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Taken with a "Sprocket Rocket" camera. This panoramic camera has a 30mm lens and makes double width exposures using the full height of 35mm film including the sprocket holes.
Developed by DLR Moraba and OHB Systems
MASER 13 Launch Campaign
Swedish Space Corporation, ESRANGE, Kiruna, Sweden
Disclaimer: Comments and photos that I post on my Flickr account are my own personally and do not necessarily reflect the official positions, outreach or opinions of my employer (ESA), or its affiliates, or any other organisations depicted here. I provide these images purely with the intention of sharing with interested parties in order to contribute to promotion of ESA activities.
Develop Your PR Skills by Lucy Laville and Neil Richardson of Leeds Business School was launched with a celebration event at the Rose Bowl, Leeds Metropolitan University, on 21 July.
This book is designed to maximise a company's potential in public relations, with a view to supporting SMEs and voluntary sector organisations who until now may not have had either the budgets or the skills to have a go at PR. It is full of relevant case studies and helpful tips, each chapter ending with a series of exercises to build the reader's confidence in practicing their own PR. It aims to help the reader to gain a quick understanding of PR concepts and principles and to learn how to use them in real life business situations. Issues covered include strategic PR, PR and the internet, working with the media, dealing with different stakeholders and customers, dealing with a crisis, using internal communications, using research to get a competitive edge, evaluating the success of your PR and ethics and sustainability.
shot using my Mamiya RZ 67on Kodak Tri-X 400, self developed and scanned on a Canoscan 9000F, cropped to a square format.
Photo by Matt Koroulis
Camera: Pentax ZX-60
Film: Kodak Tmax 400 Black & White 35mm
Developed and scanned at Panda Lab in Seattle.
National American History Museum's Science in American Life exhibit.
Visit ideonexus.com for science news and speculation.
Very much the same as the last model. This one differs in that it uses 45 degree arcs and the pleats are proportional to the height of the curve.
From September 15th to 19th the second of the four JCOM Masterclasses, educational programmes aimed at an international audience and held by international experts takes place. For the 20 selected participants this interactive course represents a unique opportunity to discuss the state-of-the-art of science exhibition development with particular focus on the possible different design approaches, helping participants to reflect on the relationship between the different media, contents and visitors' experience.
1989 Canon EOS-1 analog, 1989 Canon EF 70-210 f4, Foma ISO400 film loaded from bulk roll, Foma developing chemistry. Photographed / developed / scanned with Canon R10 mirrorless personally.
Phase One told me that Capture One Pro 6.3.5 doesn't support Pentax DNG-files. Only Adobe DNG 1.2 (whatever that is). So, these funny colours occure from the DNG-files from my Pentax K-01.
The images with a purple sky are DNG files. The normally looking images are JPEG's.
So, I am going to use Silkypix Pentax for my K-01 "RAW" files. I'm not very happy about this, because I don't really want more than one RAW converter. And Capture One (made by Phase One who also own Phase One, Mamiya and Leaf cameras) is (otherwise) a brilliant tool for converting and editing photographs.
Anybody know of a Pentax DNG to Adobe DNG file converter?
June 2014: I use Adobe Lightroom today - no problems supporting DNG's from the K-line or the 645D. I hate the user interface, though. I never really know what I'm doing or where my images are stored.
This eagle took a fish from the frozen surface of the Fox River, and for some reason could not handle the fish once on its talons. It was until I began to look at the pictures on my computer that I realized why the problems of handling the fish. The left leg has 2 fingers missing, and the remaining ones do not have the necessary grip to control the prey easily. Some how it has reached the adulthood! I'm happy to see how he develops and with the fierceness that goes after his prey, that makes this particular Eagle a perfect life sample that shows no matter how or who we're, everything is possible. I will name this Eagle "Captain Hook"
POLICY SEMINAR
Faster than you think: Renewable Energy and Developing Countries
JUN 13, 2019 - 09:30 AM TO 10:30 AM EDT
Large and rapid declines in costs for renewable energy systems, particularly solar and wind power, and efforts to limit greenhouse gas emissions are reshaping energy systems globally. Expanding renewable energy systems have great potential to achieve widespread electricity access, improve food security, and reduce emissions. Developing countries with high solar potential have a significant opportunity to leapfrog directly to more advanced energy technologies that are low cost, reliable, environmentally more benign, and well-suited to serving dispersed rural populations.
This seminar will discuss the broad changes occurring in renewable energy and the implications and opportunities for developing countries.
This research was supported by the Towards Inclusive Economic Development in Southern Africa program and by the CGIAR Research Program on Policies, Institutions, and Markets (PIM).
Keynote Speaker
Channing Arndt, Director of Environment and Production Technology Division, IFPRI
Discussant
Manish Bapna, Executive Vice President and Managing Director, World Resources Institute
Moderator
Elizabeth Bryan, Senior Scientist, IFPRI
This uses the same petaled edge as the 1931 Popular Mechanics tato. Not necessary, certainly, but kind of pretty.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Mirrlees Blackstone 8MB275T diesel engine removed from Class 60 locomotive 60022.
The Mirrlees Blackstone 8MB275T is one of the more fascinating British diesel engines because, although it ultimately became synonymous with the British Rail Class 60, its story began more than a decade before the first Class 60 entered service. It was an attempt by the long-established British engine manufacturer Mirrlees to develop a modern, relatively compact and fuel-efficient diesel in a power range suitable for both marine and industrial applications and, potentially, railway traction. Its eventual selection for the Class 60 gave it a brief but important place in British main-line locomotive history.
The Mirrlees background
The story starts with Mirrlees, one of Britain's oldest diesel-engine manufacturers. The company had developed a major reputation for large diesel engines for marine propulsion, power generation and industrial applications. By the twentieth century its works at Stockport had become an important centre for British diesel-engine development and manufacture.
Mirrlees's product range evolved through several generations. The K range appeared in 1950, the K Major in 1966, and then came the MB275, whose development culminated in the first production engines in 1979. The MB275 designation reflected its 275 mm cylinder bore, while the production engine had a 305 mm stroke.
The MB275 was a notably modern design for its period. Rather than relying on a large number of cylinders to produce its power, Mirrlees pursued a relatively low-cylinder-count engine capable of producing substantial output. That approach promised reduced component count, potentially lower maintenance requirements and good fuel economy.
The engine family was intended principally for industrial and marine applications, although Mirrlees was also interested in returning to the railway-traction market. Its earlier railway engines had not always enjoyed a particularly successful reputation, making the MB275 an important opportunity to establish a new generation of Mirrlees traction machinery.
Development for railway traction
The railway connection became much more serious during the 1980s.
British Rail was looking at new diesel locomotive designs to replace ageing locomotives, particularly as its freight business required increasingly powerful and economical traction. The proposed Class 38 was conceived as a new Type 3 freight locomotive, and Mirrlees's MB275 was one of the engines considered for the project.
Rather than immediately committing the engine to a completely new locomotive, British Rail used existing locomotives as testbeds.
Four Class 37s were substantially rebuilt in 1986 as Class 37/9s 37901–37904. These locomotives received the Mirrlees MB275T together with a Brush alternator. Two further Class 37/9s, 37905 and 37906, were fitted with an alternative Ruston RK270T power unit and GEC alternator. The six locomotives therefore provided a direct comparison between two competing British diesel-engine and electrical-system combinations.
The trials were extremely important. They demonstrated that the MB275 could be developed into a viable railway traction engine at a power level substantially above that normally associated with Mirrlees's earlier successful railway engines.
The MB275-equipped 37/9s subsequently became known as “Mirrlees Pioneers”, with 37901 in particular surviving into preservation as “Mirrlees Pioneer”. Its survival is unusually valuable because it preserves the direct experimental stage that led to the Class 60 engine.
The proposed Class 38 itself was ultimately cancelled. The requirement for a new heavy freight locomotive did not disappear, however. British Rail instead proceeded with the much more powerful Class 60, and the MB275 concept was enlarged/developed for that application.
The 8MB275T and Class 60
The final railway version became the eight-cylinder 8MB275T, sometimes identified in contemporary material as the 8MB275RT. The "8" indicates the eight-cylinder configuration, while the MB275 family retained its 275 mm bore.
The Class 60 installation displaced approximately 145 litres and produced around 3,100 bhp at 1,000 rpm. It was a four-stroke diesel, turbocharged and designed specifically for locomotive traction. The engine was physically substantial, contributing to the Class 60's high weight, but its relatively small number of cylinders was intended to reduce maintenance requirements.
The engine's fuel economy was particularly impressive for the period. The Class 60 Preservation Group gives a figure of approximately 189 grams of fuel per kWh, describing it as one of the most fuel-efficient engines then available.
That economy was one of the reasons British Rail was interested in the design. The Class 60 was intended to be a modern heavy-freight locomotive rather than simply another incrementally improved version of the existing fleet.
Why British Rail wanted it
The immediate background was the success of the General Motors Class 59.
The Class 59 had demonstrated that British freight locomotives could achieve considerably higher availability and productivity than many of British Rail's older designs. The various Trainload sectors consequently wanted new locomotives capable of handling heavy trains without the double-heading that was sometimes necessary with older Types 3 and 4.
British Rail therefore commissioned a new Type 5 locomotive.
The contract was awarded to Brush Electrical Machines at Loughborough on 17 May 1988, with an order for 100 locomotives. The first Class 60, 60001 “Steadfast”, was handed over to Railfreight in June 1989.
The 8MB275T was at the heart of the design.
Brush coupled the Mirrlees engine to a Brush BA1006A main alternator, which supplied electrical power to six traction motors. The Class 60 also employed Brush's sophisticated SEPEX traction-control system, in which each traction motor had separately controlled excitation. This was intended to make much better use of the available adhesion and minimise wheel-slip.
The result was a locomotive capable of producing approximately 3,100 hp from the engine and around 2,415 hp at the rail, with maximum tractive effort of approximately 106,500 lbf.
Production at Mirrlees and Brush
The 100 engines for the Class 60 were manufactured by Mirrlees at Stockport, while the locomotives themselves were assembled by Brush at Loughborough.
The Class 60's construction was an interesting collaboration. The locomotive bodies were produced by Procor at Wakefield, then transported to Brush, where they were fitted with the bogies, electrical equipment, cooling system and power unit. The Mirrlees engines therefore travelled from Stockport to Loughborough to become the heart of the completed locomotives.
Production of the MB275 engines for the Class 60 took place principally between 1989 and 1991, although the locomotive production programme itself extended into the early 1990s. The heritage history of the MB275 range records the Class 60 contract as 100 engines, while also noting that additional MB275 engines continued to be produced for marine and industrial applications.
There was initially considerable optimism about the engine. The MB275 was viewed as a modern, fuel-efficient British alternative to the established locomotive engines supplied by competitors such as Ruston and English Electric.
Marine life alongside the railway version
An important part of the story is that the 8MB275 was not a locomotive-only engine.
Mirrlees continued to sell the MB275 family for marine propulsion. Its relatively compact eight-cylinder arrangement was attractive for smaller ships, ferries, dredgers and other vessels where a substantial amount of power was required without the physical size of a much larger marine engine.
There are some particularly good surviving examples.
The CalMac ferry MV Isle of Arran, built in 1983, was fitted with two Mirrlees Blackstone 8MB275 engines, each producing 2,310 bhp and driving a controllable-pitch propeller.
The later MV Caledonian Isles, launched in 1993, also used 8MB275 Mirrlees Blackstone engines.
The MB275 therefore had an interesting dual identity. In Britain it became famous because of the Class 60, yet the engine family was simultaneously powering ferries, dredgers and other marine vessels.
The heritage literature records an especially interesting example in the MV Britannia Beaver, a suction dredger fitted with an 8MB275 main propulsion engine when new in 1990. By 2000 that engine had accumulated more than 50,000 operating hours, demonstrating that the underlying engine family could achieve substantial service life in demanding marine applications.
The Class 60 engine in service
The first Class 60s suffered substantial teething problems.
The locomotives were technologically ambitious, with computer-controlled traction systems, a new engine and a new electrical architecture. Although 60001 was handed over to Railfreight in June 1989, it took approximately sixteen months before the first locomotives were accepted into regular service, and nearly four years elapsed before the entire 100-locomotive fleet had entered service.
Not every problem was caused by the Mirrlees engine. Much of the early difficulty involved the locomotive's electronic and software systems. It is therefore misleading to describe the Class 60's poor early availability simply as an engine failure.
Once properly developed, the MB275T provided a substantial amount of reliable service. The Class 60 Preservation Group notes its excellent fuel consumption and the fact that the engine was also successful in marine applications.
The engine's eight-cylinder configuration was itself unusual. A 3,100 hp locomotive engine was more commonly associated with V12 or V16 configurations. Mirrlees instead achieved the required output from eight much larger cylinders. The theory was straightforward: fewer cylinders meant fewer pistons, connecting rods, cylinder heads and associated components to maintain.
That was one of the MB275's attractions, although it also meant that individual components were very substantial.
The problem of weight
The engine had a disadvantage.
The 8MB275T was heavy. The Class 60 Preservation Group specifically identifies the Mirrlees engine's weight as one of its drawbacks despite its fuel efficiency.
This mattered because locomotive designers are constantly balancing power, reliability, fuel consumption and weight. A heavy engine contributes directly to locomotive weight and axle loading.
The Class 60 nevertheless used that weight to some advantage in freight service. Its approximately 129-tonne mass gave the six traction motors substantial adhesion, while the SEPEX system helped exploit that adhesion.
The locomotive therefore represented a particular British approach to heavy freight: considerable physical mass, high engine power and sophisticated electronic control.
The engine's relationship with the Class 60's reputation
The Class 60 acquired a mixed reputation during the 1990s and 2000s.
The type was undeniably powerful and technologically sophisticated, but its availability under EWS became a major problem. When EWS began taking delivery of large numbers of Class 66s, the newer locomotives proved considerably easier to maintain and offered excellent availability.
Many Class 60s were consequently stored.
It is important, however, to separate the engine's reputation from the locomotive's overall reliability. The Class 60 was a complex machine incorporating the Mirrlees engine, Brush alternator, SEPEX traction equipment, computer systems and other new technology. Failures and maintenance requirements could arise from any of these systems.
The engine itself was not simply abandoned as a failed design. DB Schenker subsequently commissioned substantial overhauls of selected engines as part of the Super 60 programme.
The “Super 60” engine rebuilds
When DB Schenker inherited the former EWS fleet, it considered whether some Class 60s could economically be returned to long-term service.
A selected group received major overhauls. These were commonly called Super 60s.
The engine work was extensive. In 2013, specialist engineering company G S Engineering was contracted by DB Schenker UK to overhaul a number of Mirrlees Blackstone MB275T engines that had previously been removed from locomotives and stored for several years. The work included inspection and repair of crankshafts, connecting rods, pistons and liners.
This is important evidence that the MB275T was considered worth rebuilding rather than simply being regarded as obsolete.
The overhaul process involved stripping the engines extensively, including removal of cylinder heads, pistons, connecting rods, large-end assemblies and liners. Crankshaft removal required a specially constructed heavy-lift arrangement.
The Super 60 programme consequently gave some MB275T engines a substantially extended working life.
The engine after Mirrlees Blackstone
The commercial history of the engine manufacturer is almost as interesting as the engineering.
Mirrlees and Blackstone had become part of the broader Mirrlees Blackstone organisation, bringing together two historic British engine names. The MB275 continued to be offered for marine and industrial purposes during the 1980s and 1990s.
The range continued to receive smaller orders after the Class 60 programme. The heritage history records marine and industrial orders into the 1990s, although volumes were much lower than originally hoped.
A major change came in 1997, when Alstom acquired Mirrlees Blackstone.
The MB275 range was subsequently removed from the industrial and marine catalogue. The heritage research suggests that the decision was probably connected with the development of the Ruston RK280, another product in the newly combined Mirrlees/Ruston portfolio, which competed with the MB275's market position. The MB275 remained listed for traction for approximately another year, with occasional support for existing users continuing thereafter.
The Class 60 engine therefore outlived its manufacturer's commitment to producing the design as a mainstream product.
The end of production
The MB275 did not disappear immediately.
The engine remained available for existing customers and continued to have a small number of marine and industrial applications. One of the last recorded examples was a 6MB275 pump-drive engine supplied in 2000 for an upgrade to the suction dredger Britannia Beaver.
The eventual end of the MB275 range was therefore gradual rather than a sudden termination following the end of Class 60 production.
Its history is also quite remarkable because the Class 60 engines were among the last significant British railway applications of a Mirrlees-designed engine. A heritage paper on British diesel traction describes the MB275 as effectively marking Mirrlees's return to British rail traction after earlier engine programmes.
Preservation
The MB275 has an unusually strong preservation story because 37901 “Mirrlees Pioneer” survived.
This locomotive was one of the original Class 37/9 testbeds fitted with the MB275 before the Class 60 was ordered. It therefore represents the experimental bridge between the engine's development and its adoption in the Class 60.
The locomotive has been preserved and, at various points, operated on heritage railways. The heritage documentation specifically notes that it was operating on the Llangollen Railway in 2008.
There are also preserved examples of the engines themselves outside locomotives. The Anson Engine Museum in Manchester, which has a strong connection with the history of British diesel-engine manufacturing, has examples of Blackstone and Mirrlees machinery.
This makes the MB275 unusually well represented in preservation: its development can be studied through an actual surviving locomotive, while its wider industrial and marine ancestry can be explored through preserved engines and historical documentation.
Why the engine was significant
The 8MB275T is important because it represented a serious attempt to create a modern British heavy-duty diesel engine specifically capable of competing in the high-power traction market.
Its story also illustrates the changing nature of British engineering.
The engine was designed by a historic British manufacturer at Stockport, tested in British Rail locomotives, selected for a brand-new British Rail freight locomotive, manufactured for a fleet of 100 Class 60s, and simultaneously marketed for ships and industrial machinery.
It then became a casualty of the consolidation of the diesel-engine industry. Mirrlees Blackstone passed into Alstom ownership, the MB275 was discontinued, and the British railway market moved increasingly towards imported or multinational engine designs.
That transition is particularly visible when comparing the Class 60 with the Class 66. The Class 60 represents the culmination of British Rail's attempt to design and build its own modern heavy freight locomotive around a British engine. The Class 66 represented the subsequent era in which standardised imported technology became economically dominant.
The numbers tell the story
The MB275 was introduced in 1979.
Four Class 37s received MB275 engines for trials in 1986, becoming 37901–37904.
The Class 60 contract was awarded to Brush in 1988, and the first locomotive was handed over in 1989.
The 100 Class 60 engines were supplied principally during 1989–91.
The engine continued in marine and industrial production into the 1990s, with later support and applications continuing into around 2000.
Mirrlees Blackstone was acquired by Alstom in 1997, after which the MB275 range was progressively discontinued.
That gives the engine a remarkably long development and service story for a design that ultimately powered only one production class of British main-line locomotive.
The legacy of the 8MB275T
The greatest legacy of the Mirrlees Blackstone 8MB275T is the Class 60 itself. Every one of the 100 locomotives was built around the engine, making the two almost inseparable in railway history. The engine's eight-cylinder configuration, distinctive sound and substantial physical presence became part of what made the Class 60 different from the locomotives that came before and after it.
Yet its story goes beyond those 100 locomotives. The engine evolved from Mirrlees's broader industrial and marine engineering work, was experimentally installed in Class 37s, helped shape the proposed Class 38, became the power unit for Britain's final new British Rail heavy-freight locomotive, powered ferries and dredgers, underwent major rebuilds decades later, and survives today in preservation.
Perhaps the most interesting aspect is that the MB275 was not really a failed engine. The Class 60's mixed operational reputation has sometimes obscured that point. The engine was fuel-efficient for its period, had a relatively simple eight-cylinder architecture, achieved substantial power from a comparatively small number of cylinders and proved capable of very long service in marine applications. Its principal problem was partly historical: it arrived just as the economics and structure of British railway freight were changing dramatically.
The 8MB275T therefore represents something of a final flowering of indigenous British diesel-engine technology. It was developed in an era when British companies still designed engines specifically for British Rail, assembled locomotives domestically and expected large fleets to remain in service for decades. The fact that its best-known application was the Class 60 means that its story is inseparable from the rise, decline, storage and subsequent revival of that locomotive class.
Today, surviving Class 60s with their original or overhauled Mirrlees engines provide a direct link to that era. 60013 “Robert Boyle”, 60018 “Moel Siabod” and the other surviving Class 60s are not merely examples of a locomotive design; they are also surviving hosts for one of the last major British-designed diesel traction engines.
This is a test of the FPP C41 developing kit comparing age and temperature. All 4 photos were taken with Minolta X Series SLR cameras with the same 50mm 1.4 lens. Film is fresh Fujifilm Superia 200. 3.5 minute develop, 6.5 minute blix.
Top left - Old chemicals @105F that have developed 25+ rolls (kit recommends 12-15)
Top Right - Fresh batch of chemicals @105F
Bottom Left - Fresh chemicals @85F
Bottom Right - Fresh chemicals @120F
pentax mx, smc 55, f1.8
ilford fp4 in rodinal 1:100
pre soak 5 mins distilled water
60 minutes stand developed at 23c
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The ability and skills to touch and recognize things that happen within oneself, such as thoughts, feelings, bodies and emotions And what happened around Will develop better Understand the relationships between thoughts, feelings, actions, and the relationship of external factors that affect our internal state.
UC San Diego engineers have developed a wearable patch that could provide personalized cooling and heating at home, work, or on the go. The soft, stretchy patch cools or warms a user’s skin to a comfortable temperature and keeps it there as the ambient temperature changes. It is powered by a flexible, stretchable battery pack and can be embedded in clothing. Researchers say wearing it could help save energy on air conditioning and heating.
Full story: jacobsschool.ucsd.edu/news/news_releases/release.sfe?id=2788
Photos by: David Baillot/UC San Diego Jacobs School of Engineering
C-41 stand developed -- Fuji 100 film shot at ISO 100 with Voigtlander Bessa T and mostly Voigtlander Nokton 40mm f/1.4 SC classic. This was a test of diluted (1:9) c-41, stand developed at room temp (75 degrees F), for 45 minutes with 2 inversions at 15 and 30 minute marks.
The negatives were a bit funky with a dirty grey mask. I had some problem getting a good image on VueScan for a jpeg scan, however the raw scans worked well in photoshop.
Dngs in photoshop were dull, like the mask, but auto leveling brought the colors right out correctly. I dont have as much hope if one were printing.
I will try this again, I am torn between increasing the development or adjusting the EI down for more light. We will see.
The two mountains and Brith Sholem were shot with a hexanon AR 57mm f/1.4 adapted to the Bessa. There seems to be some difference in how the light landed...
Bleached for 10 minutes at room temp with Potassium Ferricyanide bleach and fixed in home made Ammonium Thiosulfate fixer for 10 minutes.
Christmas Day AT The Barehams Minolta Dynax 5 Kodak Ultramax 400 Home Developed In Rollei Colorchem C41 Kit 25-12-2022
White Sands Missile Range Museum
The Cold War Begins Even before World War II ended, the relationship between the Soviet Union and its western allies was beginning to crumble, and tensions grew
Speaking to a packed house at Westminster College in Fulton, Missouri on March 5, 1946, former British Prime Minister Winston Churchill described an "Iron Curtain" which had fallen across Europe, "from Stettin in the Baltic to Trieste in the Adriatic." His speech marks, for many, the real beginning of what would be known as the Cold War - a period of mistrust and hostility between the Soviet Union and the West, which led to a nuclear arms race
By 1949 the Soviet Union was able to test its first atomic bomb, much sooner than many anticipated and the United States had already begun the development of a new weapon system that could destroy Soviet bombers in the event that they came over the Arctic Circle and attacked American cities.
That weapon system was called Nike
Nike Ajax was America's first air-defense missile system and developmental testing was done at White Sands.