. It is advisable to lean it slightly forward to facilitate the flow of rain on the roof.

The nest box should not be on the trajectory of a trickle of water that would form after a downpour. You can drill a small exhaust hole at the floor to facilitate fluid evacuation.

Avoid wet locations (the presence of moss on trunks or rocks is an unfavorable index). Some birds such as red throats require that the nest box is relatively hidden, for example against a wall where ivy grows.

5 - Protecting it from predators

It is important to install the nest box away from predators (cats, squirrels ...): for example, you can place a wide mesh around the nest box, place spiny branches at the base of the stake or Trunk, plant a rosebush or fix a "stop-cat" around the trunk.

It must be placed at a height, ideally at least two meters from the ground, at least 1.50 meters. Place it preferably against a trunk rather than a branch.

Here are some recommended heights for several species:

Troglodyte cute (Troglodytes troglodytes): 1,5 meter - 4 meters

Family Robin (Erithacus rubecula): 1.5 meters - 5 meters

Song thrush (Turdus philomelos): 1.5 meters - 2 meters

Gray Wagtail (Motacilla alba): 1.5 meters - 2 meters

Treecreeper (Certhia brachydactyla): 1.5 meters - 5 meters

Blackbird (Turdus merula): 1.5 meters - 6 meters

Green Peak (Picus viridis): 2 meters - 6 meters

Black Redstart (Phoenicurus ochruros): 2 meters - 6 meters

Nuthatch (Sitta europaea): 2 meters - 6 meters

Creche falcon (Falco tinnunculus): 8 meters - 12 meters.

A metal plate placed around the entrance will prevent it from being enlarged by mammals.

For cats to not kill birds in the nest box by entering the leg, the depth should be at least 13 cm from the hole (for circular entry models). For shallow nests, such as those for robins or cockroaches, you can, for example, place a wire net around it.

Caution, predators should not get too close by a well-placed branch or a nearby wall. However, the presence of perches in the vicinity is important because the parents generally do not enter the hole directly.

6 - Install it at any time of the year

It is best to install your nest box in autumn or early winter: it will be spotted by birds before spring. Some species such as tits can settle very early (as of late winter), while others like winter troglodytes can spend the winter there.

It is actually possible to set up nest boxes all year round, including in April, May or June, even if those set up later will have less chance of being occupied before the following season. Installing nest boxes spread out over time allows you to target the species you prefer or not: for example, a nest box for Redstart with a white forehead placed before the end of April will prevent it from being occupied by sparrows or tits.

Some birds such as the Gray Flycatcher (Muscicapa striata) return late in their migration (late May), others nest several times during the year and some who have abandoned a nesting site will be delighted to find one available. Finally, your nest box will surely be spotted by birds visiting your garden and these will occupy it perhaps next spring.

The use of a nest can indeed take up to a year, do not lose patience! On the other hand, if a nest box is not occupied two years after its establishment, it is because the place is not suitable.

7 - Install a reasonable number

Avoid placing two nest boxes for the same species too close together; The distance of "safety" varies according to the species: at least 20 meters for tits and 70 meters for the White-fronted Redstart (Phoenicurus phoenicurus) and Nuthatch (Sitta europaea).

But you can install several nests of birds that do not compete directly with each other, like fruit-eating and frugivorous species.

For colonial species (sparrows, starlings, swallows), this question of minimum distance does not arise, of course. Nest boxes should be installed as far away as possible from feeders and bird baths.

8 - Limit your visits

Limit your visits. Use binoculars to look away from parents and young people without disturbing them. If you find chicks on the ground, pick them up and put them back in the birdhouse so they are safe.

9 - Clean it at the end of the season

The nest should be easily accessible to be cleaned at the end of the nesting season. Also, prefer models with a removable top for easy cleaning. In autumn, from September, empty the nest box, brush inside, clean it if necessary with water, dry it and apply a pest control product that is safe for birds.

For example, you can use thyme oil. The birds themselves use certain plants to keep pests away (read Some birds use their botanical knowledge to build their nests). Make sure that the boards are tight and that the tie is solid.

10 - Convince the others

Convince your friends, your acquaintances, your company, your association or your town hall to also install nest boxes. Natural cavities are increasingly scarce, and modern buildings offer fewer and fewer bird-friendly sites: you can help them!

BAKOKO CDS 2F Meeting Room Closed by BAKOKO

The Tokyo office of multinational recruitment specialists CDS, was an opportunity to maximize the value of their existing two-story premises and transform it into an efficient and modern workplace on the floor above with an attractive facility for meetings and interviews below.

The company’s globally diverse workforce challenged us to create a more collaborative work space straddling Western and Japanese office cultures. As is typical in Japan, staff work long hours at their desks, but they are highly engaged amongst their specialist teams. We challenged our client to break free the old cubicle culture by creating greater transparency to foster spontaneous communication, as well a diversity of relaxed work and meeting spaces. The central copy/meeting point fosters short team huddles; the generous window sofa area encourages casual meetings away from the desk, so as not to disturb working colleagues; and an attractive pantry and lounge blurs the boundary between breaks and productive meetings.

A feeling of openness and “buzz” was achieved by removing the stuffy suspended acoustical ceiling. Custom-made wooden lighting fixtures project light upward as well as downward, to reflect diffuse light off the exposed ceiling. A round central meeting room is comprised of an elegant timber frame supporting polycarbonate walls to enclose more sensitive internal meetings.

On the ground floor, a steady stream of candidates arrive for interviews well into the evening. As we worked closely with top management, assessing and mediating these diverse needs and flows through design became a central theme. Thirteen meeting rooms, some of which can be reconfigured into a 60-seat conferencing facility, offer a variety of meeting formats.

Visiting interviewees feel that their career is about to take-off as they walk around the circular “racing-strip” corridor surrounding the central “core” interview rooms.

bakoko.jp

Maximized memory by Sandia Labs

A Sandia team is collaborating with Los Alamos and Lawrence Livermore national labs and Intel Federal LLC to optimize DRAM packages, pictured here and found in many consumer laptops, to increase compute platform performance.

Learn more at bit.ly/3H1R4Wv

Photo by Craig Fritz.

Maximize your locati... by Frank Doorhof

Maximize your location to tell the story.

Model : Nadine.

Often we forget to also incorporate the location by only focussing on the model. By "mixing" the two together and adding some props. You can really enhance the shot.

Saturday : July 14

Workshop fashion to the max.

www.fotografie-workshops.nl

Mitch Barns, Chief Executive Officer, Nielsen, USA and Tonye Cole, Co-Founder and Chief Executive Officer, Sahara Group,.Nigeria and Ilene S. Gordon, Chairman, President and Chief Executive Officer,.Ingredion, USA and Peter T. Grauer, Chairman, Bloomberg, USA and Linda A. Hill, Wallace Brett Donham Professor of Business Administration, Harvard Business School, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017