+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

The Panzerkampfwagen E-100, also known as Gerät 383 and TG-01, was a German super-heavy tank design developed towards the end of World War II. It was proposed to be the basis for a heavy artillery system, an anti-aircraft vehicle, and a heavy tank destroyer. The basic design had been ordered by the Waffenamt as a parallel development to Porsche's heavy tank design "Maus" in June 1943, but it was to become an integral part of the new, standardized Entwicklung (E) series of vehicles, consisting of the E-5, E-10, E-25, E-50, E-75 and finally the E-100. The latter was the heaviest and biggest chassis of the family, which was meant to standardize as many components and production processes as possible.

With all this heavy and bulky equipment as well as a total stock of 202 88 mm rounds and a crew of seven the Sd.Kfz. 199/4 weighed – despite the chassis’ reduced armor thickness – more than 100 tons, so that its mobility and tactical value were sharply restricted, even though it was markedly better than the battle tanks with their all-up weight of 140 tons and more. Due to this limited usefulness and lack of resources, only a small number were built. Production numbers vary between 15 and 25 vehicles, some might have been created on the basis of refurbished Sd.Kfz. 193 battle tank hulls. Most of the time, the few Sd.Kfz. 199/4s were used as mobile command posts for anti-aircraft units that defended vital locations like headquarters or production sites around Berlin, so that the vehicle’s short legs did not matter much.

Specifications:

Crew: 7 (Commander, Gunner, Telemeter operator, 2x Loader, Driver, Radio Operator)

Weight: 108 tonnes (119 short tons)

Length: 8.86 m (29 ft), hull only

11.62 m (38 ft 1 in), overall with guns forward

Width: 3.96 m

4.48 m (14 ft 8 in) with armored side skirts mounted

Height: 3.29 m (10 ft 10 in)

3.92 m (12 ft 10 in) with Schwere Waffenlafette 45

Suspension: Belleville washer coil spring

Armor:

Hull front: 80 – 120 mm (3.2 – 4.7 in)

Hull sides and rear: 60 – 90 mm (2.4 – 3.5in)

Hull top: 40 mm (1.6 in)

Hull bottom: 40–80 mm (1.6–3.1 in)

Turret front: 140 mm (5.5 in)

Turret sides & rear: 60 – 90 mm (2.4 – 3.5in)

Turret top: 40 mm (1.6 in)

Engine:

1x turbocharged Maybach HL232 V12 gasoline engine with 1.200 hp

Performance:

Maximum road speed: 40 km/h (25 mph)

Sustained road speed: 36 km/h (22 mph)

Cross country speed: 14 to 20 km/h (8.7 to 12.4 mph)

Power/weight: 8,57 hp/ton

Range: 120 km (74 mi) on road

85 km (53 mi) cross country

Power/weight: 11.1 PS/tonne (10.1 hp/ton)

Armament:

2x 88mm (3.46 in) FlaK 43 L/80 in a Gerät 288 Zwilling mount, with a total of 202 rounds

1x Schwere Waffenlafette 45 with:

1x 30 mm (1.18 in) MK 103 machine cannon (60 RPG) and

1x 7.92 mm (0,312 in) MG 42 machine gun

6x 76 mm Wegmann smoke mortars

The kit and its assembly:

Another fictional German WWII/Heer ’46 SPAAG, and it’s a big one with a lot of SF appeal since it makes IMHO not much sense from a tactical point of view. However, this is whifworld, so it perfectly fits, and such paper project models seem to be very popular – even though I do not understand why many modelers build them in a style that I’d almost call “Steampunk”?

I had the ModelCollect E-100 twin-88 mm gun Flakpanzer kit stashed away since it came out in 2017, but never had the nerve and mojo so far to build it, because it is simply a huge tank with twin gun barrels. This changed, in the wake of other SPAAG builds, and was a quick and straightforward build. ModelCollect‘s E-100 kit is finely molded, but it has IMHO some issues. The biggest problem I found is the hull: you have to take (a lot of) care to make sure that the hull elements are properly aligned due to their sheer size. The problem is: all outer walls are standing free with no alignment reference, and I have the impression that the rear wall is too small, so that the roof does later not properly fit into the opening. An internal engine bay bulkhead that could be used as an alignment reference is missing locator pins, so that you are left to guess where to place it.

On the positive side: the kit comes with brass gun barrels and two small boards with PE parts, e. g. for louvres on the engine cover which hides a complete engine with a detailed motor block, radiators, dust filters, etc. This way, you can easily integrate the E-100 into a workshop diorama or a similar scene. There’s also a delicate PE mount for an infrared sight.

However, building troubles easily outweigh the kit’s hardware highlights. Mounting the wheels was not easy. The sprocket wheels at the front as well as the idler wheels at the rear have complicated and flimsy constructions with very thin and short pins that hold them – any tension on the vinyl track easily bends them! To improve stability, I drilled holes through these wheels’ attachment points and put a continuous metal axis through the hull. The (nicely detailed) vinyl tracks themselves are unfortunately molded in a sandy beige, and they turned out to be too short, so that they had to be carefully stretched to match the running gear before they were painted and mounted. This should really one of the final assembly steps.

But this is not the only problem zone, you stumble upon small bugs and nuisances everywhere, like missing holes on the idler wheels, poor fit on the turret parts that call for PSR or instructions that do not match the parts. And it is not helpful that different kinds of wheel halves on the same sprue are just designated ”Part 1” and “Part 2”. All these hiccups are not fatal, but the whole kit leaves a giddy (if not lousy) impression. It’s nothing for tank kit beginners, and since this is the second time that I have built one of these with several déjà vus, I am quite disappointed by the kit.

The kit was basically built OOB, but for a more science fiction-esque twist I added a close-range defense in the form of a (fictional) remote-controlled weapon mount on the turret roof. This is an aftermarket set from ModelTrans/Silesian Models, a resin-cast gun barbette that reminds of the early German “Marder” IFV’s main weapon. However, it made IMHO perfect sense for this behemoth because it would be very vulnerable to infantry attacks, and the huge turret offered enough space on the roof and inside to mount it.

Since I did not want to depict a vehicle during overhaul, the whole engine bay interior was left away and the space under the bonnet filled with foamed plastic and later painted black. PE grates from the OOB plate were used to block views into the bay further.

Another personal modification is the omittance of the bulky side skirts that cover most of the running gear and the tracks. They make IMHO sense on the heavy battle tank and maybe assault gun versions, but on the SPAAG they just add weight and use up resources. I left them away and replaced them with scratched alternatives, created from 0.5 mm styrene sheet and profiles, slightly dented at the edges for a more natural and worn look.

Because the E-100 kit lacks any equipment on the hull (well, if this heavy vehicle broke it would certainly have been abandoned – who’s salvage it!? Another weak point of thew whole concept), I added some resin storage boxes.

Painting and markings:

It took some time to decide how to paint this huge thing. Inspiration eventually came from the idea that it would probably have only been used to defend very important targets, most probably around or in Berlin, so that an urban environment and a suitable camouflage would make IMHO most sense.

I took some inspiration from the British “Berlin Brigade” urban camouflage (consisting of square fields in bluish grey, dark brown and white) and the German late-war simplified splinter schemes. Since the E-100’s bulk would be hard to conceal, esp. with rather small mottles, I rather concentrated on disrupting its outlines and blending it with buildings in the background. Such an urban/artificial environment calls for angular and horizontal lines and edges, but I did not want to make the paint scheme look too modern, like a pixel scheme. The vehicle would furthermore be painted with only limited resources at hand, or maybe just in the field, so that typical red primer would certainly show through, with camouflage added on top.

This led to an initial overall basis in RAL 3009 Oxidrot. This was applied from a rattle can and shaded with clouds of different similar tones like Humbrol 70 and 160, for an uneven look. On top of that I added a vertically aligned splinter scheme with thinned Panzergrau (RAL 7021, Humbrol 67) and Dunkelgelb (RAL 7028, Humbrol 83), with the primer showing through and leaving the inside of the running gear uncamouflaged. The horizontal surfaces remained Dunkelgelb. The twin gun barrels were painted in a slightly different fashion: their undersides became RAL 7028, for a low contrast against the sky when raised, and onto the upper surfaces in Oxidrot I added (only) Panzergrau mottles. The remote-controlled barbette was, as an “aftermarket piece” and to reduce its contrast against the sky, too, painted uniformly in Dunkelgelb, but in a different shade (Tamiya XF-60).

I considered adding small clusters of Hellgrau (RAL 7035, Humbrol 196) and Olivgrün (RAL 6003, Humbrol 86) here and there to break up the vehicles outlines, but found that this would look too superficial and “forced”, so that the scheme remained rather a splinter scheme.

Once the basic camouflage had been applied, the kit was weathered with a highly thinned wash of dark brown, grey and black acrylic paint. Once dry the major surfaces were lightly wet-sanded, revealing more of the underlying red primer.

Tactical markings are minimal, just with Iron Crosses on the hull and a white tactical code on the turret flanks. As a unit code, the s.Pz.Abt. 505’s emblem, a charging knight on a horse, was added to the turret. The decals were protected with a thin coat of varnish before the next steps.

Details and edges were then highlighted through dry-brushing with Humbrol 70 (Brick Red) and 168 (RAF Hemp). Dust residues and some rust traces were painted with watercolors. These were also used to weather the (rather stiff) vinyl tracks, which were molded in a sand color and had to be totally painted – with an initial overall coat of acrylic black paint from the rattle can and later with grey and red brown acrylic artist paints, and some medium grey dry-brushing.

Matt acrylic varnish (Italeri) was used to seal the kit, and once the tracks had been mounted, the lower hull was dusted with grey/brown mineral pigments.

This one took some time to materialize. The E-100 kit fought my efforts to put it together constantly, and the conversions and add-ons – while not a major surgical intervention – took some time. Finding a credible camouflage concept for this hulk of a tank (a.k.a. rolling bunker with guns) was not easy either. But the idea of using the primer color as base with additional, somewhat digital camouflage on top looks credible and “works”. - e. A relatively quick build, realized in less than a week, and some (minor) challenges. What a huge vehicle the E-100 has been – but what a waste of effort, resources and tactical limitations due to the vehicle’s sheer size and weight. Looks impressive, though, esp. when you place this hulk next to a “normal” tank…

In the end I am not really convinced of my paint scheme idea, but I ran with it since I wanted something different from the obvious German late war standard scheme.

Natural bridge developed in Upper Paleozoic sandstones in Wyoming, USA.

Rock arches are rare erosional features. Rock arches that are not formed by river or stream erosion are called "natural arches". Those that are formed by river or stream erosion are called "natural bridges". Natural bridges are rarer than natural arches. The highest concentration of natural arches on Earth is Arches National Park in eastern Utah, USA. Very small erosional openings in rocks are called windows. Larger erosional openings are arches. Examples next to inland bodies of water are called lake arches. Examples along ocean shorelines are called sea arches.

The natural bridge seen here is developed in reddish and light-colored sandstones of the Casper Formation in Wyoming. The feature formed by erosional undercutting of a bedrock meander neck.

------------------------------

From park signage:

Natural Bridge and the Oregon Trail

The Oregon Trail crosses LaPrele Creek about one mile downstream from Natural Bridge. Before the modern road was built into the gorge, Natural Bridge was difficult to access, and it was only rarely visited by emigrants of the covered wagon era. From time to time, however, a few ambitious travelers made their way through the heavy brush and down the steep walls of the canyon to see this remarkable work of nature.

While Native Americans were probably well aware of Natural Bridge, the earliest to record their visits were New Orleans newspaperman Matthew Field and Steadman Tilghman, a young doctor from Baltimore. Both were traveling companions of Scottish nobleman William Drummond Stewart. An early day tourist, Stewart had organized several hunting and exploring expeditions into the Rocky Mountains and traveled strictly for pleasure. In 1843, he was making his final trip west.

On July 12, Field wrote: "Rode off in advance of the camp with Sir William, to visit a remarkable mountain gorge - a "natural bridge" of solid rock, over a rapid torrent, the arch being regular as though shaped by art - 30 feet from base to ceiling, and 50 to the top of the bridge - wild cliffs, 300 feet perpendicular beetled us, and the noisy current swept along among huge fragments of rock at our feet. We had a dangerous descent, and forced our way through an almost impervious thicket, being compelled to take the bed of the stream in gaining a position below. We called the water "Bridge Creek" !

Doctor Tilghman: "The Natural Bridge" is perhaps one of the greatest curiosities we saw in the while of our interesting expedition. It is at the extremity of a valley formed of an immense chasm, with rocky sides - and a perpendicular height of 300 feet - through which flows a beautiful chrystal stream."

In 1846, James Frazier Reed of the ill-fated Donner Party was aware of the bridge. In his diary he wrote, "We made this day 18 miles and camped on Beaver Creek. Here is a natural bridge 1.5 miles above camp."

During the California Gold Rush, a few "Forty-niners" found time to visit Natural Bridge. In a letter dated July 4, 1849, while camped at Deer Creek, Cephas Arms of the Fayette Rovers wrote: "Where we camped last night, and we meant to spend the 4th, instead of coming eighteen miles through the dust thick enough to choke us, if we could find grass, was quite a natural curiosity in the shape of a natural bridge. It is thrown over the river where we camped. "Fourche Boise River", and is a perfect arch one hundred feet long and eighteen feet high of solid stone. On either side the perpendicular rocks rise to the height of one hundred and fifty feet. The bridge is just at the foot of the mountain through which the stream passes. The mountain is three or four hundred feet above the plain below, and the river rushes through a gorge in the mountain with perpendicular walls to the top of the hill, the whole forming one of the wildest scenes I ever beheld. The bridge has never been named until today. We have christened it Welch's Bridge in honor of one of our company from Michigan, who pronounces it only second to the far famed Virginia bridge. But I have not time to describe the half I have seen. Scenery the most beautiful and grand I ever saw."

The bridge was named after Adonijah S. Welch of Jonesville, Michigan. A graduate of the University of Michigan, Welch was later the first president of iowa State University.

On June 26, 1850, Isaac R. Starr wrote: "Up near the high cliffs there is an arch of solid stone over this river, 40 or 50 feet wide and 15 feet high. I passed up the river, rose through beneath the arch, and viewed with delight the grand works of nature."

------------------------------

From park signage:

Formation of Ayres Natural Bridge

Meandering LaPrele Creek drainage cuts into alternating layers of sandstone and sandy limestone of the Permian-Pennsylvanian Casper Formation.

LaPrele Creek erodes both the upstream and downstream sides of the outcrop.

Undercutting by the creek collapses the lower level of stone, forming the bridge. The creek then follows the shortcut, flowing under the bridge.

------------------------------

Stratigraphy: Casper Formation (also known as the Tensleep Formation), Middle Pennsylvanian to Lower Permian

Locality: Ayres Natural Bridge over LaPrele Creek, southern end Natural Bridge Road, south of Interstate 25, west of the town of Douglas, Converse County, eastern Wyoming, USA

------------------------------

See info. at:

en.wikipedia.org/wiki/Ayres_Natural_Bridge_Park

The Folland Gnat was a small, swept-wing British subsonic jet trainer and light fighter aircraft developed by Folland Aircraft for the Royal Air Force, and flown extensively by the Indian Air Force.

The Gnat was designed by W.E.W. Petter as a development of the private venture Folland Midge, and first flew in 1955. Its design allowed its construction without specialised tools by countries not highly industrialised. Although never used as a fighter by the Royal Air Force (RAF), the Gnat T.1 trainer variant was widely used. The Gnat became well known as the aircraft of the RAF's Red Arrows aerobatic team.

The Gnat was exported to Finland, Yugoslavia and India. The Indian Air Force became the largest operator and eventually manufactured the aircraft under licence. India then developed the HAL Ajeet, a modified and improved variant.

HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.

Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.

Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!

Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!

Canonet QL17 40/1.7

Kodak ImageLink Technical film

Exposed like ISO32

Developing R09 1:100, 20C, 40min.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

It took China long way to develop and produce a true supersonic fighter aircraft: in March, 1964, Shenyang Aircraft Factory began the first domestic production of the J-7 jet fighter. However, the mass production of the aircraft, which had been developed through Soviet help, license production and reverse-engineering, was severely hindered by an unexpected problem—the Cultural Revolution. This incident and its consequences resulted in poor initial quality and slow progress.

Production was still continuing in small numbers in late 2016, but the number of built specimen is uncertain. About 150 J-7DH are supposed to be in active service, mostly with PLANAF Northern and East Fleet units. Unlike many former J-7 variants (including its ancestor, the PLAAF's more or less stillborn C and D variants), the J-7DH was not offered for export.

General characteristics:

Crew: 1

Length: 14.61 m (47 ft 10½ in)

15.69 m (51 ft 5 in) with pitot

Wingspan: 7,41 m (24 ft 3½ in)

Height: 4.78 m (15 ft 8½ in)

Wing area: 28.88 m² (309.8 ft²)

Aspect ratio: 2.8:1

Empty weight: 5,892 kg (12.977 lb)

Loaded weight: 8,240 kg (18.150 lb)

Max. take-off weight: 9,800 kg (21.585 lb)

Powerplant:

1× Guizhou WS-13 turbofan with a dry thrust of 51.2 kN (11,510 lbf)

and 84.6 kN (19,000 lbf) with afterburner

Performance

Maximum speed: Mach 2.0, 2,200 km/h (1.189 knots, 1.375 mph)

Stall speed: 210 km/h (114 knots, 131 mph) IAS

Combat radius: 1.050 km (568 nmi, 652 mi) (air superiority, two AAMs and three drop tanks)

Ferry range: 2,500 km (1.350 nmi, 1.550 mi)

Service ceiling: 17,500 m (57.420 ft)

Rate of climb: 195 m/s (38.386 ft/min)

Armament:

1× Type 30-I 30mm (1.18") cannon with 150 rounds in the port forward fuselage;

7× hardpoints (6× under-wing, 1× centerline under-fuselage) with a capacity of 3,000 kg maximum (up to 500 kg each); Ordnance primarily comprises air-to-air missiles, including PL-2, PL-5, PL-7, PL-8, PL-9 and PL-11 AAMs, but in a secondary CAS role various rocket pods an unguided bombs of up to 500kg caliber can be carried

The kit and its assembly:

Another Chinese whif, and again a MiG-21 derivative - a fruitful source of inspiration. The J-7DH is not based ona real world project, though, but was rather inspired by an article about a Chinese 2020 update for the MiG-21 from Japan, including some drawings and artwork.

The latter depicted a late MiG-21 with some minor mods, but also some characteristic F-16 parts like the chines and the BWB flanks grafted to it - and it looked good!

Since I recently butchered an Intech F-16 for my Academy T-50 conversion (primariliy donation the whole landing gear, including the wells), I had a donor kit at ahnd, and I also found a Mastercraft MiG-21MF in my stash without a true plan. So I combined both for "something Chinese"...

The build was pretty starightforward - except for the fact that the Intech F-16 is a rather clumsy affair (donating the fin and the fuselage flanks) and that no part from the Mastercraft MiG-21 matches with another one! Lots of improvisation and mods were necessary.

On the other side, the F-16 parts were just glued onto the MiG-21 fuselage and blended into one with putty (in several layers, though).

The fin was taken wholesale from the F-16, but clipped by about 5mm at the top. I originally wanted to use F-16 wings with wing tip launch rails and the stabilizers, too, but when I held them to the model it looked wacky - so I reverted to the Fishbed parts. The stabilizers were taken OOB, but the wing span was reduced at the roots, so that the original MiG-21 wing span was retained. Only the landing gear wells had to be adapted accordingly, but that was easier than expected and the result looks very organic.

With more wing area, I added a third pair of hardpoints under the wing roots, and I kept the gun under the cockpit in the LERX. That offered room inside of the fuselage, filled by a laser rangefinder in a canoe fairing where the original gun used to be.

On the tail, a new jet nozzle was mounted, on the fuselage some air scoops and antennae were added an an IR sensor on the nose. A new seat was used in the cockpit instead of the poor L-shaped OOB thing. The PL-2 & -11 ordnance consists of simple AIM-9Bs and slightly modified AIM-120, plus some launch rails from the scrap box.

Paintings and markings:

Modern Chinese military aircraft are hardly benchmarks for creative paint schemes - and the only "realistic" option in this case would have been a uniform grey livery. The original J-7C PLAAF night fighters carried a high contrast sand/dark green/light blue livery, similar to the MiG-21 export scheme (a.k.a. "Pumpkin"), but I found the latter not suitabel for a naval operator.

I eventually found a compromise, using one of the J-7C schemes as pattern but using grey tones instead - still not very colorful, but the "clover" patterns would help disrupt the aircraft's outlines and support the modern look and feel of this whif.

Basic colors are Humbrol 140 (Dark Gull Grey, FS 36231) and 165 (RAF Medium Sea Grey) from above, plus 122 (IAF Pale Blue, FS 35622) on the undersides. With the dark grey pattern placed with no direct connection to the Pale Blue undersides, there's even a blending effect between the tones - not spectacular, but IMHO effective.

The cockpit interior became pale teal (a mix of Soviet Cockpit Blue and white), while the landing gear wells were painted with a mix of Humbrol 56, 119 and 225 - for a yellow-ish, dull metallic brown. The wheel discs became bright green (Humbrol 131), and any di-electric panel and the radome became deep green (Humbrol 2).

The decals come from a Begemot MiG-21 sheet (roundels), while the tactical 5-digit code comes from an Airfix 1:72 B-17 sheet. The yellow code is a bit unusual, as well as its place on the fin, but both occur on Chinese fighters.

The code itself is based on the information published in the 2010 book “Chinese Air Power” by Yefim Gordon und Dmitriy Komissarov, where the Chinese code system is explained – I hope that it is more or less authentic.

The kit received a light black ink wash and some dry painting with lighter blue-grey shades, but no weathering, since modern Chinese aircraft tend to look pretty clean and pristine. Since the kits both did not feature much surface details, and a lot of the few OOB details got lost during the PSR process for the BWB wing sections, I painted some details and panel lines with a soft pencil - a compromise, though. Finally, the kit was sealed with matt acrylic varnish.

The result is a pretty subtle whif, and with the F-16 parts added the result even looks very conclusive! From above, the extra fuselage width makes the Fishbed look very massive, which is underlined by the extended stabilizer span. But I think that retailing the original MiG-21 delta wing was a good decision, because it helps retaining the Fishbed's "fast" look.

I am just not 100% happy with the finish - but for the crappy kits I used as basis it's O.K.

Developing.

SONY DSC

Couple of rolls that needed developing.

35mm Film 365 Project - Photo a Day.

Photo taken using a dedicated NIkon FM2 for the project on iso 400 Ilford HP5+

Coronavirus lockdown

My very first developed roll of film. Time to learn something new!

Camera: Nikon F3

Lens: Holga plastic lens for Nikon

Film: Kodak 400TX 35mm black and white analogue film

Developing: Adox Rodinal in a patterson developing tank

Scanner: Epson Perfection v700. Scanned as negative.

Roscosmos plans to develop touristic programs to Russian spaceports including Baikonur and Vostochny.

According to Roscosmos representative there is a special program to be elaborated to improve this field. The Agency itself is not going to work with the tourists directly but will definitely make all infrastructural changes necessary. Read the full story here➡️ russianspacenews.com/roscosmos-to-develop-touristic-trips... (Our special project to announce our space news) #вежительтур #roscosmos #NASA #ESA #baikonur #rocket #liftoff #space #spacetours #ISS #Байконур #космодром #космос #МКС #авиакосмическийтуризм #Союз #СоюзТМА #soyuztma18m #spaceport #spacelove #spacetours #spaceshuttle #spaceship #spacecraft #followme #instadaily #picoftheday #вежитель

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Finally make the attempt at colour developing and it was easier than I thought certainly no more difficult than black and white.

Because the box rests on the table with three tips touching, your food stays hot longer.

"The secret of happiness, you see, is not found in seeking more, but in developing the capacity to enjoy less." ~ Socrates

chiotsrun.com/2010/03/13/sunny-spring-days/

Develop: Paterson FX-37

Rollfilm: Fuji HR-U (x-ray) w/g 400 ASA

camera: Perfekta II 6x6

I developed some expired kodak 400tx (2010) in Rodinal 1:50 at 20c. I agitated once 3 mins for the first 20 mins and let it stand for further 30 mins. So 50 mins in total. From the negative I can see the exposure and develop time is about right.

HOWEVER, there's a layer of frost on the emulsion side. The scanned images appear all have such brain like pattern which makes me sick.

Anyway, is there any reason why it happened? is it caused by the film or my developing or both?

Such a shame, I liked a few pictures from this batch.

i am soon going to have a little happiness reponsable as my skin needs water i do set me out oceans move waves sea is salty water gives a burn slow pain go get a towel

Developed at school.

developed at home with Tetenal C-41 kit.

It is a matter of huge pride that the ‪#‎SAD‬ led Government of Punjab has played a pivotal role in setting up of Indian School of Business (ISB) campus in Mohali. With Punjabi youth aiming for the world, we will surely bring more such world-class education institutions in Punjab in times to come.

#ShiromaniAkaliDal #ProudtobeAkali #SADDelivered #SADCommittted #SADforPunjab #SukhbirSinghBadal #ISBMohali

Developed from the ground up as a fully-electric truck on GM’s advanced Ultium EV Platform, the Silverado EV offers a combination of capability, performance and versatility, along with advanced technologies that can evolve the vehicle over time. In spring 2023, the Silverado EV will debut a WT model offering a large range battery with an expected GM-estimated range of over 400 miles on a full charge. In the fall of 2023, a fully loaded RST First Edition model, also including a 400-mile range, will debut with an MSRP of $105,000 + DFC. After production ramps up, Chevrolet will unleash the full Silverado EV portfolio including WT with a starting at MSRP of $39,900 + DFC, RST, Trail Boss and more with the ability to content the truck across various price ranges, with MSRPs around $50,000, $60,000, $70,000, $80,000 and more. This will allow customers to choose the truck that meets their capability and pricing needs.

The TJ3Sat CubeSat was developed by Thomas Jefferson High School in Alexandria, Virginia, to create educational resources through which other K-12 institutions can learn about aerospace engineering and be encouraged to seek careers in the STEM fields. The primary payload is a voice synthesizer module that takes written phrases in the form of code and produces a phonetic voice reading on the satellite’s downlink frequencies. Launched by NASA’s CubeSat Launch Initiative on the ELaNa IV mission as an auxiliary payload aboard the U.S. Air Force-led Operationally Responsive Space (ORS-3) Mission on Nov. 19, 2013. Photo credit: Thomas Jefferson High School

NASA image use policy.

Developed to introduce all new manufacturers/suppliers never before seen at the SHOT Show, the overwhelmingly popular NEXT Pavilion continues in 2018. With more than 100 exhibiting companies, the NEXT Pavilion is an excellent opportunity to discover new potential equipment.

Portraits of Hope Teams with Gain

Photo: Robin Erler

New York City Laundromat/Lavanderia Makeovers -- Bronx, East Harlem, Washington Heights Portraits of Hope's Laundromat Public Art and Civic Initiative

Conceived and developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope www.portraitsofhope.org

A select group of laundromats in New York City now beam colors and flowers throughout their interior settings -- on ceilings, walls, washing machines, dryers, floors, and tables -- as part of Portraits of Hope’s latest creative therapy, civic education, public art and community undertaking involving children in hospitals, schools, and social service programs.

This Portraits of Hope public art and civic initiative is a continuation of the program’s large-scale, national projects which have visually transformed and brightened public settings and symbols ranging from the NYC taxi fleet, blimps, planes, and buildings to LA’s coastal lifeguard towers, NASCAR race cars, and frontline fire and rescue vehicles.

Gain has partnered with Portraits of Hope to beautify and enhance the laundromat settings and experience through participatory community opportunities culminating in the public art makeovers.

Traditionally, Portraits of Hope selects iconic public settings and symbols for its visual makeovers that people routinely take for granted or expect will continue to be “the same as they've always been.” For this project, POH and Gain have picked a set of locations that are almost universally taken for granted: Laundromats/Lavanderias. These venues are necessities for millions of people -- and in urban areas, laundromats also do double-duty as mini-social centers or places where adults with their kids spend hours of time. POH and Gain decided to change the visual dynamic of that experience and add positive energy to those settings.

After visiting 170 NYC laundromats as potential sites for Portraits of Hope laundromat makeovers, POH narrowed it down and selected six; four in South Bronx and two in upper Manhattan: Washington Heights and Spanish Harlem.

Children and youth in the Bronx and Harlem, among others, have participated in Portraits of Hope art, creative therapy, and civic leadership sessions in schools and hospitals in which much of the art has been created. The vibrantly hued art is floral themed -- as the flower is the universal symbol of beauty, joy, life, renewal, and nature. The flower is a theme integral to Portraits of Hope.

For the Laundromat project, Ed Massey designed special exhibition elements including chandeliers, freestanding lamps, laundry baskets, carts, fountains, corn hole boards, and recycling containers to enliven the laundromat makeovers.

The 2D and 3D art and designs in the laundromats are everywhere -- whether looking up, down, forward, back, or side to side -- making these New York laundromats the most unique and festive anywhere.

Background:

Portraits of Hope conceives and develops high-profile motivational art projects that merge the production of dynamic public art works with creative therapy for hospitalized children and civic education for children of all ages.

Special Portraits of Hope brushes and methodologies have been developed for children and adults with illnesses and physical disabilities, including telescope brushes for those in wheel chairs or attached to IVs, shoe brushes for people unable to manipulate a brush with their hands, and fruit-flavored mouth brushes for kids and adults with limited or no movement in their limbs. For persons who are blind or visually impaired, Portraits of Hope utilizes special textured paints.

In schools, Portraits of Hope participants engage in interdisciplinary education sessions in which students assess, discuss and communicate their thoughts on social issues affecting their communities and the world, including: civic leadership, education, health care, the environment, foreign aid, and senior care. The larger art collaboration is a group effort to demonstrate tangibly the power of community teamwork and civic engagement.

Founded by brothers Ed Massey and Bernie Massey, Portraits of Hope has engaged tens of thousands of children and adults in huge civic collaborations - in the U.S. and abroad – and involved nearly 1,000 hospitals, schools, and social service programs in its projects.

The exhibition will run through Summer 2014 – or until a later date determined by the participating Laundromats.

Laundromat locations:

1. "Up All Night Laundromat," 1965 Amsterdam Ave., Washington Heights

2. "All Clean Laundromat," 2035 3rd Ave, East Harlem

3. "Happy Family Laundromat," 275 E. 163rd St, Bronx

4. "3rd Ave Laundromat," 3825 3rd Ave, Bronx

5. "Super Coin Laundromat," 938 E 163rd St, Bronx

6. "Clean Circle Laundromat," 1210 Webster Ave, Bronx

Portraits of Hope is extremely grateful to Proctor & Gamble and Gain for exemplifying civic spirit and generosity in making the project possible and for sharing in the project’s themes and goals which has allowed for the beautification of these community Laundromats.

Portraits of Hope gives bear hugs to: New York Cares and their teams of outstanding volunteers who participated in hospital and school sessions for another POH project; Hudson River Park and its staff which has been involved in 3 POH projects; MACtac which has provided top performing adhesive material for multiple POH national projects; and Laird Plastics, national materials suppliers, who provide great product know-how, recycling capabilities, and wonderful civic spirit.

Portraits of Hope gives a loud shout-out to the laundromats selected for the project and, of course, to the hundreds of children who had a chance to participate in its sessions and are the stars of the initiative. www.portraitsofhope.org

developed in Xtol (stock)

Developed in PS & NIK Silver Efex

Developing natterjack toadlets . Note characteristic yellow stripe down back beginning to show.

© Natural England/Peter Roworth 2013

Developed using darktable 3.2.1

Developed using darktable 3.8.0

Minolta Weathermatic-A 110 Waterproof Camera

26mm f3.5 Lens

Lomography Color Tiger 200

Developed by The Darkroom - Enhanced Scan

Developing a novel way of mapping coral reefs with laser and underwater photography.

Harbour School x MakerBay

Ths.edu.hk

MakerBay.org

Abbas Katouzian (1923-April 12, 2008) was an Iranian painter and artist.

Born in Tehran, Katouzian studied art history during his childhood and chose his mentor as Kamalolmolk. He followed the latter in developing the realistic movement in Iran. His work was featured in five exhibitions in the United States, one in London, and two in France.

He died on April 12, 2008 in Tehran, aged 86.

Boise is so low key

downtown Boise, ID

Mamiya 7ii

Mamiya 50mm f/4.5

Kodak Portra 400

+1 dev

Home developed

Cinestill CS41

Pushed 1 stop

4 min 33 sec

Developed using darktable 2.4.4

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.

darkroom developed 35mm

check out the color edited version on deviantart (its pretty rad)

www.deviantart.com/deviation/44736954/

original on deviantart

www.deviantart.com/deviation/43885989/

developed with dandelion.

(...) the duality, the double, the duplicate, the replica, echoes within me. the name of the house endures but only one lake persists."

at Hilla Kurki's art residency collaboration this summer.

Developing a novel way of mapping coral reefs with laser and underwater photography.

Harbour School x MakerBay

Ths.edu.hk

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Welcome Queens Village part II congrats u did it

Midtown Manhattan, Manhattan, New York City, New York, United States

In the first half of the nineteenth century, the area now known as Midtown Manhattan developed as a middle class residential district. During the building boom that followed the Civil War, four-story brick and brownstone-faced rowhouses were erected on the West 40s and 50s. By the turn of the century, the area had become home to many of the city’s most affluent citizens. The lot at 10 West 56th Street was purchased in 1899 by a prominent financier, Frederick C. Edey, for his wife Birdsall O. Edey. Mrs. Edey was a distinguished New York citizen in her own right; a leader in the Women’s Suffrage Movement and the National President of Girl Scouts of America from 1930 to 1935.

In 1901, Frederick Edey hired the architectural firm of Warren & Wetmore to design 10 West 56th Street, one of several townhouses on the block being built for bankers in the early twentieth century; and West 56th Street between Fifth and Sixth Avenues became aptly known as “Bankers Row”.

The elegant neo- French Renaissance Revival Style building at 10 West 56th Street is one of the few surviving townhouses designed by Warren & Wetmore. The first floor retains its rusticated piers at either side, which serve as a base for this slender building supporting two giant half columns. A modillioned cornice frames a grand sculptural Palladian window; with an elegant cartouche and keystone at the centerpiece of the design at the second level. A smaller tripartite window at the third level is succeeded by an attic with a balustraded parapet, and a dormered copper mansard roof.

Warren & Wetmore was a nationally significant architectural firm and this is a significant and early example of its more restrained use of the neo- French Renaissance Revival style that appears in later works, such as Steinway Hall (1924-25), and the Aeolian Building (1925-27) both designated New York City Landmarks. Many of the firm’s other New York City buildings are also individual landmarks, including; Grand Central Station (1903-13), and the New York Yacht Club (1899-1900). Most of the residences along West 56th Street have been demolished or severely altered; making the Edey residence a rare survivor of Midtown Manhattan’s residential past.

DESCRIPTION AND ANALYSIS

West 56th Street, between Fifth and Sixth Avenues

The neighborhood of today’s western Midtown Manhattan was initially developed after the Civil War, and gradually transformed from open farmland north of the city to a fringe area of shanty towns, stockyards, blacksmiths and similar hazardous or noxious manufacturing uses. The landscaping of Central Park, begun in 1857, however, combined with the northward growth of New York City on Manhattan Island, helped the area develop into a middle-class residential district, while pushing the shanty towns farther northward. During the building boom that followed the Civil War, four-story brick and brownstone-faced rowhouses went up on the streets of the West 40s and 50s, while larger mansions were erected along Fifth Avenue. Beginning in 1879, the Vanderbilt family built several mansions on the avenue. They had such an influence on the development of the neighborhood that the ten blocks off Fifth Avenue south of Central Park gradually became known as “Vanderbilt Row,” one of the most prestigious residential districts in late-nineteenth-century New York.

Just three blocks south of Central Park, West 56th Street between Fifth and Sixth Avenues followed the trend of other blocks in the area as it became a fashionable location for many of the city’s most affluent citizens. While most of the lots on the West 56th Street block were occupied by modest brownstones by 1871, more upscale townhouses began to appear. In keeping with the taste of the time, many of the facades of the older rowhouses from the 1860s and 1870s had been given new facades, or had been replaced altogether with more up-to-date Georgian- and neo-Renaissance style houses.

Within the first years of the twentieth century, the block quickly became associated with several other prominent bankers who also hired well-known architects to design their fashionable townhouses: investment banker Henry Seligman commissioned C.P.H. Gilbert to design his neo-French Renaissance townhouse on two lots at 30-32 West 56th Street (1899-1901). Other nearby buildings included the Harry B. Hollins Residence at No. 12-14 (Stanford White of McKim, Meade & White, 1899-1901), the Beaux-Arts style E. Hayward Ferry Residence at No. 26 (H.A. Jacobs, 1907), the Arthur Lehman Residence at No. 31 (John Duncan, 1903-04) and the Edward Wasserman Residence (Henry Seligman’s brother-in-law) at No. 33 (C.P.H. Gilbert, 1901-02). In 1899, financier Frederick C. Edey commissioned Warren & Wetmore to design a neo-Renaissance Revival style townhouse at 10 West 56th Street.

In the years following World War I, the mansions of Fifth Avenue and the lavish residences of the adjacent West 50s side streets began to give way to commercial uses and apartment house development. Seeking refuge from these changes, the wealthy families moved farther north to the Upper East Side. Most of the townhouses that survived were altered for commercial use on the ground floors. By the 1920s and 1930s, most houses on West 56th Street between Fifth and Sixth Avenues were occupied by those working in the garment trade. After the 1950s West 56th Street became known as “Eat Street” due to the large number of upscale restaurants that transformed the elegant facades to accommodate the growing demand for fine dining just off Fifth Avenue.

Midtown & 10 West 56th Street

The lot at 10 West 56th Street was purchased in 1899 by a prominent financier, Frederick C. Edey, for his wife Birdsall O. Edey. The building at 10 West 56th Street was to be designed concurrently with 12-14 West 56th Street, a designated NYC Landmark by the nationally prominent firm of McKim, Mead & White; however, construction was postponed due to a pre-existing covenant prohibiting building out to the lot line for twenty years. In 1901, the covenant expired and Edey hired the architectural firm of Warren & Wetmore to design the building. 10 West 56th Street was one of several townhouses on the block being built for bankers in the early twentieth century; and West 56th Street between Fifth and Sixth Avenues became aptly known as “Bankers Row.” The Frederick C. & Birdsall Otis Edey Residence at No.10 West 56th Street was constructed in 1901.

Frederick and Birdsall Otis Edey

Frederick Edey (1864-1926), son of the late stock broker Charles C. Edey, began his career in his father’s brokerage firm, Charles C. Edey & Sons. In 1886 he joined the brokerage firm of H. B. Hollins & Co., founded by his friend and neighbor Harry B. Hollins, where he was a partner until October of 1892. Edey was also on the Board of Directors for the North Shore Traction Company, a railway investment firm chartered in 1892. Edey co-founded the brokerage firm Huhn, Edey & Co. (1904-1915) with fellow stock broker George A. Huhn. In 1915, Edey founded his last firm, Fred. Edey & Co., in which he remained a partner until his death in 1926. Edey held a seat on the New York Stock Exchange, and was a member of several prominent gentlemen’s clubs: the Metropolitan, the Union Club, Turf and Field, the Riding Club and the National Golf Links. He also kept a large country estate in Bellport, Long Island.

Birdsall Otis Edey (1872-1940) a prominent New York City resident was the daughter of State Senator James Otis (1836-1898) from Bellport, Long Island. A leader in the Women’s Suffrage Movement, most notably recognized for her work with the Girl Scouts of America, Mrs. Edey was active in girl scouting from 1919, held many different positions and was the first editor of the Girl Scout Leader Magazine. She later served as National President of Girl Scouts of America for five years (1930-1935). Two Girl Scout camps were dedicated in her honor: Camp Birdsall Edey in Pleasant Township, Pennsylvania, (affiliated with the Penn Lakes Girl Scout Council, Inc)., and Camp Edey, in Bayport, New York , (affiliated with the Girl Scouts of Suffolk County.) Outside her work with the Suffrage and Scouting Movements, Mrs. Edey was a published poet; her most notable works are “Rivets” and “Butter Money” Mrs. Edey was president of the Craftsman Group for Poetry, the director of the American Women’s Association (1928-29), and a director of the Women’s City Club. The Edeys were married in 1893; the couple gave birth to their only daughter, Julia, in July 1894.

The Architects: Warren & Wetmore

Whitney Warren (1864-1943), born in New York City, studied architecture privately, attended Columbia College for a time, and continued his studies at the Ecole des Beaux-Arts in Paris from 1885 to 1894. Upon his return to New York, he worked in the office of McKim, Mead & White. One of Warren’s country house clients was Charles Delevan Wetmore (1866-1941). Borne in Elmira New York, Wetmore was a graduate of Harvard University (1899) and Harvard Law School (1892). He also studied architecture and had designed three dormitory buildings (c. 1890) on that campus before joining a law firm. Impressed by his client’s architectural ability, Warren persuaded Wetmore to leave law and to establish Warren & Wetmore in 1898. While Warren was the principal designer of the firm and used his social connections to provide it with clients, Wetmore became the legal and financial specialist. Whitney Warren was also a founder of the Society of Beaux-Arts Architects and the Beaux-Arts Institute of Design.

Warren & Wetmore became a highly successful and prolific, largely commercial, architectural firm, best known for its designs for hotels and for buildings commissioned by railroad companies. The firm’s work was concentrated in New York City during the first three decades of the twentieth century, but it also received projects across the United States and overseas. The designs were mainly variations of the neo-Classical idiom, including essays in the Beaux-Arts and neo-Renaissance styles. Warren & Wetmore’s first major commission, the result of a competition, was the flamboyant New York Yacht Club (1899-1900) at 37 West 44th Street.

Early residences by the firm included town houses on the Upper East Side, such as the Marshall Orme Wilson House, 3 East 64th Street (1904-05); the James A. and Florence S. Burden House, 7 East 91st Street (1902-05); and the R. Livingston and Eleanor T. Beeckman House, 854 Fifth Avenue (1903-05). The firm of Warren & Wetmore was responsible for the design of the facades of the Chelsea Piers (1902-10, demolished) along the Hudson River between Little West 12th and West 23rd Streets; the Vanderbilt Hotel (1910-13), 4 Park Avenue, including Della Robbia Bar (with R. Guastavino Co. and Rookwood Pottery Co.) Aeolian Hall (1912-13) and a number of luxury apartment houses, such as No. 903 Park Avenue (1912).

Warren & Wetmore is most notably associated with the design of Grand Central Terminal (190313, with Reed & Stem and William J. Wilgus, engineer), East 42nd Street and Park Avenue, as well as a number of projects in its vicinity. Whitney Wetmore was the cousin of William K. Vanderbilt,

chairman of the New York Central Railroad, who was responsible for the firm’s selection as chief designers. Nearby development by the firm over the span of two decades included: Hotel Belmont (190506, demolished); Ritz-Carlton Hotel (1910, demolished); The Biltmore Hotel (1912-14, significantly altered), Vanderbilt Avenue and East 43rd Street; Park Avenue Viaduct (designed 1912, built 1917-19); Commodore Hotel (1916-19, significantly altered), 125 East 42nd Street; Equitable Trust Co Building (1917-18), 347- 355 Madison Avenue; hotel Ambassador (1921, demolished); and New York Central Building (1927-29), 230 Park Avenue. Due to the firm’s success with Grand Central Terminal it received commissions for other railroad stations for the New York Central, Michigan Central, Canadian Northern, and Erie Railroads. Notable among these are the Fort Gary Station (1909), Winnepeg, Canada; Yonkers Railroad Station (1911); Union Station (1911-12), Houston; and Michigan Central Station (1913-14, with Reed & Stem), Detroit.

The firm’s later work displays an increased interest in the “composition of architectural mass.” Prominent later commissions included the Heckscher Building (1920-21), 730 Fifth Avenue; Plaza Hotel addition (1921), 2 Central Park South; Steinway Hall (1924-25); Aeolian Building (1925-27); Tower Building (1926), 200 Madison Avenue; Consolidated Edison Co. Building Tower (1926), 4 Irving Place; Erlanger Theatre (1926-27), 246-256 West 44th Street; and Stewart & Co. Building (1929, demolished), 721-25 Fifth Avenue. The Heckscher, Steinway, Aeolian, and Consolidated Edison Building show the firm’s success in its use of setbacks and picturesque towers. Little was constructed by the firm after 1930. Whitney Warren retired from Warren & Wetmore in 1931, but remained a consulting architect. Charles Wetmore was the firm’s senior partner until the end of his life.

Design

Warren & Wetmore designed the Frederick C. and Birdsall O. Edey Residence in the neo-French Renaissance Revival style with a “modern French mode.” The restraint of the design is of special interest, coming as it does from a nationally prominent firm renowned for their more bold and creative interpretations of the French Renaissance Revival, Classical, and Beaux-Arts Styles. The Edey residence was constructed primarily of brick and limestone. It is a six-story townhouse with two sub-level floors. The slender, 25-foot-wide structure employs more direct historical precedent with sparse yet sculptural details than Warren & Wetmore’s other house designs and buildings from the early period of the firm’s career. The tripartite division of the facade, which emphasizes the middle stories between a strong cornice and a decorative course above a rusticated base, is characteristic of the neo-French Renaissance Revival Style. “Modern French mode” was part of a wider trend which balanced American style with French details. More important, its inherent modernity encouraged architects to employ new technologies and to explore new building types.

From 1900 to 1914 Warren & Wetmore designed twelve residences in Midtown Manhattan. Their largest house was the Mr. and Mrs. Orme Wilson Residence at 3 East 64th Street (1900-03, now the Consulate General of India). Situated on a large triple lot, the mansion was designed for grand-scale entertaining. Elaborate foliate details were employed at the windows, front door and balustrade to contrast the smooth stone facade. The Sidney Dillon Ripley Residence at 16 East 79th Street (1901-03), a brick and limestone townhouse, is neo-French Renaissance Revival in design, with English terrace details. Warren & Wetmore went on to design several speculative houses in French Renaissance Revival style, with a mansard roof, elliptical dormers, a triple bay and balconettes.

The pair at 832-34 Fifth Avenue (demolished 1930) and second pair that is still standing at 9 and 11 East 84th Street, are smaller in plan and elevation, but are in the same French Renaissance Revival Style. The George Henry Warren Residence, 924 Fifth Avenue (1902-3, demolished 1950); and the Robert Livingston Beeckman Residence, 854 Fifth Avenue (1903-5 permanent Mission of Serbia and Montenegro to the United States); both replicate the same use of restraint in the design elements as the Edey Residence. In the James A. Burden Residence, 7 East 91st Street (1902-5, now the Convent of the Sacred Heart), Warren & Wetmore skillfully combined the massing of an Italian Palazzo with true French details in the base, balustrade, and cornice. Due to the scarcity of land on the east side of Manhattan, the residences designed by Warren & Wetmore between 1909 and 1910 were smaller and less imposing, and include the H. D. Brookman Residence, 5 East 70th Street (1909, demolished 1973) and the S. Reading Bertron Residence, 935 Fifth Avenue (1910, demolished 1953).

Later History

The later history of the Edey residence followed in the same pattern as most Midtown residences as they converted to retail use, most often upscale dress shops, restaurants, furniture stores, or apartment house development. In 1919 when the Edeys sold their residence at 10 West 56th Street to the Frangold Realty Company, a sixth story was added. The new owners leased the townhouse to an exclusive French dressmaker, Madame Frances Inc. Then the property was acquired by Frances and Nathan B. Spingold, owners of the 14 West 56th Street Corporation and Mme. Frances Inc. Between 1930 to 1945, the building was leased to Lloyds Furniture Galleries. It was during this time that alterations were done to widen the entrance to accommodate the merchandise. The building is currently owned by Felissimo and used as exhibition space.

Description

Neo-French Renaissance Revival Style townhouse is constructed, primarily of brick and limestone, and is a six-story building eighty-four feet in height, with two sub-level floors. The townhouse is built out to the lot line. The modern recessed entrance is clad in glass and metal; it has a center glass door with flanking sidelights The molded concrete base supports the limestone facade; it retains its rusticated piers at either side and they serve as a base for two giant Tuscan pilasters that bear two non- historic flanking metal flag poles with ball finial caps.

A modillioned cornice supported by two engaged Tuscan columns frames a sculptural Palladian window that retains its original scrolled metal framework, enriched by a dentil course, with an elegant three-dimensional cartouche and keystone. A smaller non- historic tripartite window that employs a molded sill course with a projecting center with a guttae band beneath is located at the third level, succeeded by a terminating cornice that supports another set of molded windows with a keyed enframement, followed by the attic that has a balustraded parapet. A tri- dormered copper mansard roof has flanking parapets and chimneys.

The east facade cannot be seen from the street due to a newer building that abuts the facade. The west facade is constructed of brick and has standard window openings, with lintels and sills of limestone. The first and second level has no window openings because of a party wall agreement from 1914 with the Hollins house, 12-14 West 56th Street, a New York City Landmark. Two windows at the third level, three windows at the fourth level, four windows at the fifth level, and five windows at the sixth level are all visible from the street. and have bee up-dated. In addition to the earlier alterations, a metal service door has been added to the left of the main entrance, and two non-historic floodlights have been added to the piers above new metal signage that bears the Felissimo company name.

- From the 2007 NYCLPC Landmark Designation Report

I developed this film using QWD ECN-2 chemistry. It's a long story about a gift of 4 Silbersalz rolls that should have included developing and scanning back in Stuttgart. Instead, the film took a round trip from New York to Frankfurt, getting stuck in German customs for months with indifferent support from Silbersalz. So upon their return to me, I developed and scanned them myself. QWD makes a great product for home development of Vision3.

Developed using darktable 4.0.0

Developed using darktable 2.6.2

2019.08.26-16.50.29

Which is (predictably) half of a double helical globe. This one is unusual, in that instead of alternating curved and straight folds abab, this model alternates them abba, so that you get flat strips curving slantwise.

05/05/2023. London, United Kingdom. Lady Tuaine Marsters from the Cook Islands watches as dignitaries and officials speak at a Small Island Developing States Coronation Event in Lancaster House. Picture by Kirsty O'Connor/Treasury

Self-developed C41. Scanned from the negative.

Rolleiflex K4B

Carl Zeiss Jenna Tessar 75mm f.3.5

FujiPro 160NS

samuelpayne.weebly.com/the-camera