View allAll Photos Tagged Versatile
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Loads of thanks to Linda for setting these themes.
In this month's challenge, 10 member entered 92 photos, and 8 members completed all 10 themes. These members, in play order are: Maria, Sandi, Dave, Linda, Lesley, Simone, Sharon and Andy.
This montage features at least one photo per person, and one photo per theme. To view the complete challenge and entries, click Here.
Normally, I use two photo slots for the title and group icon. But! I thought that with 10 players and 8 maximums, I could use all 18 slots - 2 pics from each of the maximums, and 1 each from the other players. This won't be the new norm, as I miss having the group icon. The title and icon together, breaks up the regimentation, and creates a counter point. It seems that we can have two much regimentation after all.
CC Most Versatile - Landscape
CC Rainbow Game - Blue
An urban landscape, in Emeryville, California near the Public Market. It's been a few years since I visited the Public Market, which is a food court with a variety of international foods. In the place of what used to be a large parking lot there is now a small park and new buildings. One thing you can count on is change. I like the play structure in the shape of a whale. It has two slides plus areas for climbing. You can even go inside the whale. I am guessing the vertical lines simulate kelp or other sea life. Emeryville is just north of Oakland in the East Bay.
In Africa, where resources are much more scarce, recycling is a way of life and no scrap of material goes to waste. These are flattened strips of aluminum taken from the necks of discarded liquor bottles. Strung together they form this textile-like sculpture that recalls the woven and pieced designs of "kente", a traditional type of African Asante or Ewe royal cloth
Born in Ghana, El Anatsui currently lives in Nigeria. His work reflects his awareness of both the international contemporary art market and what he terms "classical" African art. Emerging as an artist during the vibrant West African post-independence art movements of the 1960s and 1970s, El Anatsui has gone on to receive international acclaim for his constantly evolving and highly experimental sculpture.
Photographed on display at the De Young Fine Arts Museum in Golden Gate Park, San Francisco, California
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You must like it and share it with your friends.
My dad use to have a collection of PG teapots and now I have a couple of them.
Taken for CC Most Versatile for Feb 2019 but added a texture too for the CC Week 6 Texture challenge
This aircraft is an Ikarus C42 FB80, a light sport aircraft known for its versatility and popularity among flying enthusiasts. This particular model has a history of flights that can be tracked online, providing insights into its flight patterns and usage. The Ikarus C42 is a significant choice for pilot training and recreational flying due to its reliability and ease of handling. Aircrafts like this contribute to the vibrant general aviation community, allowing pilots to explore the skies and enjoy the freedom of flight. For those interested in aviation, tracking the journeys of aircraft such as this can be a fascinating way to understand more about the world of flying.
The Ikarus C42 FB80 is a variant of the well-known Ikarus C42, a two-seat, fixed tricycle gear, general aviation microlight aircraft. This model is celebrated for its versatility and is commonly used for flight training, touring, and personal flying. It features a high-wing monoplane design with a spacious 1.22 m wide cabin, providing comfortable side-by-side seating for two. The FB80 variant is equipped with an 80 hp Rotax 912 engine, known for its fuel efficiency and low noise levels, making it a popular choice among flying enthusiasts and flight schools alike. However, it's important to note that there have been instances of safety concerns, such as an in-flight battery fire reported in December 2022, which highlights the importance of rigorous maintenance and safety checks. Despite this, the Ikarus C42 series remains a respected name in the light aircraft sector, with continuous improvements and updates to enhance its performance and safety features.
The website www.flyMAC.co.uk currently takes you to Airbourne Aviation which is associated with a variety of services and products. Learning to fly with Airbourne Aviation is thier passion. As one of the longest-running flight training schools in the UK, Airbourne Aviation has been successfully helping students fulfil their dream of becoming a pilot for over 40 years. They have built a reputation for being the most popular, successful and trusted flying school in the country.
Instructors are ready to turn your dream of flight into reality today. Flight training starts at just £175 per hour including VAT and they offer flight experience options that make a fantastic gift idea.
The aircraft is at Popham Airfield, which is located near Basingstoke in Hampshire, England, and is a hub for general aviation enthusiasts. With a rich history spanning over 50 years, it offers a variety of services including recreational flying, flight training, and aircraft maintenance. The airfield hosts several events throughout the year, such as the Microlight Trade Fair and the Motorcycle Mega Meet & Vintage Aircraft Fly-in. It's also equipped with two grass runways and operates on specific radio frequencies for communication. Popham Airfield is a testament to the vibrant aviation community in the south of England, providing a space where pilots, trainees, and visitors can share their passion for flying.
Vintage photo.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English-speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western, she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France, she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, 'Moi Claudia, Toi Claudia' (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema, she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
Dutch postcard. Sent by mail in 1962.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English-speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western, she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France, she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, 'Moi Claudia, Toi Claudia' (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema, she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
Lancahsire's only population of wild Red Deer is found at Leighton Moss and in the Silverdale area. They are thought to have crossed over from Cumbria where they occur in forests, moors and on the mountains. At Leighton Moss they are found in reedbeds, showing their versatile nature.
The Red Deer (Cervus elaphus) is one of the largest deer species. The Red Deer inhabits most of Europe, the Caucasus Mountains region, Asia Minor and parts of western and central Asia. It also inhabits the Atlas Mountains region between Morocco and Tunisia in northwestern Africa, being the only species of deer to inhabit Africa. Red Deer have been introduced to other areas including Australia, New Zealand and Argentina. In many parts of the world the meat (venison) from Red Deer is used as a food source.
Red Deer are ruminants, characterized by an even number of toes, and a four-chambered stomach. Recent DNA evidence indicates that the Red Deer (Cervus elaphus) and the East Asian and North American Elk (Wapiti) (Cervus canadensis) represent two distinct species. They also hint at an additional primordial subgroup of Central Asian Red Deer.[2] The ancestor of all Red Deer probably originated in Central Asia and probably resembled Sika Deer.[3]
Although at one time Red Deer were rare in some areas, they were never close to extinction. Reintroduction and conservation efforts, especially in the United Kingdom, have resulted in an increase of Red Deer populations, while other areas, such as North Africa, have continued to show a population decline.
Description
The Red Deer is the fourth largest deer species behind moose, elk (wapiti) and sambar deer. It is a ruminant, eating its food in two stages and having an even number of toes on each hoof, like camels, goats and cattle. European Red Deer have a relatively long tail compared to their Asian and North American relatives. There are subtle differences in appearance between the various subspecies of Red Deer primarily in size and antlers, with the smallest being the Corsican Red Deer found on the islands of Corsica and Sardinia and the largest being the Caspian red deer[citation needed] (or maral) of Asia Minor and the Caucasus Region to the west of the Caspian Sea. The deer of Central and Western Europe vary greatly in size with some of the largest deer found in the Carpathian Mountains in Central Europe.[3] West European Red Deer historically, grew to large size given ample food supply (including peoples' crops), and descendants of introduced populations living in New Zealand and Argentina have grown quite large in size and antlers. Large Red Deer stags, like the Caspian Red Deer or those of the Carpathian Mountains may rival the Wapiti in size. Female Red Deer are much smaller than their male counterparts.
Generally, the male (stag or hart) Red Deer is typically 175 to 230 cm (69 to 91 in) long and weighs 160 to 240 kg (350 to 530 lb); the female is 160 to 210 cm (63 to 83 in) long and weighs 120 to 170 kg (260 to 370 lb).[citation needed] The tail adds another 12 to 19 cm (4.7 to 7.5 in) and shoulder height is about 105 to 120 cm (41 to 47 in). Size varies in different subspecies with the largest, the huge but small-antlered deer of the Carpathian Mountains (C. e. elaphus), weighing up to 500 kg (1,100 lb). At the other end of the scale, the Corsican Red Deer (C. e. corsicanus) weighs about 80 to 100 kg (180 to 220 lb), although Red Deer in poor habitats can weigh as little as 53 to 112 kg (120 to 250 lb).[4] European Red Deer tend to be reddish-brown in their summer coats. The males of many subspecies also grow a short neck mane ("mane" of hair around their necks) during the autumn. The male deer of the British Isles and Norway tend to have the thickest and most noticeable neck manes. Male Caspian Red Deer (Cervus elaphus maral) and Spanish Red Deer (Cervus elaphus hispanicus) do not carry neck manes. Male deer of all subspecies, however, tend to have stronger and thicker neck muscles than female deer, which may give them an appearance of having neck manes. Red Deer hinds (females) do not have neck manes. The European Red Deer is adapted to a woodland environment.[5]
Only the stags have antlers which start growing in the spring and are shed each year, usually at the end of winter. Antlers are made of bone which can grow at a rate of 2.5 cm (1.0 in) a day. A soft covering known as velvet helps to protect newly forming antlers in the spring. European red deer antlers are distinctive in being rather straight and rugose, with the fourth and fifth tines forming a "crown" or "cup" in larger males. Any tines in excess of the fourth and fifth tine will grow radially from the "cup". "Cups" are generally absent in the antlers of smaller red deer such as Corsican Red Deer. West European Red Deer antlers feature bez (second) tines that are either absent or smaller than the brow tine. However, bez tines occur frequently in Norwegian Red Deer. Antlers of Caspian Red Deer carry large bez (second) tines and form less-developed "cups" than West European red deer, their antlers are thus more like the "throw back" top tines of the wapiti (Cervus canadensis sp.)and these are known as maraloid characteristics. A stag can (exceptionally) have antlers with no tines, and is then known as a switch. Similarly, a stag that doesn't grow antlers is a hummel. The antlers are testosterone-driven and as the stag's testosterone levels drop in the autumn, the velvet is shed and the antlers stop growing.[6] Red Deer produce no testosterone in their bodies while they are growing antler.[clarification needed] With the approach of autumn, the antler begin to calcify and the stags testosterone production builds for the approaching rut (mating season).
During the autumn, all Red Deer subspecies grow a thicker coat of hair which helps to insulate them during the winter. Autumn is also when some of the stags grow their neck manes.[3] It is in the autumn/winter coat that most subspecies are most distinct. The Caspian Red Deer's winter coat is greyer and has a larger and more distinguished light rump-patch (like Elk and some Central Asian Red Deer) compared to the West European Red Deer which has more of a greyish-brown coat with a darker yellowish rump patch in the winter. By the time summer begins, the heavy winter coat has been shed; the animals are known to rub against trees and other objects to help remove hair from their bodies. Red Deer have different colouration based on the seasons and types of habitats, with grey or lighter colouration prevalent in the winter and a more reddish and darker coat in the summer.[7] Most European Red Deer wear a reddish-brown summer coat, and some individuals may have a few spots on the backs of their summer coats.
Distribution
Cervus genus ancestors of Red Deer first appear in fossil records 12 million years ago during the Miocene in Eurasia.[8] An extinct genus known as the Irish Elk (Megaloceros), not related to the red deer but to the fallow deer, is the largest member of the deer family known from the fossil record.[9]
The European Red Deer is one of the largest game animals found in Southwestern Asia (Asia Minor and Caucasus regions), North Africa and Europe. The Red Deer is the largest non-domesticated mammal still existing in some European countries such as the United Kingdom and Ireland.[8] The Barbary stag (which resembles the West European Red Deer) is the only member of the deer family that is represented in Africa, with population centred in the northwestern region of the continent in the Atlas Mountains.[10] As of the mid 1990s, Morocco, Tunisia and Algeria were the only African countries known to have Red Deer.[11]
In the UK there are indigenous populations in Scotland, the Lake District and the South West of England (principally on Exmoor). Not all of these are of entirely pure bloodlines as some of these populations have been supplemented with deliberate releases of deer from parks like Warnham or Woburn Abbey in an attempt to increase antler sizes and body weights. Edinburgh University found that in Scotland there has been extensive hybridisation with the closely related Sika Deer.[12] There are several other populations that have originated either with carted deer kept for stag hunts being left out at the end of the hunt, escapes from deer farms or deliberate releases. Carted deer were kept by stag hunts with no wild red deer in the locality and were normally recaptured after the hunt and used again; although the hunts are called "stag hunts" the Norwich Staghounds only hunted hinds (female red deer) and in 1950 at least eight hinds (some of which may have been pregnant) were known to be at large near Kimberley and West Harling[13] and formed the basis of a new population based in Thetford Forest in Norfolk. There are now further substantial red deer herds that originated from escapes or deliberate releases in the New Forest, the Peak District, Suffolk, Brecon Beacons and West Yorkshire as well as many other smaller populations scattered throughout England, and they are all generally increasing in numbers and range. A recent census of deer populations in 2007 coordinated by the British Deer Society records red deer as having expanded range their range in England and Wales since 2000, with expansion most notable in the Midlands and East Anglia. ref [1]
In New Zealand, and to a lesser degree in Australia, the red deer were introduced by acclimatisation societies along with other deer and game species. The first red deer to reach New Zealand were a pair sent by Lord Petre in 1851 from his herd at Thorndon Park, Essex to the South Island but the hind was shot before they had a chance to breed. Lord Petre sent another stag and two hinds in 1861 and these were liberated near Nelson from where they quickly spread. The first deer to reach the North Island were a gift to Sir Frederick Weld from Windsor Great Park and were released near Wellington and these were followed by further releases up to 1914.[14] Between 1851 and 1926 there were 220 separate liberations of red deer involving over 800 deer.[15] In 1927 the State Forest Service introduced a bounty for red deer shot on their land and in 1931 Government control operations were commenced and between 1931 and March 1975 1,124,297 deer were killed on official operations.
In New Zealand introduced Red Deer have adapted much better and are widely hunted on both islands, many of the 220 introductions used deer originating from Scotland (Invermark) or one of the major deer parks in England, principally Warnham, Woburn Abbey or Windsor Great Park. There is some hybridisation with the closely related Wapiti or American Elk (Cervus canadensis nelsoni) introduced in Fiordland in 1921. New Zealand red deer produce very large antlers and are regarded as amongst the best in the world by hunters. Along with the other introduced deer species they are however officially regarded as a noxious pest and are still heavily culled using professional hunters working with helicopters, or even poisoned.
The first red deer to reach Australia were probably the six that Prince Albert sent in 1860 from Windsor Great Park to Thomas Chirnside who was starting a herd at Werribee Park, south west of Melbourne in Victora. Further introductions were made in New South Wales, Queensland, South Australia and Western Australia. Today the red deer range in Australia ranges from Queensland down through New South Wales into Victoria and across to South Australia, with the numbers increasing. The Queensland, Victorian and most New South Wales strains can still be traced to the early releases, but South Australia's population along with all others is now largely recent farmed escapees. This is having adverse affects on the integrity of wild herds as now more and more larger herds are being grown due to the superior genetics that have been attained by select breeding.
Red Deer populations in Africa and southern Europe are generally declining. In Argentina, where the Red Deer has had a potential adverse impact on native animal species, the International Union for Conservation of Nature and Natural Resources has labelled the animal as one of the world's 100 worst invaders.
Migration
Red Deer in Europe generally spend their winters in lower altitudes and more wooded terrain. During the summer, they migrate to higher elevations where food supplies are greater for the calving season.
Taxonomy
Until recently biologists considered that Red Deer and Wapiti (or Elk) are the same species forming, a continuous distribution throughout temperate Eurasia and North America. This belief was based largely on the fully fertile hybrids that can be produced under captive conditions.
However, recent DNA studies conducted on hundreds of samples from Red Deer and Elk subspecies concluded that there are no more than 9 distinct subspecies of Red Deer and Wapiti and that they fall into two separate species: the Red Deer from Europe, western Asia and North Africa, and the Wapiti or Elk from Northern and Eastern Asia and North America. Surprisingly, from DNA evidence the Elk appear more closely related to Sika Deer and to Thorold's deer than to Red Deer.
Subspecies
Additionally there are some central Asiatic subspecies (Tarim group, including Bactrian deer and Yarkand deer), which are geographically isolated from Wapiti and western Red Deer by the Takla Makan and the Pamir Mountains. They appear to represent a primordial subgroup, genetically more related to the Red Deer than to the Wapiti. It remains unclear which clade the Kashmir stag belongs in,[2] though it, in terms of zoogeography, is most likely to belong in the central Asian group.
The International Union for Conservation of Nature and Natural Resources originally listed nine subspecies of Red Deer (Cervus elaphus): three as endangered, one as vulnerable, one as near threatened, and four without enough data to give a category ("Data Deficient"). The species as a whole, however, is listed as least concern.[1] However, this was based on the traditional classification of Red Deer as one species (Cervus elaphus), including the Elk.
Listed below are the subspecies of Red Deer (Cervus elaphus), including the primordial subgroup from central Asia.
Subspecies
Additionally there are some central Asiatic subspecies (Tarim group, including Bactrian deer and Yarkand deer), which are geographically isolated from Wapiti and western Red Deer by the Takla Makan and the Pamir Mountains. They appear to represent a primordial subgroup, genetically more related to the Red Deer than to the Wapiti. It remains unclear which clade the Kashmir stag belongs in,[2] though it, in terms of zoogeography, is most likely to belong in the central Asian group.
The International Union for Conservation of Nature and Natural Resources originally listed nine subspecies of Red Deer (Cervus elaphus): three as endangered, one as vulnerable, one as near threatened, and four without enough data to give a category ("Data Deficient"). The species as a whole, however, is listed as least concern.[1] However, this was based on the traditional classification of Red Deer as one species (Cervus elaphus), including the Elk.
Listed below are the subspecies of Red Deer (Cervus elaphus), including the primordial subgroup from central Asia.
Breeding, gestation and lifespan
Red Deer mating patterns usually involve a dozen or more mating attempts before the first successful one. There may be several more matings before the stag will seek out another mate in his harem. Females in their second autumn can produce one and very rarely two offspring per year. The gestation period is 240 and 262 days and the offspring weigh about 15 kg (33 lb). After two weeks, fawns are able to join the herd and are fully weaned after two months.[20] Female offspring outnumber male offspring more than two to one and all Red Deer fawns are born spotted, as is common with many deer species, and lose their spots by the end of summer. However, as in many species of Old World Deer, some adults do retain a few spots on the backs of their summer coats.[3] The offspring will remain with their mothers for almost one full year, leaving around the time that the next season offspring are produced.[5] The gestation period is the same for all subspecies.
Red Deer live up to over 20 years in captivity and in the wild they average 10 to 13 years,, though some subspecies with less predation pressure average 15 years.
Protection from predators
Male Red Deer retain their antlers for more than half the year and are less gregarious and less likely to group with other males when they have antlers. The antlers provide self-defence as does a strong front-leg kicking action which is performed by both sexes when attacked. Once the antlers are shed, stags tend to form bachelor groups which allow them to cooperatively work together. Herds tend to have one or more members watching for potential danger while the remaining members eat and rest.[5]
After the rut, females form large herds of up to 50 individuals. The newborn calves are kept close to the hinds by a series of vocalizations between the two, and larger nurseries have an ongoing and constant chatter during the daytime hours. When approached by predators, the largest and most robust females may make a stand, using their front legs to kick at their attackers. Guttural grunts and posturing is used with all but the most determined of predators with great effectiveness. Aside from humans and domestic dogs, the Wolf is probably the most dangerous predator that most European Red Deer encounter. Occasionally, the Brown bear will predate on European Red Deer as well.[5] Eurasian Lynx and wild boars sometimes prey on the calves. The leopard in Asia Minor (now extinct) probably preyed on East European Red Deer. Both Barbary Lion and Barbary Leopard probably once preyed on Atlas stags in the Atlas Mountains, although Barbary Lion is now extinct in the wild, and Barbary Leopard either very rare or extinct.
Red Deer in folklore
Red Deer are widely depicted in cave art and are found throughout European caves, with some of the artwork dating from as early as 40,000 years ago, during the Upper Paleolithic. Siberian cave art from the Neolithic of 7,000 years ago has abundant depictions of Red Deer, including what can be described as spiritual artwork, indicating the importance of this mammal to the peoples of that region (Note: these animals were most likely Wapiti (Cervus canadensis) in Siberia, not Red Deer).[21] Red deer are also often depicted on Pictish stones (c.550-850 AD), from the early medieval period in Scotland, usually as prey animals for human or animal predators. In Medieval hunting the red deer was the most prestigious quarry, especially the mature stag, which in England was called a 'hart'.
Red Deer products
Red Deer are held in captivity for a variety of reasons. The meat of the deer, called venison, is not generally harvested for human consumption on a large scale, though speciality restaurants seasonally offer venison which is widely considered to be both flavourful and nutritious. Venison is higher in protein and lower in fat than either beef or chicken.[22] In some countries in central Asia, elk is still hunted as a primary source of meat.
The red deer can produce 10 to 15 kg (22 to 33 lb) of antler velvet annually.[citation needed] On ranches in New Zealand, China, Siberia, and elsewhere[23] this velvet is collected and sold to markets in East Asia, where it is used for holistic medicines, with South Korea being the primary consumer. In Russia, a medication produced from antler velvet is sold under the brand name Pantokrin (Russian: Пантокри́н; Latin: Pantocrinum).[citation needed] The antlers themselves are also believed by East Asians to have medicinal purposes and are often ground up and used in small quantities.
Historically, related deer species such as Central Asian Red Deer, Wapiti, Thorold's Deer, and Sika Deer have been reared on deer farms in Central and Eastern Asia by Han Chinese, Turkic peoples, Tungusic peoples, Mongolians, and Koreans.[citation needed] In modern times, Western countries such as New Zealand and United States have taken to farming European Red Deer for similar purposes.
Deer antlers are also highly sought after worldwide for decorative purposes and have been used for artwork, furniture and other novelty items.
When Fuji brought the first prime to its X-mount in 2012, it became an instant hit. While far from perfect optically, it has often been described as magical by many Fuji users. For a long time I considered myself a 35/85 guy, and that was why I hadn’t purchased this lens until 2020 when I finally completed my yearlong “50mm training” and felt 100% comfortable with this versatile focal length. I immediately realized how much I had missed out before. With a lightweight but solid build and a simple 8/6 optical design, this lens just strikes the perfect balance of sharpness, 3-dimensionality, and the capability to produce an organic look.
Google search: 'The term umbrella is traditionally used when protecting oneself from rain, while parasol is used when protecting oneself from sunlight.'
A ferry from Hong Kong Central Piers to Cheung Chau: Easter Sunday 2025
Versatile Eyeshadow Collection, is a set available for Lelutka EvoX, sold in the BOM version - FATPACK for 69L
ᴛʀʏ ᴀ ᴅᴇᴍᴏ ʙᴇғᴏʀᴇ ᴘᴜʀᴄʜᴀsᴇ
DADA kamikaze freeform
multi versatile
top wrap tunic shawl tunic
for self-aware individuals
who love to express
who they truly are
intuitive
knitting & crochet fusion
with integrated 3-ply Navajo knitting
using colorful recycled cone material
from flea-markets
This month there were 9 members fielding 74 images, 5 of whom played a full house of images; Jamie; Dave; Mrs P; Maria and Mic.
This montage is a representative selection of entries, with at least one image per member.
Thanks to Sharon for setting the challenge.
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My theme today was "versatile". I drew a complete blank. I seriously had to Google the word to spur any ideas.
This is the corner of my desk - I just liked the pattern it made.
Also for the CC Versatile challenge on Wood.
Black clouds, sunshine, rain, blue skies, and a couple of rainbows. Yesterday's weather was a bit strange.
Belgian postcard. Photo: Warner Bros.
American actress Eleanor Parker (1922-2013) appeared in some 80 films and television series. She was nominated three times for the Academy Award for Best Actress, for Caged (1950), Detective Story (1951) and Interrupted Melody (1955). Her role in Caged also won her the Volpi Cup for Best Actress at the Venice Film Festival. One of her most memorable roles was that of the Baroness in The Sound of Music (1965). Her biographer Doug McClelland called her ‘Woman of a Thousand Faces’, because of her versatility.
Eleanor Jean Parker was born in 1922, in Cedarville, Ohio. She was the daughter of Lola (Isett) and Lester Day Parker. Her family moved to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. She appeared in a number of school plays. When she was 15 she started to attend the Rice Summer Theatre on Martha's Vineyard in Massachusetts. After graduation, she moved to California and began appearing at the Pasadena Playhouse. There she was spotted by a Warners Bros talent scout, Irving Kumin. The studio signed her to a long-term contract in June 1941. She was cast that year in They Died with Their Boots On (Raoul Walsh, 1941), but her scenes were cut. Her actual film debut was as Nurse Ryan in the short Soldiers in White (B. Reeves Eason, 1942). She was given some decent roles in B films, Busses Roar (D. Ross Lederman, 1942) and The Mysterious Doctor (Benjamin Stoloff, 1943) opposites John Loder. She also had a small role in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (Michael Curtiz, 1943) as Emlen Davies, daughter of the U.S. ambassador to the U.S.S.R (Walter Huston). On the set, she met her first husband, Navy Lieutenant. Fred L. Losse, but the marriage turned out to be a brief wartime affair. Parker had impressed Warners enough to offer her a strong role in a prestige production, Between Two Worlds (Edward A. Blatt, 1944), playing the suicidal wife of Paul Henreid's character. She played support roles for Crime by Night (William Clemens, 1944) and The Last Ride (D. Ross Lederman, 1944). Then she got the starring role opposite Dennis Morgan in The Very Thought of You (Delmer Daves, 1944). She was considered enough of a ‘name’ to be given a cameo in Hollywood Canteen (Delmer Daves, 1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (Edmund Goulding, 1946), but previews were not favourable and the film sat on the shelf for two years before being released. She had her big break when she was cast opposite John Garfield in Pride of the Marines (Delmer Daves, 1945). However, two films with Errol Flynn that followed, the romantic comedy Never Say Goodbye (James V. Kern, 1946) and the drama Escape Me Never (Peter Godfrey, 1947), were box office disappointments. Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (James V. Kern, 1947), where she was replaced by Alexis Smith and Love and Learn (Frederick De Cordova, 1947). She made the comedy Voice of the Turtle (Irving Rapper, 1947) with Ronald Reagan, and the mystery The Woman in White (Peter Godfrey, 1948). She refused to appear in Somewhere in the City (Vincent Sherman, 1950) so Warners suspended her again; Virginia Mayo played the role. Parker then had two years off, during which time she married and had a baby. She turned down a role in The Hasty Heart (Vincent Sherman, 1949) which she wanted to do, but it would have meant going to England and she did not want to leave her baby alone during its first year.
Eleanor Parker returned in Chain Lightning (Stuart Heisler, 1950) with Humphrey Bogart. Parker heard about a women-in-prison film Warners were making, Caged (John Cromwell, 1950), and actively lobbied for the role. She got it, won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (Robert Wise, 1950). In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release. Parker's career outside of Warners started badly with Valentino (Lewis Allen, 1951) playing a fictionalised wife of Rudolph Valentino for producer Edward Small. She tried a comedy at 20th Century Fox with Fred MacMurray, A Millionaire for Christy (George Marshall, 1951). In 1951, Parker signed a contract with Paramount for one film a year, with an option for outside films. This arrangement began brilliantly with Detective Story (William Wyler, 1951) playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (Kirk Douglas). Parker was nominated for the Oscar in 1951 for her performance. Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (Stewart Granger) in Scaramouche (George Sidney, 1952), a role originally intended for Ava Gardner. Wikipedia: “Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry and the film was a massive hit. “MGM cast her into Above and Beyond (Melvin Frank, Norman Panama, 1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making a third film for MGM, Escape from Fort Bravo (John Sturges, 1953), she signed a five-year contract with the studio. She was named as star of a Sidney Sheldon script, My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin directed by George Cukor, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1900s mail-order bride in The Naked Jungle (Byron Haskin, 1954), produced by George Pal. Parker returned to MGM where she was reunited with Robert Taylor in an Egyptian adventure film, Valley of the Kings (Robert Pirosh, 1954), and a Western, Many Rivers to Cross (Roy Rowland, 1955). MGM gave her one of her best roles as opera singer Marjorie Lawrence struck down by polio in Interrupted Melody (Curtis Bernhardt, 1955). This was a big hit and earned Parker a third Oscar nomination; she later said it was her favourite film. Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (Otto Preminger, 1955), released through United Artists. She played Zosh, the supposedly wheelchair-bound wife of heroin-addicted, would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success. In 1956, she co-starred with Clark Gable in the Western comedy The King and Four Queens (Raoul Walsh, 1956), also for United Artists. It was then back at MGM for two dramas: Lizzie (Hugo Haas, 1957), in the title role, as a woman with a split personality; and The Seventh Sin (Ronald Neame, 1957), a remake of The Painted Veil in the role originated by Greta Garbo and, once again, intended for Ava Gardner. Both films flopped at the box office and, as a result, Parker's plans to produce her own film, L'Eternelle, about French resistance fighters, did not materialise.
Eleanor Parker supported Frank Sinatra in a popular comedy, A Hole in the Head (Frank Capra, 1959). She returned to MGM for Home from the Hill (Vincente Minnelli, 1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place (José Ferrer, 1961), the sequel to the hit 1957 film. That was made by 20th Century Fox who also produced Madison Avenue (H. Bruce Humberstone, 1961) with Parker. In 1960, she made her TV debut, and in the following years, she worked increasingly in television, with the occasional film role such as Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier and Jayne Mansfield. Parker's best-known screen role is Baroness Elsa Schraeder in the Oscar-winning musical The Sound of Music (Robert Wise, 1965). The Baroness was famously and poignantly unsuccessful in keeping the affections of Captain Georg von Trapp (Christopher Plummer) after he falls in love with Maria (Julie Andrews). In 1966, Parker played an alcoholic widow in the crime drama Warning Shot (Buzz Kulik, 1967), a talent scout who discovers a Hollywood star in The Oscar (Russell Rouse, 1966), and a rich alcoholic in An American Dream (Robert Gist, 1966). However, her film career seemed to go downhill. A Playboy Magazine reviewer derided the cast of The Oscar as "has-beens and never-will-be". From the late 1960s, she focused on television. In 1963, Parker appeared in the medical TV drama about psychiatry The Eleventh Hour in the episode Why Am I Grown So Cold?, for which she was nominated for an Emmy Award. She also appeared in episodes of Breaking Point (1964). And The Man from U.N.C.L.E. (1968). In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award. Parker also appeared on stage in the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. In 1976, she played Maxine in a revival of The Night of the Iguana. Her last film role was in a Farrah Fawcett bomb, Sunburn (Richard C. Sarafian, 1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (Mark Cullingham, 1991). Eleanor Parker was married four times. Her first husband was Fred Losee (1943-1944). Her second marriage to Bert E. Friedlob (1946-1953) produced three children Susan Eleanor Friedlob (1948), Sharon Anne Friedlob (1950), and Richard Parker Friedlob (1952). Her third marriage was to American portrait painter Paul Clemens, (1954-1965) and the couple had one child, actor Paul Clemens (1958). Her fourth marriage with Raymond N. Hirsch (1966-2001) ended when Hirsch died of oesophagal cancer. She was the grandmother of actor/director Chasen Parker. Eleanor Parker died in 2013 at a medical facility in Palm Springs, California of complications of pneumonia. She was 91. Parker was raised a Protestant and later converted to Judaism, telling the New York Daily News columnist Kay Gardella in August 1969, "I think we're all Jews at heart ... I wanted to convert for a long time."
Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
The Complete Kit. This is what you need to make this very versatile system work completely. The camera is shown with the back mounted, and the normal back in the foreground right. You will see that the viewfinder mask for 6x6 has been fitted over the normal viewfinder window, and although not visible, the filmgate for 6x6 has also been fitted.
The filmgates for 6x4.5 and 828 are leaning against the box, with their viewfinder masks. In front are the two adaptors which allowed 828 film to be used in these cameras, one of which is fitted with a take-up spool. The whole shooting match was held in the nice little velvet case on top of the box, although I suspect it would give little protection to rough handling.
828 film disappeared years ago, but in fact, is un-perforated 35mm film, so I suppose it would be possible to cobble up some backing paper, fit the film in it, and give it a whirl, but probably not worth the effort! The 828 option was there of course, because it gave the owner the chance to use Kodachrome colour slide film, not available in 620 format.
Mamiya RB67 ProS, f3.8/90mm Mamiya Sekor lens, Fomapan Classic 100 film developed in Thorntons Two bath, 5+5mins @21C. Scanned@1200DPI on Epson V500
These work counters have been very handy this past year for several dioramas. I thought of 6 that I used them for (including the shot of mod Stacy with the cacti). They have been so useful and versatile.
Clay is very versatile and there are so many ways toddlers and preschoolers can play and experiment with it.
Clay gives them the opportunity to be creative and learn about texture, shape and form whilst having lots of fun.
In some areas, clay can be sourced from the natural environment. Alternatively, clay can be bought from an art shop or potters’ suppliers or you could make your own.
9 Benefits of playing with clay
1. Manipulating clay helps toddlers and preschoolers to develop their hand and eye co-ordination as they pound, pat and push the clay into shapes and objects.
2. Clay also helps toddlers and preschoolers develop the small muscles in their fingers and hands, known as fine motor skills, as they pinch, squeeze and prod the clay, adding detail to the shape or object.
3. Through this manipulation, toddlers and preschoolers can express their thoughts and ideas as they mould the clay to take on the form of their imagination.
4. Toddlers and preschoolers can experiment with literacy and numeracy concepts as they use clay to create letter, number and shape formations.
5. Facilitating toddlers and preschoolers to create their own name, their age, street address, or the names of people in their family makes learning meaningful.
6. Clay can also be used to visually represent your toddler's or preschooler's culture as it is moulded to represent meaningful symbols and patterns.
7. You can support your toddler or preschooler with clay play by providing an unhurried, spacious environment so that time can be spent developing and revisiting their work.
8. Regular access to clay provides toddlers and preschoolers with opportunities to build on their knowledge, verbalise their thoughts and ideas, and add detail to their work.
9. Skills toddles and preschoolers develop when playing with clay include imagination, perseverance, problem solving, teamwork, social interaction and self- regulation.
Versatility is my final project after a one year photographic course. All the pictures are made from my old pictures of flowers.
“SHUTTLE VERSATILITY---An artist’s concept of one of the many tasks which the Space Plane will be called upon to perform. In this photograph, the Orbiter has deployed a cannister with space travelers. It is connected to an Earth-orbiting space station. Transfer of the travelers flying on this mission in the 1980s is underway about 240 nautical miles (444 kilometers) above the Hawaiian Islands. Greeting one of the incoming passengers is a vivacious blonde scientist--one of the station’s personnel--while one of the newcomers is a brunette. Provisions will be made in the Modular Space Station to accommodate all scientists, either male or female, and to allow them to conduct their experiments as long as necessary. The station will be supplied by an Orbiter. It is one part of a two-stage vehicle called the Space Shuttle. The other part is the Booster. Together, they represent a new version of NASA space exploration—one that significantly reduces costs of operation. The two are mated in a vertical position on the launch platform. The Orbiter rides piggyback for about three minutes on the Booster, and then separation occurs. This takes place at approximately 33 nautical miles (61.12 kilometers) and the workhorse Booster returns to Earth, landing horizontally on runway, while the sleek Orbiter continues on into space. The Orbiter weighs approximately 900,000 lbs. (or 408,240 kilograms) on the launch pad. Some 245,000 pounds (111,132 kilos) of this is dry weight; the balance is fuel and other inert weight including 25,000 lbs. (11,340 kilograms) of cargo. The Orbiter is the size of a commercial jet aircraft. Upon off-loading cargo, the crew, numbering possibly four, flies the Space Plane back to Earth. They also may land horizontally on runways of 10,000 feet (3,048) or more. The Manned Spacecraft Center’s Jerry Elmore is the artist.”
While very informative & well-written, is that sexist or what? I’m surprised it even depicts the lone black guy aboard the station.
No wonder it wasn’t until 1983 that NASA managed to get both a woman (Sally Ride) into space on STS-7, and the first black man (Guy Bluford) on the very next mission, STS-8!
And while we’re here – it would be nine more years until the first black woman (Mae Jamison) reached orbit aboard STS-47.
The other surprise to me and WIN, unexpectedly, is the overt identification of the artist, and it NOT being Robert McCall. I would not have guessed Mr. Elmore. Unfortunately, he succumbed to the artist’s concept/actual photo combination thing. Oh, wait, one more - ”cannister”?
A U.S. Air Force Lockheed Martin F-22 "Raptor" flies above Royal Australian Air Force Base Tindal, Australia, March 2, 2017. Twelve Lockheed Martin F-22 "Raptors" and approximately 200 U.S. Air Force Airmen participated in the first Enhanced Air Cooperation, an initiative under the Force Posture Agreement between the U.S. and Australia.
From Wikipedia, the free encyclopedia
The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force (USAF). The result of the USAF's Advanced Tactical Fighter (ATF) program, the aircraft was designed primarily as an air superiority fighter, but also has ground attack, electronic warfare, and signal intelligence capabilities. The prime contractor, Lockheed Martin, built most of the F-22's airframe and weapons systems and conducted final assembly, while Boeing provided the wings, aft fuselage, avionics integration, and training systems.
The aircraft was variously designated F-22 and F/A-22 before it formally entered service in December 2005 as the F-22A. Despite its protracted development and various operational issues, USAF officials consider the F-22 a critical component of the service's tactical air power. Its combination of stealth, aerodynamic performance, and situational awareness enable unprecedented air combat capabilities.
Service officials had originally planned to buy a total of 750 ATFs. In 2009, the program was cut to 187 operational production aircraft due to high costs, a lack of clear air-to-air missions due to delays in Russian and Chinese fighter programs, a ban on exports, and development of the more versatile F-35. The last F-22 was delivered in 2012.
Development
Origins
In 1981, the U.S. Air Force identified a requirement for an Advanced Tactical Fighter (ATF) to replace the F-15 Eagle and F-16 Fighting Falcon. Code named "Senior Sky", this air-superiority fighter program was influenced by emerging worldwide threats, including new developments in Soviet air defense systems and the proliferation of the Su-27 Flanker- and MiG-29 Fulcrum-class of fighter aircraft. It would take advantage of the new technologies in fighter design on the horizon, including composite materials, lightweight alloys, advanced flight control systems, more powerful propulsion systems, and most importantly, stealth technology. In 1983, the ATF concept development team became the System Program Office (SPO) and managed the program at Wright-Patterson Air Force Base. The demonstration and validation (Dem/Val) request for proposals (RFP) was issued in September 1985, with requirements placing strong emphasis on stealth and supercruise. Of the seven bidding companies, Lockheed and Northrop were selected on 31 October 1986. Lockheed teamed with Boeing and General Dynamics while Northrop teamed with McDonnell Douglas, and the two contractor teams undertook a 50-month Dem/Val phase, culminating in the flight test of two technology demonstrator prototypes, the YF-22 and the YF-23, respectively.
Dem/Val was focused on risk reduction and technology development plans over specific aircraft designs. Contractors made extensive use of analytical and empirical methods, including computational fluid dynamics, wind-tunnel testing, and radar cross-section calculations and pole testing; the Lockheed team would conduct nearly 18,000 hours of wind-tunnel testing. Avionics development was marked by extensive testing and prototyping and supported by ground and flying laboratories. During Dem/Val, the SPO used the results of performance and cost trade studies conducted by contractor teams to adjust ATF requirements and delete ones that were significant weight and cost drivers while having marginal value. The short takeoff and landing (STOL) requirement was relaxed in order to delete thrust-reversers, saving substantial weight. As avionics was a major cost driver, side-looking radars were deleted, and the dedicated infra-red search and track (IRST) system was downgraded from multi-color to single color and then deleted as well. However, space and cooling provisions were retained to allow for future addition of these components. The ejection seat requirement was downgraded from a fresh design to the existing McDonnell Douglas ACES II. Despite efforts by the contractor teams to rein in weight, the takeoff gross weight estimate was increased from 50,000 lb (22,700 kg) to 60,000 lb (27,200 kg), resulting in engine thrust requirement increasing from 30,000 lbf (133 kN) to 35,000 lbf (156 kN) class.
Each team produced two prototype air vehicles for Dem/Val, one for each of the two engine options. The YF-22 had its maiden flight on 29 September 1990 and in flight tests achieved up to Mach 1.58 in supercruise. After the Dem/Val flight test of the prototypes, on 23 April 1991, Secretary of the USAF Donald Rice announced the Lockheed team as the winner of the ATF competition. The YF-23 design was considered stealthier and faster, while the YF-22, with its thrust vectoring nozzles, was more maneuverable as well as less expensive and risky. The aviation press speculated that the Lockheed team's design was also more adaptable to the U.S. Navy's Navalized Advanced Tactical Fighter (NATF), but by 1992, the Navy had abandoned NATF.
Production and procurement
As the program moved to full-scale development, or the Engineering & Manufacturing Development (EMD) stage, the production version had notable differences from the YF-22, despite having a broadly similar shape. The swept-back angle of the leading edge was decreased from 48° to 42°, while the vertical stabilizers were shifted rearward and decreased in area by 20%. To improve pilot visibility, the canopy was moved forward 7 inches (18 cm), and the engine intakes moved rearward 14 inches (36 cm). The shapes of the wing and stabilator trailing edges were refined to improve aerodynamics, strength, and stealth characteristics. Increasing weight during development caused slight reductions in range and maneuver performance.
Prime contractor Lockheed Martin Aeronautics manufactured the majority of the airframe and performed final assembly at Dobbins Air Reserve Base in Marietta, Georgia; program partner Boeing Defense, Space & Security provided additional airframe components as well as avionics integration and training systems. The first F-22, an EMD aircraft with tail number 4001, was unveiled at Marietta, Georgia, on 9 April 1997, and first flew on 7 September 1997. Production, with the first lot awarded in September 2000, supported over 1,000 subcontractors and suppliers from 46 states and up to 95,000 jobs, and spanned 15 years at a peak rate of roughly two airplanes per month. In 2006, the F-22 development team won the Collier Trophy, American aviation's most prestigious award. Due to the aircraft's advanced nature, contractors have been targeted by cyberattacks and technology theft.
The USAF originally envisioned ordering 750 ATFs at a total program cost of $44.3 billion and procurement cost of $26.2 billion in fiscal year (FY) 1985 dollars, with production beginning in 1994. The 1990 Major Aircraft Review led by Secretary of Defense Dick Cheney reduced this to 648 aircraft beginning in 1996. By 1997, funding instability had further cut the total to 339, which was again reduced to 277 by 2003. In 2004, the Department of Defense (DoD) further reduced this to 183 operational aircraft, despite the USAF's preference for 381. A multi-year procurement plan was implemented in 2006 to save $15 billion, with total program cost projected to be $62 billion for 183 F-22s distributed to seven combat squadrons. In 2008, Congress passed a defense spending bill that raised the total orders for production aircraft to 187.
The first two F-22s built were EMD aircraft in the Block 1.0 configuration for initial flight testing, while the third was a Block 2.0 aircraft built to represent the internal structure of production airframes and enabled it to test full flight loads. Six more EMD aircraft were built in the Block 10 configuration for development and upgrade testing, with the last two considered essentially production quality jets. Production for operational squadrons consisted of 37 Block 20 training aircraft and 149 Block 30/35 combat aircraft; one of the Block 35 aircraft is dedicated to flight sciences at Edwards Air Force Base.
The numerous new technologies in the F-22 resulted in substantial cost overruns and delays. Many capabilities were deferred to post-service upgrades, reducing the initial cost but increasing total program cost. As production wound down in 2011, the total program cost is estimated to be about $67.3 billion, with $32.4 billion spent on Research, Development, Test and Evaluation (RDT&E) and $34.9 billion on procurement and military construction (MILCON) in then year dollars. The incremental cost for an additional F-22 was estimated at about $138 million in 2009.
Ban on exports
The F-22 cannot be exported under US federal law to protect its stealth technology and other high-tech features. Customers for U.S. fighters are acquiring earlier designs such as the F-15 Eagle and F-16 Fighting Falcon or the newer F-35 Lightning II, which contains technology from the F-22 but was designed to be cheaper, more flexible, and available for export. In September 2006, Congress upheld the ban on foreign F-22 sales. Despite the ban, the 2010 defense authorization bill included provisions requiring the DoD to prepare a report on the costs and feasibility for an F-22 export variant, and another report on the effect of F-22 export sales on U.S. aerospace industry.
Some Australian politicians and defense commentators proposed that Australia should attempt to purchase F-22s instead of the planned F-35s, citing the F-22's known capabilities and F-35's delays and developmental uncertainties. However, the Royal Australian Air Force (RAAF) determined that the F-22 was unable to perform the F-35's strike and close air support roles. The Japanese government also showed interest in the F-22 for its Replacement-Fighter program. The Japan Air Self-Defense Force (JASDF) would reportedly require fewer fighters for its mission if it obtained the F-22, thus reducing engineering and staffing costs. However, in 2009 it was reported that acquiring the F-22 would require increases to the Japanese government's defense budget beyond the historical 1 percent of its GDP. With the end of F-22 production, Japan chose the F-35 in December 2011. Israel also expressed interest, but eventually chose the F-35 because of the F-22's price and unavailability.
Production termination
Throughout the 2000s, the need for F-22s was debated, due to rising costs and the lack of relevant adversaries. In 2006, Comptroller General of the United States David Walker found that "the DoD has not demonstrated the need" for more investment in the F-22, and further opposition to the program was expressed by Secretary of Defense Donald Rumsfeld, Deputy Secretary of Defense Gordon R. England, Senator John McCain, and Chairman of U.S. Senate Committee on Armed Services Senator John Warner. The F-22 program lost influential supporters in 2008 after the forced resignations of Secretary of the Air Force Michael Wynne and the Chief of Staff of the Air Force General T. Michael Moseley.
In November 2008, Secretary of Defense Robert Gates stated that the F-22 was not relevant in post-Cold War conflicts such as irregular warfare operations in Iraq and Afghanistan, and in April 2009, under the new Obama Administration, he called for ending production in FY2011, leaving the USAF with 187 production aircraft. In July, General James Cartwright, Vice Chairman of the Joint Chiefs of Staff, stated to the Senate Committee on Armed Services his reasons for supporting termination of F-22 production. They included shifting resources to the multirole F-35 to allow proliferation of fifth-generation fighters for three service branches and preserving the F/A-18 production line to maintain the military's electronic warfare (EW) capabilities in the Boeing EA-18G Growler. Issues with the F-22's reliability and availability also raised concerns. After President Obama threatened to veto further production, the Senate voted in July 2009 in favor of ending production and the House subsequently agreed to abide by the 187 production aircraft cap. Gates stated that the decision was taken in light of the F-35's capabilities, and in 2010, he set the F-22 requirement to 187 aircraft by lowering the number of major regional conflict preparations from two to one.
In 2010, USAF initiated a study to determine the costs of retaining F-22 tooling for a future Service Life Extension Program (SLEP). A RAND Corporation paper from this study estimated that restarting production and building an additional 75 F-22s would cost $17 billion, resulting in $227 million per aircraft, or $54 million higher than the flyaway cost. Lockheed Martin stated that restarting the production line itself would cost about $200 million. Production tooling and associated documentation were subsequently stored at the Sierra Army Depot, allowing the retained tooling to support the fleet life cycle. There were reports that attempts to retrieve this tooling found empty containers, but a subsequent audit found that the tooling was stored as expected.
Russian and Chinese fighter developments have fueled concern, and in 2009, General John Corley, head of Air Combat Command, stated that a fleet of 187 F-22s would be inadequate, but Secretary Gates dismissed General Corley's concern. In 2011, Gates explained that Chinese fifth-generation fighter developments had been accounted for when the number of F-22s was set, and that the U.S. would have a considerable advantage in stealth aircraft in 2025, even with F-35 delays. In December 2011, the 195th and final F-22 was completed out of 8 test EMD and 187 operational aircraft produced; the aircraft was delivered to the USAF on 2 May 2012.
In April 2016, the House Armed Services Committee (HASC) Tactical Air and Land Forces Subcommittee proposed legislation that would direct the Air Force to conduct a cost study and assessment associated with resuming production of the F-22. Since the production halt directed in 2009 by then Defense Secretary Gates, lawmakers and the Pentagon noted that air warfare systems of Russia and China were catching up to those of the U.S. Lockheed Martin has proposed upgrading the Block 20 training aircraft into combat-coded Block 30/35 versions as a way to increase numbers available for deployment. On 9 June 2017, the Air Force submitted their report to Congress stating they had no plans to restart the F-22 production line due to economic and operational issues; it estimated it would cost approximately $50 billion to procure 194 additional F-22s at a cost of $206–$216 million per aircraft, including approximately $9.9 billion for non-recurring start-up costs and $40.4 billion for aircraft procurement costs.
Upgrades
The first aircraft with combat-capable Block 3.0 software flew in 2001. Increment 2, the first upgrade program, was implemented in 2005 for Block 20 aircraft onward and enabled the employment of Joint Direct Attack Munitions (JDAM). Certification of the improved AN/APG-77(V)1 radar was completed in March 2007, and airframes from production Lot 5 onward are fitted with this radar, which incorporates air-to-ground modes. Increment 3.1 for Block 30 aircraft onward provided improved ground-attack capability through synthetic aperture radar mapping and radio emitter direction finding, electronic attack and Small Diameter Bomb (SDB) integration; testing began in 2009 and the first upgraded aircraft was delivered in 2011. To address oxygen deprivation issues, F-22s were fitted with an automatic backup oxygen system (ABOS) and modified life support system starting in 2012.
Increment 3.2 for Block 35 aircraft is a two-part upgrade process; 3.2A focuses on electronic warfare, communications and identification, while 3.2B includes geolocation improvements and a new stores management system to show the correct symbols for the AIM-9X and AIM-120D. To enable two-way communication with other platforms, the F-22 can use the Battlefield Airborne Communications Node (BACN) as a gateway. The planned Multifunction Advanced Data Link (MADL) integration was cut due to development delays and lack of proliferation among USAF platforms. The F-22 fleet is planned to start receiving Increment 3.2B as well as a software upgrade for cryptography capabilities and avionics stability in May 2019. A Multifunctional Information Distribution System-Joint (MIDS-J) radio that replaces the current Link-16 receive-only box is expected to be operational by 2020. Subsequent upgrades are also focusing on having an open architecture to enable faster future enhancements.
In 2024, funding is projected to begin for the F-22 mid-life upgrade (MLU), which is expected to include new sensors and antennas, hardware refresh, cockpit improvements, and a helmet mounted display and cuing system. Other enhancements being developed include IRST functionality for the AN/AAR-56 Missile Launch Detector (MLD) and more durable stealth coating based on the F-35's.
The F-22 was designed for a service life of 8,000 flight hours, with a $350 million "structures retrofit program". Investigations are being made for upgrades to extend their useful lives further. In the long term, the F-22 is expected to be superseded by a sixth-generation jet fighter to be fielded in the 2030s.
Design
Overview
The F-22 Raptor is a fifth-generation fighter that is considered fourth generation in stealth aircraft technology by the USAF.[91] It is the first operational aircraft to combine supercruise, supermaneuverability, stealth, and sensor fusion in a single weapons platform. The F-22 has four empennage surfaces, retractable tricycle landing gear, and clipped delta wings with reverse trailing edge sweep and leading edge extensions running to the upper outboard corner of the inlets. Flight control surfaces include leading-edge flaps, flaperons, ailerons, rudders on the canted vertical stabilizers, and all-moving horizontal tails (stabilators); for speed brake function, the ailerons deflect up, flaperons down, and rudders outwards to increase drag.
The aircraft's dual Pratt & Whitney F119-PW-100 augmented turbofan engines are closely spaced and incorporate pitch-axis thrust vectoring nozzles with a range of ±20 degrees; each engine has maximum thrust in the 35,000 lbf (156 kN) class. The F-22's thrust-to-weight ratio at typical combat weight is nearly at unity in maximum military power and 1.25 in full afterburner. Maximum speed without external stores is approximately Mach 1.8 at military power and greater than Mach 2 with afterburners.
The F-22's high cruise speed and operating altitude over prior fighters improve the effectiveness of its sensors and weapon systems, and increase survivability against ground defenses such as surface-to-air missiles. The aircraft is among only a few that can supercruise, or sustain supersonic flight without using fuel-inefficient afterburners; it can intercept targets which subsonic aircraft would lack the speed to pursue and an afterburner-dependent aircraft would lack the fuel to reach. The F-22's thrust and aerodynamics enable regular combat speeds of Mach 1.5 at 50,000 feet (15,000 m). The use of internal weapons bays permits the aircraft to maintain comparatively higher performance over most other combat-configured fighters due to a lack of aerodynamic drag from external stores. The aircraft's structure contains a significant amount of high-strength materials to withstand stress and heat of sustained supersonic flight. Respectively, titanium alloys and composites comprise 39% and 24% of the structural weight.
The F-22's aerodynamics, relaxed stability, and powerful thrust-vectoring engines give it excellent maneuverability and energy potential across its flight envelope. The airplane has excellent high alpha (angle of attack) characteristics, capable of flying at trimmed alpha of over 60° while maintaining roll control and performing maneuvers such as the Herbst maneuver (J-turn) and Pugachev's Cobra. The flight control system and full-authority digital engine control (FADEC) make the aircraft highly departure resistant and controllable, thus giving the pilot carefree handling.
Stealth
The F-22 was designed to be highly difficult to detect and track by radar. Measures to reduce radar cross-section (RCS) include airframe shaping such as alignment of edges, fixed-geometry serpentine inlets and curved vanes that prevent line-of-sight of the engine faces and turbines from any exterior view, use of radar-absorbent material (RAM), and attention to detail such as hinges and pilot helmets that could provide a radar return. The F-22 was also designed to have decreased radio emissions, infrared signature and acoustic signature as well as reduced visibility to the naked eye. The aircraft's flat thrust-vectoring nozzles reduce infrared emissions of the exhaust plume to mitigate the threat of infrared homing ("heat seeking") surface-to-air or air-to-air missiles. Additional measures to reduce the infrared signature include special topcoat and active cooling of leading edges to manage the heat buildup from supersonic flight.
Compared to previous stealth designs like the F-117, the F-22 is less reliant on RAM, which are maintenance-intensive and susceptible to adverse weather conditions. Unlike the B-2, which requires climate-controlled hangars, the F-22 can undergo repairs on the flight line or in a normal hangar. The F-22 has a Signature Assessment System which delivers warnings when the radar signature is degraded and necessitates repair. While the F-22's exact RCS is classified, in 2009 Lockheed Martin released information indicating that from certain angles the aircraft has an RCS of 0.0001 m² or −40 dBsm – equivalent to the radar reflection of a "steel marble". Effectively maintaining the stealth features can decrease the F-22's mission capable rate to 62–70%.
The effectiveness of the stealth characteristics is difficult to gauge. The RCS value is a restrictive measurement of the aircraft's frontal or side area from the perspective of a static radar. When an aircraft maneuvers it exposes a completely different set of angles and surface area, potentially increasing radar observability. Furthermore, the F-22's stealth contouring and radar absorbent materials are chiefly effective against high-frequency radars, usually found on other aircraft. The effects of Rayleigh scattering and resonance mean that low-frequency radars such as weather radars and early-warning radars are more likely to detect the F-22 due to its physical size. However, such radars are also conspicuous, susceptible to clutter, and have low precision. Additionally, while faint or fleeting radar contacts make defenders aware that a stealth aircraft is present, reliably vectoring interception to attack the aircraft is much more challenging. According to the USAF an F-22 surprised an Iranian F-4 Phantom II that was attempting to intercept an American UAV, despite Iran's assertion of having military VHF radar coverage over the Persian Gulf.
Today the Laowa 85mm f/5.6 2x Ultra Macro APO completed my light travel combo that also contains the TTArtisan f:5.6/28mm and the Leica Elmar-M f:2,8/50mm
CC Most Versatile - A Cold Drink
Made from fresh strawberries, a banana, some orange juice and ice. Suggestion for when photographing food - have everything set up for the shot before you prepare the food. I had a cute heart-shaped piece of ice I put on top, but within the minute it took for me to go get my camera it sunk below the surface. Lesson learned.
The glass is handmade, which is why it appears imperfect in its roundness.