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Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Sony Alpha 6000, Systemkamera (mirrorless) mit 24 Megapixel APS-C-Sensor.
Mehr zur Kamera hier im Video:
www.youtube.com/watch?v=kzTCEkNiV_U&feature=youtu.be
Und auf Ralfs-Foto-Bude:
And now for something completely different - a very compact plastic camera with an oversized finder and semi-wide-angle lens, ideal for street shooting. The finder has a magnification of about 0.80x (slightly larger than the Leica M6 which had 0.85x) and has a brightline incorporated (Albada type, i.e. self-illuminating, with the frameline on the inner surface of the eyepiece lens). Exposure is fully automatic (using No. 625 batteries) and programmed. Zone focusing with click stops for 3 positions, and there's still a proper distance scale as well.
The lens is a 4-element air-spaced type like the Goerz Dogmar of 100 years ago (which has been used more often during the 80's and 90's because of the better correction that can be obtained when elements don't have to be cemented, as in the Tessar design, where the two rear elements are cemented).
The compactness of the camera (105mm wide, 69mm high, 55mm deep) has been achieved by placing the finder over the take-up spool, as in the legendary Rollei 35. Unlike that camera however, which had a very awkward lever wind on the left (right above the finder) this camera has a convenient lever on the right hand side (the Rollei 35 was of course more compact - 97x60mmx32mm though more awkward). The release is the red flexible plastic dome on top of the winder, which they called a "sensor" (and not the black knob near it, which is just the rewind selector).
Today i took the opportunity to use a Sony NEX-7 [Crop-Sensor] with a Sony-Zeiss Full-Frame 35mm 1.4f lens.
I have recently read that using a full-frame lens with a crop sensor may not produce better results than using a lens designed from a crop-sensor camera and in fact the images will be less sharp.
When starting out, many photographers choose to go with a crop body and invest in full frame lenses. This is usually recommended as a good approach as you can keep your lenses and swap out your body for something newer down the road, eventually leading to that high quality full frame sensor that you always wanted. However some experts, especially Tony Northrup, claim that starting out with the full frame lens and crop bodies does not provide you with the sharp images.
In my case I had a top end full frame camera [Canon 1DSIII] with a set of very expensive glass and I was not at all happy as the combination was way too heavy and totally unsuitable for street photography. About five years ago I decided that I needed a better solution and after using a Sony NEX-5 for about a year I decided to purchase a NEX-7 and switch from DSLR to Mirrorless [at the time that was a big gamble]. In theory it would be possible to use my Canon lenses with the NEX-7 but in reality it was not a workable solution. The NEX-7 featured a crop-sensor so I purchased a set of suitable Sony lenses and they were not expensive.
My reason for getting the NEX-7 and associated lenses was greatly reduced weight coupled with the fact that my equipment did not attract unwelcome attention.
The NEX-7 performed way beyond my expectations and I was really pleased and then towards the end of last year because the camera was giving problems at random I threw all logic out the window and took an ever bigger gamble by purchasing a Sony A7RMkII full frame mirrorless camera which is larger and heavier than the NEX-7.
To be honest, there is no comparison between the two cameras, the A7R is very much superior and while it is heavier it is actually easier to use. Also the Canon lenses actually work with the A7R but using the necessary adaptor was a pain and added weight. However the Canon lenses showed what the A7RMkII could do so I decided that maybe I should consider getting some native Sony FE prime lenses and then I discovered that they all were expensive and heavy [ unless I got manual focus lens such as the Loxia ]. Anyway I ended up with a set of primes [and no cash] but I now have serious weight issue especially when I travel.
I was planning to use the NEX-7 as a backup or when I travel but the crop-lenses are not very good so it would make no sense to leave my full-frame lenses behind so a possible solution would to bring along one of the FE primes [35mm 1.4f] but then I came across discussions online claiming that FE lenses underperform when used with a crop-sensor. Of course there is another issue in that the NEX-7 is at the end of its life and needs to be replaced by something like the A6300 but as I already said I have no spare cash.
Dassault designed Mirage F.1CR tactical reconnaissance aircraft of the French Air Force, which carries optical and electronic sensors, both internally and externally. The fixed refueling probe stands up in front of the cockpit like a periscope.
Seen here at the Royal International Air Tattoo 2009. RAF Fairford. Gloucestershire.
This aircraft 647/112-CB is from Reconnaissance Squadron 01.033 "BELFORT" based at Reims, northeast of Paris.
The Armee de l'air (French Air Force) this year celebrates its 75th anniversary 1934 - 2009. "Joyeux Anniversaire"
TUESDAY, SEPTEMBER 29, 2015
Fortune Brainstorm E - Austin, TX, USA
3:55 PM
HOW THE INTERNET OF THINGS WILL REVOLUTIONIZE CITIES
The mash-up of sensors, Big Data and the Internet promises to bring radical new efficiency to cities. The new trend: Tens of billions of devices and systems are connecting online, allowing revolutionary changes to how things are done from improving traffic flows, boosting building efficiency, and maximizing water use, to mention just a few. Some say this is a trillion-dollar opportunity. Who will the players be, and which applications show the most promise?
Smart Cities Track Hosted by Hitachi
Fahd Al-Rasheed, Group CEO/Managing Director, King Abdullah Economic City
Doug Baker, Chairman and CEO, Ecolab
Mahesh Ramanujam, Chief Operating Officer, U.S. Green Building Council
Moderator: Brian O’Keefe, Fortune
Photograph by Stuart Isett/Fortune Brainstorm E
Instagram: instagram.com/45surf
Nikon D800E Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Instagram: instagram.com/45surf
Surf Cowboys of the world Unite! :)
Epic Goddesses straight out of Homer's Iliad!
Homer's Iliad: "RAGE! Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled."
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Pretty Asian Swimsuit Bikini Model! Nikon D800E Photos Gorgeous Model Goddesses shot with Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Modeling a vintage retro swimsuit bikini straight form the 60s and 70s!
Some sparkling Guatemalan bokeh! Closing down the aperture blades create hexagonal highlights but also reveal dust bunnies! My sensor needs major cleaning! =D
EOS body + extension tubes (12mm, 20mm & 36mm) + K-mount to EOS Adapter + K-mount Reverse-mounting Ring + Close-up filters nos. 1, 2 & 3 stacked + reverse-mounted 55mm lens
Olympus E-500 ( KODAK CCD sensor ) + Olympus Zuiko Digital ED 50mm f/2.0 Macro
OLYMPUS DIGITAL CAMERA
Over the next few weeks of February and March 2020, I made lots of trips to the VA hospital to see my doctor, my cardiologist, and more testing gear. I had ultrasound and CT scans of my heart followed by consultations on what they saw. They say that surgery will probably not be necessary but prescribed more meds. My doctor decided to get me a heart monitor to wear for several weeks. They showed me how to apply the sensors, hook up and turn on the gear, and take it off for wet personal hygiene and showers.
There are four sensors that are placed in specific places that are wired to a small RF transmitter on a lanyard around my neck. The transmitter talks to a modified cell phone that has to be within ten feet or so and sends the data to a medical monitoring station near Chicago. A couple of times a tech called me up to ask why my heartrate was up. The first time was probably due to a stubborn shit that needed urging. The second time I felt nothing and had no explanation. Ultimately, the three week test proved that I did have occasional rapid heartrate episodes at random times.
Besides having to take time to unhook every time I needed to get cleaned up and then hook up again, I had to keep the monitor phone at my bedside, in my purse, on a belt holster, or on the kitchen countertop, dinner table, vanity table, etc. If you click to magnify the photo, you can see icons on the phone that match white, red, green, or black sensor locations.
I was issued the monitor set in March just before the COVID lockdown. I remember hearing BBC reports of a mysterious virus in China during the Christmas 2019 holidays. By January the epidemic was in full swing in China, but the US was paralyzed in its response due to incompetence by Trumputin. I wondered how my VA hospital was going to react to what was obviously a pandemic that would strike Houston.
During my first morning in the hospital, I complimented the guy cleaning my room. I told him I noticed how clean everything was, and that his job would soon be part of a life or death situation. I said I spent as much time in the Army with a broom, mop, and toilet brush as with a rifle and machinegun. He was an Army vet, too and laughed. I said the Army makes a fetish out of cleanliness because in most wars, disease kills more people than battle. I wished him luck because I knew that in a few weeks, lots of patients would be dying, and he would have to clean up after them. I was right.
Harris County has lost more than 8900 people to COVID. Texas has lost more than 69,000 people mostly due to Governor Abbott's bungling and interference with local officials trying to enact public health measures like masking in public places. That's more than we lost in the Vietnam War and all of our useless oil wars in the Middle East combined. Nationwide, the US has lost more than 732,000 deaths due to the Trumputin Covfefe Virus pandemic because Trump and his fellow RepUGLUcan idiots didn't believe in science and wanted to kill as many poor and non-white people in the cities as possible. It is evident that "conservatism" is simply another word for BACKWARDNESS because they oppose all public health measure like mask mandates, prohibitions against indoor crowds, and mandatory vaccinations that could have controlled this disease many months ago.
Here are all the mobile phones I've owned. Starting from the left we have:
Ericsson SH888
Originally introduced in 1998, I was given it in about 2000 by someone I used to work for who worked for Ericsson. It was one of the earliest dual-band phones and also one of the first with built in infrared. I think I managed to get it to talk to my Psion 5 once. Very solid and dependable.
Ericsson T39m
In 2001 I took out a contract with Vodafone and chose this phone to go with it. It features tri-band, Bluetooth, predictive text, GPRS and a WAP browser, nice clear screen and very good battery life. It's also very light and thin. It's seen a lot of use: I used it for just over two years I think, then I lent it to my housemate who used it for a year or so. It still works fine, though it is a little worn. One of the best phones Ericsson made.
Sony Ericsson T610
Oh dear. I don't know what came over me with this one. I thought it was time I had a new phone on renewing my contract and the T610 caught my eye with its retro styling. This was in 2003 or so. Ericsson and Sony had joined forces to make phones and my good experience with the T39 lead me to believe this one would be OK. How wrong I was. Sony brought nice styling to the partnership, unfortunately rather than combining it with Ericsson's robust content they apparently discarded it altogether. It features a colour screen which is unreadable outdoors and a camera which not only takes pointlessly small 288x352 pictures, but the sensor lends a green tint usually and the optics distort to the edge of recognition. The software is very sluggish, especially when opening the text message inbox. The keys and joystick are not great, though they're even worse when mango chutney is applied I found. Yet another negative is the level of bastardisation by Vodafone, most annoyingly that the right-hand soft key always goes to "Vodafone Live" which I hardly ever used and was not allowed to change.
Nokia 6630
Just as soon as that contract was up I got this phone. I realised my mistake and so was much more careful choosing this one. Put off Sony Ericsson I decided to switch to Nokia and to splash out some extra cash to get a fairly high end smart phone. Definitely content over looks this time, it is a bit bulbous, funny looking and bulky. After the T610 the content is a very large breath of lovely fresh air. The very first thing I did was reassign all the shortcuts on the standby screen, because I could. Features a nice bright screen which is very legible in all lighting conditions, especially with the sensor which varies the backlight brightness depending on the ambient light level. It has a 1.3MP camera with reasonable optics though like nearly all phone cameras it doesn't cope well with bright lights in the shot. Has 3G and the keys are good and responsive. The main feature though is Series 60 which is a version of the Symbian OS. There's a fair bit of software available for it, including a version of PuTTY which is very handy. It takes a reduced size dual-voltage MMC memory card, it took me a while to find a compatible one, but I eventually got a 256MB card off ebay. It didn't take too long to fill it with music, pictures and text messages. One gripe with the software implementation is the lack of integration between the Symbian apps and the phone functions, for instance the clock and calendar applications have no connection so there is a lack of sophistication in how alarms can be set, one can't have different alarms repeated on different weekdays. I'd like to be able to set alarms which switch profiles for meetings, lectures etc. One can include a person's birthday in their entry in the contacts database, but it doesn't show up on the calendar.
Nokia E70
I've just got this one. After a fair bit of research, I was seriously considering the N93 with its 3.2MP camera with auto focus and 3x optical zoom, but then I saw some results and came to the conclusion that the quality is still not that good. So Instead I went for this phone, the most exciting feature of which is the full and very nice to use qwerty keyboard, or is it the 802.11G wireless networking? Probably both equally. SSH on this phone is a joy, nethack is quite playable though the 'b' key is on the other side of the screen to the rest of the direction keys. The WLAN really is great, if I'm at home or near an accessible network (including unconfigured netgears) I can use the networking features of my phone without worrying about paying for every byte. The browser has had mixed reviews, I think it is mostly very good. It copes with just about every page, including flickr with all its javascript, and though you get a little frame view onto the entire page it always seems to be wide enough to fit the main text column without having to scroll sideways to read the text. A major problem with it is the lack of RAM. It often runs out of memory on graphics heavy pages, though sometimes just reloading helps. Quite a hassle for me is the lack of ability to download a file linked to from a page, all it can do is attempt to open it with an installed program. I can't even find a way to copy and paste the linked url nor indeed any text on a web page. Again it suffers from a lack of integration between phone and application functionality. Yesterday I looked up a restaurant's phone number on their web page and wanted to dial it, all I could do is commit it to memory, switch to the phone interface and type it in.
MOC: Sensor GTR. A variation of the theme from my previous Supercar - I wanted to see if I could build something a supercar that looked a bit more like it was meant for the road than for the track. Very happy with the result.
The Samyang 7.5mm is a fisheye designed for M4/3 format cameras and will yield a 180 degree full frame image on a 2x crop sensor. When modded for the NEX, this lens will yield slightly more than 180 degrees in a semicircular image. This here, as far as I know, is the smallest 360VR setup you can have. So far this Samyang lens has proven to be remarkably good (from others tests online). I have yet to do any shooting with it as I just got this all setup. You can see my trimming of the lens hood was a bit crude, and I realized I needed to trim just a bit more from the top petal.
To use this lens on the NEX bodies you need to do 3 things -
1. Get an MFT to NEX adapter (cheap on eBay)
2. Remove the ring from the rear (held on by 3 screws) - inside you will find three metal spaces, just take these out and then replace the ring. This allows the lens to achieve infinite focus on the NEX.
3. Remove the label ring from the front of the lens, its just glued on (do it carefully with a very small screw driver so you can replace it later) - once removed you will find 3 black screws holding the lens hood on. You need to completely trim off the smaller side petals, and the larger petals need 2-3mm removed so they do not show up in the image on the NEX.
You can also read more on others making this lens work on the NEX here: www.panoguide.com/forums/tipsntricks/9644/
Data: 29/06/2016
Telescopio: Celestron CPC-800 xlt
Telescopio di guida:
Riduttore di focale: Antares 0,63x + riduttore 0,8x.
Montatura: Celestron CPC-800 xlt
Camera di acquisizione: Canon 600D Baader
Camera di guida: no.
Pose: 120x30 s.
ISO: 3200
Dark: 40
Flat: 15
DarkFlat: 0
Bias: 36
Temp. sensore: 16 °C.
Temp. ambiente: 22 °C
Bortle: 7
Software di acquisizione: Backyard EOS.
Software di elaborazione: MaximDL, Photoshop.
Luogo: Pedara (CT).
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The TIE/LN starfighter, or TIE/line starfighter, simply known as the TIE Fighter or T/F, was the standard Imperial starfighter seen in massive numbers throughout most of the Galactic Civil War and onward.
The TIE Fighter was manufactured by Sienar Fleet Systems and led to several upgraded TIE models such as TIE/sa bomber, TIE/IN interceptor, TIE/D Defender, TIE/D automated starfighter, and many more.
The original TIEs were designed to attack in large numbers, overwhelming the enemy craft. The Imperials used so many that they came to be considered symbols of the Empire and its might. They were also very cheap to produce, reflecting the Imperial philosophy of quantity over quality.
However, a disadvantage of the fighter was its lack of deflector shields. In combat, pilots had to rely on the TIE/LN's maneuverability to avoid damage. The cockpit did incorporate crash webbing, a repulsorlift antigravity field, and a high-g shock seat to help protect the pilot, however these did next to nothing to help protect against enemy blaster fire.
Due to the lack of life-support systems, each TIE pilot had a fully sealed flight suit superior to their Rebel counterparts. The absence of a hyperdrive also rendered the light fighter totally dependent on carrier ships when deployed in enemy systems. TIE/LNs also lacked landing gear, another mass-reducing measure. While the ships were structurally capable of "sitting" on their wings, they were not designed to land or disembark their pilots without special support. On Imperial ships, TIEs were launched from racks in the hangar bays.
The high success rate of more advanced Rebel starfighters against standard Imperial TIE Fighters resulted in a mounting cost of replacing destroyed fighters and their pilots. That, combined with the realization that the inclusion of a hyperdrive would allow the fleet to be more flexible, caused the Imperial Navy to rethink its doctrine of using swarms of cheap craft instead of fewer high-quality ones, leading to the introduction of the TIE Advanced x1 and its successor, the TIE Avenger. The following TIE/D Defender as well as the heavy TIE Escort Fighter (or TIE/E) were touted as the next "logical advance" of the TIE Series—representing a shift in starfighter design from previous, expendable TIE models towards fast, well armed and protected designs, capable of hyperspace travel and long-term crew teams which gained experience and capabilities over time.
The TIE/E Escort, was a high-performance TIE Series starfighter developed for the Imperial Navy by Sienar Fleet Systems and it was introduced into service shortly before the Battle of Endor. It was a much heavier counterpart to the agile and TIE/D fighter, and more of an attack ship or even a light bomber than a true dogfighter. Its role were independent long range operations, and in order to reduce the work load and boost morale a crew of two was introduced (a pilot and a dedicated weapon systems officer/WSO). The primary duty profile included attack and escort task, but also reconnoiter missions. The TIE/E shared the general layout with the contemporary TIE/D fighter, but the cockpit section as well as the central power unit were much bigger, and the ship was considerably heavier.
The crew enjoyed – compared with previous TIE fighter designs – a spacious and now fully pressurized cockpit, so that no pressurized suits had to be worn anymore. The crew members sat in tandem under a large, clear canopy. The pilot in front had a very good field of view, while the WSO sat behind him, in a higher, staggered position with only a limited field of view. Both work stations had separate entries, though, and places could not be switched in flight: the pilot mounted the cockpit through a hatch on port side, while the WSO entered the rear compartment through a roof hatch.
In a departure from the design of previous TIE models, instead of two parallel wings to either side of the pilot module, the TIE Escort had three quadanium steel solar array wings mounted symmetrically around an aft section, which contained an I-s4d solar ionization reactor to store and convert solar energy collected from the wing panels. The inclusion of a third wing provided additional solar power to increase the ship's range and the ship's energy management system was designed to allow weapons and shields to be charged with minimum loss of power to the propulsion system.
Although it was based on the standard twin ion engine design, the TIE/E’s propulsion system was upgraded to the entirely new, powerful P-sz9.8 triple ion engine. This allowed the TIE/E a maximum acceleration of 4,220 G or 21 MGLT/s and a top speed of 144 MGLT, or 1,680 km/h in an atmosphere — almost 40 percent faster than a former standard TIE Fighter. With tractor beam recharge power (see below) redirected to the engines, the top speed could be increased to 180 MGLT in a dash.
In addition to the main thrusters located in the aft section, the TIE Escort's triple wing design allowed for three arrays of maneuvering jets and it featured an advanced F-s5x flight avionics system to process the pilot's instructions. Production models received a class 2, ND9 hyperdrive motivator, modified from the version developed for the TIE Avenger. The TIE/E also carried a Sienar N-s6 Navcon navigation computer with a ten-jump memory.
Special equipment included a small tractor beam projector, originally developed for the TIE Avenger, which could be easily fitted to the voluminous TIE Escort. Models produced by Ysanne Isard's production facility regularly carried such tractor beams and the technology found other uses, such as towing other damaged starfighters until they could achieve the required velocity to enter hyperspace. The tractor beam had limited range and could only be used for a short time before stopping to recharge, but it added new tactics, too. For instance, the beam allowed the TIE/E crews to temporarily inhibit the mobility of enemy fighters, making it easier to target them with the ship's other weapon systems, or prevent enemies from clear shots.
The TIE Escort’s weapons systems were primarily designed to engage bigger ships and armored or shielded targets, like armed freighters frequently used by the Alliance. Thanks to its complex weapon and sensor suite, it could also engage multiple enemy fighters at once. The sensors also allowed an effective attack of ground targets, so that atmospheric bombing was a potential mission for the TIE/E, too.
.
The TIE Escort Fighter carried a formidable array of weaponry in two modular weapon bays that were mounted alongside the lower cabin. In standard configuration, the TIE/E had two L-s9.3 laser cannons and two NK-3 ion cannons. The laser and ion cannons could be set to fire separately or, if concentrated power was required, to fire-linked in either pairs or as a quartet.
The ship also featured two M-g-2 general-purpose warhead launchers, each of which could be equipped with a standard load of three proton torpedoes or four concussion missiles. Depending on the mission profile, the ship could be fitted with alternative warheads such as proton rockets, proton bombs, or magnetic pulse warheads.
Additionally, external stores could be carried under the fuselage, which included a conformal sensor pallet for reconnaissance missions or a cargo bay with a capacity for 500 kg (1.100 lb).
The ship's defenses were provided by a pair of forward and rear projecting Novaldex deflector shield generators—another advantage over former standard TIE models. The shields were designed to recharge more rapidly than in previous Imperial fighters and were nearly as powerful as those found on capital ships, so that the TIE/E could engage other ships head-on with a very high survivability. The fighters were not equipped with particle shields, though, relying on the reinforced titanium hull to absorb impacts from matter. Its hull and wings were among the strongest of any TIE series Starfighter yet.
The advanced starfighter attracted the attention of several other factions, and the Empire struggled to prevent the spread of the technology. The ship's high cost, together with political factors, kept it from achieving widespread use in the Empire, though, and units were assigned only to the most elite crews.
The TIE/E played a central role in the Empire's campaign against rogue Grand Admiral Demetrius Zaarin, and mixed Defender and Escort units participated in several other battles, including the Battle of Endor. The TIE Escort continued to see limited use by the Imperial Remnant up to at least 44 ABY, and was involved in numerous conflicts, including the Yuuzhan Vong War..
The kit and its assembly:
Another group build contribution, this time to the Science Fiction GB at whatifmodelers.com during summer 2017. Originally, this one started as an attempt to build a vintage MPC TIE Interceptor kit which I had bought and half-heartedly started to build probably 20 years ago. But I did not have the right mojo (probably, The Force was not strong enough…?), so the kit ended up in a dark corner and some parts were donated to other projects.
The sun collectors were still intact, though, and in the meantime I had the idea of reviving the kit’s remains, and convert it into (what I thought was) a fictional TIE Fighter variant with three solar panels. For this plan I got myself another TIE Interceptor kit, and stashed it away, too. Mojo was still missing, though.
Well, then came the SF GB and I took it as an occasion to finally tackle the build. But when I prepared for the build I found out that my intended design (over the years) more or less actually existed in the Star Wars universe: the TIE/D Defender! I could have built it with the parts and hand and some improvisation, but the design similarity bugged me. Well, instead of a poor copy of something that was more or less clearly defined, I rather decided to create something more individual, yet plausible, from the parts at hand.
The model was to stay a TIE design, though, in order to use as much donor material from the MPC kits as possible. Doing some legwork, I settled for a heavy fighter – bigger than the TIE Interceptor and the TIE/D fighter, a two-seater.
Working out the basic concept and layout took some time and evolved gradually. The creative spark for the TIE/E eventually came through a Revell “Obi Wan’s Jedi Starfighter” snap fit kit in my pile – actually a prize from a former GB participation at phoxim.de (Thanks a lot, Wolfgang!), and rather a toy than a true model kit.
The Jedi Fighter was in so far handy as it carries some TIE Fighter design traits, like the pilot capsule and the characteristic spider web windscreen. Anyway, it’s 1:32, much bigger than the TIE Interceptor’s roundabout 1:50 scale – but knowing that I’d never build the Jedi Starfighter OOB I used it as a donor bank, and from this starting point things started to evolve gradually.
Work started with the cockpit section, taken from the Jedi Starfighter kit. The two TIE Interceptor cockpit tubs were then mounted inside, staggered, and the gaps to the walls filled with putty. A pretty messy task, and once the shapes had been carved out some triangular tiles were added to the surfaces – a detail I found depicted in SW screenshots and some TIE Fighter models.
Another issue became the crew – even though I had two MPC TIE Interceptors and, theorectically, two pilot figures, only one of them could be found and the second crewman had to be improvised. I normally do not build 1:48 scale things, but I was lucky (and happy) to find an SF driver figure, left over from a small Dougram hoovercraft kit (from Takara, as a Revell “Robotech” reboxing). This driver is a tad bigger than the 1:50 TIE pilot, but I went with it because I did not want to invest money and time in alternatives. In order to justify the size difference I decided to paint the Dougram driver as a Chiss, based on the expanded SW universe (with blue skin and hair, and glowing red eyes). Not certain if this makes sense during the Battle of Endor timeframe, but it adds some color to the project – and the cockpit would not be visible in much detail since it would be finished fully closed.
Reason behind the closed canopy is basically the poor fit of the clear part. OOB, this is intended as an action toy – but also the canopy’s considerable size in 1:50 would prevent its original opening mechanism.
Additional braces on the rel. large window panels were created with self-adhesive tape and later painted over.
The rear fuselage section and the solar panel pylons were scratched. The reactor behind the cockpit section is actually a plastic adapter for water hoses, found in a local DIY market. It was slightly modified, attached to the cockpit “egg” and both parts blended with putty. The tail opening was closed with a hatch from the OOB TIE Interceptor – an incidental but perfect match in size and style.
The three pylons are also lucky finds: actually, these are SF wargaming/tabletop props and would normally be low walls or barriers, made from resin. For my build, they were more or less halved and trimmed. Tilted by 90°, they are attached to the hull with iron wire stabilizers, and later blended to the hull with putty, too.
Once the cockpit was done, things moved more swiftly. The surface of the hull was decorated with many small bits and pieces, including thin styrene sheet and profiles, steel and iron wire in various strengths, and there are even 1:72 tank tracks hidden somewhere, as well as protective caps from syringes (main guns and under the rear fuselage). It’s amazing how much stuff you can add to such a model – but IMHO it’s vital in order to create some structure and to emulate the (early) Star Wars look.
Painting and markings:
The less spectacular part of the project, even though still a lot of work because of the sheer size of the model’s surface. Since the whole thing is fictional, I tried to stay true to the Imperial designs from Episode IV-VI and gave the TIE/E a simple, all-light grey livery. All basic painting was done with rattle cans.
Work started with a basic coat of grey primer. On top of that, an initial coat of RAL 7036 Platingrau was added, esp. to the lower surfaces and recesses, for a rough shading effect. Then, the actual overall tone, RAL 7047, called “Telegrau 4”, one of Deutsche Telekom’s corporate tones, was added - mostly sprayed from abone and the sides onto the model. Fuselage and panels were painted separately, overall assembly was one of the final steps.
The solar panels were to stand out from the grey rest of the model, and I painted them with Revell Acrylic “Iron Metallic” (91) first, and later applied a rather rich wash with black ink , making sure the color settled well into the many small cells. The effect is pretty good, and the contrast was slightly enhanced through a dry-brushing treatment.
Only a few legible stencils were added all around the hull (most from the scrap box or from mecha sheets), the Galactic Empire Seal were inkjet-printed at home, as well as some tactical markings on the flanks, puzzled together from single digits in "Aurebash", one of the Imperial SW languages/fonts.
For some variety and color highlights, dozens of small, round and colorful markings were die-punched from silver, yellow, orange, red and blue decal sheet and were placed all over the hull - together with the large panels they blur into the the overall appearance, though. The hatches received thin red linings, also made from generic decals strips.
The cockpit interior was a bit challenging, though. Good TIE Fighter cockpit interior pictures are hard to find, but they suggest a dark grey tone. More confusingly, the MPC instructions call for a “Dark Green” cockpit? Well, I did not like the all-grey option, since the spaceship is already monochrome grey on the outside.
As a compromise I eventually used Tamiya XF-65 "Field Grey". The interior recieved a black ink in and dry-brushing treatment, and some instruments ansd screens were created with black decal material and glossy black paint; some neon paint was used for sci-fi-esque conmtraol lamps everywhere - I did not pay too much intention on the interior, since the cockpit would stay closed, and the thick clear material blurs everything inside.
Following this rationale, the crew was also painted in arather minimal fashion - both wear a dark grey uniform, only the Chiss pilot stands aout with his light blue skin and the flourescent red eyes.
After an overall black ink wash the model received a dry brusing treatment with FS 36492 and FS 36495, for a weathered and battle-worn look. After all, the "Vehement" would not survive the Ballte of Endor, but who knows what became of TIE/E "801"'s mixed crew...?
Finally, the kit was sealed with matt acrylic varnish, and some final cosmetic corrections made.
The display is a DIY creation, too, made from a 6x6" piece of wood, it's edges covered with edgebonder, a steel wire as holder, and finally the display was paited with semi-matt black acrylic paint from the rattle can.
A complex build, and the TIE/E more or less evolved along the way, with only the overall layout in mind. Work took a month, but I think it was worth the effort. This fantasy creation looks pretty plausible and blends well into the vast canonical TIE Fighter family - and I am happy that I finally could finish this mummy project, including the surplus Jedi Starfighter kit which now also find a very good use!
An epic one, and far outside my standard comfort zone. But a wothwhile build!
+++ 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 Vickers Vanguard was a British short/medium-range turboprop airliner introduced in 1959 by Vickers-Armstrongs, a development of their successful Viscount design with considerably more internal room. The Vanguard was introduced just before the first of the large jet-powered airliners, and was largely ignored by the market. Only 44 were built and the Vanguard entered service in late 1960.
Even though the Vanguard could match the early passenger jets on short distances, the type was quickly relegated to other roles: In 1966, Air Canada removed all the seats in CF-TKK and refitted the aircraft for pure cargo work, in which role it could carry 42,000 lb (19,050 kg) of freight. Known by the airline as the "Cargoliner," it was the only such conversion, but survived to be the last Canadian Vanguard to be retired in December 1972.
BEA operated nine Vanguards modified to the V953C "Merchantman" all-cargo layout from 1969. A large forward cargo door measuring 139 by 80 inches (350 by 200 cm) was incorporated. The Merchantmen continued in service with BA until late 1979.
Beyond civil use, the most noteworthy military operator was Thailand, with an anti-submarine and maritime surveillance aircraft conversion for the Royal Thai Navy, the SeaGuard MR.1. The need for aerial maritime patrol with proprietary aircraft was first formulated during the withdrawal of United States forces from Thailand in the mid Seventies, when the Thai Air Force assumed use of the installations at Takhli and Nakhon Ratchasima (Korat).
Inspired by similar conversions, e. g. the Canadian CP-107 Argus derived from the Bristol Britannia airliner and the highly successful Douglas P-3 derived from the L-188 Electra, the Thai "SeaGuard MR.1" fleet was created from three former Canadian airliners (ex Air Canada), converted by Canadair in Montreal.
Work started in 1977, and the former airliner underwent considerable modifications. The SeaGuard MR.1's core system became an AN/APS-115 radar, a development of the earlier, analogue AN/APS-80A used in American aircraft like the P-3A .The AN/APS-115 was state of the art technology and the first attempt of digitization by providing digital input into the onboard digital combat system. The system was able to achieve a resolution of 1.5 ft and the typical range against a submarine periscope is 15.5 nautical miles. Since the 42" rotating search antenna necessitated a relatively large fairing. A draggy, ventral position (e. g. like the P-2 or Il-38) was ruled out, for aerodynamic and structural reasons, as well as for space for an internal weapon bay (see below), so that a characteristic "duck bill" radome was added to the SeaGuard's nose.
The SeaGuard MR.1 was also equipped with a magnetic anomaly detector (MAD) in an extended fiber glass tail stinger, far from other electronics and ferrous metals on the aircraft. The MAD enabled the aircraft's crew (a typical crew numbered roughly 9 members) to detect the magnetic anomaly of a submarine in the Earth's magnetic field. The limited range of this instrument required the aircraft to be near the submarine at low altitude, so that it could primarily be used for pinpointing the location of a submarine immediately prior to a torpedo or depth bomb attack.
Streamlined fairings under the outer wings carried extra fuel and a searchlight (starboard) as well as a missile guidance antenna and a 'sniffer' (port) that could detect exhaust fumes and particles from diesel submarines.
Ordnance was to be carried in a single internal bomb bay under the forward fuselage, which was structurally beefed up for the rougher conditions over sea and prolonged low altitude operations. Special care was also given to the structure's protection against the naval environment, too. An additional fuel tank was installed in the wing root section and, while the rear section carried a trim fuel tank, avionics and other, lighter mission equipment.
The 28 ft 4 in (8,64 m) long bay could house conventional Mark 50 torpedoes or Mark 46 torpedoes as well as mines and depth charges. Active and passive sonobuoys could also be carried in the bay, and there were also two vertical ejection shafts with pressure locks in the aft fuselage from which single sonobuoys or other sensor carriers could be manually dropped, e. g. for weather research. Additional underwing stations under the inner and outer wings could carry additional armament and equipment.
The first or a total of three SeaGuard conversions for the Thai Navy was delivered in early 1978, and the trio became fully operational in early 1979, serving in both military and civil duties, e. g. in offshore SAR and pollution control missions.
The Thai SeaGuard MR.1s were kept longer in service than expected. Originally, they were scheduled to serve until 1990, to be replaced by three ex USN P-3A ordered in 1989, but deliveries were delayed because of financial problems and government changes in Thailand, so that the old and well-worn SeaGuards had to soldier on.
In late 1993 the Orions destined for Thailand finally arrived at the NADEP at NAS Jacksonville, where the aircraft were modified to meet RTN requirements, two aircraft were modified to P-3T standard (mainly based on the TAC/NAV Mod version), the third was originally delivered as a UP-3T in late 1995, but was later modified to VP-3T standard with a strengthened floor, passenger seats and a limited SENTAC station enabling the aircraft to perform light surveillance duties. The last flight of a Royal Thai Navy SeaGuard MR.1 took place on October 3rd 1995, and all three aircraft were subsequently scrapped.
General characteristics:
Crew: 11
Length incl. MAD tail boom: 143 ft 5in (43.77 m)
Wingspan: 118 ft 7 in (36.10 m)
Height: 34 ft 11 in (10.60 m)
Wing area: 1,527 ft2 (142 m2)
Empty weight: 82,500 lb (37,421 kg)
Loaded weight: 141,000 lb (63,977 kg)
Powerplant:
4× Rolls-Royce Tyne RTy.11 Mk 512 turboprop, 5,545 hp (4,700 shp, 4,135 kW) each
Performance:
Maximum speed: 425 mph (684 km/h, 367 kn)
Cruise speed at altitude: 378 mph (610 km/h, 328 kn)
Patrol speed: 195 mph (315 km/h, 170 kn)
Range: 4,039 mi (6,500 km; 3,510 nmi) with 3,500 kg (7,709 lb) payload,
maximum fuel and reserves for one hour.
2,299 mi (3,700 km (2,010 nmi) with 5,448 kg (12.000 lb) maximum payload,
at 84 - 85% of maximum continuous power.
Combat radius: 1,546 mi (2,490 km, 1,346 nmi), three hours on-station at 1,500 feet
Endurance: 10 hours
Service ceiling: 28,300 ft[1] (8,625 m)
Wing loading: 92 lb/ft2 (450 kg/m2)
Power/mass: 0.16 hp/lb (0.26 kW/kg)
Armament:
Bomb bay with eight internal weapon stations
Six hardpoints under the outer wings for 127 mm (5.0 in) HVARs or missiles like the AGM-12 Bullpup,
AGM-62 Walleye or Martel ASM, or sensor and air sampling pods
Four more hardpoints under the inner wings for gravity bombs of up to 1.000 lb (454 kg) caliber,
various sea mines and depth charges, torpedoes or inflatable life rafts for rescue missions.
Total internal and external ordnance capacity of 12,000 lb (5.448 kg)
The kit and its assembly:
Another contribution to the 2016 “In the Navy” Group Build at whatifmodelers.com, and a build outside the usual comfort zone. This time, I wanted to build a whiffy maritime patrol aircraft, based on a classic post-WWII airliner, since there were and are many benchmarks (e.g. the Lockheed P-3, based on the Aurora, the Canadian CP-140 Argus, based on the Bristol Britannia, or the Il-38, based on the Il-18).
I found the Airfix Vickers Vanguard as potential basis – and there had actually been a maritime patrol proposal for the RAF. At least one respective whif kit had been built – and there’s even a kit conversion set available.
Anyway, I wanted a personal conversion, and the modifications are actually rather modest:
- Closure of many windows
- Implantation of a nose radome from a VEB Plasticart 1:100 Tu-20/95
- Adapted nose landing gear
- An MAD boom, made from heated, thick OOB sprue
- Underwing pods with a starboard search light (modified MiG 15 slipper tanks)
- A cockpit compartment w/o interior was added, primarily to block sight into the fuselage
- Several small radomes, antennae fairings and strakes were added along the upper and lower hull
- Propellers received a metal axis
- A bomb bay was simulated with engravings and semi-circular fairings, simulating door hinges
- External ordnance could have been added, but I resisted and kept the aircraft clean
- The clear styrene windows were omitted, later to be filled with ClearFix
While these mods appear rather simple, getting this vintage Airfix kit together turned out to be a real fight. No part actually matched another, lots of trimming and putty everywhere were necessary. Raised (even though very fine) panel lines, classic flash (not much, but annoying) and some sinkholes were included, too, as well as rather massive trailing edges. To make things worse, the fuselage halves turned out to be somewhat warped: the seam along the fuselage was canted inwards and the windscreen did not fit at all. O.K., it’s an old kit, but not an easy build, despite the limited number of parts.
Painting and markings:
This part turned out to be a true challenge. A self-evident option would have been an RAF aircraft, e .g. in Extra Sea Grey/Sky, white + grey (early Nimrod style), Hemp + Barley Grey or Medium Sea Grey, the latter two with low viz markings. But I found this option to be too obvious – and I wanted something flashy, and exotic.
Tedious legwork eventually revealed the Royal Thai Navy as potential operator, as well as several authentic livery options. The most pleasing (to me) was the flying boat’s (HU-16 and CL-215) design: overall dark blue with a white fuselage upper half and bright, orange-red wingtips and a fuselage band.
This design was simply adapted to the low-winged Vanguard airliner. The basic dark blue is Humbrol 104 (Oxford Blue), while the upper fuselage was painted first in a very light grey and off-white from the rattle can (which reacted with each other and yielded a mottled finish…). The rest was painted with brushes and lots of masking tape.
The orange wing tips and the fuselage band were created with decal sheet (TL Modellbau), in order to avoid the further trouble of masking and creating an opaque paint film. Black trim was added through generic decal stripes.
After basic painting was finished some panel shading/highlighting with pure white, Lufthansa Blau (Revell 350, RAL 5013) and dayglow orange was added for a more lively impression.
The Thai Navy route was further backed by several 1:144 decal sets from Siam Scale, a company from Thailand that offers a range of aftermarket decals for the country’s air force and navy vehicles.
Finally, the kit was sealed with a not-too-matt acrylic varnish, and as final step the fuselage windows were filled with Humbrol’s ClearFix, because this method was IMHO cleaner than the OOB clear styrene windows and the hustle of masking them, together with the risk of losing one or more in the painting process into the fuselage...
After all, and including many troubles, a pretty aircraft, even though the build as well as the paint job was more of a fight. I know why I do not like 1:144 scale as well as airliners either, and combining both turned out to be just as unnerving as expected… And with the duck bill radome, it’s probably the ugliest Vickers Vanguard ever imagined.
ODC-Protection
We have these sensor lights around our home. They are very bright and go on if something gets close to the house.
Satellite: Sentinel-2. Sensor: MSI (MultiSpectral Instrument).
Visualization RGB: bands 4 (red), 3 (green), 2 (blue). True color.
La imagen tiene 107 km de ancho (aprox.)
La presa del embalse del Lago Powell se encuentra junto a la población de Page (en la esquina inferior izquierda en la imagen). La meseta Kaiparowits (cubierta de nieve, en el centro arriba en la imagen) está incluida en la zona protegida llamada Grand Sataircase-Escalante National Monument.
La montaña Navajo (también cubierta de nieve en la imagen) es un lacolito granítico, y es sagrada para el pueblo Navajo.
Esta imagen ha sido procesada con el navegador EO Browser (apps.sentinel-hub.com/eo-browser) de Sentinel Hub. Sentinel Hub es un motor de procesamiento de datos satelitales, dentro del programa de observación de la Tierra Copernicus (copernicus.eu) de la Unión Europea, operado por la empresa Sinergise. EO Browser es gratuito y fácil de usar. El norte siempre está arriba.
This image has been processed using the EO Browser (apps.sentinel-hub.com/eo-browser) by Sentinel Hub. Sentinel Hub is a satellite data processing engine, within the European Union's Earth observation programme Copernicus (copernicus.eu), operated by the Sinergise company. EO Browser is free and easy to use. North is always up.
The Birth of Venus: Sony A7 R RAW Photos of Pretty, Tall Fitness Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3. Great Abs!
45surf Hero's Odyssey Mythology Photography! & 45surf Hero's Odyssey Mythology Fine Art! :)
New Instagram! instagram.com/45surf
New Instagram!
instagram.com/johnnyrangermccoy
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Blonde Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Blonde Hair!
And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Follow me on facebook!
www.facebook.com/45surfAchillesOdysseyMythology
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
Pretty Swimsuit Bikini Model Goddess! :)
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.
All the best on your Epic Hero's Odyssey from Johny Ranger McCoy!
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Dynamic Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D810's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
This is the short-range planetary sensor dome. Above the bridge is the stellar array, while long-range sensors are arranged around the navigational deflector, pointing only in the direction of travel.
© Saúl Tuñón Loureda
El Puente de la Torre, en inglés Tower Bridge, es un puente levadizo situado en Londres que cruza el río Támesis. Se sitúa cerca de la Torre de Londres, la que le da su nombre.
El puente es mantenido por Bridge House Estates, una compañía sin ánimo de lucro bajo la tutela de Corporation of London, el ayuntamiento de la City de Londres.
Durante la segunda parte del siglo XIX, el desarrollo económico en el este de Londres llevó a la necesidad de un nuevo paso sobre el río, más abajo del Puente de Londres. No se podía construir el tradicional puente fijo debido a que cortaría el acceso al puerto que en esa época se situaba en el Pool of London (el Puerto de Londres original), entre el Puente de Londres y la Torre de Londres. Un túnel bajo el Támesis, Tower Subway, fue inaugurado en 1870, pero sólo servía para tráfico peatonal.
En 1876 se creó un comité especial para encontrar una solución al paso sobre el río, que convocó un concurso para elegir el diseño del futuro puente. Más de 50 diseños fueron propuestos, incluido uno de Sir Joseph Bazalgette. La evaluación de los diseños estuvo rodeada de controversia, y no fue hasta 1884 cuando el creado por Horace Jones, el Arquitecto de la Ciudad, fue aprobado.
El diseño de Jones era un puente levadizo de 244 m de longitud y 7 m de anchura, con dos torres de 65 m de altura. La distancia central de 61 m entre las dos torres se divide en dos levas, que pueden elevarse hasta un ángulo de 83 grados para permitir pasar el tráfico fluvial. A pesar de que cada leva pesa más de 1000 toneladas, están contrapesadas para minimizar la energía requerida para elevarlas, lo que lleva un minuto. El mecanismo hidráulico original utilizaba agua a presión almacenada en seis acumuladores. El agua era bombeada dentro de los acumuladores mediante motores de vapor. Actualmente, la maquinaria hidráulica original todavía abre el puente, aunque ha sido modificado para utilizar aceite en lugar de agua, y motores eléctricos han sustituido el lugar de las máquinas de vapor y los acumuladores. El antiguo mecanismo está abierto al público. El puente puede cargar más de 2000 toneladas.
Cultura popular
Ha aparecido en películas tales como Spice World (1997), The Parent Trap, La momia, Harry Potter y la Orden del Fénix, El hombre lobo (2010), Sherlock Holmes (2009) y también en series de anime tales como Kinnikuman (Musculman) y Kuroshitsuji, siendo éste el "poder especial" de Robin Mask, también en los videojuegos, como Midnight Club: Street Racing y tuvo dos apariciones durante la Ceremonia de Apertura de los Juegos Olímpicos de Londres 2012, pasando por ahí el helicóptero que llevaba a la reina Isabel II acompañada de James Bond y también mostrando el relevo de la antorcha olímpica en su llegada al parque olímpico a través del Río Támesis a cargo de una deportista y David Beckham. Y musicalmente ha salido en los videoclips Midnight Memories de la banda One Direction y en This is love, de will.i.am.
es.wikipedia.org/wiki/Puente_de_la_Torre
Tower Bridge (built 1886–1894) is a combined bascule and suspension bridge in London. The bridge crosses the River Thames close to the Tower of London and has become an iconic symbol of London. Tower Bridge is one of five London bridges now owned and maintained by the Bridge House Estates, a charitable trust overseen by the City of London Corporation. It is the only one of the Trust's bridges not to connect the City of London directly to the Southwark bank, the northern landfall being in Tower Hamlets.
The bridge consists of two bridge towers tied together at the upper level by two horizontal walkways, designed to withstand the horizontal tension forces exerted by the suspended sections of the bridge on the landward sides of the towers. The vertical components of the forces in the suspended sections and the vertical reactions of the two walkways are carried by the two robust towers. The bascule pivots and operating machinery are housed in the base of each tower. The bridge's present colour scheme dates from 1977, when it was painted red, white and blue for Queen Elizabeth II's Silver Jubilee. Originally it was painted a mid greenish-blue colour.
The bridge deck is freely accessible to both vehicles and pedestrians, whilst the bridge's twin towers, high-level walkways and Victorian engine rooms form part of the Tower Bridge Exhibition, for which an admission charge is made. The nearest London Underground tube stations are Tower Hill on the Circle and District lines, London Bridge on the Jubilee and Northern lines and Bermondsey on the Jubilee line, and the nearest Docklands Light Railway station is Tower Gateway. The nearest National Rail stations are at Fenchurch Street and London Bridge.
In the second half of the 19th century, increased commercial development in the East End of London led to a requirement for a new river crossing downstream of London Bridge. A traditional fixed bridge at street level could not be built because it would cut off access by sailing ships to the port facilities in the Pool of London, between London Bridge and the Tower of London.
A Special Bridge or Subway Committee was formed in 1877, chaired by Sir Albert Joseph Altman, to find a solution to the river crossing problem. It opened the design of the crossing to public competition. Over 50 designs were submitted, including one from civil engineer Sir Joseph Bazalgette. The evaluation of the designs was surrounded by controversy, and it was not until 1884 that a design submitted by Sir Horace Jones, the City Architect (who was also one of the judges),[3] was approved.
Jones' engineer, Sir John Wolfe Barry, devised the idea of a bascule bridge with two bridge towers built on piers. The central span was split into two equal bascules or leaves, which could be raised to allow river traffic to pass. The two side-spans were suspension bridges, with the suspension rods anchored both at the abutments and through rods contained within the bridge's upper walkways.
Construction started in 1887 and took eight years with five major contractors – Sir John Jackson (foundations), Baron Armstrong (hydraulics), William Webster, Sir H.H. Bartlett, and Sir William Arrol & Co.[4] – and employed 432 construction workers. E W Crutwell was the resident engineer for the construction.[5]
Two massive piers, containing over 70,000 tons of concrete,[3] were sunk into the riverbed to support the construction. Over 11,000 tons of steel provided the framework for the towers and walkways.[3] This was then clad in Cornish granite and Portland stone, both to protect the underlying steelwork and to give the bridge a pleasing appearance.
Jones died in 1886 and George D. Stevenson took over the project.[3] Stevenson replaced Jones's original brick façade with the more ornate Victorian Gothic style, which makes the bridge a distinctive landmark, and was intended to harmonise the bridge with the nearby Tower of London.[5] The total cost of construction was £1,184,000[5] (equivalent to £120 million in 2015).[6]
Opening
The bridge was officially opened on 30 June 1894 by The Prince of Wales (the future King Edward VII), and his wife, The Princess of Wales (Alexandra of Denmark).[7]
The bridge connected Iron Gate, on the north bank of the river, with Horselydown Lane, on the south – now known as Tower Bridge Approach and Tower Bridge Road, respectively.[5] Until the bridge was opened, the Tower Subway – 400 m to the west – was the shortest way to cross the river from Tower Hill to Tooley Street in Southwark. Opened in 1870, Tower Subway was among the world's earliest underground ("tube") railways, but it closed after just three months and was re-opened as a pedestrian foot tunnel. Once Tower Bridge was open, the majority of foot traffic transferred to using the bridge, there being no toll to pay to use it. Having lost most of its income, the tunnel was closed in 1898.[8]
The high-level open air walkways between the towers gained an unpleasant reputation as a haunt for prostitutes and pickpockets; as they were only accessible by stairs they were seldom used by regular pedestrians, and were closed in 1910.[citation needed]
Second World War
A Short Sunderland of No. 201 Squadron RAF moored at Tower Bridge during the 1956 commemoration of the Battle of Britain
During the Second World War and as a precaution against the existing engines being damaged by enemy action, a third engine was installed in 1942: a 150 hp horizontal cross-compound engine, built by Vickers Armstrong Ltd. at their Elswick works in Newcastle upon Tyne. It was fitted with a flywheel having a 9-foot (2.7 m) diameter and weighing 9 tons, and was governed to a speed of 30 rpm. The engine became redundant when the rest of the system was modernised in 1974, and was donated to the Forncett Industrial Steam Museum by the Corporation of the City of London.
Modernisation
In 1974, the original operating mechanism was largely replaced by a new electro-hydraulic drive system, designed by BHA Cromwell House, with the original final pinions driven by modern hydraulic motors and gearing. In 1982, the Tower Bridge Exhibition opened, housed in the bridge's twin towers, the long-closed high-level walkways and the Victorian engine rooms. The latter still house the original steam engines and some of the original hydraulic machinery.[10][11][12]
A computer system was installed in 2000 to control the raising and lowering of the bascules remotely. It proved unreliable, resulting in the bridge being stuck in the open or closed positions on several occasions during 2005 until its sensors were replaced.[13]
2008–2012 facelift
In April 2008 it was announced that the bridge would undergo a 'facelift' costing £4 million, and taking four years to complete. The work entailed stripping off the existing paint down to bare metal and repainting in blue and white. Each section was enshrouded in scaffolding and plastic sheeting to prevent the old paint falling into the Thames and causing pollution. Starting in mid-2008, contractors worked on a quarter of the bridge at a time to minimise disruption, but some road closures were inevitable. It is intended that the completed work will stand for 25 years.[14]
The renovation of the walkway interior was completed in mid-2009. Within the walkways a versatile new lighting system has been installed, designed by Eleni Shiarlis, for when the walkways are in use for exhibitions or functions. The new system provides for both feature and atmospheric lighting, the latter using bespoke RGB LED luminares, designed to be concealed within the bridge superstructure and fixed without the need for drilling (these requirements as a result of the bridge's Grade I status).[15]
The renovation of the four suspension chains was completed in March 2010 using a state-of-the-art coating system requiring up to six different layers of 'paint'.
Manufactured by Agfa Kamerawerk AG, Munich, West Germany
Model: c.1970, (all models of Silette produced between 1953-1974)
Agfa logo on the front of the camera: black relief
35 mm film Viewfinder camera
Lens:Agfa Color - Agnar 45mm f/2.8
Aperture: f/2.8 -f /22 , stepless allowing for easy adjustment with the TTL meter
setting: ring and scale on the back of the lens
Focusing: front ring manual focus, w/ DOF scale
Focus range: 1-5m +inf.
Shutter: Parator speeds: 30, 60, 125, 300 +B, extremely quiet
setting : ring and scale on the lens
Shutter release: Red "Sensor" shutter release button,
very smooth and sensitive so no camera shake
Cable release socket: on the back of the top plate
Exposure meter: TTL (coupled to the lens) Selenium Optima 200 Sensor (working !.)
Exposure setting: via 1- the small needle window on the top plate, 2- the indicator in the viewfinder, set the speed and turn the aperture ring
Film speed range: ASA 25-400 (DIN 15-27), setting knob and scales on the lens
View finder: bright frame finder,
Cocking lever: also winds the film, short stroke, on the left of the bottom plate
Frame counter: advance type, manual reset by a button behind the counter window, on the bottom plate
Re-wind release and re-winding: the black lever marked R and arrow on the right lower side of the lens releases and engages the reversing gear
thus the cocking and winding lever is the re-wind lever now
Flash PC socket: none, you can use a flash sync. cord with an Agfa flash adapter
Hot-shoe: flash sync. bulbs 1/30, electronic all speeds
Self-timer: none
Back cover: hinged, opens by a latch on the right side of the camera
Film loading: special easy quick loading system
Body: metal
Tripod socket: 1/4''
serial no. LW 6837 BC
The Silette series' rangefinder models were called Super Silette. There was also an interchangeable lens rangefinder model called the Ambi Silette.
Pentax K-30
mode aperture priority f/11; shutter speed 13"; ISO 400
Tokina 19-35mm F3.5-4.5 AF
Metz mecablitz 48 AF-1 digital for Pentax
PENTAX AF 500FTZ flash (slave mode)
Sigma EF-610 DG Super PA-PTTL flash (slave mode)
Snapshot Sniper LCD trail camera board motion sensor
Cactus Wireless Flash Transceiver V5
Camtraptions Transmitter/Receiver
DIY DSLR camera trap
[IMGP2797]
My latest acquisition. Very nice compact camera. Large, bright viewfinder.
The Agfa Optima sensor electronic was identical to the Agfa Optima 535 Sensor electronic and — like the Agfa Optima sensor Flash - produced in Portugal.
Manufactured in 1982.
Lens: Agfa Solitar 40mm / 1:2.8
Shutter: 1/30 sec. to 1/500
Aperture range: 2.8 to 22
Dimensions: 104 × 70 × 56 mm
Weight: 265 g
Batteries: 3 x alkaline / silver oxide 625G
Information retrieved from this website (in German), which also features beautiful photos of all the 1970s Agfa Optima line.
Another good read (in English) is the Agfa Optima 1535 page on Alfred's Camera Page.
Nikon D810 Photos Pretty Swimsuit Bikini Model Goddess Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens for Nikon DSLR Cameras!
Pretty ballerina ballet goddess! She can be seen dancing in other photos!
Instagram: instagram.com/45surf
Nikon D810 Photos Pretty 45surf Swimsuit Bikini Model Goddess with Super Sharp Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens For Nikon!
Pretty Swimsuit Bikini Model Goddess!
She was tall, thin, fit, and most beautiful!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!
Facebook:
www.facebook.com/45surfAchillesOdysseyMythology
Instagram: instagram.com/45surf
blog: 45surf.wordpress.com
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Dynamic Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Odyssey Physics here:
herosodysseyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Instagram: instagram.com/45surf
Fine art swimsuit model, ballerina, and ballet photography!
Nikon D810 Photos Pretty Swimsuit Bikini Fitness Model Goddess Nikon 70-200mm f2.8 ED VR II AF-S Nikkor Zoom Lens for Nikon DSLR Cameras!
Seen on Flickr EXPLORE - # 376 - September 22, 2017, click here
Green trees on a suburban street in the morning sunlight. This picture is straight out from the camera, no processing except darken a the brightness a bit. What I call the magic of the CCD Sensor, no longer used in digital cameras.
Made with the Pentax Optio Z-10 point and shoot.
Gorgeous bonde model goddess modeling the new Sony AR7 ! With the black 45surf surfboard and some light beach reding! Swimsuit Bikini Model Goddess Shooting Stills (Sony AR7 withSony FE 55mm F1.8 ZA Carl Zeiss Sonnar T* Lens!) & Video (Sony NEX6) at the same time with the 45surfer philosophy bracket! I use it on every shoot, as there is so much beauty in the world and so little time! :) Writing a book on it! :)
The awesome news is that 2014 will bring us all the 45SURF goddesses and pro surfers Kelly Slater & Alana Blanchard in 4K Motion thanks to the new Sony 4K Handycam FDR-AX100 announced this week at the CES! 4K video is gonna rock:
As I’m headed down to Australia to shoot the men’s and women’s Pro Surfing Quicksilver Pro, Roxy Pro, and Ripcurl Pro, I’m psyched that Sony will be releasing their new 4K camera–the Sony 4K Handycam FDR-AX100! The Sony 4K FDR-AX100 will be replacing the 1080p camcorders and NEX cameras in the below configurations, shooting 4K vidoe alongside my Sony A7r and Nikon D800E’s which I use for stills:
45surfer.wordpress.com/2014/01/07/extreme-stills-motion-s...
The clear image on the new Sony 4K camcorder rocks, as it will be at 18x at 4K resolution or 24x at HD resolution. Now as I will be shooting stills with the the new Tamron 150-600mm (Tamron SP 150-600mm f/5-6.3 Di VC USD Lens for Nikon) on my Nikon D800E or Sony A7r, the zoom will be approximately 20x for the stills, so 4K video at 18x zoom is ideal!
Here's some video shot at the same time as stills using a Sony A7R for the video camera--in a couple months this will be 4K video as soon as they ship the Sony 4K Handycam FDR-AX100 to me:
www.youtube.com/watch?v=RiOMrZIEzg8
www.youtube.com/watch?v=Y7gq_gCk0jE
Shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Enjoy the pretty goddesses and all the best on your epic hero's journey!
Modeling the black & gold & American flag "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
The goddess was tall, thin, fit, and gorgeous beach goddesses! A blond and a brunette with long, long silky hair! Poseidon would approve! If he were shooting them, he'd want to capture simultaneous photographic stills and video at the same time too.
Best on your hero's journey from Johnny Ranger McCoy! :)
Falling in love with the full frame 36 megapixel e mount Sony A7R! The models make pretty photographers. :)
Nikon D800E photos shot in RAW as I always shoot raw!
The books behind the pretty goddess on the Malbu bluff and surfboard are The Decline and Fall of the Roman Empire by Edward Gibbon, Homer's Iliad, Homer's Odyssey, Shakespeare, and Herman Melville's Moby Dick! My favorite books! Will have some video of the pretty model reading them beside a campfire soon.
They're all collectors editions! My books cost as much as my surfboards!
Sensors get dirty, it is impossible to change lens and keep them clean...
Mine has to be cleaned two times a year or more.
When you choose smaller apertures, the dirt spots show shamelessly. In one of my last photos, www.flickr.com/photos/henrique_silva/6600173785/, the aperture was f/36 and so every little tiny bit of dirt was showing, I spent a little time in Lightroom cleaning them, but there are still some in the picture... It was urgent to clean the 40D's sensor
Again I went trough this delicate process, I use Sensor Scope from Delkin Devices, it works well, it uses a combination of vacuum cleaner and moistened sensor wands to get the job done. Here is a before / after mosaic, it is not completly clean, but in fact there is a compromise between having the sensor damaged or have one or two dust spots...
If you want to know more about the process, I will be happy to answer!
Check your sensor for dust!
a - Create a new image in Photoshop or any other application and fill it with white
b - Set your camera to Aperture Priority, ISO100, and aperture to it's minimum f/22 - f/45
c - Set lens focus to Manual, and focus to closest possible
d - Shoot in raw or if in jpeg, turn off special image processing functions
e - Zoom in until the photoshop image fills your camera focusing screen
f - Shoot camera facing the white image on your monitor, and during this exposure, move your camera back and fourth being careful to not to point the lens outside of your white image. You can also zoom in in the image...
g - Process your image, adjust contrast, brightness, clarity, whatever, so that you get a clear view of the dirt spots!
h - Now you can go through the cleaning process - remember that what shows on the bottom of the image will be towards the top of the camera sensor...
i - Repeat the process from a to g and if you are happy with the result, then you are done; otherwise, repeat again... this time I had to make three swab cleanings. It is preferable to clean gently several times than applying to much force.
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Technical Info:
Camera: Canon EOS 40D
Lens: EF-S15-85mm f/3.5-5.6 IS USM
Focal Length: 40 mm
Sensitivity: ISO 100
Exposure: 0,3 sec at f/22
Exposure bias: 0 EV
Exposure Program: Aperture priority
Metering Mode: Pattern
Flash: no flash
GPS
Coordinates:
Altitude:
©Henrique Silva, all rights reserved - no reproduction without prior permission