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IN ENGLISH BELOW THE LINE
Foto presa amb una Zeiss-Ikon Contax II fabricada el 1936; objectiu Zeiss Sonnar f2/50mm; pel·licula Revelab BW-XX (Kodak Double-X o Eastman 5222), revelada amb Bellini D96 sense diluir.
Auschwitz. Què més puc dir més enllà d’aquest toponim en alemany d’una vila polonesa. Tots ja sabeu què fou, de 1940 a 1945. Aquí es creà un camp de concentració per la explotació salvatge i mortal dels enemics del III Reich. Però sobretot a partir de 1943 i a la seva extensió (i futur camp independent) de Birkenau: l’extermini dels jueus europeus a nivell industrial.
Aquesta casa gris del fons, no forma estrictament part del camp, però és una peça essencial del entramat. Fou la casa on el comandant Rudolf Höss va viure amb tota la seva familia. Està situada literalment a 10 metres del mur de Auschwitz I... i avui en dia hi viu una familia polonesa. Costa de creure que hom pot viure en un lloc amb aquest passat. Si, en aquesta casa mateix no es deuria produir cap crim però, així i tot...
Per altra banda, just ha coincidit la meva visita a Auschwitz amb la estrena de la pel·licula The Zone of Interest (guanyadora de 2 Oscars), que mostra precisament la vida de la familia Höss en aquesta casa amb aquest entorn. La pel·licula no es va filmar aquí (és un domicili privat)... però si a només 100 metres carrer amunt. Més noticies aviat.
ca.wikipedia.org/wiki/Auschwitz
www.auschwitz.org/en/history/kl-auschwitz-birkenau/
ca.wikipedia.org/wiki/La_zona_d%27inter%C3%A8s
=====================================
Picture taken with my Zeiss Ikon Contax II made in 1936; Carl Zeiss Sonnar f2/50mm lens; Revelab BW-XX (Kodak Double-X a.k.a. Eastman 5222) film, developed in undiluted Bellini D96.
Auschwitz. What else can I say beyond this toponym in German of a Polish town. You all know what it was, from 1940 to 1945. Here a concentration camp was created for the savage and deadly exploitation of the enemies of the Third Reich. But especially from 1943 and in its extension (and future independent camp) of Auschwitz II - Birkenau. The extermination of European Jews at an industrial level.
The gray house in the background is not strictly part of the concentration camp, but it is an essential part of it's framework. It was the house where camp commander Rudolf Höss lived with his whole family. It is located literally 10 meters from the wall of Auschwitz... and today a Polish family lives there. It's hard to believe that you can live in a place with this past. Yes, no crime happened in this house itself, but even conceding that...
On the other hand, my visit to Auschwitz just coincided with the premiere of the film The Zone of Interest (winner of 2 Oscar awards), which shows precisely the life of the Höss family in this house with this surroundings. The movie wasn't filmed here (it's a private residence)...but it was just shoot almost on location 100 meters up the street. More news soon.
en.wikipedia.org/wiki/Auschwitz_concentration_camp
70.auschwitz.org/index.php?option=com_content&view=ar...
www.auschwitz.org/en/history/kl-auschwitz-birkenau/
en.wikipedia.org/wiki/The_Zone_of_Interest_(film)
www.youtube.com/watch?v=GFNtVaAuVYY
Pictures of inside the house, and even words from the current owner:
www.dailymail.co.uk/news/article-9197209/Unseen-photos-re...
Develop your senses- especially learn how to see. Realize that everything connects to everything else.
Developed specifically for the World Sportswear Championship, the 936 ranks among the most successful Porsche racing cars, with 3 Le Mans victories to its credit.
In 1976, it was the first Porsche with a turbo engine to win in Le Mans. In 1977, Jacky Ickx, Jürgen Barth & Hurley Halewood defeat the Renault factory armada of 6 racing cars.
In 1981, the 936 makes a sensational comeback at Le Mans with yet another overall victory.
2.142 cc
6 Cylinder Boxer Turbo
540 PS
Vmax : 360 km/h
Sonderausstellung : 24 Stunden für die Ewigkeit
Special exhibition : 24 Hours for Eternity
Le Mans
26/03/2014 - 31/08/2014
Porsche Museum
Zuffenhausen - Stuttgart
Germany
Juli 2014
Developed by the Union States and adapted from the mechanized prairie schooners that carried settlers across the vast western frontier, the Light Steam Transport Vehicle is highly versatile and exceptionally reliable; easily receptive of improvised repairs. This vehicle is extremely lightweight and sports wide treads to navigate sand, swamps, etc. It is relativity unarmored vehicle and is designed to operate within occupied territory or in areas without expected resistance. This simple, yet robust vehicle was adopted by several other nations following its success in the Great Steam War. Crew consists of driver, stoker, and up to five passengers.
Kottingwörth developed from a settlement on an island ("Werder") in the Altmühl river. The first wooden church may date back to the time of Christianisation. The first stone church was built in the 12th century. It got consecrated between 1183 and 1195. The towers were built between 1250 and 1310. In the first half of the 16th century, the towers were raised. In the years 1760/61, the medieval church building was replaced by a baroque new building.
The oldest part of the church is the basement of the west tower, dated to the 13th century. Around 1310 the choir of the church (now the Vitus chapel) was adorned with frescoes. During the renovation work in the chapel in 1891 these murals were rediscovered under a coat of paint. The paintings are still well preserved.
Under the dome are a "Majestas Domini" (Christ in Majesty), the four evangelists (two by two) and two saints.
Developed in ACR with CC24-based matrix linear DCP profile.
Color graded in Dehancer plugin for Adobe Photoshop with "Fujifilm 3513 Print Film" profile and film simulation effects.
Additional color tweaks made in Adobe Photoshop
While browsing through old family photos recently, I came across two old photo-related items that one could find at the Wal-Mart 1-Hour Photo lab in the mid-'90s.
attempted to develop film on vacation in Mexico - reblixed weeks later for four hours
Arista C-41 kit diluted to 1:12 of recommended stock solutions
stand developed for 1 hour at 20C 68F in Paterson tank with inversions initially and at 30 mins
Blix for 45 mins at 1:12 dilution, Stabilizer for 10 mins
Kodak Portra NC 160 ISO 120 roll film
Zenza Bronica ETRS 6:4.5 medium format SLR
Zenzanon f3.5 150mm EII aspherical lens with electronic leaf shutter
(~85mm effective vs 35mm frame) AE prism view finder and speed grip
Scanned with Epson Perfection 4490 at 4800 dpi 48 bit
See [www.youtube.com/watch?v=hawoHRGaDFw] for Bronica medium format camera operation
A combination of straight lines, circle arcs and s-curves on a circle divided in 10.
I know that morning glories are five-sided, but they have a pronounced crease in the middle of each side.
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.
All you need to develop black and white or color film, from 135 to 120/220 or 4x5 sheet film. What you need apart from this is a dark room (as in "you shouldn't be able to see your hand in front of your face if you hold it a few centimeters away" – a windowless toilet will do), a working surface that is easy to clean (stainless steel will do it, I use the kitchen surfaces for this), and a kitchen sink for the color developing in order to keep the chemicals at an even temperature. You will also need a timer – a watch with a seconds hand will do the trick too.
Lots of notes in this shot, if you're interested. Make sure to check them out if you're curious about the various things on display (you need to click on the image in order to see the notes).
The equipment is not that expensive either. The prize here is the Paterson Orbital for 4x5 sheet film developing; if you find one (try eBay, you can't buy them new any longer: more info here – pig.sty.nu/wiqi/paterson_orbital.html – a good introduction, though you can use a lot less developer in reality) it will set you back anything from 40 dollars to a 100 – but then, if you're into large format photography this is not a large expenditure compared to the costs of cameras and lenses and film … the bottles, the jugs, the thermometers, the Paterson film tank – all these are affordable items easy to find second hand.
And it's much, much easier to develop C-41 film at home than people say. And cheap! I'm estimating a cost of SEK 10 per roll (SEK 5 per 135 roll, even), which compares to the minilab's price of SEK 59 per roll (SEK 118 for 220 film). This would sound more expensive translated to dollars, as the exchange rate is not flattering the dollar at the moment: but SEK 10 will buy you $1.50, give or take. It's that cheap.
Originally developed, beginning in 1970, as a potential replacement for the Fiat 124 Coupe (and possibly the Spider), the car which became the Lancia Beta Scorpion was a larger contemporaneous take on the concept that saw production as the Fiat X1/9. Taking the front-engined, front-drive powertrain from the Lancia Beta and putting it behind the passengers in the middle of the car created a well balanced and exotic machine, though one with little or no luggage space and a few quirks that weren’t worked out during the car’s development.
Ultimately, the project was moved over to Lancia for production and, in 1975, became the Lancia Beta Montecarlo. Due to Chevrolet’s use of the Monte Carlo name, U.S. versions of the car were called the Lancia Beta Scorpion. All cars were built by Pininfarina, and they were the first cars to be assembled completely by the firm. U.S. Scorpions were only available in 1976 and 1977.
There was no official “Abarth” version of the Scorpion/Montecarlo, but there were several faster versions of the Scorpion/Montecarlo, right up to the Group B 037 Rally cars. Interestingly, the Montecarlo is one of the few cars to go out of production only to return. In 1978, production ended and Lancia took 18 months to remedy some of the car’s teething issues, particularly lock-prone front brakes, overboosted for the car’s weight distribution. The Montecarlo resumed production for the 1980 and 1981 model years.
© 2013 A. Kwanten.
Developed in Caffenol C-L Semi-Stand 70min; Ilford HP5+; Pentax P30; SMC Pentax 55mm f1.8; Epson V600
Roll : 2017 - Octobre - N&B - Strasbourg (3)
Developed by Bayer, Perfected by Pete! Oh how could we avoid a target like Pete. Here we have a Pete Doherty endorsed pack of Heroin which includes two syringes of Pete’s all-time favourite 70% mix and all the paraphernalia you need for a great night in! There’s even a competition on the back to enter with the top prize being an exclusive house party hosted by Pete – at your house! Available at your local supermarket now!
Interestingly Heroin was first trademarked by Bayer in 1895 and originally sold as a non-addictive morphine substitute!
Cheers
id-iom
Title: Pete Doherty Heroin (Front of pack detail)
Media: Mixed media
East London
Leica M3 , 15mm Voigtländer super wide angle lens and Rollei Retro 400S , stand developed in Rodinal 1+100 for 1 hour.
Canon A640, developed in Lightroom.
"The Basilica di Santa Croce [...] is situated on the Piazza di Santa Croce, about 800m southeast of the Duomo. [...] It is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, the poet Foscolo, the philosopher Gentile and the composer Rossini, thus it is known also as the Temple of the Italian Glories." (Wikipedia)
The construction took centuries. Started in 1294, consecration was in 1442CE.
"Santa Croce ist die größte und eine der bedeutendsten Franziskanerkirchen Italiens. [...] Zusammen mit dem Dom und Santa Maria Novella, der Kirche des Dominikanerordens in Florenz, bildet Santa Croce den großartigen Dreiklang gotischer Sakralarchitektur in Florenz, die sich – im Vergleich mit der Gotik in Frankreich – durch eine andere Raumauffassung auszeichnet: weite Arkadenöffnungen zu den Seitenschiffen, darüber eine niedrige Lichtgadenzone, die in Santa Croce allerdings nicht durch ein Steingewölbe, sondern – das Stilideal der franziskanischen Einfachheit mehr zitierend als ihm entsprechend – durch ein offenes Sparrendach abgeschlossen wird. Das durchlaufende kräftige Konsolgesims betont den Eindruck der Lagerung, obwohl die lichte Höhe des Mittelschiffs mit 34,5 Meter größer ist als die von Notre-Dame in Paris und fast so groß wie die von Chartres und Reims." (Wikipedia)
"In 1866, the complex became public property, as a part of government suppression of most religious houses, following the wars that gained Italian independence and unity." (Wikipedia)
en.wikipedia.org/wiki/Santa_Croce,_Florence
de.wikipedia.org/wiki/Santa_Croce_(Florenz)
Quiet STOL research aircraft, developed by the National Aerospace Laboratory. The airframe was based on the Kawasaki C-1 design. This is the only example built and was retired in 1989. It has been part of the museum since 1996.
Kakamigahara Aerospace Science Museum
Kakamigahara City,
Gifu Prefecture, Japan
15th March 2019
The following info on the Asuka is from the fascinating j-hangarspace.jp website:-
“The Asuka experimental aircraft was developed as a national project by the then Science and Technology Agency’s National Aerospace Laboratory (NAL, now the Japan Aerospace Exploration Agency), the aircraft was designed to investigate short takeoff and landing technologies, in combination with the utilization of a computer-controlled flight system, and ways to reduce aircraft noise footprints. Unlike the other test aircraft in the collection, Asuka was from the outset modelled on rather than a conversion of an existing airframe, in this case a Kawasaki C-1. The two-kanji name Asuka (飛鳥), literally means ‘flying bird’ or ‘bird on the wing’; more obscurely, it was also the name of the Imperial capital during the Asuka period (538–710) in Japanese history.
The four Japan-produced FJR710 turbofan engines were mounted ahead of and above the main wing. The STOL performance tests centered on lift generation by means of upper surface blowing (USB), by which the jet efflux from the engines was passed over the top of the blast-protected main wing through double rows of vortex generators and redirected downwards over the flaps. This configuration had already been adopted on twin-engine designs in the mid-1970s, most notably the two Boeing YC-14 tactical transport prototypes as well as the somewhat more successful Antonov An-72. In the case of the Asuka, the test programme lasted for three and a half years, ending on March 30, 1989, with the retirement of the aircraft after 97 flights and 167 flight hours.”
The Bugatti Veyron EB 16.4 is a mid-engined sports car, designed and developed in Germany by the Volkswagen Group and manufactured in Molsheim, France, by Bugatti Automobiles S.A.S.
The original version had a top speed of 407.12 km/h (252.97 mph). It was named Car of the Decade and best car award (2000–2009) by the BBC television programme Top Gear. The standard Bugatti Veyron also won Top Gear's Best Car Driven All Year award in 2005.
The current Super Sport version of the Veyron is recognized by Guinness World Records as the fastest street-legal production car in the world, with a top speed of 431.072 km/h (267.856 mph), and the roadster Veyron Grand Sport Vitesse version is the fastest roadster in the world, reaching an averaged top speed of 408.84 km/h (254.04 mph) in a test on 6 April 2013.
Name origin
The Veyron EB 16.4 is named in honour of Pierre Veyron, a Bugatti development engineer, test driver and company race driver who, with co-driver Jean-Pierre Wimille, won the 1939 24 hours of Le Mans while driving a Bugatti. The "EB" refers to Bugatti founder Ettore Bugatti and the "16.4" refers to the engine's 16 cylinders and 4 turbochargers.
World record controversy
A controversy developed in 2013 over the Veyron Super Sport's status as the world’s fastest production car, ultimately resolved in the Veyron's favor.
In early April 2013, driving.co.uk (also known as Sunday Times Driving) began an investigation following claims from US car maker Hennessey that its 928 kW (1,244 bhp) Hennessey Venom GT was entitled to the Guinness World Record. With a recorded speed of 427.6 km/h (265.7 mph) the Hennessey was 3.4 km/h (2.1 mph) slower than the Veyron but Hennessey dismissed Bugatti’s official record saying that the Veyron Super Sport was restricted to 415 km/h (258 mph) in production form and that for it to achieve its record top speed of 431.0 km/h (267.8 mph), the car used was in a state of tune not available to customers. Hennessey said its Venom GT was road-ready and unmodified and was therefore a production car in the strict sense of the term.
Driving.co.uk requested clarification from Guinness World Records, which investigated this claim and found that the modification was against the official guidelines of the record. Upon finding this, Guinness World Records voided the Super Sport's record and announced it was "reviewing this category with expert external consultants to ensure our records fairly reflect achievements in this field."
After further review, Shelby SuperCars, the producers of the Ultimate Aero TT, said that they had reclaimed the record, however Guinness reinstated the Super Sport's record after coming to the conclusion that "a change to the speed limiter does not alter the fundamental design of the car or its engine."
Bugatti Veyron 16.4 Super Sport, World Record Edition (2010–)
The Bugatti Veyron 16.4 Super Sport is a faster, more powerful version of the Bugatti Veyron 16.4. Production is limited to thirty units. The Super Sport has increased engine power of 1,200 PS (880 kW; 1,200 bhp), a torque of 1,500 N·m (1,100 lbf·ft), and a revised aerodynamic package. The Super Sport has a 431.072 km/h (267.856 mph) top speed, making it the fastest production road car on the market although it is electronically limited to 415 km/h (258 mph) to protect the tyres from disintegrating.
The Bugatti Veyron 16.4 Super Sport World Record Edition is a version of the Bugatti Veyron 16.4 Super Sport. It is limited to five units. It has an orange body detailing, and a special, black, exposed, carbon, body.
The vehicle was unveiled in 2010 at The Quail, followed by the 2010 Monterey Historic Races at Laguna Seca, and the 2010 Pebble Beach Concours d'Elegance.
[Text taken from Wikipedia]
This Lego Speed Champions (1:37)-scale 2010 Bugatti Veyron Super Sport has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. In the case of the Veyron Super Sport, the fastest road car in the world - 431.072 km/h (267.856 mph).
Olympus OM-2
Olympus 50mm f/1.8
Kodak GC/Ultramax 400
Home Developed in Unicolor/Argentix.ca
Pakon F135 scan
Nikon F90X, Ilford Pan 400, developed in Rodinal 1:25 @ 22° for 4m50s, agitated every minute. Scanned on Epson V600.
One of the test shots on my 'new' F90X that I picked up for 30 quid.
SGF Vision Cinema Pro 200T
Nikon F100
self developed in tetenal c41
remjet removed with my new prebath recipe.
epson v700
Australian National Botanic Gardens Kialla.
This sandy area beside the Goulburn River was established as a communistic style village settlement in 1893 by the Victorian government. Unemployed people were invited to join the commune to develop and work the land communally. Like the scheme in SA it failed after a few years despite fruit orchards being established. Most village settlers eventually moved. In the 1920s the area was used for sand quarrying. Later this area was the rubbish dump for Shepparton but in 2000 it was developed as a botanic garden for Australian plants. The nearby town of Kialla pre-dated the village settlement. It began to grow around 1874 as Shepparton grew. By 1900 Kialla had two schools, two hotels and Catholic and Methodist Churches. In recent decades it has been developed as residential housing estates. The actual site of the Botanic Gardens was closed as a rubbish dump in 1987 and then was land filled. The site was selected in 2011 and the gardens cover 22 hectares with specialised areas such as the wetlands (noted for its bird life), the childrens garden, the turtle garden, the weaving garden, the refugee’s garden and the migrant’s garden. There is a lookout on the man mad hill and billabong walks near the Broken River which joins the Goulburn River nearby.
Shepparton Heritage Centre. The Heritage Centre is in the city’s oldest still standing building. Erected in 1873 as the Institute Hall it later became the Foresters Hall. Foresters were felling River Red Gums along the Goulburn River once the riverboat trade began in 1854 from Echuca. The old 1850s wharf in Shepparton was near this Museum. After the paddle steamer era the river course was changed when the river was dammed to create Lake Victoria in 1929. The current museum and old wharf are located where a punt crossed the Goulburn River and where the government established the animal pound and a government presence in 1853. The Emu Bush Inn also operated here. From around 1850 the locality was called McGuire’s Punt which was changed to Shepparton in 1860. Explorers and cattle overlanders Joseph Hawdon and Charles Bonney camped near here in 1838 when they set off along the Goulburn and Murray rivers to be the first to overland stock to Adelaide. A second wharf was constructed in 1880 near the museum. Shepparton was one of the early inland ports. Shepparton Council purchased this hall in 1969 and the museum opened here in 1972. The museum houses the Family History Group and has reference materials and photographic displays of lost Shepparton. Their prize items include the old clock from the 1882 Post Office tower. They have changing exhibitions but the main interest is in the photographic record contained here. The Historical Centre is hoping to one day rebuilt a replica of the old 1882 Post Office! The buildings themselves that contain the collection are of significant historical value. You can see a Furphy’s water cart here, 19th century carriages and historic items from prams to printing press and tractors to old telephones.
Some historical buildings in Shepparton beginning with the Catholic Church in Knight St.
•The first St Brendan’s Church built in 1878 was later destroyed by fire in January 1900. The new red brick St Brendan’s opened in November 1900. Next to it is a huge Edwardian presbytery. The convent is now Notre Dame College and across the street is the Catholic School which began in 1891 but the main building was not built until 1916. It was run by the Sisters of Mercy from 1902 and their two storey convent was built in 1917. Turn around towards the town centre and turn left at Maude Street.
•Near McKinley St. The new Anglican Church was built in 1925 and the narthex or front entrance foyer added in 1986. The first brick Anglican Church was built elsewhere in town in 1882.
•At 112 Maude St is a fine Edwardian Arts and Crafts villa house on the corner. Built in 1927 by the style of the house. It has terracotta tiled roof, half hipped gables etc. At end of Edward St. 141 Maude. The former Methodist Church which is now the Uniting Church. First church built in 1878 and then moved to this site. This church was built in 1908 with additions made in 1934.
•179 Maude on corner of Fryers St. The Aussie Hotel was the Australian. Built as the Union Hotel in 1897.Turn left into Fryers Street here as the Maude Street Mall begins.
•120 Fryers Street. The Baptist Church bought the site of the town’s first flourmill in 1901. The church was built in 1904. The first Baptist services were held elsewhere in 1882.
•140 Fryers St across the street is the former Presbyterian or Scots church. Now painted white with its tower. It was built in 1888 but services began in 1878.The transept was added in 1905 but the tower was only added in 1964. The church hall was built in 1902. Turn left at this intersection into Corio Street. At the next main intersection with a roundabout is:
Elsewhere in town:
• The old Shepparton High School is at 71 Hawdon St. It opened in 1909 as the Shepparton Agricultural High School in Fryers St. It moved to the Hawdon Street site when this building opened in 1929 and the name was changed to Shepparton High School.
•The fine old railway station is at the end of Vaughan Street. The original 1880 station burnt down and was replaced by this building in 1910.
•The 1939 Art Deco style Courthouse still remains intact at 10 High Street. The first Courthouse was built in 1881. Few Art Deco Courthouses were built in Australia.
• At 212 High Street is the Art Deco Terminus Hotel near the railway station. It opened in 1885 but was remodelled in Art Deco style in 1938. Across the street the Goulburn Valley Hotel was licenced from 1885. It was remodelled in a less pleasing Art Deco style in 1928.
•47 Wyndham St. It is worth the walk to see the Alexander Miller Memorial Homes. Scottish born Geelong shopkeeper Alexander Miller later had stores in Shepparton, Euroa, Benalla etc. He donated the money to build these homes in 1919 for the poor. He had died in 1914 but left instruction in his will for their construction. Also homes in Rushworth, Benalla, Europa, St Arnaud, Castlemaine, Geelong & Maryborough.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The North American FJ-4 Fury was a swept-wing carrier-capable fighter-bomber, originally developed for the United States Navy and Marine Corps. It was the final development in a lineage that included the Air Force's F-86 Sabre. The FJ-4 shared its general layout and engine with the earlier FJ-3, but featured an entirely new wing design. And it was, as a kind of final embodiment with the FJ-4B, a very different aircraft from the F-86 .
The first FJ-4 flew on 28 October 1954 and delivery began in February 1955. Of the original order for 221 FJ-4 fighters, the last 71 were modified into the FJ-4B fighter-bomber version, of which the Netherlands received 16 aircraft under the designation FJ-4B from the USA in the course of NATO support. Even though the main roles of the MLD were maritime patrol, anti-submarine warfare and search and rescue, the FJ-4B was a dedicated fighter-bomber, and these aircraft were to be used with the Dutch Navy’s Colossus-Class carrier HNLMS Karel Doorman (R81).
Compared to the lighter FJ-4 interceptor, the FJ-4B had a stronger wing with six instead of four underwing stations, a stronger landing gear and additional aerodynamic brakes under the aft fuselage. The latter made landing safer by allowing pilots to use higher thrust settings, and were also useful for dive attacks. Compared to the FJ-4, external load was doubled, and the US FJ-4Bs were capable of carrying a nuclear weapon on the inboard port station, a feature the MLD Furies lacked. The MLD aircraft were still equipped with the corresponding LABS or Low-Altitude Bombing System for accurate delivery of ordnance.
The Dutch Furies were primarily intended for anti-ship missions (toting up to five of the newly developed ASM-N-7 missiles - renamed in AGM-12B Bullpup after 1962 - plus a guidance pod) and CAS duties against coastal targets, as well as for precision strikes. In a secondary role, the FJ-4B could carry Sidewinder AAMs for interception purposes.
The MLD's FJ-4B became operational in 1956, just in time to enhance the firepower of the Karel Doorman, which just had its 24 WW-II era propeller driven Fairey Firefly strike fighters and Hawker Sea Fury fighter/anti-ship aircraft backed up with 14 TBF Avenger ASW/torpedo bombers and 10 Hawker Sea Hawk fighters (the MLD owned 22 of these) for an ASW/Strike profile. The Furies joined the carrier in late 1957 and replaced the piston-engined attack aircraft.
In 1960, during the Dutch decolonization and planned independence of Western New Guinea, a territory which was also claimed by Indonesia, the Karel Doorman set sail along with two destroyers and a modified oil tanker to 'show the flag'. In order to avoid possible problems with Indonesia's ally Egypt at the Suez Canal, the carrier instead sailed around the horn of Africa. She arrived in Fremantle, Australia, where the local seamen's union struck in sympathy with Indonesia; the crew used the propeller thrust of aircraft chained down on deck to nudge the carrier into dock without tugs! In addition to her air wing, she was ferrying twelve Hawker Hunter fighters to bolster the local Dutch defense forces, which the Karel Doorman delivered when she arrived at Hollandia, New Guinea.
During the 1960 crisis, Indonesia prepared for a military action named Operation Trikora (in the Indonesian language, "Tri Komando Rakyat" means "The Three Commands of the People"). In addition to planning for an invasion, the TNI-AU (Indonesian Air Forces) hoped to sink the Karel Doorman with Soviet-supplied Tupolev Tu-16KS-1 Badger naval bombers using AS-1 Kennel/KS-1 Kometa anti-ship missiles. This bomber-launched missile strike mission was cancelled on short notice, though, because of the implementation of the cease-fire between Indonesia and the Netherlands. This led to a Dutch withdrawal and temporary UN peacekeeping administration, followed by occupation and annexation through Indonesia. While the Dutch aircraft served actively during this conflict, flying patrols and demonstrating presence, visibly armed and in alert condition, no 'hot' sortie or casualty occured, even though one aircraft, 10-18, was lost in a start accident. The pilot ejected safely.
The MLD FJ-4Bs only served on the carrier until its overhaul in 1964, after which the carrier-borne attack role was eliminated and all aircraft were transferred to land bases (Valkenburg) or in reserve storage. The Seahawks were retired from service by the end of the 1960s after the sale of the Karel Doorman to Argentina, and the FJ-4Bs were returned to the United States, where they were re-integrated into the USMC until the end of the 1960ies, when all FJ-4 aircraft were phased out.
General characteristics:
Crew: 1
Length: 36 ft 4 in (11.1 m)
Wingspan: 39 ft 1 in (11.9 m)
Height: 13 ft 11 in (4.2 m)
Wing area: 338.66 ft² (31.46 m²)
Empty weight: 13,210 lb (6,000 kg)
Loaded weight: 20,130 lb (9,200 kg)
Max. take-off weight: 23,700 lb (10,750 kg)
Powerplant: 1 × Wright J65-W-16A turbojet, 7,700 lbf (34 kN)
Performance:
Maximum speed: 680 mph (1,090 km/h) at 35,000 ft (10,670 m)
Range: 2,020 mi (3,250 km) with 2× 200 gal (760 l) drop tanks and 2× AIM-9 missiles
Service ceiling: 46,800 ft (14,300 m)
Rate of climb: 7,660 ft/min (38.9 m/s)
Wing loading: 69.9 lb/ft² (341.7 kg/m²)
Thrust/weight: .325
Armament:
4× 20 mm (0.787 in) cannon
6× pylons under the wings for 3,000 lb (1,400 kg) external ordnance, including up to 6× AIM-9 Sidewinder AAMs, bombs and guided/unguided ASM, e .g. ASM-N-7 (AGM-12B Bullpup) missiles.
The kit and its assembly
Originally, this model project was inspired by a (whiffy) Dutch F3H Demon profile, designed by fellow user Darth Panda at whatifmodelers.com. I found the idea of a foreign/NATO user of one of these early carrier-borne jet fighters very inspiring – not only because of the strange design of many of these aircraft, but also since the USN and USMC had been the only real world users of many of these types.
Initially, I planned to convert a F3H accordingly. But with limited storage/display space at home I decided to apply the MLD idea to another smaller, but maybe even more exotic, type: the North American FJ-4B Fury, which was in 1962 recoded into AF-1E.
I like the beefy Sabre cousin very much. It’s one of those aircraft that received little attention, even from model kit manufacturers. In fact, in 1:72 scale there are only vintage vacu kits or the very basic Emhar kit available. Th Emhar kit, which I used here and which is a kind donation of a fellow modeler (Thanks a lot, André!), a rather rough thing with raised panel lines and much room for improvements. As a side note, there's also a FJ-4B from Revell, but it's just a 1996 re-issue with no improvements, whatsoever.
Another facet of the model: When I did legwork concerning a possible background story, I was surprised to find out that the Netherlands actually operated aircraft carriers in the 1950s, including carrier-borne, fixed-wing aircraft, even jets in the form of Hawker Sea Hawks. The real life FJ-4Bs service introduction, the naissance of NATO and the Indonesian conflict as well as the corresponding intervention of the Karel Doorman carrier all fell into a very plausible time frame – and so there’s a very good and plausible story why the MLD could actually have used the Fury fighter bomber!
The Emhar kit was not modified structurally, but saw some changes in detail. These include a scratch-built cockpit with side walls, side consoles and a new ejection seat, plus a Matchbox pilot figure, a new front wheel (from a Kangnam Yak-38, I believe), plus a lot of added blade aerials and a finer pitot.
The flaps were lowered, for a more lively look- Another new feature is the opened air intake, which features a central splitter - in fact a vertically placed piece of a Vicker Wellesley bomb container from Matchbox. At the rear end, the exhaust pipe was opened and lengthened internally.
The six weapon hardpoints were taken from the original kit, but I did not use the four Sidewinder AAMs and the rather bulky drop tanks. So, all ordnance is new: the Bullpups come from the Hasegawa air-to-ground missile set, the drop tanks are leftover pieces from a Hobby Boss F-86. They are much more 'delicate', and make the Fury look less stout and cumbersome. The guidance pod for the Bullpups (a typical FJ-4B feature with these weapons) is a WWII drop tank, shaped with the help of benchmark pictures. Certainly not perfect, but, hey - it's just a MODEL!
Painting and markings
I used mid-1950ies MLD Sea Furys and Sea Hawks as a design benchmark, but this Fury is placed just into the time frame around 1960 when the MLD introduced a new 3-digit code system. Before that, a code "6-XX" with the XX somewhere in the 70 region would have been appropriate, and I actually painted the fuselage sides a bit darker so as if the old code had recently been painted over.
Dutch MLD aircraft tended to keep their former users’ liveries, but in the FJ-4B’s case I thought that a light grey and white aircraft (USN style) with Dutch roundels would look a bit odd. So I settled for early NATO style with Extra Dark Sea Grey upper sides (Humbrol 123) and Sky from below (Testors 2049 from their Authentic Line).
I also went for an early design style with a low waterline - early Hawker Sea Furies were painted this way, and a high waterline would probably be more typical. But in the face of potential seriosu action, who knows...? Things tend to be toned down quickly, just remember the RN Harriers during the Falkland conflict. I'll admit that the aircraft looks a bit simple and dull now, but this IMHO just adds to the plausible look of this whif. I prefer such subtleties to garish designs.
The surfaces were weathered with dry-brushed lighter shades of the basic tones (mostly Humbrol 79, but also some 140 and 67, and Humbrol 90 and 166 below), including overpainted old codes in a slightly darker tone of EDSG, done with Revell 77. A light wash with black ink emphasizes edges and some details - the machine was not to look worn.
The interior was painted in medium grey (Humbrol 140), the landing gear is white (Humbrol 130), and some details like the air intake rim, the edges of the landing gear covers, the flaps or the tips of the wing fences were painted in bright red (Humbrol 174), for some contrast to the overall grey upper sides.
The MLD markings were puzzled together. The roundels come from an Xtradecal sheet for various Hawker Sea Furies, the '202' code comes, among others, from a Grumman Bearcat aftermarket sheet. The 'KON. MARINE' line is hand-made, letter by letter, from a TL Modellbau aftremarket sheet.
Most stencils and warning sign decals come from the original decal sheet, as well as from a FJ-4 Xtradecal aftermarket sheet, from F-86 kits and the scrap box. I wanted these details to provide the color to the aircraft, so that it would not look too uniform, but still without flashy decorations and like a rather utilarian military item.
finally, the model received a coat of semi-matt varnish (Tamiya Acryllic), since MLD aircraft had a pretty glossy finish. No dirt or soot stains were added - the Dutch kept their (few) shipborne aircraft very clean and tidy!
So, all in all, a simple looking aircraft, but this Dutch Fury has IMHO a certain, subtle charm - probably also because it is a rather rare and unpopular aircraft, which in itself has a certain whiffy aura.
Taken with: Canon FTb SLR (FD)
Gossen Luna Pro-F
Taken on: Kodak Tri-X 400
Developed in: Kodak HC-110 Dilution-B (6:00 min)
Scanned with: Epson V600 Scanner (PhotoshopCC&LightroomCC)
Day 8: A solemn day spent visiting the cemeteries and memorials in Northern France, before hopping a train down to Paris.
The Canadian National Vimy Memorial is the creation of Toronto artist Walter Seymour Allward, and is situated on land granted in perpetuity to the people of Canada by the grateful government of France. If Canada has a heart away from home, surely it is here.
For more information: en.wikipedia.org/wiki/Canadian_National_Vimy_Memorial
We Will Remember Them
There is a certain affection that individuals develop for a place, especially where railroading is concerned. Drop names such as Cajon or Donner or Tehachapi and it is easy to understand the pull that those places have.
But, had the early railroad builders seen a better way to expand their empires and get from Point A to Point B without loops and black powder and tunnels and shelves blasted out of mountainsides, they certainly would have.
But they didn’t, and their efforts created legends that spread around the world, and people from far and wide have come to witness it.
But mention Black, Texas or Canadian or White Deer and those same people scratch their heads and ask “Where?”
To most, the draw of the High Plains is inexplicable.
To a few, it is inexorable.
“It seems big and empty,” some might say.
It’s hot, it’s dusty, it rains, it hails, and it snows---
All in the same day.
Yet it is a land steeped rich in history; of the Comanche and herds of bison roaming free through the yellow grasses; of barbed wire and cattle brands of the great XIT ranch or the Matador or the JA, whose cowboys drove their Herefords across the same parched grassland and past the bleached-white bones of buffalo, the cows not stopping to mourn as they were herded on their way to trackside holding pens along the Fort Worth & Denver or the Santa Fe, where they were loaded aboard slat-sided stock cars and shipped off to market.
The Plains are not merely experienced; to be fully appreciated and understood, they must be absorbed through the soles of our feet and inhaled by all of our senses.
It is a land that speaks to the vastness of one’s soul---
Of a limitless scape and a horizon that is never reached, where time and direction are easily lost---
The taste of dust and dry grass and the damp smell of rain on the wind as dark clouds billow high in the sky---
A storm promising to refill the playas after another scorching summer.
Jack Delano came here in 1943, and it was his masterful imagery that dropped the seed in the fertile soil of a young mind, there to be watered in well by a monochrome conductor standing at his caboose steps reviewing his train orders in front of the tiny and windswept yet immaculate depot at Black.
But things have changed since the Office of War Information tour.
The 2-10-4s are long gone, and massed Warbonnet PAs no longer roll the eastbound San Francisco Chief out of Amarillo at 25 minutes past midnight, sharp.
And in the time since, it seems that railroading has become homogenized, where both sides of the coin look the same, and individual traits or signatures or trademarks of long standing have been watered-down or merged away entirely by a modern-day corporate environment.
This is the world we live in.
But the rails themselves still stretch between dots on a map, and the trains still run on them, and the crews still operate them in a dedicated and professional manner.
And there is still the expanse of Texas.
Perhaps it is for us to challenge oneself with the impossible task of choosing a single image that is the embodiment of today’s railroading across the High Plains, one that represents the total essence of the land and the trains that run through it.
How best to depict the round-the-clock nature of railroading itself; of crews awakened in the dead of night, or in the full light of day, assigned a train and given the task of getting it over the road to the next terminal?
It would have to be an image showing a sense of urgency, of efficiency and pricing and speed, perhaps a duel between the flexibility of rubber and asphalt versus the volume of steel rails and crossties and ballast.
There would have to be a sense of destination or purpose; trains don’t just run across a vast landscape without someplace to go, and there’s a lot of wide-open railroading that happens across the panhandle between Oklahoma and New Mexico.
The scenes and the moments are endless and not easily narrowed down to one.
Perhaps.
Tonight, there’s a fast train at Amarillo with a crew on board that was roused from sleep, grabbed a quick bite at Penny’s Diner, checked out of the Windham Baymont in Wellington, Kansas, and boarded their train.
They’ll have 12 hours to cover 312 track miles across the Panhandle Subdivision, and in that time a brace of four modern General Electric locomotives will allow them to achieve the track speed of 70 mph while a long string of containers and semi-trailers tugs on the drawbar, vital traffic taken off the roads and away from the truckers who constantly have trouble fielding a competitive team and keeping drivers in the seat.
It's dusk on a perfect Texas evening, and our westbound BNSF crew has a clear block ahead and the lights of home on the horizon. In just a few more miles, they’ll roll to a stop near the yard office in Amarillo, grab their grips and their coolers and the ever-present Stanley Thermos, and step down into the night, there to chat with the outbound crew who will forward the train across to Belen, putting the High Plains and a few more double-tracked subdivisions behind it on its way to the West Coast.
In a day or so it will find itself in a very different scape as it winds through desert mountains on its way up Cajon, the ghosts of Kistler and Steinheimer and Walker moving about the shadows of Hill 582 as GEVO prime movers pay them homage.
Those standing trackside will snap away at one of the finest and most dramatic scenes in railway history; for them it will be an occurrence teetering on the abyss of nirvana.
Meanwhile, two time zones to the east, somewhere out on the Llano Estacado, perhaps near Cuyler or Panhandle or Pantex, there will be a lone figure standing trackside, shaggy gray hair sprouting from beneath an old T&P cap, clad in blue jeans and an old Wrangler cowboy shirt flapping in the breeze. With the Nikon that dangles from his neck, he’ll line up a sunset shot on a fast train heading to Amarillo.
And as a symphony of steel wheels roars past, the crescendo rising and fading as each wheelset makes room for the next on rails that seem as endless as the horizon---
The experience will be no less intense than that on Cajon.
And while it may never be acclaimed as legendary, for those who have absorbed the place---
Inhaled it into their very soul---
It comes pretty damn close.
Rick Malo©2023
Developed for Air France, the Loire 102 pictured here's in a Test Phase for its new single stabilized Tailfin and enhanced Engines (Streamline, Cooler...)
Indeed, previous Version had a double Tail and some overheating Probs.
Its Net Weight was over 17Ton, moved manually by man.
Original Gelatin-Silver Photograph