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That's what makes photography so special for me ...
Store window somewhere in Hamburg.
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Einbeziehung von Vielfalt.
Das macht die Fotografie für mich so besonders ...
Schaufenster, irgendwo in Hamburg.
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#7DWF / Mondays / #AnythingGoesMondays
It was turning into one of those indecisive mornings. “Shall we go and lounge by the pool and read until lunchtime, and then head down to the beach? Or will we get in the car and head off for the day?” Neither of us could make our minds up. It’s often like this, and until we close the front door, we could be heading anywhere between fifty yards away and the other end of the island. It’s part of what makes us so fascinating, and no doubt would drive anyone else unfortunate enough to end up in a long term relationship with either of us to the edge of their senses. All things considered, it’s a good job Ali and I found each other. Neither of us seems to mind when one asks the other what we’re going to do today, only to draw a distant gaze and a blank response.
If anything, I’m a little more driven than she is, and so I made the call. “Right, we’ll go back to that place in Femes for lunch, then we’ll go and visit one of the bodegas at La Geria, and after that I want to go and walk up the red mountain for sunset” – that’s Montana Colorada by the way. “Ok,” came the predictable response. And so we had a plan; a nice simple one that didn’t require too much thought or too much driving. We’d drive up the mountain pass from Playa Blanca to the village of Femes that sits on the saddle, and the rest of the day would follow as planned.
Except that it didn’t. 12:30 we agreed was a bit early for lunch, and so we drove in the other direction and headed for a menu del dia at the place we’d stumbled across in Teguise a few days earlier. And just to make things interesting, we decided to go along the main road rather than the wine route, just to have a bit of a test run for that inevitable drive to the airport just over a week later. “It’ll be faster” I reasoned. It wasn’t, especially after a couple of wrong turns, one of which almost had us heading into the jams of Arrecife, the island capital. Eventually, we arrived at a dinner table to be served by a very harassed looking waiter, whom it seemed was working solo through the busy lunch hour. As he unceremoniously thumped our drinks onto the table and feigned no interest whatsoever in our opposing views on the inclusion of tuna in our ensaladas mixtas, we wondered who’d thrown a sickie and left him in the lurch. After the meal I was too frightened to ask for coffee as well, and spent the next twenty-five minutes looking for another establishment to replenish the caffeine deficit. The first such attempt found us hastily evacuating our seats, scarpering around a corner and tracing an elaborate circuit of the town after Ali had seen the price list. Six euros for a scoop of ice cream? Not on your Nellie!
Some time later, happily refuelled with coffee and ice cream we sat at a bench in the church square. By now it was some time after 4pm, and with less than two hours until sunset we considered the options. At the far end of the island, just another twelve miles or so away lay the Mirador del Rio, offering a classic view of the three small islands that fan away from the northeast corner of Lanzarote, while retracing our tyre treads down to the coast would bring us to the wreck of the Telamon, a long exposure magnet that lies a few yards out to see between Costa Teguise and Arrecife. Tentatively, we set course for the former, where the road rides up to its highest point on the island between Los Valles and Haria. And still several miles short of our target, as we sat at a layby gazing down at the white coastal villages of Punta Mujeres and Arrieta far below, we changed our minds again – and then furthered the endless mystery of our final destination by missing the turn without signpost that was supposed to take us to the Mirador del Risco de Famara.
As you can see, the error turned into what Bob Ross would call a happy accident. Finally, somewhere around five, we ended up here, at the lonely and altitudinous Ermita de las Nieves. Quite how often there’s ever been snow here, even at this distance above sea level I’m not sure, although I did need to put my long sleeved top on over my tee shirt to brave the last hour of daylight on this late November afternoon, as a fellow visitor from France told me his wife was very jealous of my telephoto lens. The view across the volcanoes that dominate the landscape over to the west from where we’d come was, well you can see for yourself can’t you? Even before the golden hour, it seemed evident that we were going to be in for a show, as layers of cloud allowed sunbeams to filter through and light up the spaces in between the distant cones. For an hour I watched from behind the long lens transfixed, as the colours deepened and the sunbeams bounced and weaved their way into ever more epic frames. As the sunbeams moved, I continually followed the drama, recomposing and focussing as quickly as I could keep up. It’s not often that I get to spend time in a landscape like this, and certainly I’d never seen a sunset sky such as the one we were witnessing now in the mountains. Eventually, the sun having disappeared for the day and the magic leaving centre stage almost instantaneously, I headed back to the car with an enormous grin on my face. The day of sliding door decisions had given us the best possible outcome with a sunset we’d never forget. It’s a good job we’re not that great at making our minds up, or we’d have probably missed it.
Copyright © Derechos Reservados Marina Inamar . All Rights Reserved
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Commercially manufactured cigarettes are seemingly simple objects consisting mainly of a tobacco blend, paper, PVA glue to bond the outer layer of paper together, and often also a cellulose acetate–based filter. While the assembly of cigarettes is straightforward, much focus is given to the creation of each of the components, in particular the tobacco blend, which may contain over 100 ingredients, many of them flavourants for the tobacco. A key ingredient that makes cigarettes more addictive is the inclusion of reconstituted tobacco, which has additives to make nicotine more volatile as the cigarette burns.
P.S. "i dont smoke"
Photo taken by Andreas Müller, scan kindly provided by Michael Bernhard for inclusion on this page.
München-Riem
1978-04-29 (29 April 1978)
F-BHRU “Poitou”
Sud SE-210 Caravelle III
58
Air France
F-BHRU is lined up for take-off on Riem’s runway 25. This Caravelle’s cockpit would later be preserved and used as a fixed-base simulator at Ismaning near Munich from 2015 (moved to Sweden in January 2022 and now in use at Bunge Flygmuseum, Fårösund, Sweden).
Information from flycaravelle.com:
F-BHRU “Poitou” construction number 58, flew for the first time from Toulouse Blagnac airport on November 3, 1960 and was in service with Air France until it was decommissioned on August 28, 1980 when ferried from Charles to Gaulle airport to Paris Orly airport.
After being scrapped between November 1980 and April 1981, the cockpit was stored in a training center for air traffic controllers at Orly for 13 years. There it was originally supposed to be converted into a simulator. The project that was started was never completed for financial reasons. The cockpit almost ended up in the scrap heap in 1993. It was accidentally discovered and rescued by a member of the French association “Jean Bapiste Salis” from la Ferté Alais near Paris.
In cooperation with the “Le Caravelle Club” in Stockholm, which owns the last functioning Caravelle, software and hardware developer cockpit-concept.de and our knowledge as commercial pilots, a true-to-the-original simulator has been created from the cockpit, which has been in use since October 2015 in Ismaning near Munich. It was moved from Munich to Gotland, Sweden in January 2022.
Source: www.flycaravelle.com/ (see here for many more photos)
Daily Mail article on Nils Alegren’s F-BHRU cockpit restoration project (including photos):
www.dailymail.co.uk/news/article-7245679/Pilot-spends-80-...
F-BHRU with Air France at EDI in January 1962 (bare metal belly):
www.airhistory.net/photo/356894/F-BHRU
F-BHRU with Air France at LHR in April 1973 (bare metal belly):
www.flickr.com/photos/158949556@N05/40692069710
F-BHRU’s cockpit at La Ferte Alais, France, in July 2006:
www.flickr.com/photos/158949556@N05/41777454474
F-BHRU’s cockpit at Oberschleißheim (EDNX) leaving for Ismaning in October 2013:
imgproc.airliners.net/photos/airliners/4/8/7/2346784.jpg
F-BHRU’s cockpit restored as a simulator at Ismaning, Germany, in October 2014:
imgproc.airliners.net/photos/airliners/6/8/5/2518586.jpg
View from F-BHRU’s cockpit at Ismaning in May 2016:
imgproc.airliners.net/photos/airliners/5/8/5/2827585.jpg
F-BHRU’s packaged for the trip to Sweden at XFW in January 2022 (together with ex-Lufthansa 707 D-ABOD’s cockpit):
www.flickr.com/photos/digro/51826830533
www.flickr.com/photos/digro/51827064984
www.flickr.com/photos/digro/51827064929
Scan from Kodachrome slide.
members from the band "Groove Inclusion" (Unteres Remstal) during the FIS (Fürther inklusives Soundfestival) this year. My first live concert after a long time.
Identification number on base of streetlamp.
Decatur (Winnona Park), Georgia, USA.
11 June 2020
***************
▶ Photographer's note:
Selected for inclusion in Flickr's Explore, on 12 June 2020.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Lens: Olympus M.14-42mm F3.5-5.6 II R.
— Olympus WCON-P-01 Wide Converter (11 mm focal length).
— Edit: Photoshop Elements 15
— Monochrome rendering via Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
Photo taken by Chris Witt, scan kindly provided by Michael Bernhard for inclusion on this page.
München-Riem
January 1982
9Q-CBJ
Lockheed L-100-30 Hercules (L-382G)
382-4796
Scibe Airlift Zaire
Delivered to Safair in November 1978 and leased to Scibe Airlift till October 1988; went on to Pegasus Aviation as N123G in January 1989, to Rapid Air Transport as N8183J in February 1989 (operating for Tepper Aviation) and to Q2P as N2679C in October 2006. (Source: rzjets.net) Still active in 2023.
Registration details for this airframe:
www.c-130.net/aircraft-database/C-130/airframe-profile/8074/
9Q-CBJ with Scibe Airlift at OST in April 1987 (slightly revised colours):
www.c-130.net/g3/var/resizes/c-130-photos/Civilian%20L100...
This airframe as N8183J with Tepper Aviation in November 1999:
www.flickr.com/photos/habujet/35230354286
This airframe as N2679C at Shannon in April 2020:
www.flickr.com/photos/shanair/49770668912
Scan from Kodachrome slide.
Photo taken by Wilhelm Hell, scan kindly provided by Michael Bernhard for inclusion on this page.
München-Riem
January 1988
G-OOOA
Boeing 757-28A
23767 / 127
Air 2000
G-OOOA is lined up for take-off on Riem’s runway 07. Note the Tyrolean Dash 8 in the background.
Information from flickr - thanks to Kerry Taylor:
Delivered new to Air 2000 as G-OOOA on 01Apr87. Leased to Canada 3000 as C-FOOA during the winters of 1989, 1990 and 1991. To Avianca 20Nov02 as N767AN and converted to a freighter. To Varig Log on 05Mar07 as PR-LGG. To Cargojet Airways as C-GIAJ on 21Feb14 and still current in May 2020.
Registration details for this airframe:
www.scramble.nl/database/civil/details/B757_152
This airframe as C-FOOA with Canada 3000 at FLL in February 1993:
www.flickr.com/photos/steelhead2010/12209915714
C-FOOA with Air 2000 at FAO in June 1994:
www.flickr.com/photos/24101413@N03/30831558776
G-OOOA with Air 2000 at ACE ca. late 1990s:
www.flickr.com/photos/ghbhd/22456602778
This airframe as N767AN with Avianca Colombia at MIA in April 2004:
www.flickr.com/photos/34709414@N02/8699129141
This airframe as PR-LGG with Varig Log ca. late 2000s:
www.flickr.com/photos/150730665@N08/35639881435
This airframe as C-GIAJ with Cargojet at YHM ca. late 2010s:
www.flickr.com/photos/steelhead2010/49165835551
Scan from Kodachrome slide.
So because of ... circumstances, my flight was delayed to where I had to overnight at the airport. So, bored, and with a camera handy, I took some photos. Here are some results!
OBSERVE Collective
All images are © Copyrighted and All Rights Reserved
germanstreetphotography.com/michael-monty-may/
Amber is often prized for its insect inclusions..This bead has three flies,making it a valuable find.
Photo taken by Wilhelm Hell, scan and kindly provided by Michael Bernhard for inclusion on this page.
München-Riem
August 1987
5Y-ZEB
McDonnell Douglas DC-8-63
46122/506
African Safari Airways
5Y-ZEB is taxiing to runway 25 for take-off. As PH-DEL with KLM, this DC-8-63 was seen at Riem almost every year between 1972 and 1979, sometimes several times a year, and appearing in Philippine Airlines colours on 3 May 1974, 21 May 1975 and 5 January 1975. I also have a report that she overran the runway here on 21 August 1976 (no further details known). Later in the 1980s, the airframe made a return as 5Y-ZEB with African Safari.
Information from airliners.net - thanks to Ian Gains:
Delivered 31/12/69 as PH-DEL to KLM Royal Dutch Airlines (ntu as PI-C829 for Philippine Airlines). Leased to PAL from 04/73 - 05/75. Leased to African Safari Airways 03/82 & then sold to them 06/82 and re-registered 5Y-ZEB. Re-reg N823AX 01/94 to Airborne Express. Parked at Wilmington, Ohio, in 2002 and eventually parted out around 2007.
Registration details for this airframe:
www.planelogger.com/Aircraft/Registration/PH-DEL/650427
PH-DEL with KLM at AMS in 1971 (initial colours):
cdn.planespotters.net/13772/ph-del-klm-royal-dutch-airlin...
PH-DEL with Philippine Airlines at ZRH ca. mid-1970s:
www.flickr.com/photos/154191970@N03/30407424127
PH-DEL with KLM at AMS in August 1981 (later colours with blue top):
abpic.co.uk/pictures/view/1442996
5Y-ZEB with African Safari landing at Riem ca. late 1980s (later colours):
photos.smugmug.com/photos/i-dhBF2DV/0/XL/i-dhBF2DV-XL.jpg
This airframe as N823AX with Airborne Express at PHX in November 1999:
www.flickr.com/photos/antonov22/8735585670
Scan from Kodachrome slide.
The dome of St. Peter's rises to a total height of 136.57 metres from the floor of the basilica to the top of the external cross. It is the tallest dome in the world. Its internal diameter is 41.47 metres, slightly smaller than two of the three other huge domes that preceded it, those of the Pantheon of Ancient Rome, 43.3 metres, and Florence Cathedral of the Early Renaissance, 44 metres. It has a greater diameter by approximately 30 feet than Constantinople's Hagia Sophia church, completed in 537. It was to the domes of the Pantheon and Florence duomo that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom.
An engraved picture showing an immensely complex design for the façade, with two ornate towers and a multitude of windows, pilasters and pediments, above which the dome rises looking like a three-tiered wedding cake.
Sangallo's design
The dome of the Pantheon stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large amount of the volcanic stones tuff and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs while lightening the overall load. At the summit is an ocular opening 8 metres across which provides light to the interior.
Bramante's plan for the dome of St. Peter's (1506) follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in Tufa Concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that in this case, the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle.
In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible. Its double-shell construction of bricks locked together in a herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome.
Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realized the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form. According to James Lees-Milne the design was "too eclectic, too pernickety and too tasteless to have been a success". The façade is wide and has a row of huge columns rising from the basement to support the cornice. The ribbed, ovoid dome is surmounted by a lantern topped with ball and cross. Its drum is framed by two very much smaller domes.
St. Peter's Basilica from Castel Sant'Angelo showing the dome rising behind Maderno's façade.
Michelangelo redesigned the dome in 1547, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of 15 metres high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it is not buttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall.
The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each 18 metres across. Following his death, the work continued under his assistant Jacopo Barozzi da Vignola with Giorgio Vasari appointed by Pope Pius V as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus V appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five-year reign of Sixtus was to see the building advance at a great rate.
Michelangelo left a few drawings, including an early drawing of the dome, and some details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him, also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways. The major change restored an earlier design, in which the outer dome appears to rise above, rather than rest directly on the base. Most of the other changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo.
A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one. In an engraving in Galasso Alghisi' treatise (1563), the dome may be represented as ovoid, but the perspective is ambiguous. Stefan du Pérac's engraving (1569) shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engravings, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However, Lees-Milne cites Giacomo della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable.
This engraving shows the chancel end of the building much as it was built, except that the dome in this picture is completely semi-circular, not ovoid
Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments, "The sculpturing of architecture [by Michelangelo] ... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit."
It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Eneide Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part of Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome must appear to thrust upwards because of the apparent pressure created by flattening the building's angles and restraining its projections. If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In one sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 16th century, it prefigures the architecture of the Baroque.
Photo looking up at the dome's interior from below. The dome is decorated at the top with a band of script. Around its base are windows through which the light streams. The decoration is divided by many vertical ribs which are ornamented with golden stars.
Giacomo della Porta and Domenico Fontana brought the dome to completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement VIII, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the Holy Lamb.
In the mid-18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral.
On 7 December 2007, a fragment of a red chalk drawing of a section of the dome of the basilica, almost certainly by the hand of Michelangelo, was discovered in the Vatican archives. The drawing shows a small precisely drafted section of the plan of the entablature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death. The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing.
members from the band "Groove Inclusion" (Unteres Remstal) during the FIS (Fürther inklusives Soundfestival) this year. My first live concert after a long time.
Sigo apostando un año más por las personas incómodas para el sistema, por ellas y sus familias 💪
#educación #derechos #inclusion
Photo taken by Manfred Kaffine and kindly provided by him for inclusion on this page.
München-Riem
September 1976
LN-SUF
Fokker F27-100 Friendship
10298
Air Executive Norway
LN-SUF with Air Executive Norway stayed at Riem from 14 to 16 September 1976. The Fokker had been noted here before with Braathens SAFE on 8 May 1976, coming in from RTM and flying on to Karlstad (information from Klaus Held’s Riem Chronicle).
Information from airhistory.net - thanks to Ole Johan Beck:
First flight April 5th 1966 as PH-FIS at Schiphol, and leased to Schreiner Airways as PH-SAN months. October 6th 1966 LN-SUF for Braathens SAFE as their 8th and final Friendship. in 1972 repainted and added name "Magnus Lagabøter". April 1976 LN-SUF Aerexecutive Norway tfd. September 1980 LN-SUF Busy Bee tfd. 1982 repainted to Busy Bee colours. Wfu November 1992. In July 1993 LN-SUF was donated to the Air Museum at Sola airport, Stavanger.
Registration details for this airframe:
rzjets.net/aircraft/?reg=118458
This airframe as PH-SAN with Schreiner Airways at AMS in 1966:
www.flickr.com/photos/jbsollentuna/31604887881
LN-SUF with Braathens SAFE at FAE in July 1974:
www.airhistory.net/photo/373510/LN-SUF
LN-SUF with Busy Bee ca. 1980s:
www.flickr.com/photos/154191970@N03/48731334903
LN-SUF preserved in Braathens SAFE colours at Flyhistorik Museum, Stavanger Airport, Sola, in June 2024:
www.flickr.com/photos/gary_morris/53848064219
Scan from Kodak mid-format (6x6 cm) slide, cropped to 3:2 aspect ratio.
Photo taken by Norbert Kröpfl. Scan kindly provided by Stephan Barth for inclusion on this page.
München-Riem
February 1977
D-ANNO
BAC 111-414EG One-Eleven
160
Bavaria Germanair
D-ANNO only operated for a few days in these basic colours before the new titles "Bavaria Germanair" and tail logo were applied.
D-ANNO (c/n 160, first flight 19 December 1970) was built for Bavaria and delivered on 22 December 1970. In November 1977 she went on to Ford Motor Company (Ford Air Services) as G-BFMC. Sold to Kabo Air, Nigeria, as 5N-KKK in July 1993. Presumably wfu by May 2002 and b/u by January 2004. (Sources: rzjets.net, planelogger.com)
Note: Some sources (like bac1-11jet.co.uk) say 5N-KKK was BAC 111-423ET c/n 154 (ex G-BEJW) while c/n 160 was 5N-GGG.
D-ANNO with Bavaria at Riem in February 1975:
www.flickr.com/photos/161645265@N08/50368348072/
Another shot of D-ANNO with Bavaria Germanair at Riem in March 1977 (no titles, no logo):
www.flickr.com/photos/161645265@N08/46747815454
D-ANNO with Bavaria Germanair at Riem in March 1977 (full colours):
www.flickr.com/photos/161645265@N08/46555801805
D-ANNO with Bavaria Germanair at Riem in November 1977 (no titles):
www.flickr.com/photos/161645265@N08/46747834124
This airframe as G-BFMC with Ford Motor Company at STN in 1980:
www.flickr.com/photos/markp51/14956947474
This airframe as 5N-KKK with Kabo Air at NWI in July 1993:
www.flickr.com/photos/paul-thallon/15724001105
Scan from Kodachrome slide.
Foto tomada en el año 2013 en Argentina, desde el puente de la Mujer, gracias al préstamo de Rox Boyer de un lente suyo.
Photo from the Albert Kuhbandner collection, scan kindly provided by him for inclusion on this page.
München-Riem
September 1988
G-AOYR
Vickers 806 Viscount
266
British Air Ferries (BAF)
G-AOYR had been seen at Riem before on 18 February 1972 with Northeast Airlines and in April 1974 with British Airways (full colours with additional small Northeast titles).
First flew on Saturday, 1 March 1958 at Weybridge, Surrey. Delivered to BEA as G-AOYR on 11 April 1978. During its life this aircraft was also owned and/or operated by
BKS Air Transport Ltd, Northeast Airlines, British Airways (BA), British Air Ferries (BAF), British Caledonian Airways (BCAL), Aer Lingus and British World Airlines (BWA). (Sources: vickersviscount.net, rzjets.net)
Detailed history of this airframe including many photos:
www.vickersviscount.net/Index/VickersViscount266History.aspx
G-AOYR with BEA at BSL in February 1959 (initial colours):
www.bsl-mlh-planes.net/bigpicture/picture_id/3817
G-AOYR with BEA at DUB in January 1966 (Red Square livery):
www.flickr.com/photos/planebrains/44962984844
G-AOYR with BKS/British Air Services at LHR in May 1970:
www.flickr.com/photos/the-evanses/5533081399
G-AOYR in basic BKS colours at NCL in September 1970:
www.flickr.com/photos/emdjt42/8650920143
G-AOYR with Northeast Airlines at BMA in August 1971 (BKS cheatline):
www.flickr.com/photos/162303104@N07/50584870062
G-AOYR with Northeast Airlines at DUB in June 1973:
www.flickr.com/photos/david-fox-ireland/25213947631
G-AOYR with British Airways at CWL in April 1982 (large British titles):
www.vickersviscount.net/images/Photos_Medium/105419.jpg
G-AOYR with British Air Ferries landing at LGW (initial colours):
www.flickr.com/photos/scunnymike/49677399012
G-AOYR with British Caledonian Commuter at LGW in April 1985 (initial colours):
www.flickr.com/photos/26268110@N02/16173170394
G-AOYR with British Caledonian Commuter at GLA in 1985 (later colours):
www.flickr.com/photos/gerrymcl/24143078312
G-AOYR with British Air Ferries at LTN in April 1989 (billboard titles):
www.flickr.com/photos/markp51/27906298154
G-AOYR with British Air Ferries at DUS in March 1990 (later colours):
www.flickr.com/photos/190105067@N03/50489051138
G-AOYR at SEN in May 1996 a month before it was scrapped:
www.vickersviscount.net/images/Photos_Medium/111117.jpg
Scan from Kodachrome slide.