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A small contribution from the Analogue Street Collective to give something during these unprecedented times of lockdowns, travel bans, isolation…
For 15 consecutive days, all printed publications of the Collective will be available in full for free viewing, in digital version.
We start with our biggest publication to date, Magazine No. 2, print edition, published in Dec 2019, 326 pages
Available from 29th March at ISSUU:
We hope you enjoy this issue and that you all keep safe.
theanaloguestreetcollective.com/magazine-2
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We follow with Magazine No. 3
Softcover print edition, published Jun 2019, 288 pages
Available from 15th April - 1st May
theanaloguestreetcollective.com/magazine-3
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Our 2nd book 'novem II'
Hardcover print edition, published May 2019, 226 pages
Featuring 9 Collective members with a Foreword
by Don Springer
Available from 2nd May
theanaloguestreetcollective.com/novem-ii/
issuu.com/theanaloguestreetcollective/docs/novem_ii_-_the...
Our contribution for the upcoming round of the Liaison Collaborative : Gentleman. We created a Lounge Room with Minimalist Leather Sofa (brown or white, adult (straight and gay) and PG version available, LI 4/3 Prims, 2.3 x 1.1 x 1.0 meters), the Mahagony Chair (brown or white, PG version only, LI 3/3 Prims, 0.9 x 0.9 x 1.0 meters), the Factory Table (LI 1/2 Prims), the Factory Console (LI 3/3Prims) several decorations and the Hifi Set (available in Mahagony, Black and White). The Liaison Collaborative starts on the 15th May 2015.
This is my modest contribution to the second issue of "Boys of Summer" called "Too Hot for Words".
I remember myself spending really good times watching the first edition and I was excited to be invited to be part of this project. Thank you so much cgines, Kaoko and Dementedchris! ^_^
The new issue is now available for download at: boyssummer.blogspot.com
Btw, this is Jared's new look! :D and the photos were inspired by the song "Map of the Problematique" by MUSE
This is my contribution to the unnatural theme for the week. It harks back to the first week of the project, where in some misguided bout of 365 optimism I decided to make a little pile of stones and stick it in every photograph. I can't think why....
I am going to set off to collect Eleanor now and she'll be here for 5 days. So, if I was bad a commenting before (I was), I will be even worse now!
I've got a Roman themed crafts activity book to do, we're going for lunch out one day, fish and chip night, pizza night, film night, organised kids craft morning, aircraft museum (not dull, you can sit in them, we'll be a pair of G's), Roman museum and an open farm to do.
Should be fun!
My contribution to an ongoing photo competition (comp.nr.27) on flickr.Theme is "Mother(Nature)’s Finest".
My contribution for this week's theme «remains»; for the Swedish photo group Fotosondag.
Mitt bidrag till Fotosöndag och veckans tema «rester».
This is my contribution to "Flickr Friday" and this week's theme "BlackAndWhite"...
Please, don't complain about the chess pieces' configurations - they are just random. :)
I used a hand-held speed light with a grid attached to it to illuminate the scene. Processing was done using "Silver Efex Pro 2". (This is the second time I used this wonderful tool.) ;)
[EDIT]: #Black&White (13) - NOT selected...
Here you have my contribution to this week's theme movie title for the Swedish flickr group Photo Sunday.
The "Piazza del Vento" derives from Renzo Piano's inspiration, as a contribution that he offered to Salone Nautico and the city of Genova. The author of the project is the architectural firm OBR run by Paolo Brescia and Tommaso Principi, who conceived it for the 57° edition of the Genoa Boat Show.
The project, strongly wanted by Ucina Confindustria Nautica with Spim support, represents the legacy of Salone Nautico to the city: "a collective and multisensorial installation designed for a temporary event turning into a permanent public artwork, where to celebrate the rite of urbanity on the sea, thus enhancing the strong link between Salone Nautico and Genova", as Paolo Brescia explained.
OBR designed a "field" of 57 masts in red maple wood and white steel, 12 meters tali and bound together with textile stay-cables with dacron jibs inferred ono On the top of each mast a windex is placed,.sewing coloured spinnaker's fabric highlighting the direction and the intensity of the wind. Among the masts, some double seat swings are placed, where to sit as couple in the shade of the sails while looking toward the sea.
Cooperating with the musician Roberto Pugliese, Margherita Del Grosso and Matteo Orlandi have created the sound field activated by the action of the wind: a system of brass rods of different length, arranged according to a precise spatial scheme among the masts, reflects the sounds of the mare nostrum with chords trom a Mediterranean musical scale "played" by the wind.
The installation also involves the poet and street artist Ivan Tresoldi, who performs with his group Artkademy together with the visitors of Salone Nautico creating the anamorphosis: "Who throws seeds in the wind will make the sky flourish".
-----------------------------------------------------------
La "Piazza del Vento" nasce da un'ispirazione di Renzo Piano, come contributo offerto al Salone Nautico e alla città di Genova. Autore del progetto è lo studio d'architettura OBR di Paolo Brescia e Tommaso Principi, che lo ha ideato per la 57° edizione del Salone Nautico di Genova.
L'intervento, fortemente voluto da Ucina Confindustria Nautica con il supporto di Spim, rappresenta l'eredità del Salone alla città: "un'installazione multisensoriale collettiva nata per un evento temporaneo che diventa un'opera pubblica permanente, in cui celebrare il rito dell'urbanità sul mare, sancendo' così il legame indissolubile tra il Salone Nautico e Genova", come ha spiegato Paolo Brescia.
OBR ha immaginato un "campo" di 57 alberi in legno di acero rosso e acciaio bianco alti 12 metri e strallati tra loro con sartie in tessile su cui sono inferiti dei fiocchi in dacron. Sulla sommità degli alberi sono installati dei segnavento cuciti con tessuti di spinnaker colorati che
danno evidenza della direzione e dell'intensità del vento. Tra alcuni alberi sono ricavate delle altalene doppie da utilizzare in coppia, all'ombra delle vele e con vista mare.
Collaborando con il musicista Roberto Pugliese, Margherita Del Grosso e Matteo Orlandi hanno ideato un campo sonoro attivato dall'azione del vento: un sistema di canne d'ottone di diversa lunghezza, disposte secondo un preciso schema spaziale tra gli alberi, restituisce le sonorità del mare nostrum con degli accordi secondo una scala musicale mediterranea "suonata" dal vento.
L'installazione vede anche il coinvolgimento del poeta e artista di strada Ivan Tresoldi che, con il suo gruppo Artkademy, realizza una performance con il pubblico del Salone Nautico creando l'anamorfosi: "Chi getta semi al vento farà fiorire il cielo".
------------------------------------------------
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
You can see my images on fluidr: click here
You can see my most interesting photo's on flickr: click here
Our contribution for the Winter edition of the Seasonsstory: The Winter Chapel. The Chapel build comes with and without snowtop (Dimensions: 13.5 x 27.5 x 29.5 meters, LI without snowtop: 66, LI with snowtop: 72).
Also available at the Seasonsstory: The Church Bench comes decorated and undecorated with 9 different poses for up to 3 avatars (Dimensions: 3.4 x 1.4 x 1.5 meters, LI decorated: LI 4, LI undecorated: LI 3), the Church Chandelier (with and without chain) LI 8, LI 9 with chain, the Church Candle (LI 2), the Chapel Altar (Dimensions: 3.0 x 1.2 x 1.5 meters, LI 9) and the Ring Bearers Pillow (Dimensions: 0.6 x 0.6 x 1.3 meters, LI 2).
Landmark to the Seasonsstory: maps.secondlife.com/secondlife/The%20Seasons%20Story/144/...
Event openes on 10th January 2016
contribution to the traveling moleskine project. introduction page, including parcel stamp with pen.
Our contribution for the new round of On9: The Infinity Lounge Chair (comes together with the minimalist sun shade). The Infinity Lounge Chair is LI 4 with 2 Prims and holds 13 sitting animations.
The Infinity Lounge Chair will be available on the 9th at On9. One of the offered stzyles will have a huge discount. Landmark to On9: maps.secondlife.com/secondlife/Tropical%20Orchid/239/193/999
my latest contribution to the 3am collaboration with ventral is golden (www.ventralisgolden.com/) and bryan olson (www.cargocollective.com/BryanOlson)
check out the other works at www.cargocollective.com/3AM and www.3amofthesoul.tumblr.com/
www.society6.com/studio/jessetreece/store
www.collageartbyjesse.tumblr.com
As i get older, I am now age 60, I still regret the years I wasted in fear of my desire to dress up as a woman and the way I went into complete denial and continually attempted to suppress my desire to appear as a female. I was brought up in an era when boys were told to be boys and to man up. All I recall is as teenager I was desperate to become a girl. At the time I was confused as I was far from certain if I simply wanted to dress up as a girl or I actually wanted to be a girl.
Being older I think I now have some understanding as to how I was back then. I think part of me is transsexual but it’s not dominant enough to make we want to transition into a full time woman. I also was painfully shy and harboured a dream of performance. I was especially taken with female impersonators who had established theatrical acts. These were not over the top drag queens, these were men whose performance was based upon looking completely convincing as women with no hint of the man being present yet the audience knew they were male. This is an art form in my mind, what I like to call female illusion.
This performance of the audience seeing you appear as a woman right down your physical attributes, clothing, shoes, make-up and hair and confidently performing as a female in front of them genuinely thrilled me and I wanted to be such a performer. To be able to carry off a convincing transformation and have the confidence and nerve as a man to step out on stage such a portrayal would have been quite amazing to experience. Knowing there were men out there that had made careers of doing this type of performance really caught my imagination.
I can still vividly recall the first time as a teenager I shaved my legs, dared to pluck my eyebrows, wore make-up for the first time, styled my hair into a girls style (no ned for a wig back then!), wore a bra and put on my first dress, then slipped on a pair of high heels…my head was spinning and I nearly passed out!
I experienced pure elation, yet there was also fear at that was doing yet every fibre of my being was embracing what I had just done. At last I was a girl! A girl! Oh joy! I loved how I felt in that precious and intense private moment. I also recall I got the shakes, it was uncontrollable for awhile but eventually settled enough for me to stand in front of a mirror. Seeing myself as a girl was quite a moment full of mixed emotions. I was euphoric and the emotions overwhelmed me. This was what I dreamed of doing! I was a boy but I also wanted to be a girl and seeing myself in a dress and make-up made me cry. I was frustrated and elated at the same time. I was a boy, not a girl but I was trying to be a girl and I knew I wanted that, oh yes, I really wanted it!
I began to imagine how it must feel to be a professional female impersonator. How would it be to make a living out of appearing on stage as a woman and entertaining people. Would I ever have the nerve and self confidence to step out in front of an audience completely in the guise of a woman? I wanted to do it but I had self doubt about my abilities. The prospect of a career of dressing up as a woman was alluring but my inner doubt held me back.
Now am 60, I never stepped on stage dressed up as a woman so that dream is unlikely to ever happen now. I still feel a desire to attempt some form of performance as a female impersonator and to some extent, my videos I’ve posted pander to this yearning. Increasingly, I am finding I feel more confident about stepping in front of a video camera dressed as a woman and I enjoy talking to camera in my guise as a female.
However, I’ll admit, my videos to date are rather aimless, rambling and highly self indulgent. I now find I would like to record more videos but have some point to them. I did try a series of videos in the past called ’T-chat’ in which I interviewed other cross-dressers and transsexuals. Unfortunately, this idea proved a failure and never gained much interest within the trans community. In fact sometimes it generated very negative and hostile responses! I eventually gave up on this idea after realising it was pointless doing anymore interviews due to the notable lack of enthusiasm. I think I was rather naive in my plans for such a series of videos.
Despite that not working out I find I am still keen to record videos as my female alter-ego. There are lots of things about my transvestism I have a need to talk about. When I talk to the camera about them I am expressing my own personal feelings and thoughts on being a man that cross-dresses asa woman. I do often wonder how others feel about their own motivations and aspirations with their own cross-dressing.
I would like to improve my videos and take on more interesting subject matter that is related to cross-dressing. I did enjoy the two way conversation in the T-chat interviews and have been thinking of an alternative. What I would love is to hear from other cross-dressers about transgender subjects they have a view on. Appearing on camera as a woman gives me an opportunity to perform as the female impersonator I always wished I had dared to become. I’ve had ideas where i could maybe host a series of videos that includes videos made by other cross-dressers in which they speak on camera on a cross-dressing subject they want open up about or start debate upon. Hopefully this would lead to further responses that can be included in future episodes.
I accept some people have no wish to talk on camera when they are appearing as a woman and I wondered if they too felt as I did that they have questions in regard to their cross-dressing. I the past I used to receive e-mails asking me questions about my own cross-dressing. I am willing to talk openly about them so I wondered if perhaps I could record videos in which I answered their questions.
I also wondered if perhaps questions could be posed on a cross-dressing topic and several cross-dressers could contribute by recording a video of their own answers to such questions. I could then compile these answers in to a video programme.
I’m not trying to be arrogant or ‘me, me, me’, it is a case of I enjoy being a woman on camera and I want to do something that is helpful and interesting for the trans community and i do seek more focus and substance for future videos rather than my stream of consciousness ramblings such as I’ve been doing so far.
I suppose I am aware I enjoy being a an on screen presenter when I dress up as a woman. It’s great fun and a chance tower lots of dresses, experiment with make-up and wear different wigs. In a way it’s me finally being a female impersonator but in a more interactive way than I do at the moment.
I would love torah from anyone who would consider posing a question or recording something on video for inclusion in a future video. It may just be this idea goes the same way as my ill fated ’T-chat’ interview series< i only managed four of them in the end and one person asked for their interview to be taken off-line. I’m not really expecting this to pan out based only experiences but I feel if I don’t mention it then I will never know. If you should feel a willingness to ask a question or record a video about cross-dressing, expressing your own thoughts and views on camera then I’m keen to embark on a series of videos the can include these.
I can be contacted by direct e-mail on: helene_barclay@yahho.co.uk
The "Piazza del Vento" derives from Renzo Piano's inspiration, as a contribution that he offered to Salone Nautico and the city of Genova. The author of the project is the architectural firm OBR run by Paolo Brescia and Tommaso Principi, who conceived it for the 57° edition of the Genoa Boat Show.
The project, strongly wanted by Ucina Confindustria Nautica with Spim support, represents the legacy of Salone Nautico to the city: "a collective and multisensorial installation designed for a temporary event turning into a permanent public artwork, where to celebrate the rite of urbanity on the sea, thus enhancing the strong link between Salone Nautico and Genova", as Paolo Brescia explained.
OBR designed a "field" of 57 masts in red maple wood and white steel, 12 meters tali and bound together with textile stay-cables with dacron jibs inferred ono On the top of each mast a windex is placed,.sewing coloured spinnaker's fabric highlighting the direction and the intensity of the wind. Among the masts, some double seat swings are placed, where to sit as couple in the shade of the sails while looking toward the sea.
Cooperating with the musician Roberto Pugliese, Margherita Del Grosso and Matteo Orlandi have created the sound field activated by the action of the wind: a system of brass rods of different length, arranged according to a precise spatial scheme among the masts, reflects the sounds of the mare nostrum with chords trom a Mediterranean musical scale "played" by the wind.
The installation also involves the poet and street artist Ivan Tresoldi, who performs with his group Artkademy together with the visitors of Salone Nautico creating the anamorphosis: "Who throws seeds in the wind will make the sky flourish".
-----------------------------------------------------------
La "Piazza del Vento" nasce da un'ispirazione di Renzo Piano, come contributo offerto al Salone Nautico e alla città di Genova. Autore del progetto è lo studio d'architettura OBR di Paolo Brescia e Tommaso Principi, che lo ha ideato per la 57° edizione del Salone Nautico di Genova.
L'intervento, fortemente voluto da Ucina Confindustria Nautica con il supporto di Spim, rappresenta l'eredità del Salone alla città: "un'installazione multisensoriale collettiva nata per un evento temporaneo che diventa un'opera pubblica permanente, in cui celebrare il rito dell'urbanità sul mare, sancendo' così il legame indissolubile tra il Salone Nautico e Genova", come ha spiegato Paolo Brescia.
OBR ha immaginato un "campo" di 57 alberi in legno di acero rosso e acciaio bianco alti 12 metri e strallati tra loro con sartie in tessile su cui sono inferiti dei fiocchi in dacron. Sulla sommità degli alberi sono installati dei segnavento cuciti con tessuti di spinnaker colorati che
danno evidenza della direzione e dell'intensità del vento. Tra alcuni alberi sono ricavate delle altalene doppie da utilizzare in coppia, all'ombra delle vele e con vista mare.
Collaborando con il musicista Roberto Pugliese, Margherita Del Grosso e Matteo Orlandi hanno ideato un campo sonoro attivato dall'azione del vento: un sistema di canne d'ottone di diversa lunghezza, disposte secondo un preciso schema spaziale tra gli alberi, restituisce le sonorità del mare nostrum con degli accordi secondo una scala musicale mediterranea "suonata" dal vento.
L'installazione vede anche il coinvolgimento del poeta e artista di strada Ivan Tresoldi che, con il suo gruppo Artkademy, realizza una performance con il pubblico del Salone Nautico creando l'anamorfosi: "Chi getta semi al vento farà fiorire il cielo".
------------------------------------------------
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
You can see my images on fluidr: click here
You can see my most interesting photo's on flickr: click here
My contribution to an ambitious project by the local Mountain Club OPS Ikarias.
About this place, see my blog article: "sun in the gulch"
About the culture or wild swimming and swimming holes, illustrated with a selection of photos from Ikaria, read my article: "Κολυμπότρυπες ☺ στην Ικαρία"
Special blog article:
My contribution to Comic Bricks! I should point out that the cover you're looking at is actually the back cover of Roots of the Swamp Thing number 3, which in 1986 reprinted the classic Len Wein/Berni Wrightson Swamp Thing stories from the seventies. The renewed interest was thanks to Alan Moore, who was busy writing Saga of the Swamp Thing and blowing everyone's mind.
Bree's career in the military has had her in our DC area community for the last 4 years. She was recently promoted and reassigned to a new unit based in upstate New York! We honored her contributions not only to our local TG community but also to our military's TG community with a farewell dinner, a photo timeline presentation of many of Bree & my times together, a couple of nice speeches, and also awarded her with a lovely plaque with the inscription:
"To Lt. Col. Bree Fram U.S. Air Force
In recognition of your steadfast dedication and leadership in support of the Trans Military Service Members & our DC Area Trans Community.
Aim high and keep up the good fight."
Until next time, my dear friend!
My ensemble for the evening consists of my long sleeve black lycra spandex leotard from the Baltogs custom cut line by nydancewear.com, my black wet look lycra spandex side slit maxi-skirt with mesh insets from greatglam.com, my shiny black Platino Clean Cut 15 denier pantyhose from shapings.com worn over Hanes Alive Barely There support hose from onehanesplace.com and my black leather T-strap peep toe platform pumps with the 5" heels from venus.com.
To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me in other outfits from Great Glam click this link: www.flickr.com/photos/kaceycdpix/sets/72157621973539909/
To see more pix of me in wet look lycra spandex outfits click this link: www.flickr.com/photos/kaceycdpix/sets/72157625106117954
To see more pix of me in my Baltogs lycra spandex dancewear click this link: www.flickr.com/photos/kaceycdpix/sets/72157617535517907/
To see more pix of me out & about click this link: www.flickr.com/photos/kaceycdpix/sets/72157632318953102/
To see more pix of me showing off my legs click this link: www.flickr.com/photos/kaceycdpix/sets/72157623668202157/
To see more pix of me with friends and acquaintances click this link: www.flickr.com/photos/kaceycdpix/sets/72157622620508143/
DSC_4483-8
Pinhole image of a sliced pear on a gold-rimmed white plate. My third and latest attempt to photograph this particular subject; my first contribution to the Worldwide Pinhole Photograpy Day (#1443). This is the same pear slice as the one I have used for "Pear No. 2". By the time I took this picture the initially yellow-white pear flesh had oxidised and turned brownish, plus the skin had crumpled slightly inwards. Both of these natural changes had a positive effect on the overall outcome, giving the pear more structure, volume and outline. I have also reduced the exposure time from originally 6 hours (No. 1) and 5½ hours (No. 2) to 4½ hours (EV10), hoping the dish and its golden rim would show up better. This has worked to some degree, but quite obviously a white plate on a white table cloth is and remains a tricky subject. I would have been better off, exchanging the white table cloth with a somewhat darker fabric. Anyway, I do also like this version and I am learning quite a bit in the process. I read somewhere that Weston had exposed at least 50 negatives of peppers, so there’s quite a task ahead of me ;-). No worries though, if I have counted right, I have only 8 sheets of 8x10 DPP left. Taken with my homemade, foldable 8x10" Camera Obscura ("Stenopeica #1", 190mm, f.540) on Harman DPP (Direct Positive Paper, FB) and developed in Caffenol.
On the first day of Metroline's operation of route 295, VWH2097 is seen having turned off the stand at Clapham Junction to work a service to Ladbroke Grove. The route is operated by Gemini 3 VWH hybrids in the new "frog-face" front design style. This bus is the old Gemini 3 style design from Willesden garage and was helping out on the Willesden Junction based route due to the late delivery of the new VWHs for the route.
My contribution to the weekly photoshop competition. Check out the original photo on www.flickr.com/groups/pscomp/discuss/72157600738486345/
Camera: 8x10 Pinhole Camera
Film: Impossible Color 8x10 (2015-09)
For Polaroid Week Fall 2015, Day 5, Photo 2.
My final contribution to the current Polaroid Week. I had lots of fun, thanks for your great photos!
For those of you following the intrique from my original "Triffid" posting, enJoy and I are trying to get to the bottom of what my flower is. Here are another couple of pictures that may help establish the name of this mysterious peony that appeared in my "Natural" garden!!
This picture is SOOC (apart from cropping)
These may help...........
Any further contributions or names will be appreciated!!
The contribution of underprivileged and uneducated women in the country's national economy is immense, especially their involvement in handicraft industry is commendable. A woman is considered as the skilled workforce for the handicraft industry. On the other hand, pottery side by side with the handicraft industry bears the cultural heritage of Bangladesh. The women are involved with the industry since the ancient time and their contribution in this sector can not be denied even in the modern age. Women have been putting their endeavors in this trade from primary to finishing stage of the objects. Among the women labourers, about 90 percent are uneducated and they have no training. Like other sectors, the women workers are also facing wage discrimination. They draw two-third portion wage compared to their male counterparts investing the same labour.
[Source : BSS]
This full size Hawker Hurricane replica, standing near the River Thames in Windsor, is a memorial to Sir Sydney Camm and his contribution to British aircraft design.
Sir Sydney Camm, CBE, FRAeS (5 August 1893 – 12 March 1966) was an English aeronautical engineer who contributed to many Hawker aircraft designs, from the biplanes of the 1920s to jet fighters. One particularly notable aircraft he designed was the Hawker Hurricane fighter.
Sydney Camm was born at 10 Alma Road in Windsor, Berkshire, the eldest child of the twelve children of Frederick Camm, a carpenter/joiner and Mary Smith. The Camm family lived near Windsor & Eton Central railway station. His brother Frederick James Camm became a technical author and created the Practical Wireless magazine.
In 1901 he began attending the Royal Free School on Bachelors Acre in Windsor (The Royal Free school became the Royal Free Middle School with the secondary school becoming the Princess Margaret Royal Free School on Bourne Avenue). In 1906 he was granted a Foundation Scholarship. In 1908 Camm left school to become an apprentice carpenter.
Camm developed an interest in aeronautics and together with his brothers began building model aircraft, which they supplied to Herbert's Eton High Street shop. After finding that they could obtain a higher price they began making direct sales to boys at Eton College, which were delivered in secret to avoid attracting the attention of Herbert and the school authorities.
These activities led him to being one of the founders of the Windsor Model Aeroplane Club in early 1912. His accomplishments as a model aeroplane builder culminated in a man-carrying glider which he and others at the club built in 1912.
Shortly before the start of the World War I, Camm obtained a position as a shop-floor carpenter at the Martinsyde aircraft company ,which was located at the Brooklands racing circuit in Weybridge, Surrey. His ability soon led to his being promoted to the drawing office, where he spent the war period. After the company went into liquidation in 1921, Camm was employed by George Handasyde, who had created his own aircraft manufacturing company, which was responsible for the creation of the Handasyde Monoplane.
In November 1923 Camm joined the Hawker Aircraft Company (later Hawker Siddeley) based at Canbury Park Road in Kingston upon Thames as a senior draughtsman. His first design was the Cygnet, the success of which led to his being appointed chief designer in 1925.
In 1925, in association with Fred Sigrist, Hawker's managing director, Camm developed a form of metal construction, using cheaper and simpler jointed tubes, rather than the alternative welded structure.
During his employment at Hawker he was responsible for the creation of 52 different types of aircraft, of which a total of 26,000 were manufactured. Among his early designs were the Tomtit, Hornbill, Nimrod, Hart and Fury. At one time in the 1930s 84 per cent of the aircraft in the RAF were of Camm’s design.
He then moved on to designing aeroplanes that would become mainstays of the RAF in the Second World War including the Hawker Hurricane, Hawker Typhoon and Hawker Tempest.
"Camm had a one-tracked mind – his aircraft were right and everybody had to work on them to get them right. If they did not, then there was hell to pay. He was a very difficult man to work for, but you could not have a better aeronautical engineer to work under. With regard to his own staff, he did not suffer fools gladly and at times many of them appeared to be fools. One rarely got into trouble for doing something either in the ideas line, or in the manufacturing line, but woe betide those who did nothing, or who put forward an indeterminate solution."
Among the engineers who worked with Camm at Hawker were Sir Frederick Page (later to design the English Electric Lightning), Leslie Appleton (later to design the advanced Fairey Delta 2 and Britain's first air-to-air missile, the Fairey Fireflash), Stuart Davies (joined Avro in 1936 and later to be chief designer of the Avro Vulcan), Roy Chaplin (became chief designer at Hawker in 1957) and Sir Robert Lickley (chief project engineer during the war, and later to be chief engineer at Fairey).
The Hawker Hurricane was designed by Sir Sydney Camm.
With the Hurricane, Sydney Camm moved from the technology of the biplane to contemporary monoplane fighter aircraft. The result was that fighters flew faster, and with the improved engine technology of the time, higher and could be made more deadly.
The Hawker engineer Frank Murdoch was responsible for getting the Hurricane into production in sufficient numbers before the outbreak of the war, after an eye-opening visit to the MAN diesel plant in Augsburg in 1936.
When the Hawker Typhoon’s design first emerged and entered squadron service, pilots became aware that there was elevator flutter and buffeting at high speeds, due to the positioning of the heavy Napier Sabre engine intake very close to the wing root.
The engineering of the aircraft to travel at higher speeds and handle compressibility effects was one of the challenges of the day, but with his small design team of one hundred members at Hawker, Camm managed to solve these problems and make the Typhoon an effective combat weapon even at these speeds. As operational requirements changed, the Typhoon was used more as a fighter-bomber, in which role its low level performance, weapon-carrying capabilities and ability to absorb damage made it very effective. It was much used in the Battle of the Falaise Pocket, in which ground-attack aircraft proved very destructive. German losses were so severe that most of France was retaken less than two weeks after the conclusion of this operation.
The lessons learned from the Hawker Typhoon were incorporated into its successor, the Hawker Tempest. As soon as the Typhoon entered service, the Air Ministry requested a new design. C amm recommended that they keep the existing design of the Typhoon for the most part, with modifications to the aerofoil. He also considered the new and powerful Napier Sabre and Bristol Centaurus engines as the powerplant. Camm decided that both engines would be used: the Tempest Mk 5 was fitted with the Napier Sabre, while the Tempest Mk 2 had the Bristol Centaurus. The design modifications to be made to the aircraft to switch from one engine type to another were minimal, so that little assistance was needed in ferrying these aircraft all the way to India and Pakistan, in the final days of the conflict.
The Sea Fury was a higher performance development of the Tempest with a reduced wing area, a Centaurus engine, and a considerably improved view for the pilot. Named the Fury, only the carrier-based Hawker Sea Fury went into service, serving with the Royal Navy from 1947 to 1955.
After the Second World War, Camm created many jet-powered designs which would become important aircraft in the Cold War era.
Notable among these are his contributions to the Hawker Siddeley P.1127 / Kestrel FGA.1, the progenitor of the Hawker Siddeley Harrier. The Harrier is a well-known vertical takeoff and landing (VTOL) aircraft designed at Hawker Siddeley, which would later merge into British Aerospace, now known as BAE Systems. The Harrier was one of the radical concept aircraft which took shape in postwar Britain, which required the coming together of many important technologies, such as vectored thrust engines like the Bristol Siddeley (later Rolls-Royce) Pegasus and technologies like the Reaction Control System. Camm played a major role in determining these and other vital Harrier systems. In 1953, Camm was knighted for these and other achievements and his contribution to British Aviation. The P.1127 first flew on 21 October 1960. Working with Camm on this aircraft and the Hunter was Prof John Fozard, who became head of the Hawker design office in 1961 and would write a biography of Camm in 1991.
Camm worked on many aircraft built by Hawker before the Harrier, including what is probably his most significant aircraft after the Second World War, the Hawker Hunter. The Hawker Hunter, designed by Camm, made its first flight in 1951.
Camm was President of the Royal Aeronautical Society(RAeS) from 1954 to 1955. Since 1971 the RAeS has held the biennial Sir Sydney Camm Lecture in June, given by the current commander-in-chief of RAF Air Command.
Camm retired as chief designer at Hawker in 1965 and was succeeded by John Fozard. He, however, remained on the board of its successor, Hawker Siddeley until his death.
Before he died, Camm was planning the design of an aircraft to travel at Mach 4, having begun his life in aircraft design with the building of a man-carrying glider in 1912, just nine years after the first powered flight.
In 1966, Camm was awarded the Guggenheim Gold Medal, which had to be presented posthumously, as on 12 March 1966 he died aged 73, whilst playing golf at the Richmond Golf Club. He was buried in Long Ditton Cemetery, Long Ditton, in the County of Surrey.
El Monumento a los Descrubridores (en portugués, Monumento aos Descobrimentos) actual es una réplica del que fuera construido en hierro y cemento en 1940, con motivo de realizarse la Exposición del Mundo Portugués que fue demolido en 1958 y reemplazado por otro en materiales más nobles.
El momento escogido fue la conmemoración de los 500 años del fallecimiento del Infante Don Enrique, conocido como Enrique el Navegante, y la inauguración tuvo lugar en agosto de 1960.
Evocando la expansión marítima de Portugal en el siglo XVI, el monumento se levanta en forma de carabela alcanzando una altura de 52 metros. A ambos lados, el escudo de Portugal destaca en lo alto, mientras que sobre la puerta de entrada está grabada la espada de la dinastía Avis.
La figura central del grupo escultórico conformado por 33 figuras es, evidentemente, la de Enrique el Navegante, que en lo alto de la composición sostiene una carabela mientras parece observar horizontes lejanos. Detrás de él y a cada lado, en dos filas descendentes, se pueden descubrir personajes destacados de la historia portuguesa que directa o indirectamente tuvieron relación con la Era de los Descubrimientos.
Entre las figuras más destacadas se encuentran Afonso V (patrocinador de las primeras expediciones), Vasco da Gama (descubridor de la ruta marítima a las Indias), Pedro Alvarez Cabral (descubridor de Brasil), Fernando de Magallanes (primer navegante en dar la vuelta al mundo), Diogo Cão (el primero en llegar al río Congo), Bartolomeu Dias (primero en dar la vuelta al Cabo de Buena Esperanza), Afonso de Albuquerque (virrey de las Indias Portuguesas), Luis de Camoes (poeta autor de las Lusíadas, relato épico sobre la era de los descubrimientos), el rey Manuel I (figura central de la Edad de Oro) y Pedro Nunes (matemático y cosmógrafo cuyos aportes a la navegación fueron cruciales en la época). La única mujer en el grupo escultórico es la madre de Enrique el Navegante, doña Filipa de Lencastre.
The Memorial to the Descrubridores (in Portuguese, Monument Descobrimentos years) now is a replica of it was made of iron and cement in 1940, during the Exposition of the Portuguese World was demolished in 1958 and replaced by a more noble materials .
The timing was the commemoration of the 500th anniversary of the death of Prince Henry, known as Henry the Navigator, and the inauguration took place in August 1960.
Evoking the maritime expansion of Portugal in the sixteenth century, the monument stands as a caravel reaching a height of 52 meters. On both sides of the shield of Portugal stands out on top, while on the entrance door is carved the sword from the Avis dynasty.
The central figure of the sculptural group made up of 33 figures is, of course, that of Henry the Navigator, that at the top of the composition maintains a caravel while seeming to observe distant horizons. Behind him and on each side, in two rows down, you can discover important figures in Portuguese history that directly or indirectly were related to the Age of Discovery.
Among the most prominent figures are Afonso V (sponsor of the first expeditions), Basque da Gama (who discovered the sea route to India), Pedro Alvarez Cabral (discoverer of Brazil), Fernando de Magallanes (first sailor to circumnavigate the world), Diogo Cão (the first to reach the river Congo), Bartolomeu Dias (first to round the Cape of Good Hope), Afonso de Albuquerque (Portuguese viceroy of the Indies), Luis de Camoes (poet author of the Lusíadas, epic tale about the Age of Discovery), King Manuel I (central figure in the Golden Age) and Pedro Nunes (cosmographer mathematician whose contributions were crucial to navigation in those days). The only woman in the sculpture is the mother of Henry the Navigator, Dona Filipa de Lencastre.
My contribution for Challenge 11 in Guilds of Historica. It’s a simple build that brought back a lot of memories as most of the techniques are things I used frequently years ago. Which made for a straightforward and relaxing build process.
Timber is in high demand as the guilds rebuild. Leading to many new lumber yards popping up in Mitgardia. Located along trade routes and near sawmills they constantly receive new loads of wood and in turn load caravans traveling between the guilds.
Additional photos on Brickbuilt.
This was one of my contributions to the Isles of Aura InnovaLUG layout at Brickworld this year. While trying to come up with ideas for how to make an island that was a little different than just your average floating rock, a flash of inspiration hit. Why not make a shipwreck island? I mean, with all these rocks and boats just floating around in the sky, it seems like the odds are pretty high that it would happen eventually. So now I had a good idea! But having an idea and building it are two different matters. I wanted the ship to have split the island, so that each side was at an angle. To achieve this, I made an extremely solid technic frame, and then built out from there. I’ll be doing a build log for this in the near future, so I won’t spoil all the details, but let’s just say it was quite a challenge at times. The buildings here were extremely fun to build however! I pretty much just tried to see how many balconies I could fit on one building with the taller one. Got to put some our MDF tiles to use too. Anyways, thanks for looking, and I hope you enjoy the build – as always, C&C is very welcome!
Lots more pictures on Brickbuilt!
Tutorials | Creations | Featured Tutorials | Build Logs | Commissions
My contribution to an ambitious project by the local Mountain Club OPS Ikarias.
About this place, see my blog article: "sun in the gulch"
About the culture or wild swimming and swimming holes, illustrated with a selection of photos from Ikaria, read my article: "Κολυμπότρυπες ☺ στην Ικαρία"
Special blog article: 😘
My 2nd contribution to the Stay At Home Club! <3
Available at the SALMAGUNDI Store: maps.secondlife.com/secondlife/Polong/72/88/1762
My contribution to the Pixar Times and our Monsters Mash-Up online exhibition of fan art. Check it out here - pixartimes.com/2013/06/20/pixart-monsters-mash-up-round-3...
Contribution to Smile on Saturday, theme "a touch of frost".
From the archives, not much chance these days to capture this.
My largest contribution to the Classic Castle Kingdoms collaboration for Brickfair Alabama 2018. This year I wanted to do something totally new. The result was the first white castle that I've ever made. The architecture is mostly based off of late German and Austrian castles with a bit of Portuguese for the battlements. Also, this would have been an entry for the CCC last year but I've been very busy lately. But, at the very least, I was able to have a fantastic time at Brickfair.
Hope you guys like it!
~Brother Steven
A contribution to Thorsten Bonsch's (Xenomurphy) Batman - Arkham Asylum build.
The design of this vehicle was inspired by the graphic novel Batman: Nine Lives published by DC Comics in 2002, written by Dean Motter, with art by Michael Lark.
See more of the amazing Batman - Arkham Asylum creation here: www.flickr.com/photos/xenomurphy/10581191764/
This is part of my contribution to this year's Brick to the Past model, The Jacobite Risings: The Fight for Britain's Throne. To be fair this is a team effort with James Pegrum providing the landscape and me providing and setting up the armies. Simon Pickard also provided a load of troops.
Attached to each infantry regiment were grenadiers; soldiers that represented the elite of the British army. Grenadiers did not wear the usual tri-corn hat of regular infantry, instead wearing a finely decorated mitre-style headpiece. While we cannot recreate the decoration, a mitre may be recreated using a headpiece found originally in Prince of Persia sets. To complete our grenadiers we have also equipped them with a satchel, which is supposed to represent the grenades they carried.
The Jacobite Risings: The Fight for Britain’s Throne is a LEGO model of a series of uprisings, rebellions and wars that occurred predominantly in Scotland, but also spread into Ireland and England, between 1689 and 1746. Following the deposition of James II of England and VII of Scotland in the Glorious Revolution, the aims of the risings were to return the Stuart monarch, and later his descendants, to the thrones of England and Scotland (and after 1707, the Kingdom of Great Britain). They take their name from Jacobus, the Latin form of James.
While conflict broke out in 1689, 1715, and 1719, the most famous rising is probably the last, that of 1745. During the “Forty-five" Charles Edward Stuart, also known as the Young Pretender or Bonnie Prince Charlie, led an army from the Scottish Highlands as far south as Derby before retreating north to be decisively defeated at the Battle of Culloden in 1746. Culloden was the last pitched battle to be fought on British soil and marked the end of any serious attempt to restore the house of Stuart to the throne.
The Jacobite Risings: The Fight for Britain’s Throne is a Brick to the Past creation built by Dan Harris, James Pegrum, Simon Pickard, Tim Goddard and Steve Snasdell. It was unveiled for the first time at the Bricktastic in July 2017 and went on display again at The Great Western Brick Show in October. It is now on display at Stirling Castle until February 2nd 2018.
My contribution to the Neo Classic Space 30th Anniversary Extravaganzapalooza.
Big, huge thanks to my online buddy nnenn for whipping this up in photoshop, then dealing with my complaints about it! It looks beautiful.
Also a big huge thanks to James and the crew over at NCS for inviting me to participate. It was fun, and I sure do miss all my Classic Space stuff.
As you can tell, I also owe a debt to Peter Reid for the cockpit idea. I wouldn't have gotten anywhere without it. I think it helps tie this creation in with his, and helps keep the MOCs sort of more or less uniform. Sort of. The main idea for the body I lifted right off of several MOCs by nnenn
More here already moderated.