View allAll Photos Tagged modifications
Good friend silver-brazing on some modifications to a Tubus Tara rack of mine so the bags will actually stay on.
One of the oddest custom modifications of FSU cameras I've seen, with jeans cloth covering. Though actually it's very comfortable to hold, so although it may not be pretty, it's practical...
The finder in this particular camera is bad (a dark shadow in the middle) so this camera I will use with other focal lengths, where IN ANY CASE one needs an accessory finder. Mechanically the camera works very well.
The lens here is the 40mm f/4 Lomo lens from a Smena-8 plastic low-cost Soviet creation (and possibly the camera of which the largest number has been manufactured - about 2 million).
The Lomo lens was custom-mounted into the barrel of the normal lens on early Zenits, the 50mm rigid short-barrel Industar-50.
The lens is only a triplet, but it's surprisingly good. And in street photography (where I intend to use it) you don't need a fast lens, or rangefinder focusing, when shooting at a small aperture.
Even the light meter still works on this camera.
This is a very simple manipulation, but I am recently beginning to figure out that sometimes, less is more. I kind of wish I added more to this, but whenever I tried, it just didn't look the way I wanted it to. So this is what I settled with and I am very happy with how it turned out.
Model is the beautiful doll-faced Nina, with the hands (literally) of Mikolaj and Nina's twin sister, Emily. Also, a big thank-you to my friend Allie for letting me use her syringe.
*quick note: no model/hands were harmed in the making of this photograph. :)
Frustrated by the expensive and dangerous snow-travel machines produced by Llwyngwril Space Systems, spacemen started to improvise their own vehicles. They took the chassis from an 886 Space Buggy, spare manoeuvring thrusters from an LL918 Spaceship and attached them to a roughly welded frame. The resulting 886 Sledge Modification proved to be a cheap and popular form of transport, whilst the moon was covered in snow. It was safer than some of the other vehicles, as its thrusters could be used as brakes. Unfortunately steering was hampered by the law requiring all 886 drivers to hold a "definitely not a gun thing" in one hand, whilst piloting their vehicles.
PictionID:47056025 - Title:GD/Astronautics Facilities Details: Aerial View Showing Modification of Complex 12 Date: 02/28/1963 - Catalog:14_024272 - Filename:14_024272.tif - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Candid street shot, Brixham Pirate festival 2018.
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With a few modifications to the lighting courtesy of "lightroom" and "Silver EFx Pro"
A quick trip to Argos meant pinching a space in the car corners of Tesco car park. As is my little rule, I toured the car park in search of cars, which lead me to this corner, which featured a fair few snap-worthy cars.
This is a two door version of the Ford Cortina, of which I had no idea existed. According to HML this is one of four Cortina 1600 Base Auto's left. Whether or not that the others are 2 doors I don't know. HML couldn't tell me that. Also worth noting that the 2.0 Base Auto is apparently extinct.
Looked in great condition, the older couple (in their 60's?) definitely noticed me eyeing it up as I returned to my car after snapping something else. From what I could gather, the wife noticed me eyeing up this car, then must've told her husband. Either way, they looked quite pleased that I was enjoying such a sight.
I had no idea there was a 2 door variation of the Cortina, so I was really chuffed to find this one! Almost rust free, it looked well taken care of. I'm guessing those wheels didn't come out the factory black? That and a third brake light were the only modifications I could see. They were not the first owners however, but the 4th.
MARINA (Mini Ebi)
Custom Pullip Head by Sheryl Designs to Mailana
MODIFICATIONS:
Complette MakeUp - Original Eyechip Design - ®2007-2012 Sheryl Designs Eyemech Modification
Minor modifications made to the 76164 Hulkbuster . Heard so many people complained about the pancake head, but it doesn’t bother me as I actually like it looks so close to the classic comic appearance of Hulkbuster. However, it does upset me as the original design doesn’t come with knee joints. So I made a bit of modifications, gave it a pair of knee joints, also updated the shape and details at the feet, allowing the feet to move better; some more details added to the shoulder armor; replaced the repulsor lens in the middle of its palms, allowing it to close the fist with better shape.
Basically I tried to keep the overall appearance of the original design by Lego, but just to make it more playable. It is bigger than I expected and relatively well articulated when comparing with its movie counterparts. This is my favourite Lego Hulkbuster so far.
Détail de la modification permettant d'adapter les dépolis de rollei série 6000 sur un modèle F.... Les dépolis de la série 6000 étant beaucoup plus performants que ceux des rolleiflex modèle F, certains spécialistes proposaient la modification ...
Juste pour ne pas parler de ce qu'on ne connaît pas !!
A bientôt sur flickr pour: partager apprendre transmettre :o))
Journal of Doctor S. Finnigan – Leading doctor of Project B27
Entry 104
After three months of the modification project, we are finally starting the last phase. The subject’s immune system is no longer fighting the medication and his muscles have been dissolved from the bones. According to Professor Rosenfeld’s calculations, they will easily reattach to the carbon skeleton after the procedure. Our head engineer Mr. Gordon and his team finished the prototype ten days ago and produced the first usable version. We are now making the final calibrations. The subject has been sedated and the observation team has arrived. The insertion procedure will start at 3pm, after the gouvernment‘s permission is given.
_______________________
This is something I wanted to upload for years now ! In 2011, n7mereel, Mr. Grievous and me built this, but never came around to uploading it for several reasons. Now I finally found the photos on my PC, reedited them and we decided to uploade them.
I still like it very much, even though it is a bit old.
Hope you agree !
Helped by some encouragement from another Flickr member -thank you once more Martin- , I redesigned the small capstan at the front. It now stands on the deck and is a bit lower.
I also heightened that deck a bit by one extra layer of tan bricks (there was a reason, but I have forgotten why I needed it higher).
Also in this picture; my small callibre swivel guns... Stud-shooters with a round 1x1 brick in stead of a stud.
If closed stud 1x1 round bricks are used, it can even shoot those bricks.
The Château de Chenonceau is a French château spanning the river Cher, near the small village of Chenonceaux, Indre-et-Loire, Centre-Val de Loire. It is one of the best-known châteaux of the Loire Valley.
The estate of Chenonceau is first mentioned in writing in the 11th century. The current château was built in 1514–1522 on the foundations of an old mill and was later extended to span the river. The bridge over the river was built (1556-1559) to designs by the French Renaissance architect Philibert de l'Orme, and the gallery on the bridge, built from 1570 to 1576 to designs by Jean Bullant.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. Other than the Royal Palace of Versailles, it is the most visited château in France.
The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction and in 2007 received around 800,000 visitors.
In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. He rebuilt a château and fortified mill on the site in the 1430s. Jean Marques' indebted heir Pierre Marques found it necessary to sell.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son [fr] by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river.[8] In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.
After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book Les plus excellents bastiments de France. If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."
On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.
In 1733 the estate was sold for 130,000 livres to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt, whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze [fr ], a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940.[20] It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.
In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
Chenonceaux is a commune in the French department of Indre-et-Loire, and the region of Centre-Val de Loire, France.
It is situated in the valley of the river Cher, a tributary of the Loire, about 26 km (16 mi) east of Tours and on the right bank of the Cher.
The population of permanent residents hovers about 350, but there is a large influx of tourists during the summer months because the village adjoins the former royal Château de Chenonceau, one of the most popular tourist destinations in France. The château is distinctive in being built across the river. The village is also situated in Touraine-Chenonceaux wine-growing area, and bordered on its northern edge by the Forest of Amboise.
Name
The difference in spelling between the Château's name (Chenonceau) and the village (Chenonceaux) is attributed to Louise Dupin de Francueil, owner of the château during the French Revolution, who is said to have dropped the "x" at the end of its name to differentiate what was a symbol of royalty from the Republic. As a result of her good relations with the village, the Château was spared the iconoclastic damage suffered by many other monuments during the Revolution. Although no official sources have been found to support this claim, the Château has ever since been referred to and spelled as Chenonceau.
Mme Dupin hosted the philosopher Jean-Jacques Rousseau in Chenonceau as tutor to her children, and among her descendants was the writer George Sand, born Aurore Dupin.
Philibert de l'Orme (pronounced [filibɛːʁ də lɔʁm]) (3-9 June 1514 – 8 January 1570) was a French architect and writer, and one of the great masters of French Renaissance architecture. His surname is also written De l'Orme, de L'Orme, or Delorme.
Biography
Early career
Philbert de l'Orme was born between 3 and 9 June 1514 in Lyon. His father was Jehan de L'Orme, a master mason and entrepreneur, who, in the 1530s, employed three hundred workers and built prestigious buildings for the elite of the city.[3] When Philibert was nineteen he departed Lyon for Italy, where he remained for three years, working on building projects for Pope Paul III. In Rome he was introduced to Cardinal Jean du Bellay, the Ambassador of King François I to the Vatican, who became his protector and client. Du Bellay was also the patron of his friend Francois Rabelais. In about 1540 de l'Orme moved to Paris, and was soon occupied with royal projects.
Royal architect of Henry II (1548-1559)
On April 3, 1548 he was a named architect of the King by Henry II. For a period of eleven years, he supervised all of the King's architectural projects, with the exception of changes to the Louvre, which were planned by another royal architect, Pierre Lescot. His major projects included the Château de St Maur-des-Fossés, the Château d'Anet, the Château de Chenonceau in the Loire Valley; the royal Château de Madrid in the Bois de Boulogne; the Château de Vincennes, and major modifications to the Palace of Fontainebleau.
He also made a reputation as a writer and theorist, and as an innovator in building techniques. He invented a new system for making the essential wooden frameworks for constructing stone buildings, called charpente à petits bois, which was quicker and less expensive than previous methods and used much less wood. He demonstrated it before the King in 1555, and put it to work in construction at the new royal Château de Montceaux and at the royal hunting lodge La Muette [fr] in the Forest of Saint-Germain-en-Laye.
Out of favor - architectural theorist (1559-1563)
The death of Henry II of France on July 10, 1559 suddenly left him without a patron and at the mercy of rival architects who resented his success and his style. Two days later, on 10 July, he was dismissed from his official posts, and replaced by an Italian artist and architect, Francesco Primaticcio, whose work was much in fashion. He had joined a religious order, and decided to turn his attention to meditation, scholarship and writing. He made another trip to Rome to inspect the new works of Michelangelo. Beginning in 1565 wrote the first volume of a work on architectural theory, which was scientific and philosophical. It was published in 1567, and was followed by new editions after his death in 1576, 1626 and 1648.
Royal architect again (1563-1570)
Under Charles IX and Catherine de Medici, he returned to royal favor. He was employed on the enlargement of the Chateau of Saint Maur (1563) and, along with Jean Bullant, on additions to the Tuileries Palace (1564). He died in Paris in 1570, while this project was underway.
Reputation
In the 17th century, during the period of Louis XIV style that followed his death, his reputation suffered. The grand stairway that he built at the Tuileries Palace was demolished in 1664, as was his Château de Saint-Léger in 1668, to make way for classical structures. In 1683, he was denounced by François Blondel of the Royal Academy for his "villainous Gothic ornaments" and his "petty manner". Nonetheless, his two major theoretical works on construction and design continued to be important textbooks, and were regularly republished and read.
His reputation rose again in the 18th century, through the writings of Dezallier d'Argenville, who wrote in 1787 that he had "abandoned the Gothic covering in order to redress French architecture in the style Ancient Greece." D'Argenville wrote the first biography and catalog of works. Though few of his building survived to be studied carefully, later important academic works on de l'Orme were written in the 19th and 20th centuries by art historians including H. Clouzot and Anthony Blunt.
One of De l'Orme's primary accomplishments was to change the way architects trained and studied. He insisted that architects needed formal education in classical architecture, as well as in geometry and astronomy and the sciences, but also needed practical experience in construction. He himself was an accomplished scholar of ancient Greek and Roman architecture, as well as a humanist scholar. He argued that architects needed to be able to design and manage every aspect of the building, from the volumes to the lambris to adding up the cost, making detailed three-dimensional drawings of vaults, judging if wood was dry enough, and knowing to stop digging the foundation when the first sand was encountered. He had scorn for those architects who could design a facade but had no knowledge actual construction. His opponents scorned him for his background as the son of a masonry contractor. He was referred to by Bernard Palissy as "The god of the stone masons", which deeply offended him.
His other major accomplishment was to resist the tendency to simply copy Italian architectural styles; he traveled and studied in Italy, and borrowed much, but he always added a distinctly French look to each of his projects.
The first major building of de l'Orme was the Château of Saint Maur (1541), built for the Cardinal Jean du Bellay, whom de l'Orme had met during his time in Rome. Its plan showed the influence of the Italian villas; and, like the Italian buildings, it was decorated with frescoes.
Much of his work has disappeared, but his fame remains. He was an ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Château d'Anet (1552–1559), built for Diane de Poitiers, the plans of which are preserved in Jacques Androuet du Cerceau's Plus excellens bastimens de France, though only part of the building remains. His designs for the Tuileries (also given by Androuet du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceau and other famous châteaux; and his tomb of Francis I at Saint Denis Basilica remains a perfect specimen of his art.
The most easily viewed work of de l'Orme in Paris is the court facade of the Chateau d'Anet, which was moved to Paris after a major portion of the chateau was demolished, to illustrate for students the major works of the French Renaissance. It is attached to the front wall of the chapel of the Ecole des Beaux-Arts, and is visible from Rue Bonaparte.
Partial list of works
Château de Saint-Maur (1541), demolished in 1796
Tomb of François Ie in the Basilica of Saint-Denis, Paris (1547)
Château d'Anet (1547-1555), built for Diane de Poitiers. Only one wing remains.
Plans of the Chapel of Saint-Éloi, Paris (1550-1566), (Long attributed, but not documented. Only a portion of the facade remains)
Attribution du château d'Acquigny
Facade of the residence of the Vicomte of the Duchy of Uzès (attributed)
Completion of Sainte-Chapelle at the Château de Vincennes (1552)
Château de Villers-Cotterêts, southern portion( 1547-1559)
Chapel of the Château of Villers-Cotterêts (1552-1553)
Royal Château of Saint-Léger-en-Yvelines (demolished)
Château de Meudon (attributed)
Château de Montceaux
Château de Thoiry (1560s)
The bridge upon which the Château de Chenonceau is constructed
Portions of the Louvre
Portions of the new Chateau of Saint-Germain-en-Laye
Portal of Château d'Écouen, now the National Museum of the French Renaissance (mid 16th century). The wing he designed was destroyed in 1787, but vestiges are displayed inside the Chateau.
Roofs of the towers of the Château de Bonnemare.
Modifications on the Technic set 8110 Unimog U400.
- blue cabine
- steering steeringwheel
- black wheels, closed
- moving bucket (3 sides)
- Train bogey front and back
- Snowplough
So, here's another modification of the Green Grocer (#10185).
Actually the plan was to dismantle the Green Grocer to make some space for other MOCs, but instead I ended up rebuilding it for the second time.
Now I really like it, I guess.
Added another floor, rebuilt the roof and stairs again and added some more furnishings.
Credits for the kitchen and the sunbed: Sarah Beyer
Giving the rear wheel wells a plate more of clearance. While I'm at it, I'll rework the steering. Which might create a new problem: while the front half of the body is very sturdy, it connects to the chassis with only six studs. Altering the steering might reduce that number to four.
Should I sacrifice the opening doors for more structural strength?
V. Ruiz-Olivares © Copyright , All Rights Reserved. No commercial use, not copy, frame, modification, transmision or distribution is permitted without the consent and written permission of the copyright owner.
Soon the approaching rain storm will make very slight modifications to this desert landscape. Those tiny changes eventually lead to these natural beauty sites that all photographers love.
Aureus 226, AV 5.86 g. IMP C M AVR SEV ALEXAND AVG Laureate, draped and cuirassed bust r. Rev. P M TR P V COS II P P Nymphaeum of Severus Alexander above building of which both sides are seen in perspective; in centre, three arches, the central arch containing two statues, the side arches one statue; on roof facing quadriga, to l. and r. three pieces of statuary; below, open space with figure; underneath, five arches alternately large and small; on either side of space, wing of building in three tiers, in each wing, top and centre tiers of two arches, each containing statue; each wing is surmounted by standing figure; semi-circular basin in front of building. C 298. BMC 323 note. RIC 58.
Of the highest rarity, apparently only the second specimen known and the only one
in private hands. A coin of tremendous fascination and importance featuring
a spectacular portrait and monument. A perfect Fdc
Ex NAC sale 11, 1998, 492.
When the Emperor Elagabalus was killed by the Praetorian Guard at the behest of his grandmother in A.D. 222, he was succeeded by his popular 13-year-old cousin, Severus Alexander. The reign of Severus Alexander, strongly influenced by his powerful mother, Julia Mamaea, was generally prosperous for Rome and the Empire, but miscalculations with respect to the army ultimately brought it to a bad end.
In a conscious attempt to distance Severus Alexander from the excesses of Elagabalus, the young emperor was surrounded with able advisors like the famous jurist Ulpian and the senatorial historian Cassius Dio. Such men assisted him in reorganizing the municipal administration of the capital and in legal reforms, many of which were aimed at improving public morals and reducing displays of excessive luxury. New laws enacted under Severus Alexander also did much to protect the property rights of soldiers and their ability to pass on their possessions to heirs of their own choosing. In A.D. 229-230, he also raised the purity of the silver denarius from 43% at the outset of his reign to 45% and then 50.5%.
In A.D. 230, Ardashir, the first of the Sasanian monarchs, invaded Roman Mesopotamia and besieged Nisibis, prompting Severus Alexander to lead a campaign against the upstart Sasanian Empire. The emperor arrived in Syria in A.D. 231, where he first attempted to negotiate a return to the borders that had existed under the late Parthians. When the negotiations collapsed in the following year, Severus Alexander and Ardashir moved on to open war. Several inconclusive battles were fought and the emperor was successful in forcing the Sasanian Persians to withdraw from Mesopotamia, but he could do nothing to overthrow Ardashir or his dynasty.
In A.D. 233 Severus Alexander returned to Rome where he celebrated a grand triumph as a latter-day Alexander the Great, the conqueror of Persia. However, even while this was going on new trouble was brewing in the North. The Germanic Alemanni overran and destroyed the Roman limes (frontier fortifications) near the Black Forest, threatening invasion deeper into Roman territory. The emperor marched to the Rhine frontier to halt their advance, but once there he tried to put an end to their onslaught through diplomacy and bribery. This soft approach rankled with the legionaries, who thought such negotiation to be dishonorable, and on March 19, A.D. 235, members of Legio II Parthica and Legio XXII Primigenia mutinied and killed both Severus Alexander and his mother at Mogontiacum (Mainz). The mutineers proclaimed Maximinus Thrax, a rough and ready prefect of Legio II Parthica, to be the new emperor.
The murder of Severus Alexander was a watershed moment for the Roman Empire. It not only brought an end to the dynasty founded by Septimius Severus in A.D. 193, but marked the beginning of the Crisis of the Third Century and the destructive age of the Barracks Emperors.
This stunning and exceedingly rare aureus of Severus Alexander advertises some of his improvement works in Rome as it shows on the reverse the features of the Nymphaeum divi Alexandri, one of the three nymphaea explicity listed by name (the others are Nymphaea Tria on the Aventine and the Nymphaea Iovis beneath the present-day Piazza S. Silvestro) of the fifteen assessed in the city of Rome, according to the catalogue of the regionses of the fourth century AD.
It was constructed in A.D. 226 as the terminus of a new aqueduct—the Aqua Alexandrina—built on the Esquiline Hill as part of a project to enlarge the old Baths of Nero. The castellum (tower) of the Nymphaeum is still visible in the Piazza Vittorio Emmanuelle to this day (at the fork of the Labicana and Collatina streets) and is fed by the Aqua Iulia (the “Mostra”). Originally, as depicted on the coin the Nymphaeum took the form of a triple triumphal arch surmounted by an image of the emperor riding in a quadriga, although in A.D. 226 Severus Alexander had yet to win a notable military victory or celebrate a triumph. Victories flank the main building while statues stand within the arches and in smaller arches below. The water from the fountain gathered in the pool enclosure at the base.
The same Nymphaeum types also appeared on contemporary denarii, sestertii, and asses. Divergent details on some asses led to scholarly debate about whether some examples depicted the Nymphaeum and others the Baths until it was discovered that the “Baths” issues were really Nymphaeum asses with tooled modifications.
Severus Alexander’s achievements in civil engineering are summarised in the “Life of Alexander Severo” (Chap. 25) contained in the Historia Augusta, as follows: “He rebuilt the edificies raised by his predecessors and saw to the erecting of many others, including the Thermea named after him, sited next to the old Thermae of Nero and fed by the aqueduct now called Alexandrine”.
NAC102, 543
Marcus los his tooth piece ;)
I made it of apoxie for him and painted it. The thing looks like some creepy monster on its own :P
A modification work done by Allen Pierson.
Isaac Hayes. : Walk On By :
youtu.be/DFdR2LLM3bY?si=O97DuGhtP5dqbFDt
If you see me walking down the street
And I start to cry each time we meet
Walk on by, walk on by
Make believe that you don't see the tears
Oh just let me grieve
In private cause each time I see you
I break down and cry
Oh baby, walk on by
A Leeds to York local service arrives at Cattal. The 20 Class 141 Leyland/BREL 2-car Pacer Railbuses were built 1983-4 being a development of the earlier Class 140 consisting of Leyland National bodies mounted on four wheeled underframes with a seating layout of 2+2. Unit 141 005 comprises DMSL 55526 & DMS 55506.
These units proved to be not only unreliable but also provided a rough ride, especially over pointwork. Between 1988 & 1989 modifications were made by Hunslet-Barclay and reliability was improved. During 2001/2 a number of the units were sold to Islamic Republic of Iran Railways and the unit illustrated was one of a pair exported to the Netherlands.
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Don Gatehouse
Other modifications to the original design include reworked missile pods, a new nose, and internal detailing throughout, as shown here. Not shown is how the tech got up there...
Side note, this is the biggest mech bay I've built!
Ford expanded their global operations greatly in the 1960s, as many nations improved their wealth and industrial base. This included operations in both Brazil and Argentina.
Like Australia, who moved to full vehicle manufacture with the Falcon in 1960, Argentina was also seen as a market that the Falcon would do well.
The Falcon was introduced in 1962. The most dramatic aspect of the Falcon was that this original body style remained in production through to 1991, with only periodic modification, mainly to lights and bumper systems.
The model shown here represents the changes at the 1971 update. Quad round lamps and bumpers with overiders.
It wasn't all sweetness and light however. During the dark years of the Argentinian dictatorship, dark green Falcons were operated by the Argentinian death squads.
Read more at the following link.
www.reuters.com/article/us-argentina-falcons/argentine-de...
taken on the 21 dec 2012 in wiltshire uk...... Im not sure what these lines in the sky are but as you can see from the pictures they seemed to be pulling the spray left by the aircraft across the sky (see next 2 pics in my photostream). As much as i dont like to believe it, i think weather modification is real and poses a great threat to all of us and life on earth in general as we all have to breathe the same air !.. The reason i post these pictures is to try and raise awareness as i feel that the more people that know about this, the more chance there is of putting an end to this complete madness !!! For those of you who have not heard of this before please research geo engineering, chemtrails, solar radiation management... Anyway thanks for looking at my pictures and thanks to all you guys who continue to post great pictures here on flickr.....
This is a major modification of a stock Aoshima PA-36K “Berlon” kit – redesigned almost beyond recognition ;). In fact, the victim of my modifications was the second “spare” kit included in the kit box, and it found good and creative use.
I will tell a bit of the story behind this kit, because idea and inspiration evolved step by step over a longer course of time.
It all started with the idea of applying a stylish “state of the art” fractal camouflage scheme on a Dorvack Powered Armour. Considering colours and such a paint scheme’s purpose to break up an objects outlines, I remembered the so-called “Hinterhalt” (“Ambush”) scheme of German WWII military vehicles around 1943-1944: a scheme of 3 high contrast colors (RAL 7028 “Dunkelgelb”/”Dark Yellow”, RAL 6003 “Olivgruen”/”Olive Green” and RAL 8017 “Schokoladenbraun”/”Chocolate Brown” or RAL 8021, actually a rust primer).
The pattern of these basic colors was improvised in the field – with the result that many tanks did not look alike. You can find many different and even creative versions of the 3 basic colours, with stripes and mottles. Its design purpose was to conceal vehicles in forests, from above, mainly in mid Europe where air superiority faded.
This historic pattern has already found its way on some PAs I found in the internet, it is a classic. My idea was then to take the basic colors and follow the basic scheme idea, but apply it in a “digital” fashion, in a kind of grid that would effectively break up any outline.
At that time I considered a standard PA like a PA-58 as a kit basis, since I just followed the paint scheme idea at that time. And this camouflage idea got even more fuel when I saw parts of the Dorvack TV series in the internet – in some scenes (e. g. in episode 14), Powered Armours with a disruptive 3 tone camouflage scheme (I'd say a medium olive green, a very light grey-green and a sand tone with a very pink hue…) or in overall bronze green livery appear. So, camouflage on such a kit was not total fiction.
You might check here for reference:
Dorvack TV series - stills from Ep. 14 & 18 auf Yahoo! Video
Anyway, with the WWII inspiration, I stumbled across a certain vehicle while reading reference literature – the German “Sturmtiger” tank. It was an assault version of the famous Tiger tank, only 78 were re-built from damaged chassis. The turret was replaced by a heavily armoured “box” and a 38cm(!) rocket mortar was built into the tank’s front – actually a weapon which had been developed for the German navy. The Sturmtiger’s main purpose was to crack heavy fortifications like bunkers and to support soldiers in urban combat with building-wrecking firepower.
Bringing it all together, it clicked: I wanted to create a cross-breed between a Dorvack PA and a Sturmtiger tank – or, at least, bring both “spirits” together – and paint it with a weird camouflage scheme!
Here, a spare PA-36K “Berlon” kit came into play. The original kit from the box still waits for assembly, and since #2 comes without decals and its bigger arms’ and legs’ parts would make the figure appear more massive and “edgy” than a standard PA-36 “Nove”, this became an ideal basis.
The kit itself underwent major modification, e .g. the head/helmet with the visor front. Here, American locomotives like the Baldwin „Shark Nose“ diesel locomotive were an inspiration. The original round front/top of the basic PA-36 kit was replaced - besides lots of Tamiya 2C putty, the cockpit area of a 1:144 F-117 kit went into it! The former clear cockpit canopy now houses a new visor arrangement, and the broad and edgy new outline gives the PA-36 a totally different look, much like the PA-48Z "Paladin" conversion kit vs. its PA-48 "Guardian" base.
Another custom piece is the kit’s armament. Taking up the Sturmtiger idea and its characteristic mortar, I built a massive forearm gun from Dorvack spare parts and scratch. The basis is a reversed R6 cannon (the hand-held gun that comes with the standard blue PA-36N kit), its cannon muzzle actually is an A-10A’s engine exhaust in 1:72! Inside, a barrel was added as well as a characteristic exhaust ring (an engine part from a Matchbox 1:72 PB4Y -2Privateer) that creates a similar look like the Sturmtiger’s 38cm assault mortar’s mouthpiece.
Thinking the urban combat/assault task further through, I felt that this assault PA needed another weapon. Smoke dischargers for defence were already part of my plan, but just like in real life (like the German heavily armoured assault tanks in WWII), this PA lacked short range firepower at close range and against soft targets.
It had to be a gun, no further missiles, and so I salvaged a “CW-27 Gatling Smash” gun from a PA-58N kit – a 3 barrelled gatling gun with a drum magazine that is a 2 handed heavy weapon for the small PA-58, but a medium gun for the bulky PA-36 base.
The gatling gun was modified to hold a belted cartridge feed system with a corresponding magazine on the PA’s back (which made a new exhaust system for the jump jets necessary...). The gun itself was modified to be mounted on the PA’s left forearm, which offers – thanks to the different PA-36K’s parts – an even and credible basis to hold the massive gun.
All in all, the PA looks very intimidating with all this equipment – Idelians beware!
Finally the painting: I wanted to stay close to the German original colors. But even though some of the authentic tones are available, I slightly varied them for the kit:
• The RAL 7028 Dark Yellow became Humbrol 94 (“Brown Yellow”). Actually, it is IMHO a good approximation to the WWII RAL colour. Anyway, there were no colour samples left after the war, and nobody knows for sure what this tone actually looked like! As a side note: anything you see today on kits or in museums is just guesswork.
• I replaced RAL 6003 Green (very similar to FS 34102) with an FS tone I found from Testors: FS 34096, an obscure green/olive drab which had been used on B-52 bombers. It contains less yellow than both RAL 6003 and FS 34102 and yields a lighter, almost sun-bleached and worn look.
• RAL 8021 is actually available from Humbrol (tone 160). But again, I settled for a lighter colour with Humbrol 186 (“Brown”).
The colours were applied with a flat 4mm brush in rectangular “blocks”, so that each tone got a third share on the surface.
In a second step, the colour boundaries were frazzled and fractal “mottles” were added all over the kit – a time-consuming job, but the effect is stunning. I copied the fashion in which the original colors were applied: green on sand, and the sand on green and brown, so that the color shares become about 40% sand, 35% green and 25% brown.
Altogether, the overall look and impression of the “Hinterhalt” scheme was kept, despite the fractal scheme, and the kit looks less dark and murky.
Some typical PA details like the chest box were painted in orange - mainly because the water sliding decals (from various kits, including a Dougram Round Facer in 1:72) were orange, too.
Finally, the whole kit received a black ink wash and some weathering through dry painting in hemp and some silver, and finally a matte overall cote.
Pictures were taken with a simple Kodak CX 7330 digital pocket camera.
Scarification
Hey there Harry Potter fans! You must have seen Harry’s scar on his forehead. That is something different from what we are talking about here. If you wish, you could also have a similar scar like Harry on your body (wherever you like). You just need to opt for scarification and i...
A recent addition to the home fleet is 37043.
research shows a few modifications that will be required, includeing plating over of the bodyside window above the rectangular louvre.
So, here's another modification of the Green Grocer (#10185).
Actually the plan was to dismantle the Green Grocer to make some space for other MOCs, but instead I ended up rebuilding it for the second time.
Now I really like it, I guess.
Added another floor, rebuilt the roof and stairs again and added some more furnishings.
Credits for the kitchen and the sunbed: Sarah Beyer