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Nicole patiently models for me again, this time in portrait.
This image also came from the class in which the exercise was to experiment with depth of field. However, that is not why I have included this image in my portfolio. The reason I have is because it notes an aesthetic effect that I have employed a few times after this image.
The effect I am referring to is the use of the regular pattern in a building in the background, which my subject is against, lending them both the strength of the structure behind them and creating a strong figure to ground composition in the image.
This effect can be seen similarly (and arguably more poignantly) in my photograph of a protester in my 'Portfolio Presentation' album, as well as in my 'Climate Strike' album. In the latter instance it can be seen in the image of the children leaned up against the podium of a statue, the boys who have climbed on top of some traffic lights[1], and to a lesser extent in the image of the boys climbing a bus shelter[2].
Overall then, this image has been included in the portfolio due to the fact that it - subliminally or otherwise - has inspired me to employ a similar composition in order to draw greater meaning from an image. This image represents a moment of successful composition experimentation.
(4/10 photos from class exercises)
[1] Also featured in this portfolio: 'SAVE OUR FUTURE!'
[2] Also features in this portfolio: 'Can I Get a Hand?'
Since the 1990s, a more active and open civil society sector has developed across the Russian Federation. While civil society institutions and civic engagement in Russia are not new, the growth of the sector in recent years created hopes that Russian civil society could become the voice for a more effective democratic system, more efficient social services, and a check against corruption and centralized power. At the same time, the increasing interconnectivity between Russian and international civil society institutions created a sense of optimism that an interconnected “Euro-Atlantic civil society” could make positive contributions to difficult geo-political challenges.
Of late, however, these hopes have largely been put on hold. Russian civil society institutions are facing a variety of political and social pressures, and are becoming less connected to international partners. Geo-political relations between Russia and the Euro-Atlantic community have worsened, and international civil society groups and donors have become the object of suspicion as instruments of external interference. At a political level, prior optimism about a “re-set” in Russia-Euro-Atlantic relations has faltered, however, with implications for support for civil society institutions.
There is an urgent need to rebuild bridges and to reestablish a serious dialogue about the role of Russian civil society and relations between diverse civic actors domestically, as well as between Russian organizations and international partners. In cooperation with, and with the generous support of, the Yeltsin Presidential Center and Yeltsin Foundation, this Symposium will address the challenges and opportunities currently facing civil society in Russia as a means to understand the needs and perspective of Russian civil society groups and to consider new approaches to international civil society engagement with Russia.
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.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The P-42 was a was a fighter aircraft design submitted to the United States Army Air Corps (USAAC) before World War II by Marguerite Clark Williams, widow of millionaire Harry P. Williams, former owner and co-founder of the Wedell-Williams Air Service Corporation. Developed as the “Model 46” it was the company’s second attempt to propose a modern high-performance monoplane fighter with a retractable landing gear. The first approach had been the stillborn XP-34 in 1932, a design based on an air racer by Jimmy Wedell, who was considered, "one of the most noted race plane designers of its day". The XP-34 had been a direct result of the development of Wedell's most successful designs, the Model 44 and Model 45. The interest expressed from the USAAC had been based on the success of the private racing aircraft in the 1930s that were reaching 300 mph speeds in competition, a performance level not achieved by standard aircraft types in service in the U.S. military. However, engine performance problems prevented any order and any potential redesigns to fit more potent powerplants would have been so thorough that the aircraft was subsequently rejected by the Air Corps before any XP-34s were built.
A few years later Wedell-Williams came forth with a new fighter design for the USAAC, the Model 46. It was developed to be a lightly-built and highly maneuverable interceptor/fighter aircraft, even though it was this time a completely new design and not an adaptation of a relatively light and fragile race aircraft. As a clean sheet design it mended many flaws of the earlier Models 44 and 45. The emergent aircraft was equipped with a Curtiss-Wright-style retractable undercarriage and bore substantial similarities to the contemporary Seversky P-35. Refinement of the Model 46’s aerodynamic characteristics greatly benefitted from a series of wind tunnel tests, and on 24 May 1939, the prototype performed its maiden flight and was officially designated as the XP-42 ‘Kestrel’. Much effort was spent to lower overall drag, and as a result the Model 46 had a very high surface quality as well as a fully retractable landing gear, including the tail wheel.
On paper the P-42 promised to be able to engage several significant combat aircraft of the time on equal terms, including the German Messerschmitt Bf 109E. Flight testing of the XP-42 prototype, held at the Wedell-Williams Air Service Corporation base in Patterson (Louisiana) by the USAAC, conducted throughout late 1939, revealed that the aircraft was able to attain a speed of 518 km/h at an altitude of 5,250 m, along with 506 km/h at 6,000 m; it also climbed to 6,000 m in 6.5 minutes and demonstrated an 11,500 m altitude ceiling. Throughout the test flights, the aircraft showed that it was capable of excellent performance levels, and the USAAC enthusiastically awaited the Kestrel at its airfields.
The first production P-42As were delivered to the 1st Pursuit Group (27th, 71st and 94th PS) stationed at Selfridge Field in Michigan. The P-42's performance was better than the similar P-35’s, which it replaced in many units, and USAAC aviators appreciated the aircraft's high top-speed in level flight and its good handling. But despite the pilots’ praise, the P-42’s service history was marred by numerous teething problems, mainly due to structural issues. These included the engine exhaust, which had to be re-designed, skin buckling over the landing gear and along the wing roots, and weak points in the airframe, which severely restricted the performance envelope when the aircraft went through high-G manoeuvers. The aircraft used a wet wing to save weight, but the ground personnel quickly learned about persistent fuel leaks, esp. when the wings had been over-stressed.
The Kestrel’s armament, consisting of a pair of synchronized 0.5” (12,7 mm) machine guns above the engine and firing through the propeller disc, also turned out to be insufficient. Due to the fuel tanks inside of the wings it was not possible to retrofit weapons in this position, so that external machine gun pods, similar to those mounted under the P-39s’ outer wings, with a single 0.5” (12,7 mm) machine gun each, were hung onto retrofitted bomb hardpoints. While this was a serious increment in firepower, the gun pods precluded the carriage of bombs for ground attack missions, and overall TOW as well as drag grew.
By the time the P-42’s many issues were resolved the aircraft was already considered obsolete and relegated to training units and presumed low-threat overseas detachments like Albrook Field in the Panama Canal Zone, Elmendorf Field in Alaska, and Wheeler Field in Hawaii. Due to an embargo of the United States against exporting weapons to any nation other than the United Kingdom, declared on 18 June 1940, the USAAC became and remained the Kestrel’s only operator. Only a total of 149 machines were eventually built until early 1941, because the USAAC’s focus was now put on the Curtiss P-40 and its improved variants, to standardize the units’ equipment and ease maintenance and logistics.
The only serious combat P-42s took part in was the Japanese attack on Pearl Harbor in December 1941, but only four of the twenty-four P-42s based at central O’ahu were able to take off during the attack at all and failed to shoot down any Japanese aircraft.
General characteristics:
Crew: 1
Length: 7.99 m (26 ft 3 in)
Wingspan: 11 m (36 ft 1 in)
Height: 3.2 m (10 ft 6 in)
Wing area: 20.4 m² (220 sq ft)
Airfoil: N-38
Empty weight: 2,090 kg (4,608 lb)
Gross weight: 2,839 kg (6,259 lb)
Powerplant:
1× Pratt & Whitney R-1830-17 Twin Wasp 14-cylinder air-cooled radial piston engine, delivering
1,050 hp (780 kW), driving a 3-bladed 10 ft 2 in (310 cm) diameter constant-speed metal propeller
Performance:
Maximum speed: 530 km/h (330 mph, 290 kn) at 5,300 m (17,388 ft)
Cruise speed: 440 km/h (270 mph, 240 kn)
Range: 545 km (339 mi, 294 nmi)
Service ceiling: 11,200 m (36,700 ft)
Time to altitude: 4,000 m (13,000 ft) in 4 minutes
Wing loading: 137 kg/m² (28 lb/sq ft)
Armament:
2× 0.5” (12.7 mm) Browning M2 machine guns in the upper cowling with 300 rounds per gun
Retrofitted hardpoints under each wing for a bomb of up to 100 lb (45 kg), or a light bomb rack for
three 50 lb (23 kg), five 20 lb (9.1 kg) or 30 lb (14 kg) bombs, or pods with 1× 0.5” (12.7 mm)
Browning M2 machine gun and 300 RPG each.
The kit and its assembly:
This fictional aircraft model was inspired by a what-if profile drawing from fellow modeler PantherG, published in October 2023 at whatifmodellers.com (modelforum.cz/download/file.php?id=1849555), depicting a Reggiane Re.2000 in colorful USAAC interwar markings, even though without unit markings or a concrete date. Due to the Italian type’s similarity to the American Seversky P-35, P-41and P-43 the whole thing looked very natural, and I decided to turn that idea into model hardware when I saw the profile – and here it is.
The build’s basis is the 1:72 Sword kit of the Re.2000, which is finely detailed and went together quite easily for a short-run kit, despite the lack of locator pins and light misalignment of the fuselage halves. The kit was basically built OOB, but I tried to change the look a little.
For instance, I replaced the propeller with a spinner-less resin donor from a QuickBoost B-24 upgrade set, so that an American Twin Wasp engine would be more credible. It was mounted onto a metal axis and the OOB radial engine block modified with an adapter to hold it. For a sleeker look I also removed the original carburetor intake above and the oil cooler fairing underneath the cowling. The carburetor intake was replaced with a much smaller scoop between the two fuselage machine guns (a piece of plastic tube, PSRed into a hole drilled above the engine opening) and the oil cooler was replaced by a shorter alternative of a rather square/boxy shape, scratched from an Italeri X-32(!) part and placed between the exhaust stubs. To beef up the armament I added machine gun gondolas under the wings, just outside of the landing gear wells, taken wholesale from an Eastern Express/Toko P-63 Kingcobra.
Painting and markings:
Well, the livery on this model is not authentic and but rather a mishmash of USAAC design elements from the Thirties. To convey the American “flavor” I definitively wanted the classic pre-WWII “yellow wings” on the model, even though they had by 1941 disappeared, and American frontline aircraft either already carried the olive drab/neutral grey standard camouflage or still were left in bare metal with some colorful unit markings. I imagined a training aircraft on Hawaii, where no war threat had been expected until the attack on Pearl Harbor and took inspiration from a contemporary Boeing P-26 ‘Peashooter’ of the 18th Pursuit Group based on Hawaii (found on a PrintScale decal sheet) and adapted its scheme loosely to my fictional P-42.
As a compromise and to remain plausible, the aircraft remained basically in bare metal overall, painted with Humbrol 27012 (Polished Aluminum Metallizer), but still with bright yellow upper wing surfaces (Revell 310; RAL 1028, Lufthansa Gelb), even though this would fall out of the model’s intended early 1941 timeframe. The interior was painted in zinc chromate green, and I used Humbrol 80, which is a rather bright option. The red cowling ring was painted with Humbrol 19.
The rest of the decorations was mostly created with decals. The fin flash on the rudder was scratched with a base painted with white, with single red horizontal and a dark blue vertical decal stripe to match/fill the P-42’s rudder. The red lightning cheatline as well as the roundels came from a USAAC Northrop A-17 bomber (MPM kit leftovers). Unit markings, tactical codes and “U.S. Army” tags on the wings from the aforementioned PrintScale P-26 sheet, only the big “41” on the fin was added but consists of appropriate USAAC “45° font” digits. The diagonal red-and-white fuselage stripe was improvised with a generic red decal stripe placed on top of a slightly wider white one (TL Modellbau).
Not much weathering was done. Some body panels were painted with different shades of silver/aluminum, the fabric-covered rudder with aluminum dope (Humbrol 56). Graphite was used behind the exhausts and a little around the machine gun ports, but very reluctantly. Finally, the model was sealed with semi-gloss acrylic varnish and finishing touches like position lights were done.
A rather simple project, because not much was changed to turn the Reggiane Re.2000 into this fictional P-42 fighter. The bright livery does most of the job, and with its shiny NMF finish and the red and yellow accents the aircraft looks really attractive, even believable, thanks, to the Re.2000’s similarity to some contemporary American fighter types.
A developing Supercell across far Northeast Wisconsin on July 1 2017. Only isolated storms were expected, but this beast began to develop along an old outflow boundary from a storm early in the afternoon. Aiding in the development was a lake breeze boundary. The updraft was so explosive.
Flavor shot from a birthday party of an old friend where I was, remarkably, actually asked to take photos. Birthday boy is not keen on having his picture taken.
Shot with a Nikon F100 and 50mm f1.4G on Tri-X developed in Xtol 1+1.
Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
Mt.Kobushigatake, Yamanashi Pref.
Canon Av-1, FD 24mm F2.8,
Plus-X,
I climbed along Fuefukigawa river in late may.Snow fall was not expected.
The Fairchild Republic A-10-C Warthog The Thunderbolt II is a single-seat, twin turbofan engine, straight wing jet aircraft developed by Fairchild-Republic for the United States Air Force (USAF). Commonly referred to by its nicknames Warthog or Hog, its official name comes from the Republic P-47 Thunderbolt, a World War II fighter that was effective at attacking ground targets. The A-10 was designed for close-in support of ground troops, close air support (CAS), and providing quick-action support for troops against helicopters and ground forces. It entered service in 1976 and is the only production-built aircraft that has served in the USAF that was designed solely for CAS. Its secondary mission is to provide forward air controller – airborne (FAC-A) support, by directing other aircraft in attacks on ground targets. Aircraft used primarily in this role are designated OA-10.
The A-10 was intended to improve on the performance of the A-1 Skyraider and its poor firepower. The A-10 was designed around the 30 mm GAU-8 Avenger rotary cannon. Its airframe was designed for durability, with measures such as 1,200 pounds (540 kg) of titanium armor to protect the cockpit and aircraft systems, enabling it to absorb a significant amount of damage and continue flying. Its short takeoff and landing capability permits operation from airstrips close to the front lines, and its simple design enables maintenance with minimal facilities. The A-10 served in Operation Desert Shield, and Operation Desert Storm, the American intervention against Iraq's invasion of Kuwait, where the A-10 distinguished itself. The A-10 also participated in other conflicts such as Operation Urgent Fury in Grenada, the Balkans, Afghanistan, Iraq, and against ISIL in the Middle East.
The A-10A single-seat variant was the only version produced, though one pre-production airframe was modified into the YA-10B twin-seat prototype to test an all-weather night capable version. In 2005, a program was started to upgrade remaining A-10A aircraft to the A-10C configuration with modern avionics for use of precision weaponry. The U.S. Air Force had stated the F-35 would replace the A-10 as it entered service, but this remains highly contentious within the Air Force and in political circles. With a variety of upgrades and wing replacements, the A-10's service life may be extended to 2040.
Original design and quilted by the artist.
Artist Statement:
“Lady Corona Comforts the Children” is part of a series I developed during the pandemic featuring a figure called "Lady Corona,” a comforting figure not unlike a deity or favorite doll. She is flanked by 19 flowers (symbolic of COVID-19), wears gloves, a face mask, and a small crown. Because the quilting medium is familiar and traditional, it allows me to make strong, even provocative, statements related to social justice reform in an approachable way. “Lady Corona Comforts the Children” places this comforting figure at the southern border during the infamous “kids in cages” practices of the Trump administration.
Website institucional EJEMF: Escola de enfermagem em Votorantim.
Marlon Lemes: Design gráfico / interface | Flash | HTML / CSS.
Agência: Totem Media. 2010.
After many years of advertising the image of EfficientDynamics, BMW has recently announced their plants to build a big SUV, a side stage from the “green message” promoted by the brand. The BMW X7 is scheduled to arrive in 2017 and will be constructed at the Spartanburg plant in South Car...
www.autoblogvia.com/bmw/bmw-defends-strategy-to-develop-x...
Some of the remaining dereliction of neighbouring buildings can still be seen through this opening in the lobby roof at the Courage Brewery development in Bristol