View allAll Photos Tagged Question
I had visited Great Dixter in May, 2011, (see separate album):
www.flickr.com/photos/ugardener/albums/72157626691413461
We returned for the day in September, 2016, taking one of the frequent buses from Rye. It was gratifying to see that its current custodian, Fergus Garrett, who took over when Christopher Lloyd died in 2006, continues to innovate and improve the gardens and nursery, and to keep up the high standards of the plantings. while conducting numerous workshops and training a crop of new interns and students fro all over the world each year.
"Great Dixter was the family home of gardener and gardening writer Christopher Lloyd – it was the focus of his energy and enthusiasm and fuelled over 40 years of books and articles. Now under the stewardship of Fergus Garrett and the Great Dixter Charitable Trust, Great Dixter is an historic house, a garden, a centre of education, and a place of pilgrimage for horticulturists from across the world.
Great Dixter is made up of three houses, one built here in the mid-15th century with slightly later additions, the second a yeoman’s house from Benenden, across the border in Kent, built in the early 16th century and moved here in 1910, and the third combines the two with additional accommodation, completed in 1912. The medieval part of the house (Great Hall, Palour and Solar) is open to visitors from 2pm to 5pm during normal opening times. A guide is on hand in each room to explain the house’s history and answer questions."
www.greatdixter.co.uk/garden/garden-tour/
...
View this photograph on my Website ⇒ kevinlogan.com/?p=4096.
Archival Giclée Prints are available to purchase. 28 inch (71.2cm) wide inexpensive sample prints of my panorama photographs are available as well. Questions??? Email me: Kevin@KevinLogan.com
If you wouldn't mind, could you share my post??? Cheers, Kevin
"Why is it so hard to send a postcard?" my wife asked. That is the question that has been on my mind for a few weeks now. I have lost contact with an old friend whom I knew from university days. This did not happen overnight, but through years of having separate lives in different parts of the world, having families, not visiting each other, rarely sending any messages. Life happened to us, the way it does. He ended up in the Netherlands, I in the UK. Not far, objectively, yet far enough.
Two months ago, while on a family vacation in a souvenir shop, my wife said, "Let me get you a postcard. You have to write to Mauricio." While she immediately filled out her cards, I deferred mine for later, until I came home and could come up with something original. The card stayed on the bookshelf at our residence, and when we departed for home, my wife took it with us and made me promise I would send it once we got back. The days passed, then weeks, and the card sat on the shelf next to my desk, a daily reminder of an unfinished task. The more I looked at it, the more I dreaded writing the stupid card, but it had to be done, for a promise is a promise. Then, about six weeks after coming back from vacation, my wife again reminded me and asked, "But why is it so hard? I won't remind you again."
Why do I procrastinate over something so small? Perhaps it isn't the dread of the task itself, but the expectation of it that gives me such trouble. Is it some ghost of the past, some unsolvable issue, my issue with my friend, or my issue with myself? The card had to be sent. But once I sat down, I decided to make an event of it: I would use nice paper and a good fountain pen to write. So I reached for my Big Ben, a Danish pen with an extra-fine nib that I hadn't used in years, inked it up, and started writing. I had the idea to write a long letter reflecting on my life and our past together. But after three short sentences, the pen burped, ink splashed onto the paper, then onto my fingers. The paper got stained, and it seemed like I should start over, but I didn't. Nevertheless, I decided to cut the message short and leave it as it was. I just wanted to be done with this stupid postcard. I finished with nothing important to say, but at least I was done.
But the postcard still sat on my desk, so I reached for a rollerball pen to explain why my message was so brief and why the letter had ink stains. The postcard paper, however, was glossy and smooth, and once I swept my hand over the writing, the rollerball ink smeared across it. Ink, again.
I managed to get the letter and the postcard into the envelope. Then I decided to address the envelope with my Montblanc 146 OBBB loaded with iron gall ink, but the envelope paper was so thin and absorbent that the writing feathered and the ink bled straight through. Still, at last, I was done with the postcard. That day, I took the letter to the local post office and sent it off.
I was done with it. It was sorted. But why did it have to be so complicated? Why such a cascade of self-generated friction over one simple task? Why did I have to use a fountain pen I hadn't touched in years? Then a rollerball? Then a bold, wet nib for the envelope? What other obstacles am I introducing into my own life? Why am I doing this to myself? And how much of this is self-sabotage, and how much is a reflection of some deeper reality? Perhaps I'm reading too much into it. The harder I pushed to close the distance, the further it seemed to get. Maybe that's just a general rule of life. I don't know. All I know is that I still haven't learned the lesson.
Can you name this lake in Snohomish county?
The winner gets to choose between a scratched up 52mm UV filter, a warm PBR that has been sitting on my fly tying desk for a month, or a pair of stinky Brooks Defiance 2s.
BTW.. prizes must be picked up in person before trash day Friday.
Questions linger and answers remain just out of reach, suspended in the winter air.
Taken at [REN] Garden and Gallery
A full interview with the Israeli painter Raphael Perez (in Hebrew Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and CV
Question: Raphael Perez Tell us about your work process as a naive painter?
Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers.
Question: How do you give depth in your naive paintings?
Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites.
A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard.
Question: Raphael Perez What characterizes your naive painting?
Answer: Most naive paintings have the same characteristics
(Definition as it appears in Wikipedia)
• Tells a simple story to absorb from everyday life, usually with humans.
• The representation of the painter's idealization to reality - the mapping of reality.
• Failure to maintain perspective - especially details even in distant details.
• Extensive use of repeating patterns - many details.
• Warm and bright colors.
• Sometimes the emphasis is on outlines.
• Most of the characters are flat, lack volume
• No interest in texture, expression, correct proportions
• No interest in anatomy.
• There is not much use of light and shadow, the colors create a three-dimensional effect.
I find these definitions to be valid for all my naive paintings
Question: Raphael Perez Why do you mainly choose the city of Tel Aviv?
Answer: I was born in Jerusalem, the capital city which I love very much and also paint,
I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one
Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel.
Question: raphael perez are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem
Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism of today
In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs
Question: Raphael Perez Tell us about which buildings and their architects you usually choose in your city paintings
Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples:
In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality,
In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more
I also created three paintings of the city of Haifa and one painting of Safed
In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city
Question: Have you created series of other cities from around the world?
Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings
Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments
I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city
===============
רפי פרץ אמנים ישראלים אומנים ישראליים צייר אמן ישראלי עכשווי מודרני הצייר הישראלי העכשווי המודרני אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית אומנות העכשוויות הישראליות העכשוויות המודרניות ציור ציורים הציור הציורים וציור וציורים לציור לציורים מציור מציורים מצייר מציירים ומצייר ומציירים שמצייר שמציירים נאיבי נאיבית נאיביית נאיביים הנאיביים הנאיבי הנאיבית והנאיבית והנאיבי של עם גדול גדולים הגדול הגדולים והגדול והגדולים תערוכה תערוכות התערוכה התערוכות והתערוכה והתערוכה לתערוכה לתערוכות גלריה גלריות והגלריה והגלריות הגלריה הגלריות לגלריה לגלריות מהגלריה מהגלריות אדום כתום צהוב ירוק כחול סגול שחור לבן האדום הכתום הצהוב הירוק הכחול השחור הסגול הלבן שחורים לבנים אדומים כתומים צהובים ירוקים סגולים האדומים הכתומים הצהובים הירוקים הסגולים השחורים הלבנים צבעים צבע הצבעים הצבע בצבעים בצבע לצבע לצבעים והצבע והצבעים צובע צובעים הצובע הצובעים האמן האמנים האומנים לאמנים לאומנים והאומנים ציירים הציירים והציירים לציירים מהציירים מהאמנים אומנות האמנות באמנות לאמנות ואמנות באומנות לאומנות והאומנות אמנותי האמנות האומנותי האומנות תערוכה תערוכות התערוכה התערוכות הגלריה הגלריות בגלריה בגלריות והגלריה והגלריות מהגלריה מהגלריות מהתערוכה מהתערוכות חדש חדשני החדש החדשני חדשנית החדשנית מקורי המקורי המקורית מקורית מיוחד המיוחד המיוחדים מיוחדים בניינים הבניינים מבנים מבנה בניין הבניין אתרים האתרים המפורסמים המפורסם מפורסם מפורסמים בישראל ישראל וישראל תל אביב תלאביב בתל בתלאביב ותל מתל אור האור באור מתיילד ילדותי הילדותי המתיילד ילד תלאביבי אביבי שמח השמח
אופטימי האופטימי שמחים השמחים האופטימיים האופטימיים מלאי בציורי ציורי
וציורי לציורי מציורי רחובות רחוב הרחובות הרחוב אורבני האורבני אקריליק באקריליק על בד קנווס קנבס קנוס בקנווס בדים נוף נופים הנוף הנופים לנוף לנופים מהנוף מהנופים נופי בנופי חזקים עזים החזקים העזים לבית לסלון למשרד בית סלון משרד לבתים למשרדים משרדים בתים למכירה מכירה המכירה מכירות מוכר המוכר קונה הקונה קונים הקונים בקנייה במכירה פומבית הפומבית לרכוש רכוש ברכישה ישירה ישיר מהאמן עיר העיר ערים הערים
naivna umetnost slikarstvo folk slikar umetnik ingênuo arte pintura folk pintor artista наивное искусство живопись народный художник художник naïf art peinture folk peintre artiste saf sanat boyama halk ressam sanatçı ingenuo artista pittore folk pittore Kunst Malerei Volksmaler Künstler naïeve kunst schilderij folk schilder kunstenaar raphael perez rafi peretz israeli painter artist painters artists artwork artworks fine art naive naife naif naiv folk urban landscape cityscape colorful colorist colorfull fun happy israel urbanic picture pictures image flickr flickriver hive mind interesting tagged bizmakebiz photos images lage big size tel aviv painting paintings beautiful amazing famous
Content description: Jim Sims (CEO of Cambridge Technology Partners) in a harness releasing the final concrete mix into a pressure-injected footing from atop a pile rigging at 8 Cambridge Center foundation completion ceremony.
Local identifier: 020_01_03_022
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
I'll be painting products for my business (armor, helmets, guns, etc...)
I want to know what is the best type of paint out there (Not for camo, but for painting armor, specifically brickwarriors and minifigcat and brickforge armor).
Also, I want to know how to get a "battle" damaged look on the armor, not too damaged, but I don't want it to look "brand new" if you know what I mean. How would I do this sort of thing?
And should I paint with a toothpick, or very thin paint brush?
I added you if I wanted your opinion. Opinions from other people that aren't added are also welcome.
I have had a few questions about dressing Phicen figures! I admit that it's been a bit challenging to find clothes for both the male and female figures!
Female Figures
I have a lot of Fashion Royalty fashion and some action figure clothing and of course Barbie fashions! Phicen Figures do not fit most FR fashion! FR dolls are taller that Phicen figures but the Phicen figures are thicker and have more bulk! I have had some luck with Barbie Fashions but the best thing to do is to find dealers that deal in clothing designed for Phicen figures!
Males
I have had better luck with the males because I have a lot of clothing for muscular action figure bodies and most of that fits the M34 muscular body! But again, it's best to look for clothing made for Phicen figures!
Footnote... be very careful of the material used in the clothing because these figures may stain!
Here are a few dealers who sell clothing made to fit Phicen Figures...
www.nouveautoys.com/index.html
Lieutenant Colonel: The reason all of you have been promoted to tier 2 operative is because we need you troops to infiltrate Iran, to secure what we believe is the making of a nuclear weapon. Destroy the weapon and kill anybody in your way, do not get captured!
Everyone: Yes sir!
Lieutenant Colonel: We have a chopper with a crew who don't ask questions. Roger, u will lead this assault team don't fu*k this sh*t up.
Roger: Yes sir, I understand do u want us to bring back any hostages?
Lieutenant Colonel: Sure.
The colonel walks away, assault team preps for attack.
Drew: Let's go blow up some shit!
Max: Are you dumb? This is a book sealed operation, for the people who don't have brains that means not to speak of the operation to anybody!
That's a good question, why am I standing out here alone
I guess I don't know enough to come in from the rain
I was watching your window from here below
I think I just might stay here all day
Cause I gotta do something
If I can't love you, I don't want to love you
If I can't hold you, I don't want to be thinking of you
And if you don't want me, I don't want to want you
And if you won't see me, I don't know what to do
But oh, I keep watching you until I see right through
Oh I keep watching you
You could throw me down a cigarette, I smoked my last one quite a while ago
No, I gave it to the man that swore he had no need
You know sometimes if I listen real close I can hear the dark side of the moon
And there's always yesterday's Times if I care to read
And I gotta do something
If I can't love you.... etc.
Sure I'm alright, no I'm not very cold
Every now and then I can feel the subway heat
So go on inside, I'll leave you alone
Anyway Bogart's on in the window down the street
And I gotta do something
If I can't love you.... etc.
'Watching you' - Melissa Etheridge
I've been brooding on this one for a while. And when I woke up this morning the pieces of the puzzle just all fell together in the exact way that I wanted them to do.
+++ 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 origins of the Saab 19 date back before the onset of WWII. At that time, the Swedish Air Force (Flygvapnet) was equipped with largely obsolete Gloster Gladiator (J 8) biplane fighters. To augment this, Sweden ordered 120 Seversky P-35 (J 9) and 144 P-66 Vanguard (J 10) aircraft from the United States.
However, on 18 June 1940, United States declared an embargo against exporting weapons to any nation other than Great Britain. As the result, the Flygvapnet suddenly faced a shortage of modern fighters.
Just in time, Saab had presented to the Ministry on Sep 4th 1939 a fighter that had been meant to replace the obsolete Gloster Gladiators. The aircraft carried the internal development code ‘L-12’ and had been designed in collaboration with US engineers in Sweden, who were to aid with license production of Northrop 8-A 1s and NA-16-4 Ms.
The L-12 looked very much like the contemporary, Japanese Mitsubishi A6M “Zero” (which had been seriously considered by the Flygvapnet, but import or license production turned out to be impractical). The aircraft was a very modern all-metal construction with fabric covered control surfaces. The L-12 was to be powered by a 1.065 hp Bristol Taurus and maximum speed was calculated to be 605 km/h. Its relatively heavy armament consisted of four wing-mounted 13.2mm guns and two synchronized 8 mm MGs on top of the engine, firing through the propeller arc.
The design was quickly approved and the new aircraft was to be introduced to the Flygvapnet as the ‘J 19A’. Production aircraft would be outfitted with a more powerful Bristol Taurus II, giving 1.400 hp with 100-octane fuel and pushing the top speed to 630 km/h. But the war’s outbreak spoiled these plans literally over night: the L-12 had to be stopped, as the intended engine and any import or license production option vanished. This was a severe problem, since production of the first airframes had already started at Trollhättan, in the same underground factory where the B 3 bomber (license-built Ju-86K of German origin with radial engines) was built. About 30 pre-production airframes were finished or under construction, but lacked an appropriate engine!
With only half of a promising aircraft at hand and the dire need for fighters, the Swedish government decided to outfit these initial aircraft with non-license-built Wright R-2600-6 Twin Cyclone radial engines with an output of 1.600 hp (1.194 kW). The fuselage-mounted machine guns were deleted, due to the lack of internal space and in order to save weight, and the modified machines were designated J 19B. This was only a stop-gap solution, though. P&W Twin Wasp engines had also been considered as a potential power plant (resulting in the J 19C), but the US didn't want to sell any engines at that time to Sweden and this variant never materialized.
An initial batch of 24 J 19B aircraft was eventually completed and delivered to F3 at Lidköping in late 1940, while airframe construction was kept up at small pace, but only seven more J 19Bs were completed with R-2600 engines. Uncompleted airframes were left in stock for spares, and further production was halted in mid 1941, since the engine question could not be solved sufficiently.
The J 19B proved to be a controversial aircraft, not only because of its dubious engine. While it was basically a fast and agile aircraft, the heavy R-2600 engine was rather cumbersome and not suited for a fighter. Handling in the air as well as on the ground was demanding, due to the concentration of weight at the aircraft’s front – several J 19Bs tipped over while landing. As a consequence, the J 19B simply could not live up to its potential and was no real match for modern and more agile fighters like the Bf 109 or the Spitfire – but the Swedish equipment shortages kept the machines in service throughout WWII, even though primarily in a ground attack role and fulfilling other secondary line duties.
Towards the end of WWII, the J 19’s intended role was eventually filled by the indigenous FFVS J 22 fighter – ironically, it was outfitted with a license-built P&W Twin Wasp. By that time, about forty J 19 airframes were more or less complete, just lacking a proper engine. Mounting the now available Twin Wasp to these had seriously been considered, but the aircraft’s performance would not suffice anymore. Consequently, a thorough modification program for the J 19 was started in late 1944, leading to the post-WWII J 19D.
The J 19D was another stopgap program, though, and the economical attempt to bring the fighter’s performance on par with contemporary fighters like the American P-47 or the P-51; both of these types had been tested and considered for procurement, and the P-51 was eventually ordered in early 1945 from US surplus stock as the J 26, even though deliveries were postponed until 1946. The J 19D was to bridge the time until the J 26 was fully introduced, and would later serve in the attack role.
Since the J 19 airframe could not take a large and powerful radial engine like the R-2800, Saab made a radical move and decided to integrate an inline engine – despite the need for some fundamental changes to the airframe. The choice fell on the Packard V-1650, the same engine that also powered the J 26 fighters, so that procurement, maintenance and logistics could be streamlined.
Integration of the very different engine necessitated a complete re-design of the engine attachment architecture, a new, streamlined cowling and the addition of a relatively large radiator bath under the fuselage. A new four blade propeller was introduced and enlarged, all-metal stabilizers were integrated, too, in order to compensate the changed aerodynamics induced by the new radiator arrangement (which made the aircraft pitch down in level flight). A new bubble canopy with minimal framing was introduced, too, offering a much better all-round field of view for the pilot.
Even though the inline engine had a lower nominal output than the J 19B’s heavy R-2600, performance of the J 19D improved appreciably and it became, thanks to improved aerodynamics, a better overall weight distribution, more agile – finally living up to its original design plans, even though its performance was still not outstanding.
Armament was upgraded, too: the inner pair of wing-mounted 13.2mm machine guns was replaced by 20mm Bofors cannons (license-built Hispano-Suiza HS.404), considerably improving weapon range and firepower. Under the outer wings, hardpoints could take a pair of 250 kg bombs, 300 l drop tanks or up to eight 50 kg bombs and/or unguided missiles.
After WWII, the J 19B survivors were kept in service and soldiered on until 1948, when all remaining aircraft were scrapped. Wright was also paid the overdue license fees for the originally unlicensed engines. The J 19D served together with the J 22 and J 26 fighters until 1950, when all of these piston engine fighters were gradually replaced by de Havilland Vampires (J 28) and the indigenous J 29 Tunnan, which rapidly brought the Swedish Air Force into the jet age. The last four J 19Ds, used as liaison aircraft at F 8 at Barkarby, were retired in 1954.
Saab J 19A General characteristics
Crew: One
Length: 9.68 m (31 ft 8 1/2 in)
Wingspan: 12.0 m (39 ft 4 in)
Height: 3.05 m (10 ft 0 in)
Wing area: 22.44 m² (241.5 ft²)
Empty weight: 1,630 kg (3,590 lb)
Loaded weight: 2,390 kg (5,264 lb)
Aspect ratio: 6.4
Powerplant:
1× Packard V-1650-7 liquid-cooled V-12, with a 2 stage intercooled supercharger,
rated at 1,490 hp (1,111 kW) at 3,000 rpm
Performance
Maximum speed: 640 km/h (397 mph) at 4.550 m (14.930 ft)
Cruise speed: 380 km/h (236 mph)
Landing speed: 140 km/h (90 mph)
Range: 1.500 km (930 mi; 810 nmi)
Service ceiling: 11.800 m (38.650 ft)
Rate of climb: 15.9 m/s (3,125 ft/min)
Armament:
2× 20 mm Bofors (Hispano-Suiza HS.404) cannons with 120 RPG
2× 13.2 mm (0.53 in) M/39A (Browning M2) machine guns with 500 RPG
Underwing hardpoints for an ordnance of 500 kg (1.100 lb), including a pair of 300 l drop tanks,
two 250 kg (550 lb) bombs, eight 50 kg (110 lb) bombs or eight unguided missiles.
The kit and its assembly
This is actually the second J 19 I have converted from a Hobby Boss A6M – and this build addresses two questions that probably nobody ever asked:
● What would a Mitsubishi Zero with an inline engine look like?
● Could the fictional Swedish aircraft have survived WWII, and in which form?
The Saab J 19 never saw the hardware stage, but it was a real life project that was eventually killed through the outbreak of WWII and the lack of engines mentioned in the background above. Anyway, it was/is called the “Swedish Zero” because it resembled the Japanese fighter VERY much – wing shape, fuselage, tail section, even the cockpit glazing!
This build/conversion was very similar to my first one, which ended up as a J 19B with an R-2600 engine from a Matchbox B-25 Mitchell bomber. However, due to the later time frame and different donor parts at hand things took a different route – this time, the key idea was the modernization/update of a rather outdated airframe, and the old J 19B model was the benchmark.
Again, much of the literally massive(!) Hobby Boss Zero was taken OOB, but changes this time included:
● The nose/cowling from a Matchbox P-51D
● A modified ventral radiator bath from a HUMA Me 309
● New horizontal stabilizers from a Griffon Spitfire
● A new propeller (Pavla resin parts for a post WWII P-51D/K with uncuffed blades)
● OOB main landing gear was inverted, so that the wheel discs face inwards
● New main wheels from an AZ Models Spitfire, IIRC
● New retractable tail wheel, from a Bf 109 G; the arrestor hook opening was closed
● A vacu canopy for a late mark Hawker Typhoon, plus some interior details behind the seat
In order to adapt the Mustang’s nose to the slender and circular A6M fuselage, a wedge plug was inserted between the fuselage halves from the Matchbox kit and a styrene tube added inside as a propeller mount. The latter, a resin piece, received a long metal axis and can spin freely.
For the new bubble canopy the cockpit opening and the basic interior was retained, but the dorsal section around the cockpit re-sculpted with putty. Took some time, but worked well and everything blends surprisingly well into each other – even though the aircraft, with its new engine, somehow reminds me of a Hawker Hurricane now? From certain angles the whole thing also has a P-39 touch? Weird!
Painting and markings
Again the dire question: how to paint this one? Once more I did not want to use a typical olive green/light blue Swedish livery, even though it would have been the most plausible option. I eventually settled for a pure natural metal finish, inspired by the post-WWII J 26/Mustangs in Swedish service, which furthermore carried only minimal tactical markings: roundels in six positions, the Flygflottilj number on the fuselage and a colored letter code on the tail, plus a spinner in the same color. Very simple and plain, but with more and more Swedish whiffs piling up, I am looking for as much camouflage/livery diversity as possible, and an NMF machine was still missing. :D
All interior surfaces were painted in RLM 02, and for the NMF I used my personal “recipe” with a basis of Revell 99 (Aluminum, acrylics) plus a black ink wash, followed by panel post-shading with Humbrol “Polished Aluminum” Metallizer (27002), rubbing/polishing with a soft cotton cloth and finally and a light rubbing treatment with grinded graphite for weathering effects and a worn, metallic shine of the surfaces.
Around the exhaust stubs, slightly darker panels were painted with Revell Acyrlics 91 (Iron) and ModelMaster Magnesium Metallizer. A black anti glare panel was added in front of the cockpit (P-51 style). The green propeller boss was painted with a mix of Humbrol 3 and 131 – emulating the color of the green code letter on the fin as good as possible.
The decals were puzzled together; the bright roundels belong to a Swedish Fiat CR.42, from a Sky Models sheet. The “8” on the fuselage comes from an early WWII Swedish Gloster Gladiator code (SBS Models), while the green “E” is an RAF code letter from a Heller Supermarine Spitfire Mk. XVI – actually a total print color disaster, since this deep green is supposed to be Sky!? For better contrast on the Aluminum the letter was placed on a white background, created from single decal strips (generic material from TL Modellbau).
After some soot stains around the exhaust stubs and the fuselage flanks with more graphite, as well as around the gun muzzles, the kit was sealed with a 4:1 mix of gloss and matt acrylic varnish, only the anti glare panel and the propeller blades became 100% matt. Some more matt varnish was also dabbed over the soot stains.
So, another J 19, and the “Zero with an inline engine” looks pretty strange – not as streamlined as other late WWII designs like the P-51 or Griffon-powered Spitfires, yet with a modern touch. The NMF livery looks a bit boring, but the unusual green code (used by liason J 26s from F 8 and some rare 4th or 5th divisions) is a nice contrast to the bright and large Swedish roundels, underlining the pretty elegant lines of the converted Zero!
Nikon D810 Photos Pro Women's Surfing Swatch Women's Pro Trestles Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon!
New blog!
I get a lot of questions here, so if you have one, please ask at the blog! Thanks!
Swatch Women's Pro in Trestles San Clemente with pro surfers /models Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomer Nikki Van Dijk, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracels took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the bright sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS, but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
Yesterday, we celebrated Earth Day - perhaps for the first time in our lives but it dwindled up and open many questions in my mind. It made me wonder how commercial we all have become, in order to create or pass such a message - Thousands of currency from different corners of the world was spend to save energy for just an hour.
Is this because we lack the information on climate change? Is it because we are not educated about the dreadful impact we are incurring on the mother nature and it's resources? Is it because we are aware of all this? But then when I don't have to think even for a millisecond and the answer are yes - we know all this but we have generated a habit of close your eyes to things that you don't want to believe. This could be even clearly visible yesterday when few of those educated bunch actually went on to the streets with their vehicle and few of them even lighting up the whole house because they think it was a political move. They are educated but still they are uneducated about the ethics or the difference they could do.
I agree with this initiative but I believe it would have been more effective if this activity had a longer time period rather than just one hour of a 24hours of a day. Now I feel like this is also another day found out in the calender to sight out as a reason to celebrate and infact use as a commercial purpose. But here we are not talking about valentines, diwali, Halloween etc but here we are talking about the place were we celebrate all this. If Earth is not there then where would we celebrate all this? in space? under water?
"Protect Earth not for yourself but the generation that would follow us" -
It is not our duty but it is our responsibility,
It is not by saying but it is by doing and
it is not by wishing but it is by making a change.
I might be one individual but I know one Individual could make a difference and I would protect the Earth where I am living now so that the generation ahead won't look at me and say "He is the culprit, if he had opened his eyes way too early then we could have changed this happening from where they have left but now they have left us no option and nowhere to live".
Earth Day is not just one day out of the 365 +/- days in a year , it comes out through every day of every week of every month of every year and it is called the life span of every single being in this world.
Picture Details:
Camera: Sony DSC-H7
Exposure: 0.004 sec (1/250)
Aperture: f/3.2
Focal Length: 5.2 mm
ISO Speed: 800
When my wife picked me up from work the other day, she didn't notice we had a visitor on the passenger side mirror. It is in its full summer-colors (back part of the wings get darker in the summer-time). Until last week, I have never heard of nor seen a Question Mark butterfly in my life. Then I see two within a seven day period. Weird.
This is my first iPhone photo that I've used Pixlr (a free, on-line photo editor) to edit. It didn't do a bad job. I had to do a tiny bit of editing in PS to change it to 300 dpi (pixel size of 2400 x 2400 or 8" x 8" stayed the same) and adding in some EXIF data such as my information, email, et al.
by Francis de Tuem released on easter sunday 27.3.16
Stanley, jimmy and Anita
More here
or
joegoauk-tiatr.blogspot.in/2016/03/question-mark-by-franc...
Ren: Is this for me?
Me: Yes! I hope you enjoy playing with Teddy.
Ren: When will come here my sister?
Me: Soon, I promise! Maybe next Sunday, ok?
Ren: Ok. Aaah... Can you promise me you will not desert me never?
Me: WTF...Of course I will not!
Ren: Even if I eat all the sweets in your bag?
Me: ... O_O You have already did it, didn´t you?
Ren: ...possible...
There is a lot of stuff in my stream which is only dedicated to open minded people ;-)
Some of my pictures may not be shown in the original in some countries (including Germany), hence the censorship.
Any question? Feel free to send me a Flickr-Mail!
By the way, for me, "Flickr friends" should be friendly, non-homophobic people who can stand the sight of naked men ;-) My "Flickr family" consists exclusively of gay men who I either know personally or whose photos particularly appeal to me.
More about: me as communicatorof course... you are welcome to visit my profile You should have a look on my Faves too.
Tags:- relationsship Relationship Quiz Questions come in Previous years
Pointing to a Picture a man said, I have no brother or sister, but that’s man father is my father’s son. so You need to tell whose picture was that?
Very simple add your answers in comments…
From World Gk In Hindi.in
Lightning strikes the antenna on the top of the Empire State Building in New York City during a summer thunderstorm on Thursday, July 26, 2012. The Empire State Building, which is struck by lightning an average of just under 100 times annually, was illuminated in colors of various nations in celebration of the 2012 London Olympics.
Image © 2012 Clarence Holmes / Clarence Holmes Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
If you would like to use this image for any purpose, please see the available licensing and/or print options for this image on my website or contact me with any questions that you may have.
Nikon D810 Photos Pro Women's Surfing Swatch Women's Pro Trestles Sports Photography With New Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon!
New blog!
I get a lot of questions here, so if you have one, please ask at the blog! Thanks!
Swatch Women's Pro in Trestles San Clemente with pro surfers /models Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomer Nikki Van Dijk, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracels took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the bright sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS, but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
by Francis de Tuem released on easter sunday 27.3.16
Stanley, Anita
More here
or
joegoauk-tiatr.blogspot.in/2016/03/question-mark-by-franc...
just bought my first pentacon off ebay! very impressed so far, except the lack of infinity focus due to a strange ring on the bottom of the "zebra"-biometar. every other zebra i found lacks this ring. and i cannot remove it, for the love of god!
Former U.S. Ambassador to the North Atlantic Treaty Organization and now Chicago Council on Global Affairs Chairman Ivo Daaldar asks U.S. Secretary of State John Kerry an audience question after he delivered a speech about diplomacy today to over 1,500 members and friends of the Council on October 26, 2016, at the Chicago Hilton Hotel in Chicago, Illinois. [State Department photo/ Public Domain]
What is the worst car ever?
Not an easy question to answer, and I'm sure it would be different in different places.
In Australia, for the past 40 years, you could be forgiven for thinking it was the Datsun 120Y.
Why?
The name? The Styling? The car? The image?
Probably all contributed, but perhaps unfounded. Oddly, the Datsun 120Y has become so un-cool, that its actually cool again. Well, maybe.
The name. The car replaced the Datsun 1000 - a worthy but dull car. The 120Y signified an increase in capacity of the engine to approximately 1.2 litres. Still completely gutless though. Next time around, Datsun's small car would be named 'Sunny' in part to rid itself of the 120Y reputation.
The styling. Part of the cool again thing, the 120Y was a miniature version of contemporary Detroit iron, thing Gran Torino, only narrower and shorter, though about the same height, With little wheels (13 inches) the car sat a little oddly on those proportions. Squint though, and you might just see that Torino. The car also came in an array of Groovy 1970s colours, including this aqua-blue. My next door neighbours had a burnt orange wagon when I was a kid - groovy indeed.
The car - honestly no better or worse than its contemporaries, mostly. My family had a same era Corolla, no ball of fire, but transport. I liked the RWD which the 120Y also had. And really, was a MkII Escort, Citroen Dyanne, FIAT Strada, Ford Pinto or Austin Maestro really any better?
I think all these things, combined with the mysterious 'cool' factor condemned the car here in Australia. As I said, they are almost cool again.
What can I say.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background
After Mil Helicopters' Mi-28 combat helicopter did not find takers, the design bureau decided in the 2000s to take a huge development step forward and question the basic helicopter layout. The result was the Mil Mi-62 (NATO reporting name: Hepcat), a single-seat attack gyrodyne/compound helicopter: a VTOL aircraft with a helicopter-like rotor system that is driven by its engine for take-off and landing but basically relies on conventional means of propulsion to provide forward thrust during cruising flight. Lift during forward flight is provided by a combination of the rotor, like an autogyro, as well as conventional wings, even though these alone would not keep the aircraft in the air.
The Mi-62 featured a tip-jet-powered rotor that burned a mixture of fuel and compressed air, bled from two wing-root-mounted jet engines. The rotor was only driven during the start/landing phase and at low speed. The air for the rotor was produced by compressors driven through a clutch off the main engines, though, which was fed through ducting up to the rotor head. Two Progress AI-222-25 turbofans, each rated at 24.52 KN (5.512 lbf), provided thrust for translational flight while the rotor autorotated, enabling VTOL and STOL start with overload. The cockpit controls included a cyclic and collective pitch lever, as in a conventional helicopter.
Each engine supplied air for a pair of opposite rotor blades. The rotor blades were a symmetrical airfoil around a load-bearing spar. The airfoil was made of carbon fiber and light alloy because of center of gravity concerns. The compressed air was channeled through three tubes within the blade to tip-jet combustion chambers, where the compressed air was mixed with fuel and burned, driving the rotor. As a torque-less rotor system, no anti-torque correction system was required. Propeller pitch was controlled by the rudder pedals for low-speed yaw control. To support handling at low speed, bleed air from the main engines was also ducted to a control vent system in the tail.
Transition from helicopter to autogiro took place at around 60 mph by extinguishing the tip-jets, and at higher speeds up to half the lift was provided by the fixed wings. At high cruising speed, the Mi-62 almost behaved like a standard aircraft. Cruising speed was to be at about 500 km/h (312 mph), coupled with a range of up to 1400 km (870 ml).
Since the speed of the advancing rotor tip is a primary limitation to the maximum speed of a helicopter, this arrangement allowed a faster maximum speed than pure helicopters such as the Mi-24/35 or the AH-64. The elimination of the tail rotor is a qualitative advantage, too, because the torque-countering tail rotor can use up to 30% of engine power. Furthermore, the vulnerable boom and rear gearbox are fairly common causes of helicopter losses in combat. The Mi-62’s entire transmission presents a comparatively small target to ground fire, and is a rather simple/rigid arrangement with much less moving parts than a standard helicopter.
The Mi-62 was designed as an alternative to Kamov's successful Ka-50/52 program, and regarded as a heavier alternative. While the Ka-50 was designed to be small, fast and agile to improve survivability and lethality, the Mi-62 was to rely on speed, quick acceleration and decelleration as well as on good low altitude handling, coupled with sufficient protection against small caliber weapons. Since operation would be primarily at low level and using the landscape as cover, not much emphasis was put on stealth features, even though many passive protection elements like RAM were incorporated into the aircraft.
One of the program priorities was to enhance the helicopter's survivability. With this goal in mind, the configuration and systems' arrangement were chosen, assemblies designed, and structural materials tested, beyond the robust rotor propulsion system. The following measures to enhance pilot survivability were taken:
• Engines were placed on both sides of the airframe to prevent a single hit from destroying both engines
• The gyroplane could fly on a single engine in various modes – even with a damaged rotor a controlled landing glide was possible
• The cockpit was armored and screened with combined steel/aluminum armor and armored Plexiglas
• The hydraulic steering system compartment was armored and screened
• Vital units were screened by less important ones
• Self-sealing fuel tanks were filled with polyurethane foam
• Composites were used to preserve the helicopter's efficiency when its load-carrying elements are damaged
• A two-contour rotor-blade spar was developed, integrating the air ducts
• Control rod diameter was increased by positioning most of them inside the armored cockpit
• The powerplant and compartments adjacent to the fuel tanks were fire-protected
• The hydraulic system is capable of operating for 30 minutes if the oil system is damaged
• The power supply systems, control circuits etc. were made redundant and placed on opposite sides of the airframe
The armor consisted of spaced-aluminum plates with a total weight of more than 300 kg. The armor is fitted into the fuselage load-bearing structure, which reduces the total weight of the helicopter. GosNIIAS tests confirmed the pilot's protection up to 20mm caliber cannon rounds and shell fragments.
Another unique feature of the Mi-62 is the use of a rocket-parachute ejection system in case of an emergency. The helicopter emergency-escape system uses the K-37-800 ejection seat that was developed by the Zvezda Scientific Production Association (Chief Designer Guy Severin). The pilot's safety was also ensured by the undercarriage design. The undercarriage is capable of absorbing large loads in an emergency landing, and the cockpit has a crunch zone of up to 10-15% upon impact.
Basic armament consists of a twin-barreled Sh2A42 30-mm gun. The gun is mounted in a shallow turret which can rotate full 360° near the center of fuselage. It has 460 rounds of ammunition, firing high-fragmentation, explosive incendiary rounds and armor-piercing rounds.
The cannon has a dual-feed, which allows for a cyclic rate of fire between 300 to 900 RPM. Its effective range varies from 1500 meters for ground vehicles to 2,500 meters for air targets. Stated penetration for the 3UBR8 is 25 mm of RHA at 1,500 meters.
Beyond that, the aircraft carries a substantial load of weapons in six external hardpoints under the stub wings. An total of some 2.000 kg mixed ordnance, including AAMs, AGMs, gun and unguided rocket pods which include the S-13 and S-8 rockets, can be carried. Even unguided and guided (IR, optical, laser) bombs have been successfully tested, so that the Mi-62 could eventually replace early Su-25 combat aircraft in the CAS role. The "dumb" rocket pods can be upgraded to laser guided with the proposed Ugroza system.
The main armament against moving ground targets consists of up to sixteen laser-guided Vikhr anti-tank missiles (transl. Vortex or whirlwind) with a maximum range of some 8 km. The laser guidance is reported to be virtually jam-proof and the system features automatic guidance to target, enabling evasive action immediately after missile launch.
Like the Ka-50, the Mil gyrodyne was from the outset to be operated by a single pilot only. Mil’s designers concluded after thorough research of helicopter combat in Afghanistan and other war zones that the typical attack mission phases of low-level approach, pop-up target acquisition and weapon launch would not simultaneously demand navigation, maneuvering and weapons operation of the pilot. Thus, with well-designed support automation, a single pilot was expected to carry out the entire mission alone.
During operational testing from 1995 to 1996 the workload on the pilot was found to be similar to that of a fighter-bomber pilot, and the pilot could perform both flying and navigation duties. Later flight tests of the Mi-62 prototypes proved that its handling was more like an aircraft with VTOL capabilities than a standard helicopter, so that jet pilots could master it with some training.
Initially the Mi-62 was to be have been fitted with the Merkury Low-Light TV (LLTV) system. Due to a lack of funding, the system was late and experienced reliability and capability issues. As a result, focus shifted to Forward Looking Infra-Red (FLIR) systems, including the Shkval-N sighting system with an infrared sensor. Many versions were tried; on some the original "Shkval" was supplemented by a thermal imaging system, while others saw a complete replacement by the "Samshit" day-and-night system, which has become the final sensor standard, mounted in a chin sensor turret.
The fire control system automatically shares all target information among the four Mi-62 of a typical flight in real time, allowing one helicopter to engage a target spotted by another, and the system can also input target information from ground-based forward scouts with personnel-carried target designation gear.
The Mi-62 was, after a lengthy development and constant lack of funds, eventually adopted for service in the Russian army in 2015. It is currently manufactured by the new Russian Helicopters company that was founded in 2009 in Moscow, and built at the Mil Moscow Helicopter Plant. It has been introduced to both Air Force (Mi-62 sans suffix, ‘Hepcat A’) and Naval Aviation (Mi-62K, ‘Hepcat B’) and is being used as a heavily armed attack helicopter against both ground and airborne targets.
The navalized Mi-62K derivative has been selected as the new ship-borne attack type for the Russian Naval Aviation (Aviatsiya Voenno-morskogo Flota Rossii). It will feature folding rotor blades and life-support systems for the crew, who will fly in immersion suits. The fuselage and systems will be given special anti-corrosion treatment and a new fire-control radar will be capable of operating in "Sea Mode" and of supporting anti-ship missiles. Aviatsiya Voenno-morskogo Flota Rossii will need no fewer than 20 Mi-62, which will be operated together with Ka-52Ks.
The first Mi-62K is tentatively slated to enter squadron service by late 2014 or early 2015, coinciding with the delivery of the first carrier of the new Mistral class amphibious assault ships, ordered by the Russian Defense Ministry. These small carriers will contain rotary-wing assets, formed into aviation groups, and each of these groups is planned to include eight attack and eight assault/transport helicopters.
General characteristics
Crew: One
Length (fuselage only): 13,46 m (44 ft 1 in)
Rotor diameter: 15,40 m (50 ft 5 1/2 in)
Height: 4.60 m (15 ft 1 in)
Disc area: 186.3 m² (1.998 ft²)
Empty weight: 7,700 kg (17,000 lb)
Loaded weight: 9,800 kg / 10,400 kg (21,600 lb / 22,930 lb)
Max. takeoff weight: 10,800 kg (23,810 lb)
Powerplant
2× Progress AI-222-25 turbofans, 24.52 KN (5.512 lbf) each plus
4× rotor tip jet burning compressed air/fuel, 4.4 kN (1,000 lbf) thrust each
Performance
Never exceed speed: 550 km/h (297 knots, 342 mph) in dive
Maximum speed: 515 km/h (278 knots, 320 mph) in level flight
Cruise speed: 370 km/h (200 knots, 230 mph)
Range: 545 km (339 ml)
Combat radius: 800 km (500 ml)
Ferry range: 1400 km (870 ml) with 4 drop tanks
Service ceiling: 5,500 m (18,000 ft)
Rate of climb: 10.7 m/s (2,105 ft/min)
Armament
1× turret-mounted, wtin-barreled 30 mm Shipunov Sh2A42 cannon (460 rounds total, dual feeding AP or HE-Frag) under the fuselage
6×wing hardpoints with a capacity of 2,000 kg and provisions to carry combinations of launch pods for 80 mm S-8 rockets or 122 mm S-13 rockets, APU-6 Missile racks or up to 20× 9K121 Vikhr anti-tank missiles, 6× Vympel R-73 (NATO: AA-11 Archer) air-to-air missiles, Kh-25 semi-active laser guided tactical air-to-ground missiles, 4× 250 kg (550 lb) bombs or 2x 500 kg (1,100 lb) bombs, plus 23 mm UPK-23-250 gun pods (240 rounds each) or 500 l (130 US gal) external fuel tanks.
Two compartments in the lower fuselage with flare and chaff countermeasure dispensers, typically 4× UV-26 dispensers each (total 512 chaff/flare cartridges in each pod)
The kit and its assembly:
Another entry for the “Za Rodinu - The Anthony P Memorial Build” at whatifmodelers.com, and this time it’s a modern and rather exotic whif. Helicopters are rare among whiffers, so I thought I’d give that subject a chance, and I actually had the basis kit in store for some time, as I intended to build it for another GB but never got that kick to start it.
The fictional Mi-62 is a conversion of a snap-fit kit from Kotobukiya from a series of generic, roughly 1:72 scale mecha vehicles that do not belong to a specific series or movie, but they seem to be intended to go well with Gundam or Dougram. These are rather toy-like, sturdy things, but they have potential for more – especially the gyroplanes (two different types exist).
These seem to be unmanned drones/UAVs, though, and that immediately leads to the conversions I made. Most important change is a manned cockpit with a clear canopy (from a KP Su-25) and the respective, scratched interior.
Another big change was the deletion of the original, gigantic gatling gun under the fuselage, replaced by a much smaller twin cannon turret. That left a lot of ground clearance – as a late modification I decided to chop the landing gear and the respective fin/wing endplates by more than 1cm, so that the gyroplane would sit closer to the ground.
Further small cosmetics include an asymmetrical radome and a protruding pitot boom, some antenna bulges, new engine exhausts, chaff dispensers in the fuselage flanks, and free-standing main wheels.
The ordnance comes from a Dragon Soviet-Air-To-Ground-Ordnance kit, hung onto six new wing hardpoints (from a 1:144 F-4E and an ESCI Ka-34 in 1:72, IIRC).
Painting and markings:
Choosing a proper scheme was tricky. The helicopter was to look realistic, but still exotic, at least for Russian standards. I considered various options:
● An all-mid-grey livery, inspired by current Mi-35 attack helicopters. Too dull & simple!
● A trefoil-style scheme in khaki and olive drab, with blue undersides. Flashy, but IMHO rather old-school.
I finally found an original scheme on a Ka-62 prototype (shown at MAKS-2009): a wraparound scheme in olive drab, medium grey and chocolate brown. The colors are enamels, I used Olive Drab ANA 613 (ModelMaster #2050), German Uniform “Feldgrau” (ModelMaster #2014) Grey and German Armor Red Brown (Humbrol 160), later highlighted through dry-brushing with lighter shades of the basic tones and a black ink wash, standard process.
The interior was to be Russian-style, too, but instead of the eye-boggling turquoise I went for PRU Blue (Humbrol 230) inside of the cockpit. Still looks odd, but it’s not so bright.
As a twist I decided to use Russian Navy markings – and the real world introduction of Mistral Class ships was a good excuse for a naval version of this attack helicopter. The Naval Aviation used to and does employ many land-based aircraft and helicopters, incl. e. g. the Mi-24, in similar liveries to the Air Force or Army cousins.
The markings were puzzled together from various aftermarket decal sheets from Begemot , Authentic Decals and TL Modellbau, as well as from the scrap box. After some additional dry-brushing with medium grey overall, the kit was sealed with a coat of matt acrylic varnish.
I'm done with the Oregon State Fair. I sat up my tripod and started taking long exposures of Fair rides on Saturday night. Within minutes I was surrounded by four Oregon State police. They wanted my I.D., and to know who I had on the ride. I told them I was taking long exposures of the rides, but they didn't care. They took my I.D. and "ran" it to check me out for whatever. It not only ruined the evening, but any creativity that I had.
I'm very angry right now about the whole situation. Did they question everyone else with a camera? Anyone with a cameraphone?
The Fair was eager enough to take the $180 that I spent throughout the afternoon. Now they can choke on it. It's the last money they will ever see from me. They've been running news stories on how the fair needs greater attendance. Strongarm bully tactics by the police are the WRONG way to go about it!