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This started out as an experiment in stacking focus but I gave up and took only 1 shot. The experiment will be attempted again in the near future.
The reflective surface is my stove top.
Experimenting with a white background and loved this subject but I guess because my white balance was on shade it looked a bit pink rather than white. When I tried to fix it using levels it left a bit of a gray "residue" near the top of the photo and I did my best to get rid of it but didn't do a very good job. The wind also moved the top leaves a bit. I took a million shots so I might have one that's better than this.
Experimenting with backlighting the new Lastolite backdrops, they are very versatile.... (is it obvious I really like them?)
#lastolite #sonyimaging #xrite #benQ #adobe #wacom
Check out www.frankdoorhof.com/site/tours/ultimateweekend/ for our upcoming Ultimate weekend workshop (In English) so you can also learn how to shoot images like this
Connectivity and readymade.
Experimenting, manipulating and combining daily life objects in order to attempt, to force or to mystify a workable connection between them, at least to make it visible and/or possible. This exercise is to be considered as a warm-up, a first step towards a further installation or project.
Erg (École de Recherche Graphique), Brussels, Arts Numériques-Atelier (New media art), 2016-2017.
Professors : Marc Wathieu.
Details of water cooled copper coils as part of the MOLLER Experiment is seen inside the SRF Test Lab at Jefferson Lab in Newport News, Va., on Wednesday, May 9, 2024. (Aileen Devlin | Jefferson Lab)
The Measurement of a Lepton-Lepton Electroweak Reaction (MOLLER) experiment proposes to measure the parity-violating asymmetry in electron-electron (Møller) scattering. The measurement will be carried out at Jefferson Laboratory's state-of-the-art accelerator by rapidly flipping the longitudinal polarization of electrons that have been accelerated to 11 GeV and observing the resulting fractional difference in the probability of these electrons scattering off atomic electrons in a liquid hydrogen target. This asymmetry is proportional to the weak charge of the electron, which in turn is a function of the electroweak mixing angle, a fundamental parameter of the electroweak theory. The accuracy of the proposed measurement allows for a low energy determination of the mixing angle with precision on par with the two best measurements at electron-positron colliders.
I used Bauhaus profile on the DXO Filmpack (time machine presets). Looks quite crazy but got something that I like...
An experiment in moving camera from a moving vehicle. Taken from Caltrain from San Jose to San Francisco.
French postcard by A.N., Paris no. 853. Photo: Film H. Diamant-Berger. Henri Rollan as Athos in Les Trois Mousquetaires/The Three Musketeers (Henri Diamant-Berger, 1932).
Henri Rollan (1888-1967) was a French actor and stage director. In addition to rich career on stage he also acted in many French silent and sound films, such as René Clair’s debut Paris qui dort (1923-1925) and the silent and the sound versions of Les Trois Mousquetaires/The Three Musketeers (Henri Diamant-Berger, 1921 and 1932).
Henri Rollan, real name Henri Martine, was born in Paris in 1888. In 1906 he started his acting career with the great André Antoine at the Theatre de l’Odeon, where he would remain until 1909, playing in classics such as Shakespeare’s Julius Caesar. In 1910 Rollan debuted in film, perhaps attracted by previous film contributions by renowned stage actors such as Charles Le Bargy. His first film was probably the Film d’Art production L’Héritière (1910), directed by Henri Pouctal and André Calmettes and starring Paul Mounet of the Comédie française. In the same year Rollan played in the Pathé film L’Amour et le temps (Michel Carré, 1910), a mythological tale starring young Raymonde Dupré as Cupid and thespian Henry Krauss as grumpy old Father Time. Several more Pathé films followed, such as L’Absent (Albert Capellani 1913), in which Henri Étievant played the lead as a Dutch farmer whose son and mother-in-law (Jeanne Grumbach) refuse his second wife (Germaine Dermoz) and her daughter. Six years after the whole family reconciles when first the mother-in-law recognizes the virtues of the second wife and then the farmer blesses the love between his son (Rollan) and his stepdaughter (Dupré). In Jeanne la Maudite (1913) Rolan is the ruthless murder of his uncle, while an innocent lumberjack is imprisoned for the murder. Jeanne, the innocent’s daughter becomes the punch-bag of the village.
In 1914 Rollan played Maurice Lindey in the long running Pathé serial Le Chevalier de Maison-Rouge, adapted from Alexandre Dumas, directed by Albert Capellani and with Paul Escoffier as the Chevalier and Marie-Louise Derval as Geneviève Dixmer. Rollan played the lead here as a young Republican who unknowingly implicates himself in a plot to rescue Queen Marie-Antoinette during the Reign of Terror. The serial had 6 parts, each split up in 10 episodes. In 1918, Rollan played in another film serial, this time in 8 episodes: Le baron mystère, directed by Maurice Chaillot and starring Pierre Alcover. In 1921 he starred in the SCAGL production Les Trois masques, directed by Henry Krauss, a story about family feuds and deadly revenge.
In the same year 1921, Henri Rollan performed Athos in Henri Diamant-Berger’s Les Trois Mousquetaires/The Three Musketeers, a prestigious production by Pathé, with lavish sets and many extras. The super-production rivaled Douglas Fairbanks contemporary Three Musketeers of 1921. Together with Charles Martinelli (Porthos), Pierre de Guingand (Aramis) en Aimé Simon-Girard (D’Artagnan) Rollin became a national star. The success of the film urged Pathé to make the sequel Vingt ans après (Henri Diamant-Berger, 1922) in which Martinelli, Guingand and Rollan remained but Jean Yonnel replaced Simon-Girard. Other films with Rollin in those years were Mimi Trottin (Henri Andréani, 1922), Le Sang d’Allah (Luitz Morat, 1922) and L’Emprise (Henri Diamant-Berger, 1923).
Henri Rollan's last silent film is probably his most famous one, Paris qui dort (René Clair, 1923, but released in 1925), in which he starred as Albert, the guardsman of the Eiffel Tower. Together with a group who just flew into Paris, he is the only one to have survived a scientist’s experiment to freeze the whole of Paris. His former buddy from Les Trois Mousquetaires, Charles Martinelli, played the scientist, while Albert Préjean was the pilot. The startling images of the actors on top of the Eiffel Tower and their reckless behavior still impress today. Incredible this was the debut film of young René Clair, even if the film was publicly released after Clair’s next film Entr’acte (1924). Paris qui dort was produced by Henri Diamant-Berger’s company Films Diamant. After that, Rollin took a break in film acting, but kept playing on stage, performing at various Parisian theatres – in the mid-1920s mainly at the Théàtre de Paris and late 1920s at the Théàtre de Port Saint-Martin.
When sound cinema set in in France, Henri Diamant-Berger called back his ‘musketeer’ to act in Sola (1931), starring Damia; in Clair de lune (1932), starring Blanche Montel and Claude Dauphin; and in the sound version of Les Trois Mousquetaires (1932), this time set up as a two-episode film instead of a long serial. Ten years after the silent version Rollan again played Athos, now with Thomy Bourdelle as Porthos, Jean-Louis Allibert as Aramis, Rollan’s buddy from the silent version Simon-Girard once more as D’Artagnan, and Blanche Montel as Constance. During the 1930s Rollan remained very active in French films, playing in some twenty films, performing opposite actors such as Madeleine Renaud, Gaby Morlay, Michel Simon, Victor Francen, Madeleine Ozeray, Suzy Vernon, Mireille Balin, Marcelle Chantal, Marie Bell, Gina Manès, Florelle and Huguette Duflos. While most of his directors are forgotten names now, some might ring a bell such as Marcel L’Herbier and the Italian directors Augusto Genina and Mario Bonnard. During the war Rollan acted in just a few films, while it took until the late 1940s to have his film acting career revived. During the first half of the 1950s, though, Rollan, had memorable parts as the incompetent Maréchal d'Estrée in Christian-Jaque’s Fanfan la Tulipe (1951) and a French politician in Jacques Becker's Les Aventures d'Arsène Lupin (1956). Rollan’s last film part was in 121 Rue Blanche à Paris (Quinto Albicocco 1961) which starred stage and film actress Berthe Bovy, who just like Rollan had started out in film at the days of film d’art.
While Henri Rollan had acted on stage in the 1930s as well, it was in particular from the mid-1940s on that this intensified. Between the late 1940s and early 1950s he must have been constantly working either on stage or on a film set, despite his age. Moreover, from 1945 on, he also directed various stage plays and would do so until his death. From 1948 on, Rollan almost exclusively played at the Comédie française, and would do so until 1965. Henri Rollan died in Paris on 23 June 1967. As Guy Bellinger writes on IMDb: “He was always a great professional and his performances (most often as a tough, stiff, humorless character endowed with authority) are excellent whatever the film he is in. Of course where he really shone was on stage, as an actor first, later as a renowned director. He was also a much loved and respected drama teacher who guided among others the first steps of Jean Claudio, Jacques Fabbri, Raymond Devos, Anna Gaylor, Annie Girardot, Marie Dubois and Jacques Lorcey. None of these persons ever forgot Henri Rollan, a passionate man who had the gift to transmit his genuine passion to other young passionates.”
Sources: , CineArtistes, Fondation Jerome Seydoux, Cineressources, Wikipedia (French) and IMDb.
And please check out our blog European Film Star Postcards.
Voigtländer Avus 6x9
Fomapan 100 Rollfilm
Caffenol R-S 12min
Experiment die Voigtländer Avus 6x9 als "point& shoot" Kamera zu nutzen. Diese wurde im Prospekt von 1921 ja als "Handkamera" beworben. Entfernung immer geschätzt, hier gab die Hundeleine von 5m eine Orientierung. Belichtung per smartphone gemessen.
Experiment the Voigtlander Avus 6x9 to use as a "point & shoot" camera. This was indeed advertised as "Handheld" in the prospectus of 1921. Distance always appreciated here was the leash 5m orientation. Exposure measured by smartphone.
unglazed porcelain
Sadly my lamp experiment has not been a total success...it has warped quite a bit. Two of the corners stuck to the kiln shelf...that's by the by as that can happen to any piece, but I need to rectify the warping. It may be ok to just make the walls thicker, but I think what it really needs is a change of material...a wooden box with a porcelain tile in front. Shame I'm no carpenter!
The LEDs are a little bright too...maybe a different brand of spotlight, or a deeper box.
In principle it works....but needs a little tweeking.
Can someone try and upload a Photo or Video to this link?
I'm trying to set up a Private Sharing area, but need material coming from random places.. No idea if it'll work though...
Thanks Very Much!
or Here
Tunage: www.youtube.com/watch?v=VY2l7D-eR8w
Really had fun with this one! Tried out some albino skin and body blush and I think it blended really well. Not to mention I had my spanker on and I turned Zee's ass into the plumpest lil cherry ~uwu~
Enjoy!
***
Head: Lelutka EVO - Nuri
Bawd: Inithium KUPRA
Hair: F.Q CiCi PomPoms (white)
Hairbase: Just Magnetized - Essential Hairbase - set 02 tint 30
Brows: .:the-HAUS:. Dani BOM Eyebrows black
Eyes: Madame Noir Spectro Eyes 9
Ears: [MANDALA] STRETCHED Ears Season 2 Gold
Ankh: .Nar Mattaru. Ra Eyelinder {Lel Evo BOM} Ankh
Eyeshadow: Necromancer Eyeshadow //BOM // Blackheart & - Gorsimi - Jormungandr Shadows 02
Bawd Blush: VYC Femme - Full Body Blush \ Option #4 [BOM]
Skin: Chemical Princess {Albino Babygirl Skin BOM (Browless V2)
Corset: CryBunBun - Breathless Corset - Fatpack - KUPRA Original
Boots: MICHAN - Melody Boots [Kupra]
Stabby Knives: SEKA's Gesugao Play Toy
Septum: [BND] Sophie Septum
Nose Bridge: [CONTRARION] Spiked Nose Bridge Piercing
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the aftermath of the Second World War, Sweden required a strong air defense, utilizing the newly developed jet propulsion technology. This led to a pair of proposals being issued by the Saab design team, led by Lars Brising. The first of these, codenamed R101, was a cigar-shaped aircraft, which bore a resemblance to the American Lockheed P-80 Shooting Star. The second design, which would later be picked as the winner, was a barrel-shaped design, codenamed R 1001, which proved to be both faster and more agile upon closer study.
The original R 1001 concept had been designed around a mostly straight wing, but after Swedish engineers had obtained German research data on swept-wing designs, the prototype was altered to incorporate a 25° sweep. In order to make the wing as thin as possible, Saab elected to locate the retractable undercarriage in the aircraft's fuselage rather than into the wings.
Extensive wind tunnel testing performed at the Swedish Royal University of Technology and by the National Aeronautical Research Institute had also influenced aspects of the aircraft's aerodynamics, such as stability and trim across the aircraft's speed range. In order to test the design of the swept wing further and avoid any surprises, it was decided to modify a single Saab Safir. It received the designation Saab 201 and a full-scale R 1001 wing for a series of flight tests. The first 'final' sketches of the aircraft, incorporating the new information, was drawn in January 1946.
The originally envisioned powerplant for the new fighter type was the de Havilland Goblin turbojet engine. However, in December 1945, information on the newer and more powerful de Havilland Ghost engine became available. The new engine was deemed to be ideal for Saab's in-development aircraft, as not only did the Ghost engine had provisions for the use of a central circular air intake, the overall diameter of the engine was favorable for the planned fuselage dimensions, too. Thus, following negotiations between de Havilland and Saab, the Ghost engine was selected to power the type instead and built in license as the RM 2.
By February 1946 the main outline of the proposed aircraft had been clearly defined. In Autumn 1946, following the resolution of all major questions of principal and the completion of the project specification, the Swedish Air Force formally ordered the completion of the design and that three prototype aircraft be produced, giving the proposed type the designation J 29.
On 1 September 1948, the first of the Saab 29 prototypes conducted its maiden flight, which lasted for half an hour. Because of the shape of its fuselage, the Saab J 29 quickly received the nickname "Flygande Tunnan" ("The Flying Barrel"), or "Tunnan" ("The Barrel") for short. While the demeaning nickname was not appreciated by Saab, its short form was eventually officially adopted.
A total of four prototypes were built for the aircraft's test program. The first two lacked armament, carrying heavy test equipment instead, while the third prototype was armed with four 20mm automatic guns. Various different aerodynamic arrangements were tested, such as air brakes being installed either upon the fuselage or on the wings aft of the rear spar, along with both combined and conventional aileron/flap arrangements.
The flight test program revealed that the J 29 prototypes were capable of reaching and exceeding the maximum permissible Mach number for which they had been designed, and the flight performance figures gathered were found to be typically in excess of the predicted values.
In 1948 production of the type commenced and in May 1951 the first deliveries of operational production aircraft were received by F 13 Norrköping. The J 29 proved to be very successful and several variants and updates of the Tunnan were produced, including a dedicated reconnaissance variant and a dedicated all-weather fighter with an on-board radar, the J 29D.
The J 29D variant originally started its career as a single prototype to test the Ghost RM 2A afterburner turbojet with 27.5 kN (2,800 kgp/6,175 lbf). The new engine dramatically improved the Tunnan’s performance, esp. concerning the start phase, acceleration and climb, and was eventually adopted for the whole J 29 fighter fleet in an update program, leading to the J 29F variant.
However, at the time of the RM 2A trials, Sweden was more and more in need for a suitable all-weather aerial defense for its vast, neutral airspace in the vicinity of the Soviet Union. Only a single flight of the Swedish Air Force, F1 in Hässlö, operated roundabout thirty radar-equipped fighters, and these were outdated De Havilland Mosquito night fighters (locally designated J 30).
The highly successful J 29 was soon considered as a potential air-intercept radar carrier, offering a much more up-tp-date performance and deterrent potential against would-be intruders. Consequently, Saab started the development of an indigenous all-weather fighter on the basis of the Tunnan (originally coded “J 29R”). The work started with aerodynamic trials of different radome designs and placements on a Tunnan’s nose, e .g. inside of the circular air intake opening or above it. No major drawbacks were identified, and in 1955 the decision was made to convert thirty J 29B daylight fighters for the all weather/night fighter role. These machines officially inherited the designation J 29D.
The J 29D’s compact radar, called the PS-43/T, was designed by CSF (Compagnie Generale de Telegrahpi Sans Fil) in France after the Swedish specification. It had a wavelength of 3 cm with an effect of 100 kW, and it was to have a spiral scan pattern. Range was 15-20 km, only a slight improved against the Mosquitos’ bulky SCR-720B radar set, which only had a range of 12-16km. But the system’s compact size and the ability to be operated by the pilot alone meant a serious step forward. 34 sets were delivered together with blueprints in 1956, and the PS-43 radar system was later modified and adapted to the Saab 32 Lansen, too.
The structural modifications for the radar-equipped Tunnan were carried out in the course of the ensuing J 29F update program, which had started in 1954. Beyond the afterburner engine and dogtooth wing updates for the day fighters, the J 29D also received a re-designed nose section which now featured a thimble radome for the PS-43/T, integrated into the upper air intake lip, reminiscent of the F-86D’s arrangement. The air intake itself kept the original circular diameter, but the opening was slightly wider, raked forward and featured a sharper lip, for an improved airflow under the radome. Overall performance of the J 29 did not suffer, and the conversion took place swiftly thanks to a simple replacement of the nose section in front of the windscreen and the installation of a shielded tracking monitor in the cockpit.
Experiments with a heavier cannon armament (consisting of four, long-barreled 30mm guns in the lower fuselage) for the J 29 in general were conducted in parallel, too. But, despite showing no negative effect on the J 29’s handling or performance, this upgrade was not introduced to any of the J 29 variants in service and so the J 29D kept its original four 20mm cannon as main armament, too. Additional ordnance consisted of optional racks with 75 mm/3 in air-to-air rockets under the inner wings against large aerial targets like bombers. A pair of drop tanks could be carried on the outer pylons, too, and they were frequently carried in order to extend range and loiter time. Other loads, including bombs or unguided air-to-ground missiles, were possible, but never carried except for in practice.
The last converted J 29D was delivered back to the Swedish Air Force in late 1956, just in time to replace the last active J 30 Mosquitos in service, which had been gradually phased out since 1953. In parallel, the radar-equipped J 33 Venom was introduced into service, too, since the small number of J 29Ds had in the meantime turned out to be far from sufficient to effectively cover the Swedish air space against large numbers of ever faster jet bombers and reconnaissance aircraft. The J 29D fulfilled its role and duty well, though, and was just as popular as the daylight fighter versions.
Initially, all J 29D were delivered in bare metal finish, but they were soon adorned with additional markings on fin and wing tips for easier recognition and formation flights. A few all-weather fighters of F1 Flygflottil experimentally received the blue/green camouflage which had been adopted for the S 29C reconnaissance aircraft, but this was found to be ineffective at the typical altitudes the interceptors would operate. As a consequence, the scheme was quickly changed into the much lighter livery of the former J 30 and J 33 fighters, although the bare metal undersides and the formation markings under the wing tips were retained – even though this practice was confined to F 1 and not consequently carried out among all of the fighter squadron's J 29Ds. Some J 29D furthermore carried various forms of black ID bands for quick identification in war games, but unlike the day fighters, these markings were limited to the undersides only.
From 1963 onwards all frontline J 29Fs were equipped with AIM-9 Sidewinder infrared-seeking air-to-air missiles, designated Rb 24 in Swedish service. This update was also carried out among the J 29D fleet, and the new, guided missiles considerably improved the aircraft’s capabilities.
Anyway, the J 29D’s small number remained a fundamental problem that prevented bigger success or even export sales, and due to the quick technical advances, the J 29D remained only a stopgap solution. The much more capable Saab 32 Lansen had been under development and its dedicated all-weather fighter variant, the J 32B, had already entered service in 1958, replacing the mixed and outdated lot of radar-equipped fighters in Swedish service.
Nevertheless, the J 29D soldiered on, together with the rest of the J 29F and S 29C fleet, until 1970, even though not in front line duties anymore.
General characteristics:
Crew: 1
Length: 10.80 m (35 ft 4 1/2 in)
Wingspan: 11.0 m (36 ft 1 in)
Height: 3.75 m (12 ft 4 in)
Wing area: 24.15 m² (260.0 ft²)
Empty weight: 4,845 kg (10,680 lb)
Max. takeoff weight: 8,375 kg (18,465 lb)
Powerplant:
1× Svenska Flygmotor RM2B afterburner turbojet, rated at 6,070 lbf (27 kN)
Performance:
Maximum speed: 1,060 km/h (660 mph)
Range: 1,100 km (685 mi)
Service ceiling: 15,500 m (50,850 ft)
Rate of climb: 32.1 m/s (6,320 ft/min)
Armament:
4x 20mm Hispano Mark V autocannon in the lower front fuselage
Typically, a pair of 400-liter (106 US gallon) or 500-liter (132 US gallon) drop tanks was carried on the outer “wet” pylons
Further air-to-air ordnance initially consisted of 75 mm (3 in) air-to-air rockets, from 1963 onwards the J 29D could also carry up to 4x Rb 24 (AIM-9B Sidewinder) IR-guided air-to-air missiles.
Optionally (but never carried in service), the J 29D could also deploy a wide range of bombs and unguided missiles, including 145 mm (5.8 in) anti-armor rockets, 150 mm (6 in) HE (high-explosive) rockets or 180 mm (7.2 in) HE anti-ship rockets
The kit and its assembly:
Sweden is a prolific whiffing territory, and the Saab 29 offers some interesting options. The all-weather Tunnan was a real Saab project, and things actually got as far as the aforementioned radome shape test stage. But eventually the project was fully dropped, since Saab had been busy with standard J 29 production and conversions, so that this aircraft never materialized, just as the projected side-by-side trainer Sk 29 of the same era.
However, I recently came across a nice Saab 29 book which also covers some projects – including drawings of the radar-equipped Tunnan that never was. My converted model with the thimble radome and the raked air intake is based on these drawings.
The basic kit is the Heller Saab 29, which I deem superior to the Matchbox Tunnan, with its mix of raised and engraved panel lines and overall rather soft detail (despite the surprisingly nice cockpit). Anyway,, the Heller kit has its flaws, too, e. g. a generally weak material thickness, lack of locator pins or other stabilizing aids and some sinkholes here and there.
The kit was built mostly OOB, with as much lead in the gun tray as possible - and it actually stands on its own three feet/wheels! The only major change is the modified nose section. It sounds simple to graft a radome onto the Tunnan's nose, but the rhinoplasty was challenging. The whole front end had to be renewed, based on the profile drawings and sketches at hand.
The thimble radome is actually a recycled drop tank front end from a Hasegawa F6F Hellcat. The raked, lower aitr intake lip comes from a Matchbox Mystère IVA - but it lost its splitter, was reshaped and had the OOB air intake duct glued into place from behind. Once the intake was glued into its place, a wedge opeing was cut into the area in front of the canopy and the drop tank radome adapted to the gap, a step-by-step approach, since I wanted to have the radome slightly protrude into the airtake, but also keep a staright line in front of the windscreen.
Additional details include new pitots on the wing tips and some additional antennae. The heat shield for the afterburner engine is OOB, as well as the streamlined drop tanks and their pylons. I just added an additional pair of pylons (from an Acedamy MiG-23) to the inner wing, holding a pair of AIM-9Bs.
Painting and markings:
Finding a suitable, yet “different” scheme for the J 29 night fighter was not easy; most J 29 were left in bare metal, some carried dark green upper surfaces and some S 29C wore a paint scheme in olive green and dark blue. I eventually settled for the RAF style paint scheme that had been adopted with the J 30 Mosquito and J 33 Venom night fighters – not spectacular, but different from the Swedish early Sixties norm, and it subtly underlines the J 29D’s role.
The scheme was lent from RAF Venom night fighters (which was used on the Swedish J 33, too), and of the upper surfaces I used RAF tones, too: Humbrol 163 (Dark Green) and 165 (Medium Sea Grey). However, I did not want to use the grey on the lower surfaces, since I found that scheme a bit too uniform and British, so I painted the lower surfaces in NMF, with a waterline at medium height - higher than the camouflaged S 29C’s and lower than the early, camouflaged J 29A fighters (with an experimental all-green upper surface).
The bare metal finish was created with acrylic Aluminum (Revell 99) and Polished and Matt Aluminum Metallizer (Humbrol) added on top, highlighting single panels. Around the engine bay and the exhaust, a base with Iron (Revell 91) was laid down, with Steel Metallizer (Modelmaster) on top.
Under the wing tips, green formation markings (again Humbrol 163) were added, as well as black ID stripes (cut from generic decal sheet material). Other, Swedish adornment, like the roundels, codes or squadron markings, was taken from the OOB sheet, a PrintScale sheet for the J 29 and leftover decals from a Heller J 21.
Interior details were painted according to Swedish standard, thankfully there are many good pictures available. The cockpit interior became grey-green (Revell 67 comes very close to the real thing) with light grey dashboard and side consoles. The landing gear wells medium (Revell 57) grey with some dry-brushed Aluminum, while the wheel discs became grey-green, too.
An interesting result, through relatively little effort: the dog nose changes the look of the tubby J 29 a lot, it looks much sleeker and somewhat German now – but somehow also more retro than the original aircraft? The different paint scheme looks unusual, too, despite being relatively down-to-earth. This will certainly not be my last modified J 29, a two-seat trainer would certainly be another cool and reality based Tunnan whif?