outdated sign and sign of spring

Taken with My Ciro Flex Model E using outdated Ilford XP2 Super 400 ASA film. St. Augustine African Orthodox Pro-Catheral. (Built 1886 as Episcopal mission, now church for the African Orthodox Church founded by Bishop George A. McGuire as the religious arm of Marcus Garvey’s Back to Africa Movement.)

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Through her social connections, Lettice’s Aunt Eglantyne contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Gladys’ request that she redecorate her niece and ward, Phoebe’s, small Bloomsbury flat. Phoebe, upon coming of age inherited the flat, which had belonged to her parents, Reginald and Marjorie Chambers, who died out in India when Phoebe was still a little girl. The flat was held in trust by Lady Gladys until her ward came of age. When Phoebe decided to pursue a career in garden design and was accepted by a school in London closely associated with the Royal Society, she started living part time in the flat. Lady Gladys felt that it was too old fashioned and outdated in its appointment for a young girl like Phoebe. When Lady Gladys arranged for Lettice to inspect the flat, Lettice quickly became aware of Lady Gladys’ ulterior motives as she overrode the rather mousy Pheobe and instructed Lettice to redecorate everything to her own instructions and taste, whist eradicating any traces of Pheobe’s parents. Reluctantly, Lettice commenced on the commission which is nearing its completion. However, when Pheobe came to visit the flat whilst Lettice was there, and with a little coercion, Pheobe shared what she really felt about the redecoration of her parent’s home, things came to a head. Desperately wanting to express herself independently, Pheobe hoped living at the flat she would finally be able to get out from underneath the domineering influence of her aunt. Yet now the flat is simply another extension of Lady Glady’s wishes, and the elements of her parents that Pheobe adored have been appropriated by Lady Gladys. Determined to undo the wrong she has done by Pheobe by agreeing to all of Lady Glady’s wishes, in a moment of energizing anger, Lettice decided to confront Lady Gladys. However unperturbed by Lettice’s appearance, Lady Gladys advised that she was bound by the contract she had signed to complete the work to Gladys’ satisfaction, not Phoebe’s. In desperation, Lettice fled to Glynes, the grand Georgian family seat of the Chetwynds in Wiltshire, where she discussed the situation with her father, the Viscount Wrexham. He advised her that due to her not seeking the advice of the family lawyers and leaving the writing up of the contract to Lady Gladys’ lawyers, Lettice is bound to do what Laday Gladys wishes. Flinging his hands in the air, he placed the blame at the feet of Eglantyne, his younger sister, and Lettice’s aunt, telling her that it is up to her to get Lettice out of the bind that he feels she is responsible for.

 

Thus, we find ourselves today a short distance north-east across London, away from Cavendish Mews and Mayfair, over Paddington and past Lisson Grove to the comfortably affluent suburb of Little Venice with its cream painted Regency terraces and railing surrounded public parks. Here in Clifton Gardens Lettice’s maiden Aunt Eglantine, affectionately known as Aunt Egg by her nieces and nephews, lives in a beautiful four storey house that is part of a terrace of twelve. Eglantine Chetwynd as well as being unmarried, is an artist and ceramicist of some acclaim. Originally a member of the Pre-Raphaelites* in England, these days she flits through artistic and bohemian circles and when not at home in her spacious and light filled studio at the rear of her garden, can be found mixing with mostly younger artistic friends in Chelsea. Her unmarried status, outlandish choice of friends and rather reformist and unusual dress sense shocks Lettice’s mother, Lady Sadie, and attracts her derision. In addition, she draws Sadie’s ire, as Aunt Egg has always received far more affection and preferential treatment from her children. Viscount Wrexham on the other hand adores his artistic little sister, and has always made sure that she can live the lifestyle she chooses and create art.

 

We are in Eglantyne’s wonderfully overcluttered drawing room, which unlike most other houses in the terrace where the drawing room is located in the front and overlooks the street, is nestled at the back of the house, overlooking the beautiful and slightly rambunctious rear garden and studio. It is just another example of Lettice’s aunt flouting the conventions women like Lady Sadie cling to. The room is overstuffed with an eclectic collection of bric-à-brac. Antique vases and ornamental plates jostle for space with pieces of Eglantyne’s own work and that of her artistic friends on whatnots and occasional tables, across the mantle and throughout several glass fronted china cabinets. Every surface is cluttered to over capacity. It is in this cosy space that Eglantyne has gathered Lettice, Phoebe and a rather surprised Lady Gladys as she makes her own attempt to see if they can work out a way to untangle Lettice from Lady Gladys’ contract, and undo the damage done to Pheobe by way of Lettice’s redecoration of the flat.

 

From her wingback chair by the fire, Eglantyne plays mother** as she picks up the teapot decorated with swirling Art Nouveau designs of vine leaves. When she was young, Eglantyne had Titian red hair that fell in wavy tresses about her pale face, making her a popular muse amongst the Pre-Raphaelites she mixed with. With the passing years, her red hair has retreated almost entirely behind silver grey, save for the occasional streak of washed out reddish orange, yet she still wears it as she did when it was at its fiery best, sweeping softly about her almond shaped face, tied in a loose chignon at the back of her neck. Large amber droplets hang from her ears, glowing in the diffused light filtering through the lace curtains that frame the window overlooking the garden. The earrings match the amber necklace about her neck that cascades over the top of her usual uniform of a lose Delphos dress*** that does not require her to wear a corset of any kind, and a silk fringed cardigan, both in beautiful shades of Firenze Blue****. “Your tea, Gladys my dear.” Eglantyne says with a sweet smile as she hands the delicate china teacup, as fine and brittle as most of the ornaments cluttering the drawing room around her, to Gladys.

 

“Thank you.” Lady Gladys replies stiffly, her face as black as thunder as she settles back into the figured white satin button back***** upholstery of Eglantyne’s elegant sofa.

 

“Phoebe,” Eglantyne calls cheerfully, alerting the fey young woman of the tea she is proffering to her. She smiles a little more brightly at Phoebe, dressed in a most becoming shade of light apple green which compliments her pale skin and halo of wispy blonde curls held back off her face by a matching pale apple green Alice band******, as she hands the cup to her. Eglantyne is rewarded with a small smile of hope on the young girl’s almost translucent lips as she accepts the tea gratefully.

 

“Lettice,” Eglantyne announces as she pours tea into the second to last empty cup on the tray before her, before adding a generous slosh of milk and two lumps of sugar to it. She gives her beloved niece an encouraging smile as she passes the teacup to Lettice.

 

“Why do I feel,” Lady Gladys says peevishly as she stirs her tea a little too forcefully with round clockwise stirs which both Eglantyne and Lettice notice with disapproval, before tapping her teaspoon loudly against the edge of her cup and depositing it noisily into her saucer*******. “That this is an ambush?” She picks up her cup and sips her tea in a disgruntled fashion, her right leg bouncing irritably crossed over her left, making the soft folds of her peach gown dance.

 

“Now why would you think that, Gladys?” Eglantyne says with an enigmatic smile as she pours tea into her own cup, turning her head away from Gladys momentarily to glance at Lettice sitting adjunct to her. “You are starting to sound like one of the protagonists in your novels.” She settles back comfortably into her wingback Chippendale chair and takes a sip of her black tea. “What’s the title of your latest one? Melisande? Melinda?”

 

“Miranda.” Lady Gladys corrects Eglantyne, adding to her irritation.

 

“That’s it! Miranda!” laughs Eglantyne. “Oh course! No, I simply thought it was high time that you and I had a little tête-à-tête, Gladys. I mean, I know we have spoken on the telephone, but I feel like it has been an age since I last saw you. It must have been that artists’ ball in Chelsea last spring.”

 

“I wasn’t aware that an intimate tête-à-tête would include both your niece and my own, Eglantyne.” Lady Gladys glowers.

 

“Oh, I thought it might be nice if we all had a little tête-à-tête together.” Eglantyne replies, slipping her teacup aside onto the galleried silver tray on the table beside her.

 

“Then this is obviously about the flat then.” Lady Gladys thrusts the gilt Art Nouveau teacup and saucer onto Eglantyne’s petit point footstool ungraciously, sloshing tea from her cup into her saucer, narrowly avoiding spilling tea onto the embroidery of yellow and pink roses beneath it. “Which of course I knew it would be as soon as I walked in and saw these two,” She nods her head disapprovingly first at Phoebe and then at Lettice. “Conspiring with you.”

 

Lettice looks into Lady Gladys’ eyes. She can’t recall them ever looking so dark and hostile towards her before. Any bright joviality or spirit is gone, replaced with some deep and angry bejewelled fire. She shudders in her seat as she considers the fact that they almost look murderous as they sink into the pale folds of her jowly flesh.

 

“There you go, sounding like one of your badly done by heroines again, Gladys.” Eglantyne says calmly. “Melodramatics are so unattractive in older women, and suggests an imbalance in character, don’t you think?”

 

“I resent that, Eglantyne.” Lady Gladys spits.

 

“And I resent your insinuation, Gladys. No-one is conspiring in my drawing room.”

 

“Maybe not now, Eglantyne.” Lady Gladys says, wagging one of her skinny bejewelled fingers at Eglantyne, the stones winking gaily. “But we’ve been friends for too many years, and conspired together too much for you to deny that you have not consorted with Pheobe and your niece prior to my arrival.”

 

“Well, I cannot deny that, Gladys.” Eglantyne confesses.

 

“I knew it!” Lady Gladys crows. “You’re just fortunate that we have been friends for as many years as we have, Eglantyne. I’ve had fallings out with other friends for lesser misdemeanours, and cut them dead.”

 

“Oh I know, Gladys.” Eglantyne replies. “The path to your door is strewn with the bodies of your spurned friends.”

 

“Oh ha, ha!” mocks Lady Gladys.

 

“And it is for the very reason that we have been such good friends for so many years that I felt compelled to step into the vexatious situation that the redecoration of your niece’s flat has become to try and straighten things out between yourself, your niece and my niece.”

 

“I don’t find it to be a vexatious situation, Eglantyne my dear.” Lady Gladys replies with a tight smile. “Aside from your niece,” She waves her hand sweepingly in Lettice’s general direction as she speaks. “Trying to undermine my… err… our,” She glances at Phoebe, who looks down into her cup, her face unreadable as she hides behind her cascade of curls. “Wishes. That, I find vexatious.”

 

“I say!” Lettice pipes up, her eyes growing wide in surprise and her voice edged with indignation. “I call that jolly unfair! It’s you who are the cause of vexation. I…”

 

Eglantyne silences Lettice by leaning forward and holding out her hand, her lined palm acting like a divider between Lettice and Lady Gladys, and causing the angry and resentful words from Lettice’s mouth to cease.

 

“These Bright Young Things********,” Eglantyne remarks with an awkward chuckle. “They are so passionate, aren’t they?”

 

“A little too passionate if you ask my opinion.” Lady Gladys mutters.

 

“Yes, quite.” Eglantyne agrees. “Please accept my apologies for my niece’s unconscionable and unladylike outburst, my dear Gladys.” She turns and stares at Lettice, shaking her head almost imperceptibly as she purses her lips as a warning.

 

Lady Gladys grunts her ascent with a curt nod.

 

“Good.” Eglantyne goes on. “I want there to be no bad blood between any of us, as a result of this little gathering, which I have arranged in the spirit of collaboration.”

 

“I don’t see the need for this meeting, arranged in a spirit of collaboration or otherwise.” Lady Gladys grumbles as she settles back against the sofa’s back again and foldes her arms akimbo.

 

“Now there is no need to get defensive, my dear Gladys.”

 

“I fear there is, Eglantyne, when I sense that you are all set on a path with a foregone conclusion, that I, as an interested party, have not been privy to.”

 

“Well,” Eglantyne explains. “There you have it, Gladys. As my dear friend of old, I’m not going to lie to you, and tell you falsehoods to your face. It is true that Lettice, Phoebe and I have been discussing the matter of the redecoration of the Ridgmount Gardens pied-à-terre********* without you, but only because without you, your niece can express her opinions uninterrupted.”

 

“Uninterrupted?” Lady Gladys balks. “I like that! I always allow Phoebe to express her opinion.”

 

“No you don’t.” Lettice interjects. “You just steamro…”

 

“Lettice!” her aunt warns her with a stony face.

 

“You don’t, Auntie Gladys.” Phoebe utters, breaking her silence.

 

“Of course I let you have an opinion, Phoebe! And don’t call me Auntie. You know I don’t like it!” she scolds.

 

“Very well, Gladys, I recant.”

 

“That’s better.” Lady Gladys smiles smugly.

 

“You do allow me to have an opinion, but only when it doesn’t contradict yours, or you wear me down, as you so often do, so that I will simply agree with you, which amounts to much the same thing.”

 

“Phoebe!” Lady Gladys gasps the smile of moments ago quickly falling away. “I’m offended.”

 

“Offended or not, that is the truth, Gladys.” Phoebe says, staring at her aunt, her eyes a little brighter as tears begin to form beneath her lids, threatening to burst forth at any moment.

 

“You can’t fault her truth, Gladys.” Eglantyne opines from her seat. “You know within yourself that you can be very stubborn when you want to be, and you do have a propensity to wear people down when you wish to get your way.”

 

Lady Gladys doesn’t reply, remaining poised and aloof in her seat, staring in a steely fashion at one of the Countess Baronovska’s vases filled with peach coloured roses sitting on Eglantyne’s cluttered mantlepiece.

 

“Your silence speaks volumes as to your own self-awareness, Gladys.” Eglantyne goes on with a tired sigh. “Even if you aren’t ready to voice your agreement with me. Phoebe is correct. You know she is. Now, this state of affairs around the Ridgmount Gardens pied-à-terre only came to my attention in the aftermath of the last conversation you had with my niece: a conversation that I know didn’t end too well.”

 

“Oh, I wouldn’t say that, Eglantyne.” Lady Gladys ventures. “It seemed perfectly fine to me. The crux of the matter is that I simply reminded your niece of her obligations to me. I didn’t have to choose Lettice to redecorate Phoebe’s flat but I wanted to give her, as a young up-and-coming designer nearer to Pheobe’s age than the likes of Syrie Maugham********** the opportunity to increase her profile as a society interior designer. I felt that being of a similar age, the two might get along and come up with a suitable redecoration scheme.”

 

“A redecoration scheme that you yourself, must be completely satisfied with.” Eglantyne interrupts.

 

“Well of course, Eglantyne.” Lady Gladys smiles. “Lettice did sign a contract with me, that as her client, I have the right to have her do everything I ask of her, or she forfeits payment.”

 

“But whose pied-à-terre is Ridgmount Gardens, Gladys?” Eglantyne asks.

 

“What do you mean, Eglantyne?”

 

“Whose pied-à-terre is Ridgmount Gardens? To whom does it belong?”

 

“What a ridiculous question!” Lady Gladys laughs. “Why its Phoebe’s of course! You know that!”

 

“Then, shouldn’t Phoebe be my niece’s client. Gladys? Shouldn’t Lettice be abiding by her wishes?”

 

“Well, technically yes,” Lady Gladys replies, squirming a little in her seat. “But I am the one footing the bills for the redecoration: bills which I might add are a little extravagant.”

 

“But you’ve agreed to their cost, Gladys.”

 

“Well, yes of course I have, Eglantyne. I’m not going to leave Phoebe with a half-decorated flat, am I?”

 

“But even if you are footing the bills as it were, shouldn’t Lettice be following Phoebe’s wishes, Gladys?” Eglantyne takes a sip of her tea. “After all, you aren’t going to be living in Ridgmount Gardens, are you? Phoebe is.”

 

“Well, Phoebe’s wishes and mine are virtually the same, aren’t they Phoebe my dear?” Lady Gladys laughs forcefully, turning her head to her niece.

 

Phoebe doesn’t reply, but drops her head into her lap.

 

“Phoebe?” Lady Gladys queries.

 

“Phoebe dear,” Eglantyne says kindly to the young girl. “Why don’t you tell your aunt what you told my niece when Lettice asked you about the redecoration.”

 

“Do you mean that I never actually requested the redecoration, Miss Chetwynd?” Phoebe asks.

 

“Phoebe!” Lady Gladys chokes. “Of course you did!”

 

“No I didn’t, Gladys.” Suddenly filled with bravado with both Lettice and Eglantyne supporting her against Lady Gladys, and undeterred by her aunt’s withering glance at her, she goes on, “You did!”

 

“No, I didn’t!” Lady Gladys retorts. “You discussed the colour scheme with Lettice when we had dinner at Gossington the first night you met her.”

 

“No, that isn’t true,” Phoebe replies matter-of-factly, her voice gaining a new found strength. “You discussed Lettice redecorating my flat whilst I was out rambling with some of your guests. You then discussed what colour the flat should be with Lettice over the top of me at dinner that night.” She register’s her aunt’s look of shock. “Oh you may not remember it that way, but our memories are seldom objective enough to tell the truth for us, and that is the truth.”

 

“Bravo Phoebe!” Lettice whispers under her breath as she sits in her seat, nursing her cup of tea.

 

“What did you tell Lettice when she asked you about how you would like your pied-à-terre decorated, Phoebe?” Eglantyne encourages the young girl who has suddenly blossomed with energy and purpose before her eyes.

 

“Well, I was actually quite happy with how things were.” Phoebe admits.

 

“Oh Phoebe!” Lady Gladys chides her niece gently. “I told you already, that you can’t live your life in a mausoleum!”

 

“But it wasn’t a mausoleum to me.” Phoebe explains. “It was a connection to my parents.”

 

“But you barely knew your parents, Phoebe!” Lady Gladys retorts, placing her teacup aside, more gently this time. “You were so young.”

 

“All the more reason then, to try and maintain some precious connection to them, Gladys.” Eglantyne remarks gently from her seat.

 

“But John and I have been more mother and father to Phoebe than Reginald and Marjorie.”

 

“No-one is disputing that, Gladys. Phobe is simply expressing her opinion that she wishes to maintain a connection with her parents, and perhaps maintain a modicum of their presence in her life.”

 

“Well,” Lady Gladys huffs, throwing a hand dramatically skywards. “This is all news to me!”

 

“Maybe,” Lettice ventures. “Maybe if you were perhaps a little more open to listening, Gladys, rather than telling Phoebe what you want to hear, you might know her opinion.”

 

“Lettice is right, my dear Gladys.” Eglantyne agrees in a calm voice.

 

“For what it’s worth, Gladys, you were right about the flat needing to be freshened up, and I actually don’t mind the colour you’ve chosen with Lettice to paint the flat, nor the curtains.”

 

Lettice cringes at the mention of the chintz curtains she detests, but remains silent on the matter.

 

“Well, at least I did something right.” Gladys beams.

 

“I want my books and my photographs, and that bookish, scholarly, ramshackle feeling I love.” Phoebe goes on.

 

“Well, I don’t approve of that rather untidy mess you call ‘bookish’ and ‘scholarly’ but as you say, it is your flat, so you may live in it however you like.”

 

“However,” Pheobe quickly interrupts her aunt. “It is also my wish that the memory of my parents live on in my flat, since it is my flat, and my London home. I want that essence of my parents: my mother’s china,” She takes a deep breath as tears well in her eyes. “And my father’s desk.”

 

“Now, Phoebe,” Lady Gladys retorts. “You know I told you that Reginald wanted me to have his writing desk.”

 

“But he didn’t stipulate that in his will, did he, Gladys?” Eglantyne asks.

 

“Well, no.” Gladys agrees begrudgingly. “He just hadn’t gotten around to…”

 

“And I distinctly remember you saying to me after you came back from India with Phoebe, how well organised Reginald had been with his affairs.” Eglantyne interrupts determinedly.

 

“Well I…” Gladys splutters, irritated at being called out on her appropriation of her deceased brother’s writing bureau. “I… I penned my first successful novel on that desk whilst Reginald and Marjorie were out in Bombay! It has sentimental value for me.”

 

“It does for me too.” remarks Phoebe sadly. “They are the only things I really have of them, and they mean more to me than photographs. Photographs are just faces, but the chips in my mother’s plates and teacups and the grooves and ink stains in my father’s bureau resonate so much with me. They tell me so much about who they were. I feel my parents’ presence through those chips, knocks and stains.”

 

“Where is the bureau now, Gladys?” Eglantyne asks matter-of-factly. “Here in London, or up in Scotland?”

 

“Here, at Eaton Square**********, in the Blue Room.” Lady Gladys replies.

 

“So, it isn’t even in your study!” Eglantyne exclaims aghast. “It’s relegated to a room for guests!”

 

“It doesn’t suit my office.” Gladys defends her actions. “It looks best in the Blue Room.”

 

“Give Phoebe the bureau back, Gladys.” Eglantyne states. “You have no right to it. Stop behaving badly. It doesn’t suit you, my dear friend. I know you are far better than this pettiness over an object you don’t even really care about.”

 

Lady Gladys doesn’t reply at first. She sits and fidgets with her bejewelled fingers in her seat, rather like an overgrown child after being reprimanded. “Oh, very well! You can have your father’s desk back Phoebe. I suppose I don’t really need it. And your mother’s china, although goodness knows why you want those old, nasty, cheap things in your nicely newly decorated flat.”

 

“That’s Phoebe’s business, Gladys.” Eglantyne says sagely.

 

Lady Gladys sits up more straightly in her seat and stares at Lettice. “And what would you do, if I were to hold true to my word, and the letter of our contract, and not pay you another penny for the work you’ve done, and leave you with the remainder of the unpaid bills, Lettice?”

 

“I’ve allowed for that, Gladys.” Lettice replies with a sigh. “I can afford to absorb the cost of the unpaid bills.”

 

“That’s no way to run a successful business, Lettice.” Lady Gladys chides her with a shaking head.

 

“Well, it depends on how you play the game of success I suppose, Gladys.” Lettice replies. “Whilst it may be true that I would have to pay for the unpaid bills out of my own purse, and that would mean this redecoration was done at a financial loss to me, which would not be an immediate success. However, Phoebe knows many young ladies of independent means at the Academy of Horticulture. And most of those ladies live in London. They can see Phoebe’s pied-à-terre for themselves and then commission me to redecorate their own flats. That then makes this a successful redecoration in the long run.”

 

Lady Gladys smiles knowingly. “I always thought from the moment I met you, that you would make a smart businesswoman. I can see traits of myself in you, my dear.” She sighs and stands up. As the other three ladies go to rise, she encourages them to remain seated with gesticulating hands. “Please don’t get up. I must take my leave of you. I do have a new novel to promote after all.” She turns to Eglantyne. “You are very fortunate, Eglantyne, that we are such old and good friends. You know I don’t take kindly to being told what to do.”

 

“Or taught a lesson,” Eglantyne adds. “Even when you need it.”

 

“Well, we will agree to disagree there.” Lady Gladys continues, undeterred. “You are fortunate too in the intelligence of your niece.”

 

“She’s a smart young lady.” Eglantyne agrees.

 

“Thank you Gladys.” Lettice says gratefully with a nod towards Lady Gladys before turning to Eglantyne. “Thank you Aunt Egg.”

 

“You can continue to forward the unpaid bills to me.” Lady Gladys goes on. “I will honour them.” She then turns to Phoebe. “However, Phoebe, if you and Lettice think you are better qualified to redecorate it than I am, then I want nothing more to do with Ridgmount Gardens. I shan’t say that I’m not offended by the way you three have conspired against me, because I am, but if this is how you choose to assert your independence, then I must learn to let you make your own mistakes.” She turns back to Eglantyne. “I’ll show myself out.”

 

And without another word, Lady Gladys picks up her handbag from where it has sat on the seat next to her and sweeps out of the room, haughty and aloof, leaving a waft of her signature lily of the valley perfume in her wake.

 

“Well, that was a rum************ apology, if ever I heard one.” Lettice remarks as she releases the pent up breath she didn’t realise she was holding on to.

 

“Well, don’t forget that Gladys is many things, Lettice,” her aunt replies. “Including proud. Let’s allow her to gather the tattered remains of that pride and leave with some dignity.”

 

“Yes Aunt Egg.”

 

“Thank you, Miss Chetwynd, for all your help managing my aunt.” Phoebe says with a beaming smile.

 

“You’re very welcome, my dear.” Eglantyne replies. “Although, I suspect it may be a while before I hear from Gladys again, but I will eventually. I always do. She and I have weathered harsher storms than this over the years.” She sighs. “And now you and Lettice have your wish. You can decorate your pied-à-terre as you see fit!”

 

Lettice, Phoebe and Eglantyne fall into excited chatter about what they might do with the Ridgmount Gardens flat’s redecoration as Eglantine’s Swiss head parlour maid, Augusta, sweeps into the drawing room with a fresh pot of tea for them.

 

*The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. The group sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. They rejected what they regarded as the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood believed the classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".

 

**The meaning of the very British term “shall I be mother” is “shall I pour the tea?”

 

*** The Delphos gown is a finely pleated silk dress first created in about 1907 by French designer Henriette Negrin and her husband, Mariano Fortuny y Madrazo. They produced the gowns until about 1950. It was inspired by, and named after, a classical Greek statue, the Charioteer of Delphi. It was championed by more artistic women who did not wish to conform to society’s constraints and wear a tightly fitting corset.

 

****Firenze Blue is a rich blue shade that originated in Florence in Italy.

 

*****Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.

 

******The Alice band first started being worn around 1871, after Lewis Carroll's book Through the Looking-Glass was published. The name of the Alice band comes from the main character in the book, Alice. In the drawings John Tenniel made for the book, Alice wears a ribbon that keeps her long hair away from her face.

 

*******Before the Second World War, there were many little nuances which indicated which class you came from: a very important thing to know and exude in class conscious Britian. Sometimes it was something as obvious as how you were dressed, or the quality of your clothes. Other times it was far more subtle, such as the use of a word, like “sofa” to show you were upper class, rather than “settee” which was decidedly aspiring middle-class. It even came down to how you prepared, stirred and drank your tea, which made taking tea – an English tradition – a fraught affair. If you added milk to your cup, before you added your tea, you were aspiring middle-class, versus pouring the tea from the pot into the cup and then adding the milk which was decidedly upper class. Whether done in a clockwise or anti-clockwise fashion, stirring your tea was an aspiring middle-class trait, whilst upper-class people stirred their tea back and forth to “avoid a storm in a teacup”, and an upper class person never touched the sides of their cup with their teaspoon. This is still correct protocol today if you are taking tea with a member of the Royal Family. Tapping the teacup with your teaspoon was also considered aspiring middle-class, whereas an upper class person would remove their teaspoon silently and slip it onto their saucer soundlessly. Holding your pinkie finger aloft was also classified as an affectation and is an aspiring middle-class action.

 

********The Bright Young Things, or Bright Young People, was a nickname given by the tabloid press to a group of Bohemian young aristocrats and socialites in 1920s London.

 

*********A pied-à-terre is a small flat, house, or room kept for occasional use.

 

**********Gwendoline Maud Syrie Maugham was a leading British interior decorator of the 1920s and 1930s who popularised rooms decorated entirely in white. In the 1910s, Maugham began her interior design career as an apprentice under Ernest Thornton-Smith for a London decorating firm, learning there about the intricacies of furniture restoration, trompe-l'œil, curtain design, and the mechanics of traditional upholstery. In 1922, two years before this story is set, at the age of 42, Maugham borrowed £400.00 and opened her own interior decorating business at 85 Baker Street, London. As the shop flourished, Maugham began decorating, taking on projects in Palm Beach and California. By 1930, she had shops in London, Chicago, and New York. Maugham is best-remembered for the all-white music room at her house at 213 King's Road in London. For the grand unveiling of her all-white room, Maugham went to the extreme of dipping her white canvas draperies in cement. The room was filled with massive white floral arrangements and the overall effect was stunning. Maugham charged high prices and could be very dictatorial with her clients and employees. She once told a hesitant client, "If you don't have ten thousand dollars to spend, I don't want to waste my time."

 

***********Eaton Square is a rectangular residential garden square in London's Belgravia district. It is the largest square in London. It is one of the three squares built by the landowning Grosvenor family when they developed the main part of Belgravia in the Nineteenth Century that are named after places in Cheshire — in this case Eaton Hall, the Grosvenor country house. It is larger but less grand than the central feature of the district, Belgrave Square, and both larger and grander than Chester Square. The first block was laid out by Thomas Cubitt from 1827. In 2016 it was named as the "Most Expensive Place to Buy Property in Britain", with a full terraced house costing on average seventeen million pounds — many of such town houses have been converted, within the same, protected structures, into upmarket apartments.

 

************The word “rum” can sometimes be used as an alternative to odd or peculiar, such as: “it's a rum business, certainly”.

 

This overstuffed and cluttered late Victorian room might look a bit busy to your modern eye, but in the day, this would have been the height of conspicuous consumption fashion. What may also surprise you is that the entire scene is made up with pieces from my 1:12 miniatures collection.

 

Fun things to look for in this tableau include:

 

The gilt Art Nouveau tea set, featuring a copy of a Royal Doulton leaves pattern, comes from a larger tea set which has been hand decorated by beautifully Handmade Miniatures in Kettering. The tea set sits on a silver tray which is made of polished metal and was made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.

  

The two vases standing on the mantle with their blue and gilt banding of roses are “Baroness” pattern, made by Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain miniatures.

 

The roses in the vases are made by Beautifully Handmade Miniatures in Kettering. The foxgloves in the “Baroness” pattern Reutter Porzellanfabrik vase at the right of the photograph are made of polymer clay that is moulded on wires to allow them to be shaped at will and put into individually formed floral arrangements. Very realistic looking, they are made by a 1:12 miniature specialist in Germany.

 

Also on the mantlepiece stands a gilt carriage clock made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces.

 

The fireplace and its ornate overmantle is a “Kensignton” model made by the high-end miniature furniture maker, Bespaq. The mirrored china cabinet with its fretwork front was also made by Bespaq, as were Aunt Egg’s white floral figured satin upholstered Chippendale chair and the ornate white upholstered corner chair. The brass fire tools and ornate brass fender come from various online 1:12 miniature suppliers.

 

The footstool on which two teacups set stand is also made by the high-end miniature furniture maker, Bespaq, but what is particularly special about it is that it has been covered in antique Austrian floral micro petite point by V.H. Miniatures in the United Kingdom, which makes this a one-of-a-kind piece. The artisan who made this says that as one of her hobbies, she enjoys visiting old National Trust Houses in the hope of getting some inspiration to help her create new and exciting miniatures. She saw some beautiful petit point chairs a few years ago in one of the big houses in Derbyshire and then found exquisitely detailed petit point that was fine enough for 1:12 scale projects.

 

The hand embroidered pedestal fire screen was acquired through Kathleen Knight’s Dolls House Shop in the United Kingdom.

 

The two whatnots are cluttered with vases from various online dolls’ house miniature suppliers, several miniature Limoges vases and white and lilac petunia pieces which have been hand made and painted by 1:12 miniature ceramicist Ann Dalton.

 

The Royal Doulton style figurines in the china cabinet are from Warwick Miniatures in Ireland and have been hand painted by me. The figurines are identifiable as particular Royal Doulton figurines from the 1920s and 1930s.

 

The 1:12 artisan miniature blue and white jasperware Wedgwood teapot on the round table near the bottom of the photo is actually carved from wood, with a removable lid which has been hand painted. I acquired it from Mick and Marie’s Miniatures. The hand blown blue and clear glass basket next to it comes from Beautifully Handmade Miniatures in Kettering.

 

The paintings around Aunt Egg’s drawing room come from Amber’s Miniatures in the United States, V.H. Miniatures in the United Kingdom and Marie Makes Miniatures in the United Kingdom. The round pictures hanging on ribbons were made by me when I was twelve years old. The ribbons came from my maternal Grandmother’s sewing box, and the frames are actually buttons from her button box. The images inside (three Redoute roses) were cut from a magazine.

 

The wallpaper was printed by me, and is an authentic Victorian floral pattern produced by Jeffrey and Company. Jeffrey and Company was an English producer of fine wallpapers that operated between 1836 and the mid 1930s. Based at 64 Essex Road in London, the firm worked with a variety of designers who were active in the aesthetic and arts and crafts movements, such as E.W. Godwin, William Morris, and Walter Crane. Jeffrey and Company’s success is often credited to Metford Warner, who became the company’s chief proprietor in 1871. Under his direction the firm became one of the most lucrative and influential wallpaper manufacturers in Europe. The company clarified that wallpaper should not be reserved for use solely in mansions, but should be available for rooms in the homes of the emerging upper-middle class.

 

The Oriental rug on the floor has been woven by Pike, Pike and Company in the United Kingdom.

+++ 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 Su-21 attack aircraft had its roots in the Su-15 interceptor, which itself was a development of Sukhoi's tailed-delta Su-9 and Su-11 interceptor fighters. Construction of the Su-15 (internal project designation T-58) began in mid-1960, state acceptance tests of the respective T-58-8M1 interception complex with radar and air-to-air missiles started in August 1963.

In 1966 series production at Novosibirsk began, the first pre-series Su-15 interceptor made its first flight from Novosibirsk on 6 March 1966. Once identified as a new service aircraft, NATO christened the type 'Flagon'. While the Su-15 was in series production, a number of improved design features were developed, tested and subsequently introduced with a new production series of the interceptor.

 

In 1969, under the influence of the Vietnam conflict and the conclusion that dedicated ground attack aircraft were needed in a modern battlefield, the Sukhoi OKB investigated options for a new close-support "mudfighter" aircraft. One option was a derivative of the Su-15, designated the "T-58Sh" -- the suffix "Sh" stood for "shturmovik (storm bird)", a general Soviet name for a close-support aircraft.

 

The T-58Sh design was based on the Su-15 fuselage and engine installation with two Tumansky R-13-300 turbojets, but with considerable modifications. These included totally new wings and stabilizers - the orginal delta wing for high speed gave way to tapered wings with a constant 40° sweep, and the horizontal stabilizers were modified, too. The original fin was kept, though, as well as most of the landing gear installation, even though the front wheel retracted backwards now, since the complete nose up until spar no. 10 had been redesigned: instead of the interceptor's large radome, a slanted, considerably shorter nose improved the field of view for the pilot. In its tip it housed a 'Fon' laser rangefinder as well as a missile guidance antenna. A Doppler radar was housed under the nose, too, and an ASP-PF gunsight and a PBK-2 bomb sight optimized for lob-bombing were installed. The cockpit was completely armored, as well as parts of the lower fuselage around the engine section. All internal tanks (holding 4.500kg/9.921lb of fuel in the fuselage as well as in the wings) were self-sealing.

 

Another novelty was the freshly developed, built-in Gatling cannon, the GSh-30A, also known as 9A-621. This formidable, six-barreled weapon had a pneumatic mechanism (instead of en electric system, which was used in US types like the M61 'Vulcan' gun), fired 30mm shells and achieved a staggering fire rate of 5.000rpm. The cannon's magazine held 280 rounds - a shift of fuel tanks from the fuselage into the new wings with more internal space allowed the belly installation behind the front wheel well. Furthermore, a total of nine external weapon hardpoints allowed an ordnance load of up to 5.500kg (12.115lb), which included laser-guided smart bombs/missiles as well as tactical nuclear weapons.

 

Two T-58Sh prototypes were completed, and the first of these flew on 6 April 1968, the second on 26 September 1968. After State Acceptance Trials the Su-15Sh entered service in 1970 - in parallel, OKB Mikoyan was also working on a ground attack variant of its MiG-23 VG fighter, the later MiG-27, which flew in 1971 for the first time.

This advantage in time to service worked in favor of the Suchoj aircraft, which was so different from its Su-15 origins that it received a new service-designation, Su-21 (which was, by Western observers, often miss-attributed to the late Su-15 interceptor versions with ogive radomes and new double-delta wings).

By 1972, four squadrons were equipped with the new aircraft. Interestingly, none of the Su-21 were deployed to Afghanistan. Instead, the new fighter bombers were exclusively allocated to Attack Regiments in the potential Western conflict theatre, two of them based in Poland and two in Eastern Germany.

 

The basic version of the aircraft was produced at Factory 31, at Tbilisi, in the Soviet Republic of Georgia. Between 1969 and 1975, 182 Su-21 were produced. Much like the Su-15 interceptor variants, there were no exports, the Soviet/Russian Air Force remained the only operator - the more versatile MiG-23/27 filled that role. Later, foreign customers would receive the Su-25K from Sukhoi's export program, as well as the Su-20 and 22 VG fighter bombers.

 

During its service career, the Su-21 was constantly upgraded. One of the most significant changes was an MLU programme which, among others, introduced the 'Shkval' optical TV and aiming system, which was coupled with a new 'Prichal' laser rangefinder and target designator in an enlarged nosecone. This system enabled the aircraft to carry out all-weather missions, day and night, and also allowed to deploy the new 'Vikhr' laser-guided, tube-launched missiles, which were very effective against armored vehicles.

These updated aircraft received the designation Su-21D ('dorabotanyy' = updated). Two respective prototypes were built in 1982–84, and all aircraft were brought to this standard until 1988.

 

The only engagement of the Su-21 in a real combat scenario was its employment during the First Chechen War - which also signalized the type's retirement, after the conflict was over. Together with other Russian Air Force air assets, The Su-21s achieved air supremacy for Russian Forces, destroying up to 266 Chechen aircraft on the ground. The entire Air Force assets committed to the Chechen campaign between 1994 and 1996 performed around 9,000 air sorties, with around 5,300 being strike sorties. The 4th Russian Air Army had 140 Su-17Ms, Su-21Ds, Su-24s and Su-25s in the warzone supported by an A-50 AWACS aircraft. The employed munitions were generally unguided bombs and rockets with only 2.3% of the strikes using precision-guided munitions.

 

The Su-21 was a controversial aircraft. It was relatively reliable, benefitting from its two engines and solid armor, which was seen as one of the most important features for a true battlefield aircraft - inofficially, it was nicknamed 'ома́р' ('lobster') among the crews.

It had a high payload and was a very stable weapon platform. But the type suffered from the fact that it was an interceptor derivate which had originally been designed for dashes at Mach 2.5 at high altitudes. Consequently, the airframe had to be enforced to withstand higher G loads at low level flight and with heavy external loads, so that it was basically overweight. The extra armor did not help much either.

 

Additionally, the R-13 jet engines (basically the same that powered the 3rd generation MiG-21MF) were thirsty, even when running without the afterburner extra power, so that the type's range was very limited. Its ability to dash beyond Mach 1 even at low altitudes was of little tactical use, even though its high rate of acceleration and climb made it ideal for suprise attacks and delivery of tactical nuclear weapons - the latter was the main reason why the type was kept in service for so long until it was replaced by Su-24 bombers in this role.

 

Another source of constant trouble was the GSh-30A cannon. While its firepower was overwhelming, the vibrations it caused while firing and the pressure blasts from the nozzles could badly damage the aircraft's lower fuselage. There had been several incidents when the front wheel covers had literally been blown apart, and in one case the gun itself detached from its fuselage mount while firing - hitting the aircraft itself from below!

 

In the end, the Su-21 could not live up to the expectations of its intended role - even though this was less the aircraft's fault: the military demands had been unclear from the beginning, and the T-58Sh had been a second- choice solution to this diffuse performance profile.

Eventually the MiG-27 and also the Su-17/22 family as well as the biggher Su-24 tactical bomber, thanks to their variable geometry wings, proved to be the more flexible aircraft for the ground attack/fighter bomber role. But the lessons learned from the Su-21 eventually found their way into the very successful, subsonic Su-25 ('Frogfoot') family. The last Su-21D was retired in January 1997, after a service career of 25 years.

   

General characteristics

Crew: 1

Length (with pitot): 17.57 m (57 ft 6 1/4 in)

Wingspan: 12.24 m (40 ft 1 in)

Height: 4.84 m (15 ft 10 in)

Empty weight: 11.225 kg (24.725 lb)

Loaded weight: 17.500 kg (38.580 lb)

 

Powerplant:

2× Tumansky R-13-300 turbojets,each rated at 40.21 kN (9,040 lbf) dry and at 70.0 kN (15,730 lbf) with afterburner

 

Performance

Maximum speed: 1.250km/h (777mph/674nm) at sea level

Range: 1.380 km (855 ml)

Ferry range: 1.850 km (1.146 mi)

Service ceiling: 17.000 m (55.665 ft)

 

Armament

1× GSh-30A gatling gun with 280 RPG in the lower fuselage

9× hardpoints (three under the fuselage, three under each wing) for a weapon load of up to 5.500kg (12.115lb),

including iron bombs, unguided missiles and rocket pods, guided weapons, napalm tanks or gun pods; two R-60 (AA-8 "Aphid") AAMs were typically carried for self-defense on the outer pylon pair

  

The kit and its assembly:

This whif actually has a real background, as outlined above - OKB Sukhoi actually worked in the late 60ies on a Su-15 derivate as a specialized attack aircraft, since the Soviet Forces lacked that type. The ground attack types then in service were the vintage MiG-17 and converted MiG-19 fighters, as well as the fast but very limited Su-7 - either outdated fighters or a fighter-bomber with insufficient range and payload.

Specifications for a ground attack aircraft were unclear at that time, though. Supersonic capability was still seen as a vital asset for any military aircraft, and WWII tactics were still the basis for close air support duties. The T-58Sh was eventually one design direction that would keep development time and costs low, starting with a proven basic airframe and adapting it to a new (and very different) role.

 

The Su-15, from which the T-58Sh was derived, originally was a Mach 2 interceptor, solely armed with missiles. Making THIS a ground attack aircraft surely was a huge step. The projected Su-15Sh, how the aircrfat was also called, was still to be supersonic, since this was seen as a vital asset at that time. This concept would eventually be a dead end, though, or, alternatively, result in the lighter and much cheaper MiG-27 tactical fighter in the 70ies. But it should still take some more years until a subsonic, simple and dedicated aircraft (the T-8, which made its maiden flight in 1975 and became later the Su-25 'Frogfoot') would be the 'right' direction for the new shturmovik. The Su-15Sh actually never left the drawing board, the swing-wing Su-17/20/22 more or less took its place in real life.

 

With that background my idea was to build a model of the ground attack Su-15 derivate in front line service in the mid 80ies, at the Cold War's peak and used by the Group of Soviet Forces in (Eastern) Germany. The Su-21 designation is fictional. But since the aircraft would be SO different from the Su-15 interceptor I can hardly imagine that it would have been called Su-15Sh in service. Since its cousin, the MiG-27, also received a new designation, I decided to apply the Su-21 code (which was never applied to a real aircraft - those Su-15 versions called Su-21 are just misnomers or speculations of Western 'experts' when the Iron Curtain was still up).

 

As a coincidence, I had all 'ingredients' at hand:

● Fuselage and fin from a PM Model Su-15

● Nose section from an Academy MiG-27 (leftover from the Q-6 kitbach)

● Wings and horizontal stabilizers from an ESCI A-7

  

The A-7 wings have slightly more sweep than what the drafted T-58Sh had (45° vs. 40°), as far as I can tell from profiles, but otherwise they fit in shape and size. I just cut the orginal leading edge away, sculpted a new front from putty, and the result looked very good.

 

What became tricky were the landing gear wells. Part of the Su-15 landing gear retracts into the lower fuselage, and mating this with the Corsair's wings and the potential space for the landing gear there did not match up properly -the wings would end up much too far behind.

 

After some trials I decided to cut out the landing gear wells on the lower side of the wings, relatively far forward, and cut out a part of the lower fuselage, reversed it, so that the landing gear wells woukd be placed about 5mm further forward, and the wings were finally attached to the fuselage so that these would match the respective openings on the fuselage's bottom. This was more or less the only major and unexpected surgery, and the original Su-15 landing gear could be retained.

 

Using the A-7's stabilizers was also a bit off the original concept (the T-58Sh appeared to keep the original parts), but I found that the more slender but wider A-7 parts just made the aircraft look more homogenous?

 

Grafting the MiG-27 cockpit (which was taken OOB) onto the fuselage was not a big problem, since the intersection is of simple shape and fits well by height and width. I made a vertical cut on the Su-15 fuselage in the middle of the air intake area, which would later be hidden through the air intakes. The latter were taken from the Su-15, but simplified: the intake became simple and "vertical", and the large, orginal splitter plates were replaced by the shorter speiceimen from the MiG-27 kit. The fit almost perfectly, are just a bit short, so that a small hole had to be filled with styrene strips on the lower side.

 

The fin was taken OOB, just as on the propsed real aircraft. The resulting side profile reminds VERY much of a Dassault Étendard on steroids...? The whole thing also looks a bit like the missing link between the Su-15 and the later Su-24 fighter bomber - esp. when you know the Fencer's fixed-wing T-6 prototype.

 

Externally, the gatling gun (also taken from the leftoevr MiG-27) and a total of nine hardpoints were added - three under the fuselage, flanking the gun, and six under the outer wings.

Since the Su 15 is a pretty large aircraft, I used the opportunity to equip the aircraft with serious air-to-ground ordnance, a pair of TV-guided Kh-29T (AS-14 "Kedge") missiles from an ICM USSR weapon set and a pair of R-60 AAMs, leftover from an ESCI Ka-34. Furthermore, chaff/flare dispensers were added to the rear upper fuselage, as well as some antennae and the pitots.

 

Actually, this kitbash was less complicated as expected. Needed lots of putty, sure, but this would also have been needed on the OOB Su-15 from PM Models, as it is a primitive and crude model kit. Here, it found a good use. One drawback is, though, that the surface lacks detail: the PM Model Su-15 is bleak (to put it mildly), and the re-used A-7 wings lost much of their engraved details to leftover paint or sanding - paint tricks would have to mend this.

  

Painting and markings:

As a frontline service aircraft, this one would receive a tactical camouflage pattern. The Soviet Air Force offers a wide range of options, ranging from boring to bizarre, and I settled for a typical four-color camouflage with light blue undersides:

● Humbrol 119 (Light Earth)

● Humbrol 159 (Khaki Drab)

● Humbrol 195 (Chrome Oxide Green, RAL 6020)

● Testors 2005 (Burnt Umber)

● Humbrol 115 (Russian Blue) for the lower surfaces

 

The paint scheme was inspired by a East Germany-based Su-17, the colors are guesstimates, based on pictures of real-life Soviet aircraft.

 

Cockpit interior was painted in typical, infamous Soviet/Russian turqoise (*Argh*), the complete landing gear was painted in Aluminum (Humbrol 56); the wheel discs became bright green (Humbrol 131), di-electric panels (e .g. the fin tip) received a coat in Forest Green (Humbrol 149, FS 34092).

 

The model was weathered through some counter-shading with lighter tones of the five basic colors, a wash with black ink and some additional stains and blotches with different shades of green and brown, including Humbrol 98 118, 128, 151 - even some RLM 82 from Testors found its way onto the aircraft!

 

Decals and markings were puzzled together from various aftermarket sheets, and are based on real life pictures of Soviet/Russian aircraft based in Eastern Germany.

 

I also added some bare metal stains at the leading edges and soot stains around the gun. Since the kitbashed model was pretty bleak, I tried to add painted panel lines - using a thin brush and a mix of matt varnish and black. The counter-shading applied before enhances this effect, and if you do not look too closely at the model, the result is O.K.

 

Finally, everything was sealed under a coat of matt acrylic varnish.

Autumn 2015, Headington Hill Park, Oxford

 

Konica FC-1

Konica Hexanon AR 50mm f/1.4

Outdated Kodak Color Plus 200

Boots scan + LR adjustments, including two-frame photomerge

I assume that this is not part of our electrical grid but these electric lines using old glass insulators are along Interstate 70 in Western Maryland. These electric lines must be bare metal, judging by the way the ends are twisted.

Nikon FG - Fuji 200 outdated

  Thanks to Collective Bias, Inc. and its advertiser for sponsoring today’s post. All opinions are mine alone. #Scott100More #CollectiveBias  

  

  A few weeks ago I decided it was time to remodel one of my bathrooms. It was seriously outdated and in need of a major makeover. When I say outdated, I’m talkin’ major, decades old outdated. Golden oak cabinet, pink tile, chrome fixture outdated. The more I looked around the more I realized this bathroom was in some serious need of a trip to the 21st century. I started looking for some ideas that would be quick, easy and wouldn’t cost a fortune.

  I began my DIY remodel quest where all great ideas are born. Yup, you guessed it… Pinterest! It all started with a before-and-after pin of a bathroom cabinet. It looked exactly like my golden oldie, and I could see the potential ahead. The secret apparently lied in a revolutionary staining method. This technique involved using a gel stain made by General Finishes. The medium could be used on everything from traditional solid wood to veneer and even… paper laminate.  Before I tackled the cabinets head on I wanted to get a feel for this new gel stain. I decided to make something I’ve been wanting for a while: a small decorative wood crate type bath tissue holder. I was so excited with the result I couldn’t wait to continue staining away!  For this first post in my bathroom makeover series I’m going to show you how to make this cute, stylish decorative bath tissue holder. What’s even better is that you can customize to fit your own color scheme. Keep reading and you’ll see exactly what you’ll need to make it.

  

Small Crate approx. 10-15″ x 5.5″ x 4.5″

Martha Stewart Craft Paint try Pool, Surf or Beach Glass

General Finishes Gel Stain in Java

Thick bristle brush, Sanding sponge/sandpaper, Old cloth rag

Latex gloves 

 

  Definitely check out BJ’s Wholesale for all your supplies including brushes, sanding sponge, gloves and  SCOTT® 1100 Bath Tissue. You’ll be surprised at the variety of products they have for DIYers like myself. I love it because I know I’m getting the best deal on all of the things I need…plus you’ll be surprised how fast you can go through a case of sanding sponges! PLUS, I am providing a link at the bottom of the post for SCOTT® 1100 Bath Tissue  & BJ’s Wholesale coupons to help you out with your purchase! 

  

  Start with a highly pigmented paint, such as Martha Stewart Crafts,  for best results. To create a lightly distressed look you’ll want to concentrate the paint on the outside corners and any edges of the crate. You also want to dry brush a few paint strokes on the faces of the wood. These painted areas will show through the stain and enable to piece to have a rustic look.

 

After the paint is fully dry you’re ready to start applying the stain. Make sure you have your rubber gloves! The last thing you want is dark brown stained hands and nails…unlike paint, this stuff doesn’t wash off.

You can use a foam brush or cotton rag for best application. Make sure to get into the corner and crevices of the crate.

 

At this point you want to wipe some of the stain off the areas you painted. Wipe off around the corners and raised edges. Don’t worry if you don’t remove all of the brown color since we’ll be sanding once the stain is dry.

Make sure you give the stain enough time to dry very well. This is a gel stain,which you’ll see, has a higher viscosity than regular stain and longer dry time since it isn’t completely absorbed into the wood as quickly as traditional stain.

 

Once the stain is dry lightly sand away excess stain on previously painted spots on wood. You may even want to sand some areas right down to the bare wood. This will depend on how distressed you want the piece to look.

  

  I finished the crate with a coat of satin finish Varathane polyurethane. That part is completely up to you. I wanted to seal the piece for easier cleaning but it’s not 100% necessary. You might also want to try one of the waxy chalk paint sealers. They’re primarily used for sealing and finishing chalk paint but can be used anywhere. 

 

  I love being able to have this crate for storing extra bath tissue.  I think it’s great for a guest bathroom so you don’t have that awkwardness of running out. One of the many reasons I chose SCOTT® 1100 Bath Tissue was the fact that each roll lasts so long – which means less changing! No one likes to run out, and this holder plus the 100 extra sheets per roll will ensure that happens a lot less often. Another reason I love SCOTT® 1100 Bath Tissue is because green environmental impact compared to other brands. The cardboard cores for all SCOTT® 1100 Bath Tissue are made from 100% recycled paper. How great is that!

  

Make sure you check back for my complete bathroom makeover series. 

You’re gonna love to see how easy it was to use the gel stain on thepaper laminate of my decades old cabinets!…

 

 Thanks  to SCOTT®  for sponsoring today’s bathroom make-over series.Be sure to pick up your coupon here* for SCOTT® 1100 Bath Tissue.

  

*coupon availability may vary based on proximity to BJ’s Wholesale locations. Coupons.com may or may not use locations services on your PC, tablet or smartphone to determine store distance and selected coupons provided.

    

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Avril

RMS Titanic was a British passenger liner that sank in the North Atlantic Ocean on 15 April 1912 after colliding with an iceberg during her maiden voyage from Southampton, England to New York City. The sinking of Titanic caused the deaths of 1,514 people in one of the deadliest peacetime maritime disasters in history. She was the largest ship afloat at the time of her maiden voyage. One of three Olympic class ocean liners operated by the White Star Line, she was built between 1909–11 by the Harland and Wolff shipyard in Belfast. She carried 2,224 people.

 

Her passengers included some of the wealthiest people in the world, as well as over a thousand emigrants from Britain, Ireland, Scandinavia and elsewhere seeking a new life in North America. The ship was designed to be the last word in comfort and luxury, with an on-board gymnasium, swimming pool, libraries, high-class restaurants and opulent cabins. She also had a powerful wireless telegraph provided for the convenience of passengers as well as for operational use. Though she had advanced safety features such as watertight compartments and remotely activated watertight doors, she lacked enough lifeboats to accommodate all of those aboard. Due to outdated maritime safety regulations, she carried only enough lifeboats for 1,178 people – a third of her total passenger and crew capacity.

 

After leaving Southampton on 10 April 1912, Titanic called at Cherbourg in France and Queenstown (now Cobh) in Ireland before heading westwards towards New York. On 14 April 1912, four days into the crossing and about 375 miles south of Newfoundland, she hit an iceberg at 11:40 pm (ship's time; UTC-3). The glancing collision caused Titanic's hull plates to buckle inwards in a number of locations on her starboard side and opened five of her sixteen watertight compartments to the sea. Over the next two and a half hours, the ship gradually filled with water and sank. Passengers and some crew members were evacuated in lifeboats, many of which were launched only partly filled. A disproportionate number of men – over 90% of those in Second Class – were left aboard due to a "women and children first" protocol followed by the officers loading the lifeboats. Just before 2:20 am Titanic broke up and sank bow-first with over a thousand people still on board. Those in the water died within minutes from hypothermia caused by immersion in the freezing ocean. The 710 survivors were taken aboard from the lifeboats by the RMS Carpathia a few hours later.

 

The disaster was greeted with worldwide shock and outrage at the huge loss of life and the regulatory and operational failures that had led to it. Public inquiries in Britain and the United States led to major improvements in maritime safety. One of their most important legacies was the establishment in 1914 of the International Convention for the Safety of Life at Sea (SOLAS), which still governs maritime safety today. Many of the survivors lost all of their money and possessions and were left destitute; many families, particularly those of crew members from Southampton, lost their primary bread-winners. They were helped by an outpouring of public sympathy and charitable donations. Some of the male survivors, notably the White Star Line's chairman, J. Bruce Ismay, were accused of cowardice for leaving the ship while people were still on board, and they faced social ostracism.

 

The wreck of the Titanic remains on the seabed, gradually disintegrating at a depth of 12,415 feet (3,784 m). Since its rediscovery in 1985, thousands of artefacts have been recovered from the sea bed and put on display at museums around the world. Titanic has become one of the most famous ships in history, her memory kept alive by numerous books, films, exhibits and memorials.

 

Titanic Belfast is a maritime museum and visitor centre in Belfast, Northern Ireland, dedicated to RMS Titanic. It is located on the site of the former Harland & Wolff shipyard, where the ill-fated ship was designed and constructed.

 

The concept for the building design was to replicate four 38 m (126 ft) high pointed hulls, the same height as the Titanic. The exterior façade is clad in 3,000 individual silver anodised aluminium shards which provide a shimmering effect in sunlight. With two-thirds of the shards having a unique geometrical design, a process of 'virtual prototyping' was developed specially for the project by Todd Architects.

 

Covering 14,000 sq. m, the building centres around a five-storey-high glazed atrium that provides views out over the city and dockyards.

 

The building took 3 years to construct, cost £77 m, and required one of the largest concrete pours in Northern Ireland's history. It was completed in time for the April 2012 centenary of the Titanic's maiden voyage.

 

The building is the centrepiece of the regeneration of Belfast's dockyards, now known as the Titanic Quarter. The plan is to combine retail, residential, business and cultural elements that serve as a celebration of the area's proud maritime heritage.

Belfast has opened the Iconic Titanic Signature Building which will house Titanic Belfast ® it is iconic in design and houses a world class visitor attraction. It is located at Titanic Quarter (East Belfast). The exhibition is based on the theme of the Titanic and the wider subject of Belfast’s shipbuilding and maritime heritage. Of such scale, the building is likely to become Northern Ireland’s largest and most successful built attraction.

Book shop on Rue Saint-Pierre in the pedestrian area of the city of Caen, Normandy, France

 

Some background information:

 

The city of Caen is the administrative centre of the Norman-French department of Calvados. Its city proper has more than 108,000 inhabitants, while its urban area has about 420,000, making it the largest city in former Lower Normandy. Hence the metropolitan area of Caen is the second largest in Normandy after that of Rouen, and the 21st largest throughout France. Caen is located 15 kilometres (9.3 miles) inland from the English Channel and two hours north-west of Paris.

 

The name of the city is of Celtic origin and means "battlefield". It shows that battles were already raging there in the Celtic era. Unfortunately Caen’s history turned out to be a rather disputed one over the centuries to the present.

 

In 1027, Caen was first mentioned in a document. It soon became a major town in the Duchy of Normandy, because it was situated at the junction of important roads. In 1059, William the Conqueror commanded to erect a well-fortified castle, a convent and a monastery there. He was even buried in that monastery, but during the French War of Religion his mortal remains got lost. However, his gravestone can still be seen in the former abbey church of St. Étienne.

 

At the beginning of the 12th century, Caen was again on the rise due to a town fire in the rivalling city of Bayeux. At this time the Dukes of Normandy, who were also the Kings of England, were still the holders of power in Normandy. But in 1204, the French King Philipp II took the town without resistance. In the 13th century, Caen’s textile industry began to thrive. Its products like embroideries and linen were mainly exported to Italy.

 

In 1346, at the beginning of the Hundred Years' War, King Edward III of England led his army against the city, hoping to loot it. It was expected that a siege of perhaps several weeks would be required, but in the Battle of Caen the English army took the city in less than a day. On 26th July 1346, the Englsih stormed and sacked it, killed 3,000 of its citizens, and burned much of the merchants' quarter on the Ile Ste-Jean. Only the castle of Caen held out, despite all attempts to besiege it. A few days later, the English troops left, marching to the east and on to their victory at the Battle of Crécy.

 

In 1417, King Henry V of England seized the city again. He treated Caen harshly for being the first town to put up any resistance to his invasion. In 1432, during the reign of the English Duke of Bedford, the University of Caen was founded. In 1450, French troops besieged Caen and after the surrender of the English garrison, the French King Karl VII was marching in. Since then Caen is a permanent part of France.

 

In 1547, and again in 1584 and 1624, the town was plague-ridden. During the reign of the French Sun King Louis XIV, Caen saw an economic revival, but after the Huguenots had left the town in 1685, the boom came to a sudden end. Furthermore the city’s harbour had silted up, which also contributed to the decline.

 

In 1789, during the French Revolution, the residents of Caen took possession of the castle and massacred its commander. In 1815, Caen was seized by a Prussian army and its castle was occupied.

 

Word War II saw another heavy battle of Caen which lasted from June to August 1944. Initially the Western Allies had planned to capture the town on D-Day, but during the Normandy landings, British and Canadian troops were held up north of the city for more than a month. On 9th July 1944, an intense bombing campaign during Operation Charnwood destroyed 70% of Caen’s buildings and killed 2,000 French civilians. Both the cathedral and the university were entirely destroyed by the British and Canadian bombing. As a result of the aerial attacks, the Allies accomplished to seize control of the northern and western parts of Caen, and another ten days later, on 19th July 1944, the whole city was under their control. Following heavy clashes took place in the south of Caen and led on to the Falaise Pocket, in which the German Army Group B was encircled and defeated by the First U.S. Army, the British Second Army, the First Canadian Army and the First Polish Armoured Division.

 

After the war, complete districts of the city and the university campus were reconstructed. The reconstruction took place between 1948 and 1962 and led to the current urbanization of Caen. Although the city does not have the atmosphere of a Normandy town less affected by Word War II, such as Honfleur, Rouen, Cabourg, Deauville or Bayeux, it is still a great, vibrant and enjoyable place to visit.

The Lewis and Clark Class came to the scene in 2006, replacing the outdated auxiliary vessels of the Cold War. The 14 L&C ships were designed to maximize the space of a larger ship (as compared to their predecessors) to perform replenishment and refueling more quickly, being able to transport 1,388,000 cubic feet of cargo (food stores, spare parts, munitions, etc.) and 23,450 barrels of fuel cargo (aviation fuel and fuel for warships). The ships are powered diesel generators and propelled by a single screw and a bow thruster. They are crewed by 11 naval personnel and 124 civilians. For defense, they have mounting points for .50 cals and the reserve power to operate CIWS if installed. They have a flight deck and hangar space for two helicopters.

 

Just like the USAF has the Military Airlift Command, the USN has the Military Sealift Command which has jurisdiction of the Naval Fleet Auxiliary Force which the L&Cs are apart of. They transit the ocean with the strike fleets for when they are needed. It is unlikely they would run out of dry cargo at sea during a normal deployment. However, they do run out of fuel cargo and when they do, they break off from the fleet and rendezvous with a Henry Kaiser Class Oiler to top off and then return to the fleet. They also perform roles such as offshore replacement stations for landed marine forces during amphibious operations.

 

This model turned out larger than I expected, but the proportions are still mostly accurate.

+++ DISCLAIMER +++

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

  

Some background:

The Georgian Air Force and Air Defense Division (თავდაცვის ძალების ავიაციისა და საჰაერო თავდაცვის სარდლობა; tavdatsvis dzalebis aviatsiisa da sahaero tavdatsvis sardloba) was established on January 1, 1992, and in September the Georgian Air Force conducted its first combat flight during the separatist war in Abkhazia. On August 18, 1998, the two divisions were unified in a joint command structure and renamed the Georgian Air Force.

In 2010, the Georgian Air Force was abolished as a separate branch and incorporated into the Georgian Land Forces as Air and Air Defense sections. By that time, the equipment – primarily consisting of Eastern Bloc aircraft inherited from the Soviet Union after the country’s dissolution – was totally outdated, the most potent aircraft were a dozen Suchoj Su-25 attack aircraft and a handful of MiG-21U trainers.

 

In order to rejuvenate the air arm, Tbilisi Aircraft Manufacturing (TAM), also known as JSC Tbilaviamsheni and formerly known as 31st aviation factory, started a modernization program for the Su-25, for the domestic forces but also for export customers. TAM had a long tradition of aircraft production within the Soviet Union. In the 1950s the factory started the production of Mikoyan's MiG-15 and later, the MiG-17 fighter aircraft. In 1957 Tbilisi Aircraft State Association built the MiG-21 two-seater fighter-trainer aircraft and its various derivative aircraft, continuing the MiG-21 production for about 25 years. At the same time the company was manufacturing the K-10 air-to-surface guided missile. Furthermore, the first Sukhoi Su-25 (known in the West as the "Frogfoot") close support aircraft took its maiden voyage from the runway of 31st aviation factory. Since then, more than 800 SU-25s had been delivered to customers worldwide. From the first SU-25 to the 1990s, JSC Tbilaviamsheni was the only manufacturer of this aircraft, and even after the fall of the Soviet Union the production lines were still intact and spares for more than fifty complete aircraft available. Along with the SU-25 aircraft 31st aviation factory also launched large-scale production of air-to-air R-60 and R-73 IR guided missiles, a production effort that built over 6,000 missiles a year and that lasted until the early 1990s. From 1996 to 1998 the factory also produced Su-25U two-seaters.

 

In 2001 the factory started, in partnership with Elbit Systems of Israel, upgrading basic Su-25 airframes to the Su-25KM “Scorpion” variant. This was just a technical update, however, intended for former Su-25 export customers who would upgrade their less potent Su-25K export aircraft with modern avionics. The prototype aircraft made its maiden flight on 18 April 2001 at Tbilisi in full Georgian Air Force markings. The aircraft used a standard Su-25 airframe, enhanced with advanced avionics including a glass cockpit, digital map generator, helmet-mounted display, computerized weapons system, complete mission pre-plan capability, and fully redundant backup modes. Performance enhancements included a highly accurate navigation system, pinpoint weapon delivery systems, all-weather and day/night performance, NATO compatibility, state-of-the art safety and survivability features, and advanced onboard debriefing capabilities complying with international requirements. The Su-25KM had the ability to use NATO-standard Mark 82 and Mark 83 laser-guided bombs and new air-to-air missiles, the short-range Vympel R-73. This upgrade extended service life of the Su-25 airframes for another decade.

There were, however, not many customers. Manufacturing was eventually stopped at the end of 2010, after Georgian air forces have been permanently dismissed and abolished. By that time, approximately 12 Scorpions had been produced, but the Georgian Air Force still used the basic models of Su-25 because of high cost of Su-25KM and because it was destined mainly for export. According to unofficial sources several Scorpions had been transferred to Turkmenistan as part of a trade deal.

 

In the meantime, another, more ambitious project took shape at Tbilisi Aircraft Manufacturing, too: With the help of Israel Aircraft Industries (IAI) the company started the development of a completely new attack aircraft, the TAM-1 “Gvelgeslas” (გველგესლას, Viper). It heavily relied on the year-long experience gathered with Su-25 production at Tblisi and on the tools at hand, but it was eventually a completely new aircraft – looking like a crossbreed between the Su-25 and the American A-10 with a T-tail.

 

This new layout had become necessary because the aircraft was to be powered by more modern, less noisy and more fuel-efficient Rolls Royce AE 3012 turbofan engines - which were originally intended to power the stillborn Yakovlev Yak-77 twin-engine business jet for up to 32 passengers, a slightly derated variant of the GMA 3012 with a 44 in diameter (112 cm) fan and procured via IAI from the United States through the company’s connection with Gulfstream Aerospace. Their larger diameter (the Su-25’s original Soyuz/Tumansky R-195 turbojets had a diameter of 109,5 cm/43.1 in) precluded the use of the former integral engine nacelles along the fuselage. To keep good ground clearance against FOD and to protect them from small arms fire, the engine layout was completely re-arranged. The fuselage was streamlined, and its internal structure was totally changed. The wings moved into a low position. The wings’ planform was almost identical to the Su-25’s, together with the characteristic tip-mounted “crocodile” air brakes. Just the leading edge inside of the “dogteeth” and the wing roots were re-designed, the latter because of the missing former engine nacelles. This resulted in a slightly increased net area, the original wingspan was retained. The bigger turbofans were then mounted in separate pods on short pylons along the rear fuselage, partly protected from below by the wings. Due to the jet efflux and the engines’ proximity to the stabilizers, these were re-located to the top of a deeper, reinforced fin for a T-tail arrangement.

 

Since the Su-25’s engine bays were now gone, the main landing gear had to be completely re-designed. Retracting them into the fuselage or into the relatively thin wings was not possible, TAM engineers settled upon a design that was very similar to the A-10: the aircraft received streamlined fairings, attached to the wings’ main spar, and positioned under the wings’ leading edges. The main legs were only semi-retractable; in flight, the wheels partly protruded from the fairings, but that hardly mattered from an aerodynamic point of view at the TAM-1’s subsonic operational speed. As a bonus they could still be used while retracted during emergency landings, improving the aircraft’s crash survivability.

 

Most flight and weapon avionics were procured from or via Elbit, including the Su-25KT’s modernized “glass cockpit”, and the TAM-1’s NATO compatibility was enhanced to appeal to a wider international export market. Beyond a total of eleven hardpoints under the wings and the fuselage for an external ordnance of up to 4.500 kg (9.900 lb), the TAM-1 was furthermore armed with an internal gun. Due to procurement issues, however, the Su-25’s original twin-barrel GSh-30-2 was replaced with an Oerlikon KDA 35mm cannon – a modern variant of the same cannon used in the German Gepard anti-aircraft tank, adapted to the use in an aircraft with a light-weight gun carriage. The KDA gun fired with a muzzle velocity of 1,440 m/s (4,700 ft/s) and a range of 5.500m, its rate of fire was typically 550 RPM. For the TAM-1, a unique feature from the SPAAG installation was adopted: the gun had two magazines, one with space for 200 rounds and another, smaller one for 50. The magazines could be filled with different types of ammunition, and the pilot was able select between them with a simple switch, adapting to the combat situation. Typical ammunition types were armor-piercing FAPDS rounds against hardened ground targets like tanks, and high explosive shells against soft ground targets and aircraft or helicopters, in a 3:1 ratio. Other ammunition types were available, too, and only 200 rounds were typically carried for balance reasons.

 

The TAM-1’s avionics included a SAGEM ULISS 81 INS, a Thomson-CSF VE-110 HUD, a TMV630 laser rangefinder in a modified nose and a TRT AHV 9 radio altimeter, with all avionics linked through a digital MIL-STD-1553B data bus and a modern “glass cockpit”. A HUD was standard, but an Elbit Systems DASH III HMD could be used by the pilot, too. The DASH GEN III was a wholly embedded design, closely integrated with the aircraft's weapon system, where the complete optical and position sensing coil package was built within the helmet (either the USAF standard HGU-55/P or the Israeli standard HGU-22/P), using a spherical visor to provide a collimated image to the pilot. A quick-disconnect wire powered the display and carried video drive signals to the helmet's Cathode Ray Tube (CRT).

 

The TAM-1’s development was long and protracted, though, primarily due to lack of resources and the fact that the Georgian air force was in an almost comatose state for several years, so that the potential prime customer for the TAM-1 was not officially available. However, the first TAM-1 prototype eventually made its maiden flight in September 2017. This was just in time, because the Georgian Air Force had formally been re-established in 2016, with plans for a major modernization and procurement program. Under the leadership of Georgian Minister of Defense Irakli Garibashvili the Air Force was re-prioritized and aircraft owned by the Georgian Air Force were being modernized and re-serviced after they were left abandoned for 4 years. This program lasted until 2020. In order to become more independent from foreign sources and support its domestic aircraft industry, the Georgian Air Force eventually ordered eight TAM-1s as Su-25K replacements, which would operate alongside a handful of modernized Su-25KMs from national stock. In the meantime, the new type also attained interest from abroad, e. g. from Bulgaria, the Congo and Cyprus. The IDF thoroughly tested two early production TAM-1s of the Georgian Air Force in 2018, too.

  

General characteristics:

Crew: 1

Length: 15.53 m (50 ft 11 in), including pitot

Wingspan: 14.36 m (47 ft 1 in)

Height: 4.8 m (15 ft 9 in)

Wing area: 35.2 m² (378 sq ft)

Empty weight: 9,800 kg (21,605 lb)

Gross weight: 14,440 kg (31,835 lb)

Max takeoff weight: 19,300 kg (42,549 lb)

 

Powerplant:

2× Rolls-Royce AE 3012 turbofans with 44.1 kN (9,920 lbf) thrust each

 

Performance:

Maximum speed: 975 km/h (606 mph, 526 kn, Mach 0.79)

Range: 1.000 km (620 mi, 540 nmi) with internal fuel, clean

Combat range: 750 km (470 mi, 400 nmi) at sea level with 4.500 kg (9,911 lb) of ordnance,

incl. two external fuel tanks

Service ceiling: 7.800 m (25,550 ft)

g limits: +6.5

Rate of climb: 58 m/s (11,400 ft/min)

 

Armament:

1× 35 mm (1.38 in) Oerlikon KDA cannon with 200 rds in two magazines

under the lower forward fuselage, offset to port side.

11× hardpoints with a capacity of up to 4.500 kg (9,911 lb) of external stores

  

The kit and its assembly:

This rather rigorous conversion had been on my project list for many years, and with the “Gunships” group build at whatifmodellers.com in late 2021 I eventually gathered my mojo to tackle it. The ingredients had already been procured long ago, but there are ideas that make you think twice before you take action…

 

This build was somewhat inspired by a CG rendition of a modified Su-25 that I came across while doing online search for potential ideas, running under the moniker “Su-125”, apparently created by someone called “Bispro” and published at DeviantArt in 2010; check this: (www.deviantart.com/bispro/art/Sukhoi-Su-125-Foghorn-15043...). The rendition shows a Su-25 with its engines re-located to the rear fuselage in separate nacelles, much like an A-10, plus a T-tail. However, as many photoshopped aircraft, the shown concept had IMHO some flaws. Where would a landing gear go, as the Su-125 still had shoulder wings? The engines’ position and size also looked fishy to me, quite small/narrow and very far high and back – I had doubts concerning the center of gravity. Nevertheless, I liked the idea, and the idea of an “A-10-esque remix” of the classic Frogfoot was born.

 

This idea was fueled even further when I found out that the Hobbycraft kit lends itself to such a conversion. The kit itself is not a brilliant Su-25 rendition, there are certainly better models of the aircraft in 1:72. However, what spoke for the kit as whiffing fodder was/is the fact that it is quite cheap (righteously so!) and AFAIK the only offering that comes with separate engine nacelles. These are attached to a completely independent central fuselage, and this avoids massive bodywork that would be necessary (if possible at all) with more conventional kits of this aircraft.

Another beneficial design feature is that the wing roots are an integral part of the original engine nacelles, forming their top side up to the fuselage spine. Through this, the original wingspan could be retained even without the nacelles, no wing extension would be necessary to retain the original proportions.

 

Work started with the central fuselage and the cockpit tub, which received a different (better) armored ejection seat and a pilot figure; the canopy remained unmodified and closed, because representing the model with an open cockpit would have required additional major body work on the spinal area behind the canopy. Inside, a new dashboard (from an Italeri BAe Hawk) was added, too – the original instrument panel is just a flat front bulkhead, there’s no space for the pilot to place the legs underneath the dashboard!

 

In parallel, the fin underwent major surgery. I initially considered an A-10-ish twin tail, but the Su-25’s high “tail stinger” prevented its implementation: the jet efflux would come very close to the tail surfaces. So, I went for something similar to the “Su-125” layout.

Mounting the OOB stabilizers to the fin was challenging, though. The fin lost its di-electric tip fairing, and it was cut into two sections, so that the tip would become long enough to match the stabilizers. A lucky find in the scrap box was a leftover tail tip from a Matchbox Blackburn Buccaneer, already shortened from a former, stillborn project: it had now the perfect length to take the Su-25 stabilizers! To make it fit on the fin, an 8mm deep section was inserted, in the form of a simple 1.5mm styrene sheet strip. Once dry, the surface was re-built with several PSR layers. Since it would sit further back on the new aircraft’s tail, the stinger with a RHAWS sensor was shortened.

 

On the fuselage, the attachment points for the wings and the engine nacelles were PSRed away and the front section filled with lots of lead beads, hoping that it would be enough to keep the model’s nose down.

 

Even though the wings had a proper span for a re-location into a low position, they still needed some attention: at the roots, there’s a ~1cm wide section without sweep (the area which would normally cover the original engine nacelles’ tops). This was mended through triangular 1.5 mm styrene wedges that extended the leading-edge sweep, roughly cut into shape once attached and later PSRed into the wings’ surfaces

 

The next construction site were the new landing gear attachment points. This had caused some serious headaches – where do you place and stow it? With new, low wings settled, the wings were the only logical place. But the wings were too thin to suitably take the retracted wheels, and, following the idea of a retrofitted existing design, I decided to adopt the A-10’s solution of nacelles into which the landing gear retracts forward, with the wheels still partly showing. This layout option appears quite plausible, since it would be a “graft-on” solution, and it also has the benefit of leaving lots of space for underwing stores, since the hardpoints’ position had to be modified now, too.

I was lucky to have a pair of A-10 landing gear nacelles at hand, left over from a wrecked Matchbox model from childhood time (the parts are probably 35 years old!). They were simply cut out, glued to the Su-25 wings and PSRed into shape. The result looked really good!

 

At this point I had to decide the model’s overall layout – where to place the wings, the tail and the new engine nacelles. The latter were not 1:72 A-10 transplants. I had some spare engine pods from the aforementioned Matchbox wreck, but these looked too rough and toylike for my taste. They were furthermore too bulky for the Su-25, which is markedly smaller than an A-10, so I had to look elsewhere. As a neat alternative for this project, I had already procured many moons ago a set of 1:144 resin PS-90A engines from a Russian company called “A.M.U.R. Reaver”, originally intended for a Tu-204 airliner or an Il-76 transport aircraft. These turbofan nacelles not only look very much like A-10 nacelles, just a bit smaller and more elegant, they are among the best resin aftermarket parts I have ever encountered: almost no flash, crisp molding, no bubbles, and perfect fit of the parts – WOW!

With these three elements at hand I was able to define the wings’ position, based on the tail, and from that the nacelles’ location, relative to the wings and the fin.

 

The next challenge: how to attach the new engines to the fuselage? The PS-90A engines came without pylons, so I had to improvise. I eventually found suitable pylons in the form of parts from F-14A underwing missile pylons, left over from an Italeri kit. Some major tailoring was necessary to find a proper position on the nacelles and on the fuselage, and PSRing these parts turned out to be quite difficult because of the tight and labyrinthine space.

 

When the engines were in place, work shifted towards the model’s underside. The landing gear was fully replaced. I initially wanted to retain the front wheel leg and the main wheels but found that the low wings would not allow a good ground clearance for underwing stores and re-arming the aircraft, a slightly taller solution was necessary. I eventually found a complete landing gear set in the scrap box, even though I am not certain to which aircraft it once belonged? I guess that the front wheel came from a Hasegawa RA-5C Vigilante, while the main gear and the wheels once belonged to an Italeri F-14A, alle struts were slightly shortened. The resulting stance is still a bit stalky, but an A-10 is also quite tall – this is just not so obvious because of the aircraft’s sheer size.

 

Due to the low wings and the landing gear pods, the Su-25’s hardpoints had to be re-arranged, and this eventually led to a layout very similar to the A-10. I gave the aircraft a pair of pylons inside of the pods, plus three hardpoints under the fuselage, even though all of these would only be used when slim ordnance was carried. I just fitted the outer pair. Outside of the landing gear fairings there would have been enough space for the Frogfoot’s original four outer for pylons, but I found this to be a little too much. So I gave it “just” three, with more space between them.

The respective ordnance is a mix for a CAS mission with dedicated and occasional targets. It consists of:

- Drop tanks under the inner wings (left over from a Bilek Su-17/22 kit)

- A pair of B-8M1 FFAR pods under the fuselage (from a vintage Mastercraft USSR weapon set)

- Two MERs with four 200 kg bombs each, mounted on the pylons outside of the landing gear (the odd MERs came from a Special Hobby IDF SMB-2 Super Mystère kit, the bombs are actually 1:100 USAF 750 lb bombs from a Tamiya F-105 Thunderchief in that scale)

- Four CBU-100 Rockeye Mk. II cluster bombs on the outer stations (from two Italeri USA/NATO weapon sets, each only offers a pair of these)

Yes, it’s a mix of Russian and NATO ordnance – but, like the real Georgian Su-25KM “Scorpion” upgrade, the TAM-1 would certainly be able to carry the same or even a wider mix, thanks to modified bomb racks and wirings. Esp. “dumb” weapons, which do not call for special targeting and guidance avionics, are qualified.

The gun under the nose was replaced with a piece from a hollow steel needle.

  

Painting and markings:

Nothing unusual here. I considered some more “exotic” options, but eventually settled for a “conservative” Soviet/Russian-style four-tone tactical camouflage, something that “normal” Su-25s would carry, too.

The disruptive pattern was adapted from a Macedonian Frogfoot but underwent some changes due to the T-tail and the engine nacelles. The basic tones were Humbrol 119 (RAF Light Earth), 150 (Forest Green), 195 (Chrome Oxide Green, RAL 6020) and 98 (Chocolate) on the upper surfaces and RLM78 from (Modelmaster #2087) from below, with a relatively low waterline, due to the low-set wings.

As usual, the model received a light black ink washing and some post-shading – especially on the hull and on the fin, where many details had either disappeared under PSR or were simply not there at all.

 

The landing gear and the lower areas of the cockpit were painted in light grey (Humbrol 64), while the upper cockpit sections were painted with bright turquoise (Modelmaster #2135). The wheel hubs were painted in bright green (Humbrol 101), while some di-electric fairings received a slightly less intense tone (Humbrol 2). A few of these flat fairings on the hull were furthermore created with green decal sheet material (from TL Modellbau) to avoid masking and corrections with paint.

 

The tactical markings became minimal, matching the look of late Georgian Su-25s. The roundels came from a Balkan Models Frogfoot sheet. The “07” was taken from a Blue Rider decal sheet, it actually belongs to a Lithuanian An-2. Some white stencils from generic MiG-21 and Mi-8 Begemot sheets were added, too, and some small markings were just painted onto the hull with yellow.

 

Some soot stains around the jet nozzles and the gun were added with graphite, and finally the kit was sealed with a coat of matt acrylic varnish.

  

A major bodywork project – and it’s weird that this is basically just a conversion of a stock kit and no kitbashing. A true Frogfoot remix! The new engines were the biggest “outsourced” addition, the A-10 landing gear fairings were a lucky find in the scrap box, and the rest is quite generic and could have looked differently. The result is impressive and balanced, though, the fictional TAM-1 looks quite plausible. The landing gear turned out to be a bit tall and stalky, though, making the aircraft look smaller on the ground than it actually is – but I left it that way.

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today we are a short distance from Cavendish Mews, in the nearby upper-class suburb of Belgravia where Lettice is paying an unexpected call on Lady Gladys Caxton at her Regency terrace in Eaton Square*. Through her social connections, Lettice’s Aunt Egg contrived an invitation for Lettice to an amusing Friday to Monday long weekend party held by Sir John and Lady Caxton, who are very well known amongst the smarter bohemian set of London society for their weekend parties at their Scottish country estate, Gossington, and enjoyable literary evenings in their Belgravia townhouse. Lady Gladys is a successful authoress in her own right and writes under the nom de plume of Madeline St John. Over the course of the weekend, Lettice was coerced into accepting Lady Glady’s request that she redecorate Phoebe’s small Bloomsbury pied-à-terre** in Ridgmount Gardens. Phoebe, upon coming of age inherited the flat, which had belonged to her parents, Reginald and Marjorie Chambers, who died out in India when Phoebe was still a little girl. The flat was held in trust by Lady Gladys until her ward came of age. When Phoebe decided to pursue a career in garden design and was accepted by a school in London closely associated with the Royal Society, she started living part time in Ridgmount Gardens. Lady Gladys felt that the pied-à-terre was too old fashioned and outdated in its appointment for a young girl like Phoebe. When Lady Gladys arranged for Lettice to inspect the flat, Lettice quickly became aware of Lady Gladys’ ulterior motives as she overrode the rather mousy Pheobe and instructed Lettice to redecorate everything to her own instructions and taste, whist eradicating any traces of Pheobe’s parents. Reluctantly, Lettice commenced on the commission which is nearing its completion. However earlier today Pheobe came to visit the flat whilst Lettice was there, and with a little coercion, Pheobe shared what she really felt about the redecoration of her parent’s pied-à-terre. Desperately wanting to express herself independently, Pheobe hoped living at the flat she would finally be able to get out from underneath the domineering influence of her aunt. Yet now the flat is simply another extension of Lady Glady’s wishes, and the elements of her parents that Pheobe adored have been appropriated by Lady Gladys. Determined to undo the wrong she has done by Pheobe by agreeing to all of Lady Glady’s wishes, in a moment of energizing anger, Lettice has decided to confront Lady Gladys, so now she is at Eaton Square.

 

“I’m sorry Miss Chetwynd, but if you haven’t made an appointment, I’m afraid that Lady Gladys cannot see you.” explains Miss Goodwin, Lady Gladys’ rather harried personal secretary, as she rustles papers, rearranging them distractedly into different piles on her small desk as she speaks. “She is simply too busy!”

 

“But Miss Goodwin…” Lettice begins.

 

“No, Miss Chetwynd!” the secretary replies more firmly. “Lady Gladys had a book reading in Charing Cross at two, and then there are the details of her American book tour to iron out.”

 

“You must be able to fit me in, Miss Goodwyn!” Lettice implores desperately. “I simply must see her about Phoebe’s pied-à-terre.”

 

“Is there something wrong with Miss Chambers’ pied-à-terre, Miss Chetwynd?”

 

“No… well, yes… well… it’s nearly ready, but it’s all wrong.” Lettice replies, flustered as she falls under the sharp, owl-like gaze of the middle-aged spinster secretary, made all the more prominent by her gold rimmed pince-nez****. “It’s difficult to explain.” she finally concludes in a rather deflated fashion.

 

Miss Goodwin arches her expertly plucked and shaped eyebrows over her eyes sceptically. “Evidently.” she remarks in a dismissive fashion. Reluctantly picking up her appointment book for Lady Gladys, she flips through the lined pages filled with her neatly written copperplate. “Let’s see.” she mutters, exhaling through her nostrils in frustration as she does. “I can fit you in next Tuesday at three o’clock if you like.” She picks up her fountain pen in readiness to record Lettice’s name.

 

“Next Tuesday?” Lettice retorts in horror. “But I can’t wait until next Tuesday, Miss Goodwin.”

 

“Oh?” Miss Goodwin queries. “But I thought you said the flat redecoration was nearly complete, Miss Chetwynd.”

 

“Well it is, Miss Goodwin.”

 

“Then, I’m sure this small matter,” the secretary emphasises the last two words as she speaks. “Can wait until then.”

 

Lettice gulps for air in an exasperated fashion. “But… I…”

 

“No, Miss Chetwynd!” Miss Goodwin says again, firmly pressing the palms of both her hands into the piles of paper before her defiantly.

 

“What’s all this sound of discourse then?” comes a male voice, booming through the charged air of Miss Goodwin’s small office on the ground floor of the Eaton Square terrace.

 

“Oh! Sir John!” the secretary exclaims, as Lady Glady’s husband, a tall and white haired gentleman in a smart morning suit pops his head around the door, his gentle face moulded into a look of concern. “Please forgive us. I was just explaining to Miss Chetwynd, that Lady Gladys cannot possibly see her now.”

 

“Oh enough of the ‘sir’ and ‘lady’, Goody,” Sir John says with a smile as he sees Lettice standing in front of the secretary’s desk, addressing Lady Glady’s secretary by the pet name given her by Sir John and Lady Gladys. “Lettice knows us intimately enough to know we don’t go by the titles bestowed upon us.” His smile broadens. “Lettice, what an unexpected pleasure.” He steps into the room and places his large hands firmly upon her shoulders. “I was just on my way out to Whites***** when I heard the commotion. Whatever is the matter, my dear?”

 

“Si… John,” Lettice begins, her eyes looking imploringly at Sir John as he towers over her. “It’s imperative I see Gladys right away. It’s about Pheobe and the flat.”

 

“That does sound serious.” he remarks, his face clouding over.

 

“Oh it is, and that’s why I must see Gladys now.” She turns her head slightly and glares at Miss Goodwin, whose own face is sternly defiant in her reluctance to admit Lettice.

 

“Well,” Sir John says with a chuckle. “I’ve quite literally just left her in her upstairs study, autographing some of her novels. She isn’t due at Foyles****** until two o’clock, is she, Goody?” Sir John doesn’t wait for her reply as he sweeps an arm around Lettice’s shoulder comfortingly and guides her away from the secretary and towards the door. “So come along.”

 

Leaving the affronted Miss Goodwin behind, Sir John leads Lettice up the grand main staircase of the terrace, with its thick stair carpet affixed with brass stair rods******* and stylish gilt detailed black metal balustrade.

 

“Are these all Caxtons?” Lettice asks as she gazes up the generous Regency proportioned stairwell at the portraits in oils hanging in gilded frames along the walls.

 

“Hhhmm… a few.” Sir John mutters. “Like him.” He points to a rather serious looking gentleman in middle-class mid Victorian sombre black. “But most of them I bought when I bought the house. It seemed a shame for them to be parted, especially as their former bankrupted owner had no use for them any more. He needed the money, and I… well…” He chuckles a little awkwardly.

 

“You needed the lineage.” Lettice completes his sentence.

 

“How perceptive you are, Lettice.” Sir John says without missing a beat as they walk. “It’s what comes with the pretentions of a social climbing first wife, and my acquired title*******. I’m not as fortunate as you to have such a distinguished lineage, having been born into a wool merchant family in Hallifax.”

 

Lettice doesn’t reply, and merely smiles and nods her acknowledgement.

 

“Now, what’s all this about Pheobe’s flat then, Lettice? I hope you aren’t having any problems with the wages for the tradesmen traipsing in and out of Ridgmount Gardens. I’ve been writing so many cheques for them lately that I can barely keep up.”

 

“Oh, it has nothing to do with their wages, John.”

 

“Then what? You sounded most insistent back there with Miss Goodwin, and whilst I don’t claim to know you well, you don’t strike me as a girl who gives in to having histrionic fits.”

 

Lettice smiles and chuckles softly as Sir John’s remark reminds her of her friend, ‘Moaning’ Minnie Palmerston, wife of a London banker, who is known for her histrionics.

 

The pair reach the landing between the ground and first floor, where a large marble bust of a gentleman in a periwig******** stares out with blind eyes and a frozen, magnanimous smile at the treetops of the garden square outside through a large twelve pane sash window. Lettice stops, causing Sir John to do the same.

 

“May I be frank, Si… err, John?” Lettice asks, gazing up at the man’s wrinkled face.

 

“Please, Lettice.” he agrees.

 

“Well, I’ve had concerns about this commission, ever since I first visited Ridgmount Gardens.”

 

“Concerns?” Sir John’s face crumples. “What concerns, Lettice?”

 

“When Gladys took me there, well no, even before that, I’ve been worried about Glady’s motivations for wanting the flat decorated.”

 

“What motivations?”

 

“It struck me, John, as she discussed the redecoration for the flat with me, that it is more to Gladys’ taste than Pheobe’s.”

 

“Is that all?” Sir John chuckles and sighs with relief. “You’ve met Pheobe. She’s a sweet child, and I love her as one of my own, but she isn’t overly forthcoming, is she?”

 

“But it’s more than that. I’ve observed that whenever Pheobe expresses an opinion that contradicts Gladys, that Gladys wears her down to her down, and brings her around to her own way of thinking.”

 

“Ahh..” Sir John says a little awkwardly. “Well, you may lay the blame for that solely at my feet, dear Lettice. I’m afraid that when I met Gladys, I was so taken by her pluck and spirit that I indulged her. I saw so much potential in her: potential that was stymied due to her lack of wealth. We’ve been married for a good many years now, and I’m afraid that she is rather used to getting her own way.”

 

“Well, I can work with that, John. Gladys isn’t without panache and certainly has a sense of style.”

 

“Then I don’t see the problem, my dear.” He looks quizzically at her. “You said you wanted to be frank. Speak plainly.”

 

Lettice sighs and her shoulders slump. “You’ll think it preposterous, and I am sorry to say this, but I think that Gladys is eradicating the memory of Pheobe’s parents.”

 

Sir John laughs. “You’re right, I do find that idea preposterous, my dear, but only because Pheobe has very little memories of her parents there to erase. She only ever lived the first year of her life in Ridgmount Gardens before Reginald took her and Marjorie back to India, and when he and Marjorie died out there, Pheobe was only five, and Gladys and I were married by that time, so we took Pheobe back to Gossington and she grew up there. She has no associations with Ridgmount Gardens, other than she has always known that her father bequeathed it to her and that she would take possession of it when she came of age.”

 

“John, Pheobe came to the flat today to fetch some of the books she needed that had been packed up when she decamped Ridgmount Gardens so the redecoration could commence, and she expressed the opinion which she also did with Gladys that she wanted to keep her father’s writing desk and her mother’s crockery. Pheobe says that she feels the essence of her parents in those pieces more than in the photographs she has of them.”

 

Sir John smiles indulgently. “That sounds like Pheobe. She’s always been fey and other world like, imagining that she can see inside people to their inner essence, ever since she was that forlorn child we brought back from Bombay.” He shakes his head dismissively.

 

“Yet Gladys has taken the bureau in spite of Phoebe’s wishes, claiming that her brother intended for her to have it, and she gave me the china to dispose of. Pheobe also told me that Gladys has said in front of her that her brother should never have married Phoebe’s mother. It seems to me that she is intentionally trying to remove any reminders of her brother and his wife.”

 

“It is true that there was never any love lost between Gladys and her sister-in-law. I’m not quite sure why, other that the fact she claimed that Marjorie stymied Reginald’s career in some way. I couldn’t see that myself. He was on his way to being a magistrate from what I could see. She was always evasive, never wanting to rake over the coals. I only ever met Reginald and Marjorie a few times around Gladys’ and my wedding day, and even then, it was only a fleeting visit, so I cannot say that I was critical of their marriage the way Gladys was. I did chide Gladys for speaking out of turn about Marjorie in front of Pheobe, but,” He looks guiltily at Lettice. “You know what Gladys is like. She’s always spoken her mind, and for all the fault in her that it may be, it is one of the reasons I love her.”

 

“But to intentionally remove any reminders of Mr. and Mrs. Chambers, John?”

 

“Oh I’m sure it isn’t intentional, Lettice.” Sir John assures her. “It’s good you’ve come when you have. You can speak to Gladys about this misunderstanding.”

 

“Misunderstanding?”

 

“Yes, I’m sure that’s all that it is. Whatever my wife may or may not be, she has tried all her life to do the best my Pheobe, and I’m sure that if Phoebe is as impassioned as you say she is about her father’s desk and her mother’s china, she probably just needs someone else to speak for her about it to Gladys.” He wraps his arm around Lettice assuring and gives her forearm a hearty rub. “And you’ll be capital about that. Now, come along.”

 

The pair take the final flight of stairs to the first floor in thoughtful silence. Sir John leads Lettice up to a doorway, knocks and opens it, walking in without waiting for a reply. “Look who I found downstairs, having the fiercest argument with your goodly protectress, Gladys.”

 

Lettice follows Sir John into a beautiful high ceilinged first-floor room flooded with light from two large and tall Regency windows. Like Gossington, the Scottish Baronial style English Art and Crafts castle near the hamlet of Kershopefoot in Cumberland belonging to Sir John and Lady Gladys, the walls are decorated with William Morris********* patterned wallpaper, and the room is furnished with Edwardian and Art Nouveau furnishings. However, unlike Gossington’s public rooms, which are crammed full of Edwardian clutter, the scheme in this room is far lighter, with the delicate and softer ‘Willow Bough’ pattern in the paper, and rather than being upholstered in Morris pattern as well, the sofas and chairs situated about the room are covered in a stripped back creamy Regency stripe, perhaps in deference to the terrace’s origins. Even the clutter here is less, with fewer vases and trinkets covering the surfaces of tables. In fact, the mantle is the most cluttered, and even then it is mostly with invitations and correspondence addressed to Lady Gladys’ non de plume of Madeline St John. And there, at a small black japanned regency desk sits Lady Gladys in her favoured pastel shades and pearls.

 

“Lettice!” she gasps, looking up from signing a copy of her latest Madeline St John romance novel, ‘Miranda’. “What an unexpected pleasure.” She picks herself up out of her high backed black japanned and gilt French Second Empire chair and opens her arms to Lettice, exposing the pretty knitted patterns woven through her light, pale pink cardigan that she has chosen to wear over a pink floral print cotton frock. As Lettice crosses the room, gracefully moving through the obstacle course of low occasional tables and comfortable salon and armchairs, Lady Gladys’ face clouds. “Or is it? Did… did we have an appointment today, my dear?”

 

“No, no, Gladys.” Lettice assures her as she reaches Lady Gladys and allows herself to enveloped in her lavender scented embrace. “It’s an unannounced visit.”

 

“Well then, I do hope that Goody wasn’t too cantankerous with you. I adore her, and she’s an excellent and superbly organised secretary, but Goody doesn’t particularly like surprise visits and will do almost anything to stick rigidly to her arrangement of my schedules.”

 

“I caught Goody in full flight, and rescued poor Lettice from her recalcitrant clutches.” Sir John remarks.

 

“Always the knight in shining armour, John. Bravo!” Lady Gladys applauds her husband.

 

“Well, I’m off then.” Sir John says.

 

“Oh, won’t you stay, John?” Lettice says, her voice cracking. She had been hoping he might stick to form as her rescuer and stay to help influence her pleas with Lady Gladys favourably.

 

“Oh no, Lettice my dear!” He starts to back away towards the door. “Whites waits for no man, and nor does my contract bridge partner. I’ve tarried long enough. Besides,” he adds. “This is between you two ladies.” And with that, he turns on his heel and retreats out the door, closing it quietly behind him.

 

“Say hullo to Fillmore for me, and give him my love, John.” Gladys calls after his retreating footsteps.

 

The room falls into a soft silence broken only by the twitter of birds in the trees outside, the purring of a passing motorcar on the road and the gentle tick of a gilt clock on a bombe chest between the two windows.

 

“Well, I have a little bit of time before I must away to Foyles.” Lady Gladys says, pulling back the sleeve of her cardigan and glancing at her delicate gold and diamond studded wristwatch. “Oh! Which reminds me, I must, must, must, sign copies of a couple of my novels for your maid. Edith, isn’t it?”

 

“Quite so, Gladys.”

 

“Good! You can take her a copy of ‘Miranda’ today.” Lady Gladys takes a seat again as she takes up a copy of the book and inscribes it with a flourish of her pen. “To Edith, with my best wishes, Madeline St John.” she utters as she writes. Finishing the inscription, she closes the cover of the book with a thwack. “I almost need a forger on my retinue of office staff to sign all the requested copies of my books.” She hands the book to Lettice. “Please, sit.” She indicates to a tall wingback armchair by the fireplace with an open gesture. As Lettice sits, she spins in her own seat, leaning heavily against the chair’s left ornately spindled arm. “Now, what can I do for you, Lettice?”

 

Lettice takes a deep breath. “Well, Gladys, I wanted to talk to you about the flat.”

 

“Oh yes!” Gladys crows, clapping her hands, the diamonds and other precious stones of her rings winking in the light. “My spies tell me that it has been quite the hive of activity at Ridgmount Gardens!”

 

“Your spies?”

 

“Oh, don’t look so shocked, Lettice.” Lady Gladys laughs. “Bloomsbury is such an artistic area, full of writers, many of whom I know.” She smiles slyly. “Writers are notorious for being observant of their surroundings. It doesn’t take long for the jungle drums to start beating, my dear.”

 

“Oh.” Lettice remarks.

 

“Now, what is it about the flat you want to talk about?” Yet even as she asks, she then adds, “Oh, the chintz curtains I wanted did arrive, didn’t they, Lettice?”

 

Lettice shudders at the thought of them. “Yes, Gladys, and they are hanging in the drawing room, just as you’d requested.”

 

“Excellent!”

 

“But it’s your requests,” Lettice gulps awkwardly. “Or rather… your demands… that I’ve come to speak to you about.”

 

“Demands?” A defensive edge makes its way into her well enunciated words as Lady Gladys queries Lettice’s remark.

 

“Commands.” Lettice blunders.

 

“Commands!” Lady Glady’s eyes flicker slightly.

 

“There’s a problem with your requests, Gladys.” Lettice tries to venture, her voice faltering and sounding weak as the words catch in her throat.

 

“A problem with my requests, Lettice?” Lady Gladys lowers her left arm so it dangles down by her side, whilst raising her right to her chin in a ponderous pose as she considers her visitor, perching on the edge of her seat awkwardly, as if seeing her for the first time. “What could possibly be wrong with any of the requests I have made? Have I made demands that are unreasonable? Is there something wrong with the shade of green of the walls, the choice of soft furnishings,” She pauses. “The chintz curtains?”

 

“Well,” Lettice tries to momentarily make light of the moment. “Chintz isn’t something I’d choose for myself, Gladys.”

 

“I chose those for Phoebe specifically,” Lady Gladys says sharply, the volume of her voice rising slightly as she does.. “Because I thought she might appreciate the connection between the nature she so loves and her living space.”

 

“And she does, Gladys.” Lettice defends. “She even remarked on them when she was at Ridgmount Gardens today.”

 

“Oh, so that’s where she went.”

 

“She came to fetch some books she left behind at the flat that she needs for her studies.”

 

“Or so Pheobe claims.” Lady Gladys retorts.

 

“And whilst we were there, we had a conversation,” Lettice tries to steal her voice as she adds, “An honest conversation.”

 

Lady Gladys does not reply immediately, but considers Lettice’s statement before asking, “And what was it in that honest conversation that now has you at my door, Lettice?”

 

Lettice notices, as she feels sure she is meant to, that the endearments of ‘my dear’, usually attached to her name, have suddenly vanished.

 

Well, you’ll forgive me, Gladys, but when Pheobe and I were speaking, she shared with me her concerns that the flat is perhaps not being redecorated,” Lettice quickly, yet carefully considers each word as she speaks it, conscious of the precarious situation she finds herself in. She doesn’t want to invoke Lady Gladys’ ire against phoebe, nor against herself. “In the… the style which she would prefer.”

 

“The style she would prefer?” Gladys suddenly leans back in her seat and starts laughing, but the laugh is devoid of joy. “Lettice, Pheobe has no opinion when it comes to style, the little mouse.” She stares out of the window into the sunshine bathing the trees of the gated garden square across the road. “Actually, she has very little opinion about anything, quite frankly.”

 

“Well, there I would beg to disagree with you, Gladys.” Lettice retorts, suddenly filled with a necessity to defend Phoebe.

 

“Do you indeed?”

 

“I do.” Lettice affirms, her voice growing stronger. “You see, you have a very… a very strong personality.”

 

“Forthright is what John would call my personality.”

 

“Strong, forthright: either description amounts to much the same. I’ve observed that on the rare occasions Phoebe disagrees with your opinion, you quickly snuff out any objection.”

 

“Such as?” Lady Gladys asks warily.

 

“Such as when I first visited Ridgmount Gardens with you, after we had been to your book launch at Selfridges, when Phoebe protested that she wanted to keep her father’s bureau desk, you wouldn’t let her.”

 

“Lettice,” Lady Gladys sighs heavily. “As I mentioned to you both then, and have repeated several times when the subject of my brother’s desk has been raised by Phoebe subsequently with me, Reginald wanted me to have it. He simply died before he had a chance to put his affairs in order.”

 

“And her mother’s china?”

 

“Good god, Lettice!” Lady Gladys exclaims. “Why on earth should Phoebe want those old hat Style Liberty********** cups, saucers and plates, when she can have something of far superior quality and are more up-to-date in style.”

 

“You seem to be a proponent of Style Liberty, Gladys.” Lettice indicates with waving gestures about the room.

 

“And as I said to you at Gossington, the style may have been fashionable when I was younger, but it died when all our young men did, during the war. It’s past: dead! Anyway,” she sulks. “They are cheap, nasty pieces of pottery, and many of them are chipped, even if Marjorie kept them for best. She never did have good taste.”

 

“Whether they are cheap or chipped, Gladys, Phoebe feels that her flat is missing her parent’s essence.” When Lady Gladys scoffs scornfully, Lettice continues, “She specifically mentioned the chips in her mother’s plates and teacups and the grooves and ink stains in her father’s bureau.”

 

“Phoebe always was an odd child,” Lady Gladys ruminates. “Going on about the essence of a person. She has photos to look at if she wants to get an essence of her long dead parents. Lettice, John and I have been far more of parents to her than Reginald and Marjorie.”

 

“I’m not disputing that, Gladys. All I am stating is what Phoebe told me. You have your own desk,” Lettice points to the delicate desk before which Lady Gladys sits. “Why not give Phoebe what she wants? Is it so hard?”

 

“I’ve been giving that child all that she needs and wants for years: ever since I brought her back from India as a five year old. I’ve given her everything a real mother would.”

 

“Then why not give her the bureau. Please, Gladys.”

 

“I repeat!” Lady Gladys snaps. “Reginald wanted me to have his bureau! It’s mine!”

 

Lady Gladys suddenly sits upright in her seat and slams her palms into its arm rests, huffing heavily with frustration. “Well Lettice, I have enjoyed our impromptu little tête-à-tête, but I’m afraid I really must go. I don’t wish to keep the Messrs Foyle waiting. They have been very good to me, arranging this reading at their bookshop.”

 

“But…” Lettice begins.

 

Lady Gladys picks up a silver bell from the surface of her desk and rings it, the metal bell emitting a high pitched ring. “Whom, may I ask is paying the bills for all the tradespeople you have engaged on your little project of redecorating Ridgmount Gardens?”

 

“Sir John.”

 

“Then let me remind you that Sir John is acting on my behalf, paying those bills. When you agreed to accept my commission, we entered into a contract: a contract that you and I both signed before our lawyers.”

 

“Yes, at your insistence.”

 

“Exactly, because I suspected a situation somewhat sticky like this might arise. I didn’t have to choose you to redecorate Phoebe’s flat. I could have chosen any number of my friends who dabble in interior design. Indeed Syrie Maugham*********** felt quite slighted that I chose you over her, with all her successes. I wanted to give you the opportunity to increase your profile as a society interior designer , because my word goes a long way.” “Lettice, I might be many things, but I’m not a woman without tact, but as our time today is up, you must force me to be blunt.” She begins to shuffle the remaining copies of her novels on her desk irritably. “You agree that you signed a contract with me, so as your client I request… no I demand,” She uses Lettice’s choice of words back at her. “That you do everything I want: everything, down to the last little detail, or I shall consider the contract null and void, and therefore I shall be under no obligation to arrange for John to pay any outstanding bills, and further to that, if you do anything forcing me to terminate our contract, I shall make sure that every drawing room is talking about your untrustworthiness, Lettice. Do I make myself clear?”

 

Just at that moment, Miss Goodwin bustles into the room. “You rang, Gladys?”

 

“Yes Goody.” Gladys says with a painted smile. “My delightful impromptu meeting with Miss Chetwynd is over. Would you kindly show her out. I must get ready for my reading at Foyles.”

 

“Yes Gladys.” She smiles at Lettice. “Right this way, Miss Chetwynd.”

 

As Miss Goodwin ushers Lettice towards the door, Gladys adds from her seat at her desk, “Thank you so much for visiting me today, my dear Lettice. I think it has helped us both better understand our positions. I’m sure you agree.”

 

“This way, Miss Chetwynd.” Miss Goodwin says again as she guides the shocked and silent Lettice out of the door, closing it quietly behind her.

 

*Eaton Square is a rectangular residential garden square in London's Belgravia district. It is the largest square in London. It is one of the three squares built by the landowning Grosvenor family when they developed the main part of Belgravia in the Nineteenth Century that are named after places in Cheshire — in this case Eaton Hall, the Grosvenor country house. It is larger but less grand than the central feature of the district, Belgrave Square, and both larger and grander than Chester Square. The first block was laid out by Thomas Cubitt from 1827. In 2016 it was named as the "Most Expensive Place to Buy Property in Britain", with a full terraced house costing on average seventeen million pounds — many of such town houses have been converted, within the same, protected structures, into upmarket apartments.

 

**A pied-à-terre is a small flat, house, or room kept for occasional use.

 

***Charing Cross is a junction in Westminster, London, England, where six routes meet. Since the early 19th century, Charing Cross has been the notional "centre of London" and became the point from which distances from London are measured. It was also famous in the late Nineteenth and early Twentieth Centuries as being the centre for bookselling in London.

 

****Pince-nez is a style of glasses, popular in the late Nineteenth and early Twentieth Centuries, that are supported without earpieces, by pinching the bridge of the nose. The name comes from French pincer, "to pinch", and nez, "nose".

 

*****White's is a gentlemen's club in St James's, London. Founded in 1693 as a hot chocolate shop in Mayfair, it is the oldest gentleman's club in London. Notable current members include Charles III and the Prince of Wales and former British prime minister David Cameron, whose father Ian Cameron was the club's chairman, was a member for fifteen years but resigned in 2008, over the club's declining to admit women. The club continues to maintain its tradition as a club for gentlemen only, although one of its best known chefs from the early 1900s was Rosa Lewis, a model for the central character in the BBC television series “The Duchess of Duke Street”.

 

******W & G Foyle Ltd. (usually called simply Foyles) is a bookseller with a chain of seven stores in England. It is best known for its flagship store in Charing Cross Road, London. Foyles was once listed in the Guinness Book of Records as the world's largest bookshop in terms of shelf length, at 30 miles (48 km), and of number of titles on display. Brothers William and Gilbert Foyle founded the business in 1903. After failing entrance exams for the civil service, the brothers offered their redundant textbooks for sale and were inundated by offers. This inspired them to launch a second-hand book business from home. Flushed with success, they opened a small shop on Station Parade in Queen's Road, Peckham, where they painted "With all Faith" in gilt letters above the door. The brothers opened their first West End shop in 1904, at 16 Cecil Court. A year later they hired their first member of staff, who promptly disappeared with the weekly takings. By 1906, their shop was at 135 Charing Cross Road and they were described as London's largest educational booksellers. By 1910, Foyles had added four suburban branches: at Harringay, Shepherd's Bush, Kilburn and Brixton. Not long afterwards, the brothers moved their central London store to 119 Charing Cross Road, the Foyles Building, where it remained until 2014. Foyles was famed in the past for its anachronistic, eccentric and sometimes infuriating business practices (ones I have been personally involved in), so much so that it became a tourist attraction. It has since modernised, and has opened several branches and an online store.

 

*******A stair rod, also commonly referred to as a carpet rod, is an ornamental decorative hardware item used to hold carpeting in place on steps.

 

********Titles into the British Peerage weren't for sale as such, but a social climbing gentleman could certainly buy his way into the nobility if he were wealthy and well connected enough, and used the social and political power of wealth wisely. In the pre-war (Great War) years, when money went a great deal further than it did before the introduction of heavy income taxes and death duties, if you had money, it was not hugely difficult to effectively buy yourself a seat in parliament or a commission in the military (both of which were functionally up for sale), which could often result in a peerage being granted if you stayed around long enough in the right circles, or were favoured by the right people. The Tories of the late Eighteenth Century were infamous for packing the House of Lords with supporters in order to retain a majority (most aristocratic families had favoured the Whigs earlier in the Georgian era). If a man were shrewd enough to curry favour with a Tory like Lord North or Pitt the Younger, then he could probably get a title quite easily, since the Tory base of support was within the untitled gentry, and they needed to maintain control of the Lords. Currying favour with the monarch worked equally well, and King Edward VII was famous for minting fresh peers regularly, filling his levees with wealthy industrialists, manufacturers and men of business whom he found more engaging than the idle peers of long standing aristocratic titles.

 

********A periwig a highly styled wig worn formerly as a fashionable headdress by both women and men in the Eighteenth Century and retained by judges and barristers as part of their professional dress to this day.

 

*********William Morris (24th of March 1834 – 3rd of October 1896) was a British textile designer, poet, artist, writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. In 1861, Morris founded the Morris, Marshall, Faulkner & Co. decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the Victorian period, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.

 

**********The artistic movement we know of today internationally as Art Nouveau, was more commonly known as the “Arts and Crafts Movement” or “Style Liberty” in the United Kingdom during the years before and after the Great War, driven by the Glasgow School of Arts, where a great many proponents of the style came from, and by the luxury London shop Liberty on Regent Street which sold a great deal of William Morris’ designs to the general public.

 

***********Gwendoline Maud Syrie Maugham was a leading British interior decorator of the 1920s and 1930s who popularised rooms decorated entirely in white. In the 1910s, Maugham began her interior design career as an apprentice under Ernest Thornton-Smith for a London decorating firm, learning there about the intricacies of furniture restoration, trompe-l'œil, curtain design, and the mechanics of traditional upholstery. In 1922, two years before this story is set, at the age of 42, Maugham borrowed £400.00 and opened her own interior decorating business at 85 Baker Street, London. As the shop flourished, Maugham began decorating, taking on projects in Palm Beach and California. By 1930, she had shops in London, Chicago, and New York. Maugham is best-remembered for the all-white music room at her house at 213 King's Road in London. For the grand unveiling of her all-white room, Maugham went to the extreme of dipping her white canvas draperies in cement. The room was filled with massive white floral arrangements and the overall effect was stunning. Maugham charged high prices and could be very dictatorial with her clients and employees. She once told a hesitant client, "If you don't have ten thousand dollars to spend, I don't want to waste my time."

 

This English Arts and Crafts upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.

 

Fun things to look for in this tableau include:

 

Lady Glady’s pretty black japanned desk has been made by the high-end miniature furniture manufacturer Bespaq, and it has been hand painted with chinoiserie designs. Her Louis XIV white Regency stripe upholstered chair and its pair which can just be seen behind the desk to the left of the fireplace have been made by the high-end miniature furniture manufacturer, J.B.M. They too have been hand painted and decorated, even along the tops of the arms. On the desk are some 1:12 artisan miniature ink bottles, a silver pen and a blotter all made by the Little Green Workshop in England who specialise in high end, high quality miniatures. The ink bottles are made from tiny faceted crystal beads and have sterling silver bottoms and lids. The pen is a twist of silver with a tiny seed pearl inserted into the end of it The ink blotter is sterling silver too and has a blotter made of real black felt, cut meticulously to size to fit snugly inside the frame. The silver double frame on the top of the desk comes from Mick and Marie’s Miniature Collectables. The silver tray holding letters on the top left of the desk is sterling silver as well and was acquired from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.

 

Also on the desk are some copies of Lady Gladys’ books. They are all examples of 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, this selection of romance novels are not designed to be opened. What might amaze you in spite of this fact is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make them all miniature artisan pieces. The books in the Art Nouveau fretwork cabinet in the background are all made by Ken Blythe as well. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.

 

The correspondence on the fireplace mantle and on the silver tray on Lady Gladys’ desk were made meticulously by Little Things Dollhouse Miniatures in Lancashire. They are 1:12 miniature versions of real documents.

 

At either end of mantle stand a pair of Staffordshire sheep which have been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys. If you look closely, you will see that the sheep actually have smiles on their faces!

 

The two Art Nouveau style vases at either end of the mantlepiece and the squat one in the middle half hidden by correspondence came from Beautifully Handmade Miniatures in Kettering. The irises in the vase on the left-hand side of the mantle are all made of polymer clay that is moulded on wires to allow them to be shaped at will and put into individually formed floral arrangements. Very realistic looking, they are made by a 1:12 miniature specialist in Germany.

 

The two gilt edged paintings hanging to either side of the fireplace were made by Marie Makes Miniatures in the United Kingdom. The painting in the white painted wooden frame hanging above the mantlepiece comes from Kathleen Knight’s Dolls’ House Shop as does the finely moulded plaster fireplace itself and its metal grate.

 

The enclosed bookcase full of Ken Blythe’s miniature books in the background to the left of the photo with its glass doors and Art Nouveau fretwork was made by Bespaq Miniatures, as were the white Regency stripe upholstered wingback armchair in front of the fireplace and sofa just visible to the left of the photograph. The hand embroidered footstool in front of the armchair comes from Kathleen Knight’s Dolls’ House Shop.

 

The wallpaper used to decorate Lady Gladys’ walls is William Morris’ ‘Willow Bough’ pattern.

 

The Persian rug on the floor has been woven by Pike, Pike and Company in the United Kingdom.

Outdated Kodak Ektachrome 64T EPY on my Fujifilm TX-1 + 45mm

Rotterdam

Oxford

 

Konica FC-1

Konica Hexanon AR 50mm f/1.4

Outdated Kodak Color Plus 200

Boots scan + LR adjustments

São Paulo - Brazil

+++ DISCLAIMER +++

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

  

Some background:

In 1932, the United States Navy contracted the Curtiss-Wright Corporation to produce a modern, two-seat fighter design for use on its growing family of aircraft carriers. Curtiss responded by putting forth their Model 73 - a two-seat monoplane design featuring a single set of parasol wings fitted high atop the fuselage, and the US Navy designated the prototype as XF12C-1.

The Model 73 was powered by a single Wright R-1510-92 Whirlwind 14 series radial piston engine and sported a modern retractable undercarriage. The Curtiss product achieved first flight in 1933 though, by the end of the year, the US Navy had revamped their requirement and categorized the XF12C-1 prototype as the "XS4C-1 scout plane". Once again, this time in early 1934, the US Navy reorganized their needs and labeled the XS4C-1 as the "XSBC-1 dual-role scout-bomber". Curtiss fitted a Wright R-1820 Cyclone series radial piston engine to the design and testing of the prototype ensued.

 

Among the evaluations was a dive bombing test in September of 1934 that resulted in a failure of the parasol monoplane wing assembly. Testing had shown that the parasol wing assembly was generally unfit for the stresses of what the new aircraft would be called upon to achieve. As a result, the US Navy ordered a new prototype to fall in line with stricter requirements.

Curtiss once again delivered an answer, this time the Model 77, to which the US Navy affixed the designation of XSBC-2. This machine was powered by a new engine,a Wright R-1510-12 Whirlwind 14 series radial. First flight of the XSBC-2 was recorded on December 9th, 1935. In March of 1936, a Pratt & Whitney R-1535-82 Twin Wasp Junior radial piston engine was fitted to the airframe, resulting in the revised company designation of "Model 77A" and the respective US Navy designation "XSBC-3".

 

Design of the SBC Helldiver was a mix of two eras of aviation: On the one hand, the design was characterized by its staggered, uneven span biplane wing arrangement with thick outboard struts, cabling and skeletal inboard struts holding the wings in place. On the other hand, the fuselage was a streamlined, all-metal construction, contouring finely to a tapered end to which a rounded vertical tail fin was affixed. The undercarriage, while retractable, still sported its visible wheels tucked in alongside each forward fuselage side. Like other aircraft of this period, the SBC took on a noticeable "nose-up" stance when at rest, being fitted with a small, semi-retractable tail wheel at the empennage base and an arrester hook for carrier operations. The crew of two sat in tandem under a single, long canopy with heavy framing with generally poor forward views of the oncoming action. The cockpit was set at amidships, well aft of both wing assemblies.

 

Being powered by an air-cooled radial engine, driving a three-bladed propeller, the SBC Helldiver could afford top speeds of 234 miles per hour with a base 175 mile per hour cruise speed. Service ceiling was limited to 24,000 feet while range was out to 405 miles.

Armament was rather modest and included a pair of 0.30 caliber machine guns (one forward fixed for the pilot and the other on a trainable mount in the rear cockpit) with an optional 500 lb (227 kg) bombload along the fuselage centerline. The latter was held by a swing arm that would keep the bomb out of the propeller disc during dive attacks and was augmented by additional shackles under the lower wings for single light bombs.

 

The United States Navy, content with the latest Curtiss-Wright offering, contracted the company in 1936 to deliver some 83 SBC-3 "Helldiver" production-quality aircraft. Initial deliveries occurred in July 1937 to Squadron VS-5 of the carrier USS Yorktown. By all reports, the SBC proved to have a rather pleasant airframe to control. But the constantly changing world of technology in the late 1930s solidified the SBC as an out-of-date design, forcing the scout bomber to undertake second-line duties in the training of upcoming airmen out of Florida. When the Japanese Empire unleashed their surprise attack on the US Naval base at Pearl Harbor, Hawaii, on December 7th, 1941 - thusly thrusting America into full-fledged world war - the SBC was more or less accepted as an obsolete design.

 

Curtiss worked on improving the base SBC-3 series design and set one airframe aside for such work. The resulting tests yielded the new Model 77B to which the US Navy appended the designation of SBC-4.

To go along with several improvements, like self-sealing tanks and a bigger bomb load of up to 1.000 lb (454 kg) and additional underwing hardpoints, was a more powerful Wright R-1820 Cyclone 9 series radial piston engine of 850 horsepower.

The US Navy signed a production contract for 174 examples of this mount in January 1938 with the first deliveries beginning in March of 1939, followed by formal service entry. By this time, Europe was already completely engulfed in a war that would soon spread beyond its borders, and foreign orders, e. g. from France, ensued.

 

Regardless, the outdated biplane dive-bomber soldiered on with both US Navy and Marine Corps branches aboard such active carriers as the USS Hornet. But, overall, the SBC Helldiver would only lead a short active life with the US Navy, being soon replaced by much-improved types.

 

Until its retirement, the SBC still found use in supportive roles. Furthermore, the SBC was, on a limited scale, employed for reconnaissance, patrol and pathfinder tasks in composite squadrons (together with F4F Wildcat fighters and TBM Avenger torpedo bombers) on board of small escort carriers in the Atlantic theatre of operations, where its compact size and good handling were appreciated.

 

To ensure something of a legacy, the SBC Helldiver was in fact the last biplane aircraft to be purchased by the United States Navy. The longest Curtiss SBCs to survive were 12 aircraft at NAS Jacksonville, Florida, which were stricken off-charge on 31st October 1944.

  

General characteristics:

Crew: two; pilot and observer gunner

Length: 28 ft 1⅝ in (8.57 m)

Wingspan: 34 ft 0 in (10.36 m)

Height: 10 ft 5 in (3.17 m)

Wing area: 317 ft² (29.4 m²)

Empty weight: 4,552 lb (2,065 kg)

Loaded weight: 7,080 lb (3,211 kg)

Max. take-off weight: 7,632 lb (3,462 kg)

 

Powerplant:

1× Wright R-1820-34 radial engine, rated at 850 hp (634 kW)

 

Performance:

Maximum speed: 234 mph (203 knots, 377 km/h) at 15,200 ft (4,600 m)

Cruise speed: 175 mph (152 knots, 282 km/h)

Range with internal fuel: 405 mi (352 nmi, 652 km)

Service ceiling: 24,000 ft (7,320 m)

Rate of climb: 1,630 ft/min (8.28 m/s)

 

Armament:

1× 0.30 in (7.62 mm) forward-firing M1919 Browning machine gun

1× 0.30 in (7.62 mm) machine gun firing rearward on a flexible mount in the rear cockpit

1× underfuselage hardpoint for a bomb of up to 1.000 lb (454 kg)

or a 45-U.S.-gallon (170-liter) fuel tank

2× underwing hardpoints for 100 lb (45 kg) bombs or flares

  

The kit and its assembly:

The Curtiss SBC is a kind of ugly duckling and certainly not an aircraft that left any serious impression in history. Nevertheless, its odd mix of modern and vintage design features makes it an interesting subject, and I wanted to build one for a long time. The extended timeframe for the “Old Kit Group Build” at whatifmodelers.com was a welcome motivation to finally dig out a Heller SBC kit (moulds date back from 1979, Matchbox countered with another SBC only one year later) from the stash and build it.

 

The kit did not see any whiffy mod, was built basically OOB, but received some detail changes and additions. These include a machine gun dummy in the observer’s station, a scratched bomb displacement swing as well as underwing hardpoints, some superficial cockpit and landing gear opening details, as well as lowered flaps and the wiring between the wings – thankfully, only little work of the latter was necessary on the relatively modern biplane design, even though may of the wing wirings are double, so that the work was still challenging. As per usual, I reverted to heated sprues, glued to the kit before painting. The crew (Hobby Master soft vinyl figures) was only added for the beauty pics – in order to make this possible the long greenhouse canopy was cut into four pieces and the sliding parts left unglued to the fuselage.

 

Otherwise, the kit itself is an easy build with good detail (raised panel lines, though), just the plastic is a bit thin and wobbly, making a good fit not easy. This was not made easier by the fact that the part with the struts for the upper wings had been squashed and bent through other sprues in the box. Getting them back into shape and place for a proper fit was not easy, but with patience and some trial-and-error I was able to save the situation.

  

Painting and markings:

AFAIK, the SBCs in US Navy service were initially either left in bare metal (with some colorful pre-war squadron markings and the characteristic yellow wings), and, later, some machines operated in the Pacific TO received the early USN Blue Grey/Light Gull Grey livery, and, alternatively, some were painted all-over light-grey (FS 36440?).

I could not find any proof concerning SBCs being operated on carriers in the Atlantic TO, in fact it seems that the SBC was only carried on board of a single carrier, USS Lexington (CV-2). But I deemed the compact aircraft to be pretty suited for smaller escort ships - similar to the Grumman F4F Wildcat, which soldiered on, too, for a long time despite being a pre-war design.

 

This idea was the basis for my what-if model, and resulted in a machine painted accordingly in the “Atlantic ASW Scheme” with Dark Gull Grey (FS 36231) on the upper surfaces and off-white undersides, with a high waterline. Rather simple and unspectacular, but it suits the SBC well and is rarely seen on USN model kits, most tend to end up in Pacific TO colors.

 

For painting I used Humbrol 106 (RAF Ocean Grey) and 147 (FS 36495) – both are darker than the authentic tones, but the latter were used for shading (Humbrol 140 and 34, respectively). Reason behind this is that I deemed esp. pure white to be too bright as basic color, leaving no room for post-shading on panels and details. Effectively, it’s a kind of overall pre-shading procedure.

 

The cockpit became US Interior Green (Humbrol 226), while the visible interior of the landing gear and the cowling became zinc chromate yellow (Humbrol 81), a nice, colorful detail.

 

The kit was lightly weathered with black ink, too, and received only minimal markings in the form of “Stars & Bars” and a tactical code – another typical feature of machines operated in the Atlantic. As a little (yet authentic) design twist I applied American roundels with a red border, which were mandatory only for a short period in mid-1943 – for the built, fictional SBC they would fit well, and AFAIK this insignia variant lingered on for some time, so that even in late 1943 these must still have been a frequent sight.

 

After simulating some soot and oil stains as well as flaked paint on the fuselage and leading edges, the kit was sealed with matt acrylic varnish (Italeri).

  

Again, a relatively simple but subtle whif version of a rather unpopular and forgotten aircraft – but I must say that the Atlantic scheme suits the anachronistic SBC well. With the other colorful details (green cockpit, yellow engine parts, red roundel edges) I was able to make the simple kit look more interesting than expected.

A processed version taken from a photograph of an Original Abstract Oil Painting in a Geometric Style on Canvas. Many many years ago I inherited an old wind up gramophone with a pile of outdated 78’s, Gracie Fields singing Isle of Capri and similar. At the time I had a mate whose elder brother also had a wind up gramophone except his pile of 78’s were old Trad Jazz Classics, and as well his brother had just bought the 78 of Pee Wee Hunt’s recording of Twelve Street Rag - which the two of us played many times. My birthday came around and my female cousin requested we shared a Birthday Party so that we could each invite our friends. I took along my wind up gramophone but not my 78’s and instead my mate’s brother had agreed to us borrowing the Jazz Classics and, of course Twelfth Street Rag. It all turned out a great evening, and although it was all so long ago my memory of the Party is fading everyone enjoyed the music. For me it began a lifetime enjoyment of Jazz both Trad and Modern Jazz, and I can still recall and sing On The Isle of Capri.

+++ DISCLAIMER +++

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

  

Some background:

The Georgian Air Force and Air Defense Division (თავდაცვის ძალების ავიაციისა და საჰაერო თავდაცვის სარდლობა; tavdatsvis dzalebis aviatsiisa da sahaero tavdatsvis sardloba) was established on January 1, 1992, and in September the Georgian Air Force conducted its first combat flight during the separatist war in Abkhazia. On August 18, 1998, the two divisions were unified in a joint command structure and renamed the Georgian Air Force.

In 2010, the Georgian Air Force was abolished as a separate branch and incorporated into the Georgian Land Forces as Air and Air Defense sections. By that time, the equipment – primarily consisting of Eastern Bloc aircraft inherited from the Soviet Union after the country’s dissolution – was totally outdated, the most potent aircraft were a dozen Suchoj Su-25 attack aircraft and a handful of MiG-21U trainers.

 

In order to rejuvenate the air arm, Tbilisi Aircraft Manufacturing (TAM), also known as JSC Tbilaviamsheni and formerly known as 31st aviation factory, started a modernization program for the Su-25, for the domestic forces but also for export customers. TAM had a long tradition of aircraft production within the Soviet Union. In the 1950s the factory started the production of Mikoyan's MiG-15 and later, the MiG-17 fighter aircraft. In 1957 Tbilisi Aircraft State Association built the MiG-21 two-seater fighter-trainer aircraft and its various derivative aircraft, continuing the MiG-21 production for about 25 years. At the same time the company was manufacturing the K-10 air-to-surface guided missile. Furthermore, the first Sukhoi Su-25 (known in the West as the "Frogfoot") close support aircraft took its maiden voyage from the runway of 31st aviation factory. Since then, more than 800 SU-25s had been delivered to customers worldwide. From the first SU-25 to the 1990s, JSC Tbilaviamsheni was the only manufacturer of this aircraft, and even after the fall of the Soviet Union the production lines were still intact and spares for more than fifty complete aircraft available. Along with the SU-25 aircraft 31st aviation factory also launched large-scale production of air-to-air R-60 and R-73 IR guided missiles, a production effort that built over 6,000 missiles a year and that lasted until the early 1990s. From 1996 to 1998 the factory also produced Su-25U two-seaters.

 

In 2001 the factory started, in partnership with Elbit Systems of Israel, upgrading basic Su-25 airframes to the Su-25KM “Scorpion” variant. This was just a technical update, however, intended for former Su-25 export customers who would upgrade their less potent Su-25K export aircraft with modern avionics. The prototype aircraft made its maiden flight on 18 April 2001 at Tbilisi in full Georgian Air Force markings. The aircraft used a standard Su-25 airframe, enhanced with advanced avionics including a glass cockpit, digital map generator, helmet-mounted display, computerized weapons system, complete mission pre-plan capability, and fully redundant backup modes. Performance enhancements included a highly accurate navigation system, pinpoint weapon delivery systems, all-weather and day/night performance, NATO compatibility, state-of-the art safety and survivability features, and advanced onboard debriefing capabilities complying with international requirements. The Su-25KM had the ability to use NATO-standard Mark 82 and Mark 83 laser-guided bombs and new air-to-air missiles, the short-range Vympel R-73. This upgrade extended service life of the Su-25 airframes for another decade.

There were, however, not many customers. Manufacturing was eventually stopped at the end of 2010, after Georgian air forces have been permanently dismissed and abolished. By that time, approximately 12 Scorpions had been produced, but the Georgian Air Force still used the basic models of Su-25 because of high cost of Su-25KM and because it was destined mainly for export. According to unofficial sources several Scorpions had been transferred to Turkmenistan as part of a trade deal.

 

In the meantime, another, more ambitious project took shape at Tbilisi Aircraft Manufacturing, too: With the help of Israel Aircraft Industries (IAI) the company started the development of a completely new attack aircraft, the TAM-1 “Gvelgeslas” (გველგესლას, Viper). It heavily relied on the year-long experience gathered with Su-25 production at Tblisi and on the tools at hand, but it was eventually a completely new aircraft – looking like a crossbreed between the Su-25 and the American A-10 with a T-tail.

 

This new layout had become necessary because the aircraft was to be powered by more modern, less noisy and more fuel-efficient Rolls Royce AE 3012 turbofan engines - which were originally intended to power the stillborn Yakovlev Yak-77 twin-engine business jet for up to 32 passengers, a slightly derated variant of the GMA 3012 with a 44 in diameter (112 cm) fan and procured via IAI from the United States through the company’s connection with Gulfstream Aerospace. Their larger diameter (the Su-25’s original Soyuz/Tumansky R-195 turbojets had a diameter of 109,5 cm/43.1 in) precluded the use of the former integral engine nacelles along the fuselage. To keep good ground clearance against FOD and to protect them from small arms fire, the engine layout was completely re-arranged. The fuselage was streamlined, and its internal structure was totally changed. The wings moved into a low position. The wings’ planform was almost identical to the Su-25’s, together with the characteristic tip-mounted “crocodile” air brakes. Just the leading edge inside of the “dogteeth” and the wing roots were re-designed, the latter because of the missing former engine nacelles. This resulted in a slightly increased net area, the original wingspan was retained. The bigger turbofans were then mounted in separate pods on short pylons along the rear fuselage, partly protected from below by the wings. Due to the jet efflux and the engines’ proximity to the stabilizers, these were re-located to the top of a deeper, reinforced fin for a T-tail arrangement.

 

Since the Su-25’s engine bays were now gone, the main landing gear had to be completely re-designed. Retracting them into the fuselage or into the relatively thin wings was not possible, TAM engineers settled upon a design that was very similar to the A-10: the aircraft received streamlined fairings, attached to the wings’ main spar, and positioned under the wings’ leading edges. The main legs were only semi-retractable; in flight, the wheels partly protruded from the fairings, but that hardly mattered from an aerodynamic point of view at the TAM-1’s subsonic operational speed. As a bonus they could still be used while retracted during emergency landings, improving the aircraft’s crash survivability.

 

Most flight and weapon avionics were procured from or via Elbit, including the Su-25KT’s modernized “glass cockpit”, and the TAM-1’s NATO compatibility was enhanced to appeal to a wider international export market. Beyond a total of eleven hardpoints under the wings and the fuselage for an external ordnance of up to 4.500 kg (9.900 lb), the TAM-1 was furthermore armed with an internal gun. Due to procurement issues, however, the Su-25’s original twin-barrel GSh-30-2 was replaced with an Oerlikon KDA 35mm cannon – a modern variant of the same cannon used in the German Gepard anti-aircraft tank, adapted to the use in an aircraft with a light-weight gun carriage. The KDA gun fired with a muzzle velocity of 1,440 m/s (4,700 ft/s) and a range of 5.500m, its rate of fire was typically 550 RPM. For the TAM-1, a unique feature from the SPAAG installation was adopted: the gun had two magazines, one with space for 200 rounds and another, smaller one for 50. The magazines could be filled with different types of ammunition, and the pilot was able select between them with a simple switch, adapting to the combat situation. Typical ammunition types were armor-piercing FAPDS rounds against hardened ground targets like tanks, and high explosive shells against soft ground targets and aircraft or helicopters, in a 3:1 ratio. Other ammunition types were available, too, and only 200 rounds were typically carried for balance reasons.

 

The TAM-1’s avionics included a SAGEM ULISS 81 INS, a Thomson-CSF VE-110 HUD, a TMV630 laser rangefinder in a modified nose and a TRT AHV 9 radio altimeter, with all avionics linked through a digital MIL-STD-1553B data bus and a modern “glass cockpit”. A HUD was standard, but an Elbit Systems DASH III HMD could be used by the pilot, too. The DASH GEN III was a wholly embedded design, closely integrated with the aircraft's weapon system, where the complete optical and position sensing coil package was built within the helmet (either the USAF standard HGU-55/P or the Israeli standard HGU-22/P), using a spherical visor to provide a collimated image to the pilot. A quick-disconnect wire powered the display and carried video drive signals to the helmet's Cathode Ray Tube (CRT).

 

The TAM-1’s development was long and protracted, though, primarily due to lack of resources and the fact that the Georgian air force was in an almost comatose state for several years, so that the potential prime customer for the TAM-1 was not officially available. However, the first TAM-1 prototype eventually made its maiden flight in September 2017. This was just in time, because the Georgian Air Force had formally been re-established in 2016, with plans for a major modernization and procurement program. Under the leadership of Georgian Minister of Defense Irakli Garibashvili the Air Force was re-prioritized and aircraft owned by the Georgian Air Force were being modernized and re-serviced after they were left abandoned for 4 years. This program lasted until 2020. In order to become more independent from foreign sources and support its domestic aircraft industry, the Georgian Air Force eventually ordered eight TAM-1s as Su-25K replacements, which would operate alongside a handful of modernized Su-25KMs from national stock. In the meantime, the new type also attained interest from abroad, e. g. from Bulgaria, the Congo and Cyprus. The IDF thoroughly tested two early production TAM-1s of the Georgian Air Force in 2018, too.

  

General characteristics:

Crew: 1

Length: 15.53 m (50 ft 11 in), including pitot

Wingspan: 14.36 m (47 ft 1 in)

Height: 4.8 m (15 ft 9 in)

Wing area: 35.2 m² (378 sq ft)

Empty weight: 9,800 kg (21,605 lb)

Gross weight: 14,440 kg (31,835 lb)

Max takeoff weight: 19,300 kg (42,549 lb)

 

Powerplant:

2× Rolls-Royce AE 3012 turbofans with 44.1 kN (9,920 lbf) thrust each

 

Performance:

Maximum speed: 975 km/h (606 mph, 526 kn, Mach 0.79)

Range: 1.000 km (620 mi, 540 nmi) with internal fuel, clean

Combat range: 750 km (470 mi, 400 nmi) at sea level with 4.500 kg (9,911 lb) of ordnance,

incl. two external fuel tanks

Service ceiling: 7.800 m (25,550 ft)

g limits: +6.5

Rate of climb: 58 m/s (11,400 ft/min)

 

Armament:

1× 35 mm (1.38 in) Oerlikon KDA cannon with 200 rds in two magazines

under the lower forward fuselage, offset to port side.

11× hardpoints with a capacity of up to 4.500 kg (9,911 lb) of external stores

  

The kit and its assembly:

This rather rigorous conversion had been on my project list for many years, and with the “Gunships” group build at whatifmodellers.com in late 2021 I eventually gathered my mojo to tackle it. The ingredients had already been procured long ago, but there are ideas that make you think twice before you take action…

 

This build was somewhat inspired by a CG rendition of a modified Su-25 that I came across while doing online search for potential ideas, running under the moniker “Su-125”, apparently created by someone called “Bispro” and published at DeviantArt in 2010; check this: (www.deviantart.com/bispro/art/Sukhoi-Su-125-Foghorn-15043...). The rendition shows a Su-25 with its engines re-located to the rear fuselage in separate nacelles, much like an A-10, plus a T-tail. However, as many photoshopped aircraft, the shown concept had IMHO some flaws. Where would a landing gear go, as the Su-125 still had shoulder wings? The engines’ position and size also looked fishy to me, quite small/narrow and very far high and back – I had doubts concerning the center of gravity. Nevertheless, I liked the idea, and the idea of an “A-10-esque remix” of the classic Frogfoot was born.

 

This idea was fueled even further when I found out that the Hobbycraft kit lends itself to such a conversion. The kit itself is not a brilliant Su-25 rendition, there are certainly better models of the aircraft in 1:72. However, what spoke for the kit as whiffing fodder was/is the fact that it is quite cheap (righteously so!) and AFAIK the only offering that comes with separate engine nacelles. These are attached to a completely independent central fuselage, and this avoids massive bodywork that would be necessary (if possible at all) with more conventional kits of this aircraft.

Another beneficial design feature is that the wing roots are an integral part of the original engine nacelles, forming their top side up to the fuselage spine. Through this, the original wingspan could be retained even without the nacelles, no wing extension would be necessary to retain the original proportions.

 

Work started with the central fuselage and the cockpit tub, which received a different (better) armored ejection seat and a pilot figure; the canopy remained unmodified and closed, because representing the model with an open cockpit would have required additional major body work on the spinal area behind the canopy. Inside, a new dashboard (from an Italeri BAe Hawk) was added, too – the original instrument panel is just a flat front bulkhead, there’s no space for the pilot to place the legs underneath the dashboard!

 

In parallel, the fin underwent major surgery. I initially considered an A-10-ish twin tail, but the Su-25’s high “tail stinger” prevented its implementation: the jet efflux would come very close to the tail surfaces. So, I went for something similar to the “Su-125” layout.

Mounting the OOB stabilizers to the fin was challenging, though. The fin lost its di-electric tip fairing, and it was cut into two sections, so that the tip would become long enough to match the stabilizers. A lucky find in the scrap box was a leftover tail tip from a Matchbox Blackburn Buccaneer, already shortened from a former, stillborn project: it had now the perfect length to take the Su-25 stabilizers! To make it fit on the fin, an 8mm deep section was inserted, in the form of a simple 1.5mm styrene sheet strip. Once dry, the surface was re-built with several PSR layers. Since it would sit further back on the new aircraft’s tail, the stinger with a RHAWS sensor was shortened.

 

On the fuselage, the attachment points for the wings and the engine nacelles were PSRed away and the front section filled with lots of lead beads, hoping that it would be enough to keep the model’s nose down.

 

Even though the wings had a proper span for a re-location into a low position, they still needed some attention: at the roots, there’s a ~1cm wide section without sweep (the area which would normally cover the original engine nacelles’ tops). This was mended through triangular 1.5 mm styrene wedges that extended the leading-edge sweep, roughly cut into shape once attached and later PSRed into the wings’ surfaces

 

The next construction site were the new landing gear attachment points. This had caused some serious headaches – where do you place and stow it? With new, low wings settled, the wings were the only logical place. But the wings were too thin to suitably take the retracted wheels, and, following the idea of a retrofitted existing design, I decided to adopt the A-10’s solution of nacelles into which the landing gear retracts forward, with the wheels still partly showing. This layout option appears quite plausible, since it would be a “graft-on” solution, and it also has the benefit of leaving lots of space for underwing stores, since the hardpoints’ position had to be modified now, too.

I was lucky to have a pair of A-10 landing gear nacelles at hand, left over from a wrecked Matchbox model from childhood time (the parts are probably 35 years old!). They were simply cut out, glued to the Su-25 wings and PSRed into shape. The result looked really good!

 

At this point I had to decide the model’s overall layout – where to place the wings, the tail and the new engine nacelles. The latter were not 1:72 A-10 transplants. I had some spare engine pods from the aforementioned Matchbox wreck, but these looked too rough and toylike for my taste. They were furthermore too bulky for the Su-25, which is markedly smaller than an A-10, so I had to look elsewhere. As a neat alternative for this project, I had already procured many moons ago a set of 1:144 resin PS-90A engines from a Russian company called “A.M.U.R. Reaver”, originally intended for a Tu-204 airliner or an Il-76 transport aircraft. These turbofan nacelles not only look very much like A-10 nacelles, just a bit smaller and more elegant, they are among the best resin aftermarket parts I have ever encountered: almost no flash, crisp molding, no bubbles, and perfect fit of the parts – WOW!

With these three elements at hand I was able to define the wings’ position, based on the tail, and from that the nacelles’ location, relative to the wings and the fin.

 

The next challenge: how to attach the new engines to the fuselage? The PS-90A engines came without pylons, so I had to improvise. I eventually found suitable pylons in the form of parts from F-14A underwing missile pylons, left over from an Italeri kit. Some major tailoring was necessary to find a proper position on the nacelles and on the fuselage, and PSRing these parts turned out to be quite difficult because of the tight and labyrinthine space.

 

When the engines were in place, work shifted towards the model’s underside. The landing gear was fully replaced. I initially wanted to retain the front wheel leg and the main wheels but found that the low wings would not allow a good ground clearance for underwing stores and re-arming the aircraft, a slightly taller solution was necessary. I eventually found a complete landing gear set in the scrap box, even though I am not certain to which aircraft it once belonged? I guess that the front wheel came from a Hasegawa RA-5C Vigilante, while the main gear and the wheels once belonged to an Italeri F-14A, alle struts were slightly shortened. The resulting stance is still a bit stalky, but an A-10 is also quite tall – this is just not so obvious because of the aircraft’s sheer size.

 

Due to the low wings and the landing gear pods, the Su-25’s hardpoints had to be re-arranged, and this eventually led to a layout very similar to the A-10. I gave the aircraft a pair of pylons inside of the pods, plus three hardpoints under the fuselage, even though all of these would only be used when slim ordnance was carried. I just fitted the outer pair. Outside of the landing gear fairings there would have been enough space for the Frogfoot’s original four outer for pylons, but I found this to be a little too much. So I gave it “just” three, with more space between them.

The respective ordnance is a mix for a CAS mission with dedicated and occasional targets. It consists of:

- Drop tanks under the inner wings (left over from a Bilek Su-17/22 kit)

- A pair of B-8M1 FFAR pods under the fuselage (from a vintage Mastercraft USSR weapon set)

- Two MERs with four 200 kg bombs each, mounted on the pylons outside of the landing gear (the odd MERs came from a Special Hobby IDF SMB-2 Super Mystère kit, the bombs are actually 1:100 USAF 750 lb bombs from a Tamiya F-105 Thunderchief in that scale)

- Four CBU-100 Rockeye Mk. II cluster bombs on the outer stations (from two Italeri USA/NATO weapon sets, each only offers a pair of these)

Yes, it’s a mix of Russian and NATO ordnance – but, like the real Georgian Su-25KM “Scorpion” upgrade, the TAM-1 would certainly be able to carry the same or even a wider mix, thanks to modified bomb racks and wirings. Esp. “dumb” weapons, which do not call for special targeting and guidance avionics, are qualified.

The gun under the nose was replaced with a piece from a hollow steel needle.

  

Painting and markings:

Nothing unusual here. I considered some more “exotic” options, but eventually settled for a “conservative” Soviet/Russian-style four-tone tactical camouflage, something that “normal” Su-25s would carry, too.

The disruptive pattern was adapted from a Macedonian Frogfoot but underwent some changes due to the T-tail and the engine nacelles. The basic tones were Humbrol 119 (RAF Light Earth), 150 (Forest Green), 195 (Chrome Oxide Green, RAL 6020) and 98 (Chocolate) on the upper surfaces and RLM78 from (Modelmaster #2087) from below, with a relatively low waterline, due to the low-set wings.

As usual, the model received a light black ink washing and some post-shading – especially on the hull and on the fin, where many details had either disappeared under PSR or were simply not there at all.

 

The landing gear and the lower areas of the cockpit were painted in light grey (Humbrol 64), while the upper cockpit sections were painted with bright turquoise (Modelmaster #2135). The wheel hubs were painted in bright green (Humbrol 101), while some di-electric fairings received a slightly less intense tone (Humbrol 2). A few of these flat fairings on the hull were furthermore created with green decal sheet material (from TL Modellbau) to avoid masking and corrections with paint.

 

The tactical markings became minimal, matching the look of late Georgian Su-25s. The roundels came from a Balkan Models Frogfoot sheet. The “07” was taken from a Blue Rider decal sheet, it actually belongs to a Lithuanian An-2. Some white stencils from generic MiG-21 and Mi-8 Begemot sheets were added, too, and some small markings were just painted onto the hull with yellow.

 

Some soot stains around the jet nozzles and the gun were added with graphite, and finally the kit was sealed with a coat of matt acrylic varnish.

  

A major bodywork project – and it’s weird that this is basically just a conversion of a stock kit and no kitbashing. A true Frogfoot remix! The new engines were the biggest “outsourced” addition, the A-10 landing gear fairings were a lucky find in the scrap box, and the rest is quite generic and could have looked differently. The result is impressive and balanced, though, the fictional TAM-1 looks quite plausible. The landing gear turned out to be a bit tall and stalky, though, making the aircraft look smaller on the ground than it actually is – but I left it that way.

www.facebook.com/outdatedcoffeehouse

  

One flash YN-560 with shot-trough umbrella on the right hand side

After half a year of stubbornly remaining in the outdated style of 36 branding, 447 has been brought in line with the rest of the orange line fleet and gone into common 35/36 livery with the relevant frequency and route description displayed all round.

 

Still, it wants to hold onto its reputation of being not quite as prim as the others, which it has achieved with some grime left behind after removal of the offside advert, plus the fact it is rebelliously showing Chilwell on the blind while working towards the City.

 

Beeston Interchange, 22.8.22

i am amazed with this sweet little canon camera.

this is my first roll of film through the canon autoboy mini or as it's know elsewhere: canon sure shot dax (date) or prima 5.

the film is outdated fujifilm superia 200 june 2014

 

Taken for the Dyxum Film Challenge (One third keepers) 2019.

 

Outdated Ilford XP2 rated at ISO 200, Minolta 9000AF, and Minolta AF 24-85mm f/3.5-4.5 zoom.

EDINBUGH outdated AGFA Vista Plus 200 in 1986 LEICA M6 35mm f1.4 Canadian Leitz SUMMILUX

Minolta Dynax 9 and Tamron 28-300 AF zoom / outdated (2010) Agfaphoto APX 400 film / lab develop and scan

Is it a digital camera 1.0?

Is it an outdated cellphone?

Is it a remote control to operate this Leyland National bus?

 

None of that all.

With a device that allows you to pay by creditcard 'out in the open', at times its owner may find some difficulties getting in contact with the mobile telephone network, especially if you are in the country. That's what we witness here. This gentleman (Colin) is a stall keeper selling bus models and memorabilia.

'Showbus' is a real heaven for men who are still boys and want to be surrounded by their toys, However all that comes at a price.

  

Is het een digitale camera 1.0?

Is het een verouderde mobiele telefoon?

Is het een afstandsbediening om deze Leyland National bus te bedienen?

 

Geen van alle.

Een mobiel pin-apparaat op het platteland kan de eigenaar soms in de problemen brengen, vooral als je geen bereik hebt.

Dat is wat we hier zien. Deze heer (Colin is zijn naam) heeft een kraam vol autobusmodellen en memorabilia op de jaarlijkse manifestatie 'Showbus', een paradijs voor mannen die nog graag jongens willen blijven en zich willen omringen met speelgoed- en echte bussen. En ja, die dingen kosten nu eenmaal geld. Maar dan moet je natuurlijk wél kunnen betalen...

 

Duxford (UK) - September 16, 2012 / 16 september 2012

 

© 2012 Amsterdam RAIL | All Rights Reserved

EDINBUGH outdated AGFA Vista Plus 200 in 1986 LEICA M6 35mm f1.4 Canadian Leitz SUMMILUX

+++ 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 history of the Swiss Air Force began in 1914 with the establishment of an ad hoc force consisting of a handful of men in outdated and largely civilian aircraft. It was only in the 1930s the military and civilian leadership decided to establish an effective air force. On 13 December 1929, in what was in retrospect referred to as the "bill to create an air force", the Federal Council asked the Swiss Federal Assembly to approve the spending of 20 million francs for the purchase of 65 French Dewoitine D.27 fighters and the manufacture of 40 Dutch (Fokker C.V-E) reconnaissance planes under license.

Although the opposition Social Democratic Party collected 42,000 signatures in a petition opposing the bill, Parliament passed it handily and declined to allow a referendum on the issue, optional at that time for spending bills. This was the start of a massive armament program that would consume more than a billion francs over the next ten years, but after Hitler's rise to power in Germany, the Social Democrats added their support to the efforts.

 

The program not only included the procurement of foreign aircraft the domestic industry also started to develop its own products. One of the leading manufacturers of its time in Switzerland was the Eidgenössische Konstruktionswerkstätte (English: "Federal Constructions Works"), short K+W or EKW, and later also known as F+W. It was a Swiss state-owned enterprise, established in 1867 in Thun. The company produced artillery, vehicles, and other typical military equipment, and in 1914 EKW had already started the production of the Häfeli DH-1 reconnaissance biplane. Long-standing connections to the ETH Zurich ensured the necessary know-how. EKW started the program with three military aircraft, the indigenous C-34 single-seat fighter and the fast C-36 long-range light bomber/reconnaissance monoplane, plus the C-35 two-seat reconnaissance and ground-attack biplane, which was actually a license-built Fokker C.X with a water-cooled Hispano-Suiza HS-77 V12 engine, a license-built version of the 12Ycs that also powered the C-36.

 

The C-34 was the direct response to a requirement issued by the Swiss Air Force for a new fighter, and was the winner of a competition against the German Arado 80, which had been offered for export and eventual license production. The German monoplane was a modern construction, but the type was uninspiring in terms of performance and suffered from a number of failures (so that the German Luftwaffe rejected it, too). Although Arado’s low-wing monoplane Arado heralded the design standard for future fighter aircraft, the Swiss Air Force preferred EKW’s conservative but more maneuverable C-34 biplane, which also offered better starting and landing characteristics and a superior rate of climb – important features in Switzerland’s mountainous theatre of operations.

 

The C-34’s structure was conventional and of all-metal construction. To overcome the biplane layout’s inherent speed disadvantage, EKW’s design team used flush-head rivets and as little as possible stabilizing rigging to reduce drag. The fuselage was fully planked with aluminum, as well as the fixed parts of the tail surfaces, wings and rudders were still fabric-covered. It had unequal-span biplane wings, braced by struts, with upper-wing ailerons but no flaps yet.

The prototype, which flew for the first time in March 1935, was powered by an imported German liquid-cooled BMW VI 6.0 V-12 engine with 660 hp, which drove a metal three-blade propeller with fixed pitch. The C-34’s production version, which was already introduced in September of the same year, was outfitted with a more powerful, now license-produced BMW VI 7.3 with 633 kW (850 hp), which required a bigger radiator and higher-octane fuel to achieve this performance, though. Armament consisted of two 7.5 mm (.295 in) Darne machine guns, imported from France and synchronized to fire through the propeller. Provisions were made to carry up to four 20 lb (9.1 kg) bombs under-wing, but these were hardly ever used in service.

 

An initial production run comprised 30 aircraft to equip a complete fighter unit. The first C-34s were delivered in a typical three-ton splinter camouflage in ochre, khaki green and red brown, over grey undersides. The machines were allocated to the so-called “Überwachungschwader” (Surveillance Squadron) at Dübendorf near Zürich, and the new biplane proved to be an instant success. The C-34 was commonly well liked by its crews, being very maneuverable and benefitting from a relatively strong fuselage structure, a favorable control arrangement, a tight turning circle. An excellent handling made the type furthermore ideal for executing aerobatic displays. After a brief and successful period of testing, orders for 80 additional C-34s were placed in 1936.

 

During the rising tensions in Europe Switzerland remained neutral and isolated, and the Swiss Air Force machines received prominent identification stripes in red and white on fuselage and wings. The air corps furthermore confined its activities to training and exercises, reconnaissance, and patrol.

The Swiss Air Force as an autonomous military service was created in October 1936, and the units were re-arranged to reflect this new structure. In 1938 Gottlieb Duttweiler's launched a popular initiative calling for the purchase of a thousand aircraft and the training of three thousand pilots. After 92,000 citizens signed in support, nearly twice the number necessary for a national popular vote, the federal government offered a referendum proposal in 1939 that was nearly as extensive, which was accepted by a 69 percent majority. This led to a massive procurement of additional and more up-to-date aircraft, namely the Messerschmitt Bf 109 and Morane-Saulnier 406 fighters from Germany and France, respectively, and the Moranes were license-built as D-3800 in Switzerland. By that time, the Swiss Air Force changed its aircraft designation system, and the C-34 was officially renamed C-3400.

 

Despite these new and more modern aircraft the C-3400s remained in service, and to supplement the fleet a further eight aircraft were built between 1941 and 1942 from spares. These machines received a simplified camouflage with dark green upper surfaces over a light blue-grey underside, similar to the imported Bf 109s from Germany, and some older C-3400s were re-painted accordingly, even though many machines retained their pre-war splinter scheme for the rest of their service life. During the same period, almost all aircraft received prominent neutrality markings in the form of bright red and white stripes on wings and fuselage.

From 1941 on, most C-3400s were gradually upgraded during overhauls. Several new features were introduced, which included a fully closed canopy that greatly improved pilot comfort esp. in wintertime, a variable pitch/constant speed propeller, a better radio set, a new gun sight and spatted main wheels. The Darne machine guns were replaced with belt-fed MAC 1934 machine guns of the same caliber from domestic production, because they were more reliable and had, with the license production of the Morane Saulnier M.S. 406, become a standard weapon in the Swiss arsenal. These modified aircraft were re-designated C-3401, even though the aircraft under this designation did not uniformly feature all improvements.

 

When enough monoplane fighters had widely become available for the Swiss Air Force in 1943, the C-3400/-3401 biplanes were quickly removed from front-line service. They served on in second-line surveillance and aerial patrol units, or they were transferred to training units, where most of the type (a total of 119 were built) survived the hostilities. The last C-3400/-3401 was finally withdrawn from service in 1954, and only a single specimen survived in the collection of the Aviation Museum (Flieger Flab Museum) in Dübendorf, Switzerland.

  

General characteristics:

Crew: 1

Length: 7.2 m (23 ft 7 in)

Wingspan: 10.02 m (32 ft 10 in)

Height: 3 m (9 ft 10 in)

Wing area: 23 m2 (250 sq ft)

Airfoil: NACA M-12

Empty weight: 1,360 kg (2,998 lb)

Gross weight: 1,740 kg (3,836 lb)

 

Powerplant:

1× BMW VI 7.3 V-12 liquid-cooled piston engine, 634 kW (850 hp),

driving a three-bladed variable pitch metal propeller

 

Performance:

Maximum speed: 400 km/h (250 mph, 220 kn) at 3,000 m (9,843 ft)

Service ceiling: 11,500 m (37,700 ft)

Rate of climb: 16.67 m/s (3,281 ft/min)

Time to altitude: 5,000 m (16,404 ft) in 5 minutes 30 seconds

Wing loading: 75.7 kg/m2 (15.5 lb/sq ft)

Power/mass: 0.36 kW/kg (0.22 hp/lb)

 

Armament:

2× fixed, forward-firing 7.5 mm (.295 in) MAC 1934 machine guns with 600 RPG

4× underwing hardpoints for 20 lb (9.1 kg) bombs (rarely used)

  

The kit and its assembly:

This whiffy biplane was/is just a kit travesty – the fictional EKW C-34 is a Kawasaki Ki-10 (the ICM kit) with mild mods and Swiss pre-WWII markings. I had an eye on the quite elegant Japanese fighter for a while, and due to its engine with German roots (its Kawasaki Ha9-IIa was a license-built water-cooled BMW VI V12 engine) I thought about a European operator – and eventually I decided to make it a Swiss aircraft.

 

The ICM kit was built almost OOB, the only changes I made were the spatted wheels (IIRC left over from an ICM Polikarpov I-15 biplane), which needed some tweaks on the OOB struts, and the different, closed canopy (from a Hobby Boss A6M Zero), because I wanted a relatively modern look, comparable with the contemporary Avia B-534 biplane. Mounting it was tricky, because of the “step” under the windscreen, so that I had to add a console under it, and some PSR was necessary to blend the canopy, which was cut into three parts for open display, into the rounded back of the Ki-10. A scratched antenna mast was added, too, to fill the respective opening in the rear part of the dorsal glazing. Thanks to the many braces of the A6M canopy, the implant looks quite organic.

 

The ICM Ki-10 went together quite well, it’s a rather simple kit with only a single sprue and few parts. The biggest challenge was the upper wing, though, which is only carried by the struts. The locator pins are only marginal, and finding a proper position took some time and superglue.

I furthermore modified the propeller with a long metal axis and a tube adapter inside if the fuselage, so that it could spin freely.

  

Painting and markings:

The reason why the Ki-10 became a Swiss aircraft was the paint scheme – a quite attractive tricolor splinter pattern (apparently inspired by the similar German camouflage in RLM 61,62 and 63?) was the Swiss Air Force’s standard at the breakout of WWII, and I adopted it for the C-3401, too.

 

The pattern is vaguely based on a real C-35 biplane (presented at the Dübendorf Aviation Museum), which I deem to look authentic, and I tried to emulate its colors as good as possible. I settled on Desert Yellow (Humbrol 94, the tone is officially called “Ochre” but appears to be quite yellowish), French Khaki Green (ModelMaster 2106) and Chestnut Brown (ModelMaster 2107, another French WWII aircraft tone), with light grey (Humbrol 64) undersides. Painting the splinter scheme with a brush on a biplane like this was tricky, though. The cockpit interior was painted with a grey-green tone similar to RLM 02 (Humbrol 45), the wing struts became black.

As usual, the model received a light black ink washing, plus some post-panel shading and dry-brushing to emphasize details and to weather it, but only lightly, because the aircraft would not have been involved in fights.

 

The roundels on the upper wings came from a generic TL-Modellbau national markings sheet, while the red bands for the national insignia under the lower wings and on the rudder were painted. The white cross on the fin comes from a Swiss BAe Hawk trainer (Italeri), while the slightly bigger white cross under the lower wings was scratched from white decal stripes. The tactical code comes from a Croatian MiG-21UM trainer (KP kit), the unit badge is fictional and came from a Spanish Heinkel He 70.

The model was sealed overall with matt acrylic varnish, and as a final step the rigging was applied, made from heated black sprue material, using the real Ki-10 as benchmark for the connections/positions.

  

A pretty result, and the simple travesty of the elegant Ki-10 into a late interwar biplane from Continental Europe works surprisingly well. The spats and the closed canopy might not have been necessary, but they modernize and change the aircraft, so that its use during WWII – even though not in any offensive role – becomes even more believable. The splinter scheme suits the aircraft well, too, even though its application was a bit tricky, as well as the Swiss roundels.

 

Some MONOCHROME on outdated FP4+ processed in home-made PYROCAT HD taken with my lovely 1956 AGFA ISOLETTE III with 75mm f3.5 SOLINAR lens . WORTHING, Sussex England Some typical British Sea-Front apartments

The Nomadic was built by Harland and Wolff, Belfast (yard number 422). She was launched on 25 April 1911 and delivered to the White Star Line on 27 May. She is 233.6 ft long – 37.3 ft wide with a speed of 12 knots. Her gross tonnage is 1273. Nomadic attended the departure of the Olympic for Liverpool on 31 May 1911, the same day as Titanic was launched.

 

The Nomadic and her little sister, the Traffic, were built to ferry passengers and freight to and from the White Star Liners calling at Cherbourg. The Traffic ferried the "not so famous" third class passengers, baggage and freight while Nomadic with, its plush interior, was given the job of bringing the rich and famous to Titanic and Olympic's gangway doors.

 

By 10 April 1912, the two tenders had met and served Olympic on each of her twelve subsequent Cherbourg visits. Now they were to serve another liner on the first day, and at the first stop, of her own maiden trip: RMS Titanic.

 

After the tragic accident which befell Titanic, Nomadic continued to service Olympic and other White Star liners calling at Cherbourg. But these were troublesome times.

 

WWI stopped the transatlantic traffic. The Nomadic left Cherbourg in 1917 and sailed to Brest from where she was used to ferry American soldiers around the coast of France.

 

In 1927 White Star Line sold the ship to the Compagnie Cherbourgeoise de Transborde-ment (CCT). The CCT sold her to the Société Cherbourgeoise de Remorquage et de Sauvetage in 1934. The Nomadic, by now called Ingenieur Minard, sailed under the French flag. In 1939 WWII broke out. Once again, the ship was used as a troopship and participated in the evacuation of British soldiers from Le Havre and from Brest. When Germany occupied France, Nomadic was returned to England where she served as a coastal patrol vessel and minelayer until returning to Cherbourg in 1945.

 

The ship continued to service luxury cruise liners until November 1968. She served the Queen Elizabeth, Cunard Line, for the last time in 1968 before being sent to the scrap yard.

 

A Mr. Spinnewyn saved the Nomadic from the scrap yard and it reverted to its original name. Mr. Spinnewyn wanted to convert it to a floating restaurant. Unfortunately the plan didn’t take off and the ship lay idle for five years. Mr. Yvon Vincent bought Nomadic off Mr. Spinnewyn and successfully turned it into a floating restaurant on the river Sienne, near the Eifel Tower, Paris, France.

 

A campaign was launched by enthusiasts from Belfast to bring Nomadic back to Belfast where she belongs. Thankfully, that campaign was successful and the Department for Social Development purchased the Nomadic for Euro 250,001 at auction in Paris on 26th January 2006. Built by the same men who built the Titanic, and after a round trip of 95 years, Nomadic came home to Belfast, amid much publicity, in July of that year.

 

The Department for Social Development set up the Nomadic Charitable Trust, representing all shades of public opinion, in October 2006, with the aim of raising funding to restore the ship and to develop the ship as a highly prized tourist and cultural attraction.

 

As the last floating link to the White Star Line, she is also the last accessible maritime link to Titanic. The Trust intend to restore her to her former glory and develop her as a static floating visitor attraction in the heart of Belfast docks, to ensure that the public and overseas visitors can learn more about the ship and about the maritime and industrial heritage of one of the great industrial cities of the 19th and 20th Century – Belfast.

 

RMS Titanic was a British passenger liner that sank in the North Atlantic Ocean on 15 April 1912 after colliding with an iceberg during her maiden voyage from Southampton, England to New York City. The sinking of Titanic caused the deaths of 1,514 people in one of the deadliest peacetime maritime disasters in history. She was the largest ship afloat at the time of her maiden voyage. One of three Olympic class ocean liners operated by the White Star Line, she was built between 1909–11 by the Harland and Wolff shipyard in Belfast. She carried 2,224 people.

 

Her passengers included some of the wealthiest people in the world, as well as over a thousand emigrants from Britain, Ireland, Scandinavia and elsewhere seeking a new life in North America. The ship was designed to be the last word in comfort and luxury, with an on-board gymnasium, swimming pool, libraries, high-class restaurants and opulent cabins. She also had a powerful wireless telegraph provided for the convenience of passengers as well as for operational use. Though she had advanced safety features such as watertight compartments and remotely activated watertight doors, she lacked enough lifeboats to accommodate all of those aboard. Due to outdated maritime safety regulations, she carried only enough lifeboats for 1,178 people – a third of her total passenger and crew capacity.

 

After leaving Southampton on 10 April 1912, Titanic called at Cherbourg in France and Queenstown (now Cobh) in Ireland before heading westwards towards New York. On 14 April 1912, four days into the crossing and about 375 miles south of Newfoundland, she hit an iceberg at 11:40 pm (ship's time; UTC-3). The glancing collision caused Titanic's hull plates to buckle inwards in a number of locations on her starboard side and opened five of her sixteen watertight compartments to the sea. Over the next two and a half hours, the ship gradually filled with water and sank. Passengers and some crew members were evacuated in lifeboats, many of which were launched only partly filled. A disproportionate number of men – over 90% of those in Second Class – were left aboard due to a "women and children first" protocol followed by the officers loading the lifeboats. Just before 2:20 am Titanic broke up and sank bow-first with over a thousand people still on board. Those in the water died within minutes from hypothermia caused by immersion in the freezing ocean. The 710 survivors were taken aboard from the lifeboats by the RMS Carpathia a few hours later.

 

The disaster was greeted with worldwide shock and outrage at the huge loss of life and the regulatory and operational failures that had led to it. Public inquiries in Britain and the United States led to major improvements in maritime safety. One of their most important legacies was the establishment in 1914 of the International Convention for the Safety of Life at Sea (SOLAS), which still governs maritime safety today. Many of the survivors lost all of their money and possessions and were left destitute; many families, particularly those of crew members from Southampton, lost their primary bread-winners. They were helped by an outpouring of public sympathy and charitable donations. Some of the male survivors, notably the White Star Line's chairman, J. Bruce Ismay, were accused of cowardice for leaving the ship while people were still on board, and they faced social ostracism.

 

The wreck of the Titanic remains on the seabed, gradually disintegrating at a depth of 12,415 feet (3,784 m). Since its rediscovery in 1985, thousands of artefacts have been recovered from the sea bed and put on display at museums around the world. Titanic has become one of the most famous ships in history, her memory kept alive by numerous books, films, exhibits and memorials.

Belfast has opened the Iconic Titanic Signature Building which will house Titanic Belfast ® it is iconic in design and houses a world class visitor attraction. It is located at Titanic Quarter (East Belfast). The exhibition is based on the theme of the Titanic and the wider subject of Belfast’s shipbuilding and maritime heritage. Of such scale, the building is likely to become Northern Ireland’s largest and most successful built attraction.

captured in the lindner hotel mallorca in bendinat, near palma de mallorca, this scene features salt and pepper mills in a vibrant orange that immediately caught my eye. the hotel, known for its reasonably good food, showcases architecture with a touch of western style. While the interior design may feel a bit outdated, these bright mills add a fresh and lively element to the dining experience.

Outdated scale and building techniques? Check! Still dusty from all the time spent inside a drawer? Damn right! I built this model about 5 years ago, but never happened to post it online (even though a few years ago I've teased it). Check its page in MOCpages if you're interested to know more about its story: www.moc-pages.com/moc.php/445315

 

Credits for Calin I largely inspired this model from his Big Bopper model back in the day: www.flickr.com/photos/_tiler/9356397177

Autumn 2015

 

Konica FC-1

Konica Hexanon AR 50mm f/1.4

Outdated Kodak Color Plus 200

Boots scan + LR adjustments

Using up some outdated FUJI Neopan 400 in my 2002 HASSELBLAD 501CM with A16 back. I processed in my 'Home-Made FX-4 Formula 1+1 ' and got great negs and did DARKROOM PRINTS which I scanned on old Kodak 'Royal Bromesko WSL' cut down from 16x12" paper.

80mm f2.8 CFE Planar T* Very Old Building in Hart Street

This thingy is so outdated that I couldn't find a translation. This is a toaster that roasts one side of the bread, and when you think it's done on one side, you have to flip it to get the heat on the other side.

The brand is Omega, Made in GDR - so sometime in the 50s I guess, before everything was just named VEB Elektrowerk Somewhere.

It is still in regular use in our kitchen, we don't want anything else.

  

Spending some quality time with my lovely one at this paradise.

If you go for visit the Sultanate of Oman, this is the place to stay =)

 

I had a lot of outdated film in my refrigerator that I'd bring for this trip, Kodak Porta 800 exp 06/2006, exposed at iso 400.

And I like the grainy results that an outdated Porta film gives =)

 

Hasselblad 500c/m – Zeiss Distagon 60mm Cfi – Kodak Porta 800 exp*. f/16 at 1/500 on “sunny 16”.

 

Sultanate of Oman – 2016.02.25

 

______________________

Next week I will dedicate to the fantastic film of Kodak Eastman Double X ______________________

   

Found in the Former Layaway, but they are used at the checkouts too. This is another reason Kmart sucks.

Kmart

Erie, PA

temple area in taichung city, taiwan.

my first shot with px 600 silver shade.

 

polaroid 636 close-up

impossible px 600 silver shade film..outdated 12/2012

 

polaroid fans! please join my group: www.flickr.com/groups/2663533@N25

I miss my Olympus XA2 :/

 

Olympus XA2 + Ilford Pan 400 (outdated)

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Copyright © 2011 Pedro Ferrer. All Rights Reserved. Todos los derechos reservados.

** October 2010: This is outdated now, since I burned out my pop-up flash. This setup worked pretty well, and I wouldn't have switched except that I didn't want to wait for my camera to be repaired in Cali! You can view my most current and often-used setup here and the progression of my rigs in my Camera Gear set.**

 

Current setup as of July 2009 for most bug portraits; I do environmental shots with just my 60mm macro and the same diffuser for my pop-up flash. It has proven pretty durable and the recharge time isn't too awful; although when shooting with this setup (reversed Nikkor 18-55) I do have to use it on almost full power. I have a clip on top of this diffuser and just attach it to the outside of my bag when I'm intending to go out and shoot bugs.

 

I have to do manual flash power as well as exposure; and adjusting the aperture is a pain since it's a modern lens (aperture is controlled by the tab, I hold it open at different stops by using different numbers of stables stuck inside!)

 

This was mostly posted so people could see the way I use my diffuser; there's another photo below that better shows the actual diffuser surface (a tupperware lid, not as good as paper towel but more durable since I do a lot of hiking around) and the staples holding my aperture partway open.

 

I also have bellows for higher-magnification shots but with the lens reversed at 18mm the magnification is already pretty high. I am hoping to pick up some primes soon, as they'd certainly be sharper and less trouble to use, but for now this is working out fairly well.

 

Photo taken with my sister's Nikon D60 and 18-55 Nikkor kit lens. The irony is that I'm shooting almost the same thing with it (just added a diffuser and body-mount reversing ring).

 

There are other pictures of the creation of this diffuser in my stream, just search for "rig." It's made from an OJ carton with a hole cut in one side of the angled top, and my pop-up flash goes inside that hole. The white interior reflects light around until it escapes through the plastic lid in front and works pretty well. I did not use any foil.

Using up some outdated FUJI Neopan 400 in my 2002 HASSELBLAD 501CM with A16 back. I processed in my 'Home-Made FX-4 Formula 1+1 ' and got great negs and did DARKROOM PRINTS which I scanned on old Kodak 'Royal Bromesko WSL' cut down from 16x12" paper.

80mm f2.8 CFE Planar T* 'The Lodge, 1906' with RED Filter

Alone on a train aimless in wonder

An outdated map crumpled in my pocket

But I didn't care where I was going

'Cause they're all different names for the same place.

 

The coast disappeared when the sea drowned the sun

And I have no words to share it with anyone

The boundaries of language I quietly cursed

And all the different names for the same thing.

 

There are different names for the same things

There are different names for the same things...

--Different Names for the Same Things', by Death Cab for Cutie

 

--------------------------------------------------------------------------------------------------

 

:) i'm sort of in love with this.

and yeah, yeah, i know, i'm obsessed with Death Cab.

but seriously, their lyrics always seem to just so perfectly fit my photographs.

on top of which, their lyrics are sheerly ingenious, as are their songs.

soo, yeah...

anywho.

i'm far, far, FAR too sleepy at the moment to rant about my day, but i'll tell you about everything that's been going on, tomorrow.

 

all i can say right now is, the 'Grease' performances we've had so far have been AMAZING!

Voronezh is a city and the administrative centre of Voronezh Oblast in southwestern Russia straddling the Voronezh River, located 12 kilometers (7.5 mi) from where it flows into the Don River. The city sits on the Southeastern Railway, which connects western Russia with the Urals and Siberia, the Caucasus and Ukraine, and the M4 highway (Moscow–Voronezh–Rostov-on-Don–Novorossiysk). In recent years the city has experienced rapid population growth, rising in 2021 to 1,057,681, up from 889,680 recorded in the 2010 Census, making it the 14th-most populous city in the country.

 

From 10 to 17 September 2011, Voronezh celebrated its 425th anniversary. The anniversary of the city was given the status of a federal scale celebration that helped attract large investments from the federal and regional budgets for development.

 

On December 17, 2012, Voronezh became the fifteenth city in Russia with a population of over one million people.

 

Today Voronezh is the economic, industrial, cultural, and scientific center of the Central Black Earth Region. As part of the annual tradition in the Russian city of Voronezh, every winter the main city square is thematically drawn around a classic literature. In 2020, the city was decorated using the motifs from Pyotr Ilyich Tchaikovsky's The Nutcracker. In the year of 2021, the architects drew inspiration from Hans Christian Andersen's fairy tale The Snow Queen as well as the animation classic The Snow Queen from the Soviet Union. The fairy tale replica city will feature the houses of Kai and Gerda, the palace of the snow queen, an ice rink, and illumination.

My wallet

Osler Road, Oxford

 

Konica FC-1

Konica Hexanon AR 50mm f/1.4

Outdated Kodak Color Plus 200

Boots scan + LR adjustments