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Zagreb, Croatia
I was caught by the repetition in the roof tiles and the elaborate facade. The result shows me why I like Rollei Retro 80S so much, especially (semi-)stand developed in Rodinal 1+100. There's more "dynamic range" than you can wish for and the edge effects are cool with a subject like this.
I wish this film existed in sheet film format...
Also, I fell in love again with the incredibly detailed, lovely rendering of my 1961 Symmar 180/5.6.
Wista 45 VX
Schneider Symmar 180/5.6
expired Rollei Retro 80S, (semi-)stand developed in Rodinal 1+100 @ 60mins
Currently developing a new class for CraftArtEdu featuring butterfly necklaces. Amazingly fun to make!! I'm working on a moth variation at the moment and will probably do yet another butterfly after that.
Shot with a Voigtländer Perkeo II
80mm f/3.5 Color-Skopar lens
Kodak Gold 200 film
Shot at EI 200
Developed by The Darkroom
Scanned on a Coolscan 9000ED
I was driving along on a byway a few miles from our house, and was surprised to see this field of green pepper plants, Capsicum annuum, obviously grown as a commercial enterprise. Why not?
Contrast enhanced with The Gimp.
I upgraded my home-brew motorized Lab Box with a higher RPM motor. The motor ran in reverse, the film unspooled.
i will never paint myself grey i adore the
unique mumble of coherant tone if you can't understand do not ask you were not
listening
Cartilaginous fish in Order Rajiformes showing prominent eye and main means of drawing water in for respiration
East London
Leica M3, 35mm f2 Summicron and Rollei Retro 400S stand developed in Rodinal 1+100 for 1 hour.
On 1 July 1933 the vast majority of the ownership and operation of public transport in London was transferred to the newly formed London Passenger Transport Board, better known as London Transport. For the city's tram network this at last saw a common ownership and operation of services that had previously been under multiple undertakings, both municipally and privately owned.
The largest component was that of the London County Council whose tramways operation was highly developed and well run. The LCCT services, that used conduit as well as overhead operation, had several inter-running agreements with both other municipalities (mostly in east London) as well as the three operators owned by the Underground group. These were the Metropolitan Elelectric, the London United and the South Metropolitan Elecric Tramways & Lighting Co Ltd. In summer of 1933 the variously issued maps and guides of the pre-amalgamation concerns appear to have been issued simply overstamped with the details of the new organisation and this November 1933 is, I think, the first attempt at a single map to cover all the merged routes.
It is wholly based on the old LCC map and guide that has been modified to an extent. On the map the old concept of showing the LCC services in a thick red line and connecting or inter-running routes in a thin red line has been perpetuated, the main difference being that in the key the previous distnctions ahve vanished to be replaced by a single line referring to fare sections and route numbers. The map now has the TramwayS logo of the old Underground group now adapted to show London Transport in the semi-circles. It also has an inset to show the ex-Croydon Corporation network. However the LCC evening classes advert survives! The cover also follows the pattern of LCC covers showing a work of art or illustration derived from an advert or poster. This illustration, of the old Waterloo Bridge than trams ran under, along the Subway and Embankment, rather than over is from a series of 1932/33 press adverts issued by the Underground and General companies on London's river crossings and is by, I am sure, R Austin whose "A" can just be made out.
The route guide and timetables now has all London's tram routes shown, no longer with the old LCC convention of north or south of the Thames. The list also shows, as well as night trams, the "unnumbered services" inherited from the various east and south-east London operators that had never been given such information. The other interesting panel is the appearance of the relavtively new trolleybus routes in the Kingston area. The LUT had started in 1931 to look at conversion of tram operations not to motor bus but electric trolleybus to utilise the heavy capital investment in electricity generation and distribution that had continued value unlike the depreciated first generation tramcars. The trolleybus soon became the 'way forward' for the new London Transport and over the next few years the tram map steadily became the trolleybus and tram map - a distinction that continued until the final war delayed abandonment of the 'last tram' in 1952. The trolleybus routes here carry their original route numbers before the addition of 6** (or 5**) numbers to the tram routes they replaced in later conversions and when Kingston's routes were re-numbered in the new sequence.
In 1934 LT's cartographers had got to work and a completely new version of the tram/trolleybus map, in the same style as motor bus, Country bus and Green Line operations was issued.
China Developing
China's urban development is concomitant with its economic development and integration with the dynamics of globalization. The gaps are widening between cities and countryside to reach limits never crossed. The development of rural areas, where more than 600 million Chinese still live, is a gigantic task for the Communist Party. That's why the government is building territory development programs. And comfortable houses rather than wooden houses. Young people are convinced.
These laudable goals want to make the Chinese people a "rich people" and the country the world's largest economic power, while in the countryside the population is very poor. People still live there as in the Middle Ages. Xi Jinping, the Chinese PC President has imposed a new motto: the Chinese Dream as the American Dream. It is about working for the great renaissance of the Chinese nation
Canonet QL17 40/1.7
Kodak ImageLink Technical film
Exposed like ISO32
Developing R09 1:100, 20C, 40min.
Almost every single component of the Flavel mansion seen here came from a carpenter's shop.
It would be a colossal job to build a precise replica of this building today even with our power tools.
In 1885 carpenters did have access to a variety of treadle tools, particularly saws and scroll saws. One wonders how much effort it would have taken to cut the many scrollwork designs seen here. The operators of treadle saws must have developed powerful muscles in one leg and, quite possibly, repetitive motion injuries.
However, a power tool was of little use unless the carpenter knew how to apply it to achieve the desired result. The crisp, repeating, and symmetrical designs have little or no margin for error.
I wish I knew how many carpenters were employed in creating the fancy wooden trim for the Flavel mansion, and how the carpentry shop was organized and managed. I hope for their sake that the carpenters had a fair amount of variety in their work. Imagine being the person responsible for every turned ornamental ball finial on the entire mansion!
Now that I think of it, I wonder where the carpentry shop was located. There was ample room for one on the ample lot. If that is where it was, I wonder whether any archaeological remains still exist that would be worth investigating.
========================================================
Flavel House History
The Flavel House Museum was the home of Captain George Flavel (1823-1893), one of Astoria’s most influential citizens in the late 1800s. Captain Flavel was a noted bar pilot on the Columbia River and a prominent businessman.
His Queen Anne style house was designed by German-born architect Carl W. Leick and was completed in the spring of 1886 as his retirement home.
The Captain lived here for seven years with his wife Mary Christina Boelling (1839-1928) and his two grown daughters, Nellie and Katie. The couple’s son, George Conrad Flavel, never lived in his parent’s new residence as he was already married and living in a house of his own.
The house remained in the family until 1934 when George and Mary’s great-granddaughter, Patricia Jean Flavel, gave the property to the city as a memorial to her family.
In 1936 there was talk of tearing the house down and establishing an outdoor community park on the property. However, the city had financial difficulties and decided to return the property to Patricia Flavel. That same year the residence and grounds were deeded to Clatsop County with the understanding that both would be kept in good repair and used for public purposes.
From 1937 through World War II, the Public Health Department, the Red Cross, and the local Welfare Commission all had offices in the house.
In 1951, there was once again the talk of tearing the house down, this time to make way for a parking lot for the County Courthouse.
Concerned citizens organized to save the home, and the Flavel House was made into a local history museum managed by the Clatsop County Historical Society while still under the ownership of the County.
Eventually, the County transferred full ownership of the property to the Historical Society.
About the Interior
The Flavel House is approximately 11,600 square feet and consists of two and a half stories, a single story rear kitchen, a four-story tower, and a full basement.
The interior woodwork around the doors, windows, and stair-cases are Eastlake-influenced in design. The Douglas Fir doors, moldings, and wainscoting were faux wood-grained by a master craftsman to look like exotic hardwoods such as mahogany and burl rosewood. The wood likely came from a mill in Portland or San Francisco and was shipped to Astoria by steamer.
Six fireplaces grace the home and feature different imported tiles from around the world, elaborate hand-carved mantels, and a patterned metal firebox designed to burn coal.
The fourteen-foot high ceilings on the first floor and the twelve-foot high ceilings on the second floor are embellished with plaster medallions and plaster crown moldings.
The house was very modern with wall-to-wall carpet-ing, gaslighting, indoor plumbing, and a central heating system.
The First Floor is comprised of the public rooms such as the grand entrance hall, the formal parlor, the music room (the scene of musical recitals by the Flavel daughters), the library (the heart of the house), the dining room, and the conservatory. The butler’s pantry, the kitchen, and the mudroom make up the housekeeping area.
The Second Floor features the main bathroom, five bedchambers, and a small room used as a sewing room or storage room.
The Attic Floor is a large, unfinished area with two small plain bedrooms used by the Flavel’s domestic help.
The tower gave the Captain a broad view of Astoria and the Columbia River to keep an eye on the local ship traffic.
The Basement of the house originally had a dirt floor and contained a large wood-burning furnace.
About the Exterior
The Flavel House rests on park-like grounds covering an entire city block. It has been listed on the National Register of Historic Places since 1951.
The Queen Anne architectural style, popular from 1880 to 1910, can be seen in the house’s steeply pitched roof, patterned shingles, and cut-away bay windows.
Other characteristics of the Queen Anne style are the octagonal-shaped tower, the one-story wrap-around porch, and its asymmetrical facade.
Decorative elements of the Stick and Italianate styles are also apparent in the vertical stickwork, the bracketed eaves, and the hooded moldings above the windows and doors.
Outlining the roof and verandas of the house is the original wrought-iron cresting.
About the Carriage House
The Carriage House was built on the south-west corner of the property in 1887. It served as the place where the family kept their carriage, sleigh, and small buggies.
It also had three temporary holding stalls for their horses, a tack room, and a hayloft upstairs.
In the mid-1890s, the Carriage House was home to the family’s hired caretaker, Alex Murray.
In time, automobiles, including the Flavel’s Studebaker sedan, found a home in the Carriage House, and the family’s driver kept a room upstairs.
Today the Carriage House functions as the Visitor Center, museum store, and exhibit hall for the Flavel House Museum and the administrative offices of the Clatsop County Historical Society.
My photostream this week has had a developing theme alluding to the logo of Channel 4, one of the UK’s main television channels. To watch TV in the UK you will need a television licence (a consumption tax). I believe I’m right in saying Channel 4 receives a portion of the licence fee funding, despite being a commercial channel (which some might say represents a conflict of interest with government intervention resulting in pseudo-obligation of some kind). The reason I drew attention to Channel 4 is that I would like people to watch Cathy Newman’s interview with Professor Jordan Peterson, which can be found here (www.youtube.com/watch?v=aMcjxSThD54).
Originally, many people were seeing it as a (a kind of Frost/Nixon) victory for Conservatism, as supposedly embodied by Prof Peterson, against the ‘Progressive Left’, as embodied by Ms Newman.
I choose to see it another way, as does Prof Peterson I believe, (see here, www.youtube.com/watch?v=E6qBxn_hFDQ if interested). He is an advocate for free speech and an opponent of mandated speech. The interview was a victory for all those who seek open debate, so that truth can be uncovered.
I also would like to congratulate Ms Newman for conducting the interview vigorously and for accepting with good grace, the ideological/rhetorical cul-de-sac into which she had steered her train of thought, (apologies for the mixed metaphor). As for those who say the final ‘Gotcha’ was unnecessary, I disagree. It made clear there was something specific and of great importance to take from the encounter.
It might not be a watershed moment that leads to lasting improvement in the quality and openness of public discourse. It was at least a shining moment of what could be achieved with intellect and an open mind. Furthermore, it would be lovely to see news journalism improve and see interviewees of all beliefs, affiliations, seniority, treated consistently. We might even end ambush journalism, de-contextualization, reframing and interruption of an interviewee who is answering the question posed not five seconds previously. I am a dreamer at heart.
Hello there. Relevant comments welcome but please do NOT post any link(s). All my images are my own original work, under my copyright, with all rights reserved. You need my permission to use any image for ANY purpose.
Copyright infringement is theft.
Nuppa reserve pond, Mikasa, Hokkaido.
Ricoh XR8, Pentax-M 50mm F1.7, negative ISO 100 for recording expired, exposed as ISO 50, developing time shortened, scanned at 3200 DPI with Epson V700.
My first self developed film which just happens to be 120 lomography earl grey 100 loaded into a box brownie, you are welcome😄
Click to view in Lightbox.
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Persepolis means Persian City and is situated 58 Kilometers from Shiraz. Persepolis was developed mainly by Dariush I The Great (~500 B.C.) and turned to a modern city with running tab water, drainage system, postal service and highways connecting it to other cities of the Persian empire. [...].
Shiraz-Isfahan Highway approaches Persepolis or Takht-e Jamshid as it is known locally, from the west and turns sharp towards the north at the main staircase and the Gate of All Nations. The mountains behind Persepolis are in the east. [...].
It was Alexander who destroyed the magnificent palaces, not long before the death of the last of the Achaemenians, Dariush III, in 330 B.C. [...].
The palaces on the platform are arranged in four separate levels, each being two meters higher. On entering the platform one stands on the level reserved for the delegations. The Apadana palace and surrounding structures for the nobles are higher. The royal quarter is again a step higher. The storage rooms and administrative offices on the back are the lowest. The royal quarter is visible from all areas and should therefore be used as reference.
www.enel.ucalgary.ca/People/far/hobbies/iran/persepolis.html
Have a fantastic Sunday and thanks for dropping by.
Developed jointly by Stanford University and NASA’s Marshall Space Flight Center in Huntsville, Ala., Gravity Probe B (GP-B) was a scientific mission intended to test Albert Einstein’s theory of relativity, which predicted that both space and time are distorted by the presence of massive objects. Marshall was in charge of overall project management while Stanford was responsible for mission conception, design, integration of the science instrument, as well as mission operations and data analysis. GP-B was launched from Vandenberg Air Force Base, Calif. Atop a Boeing Delta II rocket on April 20, 2004.
Image credit: NASA
Original image:
www.nasa.gov/centers/marshall/history/gpb_launch_140422.html
More Marshall history images:
www.nasa.gov/centers/marshall/history/gallery/marshall_hi...
_______________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit: www.nasa.gov/audience/formedia/features/MP_Photo_Guidelin...
Ernest Henry discovered copper in the general vicinity of Mount Cuthbert in 1867, but it was not developed further at that time. John Chapman investigated Mount Cuthbert, Excelsior, and Mighty Atom copper claims in 1900 on behalf of Melbourne investors. Mount Cuthbert assayed the best at 6.5%.
The decision by the Government to extend the Townsville railway beyond Richmond stimulated further exploration in 1905 - 1906. In 1907 the Mount Cuthbert Company had capital of £240,000 and its mines included Mount Cuthbert, Kalkadoon, Mighty Atom, Orphan (near Dobbyn) and Little Wonder. The company had major financial problems from 1909 because of the lack of rail freight and had to reconstruct its capital holdings in 1912.
In 1915, with the price of copper soaring, the company spent £120,000 constructing smelters and had already sent away copper matte by horse teams before the railway reached the mine in September 1916. William H. Corbould, who was appointed Mount Elliott mine manager in 1909 had a grand vision for rationalising the copper industry in the Cloncurry district but, while war delayed its implementation an arrangement was worked out with Mount Cuthbert whereby up to 150 tons of ore per day were to be treated at the Mount Elliott smelter at Selwyn until the Mount Cuthbert plant was completed. Then the situation would be reversed while Mount Elliott increased the capacity of its smelter. Accordingly, the Selwyn smelter ran for five months at the end of 1915 and into 1916 treating both companies' ore, including 13,000 tons railed from Mount Cuthbert.
The Mount Cuthbert smelter was designed by W.H. Corbould, who was also a noted metallurgist and its completion was delayed because of the war. The blast furnaces were eventually fired early in 1917 and the initial operation treated over 25,000 tons of ore which produced 1,804 tons of copper worth £202,350. The Mount Cuthbert Company also invested in a new winding engine and headframe, 200 ton capacity ore bins, extensions to the blacksmith's shop and electricity connected to all the surface buildings. The old equipment was removed and reassembled at the Orphan mine.
Mount Cuthbert township was surveyed by the Mines Department in 1916, but the nearby mines had been worked from 1908 which might explain the close proximity of the settlement to the mines and therefore the smelter.
At its peak Mount Cuthbert township had two hotels, a cordial factory, two stores, three fruiterers, a photographer, butcher, baker, fancy goods/barber, hospital, police station, boarding house, and two railway stations (Mount Cuthbert and Dollubeet). A post office operated from 1908 to 1927. The mining company officers were housed in timber cottages and a barracks, while the majority of residents lived in tents or small corrugated iron shacks with earth floors and stone hearths.
Teamsters supplied logs to the sawmill operating to supply mine timbers from 1913. A school opened in 1917 with 30 pupils taught by Miss E Stapleton. At one point in 1917 the town was reported on the verge of starvation due to problems with railway freight operations.
Today the township area contains about 60 discernible building remains and stone footings, and a commercial area near the railway on the eastern side of the settlement. A cellar, cement floor, and ships tank baking oven indicate the site of the hotel, which reputedly was moved to Kajabbi where it still serves as the Kalkadoon Hotel.
The railway arrived at Mount Cuthbert in October 1915 after taking two years to construct the section north-east from Dugald River. The curving alignment passes through narrow gaps in ridge spurs and follows the Six Mile Creek. Its formation features embankments, cuttings, and bridgeworks. Without the railway, production from the smelters was hampered due to exorbitant freight costs. There were two wayside sidings, Mount Cuthbert and the terminus, Dollubeet, at Kalkadoon.
The Kalkadoon mine is part of the Mount Cuthbert mine group, situated about 2km north along the same geological formation. The earliest mineral lease to be granted in the Mount Cuthbert area was that of the Kalkadoon to Cuthbert Fetherstonhaugh of Cloncurry who took up 4.05 ha from the 1st of August 1899. This mine was mentioned by William Lees in 1906 as the "old mine" and it had already produced 300 tons of high grade ore.
It was further developed by the Mount Cuthbert Company from about 1907. By 1912 temporary pithead gear was in place: a winch and boiler and a headframe from Charters Towers was installed the next year. By 1916 the main shaft was down 107m. Ore mined at the Kalkadoon was smelted at Mount Cuthbert from 1917 and sent to Britain as prime blister copper. It is presumed that the mine closed in 1920 when smelting ceased at Mount Cuthbert. Its manager, J. Delaney, was a well known football player in the district.
In 1918 there was a fatal accident in the Mount Cuthbert mine at the 107m level. By 1919 the main shaft was down to 148m. In 1918 the Mount Cuthbert smelters treated 36,500 tons of ore until November when the crankshaft broke on the blower engine and closed the smelters after a record run. They were not refired until August 1919 and continued smelting copper until the price fell in 1920. The smelters shut down on the 19th of June 1920 after a final run of only 63 days.
The company was forced into raising capital in 1919 and attempted a further financial reconstruction in 1922. However, continued annual losses, low metal prices and pressing debenture commitments forced its liquidation in 1923. In 1925 the Mount Elliott Company purchased the Mount Cuthbert properties and plant for an undisclosed sum, certainly much less than the £500,000 valuation.
The population rose from 50 in 1908, to a peak of 1,000 in 1918, then dropped to 750 in 1920 and to 400 in 1924, but Mount Cuthbert became a ghost town after the Mount Elliott Company bought the mine and plant in 1925.
In 1942 Mount Isa Mines bought the Mount Cuthbert smelters for £900 and plant and other machinery was railed through Cloncurry to Mount Isa's new copper smelter. The Kalkadoon was worked on tribute again in the 1960s before being abandoned.
Source: Queensland Heritage Register.
Piccadilly Gardens - Manchester
Leica M3, 35mm f2 Summicron and Rollei Retro 400S stand developed in Rodinal 1+100 for 1 hour.
Decaying billboard on Route 66 in New Mexico.
Photographed with an Olympus XA rangefinder camera. The film is Kodak Tri-X 400 developed in Rodinal 1:50.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The AH-1 Cobra was developed in the mid-1960s as an interim gunship for the U.S. Army for use during the Vietnam War. The Cobra shared the proven transmission, rotor system, and the T53 turboshaft engine of the UH-1 "Huey". By June 1967, the first AH-1G HueyCobras had been delivered. Bell built 1,116 AH-1Gs for the U.S. Army between 1967 and 1973, and the Cobras chalked up over a million operational hours in Vietnam.
The U.S. Marine Corps was very interested in the AH-1G Cobra, too, but it preferred a twin-engine version for improved safety in over-water operations, and also wanted a more potent turret-mounted weapon. At first, the Department of Defense had balked at providing the Marines with a twin-engine version of the Cobra, in the belief that commonality with Army AH-1Gs outweighed the advantages of a different engine fit. However, the Marines won out and awarded Bell a contract for 49 twin-engine AH-1J SeaCobras in May 1968. As an interim measure the U.S. Army passed on thirty-eight AH-1Gs to the Marines in 1969. The AH-1J also received a more powerful gun turret with a three-barrel 20 mm XM197 cannon based on the six-barrel M61 Vulcan cannon.
During the 1990s, the US forces gradually phased out its Cobra fleet. The withdrawn AH-1s were typically offered to other potential operators, usually NATO allies. Some were also given to the USDA's Forest Service for fire surveillance, and a handful AH-1s went into private hands, including the NASA. Among these airframes were some USMC AH-1Js, which had in part been mothballed in the Mojave Desert since their replacement through more powerful and modern AH-1 variants and the AH-64.
About twenty airframes were, after having been de-militarized, bought by the Kaman Corporation in 2003, in a bold move to quickly respond to more than 20 inquiries for the company’s K-1200 ‘K-Max’ crane synchropter since the type’s end of production in 2001 from firefighting, logging and industry transport requirements. While not such a dedicated medium lift helicopter as the K-1200, which had from the outset been optimized for external cargo load operations, the twin-engine AH-1J promised to be a very effective alternative and a powerful basis for a conversion into a crane helicopter.
The result of this conversion program was the Kaman K-1300, also known as the “K-Cobra” or “Crane Cobra”. While the basic airframe of the AH-1J was retained, extensive detail modifications were made. To reduce weight and compensate for the extensive hardware changes, the SeaCobra lost its armor, the chin turret, and the stub wings. Beyond that, many invisible changes were made; the internal structure between the engine mounts was beefed up with an additional cage structure and a cargo hook was installed under the fuselage in the helicopter’s center of lift.
To further optimize the K-Cobra’s performance, the dynamic components were modified and improved, too. While the engine remained the same, its oil cooler was enlarged and the original output limit to 1.500 shp was removed and the gearbox was strengthened to fully exploit the twin-engine’s available power of 1,800 shp (1,342 kW). The rotor system was also modified and optimized for the transport of underslung loads: the original UH-1 dual-blade rotors were replaced with new four-blade rotors. The new main rotor with rugged heavy-duty blades offered more lift at less rotor speed, and the blades’ lift sections were moved away from the hub so that downwash and turbulences directly under the helicopter’s CoG and man hook were reduced to keep the cargo load more stable. Due to the main rotor’s slightly bigger diameter the tail rotor was changed into a slightly smaller four-blade rotor, too. This new arrangement made the K-1300 more stable while hovering or during slow speed maneuvers and more responsive to steering input.
The Cobra’s crew of two was retained, but the cockpit was re-arranged and split into two compartments: the pilot retained the original rear position in the tandem cockpit under the original glazing, but the gunner’s station in front of him, together with the secondary dashboard, was omitted and replaced by a new, fully glazed cabin under the former gunner position. This cabin occupied the former gun station and its ammunition supply and contained a rearward-facing workstation for a second pilot with full controls. It was accessible via a separate door or a ladder from above, through a trap door in the former gunner’s station floor, where a simple foldable bench was available for a third person. This arrangement was chosen due to almost complete lack of oversight of the slung load from the normal cockpit position, despite a CCTV (closed circuit television) system with two cameras intended for observation of slung loads. The second pilot would control the helicopter during delicate load-handling maneuvers, while the primary pilot “above” would fly the helicopter during transfer flights, both sharing the workload.
To accommodate the cabin under the fuselage and improve ground handling, the AH-1J’s skids were replaced by a stalky, fixed four-wheel landing gear that considerably increased ground clearance (almost 7 feet), making the attachment of loads on the ground to the main ventral hook easier, as the K-1300 could be “rolled over” the cargo on the ground and did not have to hover above it to connect. However, an external ladder had to be added so that the pilot could reach his/her workstation almost 10 feet above the ground.
The bulky ventral cabin, the draggy landing gear and the new lift-optimized rotor system reduced the CraneCobra’s top speed by a third to just 124 mph (200 km/h), but the helicopter’s load-carrying capacity became 35% higher and the Cobra’s performance under “hot & high” conditions was markedly improved, too.
For transfer flights, a pair of external auxiliary tanks could be mounted to the lower fuselage flanks, which could also be replaced with cargo boxes of similar size and shape.
K-1300 buyers primarily came from the United States and Canada, but there were foreign operators, too. A major operator in Europe became Heliswiss, the oldest helicopter company in Switzerland. The company was founded as „Heliswiss Schweizerische Helikopter AG“, with headquarters in Berne-Belp on April 17, 1953, what also marked the beginning of commercial helicopter flying in Switzerland. During the following years Heliswiss expanded in Switzerland and formed a network with bases in Belp BE, Samedan GR, Domat Ems GR, Locarno TI, Erstfeld UR, Gampel VS, Gstaad BE and Gruyères FR. During the build-up of the rescue-company Schweizerische Rettungsflugwacht (REGA) as an independent network, Heliswiss carried out rescue missions on their behalf.
Heliswiss carried out operations all over the world, e. g. in Greenland, Suriname, North Africa and South America. The first helicopter was a Bell 47 G-1, registered as HB-XAG on September 23, 1953. From 1963 Heliswiss started to expand and began to operate with medium helicopters like the Agusta Bell 204B with a turbine power of 1050 HP and an external load of up to 1500 kg. From 1979 Heliswiss operated a Bell 214 (external load up to 2.8 t).
Since 1991 Heliswiss operated a Russian Kamov 32A12 (a civil crane version of the Ka-27 “Helix”), which was joined by two K-1300s in 2004. They were frequently used for construction of transmission towers for overhead power lines and pylons for railway catenary lines, for selective logging and also as fire bombers with underslung water bags, the latter managed by the German Helog company, operating out of Ainring and Küssnacht in Germany and Switzerland until 2008, when Helog changed its business focus into a helicopter flight training academy in Liberia with the support of Germany's Federal Ministry of Education and Research.
A second Kamov 32A12 joined the fleet in 2015, which replaced one of the K-1300s, and Heliswiss’ last K-1300 was retired in early 2022.
General characteristics:
Crew: 2, plus space for a passenger
Length: 54 ft 3 in (16,56 m) including rotors
44 ft 5 in (13.5 m) fuselage only
Main rotor diameter: 46 ft 2¾ in (14,11 m)
Main rotor area: 1,677.64 sq ft (156,37 m2)
Width (over landing gear): 12 ft 6 in (3.85 m)
Height: 17 ft 8¼ in (5,40 m)
Empty weight: 5,810 lb (2,635 kg)
Max. takeoff weight: 9,500 lb (4,309 kg) without slung load
13,515 lb (6,145 kg) with slung load
Powerplant:
1× P&W Canada T400-CP-400 (PT6T-3 Twin-Pac) turboshaft engine, 1,800 shp (1,342 kW)
Performance:
Maximum speed: 124 mph (200 km/h, 110 kn)
Cruise speed: 105 mph (169 km/h, 91 kn)
Range: 270 mi (430 km, 230 nmi) with internal fuel only,
360 mi (570 km 310 nmi) with external auxiliary tanks
Service ceiling: 15,000 ft (4,600 m)
Hovering ceiling out of ground effect: 3,000 m (9,840 ft)
Rate of climb: 2,500 ft/min (13 m/s) at Sea Level with flat-rated torque
External load capacity (at ISA +15 °C (59.0 °F):
6,000 lb (2,722 kg) at sea level
5,663 lb (2,569 kg) at 5,000 ft (1,524 m)
5,163 lb (2,342 kg) at 10,000 ft (3,048 m)
5,013 lb (2,274 kg) at 12,100 ft (3,688 m)
4,313 lb (1,956 kg) at 15,000 ft (4,600 m)
The kit and its assembly:
This is/was the second contribution to the late 2022 “Logistics” Group Build at whatifmodellers.com, a welcome occasion and motivation to tackle a what-if project that had been on my list for a long while. This crane helicopter conversion of a HueyCobra was inspired by the Mil Mi-10K helicopter – I had built a 1:100 VEB Plasticart kit MANY years ago and still remembered the helicopter’s unique ventral cabin under the nose with a rearward-facing second pilot. I always thought that the AH-1 might be a good crane helicopter, too, esp. the USMC’s twin-engine variant. And why not combine everything in a fictional model?
With this plan the basis became a Fujimi 1:72 AH-1J and lots of donor parts to modify the basic hull into “something else”. Things started with the removal of the chin turret and part of the lower front hull to make space for the ventral glass cabin. The openings for the stub wings were faired over and a different stabilizer (taken from a Revell EC 135, including the end plates) was implanted. The attachment points for the skids were filled and a styrene tube was inserted into the rotor mast opening to later hold the new four-blade rotor. Another styrene tube with bigger diameter was inserted into the lower fuselage as a display holder adapter for later flight scene pictures. Lead beads filled the nose section to make sure the CraneCobra would stand well on its new legs, with the nose down. The cockpit was basically taken OOB, just the front seat and the respective gunner dashboard was omitted.
One of the big challenges of this build followed next: the ventral cabin. Over the course of several months, I was not able to find a suitable donor, so I was forced to scratch the cabin from acrylic and styrene sheet. Size benchmark became the gunner’s seat from the Cobra kit, with one of the OOB pilots seated. Cabin width was less dictated through the fuselage, the rest of the cabin’s design became a rather simple, boxy thing – not pretty, but I think a real-life retrofitted cabin would not look much different? Some PSR was done to hide the edges of the rather thick all-clear walls and create a 3D frame - a delicate task. Attaching the completed thing with the second pilot and a dashboard under the roof to the Cobra’s lower hull and making it look more or less natural without major accidents was also a tricky and lengthy affair, because I ignored the Cobra’s narrowing nose above the former chin turret.
With the cabin defining the ground helicopter’s clearance, it was time for the next donors: the landing gear from an Airfix 1:72 Kamow Ka-25, which had to be modified further to achieve a proper stance. The long main struts were fixed to the hull, their supporting struts had to be scratched, in this case from steel wire. The front wheels were directly attached to the ventral cabin (which might contain in real life a rigid steel cage that not only protects the second crew member but could also take the front wheels’ loads?). Looks pretty stalky!
Under the hull, a massive hook and a fairing for the oil cooler were added. A PE brass ladder was mounted on the right side of the hull under the pilot’s cockpit, while a rear-view mirror was mounted for the ventral pilot on the left side.
The rotor system was created in parallel, I wanted “something different” from the UH-1 dual-blade rotors. The main rotor hub was taken from a Mistercraft 1:72 Westland Lynx (AFAIK a re-boxed ZTS Plastyk kit), which included the arms up to the blades. The hub was put onto a metal axis, with a spacer to make it sit well in the new styrene tube adapter inside of the hull, and some donor parts from the Revell EC 135. Deeper, tailored blades were glued to the Lynx hub, actually leftover parts from the aforementioned wrecked VEB Plasticart 1:100 Mi-10, even though their length had to be halved (what makes you aware how large a Mi-6/10 is compared with an AH-1!). The tail rotor was taken wholesale from the Lynx and stuck to the Cobra’s tail with a steel pin.
Painting and markings:
Another pushing factor for this build was the fact that I had a 1:72 Begemot aftermarket decal sheet for the Kamow Ka-27/32 in The Stash™, which features, among many military helicopters, (the) two civil Heliswiss machines – a perfect match!
Using the Swiss Helix’ as design benchmark I adapted their red-over-white paint scheme to the slender AH-1 and eventually ended up with a simple livery with a white belly (acrylic white from the rattle can, after extensive masking of the clear parts with Maskol/latex milk) and a red (Humbrol 19) upper section, with decorative counter-colored cheatlines along the medium waterline. A black anti-glare panel was added in front of the windscreen. The auxiliary tanks were painted white, too, but they were processed separately and mounted just before the final coat of varnish was applied. The PE ladder as well as the rotors were handled similarly.
The cockpit and rotor opening interior were painted in a very dark grey (tar black, Revell 06), while the interior of the air intakes was painted bright white (Revell 301). The rotor blades became light grey (Revell 75) with darker leading edges (Humbrol 140), dark grey (Humbrol 164) hubs and yellow tips.
For the “HELOG/Heliswiss” tagline the lower white section had to be raised to a medium position on the fuselage, so that they could be placed on the lower flanks under the cockpit. The white civil registration code could not be placed on the tail and ended up on the engine cowling, on red, but this does not look bad or wrong at all.
The cheatlines are also decals from the Ka-32 Begemot sheet, even though they had to be trimmed considerably to fit onto the Cobra’s fuselage – and unfortunately the turned out to be poorly printed and rather brittle, so that I had to improvise and correct the flaws with generic red and white decal lines from TL Modellbau. The white cross on the tail and most stencils came from the Begemot sheet, too. Black, engine soot-hiding areas on the Cobra’s tail were created with generic decal sheet material, too.
The rotor blades and the wheels received a black ink treatment to emphasize their details, but this was not done on the hull to avoid a dirty or worn look. After some final details like position lights the model was sealed with semi-matt acrylic varnish, while the rotors became matt.
A weird-looking what-if model, but somehow a crane-copter variant of the AH-1 looks quite natural – even more so in its attractive red-and-white civil livery. The stalky landing gear is odd, though, necessitated by the ventral cabin for the second pilot. I was skeptical, but scratching the latter was more successful than expected, and the cabin blend quite well into the AH-1 hull, despite its boxy shape.
I waited until the last minute, since my goal was to learn home developing this summer. School starts for me on Monday. Since I wanted to do my first attempt while Perry was in school, I only had Thursday and Friday this week.
It went pretty well. The only thing I got wrong was loading the film onto the spirals. I had no practice, so it was all on feel in the developing bag. Part of the film at the beginning of the spiral was loaded wrong and was touching another part of the film. This made those parts not process correctly (or maybe even at all). The roll was just a bunch of practice shots around the house to see how my Rollei meter was working. (I think it is 2 stops under). Since I don't really care about these pics I am going to put this roll of negatives to good use. I am going to practice in the light and then in the bag getting the film on the spirals. That way I will have a feel for how the film should feel for my next attempt.
The actual processing went rather smoothly. It was nice to have that first attempt under my belt. I have a second roll to process, so maybe this weekend I will make my second go at it.
Food trucks in Kahuku on Oahu, Hawaii.
Photographed with a Zeiss Ikon Super Ikonta 530 using a red filter. The film is expired Konica Infrared 750 nm developed in Ilford Ilfosol 3 for 6 minutes.
Las Vegas, NV. March 28, 2018. Shot on a Canon AE-1 and Kodak Ektar 100. Developed and scanned by The Darkroom.
Okayama, Mikasa, Hokkaido. Back are Mt.Kumaneshiri and others.
Rich XR8, Tamron 135mm F2.8, F64D ( cine-negative from Fuji ) exposed as ISO 40, developed with reversal processing ( 1st: Finedol 24 DegC. 200 minutes.a little too much, 2nd:ECN2 ),
scanned with Epson V700 ; EpsonSoftware, edited with GIMP. Learn DIY development and upgrade to film !
Some background:
The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).
The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.
The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.
The basic VF-1 was deployed in four sub-variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower. The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.
After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.
The versatile aircraft underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.
Many Valkyries also received improved radar warning systems, with sensor arrays, depending on the systems, mounted on the wing-tips, on the fins and/or on the LERXs. Improved ECR measures were also added to some machines, typically in conformal fairings on the flanks of the legs/engine pods.
The U.N.S. Marine Corps, which evolved from the United States Marine Corps after the national service was transferred to the global U.N. Spacy command in 2008, was a late adopter of the VF-1, because the Valkyries’ as well as the Destroids’ potential for landing operations was underestimated. But especially the VF-1’s versatility and VTOL capabilities made it a perfect candidate as a replacement for the service’s AV-8B Harrier II and AH-1 Cobra fleet in the close air support (CAS) and interdiction role. The first VF-1s were taken into service in January 2010 by SVMF-49 “Vikings” at Miramar Air Base in California/USA, and other units followed soon, immediately joining the battle against the Zentraedi forces.
The UNSMC’s VF-1s were almost identical to the standard Valkyries, but they had from the start additional hardpoints for light loads like sensor pods added to their upper legs, on the lower corners of the air intake ducts. These were intended to carry FLIR, laser target designators (for respective guided smart weapons) or ECM pods, while freeing the swiveling underwing hardpoints to offensive ordnance.
Insisting on their independent heritage, the UNSMC’s Valkyries were never repainted in the U.N. Spacy’s standard tan and white livery. They either received a unique two tone low visibility gray paint scheme (the fighter units) or retained paint schemes that were typical for their former units, including some all-field green machines or VF-1s in a disruptive wraparound livery in grey, green and black.
Beyond A and J single-seaters (the UNSMC did not receive the premium S variant), a handful of VF-1D two-seaters were upgraded to the UNSMC’s specification and very effectively operated in the FAC (Forward Air Control) role, guiding both long-range artillery as well as attack aircraft against enemy positions.
The UNSMC’s VF-1s suffered heavy losses, though – for instance, SVMF-49 was completely wiped out during the so-called “Zentraedi Rain of Death” in April 2011, when the Zentraedi Imperial Grand Fleet, consisting of nearly five million warships, appeared in orbit around the Earth. Commanded by Dolza, Supreme Commander of the Zentraedi, they were ordered to incinerate the planet's surface, which they did. 70% of the Earth was utterly destroyed, according to the staff at Alaska Base. Dolza initially believed this to be total victory, until a massive energy pulse began to form on the Earth's surface. This was the Grand Cannon, a weapon of incredible destructive power that the Zentraedi were unaware of, and it disintegrated a good deal of the armada that was hanging over the Northern Hemisphere. While the Zentraedi were successful in rendering the weapon inoperable before it could fire a second time, the SDF-1 began a counterattack of its own alongside the renegade Imperial-Class Fleet and Seventh Mechanized Space Division, which destroyed the Imperial Grand Fleet. After this event, though, the UNSMC as well as other still independent services like the U.N. Navy were dissolved and the respective units integrated into the all-encompassing U.N. Spacy.
The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68)
However, the fighter remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!
General characteristics:
All-environment variable fighter and tactical combat Battroid,
used by U.N. Spacy, U.N. Navy, U.N. Space Air Force and U.N.S. Marine Corps
Accommodation:
Pilot only in Marty & Beck Mk-7 zero/zero ejection seat
Dimensions:
Fighter Mode:
Length 14.23 meters
Wingspan 14.78 meters (at 20° minimum sweep)
Height 3.84 meters
Battroid Mode:
Height 12.68 meters
Width 7.3 meters
Length 4.0 meters
Empty weight: 13.25 metric tons;
Standard T-O mass: 18.5 metric tons;
MTOW: 37.0 metric tons
Power Plant:
2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or 225.63 kN in overboost
4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip)
18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles
Performance:
Battroid Mode: maximum walking speed 160 km/h
Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87
g limit: in space +7
Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24
Design Features:
3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system
Transformation:
Standard time from Fighter to Battroid (automated): under 5 sec.
Min. time from Fighter to Battroid (manual): 0.9 sec.
Armament:
2x Mauler RÖV-20 anti-aircraft laser cannon, firing 6,000 pulses per minute
1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min
4x underwing hard points for a wide variety of ordnance, including…
12x AMM-1 hybrid guided multipurpose missiles (3/point), or
12x MK-82 LDGB conventional bombs (3/point), or
6x RMS-1 large anti-ship reaction missiles (2/outboard point, 1/inboard point), or
4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles,
or a combination of above load-outs
2x auxiliary hardpoints on the legs for light loads like a FLIR sensor, laser rangefinder/
target designator or ECM pod (typically not used for offensive ordnance)
The kit and its assembly:
This fictional VF-1 was born from spontaneous inspiration and the question if the USMC could have adopted the Valkyrie within the Macross time frame and applied its rather special grey/green/black paint scheme from the Nineties that was carried by AH-1s, CH-46s and also some OV-10s.
The model is a simple, vintage ARII VF-1 in Fighter mode, in this case a VF-1D two-seater that received the cockpit section and the head unit from a VF-1J Gerwalk model to create a single seater. While the parts are interchangeable, the Gerwalk and the Fighter kit have different molds for the cockpit sections and the canopies, too. This is mostly evident through the lack of a front landing gear well under the Gerwalk's cockpit - I had to "carve" a suitable opening into the bottom of the nose, but that was not a problem.
The kit was otherwiese built OOB, with the landing gear down and (finally, after the scenic flight pictures) with an open canopy for final display among the rest of my VF-1 fleet. However, I added some non-canonical small details like small hardpoints on the upper legs and the FLIR and targeting pods on them, scratched from styrene bits.
The ordnance was changed from twelve AMM-1 missiles under the wings to something better suited for attack missions. Finding suitable material became quite a challenge, though. I eventually settled on a pair of large laser-guided smart bombs and two pairs of small air-to-ground missile clusters. The LGBs are streamlined 1:72 2.000 lb general purpose bombs, IIRC from a Hobby Boss F-5E kit, and the launch tubes were scratched from a pair of Bazooka starters from an Academy 1:72 P-51 kit. The ventral standard GU-11 pod was retained and modified to hold a scratched wire display for in-flight pictures at its rear end.
Some blade antennae were added around the hull as a standard measure to improve the simple kit’s look. The cockpit was taken OOB, I just added a pilot figure for the scenic shots and the thick canopy was later mounted on a small lift arm in open position.
Painting and markings:
Adapting the characteristic USMC three-tone paint scheme for the VF-1 was not easy; I used the symmetric pattern from the AH-1s as starting point for the fuselage and gradually evolved it onto the wings into an asymmetric free-form pattern, making sure that the areas where low-viz roundels and some vital stencils would sit on grey for good contrast and readability. The tones became authentic: USMC Field Green (FS 34095, Humbrol 105), USN Medium Grey (FS 35237, Humbrol 145) and black (using Revell 06 Tar Black, which is a very dark grey and not pure black). For some contrast the wings' leading edges were painted with a sand brown/yellow (Humbrol 94).
The landing gear became standard white (Revell 301), the cockpit interior medium grey (Revell 47) with a black ejection seat with brown cushions, and the air intakes as well as the interior of the VG wings dark grey (Revell 77). To set the camouflaged nose radome apart I gave it a slightly different shade of green. The GU-11 pod became bare metal (Revell 91). The LGBs were painted olive drab overall while the AGMs became light grey.
Roundels as well as the UNSMC and unit tags were printed at home in black on clear decal sheet. The unit markings came from an Academy OV-10. The modex came from an 1:72 Revell F8F sheet. Stencils becvame eitrher black or white to keep the low-viz look, just a few tiny color highlights bereak the camouflage up. Some of the characteristic vernier thrusters around the hull are also self-made decals.
Finally, after some typical details and position lights were added with clear paint over a silver base, the small VF-1 was sealed with a coat of matt acrylic varnish.
A spontaneous interim project - and the UMSC's three-tone paint scheme suits the VF-1 well, which might have been a very suitable aircraft for this service and its mission profiles. I am still a bit uncertain about the camouflage's effectiveness, though - yes, it's disruptive, but the color contrasts are so high that a hiding effect seems very poor, even though I find that the scheme works well over urban terrain? It's fictional, though, and even though there are canonical U.N.S. Marines VF-1s to be found in literature, none I came across so far carried this type of livery.
Svema 200, my favorite B/W film has a very strong but thin base. It is so thin it can be a challenge to load on a developing reel. Thinking a wider flange, like the one pictured on the bottom would make life a lot easier since getting it started is the hardest part. It did seem to load easier but I was having unusual problems of large areas not developing. hummmmm. So I loaded a strip in daylight and found the film was loading in the same spiral right behind itself. No more Arista reels for Svema.
The top reel is my good old faithful Paterson, I have many of these. AP, Coast and many other brands make reels very close to this design, although I have used some that do not have plastic as smooth and slick as Paterson. I really stick to the Paterson brand on these. Some consider this to be a standard reel and offer the wide flange as a premium reel.
The middle reel is a Vivitar branded reel, I don't know who really made it but I have only seen it with the Vivitar name. It works well for any film including Svema. I would love a few more of these, they are a little easier to teach newbies how to load a reel.
The bottom is the Arista Premium wide flange reel, I have seen it made under Samigon, AP, and Omega names, often referred to as a premium reel. Sorry but I need a reel to work with any film I load on it so out it went.
The short pieces of film in reels are simply there to make the loading flanges easier to see although nano_burger's comment below about film chimping is hilarious.