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Gamla Model Makers was commissioned to develop a multimedia package presenting a patented concept of a Heavy Lift Cargo Carrier aircraft developed by ConcordLift TM. In a limited timeframe and budget we developed and produced 3D digital models of that conceptual aircraft, generated 3D based line drawings and photorealistic color renderings/illustrations, and even produced a short animation film illustrating a take-off procedure of the aircraft. According to the Client's wish we developed separate 3 packages presenting 3 versions of the aircraft: 20 TEU capacity Cargo Carrier, 90 TEU capacity Cargo Carrier and a RoRo - a Cargo Carrier customized specifically to transport a large number of automobiles.
This is one of the 3D based renderings, representing a version of the aircraft designed to carry 20 standard 20' shipping containers.
Please, note: it is not our intent to initiate any discussions concerning the concept of the aircraft and proposed innovations included in its design. Our only intent is to show a samples of our work in the field of 3D modeling, creating 3D based presentation materials and 3D based marketing animation as well. Please, do not post any comments concerning the concept and design of the aircraft itself - such comments are not relevant and we reserve the rights to remove such comments.
SIGMA sd Quattro + 18-35mm F1.8 DC HSM A013
Developed by SIGMA Photo Pro 6.6.1
【写真家と一緒に撮り歩き 足利ブラブラ写真教室】
ZoomCharts at DevClub.lv: Developing a Javascript SDK
On January 15, 2015, ZoomCharts Co-Founder and CTO Viesturs Zariņš presented at DevClub.lv - a community of Latvian IT specialists that gather monthly and host free talks, presentations, and events to allow the local IT community to share knowledge, network, and communicate. Zariņš discussed the unique challenges faced in developing JavaScript SDK.
Here is a brief overview of his PowerPoint presentation on ZoomCharts, the world’s most interactive data visualization software that will support all your data presentation needs with incredible speed.
What is ZoomCharts?
What defines ZoomCharts advanced data visualization software? It is NOT another HTML5 charts library. It is:
- Interactive
- Fast
- Touch enabled
- Supports big data
A long time ago
DOS 6.2 allowed for:
- 320x240x8bpp
- Direct access to pixels on screen
- Assembler for performance
Today, the Web has finally caught up in the graphics department. Now, we have access to:
- Multiple browsers and rendering technologies
- Multiple resolutions
- Performance that varies by browser and device
Development setup:
- We write in JavaScript
- Commit to GitHub
- Build system in JavaScript
- Debug in Chrome
- Run automated tests
- Like WebStorm (and Vim)
Graphics:
Canvas (fast)
SVG (slow)
WebGL (>50%)
Interactive animations:
Zoom in and out of the graph, drag and drop data, all with your mouse or trackpad.
Graceful degradation:
High FPS (frames per second) lets you scale graphics with low image degradation.
Third party libraries:
- Raphael
- Hammer.js
- Leaflet
- Moment.js
Challenges:
- Responsive design: layouts can shift and look nice on desktop screens vs. not so nice on vertical, mobile screens
- Big screen resolutions: uses devicePixelRatio for sharp rendering, but no hardware acceleration beyond 2048x2048
- Safari compatibility: with 100% CPU, input events are blocked and browser locks up; strange code offers fixes
- HTML on canvas: DOM is slow; basic HTML markup must be parsed and rendered manually; text caching helps
Support:
- Process: TrialSupportBuy
- 1 day issue resolution
- #1 Tell me what I did wrong
- #2 Can you do…
Testing:
- Automated tests on every GIT push
Automatically:
- Compare images
- Record performance
- View errors in console
Interactive testing:
- Next step: record and playback
BrowserStack:
- Interactive mode
- Automated: Selenium API
Debugging:
Chrome Developer tools (F12)
- Debugging
- Profiling
- Timeline
Remote debugging available: developer.chrome.com/devtools/docs/remote-debugging
Future:
- More charts
- Extension API
- Memory allocation tracking
- WebGL
We are looking for statically-typed language:
- Error checking
- Performance
- Superior minification
- Easy to write and read
- Easy to call from JS
Building
Custom build script:
- Compile
- Minify
- Extract documentation
- Embed customer data
Check out ZoomCharts products:
Network Chart
Big network exploration
Explore linked data sets. Highlight relevant data with dynamic filters and visual styles. Incremental data loading. Exploration with focus nodes.
Time Chart
Time navigation and exploration tool
Browse activity logs, select time ranges. Multiple data series and value axes. Switch between time units.
Pie Chart
Amazingly intuitive hierarchical data exploration
Get quick overview of your data and drill down when necessary. All in a single easy to use chart.
Facet Chart
Scrollable bar chart with drill-down
Compare values side by side and provide easy access to the long tail.
ZoomCharts
The world’s most interactive data visualization software
#zoomcharts #interactive #data #interactivedata #datavisualization #interactivedatavisualization #chart #graph #charts #graphs #Javascript #JavascriptSDK #DevClubIV #Latvia #PowerPoint #PowerPointpresentation #fast #bigdata
Students and young professionals discuss their projects during the 2023 DEVELOP Day, Wednesday, Aug. 9, 2023, at the Mary W. Jackson NASA Headquarters building in Washington. Every summer students and young professionals from NASA’s Applied Sciences’ DEVELOP National Program come to NASA Headquarters to present their research. This year marks the 25th year of DEVELOP, a training and development program where students work on Earth science research projects, mentored by science advisors from NASA and partner agencies, and extend research results to local communities. Photo Credit: (NASA/Joel Kowsky)
The last few times I have developed Sahnaghai GP3 film in Rodinal 1:200 stand development for 2 hours, I have noticed a recurring problem.
You can see in the top right hand corners of the image, the blotches that are throughout the image.
Perhaps not enough developer is getting to the film throughout the stand development process?
I thought my Fixer may be exhausted but I have developed other films without this problem.
This problem seems to be consistent with the Shanghai GP3 .... Any thoughts on why this may be happening ?????
Hasseblad + 80 mm + Shanghai GP3 + Rodinal 1:200 Stand Developed @ 2hours
Zorki-6
Industar-61 2.8/52mm
Fomapan 100
Developed in HC-110, dilution H, 11min 30 sec@20C. 1st attempt with the Fomapan 100 film
15 Bury St Edmunds Hardwick Lane And Westgate Street Minolta Dynax 7000i Minolta 35-105mm F3.5-4.5 Kodak Gold 200 ISO Developed In Rollei Colorchem C41 30-1-2023
A local Afghan offers a French soldier tea in eastern Afghanistan. (Photo Courtesy of Task Force Lafayette/French)
Together with Karel and neighbor boy Afra we made a new board game and tested it - the boys' sisters played along, too. Most of the rules were my idea, but they're subject to change as we test the game.
Everybody rolls 2 dice at every turn. One special die (made with the Lego die) and one regular one.
The special die has the following sides:
CLOSE - close the gates on the board
OPEN - open the gates
MONEY - get a chip
PURPLE - pay a chip
The regular die is for walking, of course. The figures can pick their route on crossings, but cannot go backwards.
Every player gets a 4x10 plate to put the chips (round 2x2 tiles) on; objective of the game is to collect 10 chips so that the plate is full.
There are the following special fields:
- White jumper plate = sing a song and earn a chip
- Brown jumper plate = do a dance and earn a chip
- Red jumper plate = make a drawing and earn a chip
- Tan jumpuer plate = go two steps forward and earn a chip
- Field with a gold or silver ball = earn a chip and put the ball in the bucket. When the fourth ball goes in the buckets, all balls come back in the game at random
- Golden gate: must be open to pass. Earn a chip
- Start gate: must be open to pass
- 'Hit the wall': if you land on the field adjacent to the outer wall with the castle windows, you skip two turns
- Shelter: skip one turn
- Stop sign: skip one turn
- Arrow tile: roll again
- Field with soccer ball: go to the field before the golden gate and put the soccer ball somewhere else
- Antenna: go to the field before the golden gate
Things that need to change:
- Maybe the routing isn't clear enough. Madelief insisted on turning left where she couldn't (hence the pout), maybe I should add an arrow sign. (The way she went about, she'd skip the bit with the gate)
- I designed the game with just one OPEN and two CLOSE sides on the special die, but kids are waiting behind closed gates too much.
- That START gate was annoying. Everybody was waiting for the gate to open and got fed up. It should go.
-Reaching 10 chips may take too long. Maybe I should use smaller plates or let the game end when the first player reaches the slide.
A Norwich street scene taken with a folding camera.
Agfa Isolette I. 1954 folding camera.
Ilford HP5 Plus medium format film
Developed in ID11
For decades, developing and emerging economies have relied on traditional financing solutions intermediated by commercial banks with limited capital market activity. A vital challenge for these countries is how to mobilise more finance to help accelerate their development and achieve the Sustainable Development Goals (SDGs). This event comes at a critical juncture as developed economies begin to tighten their monetary policies and geopolitical tensions increase dramatically, raising new questions on how sustainable capital market ambitions could be achieved going forward.
The current turbulent environment in Europe has also highlighted the importance of energy security and the pressing need to fast-track decarbonisation efforts. This panel explored how emerging economies can achieve significant breakthroughs by mobilising cross-border finance focused on sustainable and inclusive solutions. In particular discussing the growth of blended finance and impact investment flows and their role in building up the stock of assets in emerging market economies with the aim of achieving sustainable development impact.
At the heart of the EBRD’s mandate lies a focus on environmentally sound investment and sustainable development, and the Bank is determined to promote Environmental, Social, and Governance (ESG) through a unique combination of policy dialogue, investments, and private sector focus. The panel also explored how various parties -- the emerging countries’ authorities, advanced economies’ governments interested in supporting sustainable development, impact investors and IFIs - could work together to support the much-needed quantum leap in finance.
Featuring:
Andre Kuusvek
President & CEO
Nordic Investment Bank
Alex Pivovarsky - Speaker
Director, Capital Markets Development
EBRD
Kodak Tri-x iso 400
Developed in Ilford ID-11/ 8 minutes
Kodak Scanner
The bridge itself was constructed in the late ’60s/early ’70s by New Jersey Bell so they could run telephone poles across the swamp. They left it standing after the work was completed. In its day, the bridge was a popular spot for crabbing. At one time you were able to drive to the top of the bridge and park, but you could never actually cross it because you could easily get stuck in the swampy marsh on the other side. The bridge has been vandalized and actually set on fire a couple of times (hence, half a bridge) It is only a matter of time before the township decides to tear it down.
Developing children’s passion for music
Llanelli Music Hub brought a festive feel with a musical performance at Coleg Sir Gâr where the group has been honing their music skills on a weekly basis.
The hub consists of pupils from Bryngwyn, Coedcae, Glan y Mor and St John Lloyd secondary schools and its aim is to encourage more children to have access to specialised teaching and music facilities to enable a lifelong passion for music.
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
Developed by Remedy Entertainment | PC version | Screenshots taken with Hattiwatti's cinematic tools
OLYMPUS OM-D E-M5 Mark II + OLYMPUS M.ZUIKO DIGITAL ED 12-40mm F2.8 PRO
Developed by Adobe Photoshop Lightroom CC 2015.10.1
“ VESPA URBAN NIGHT OUT ”
From Wikipedia:
"Developed in African-American communities in the United States, the Charleston became a popular dance craze in the wider international community during the 1920s. Despite its origins, the Charleston is most frequently associated with white flappers and the speakeasy. Here, these young women would dance alone or together as a way of mocking the "drys," or citizens who supported the Prohibition amendment, as the Charleston was then considered quite immoral and provocative."
I love fancy dress parties, and I'm always getting hold stuff that could be useful as vintage fancy themed outfits. I'm weak for hats and head ornaments, so this sparkly number just caught me!
I couldn't quite reflect all the drama, I envisioned for this photo, but there you go!
Developing ferns - Helechos desenrollándose; camino de regreso del mirador; Parque Nacional Omar Torrijos Herrera, El Copé, Coclé, Panamá
This is from my first home-developed roll of color, using the Tetenal Colortec C-41 Rapid Negative Kit. I'm really excited to have decent first results. :-)
Yashica 44 Twin Lens Reflex
Bluefire Murano 160
D Stewart PDX's famous "Terminator 3" pinhole camera, Fuji ACROS ISO 100 film, 3 second exposure, Film was developed in homemade "caffenol" developer. Negative was photographed over a lightbox with a DSLR, post-processing in Photoshop.
After leaving the historic Tombstone Courthouse, D and I made our way up 3rd Street, and stopped to make some exposures of the buildings between Toughnut and Allen Streets. This was Tombstone's Chinatown back in the day. ( 1800s thru early 20th century) Though few buildings of that time still stand, the current architecture is still plenty vintage and interesting.
This is an image of Tricia's Special Touch, a custom sewing and historic replica clothing shop. You can roam Tombstone dressed as a historic saloon bar fly, or proper citizen, dressed in Tricia's creations.
By this time, I was grasping D's suggestion to use my finger to cover and uncover the pinhole during exposures. I really tried- and you can see my big ol' finger there in the upper left corner. (-:
D Stewart PDX came down to my area to photograph, and we had a girls' day out! We pinholed all over Cochise County, Arizona, in the driving snow (flurries) and icy cold wind! We even traded cameras for the day, so I got to shoot a roll of film in her Terminator 3 pinhole camera! (I'll let D tell you which of my cameras she ran around with)
Thanks D, for a wonderful adventure with you! I sure learned much from you, and I love the Terminator!!!!
Image made February 27, 2011.
Developed from a mid-day infra-red image obtained by a Full Spectrum modified Pentax K5 camera with SMC PENTAX (K) 135mm f2.5 lens and Hoya R72 (720nm) filter.
No. 26 in my set for Pentax Forum's Single in April 2016 challenge, using a Pentax K 135mm f2.5 lens.
+++ 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.
Developing some of the last free space left of
Robert Mueller Municipal Airport between Aldrich and Mueller Blvd. Mueller Business District
On December 8th, 2012 P4K and EPN launched the Farmers of the Future program officially in Gueriguinde. Both the Minister of Education and the Minister of Livestock participated in front of a huge crowd of 400! This program is being piloted in three schools in Libore, with the goal of changing the mindset of children about agriculture -- teaching them that it is a business not merely a way to subsist.