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"An aerodynamically optimised vehicle concept developed by a dedicated team to demonstrate as many innovative solutions to the problems of creating a low-drag vehicle around a fully functional and uncompromised four-seater package."
This photo was taken on Kodak Portra 160 film (my favourite film!) using a Pentax *ist, fitted with a Pentax DA XS 40mm f2.8 lens. Now this is a Pentax DA lens, which means it is optimised for digital cameras with an APS-C sensor (specifically the Pentax K-01).
And in a purely technical sense it doesn't work that well on a full frame film body: there is some light vingetting, especially wide open, and the sharpness in the corners is pretty dreadful in the corners... but I really like the character this lens gives on a full frame film body... I'm guess that it would work nicely on the Pentax K-1 too.
Because it has no aperture ring it really needs to be used on a body that allow aperture to be controlled from the camera, and the *ist falls into this classification. Together they make a really tiny (almost pocketable!) combination with a really nice focal length.
A 40mm f2.8 lens might not scream 'bokeh!!', but on full frame you can actually get some lovely bokeh effects with this lens.
This photo was taken on Kodak Portra 160 film (my favourite film!) using a Pentax *ist, fitted with a Pentax DA XS 40mm f2.8 lens. Now this is a Pentax DA lens, which means it is optimised for digital cameras with an APS-C sensor (specifically the Pentax K-01).
And in a purely technical sense it doesn't work that well on a full frame film body: there is some light vingetting, especially wide open, and the sharpness in the corners is pretty dreadful in the corners... but I really like the character this lens gives on a full frame film body... I'm guess that it would work nicely on the Pentax K-1 too.
Because it has no aperture ring it really needs to be used on a body that allow aperture to be controlled from the camera, and the *ist falls into this classification. Together they make a really tiny (almost pocketable!) combination with a really nice focal length.
A 40mm f2.8 lens might not scream 'bokeh!!', but on full frame you can actually get some lovely bokeh effects with this lens.
Maybe this is a little much satin in one place for some to cope with.
I think he has disappeared it been a while since we last set eyes on eachother, maybe he was just a figment of my imagination? All I know is that he said, "I am going out. I might be some time"
I know it's a little early for my flirty Friday post but it must be Friday somewhere
McLaren has revealed the first model in its Sports Series, the new 570S Coupé. A pure McLaren, featuring class-leading levels of performance, coupled with optimised handling characteristics and driving dynamics, the 570S Coupé marks the first time McLaren has offered its pioneering and race-derived technologies in the sports car segment. The new Sports Series shares its DNA with the Super Series and Ultimate Series, and the three-tier McLaren range will be shown together for the first time at the 115th New York International Auto Show on 1st April 2015.
The new 570S Coupé is a classic sports car with a mid-mounted engine, rear-wheel drive layout and a carbon fibre chassis. The M838TE twin-turbo V8 engine produces 570PS (562bhp) and 600Nm (442lb ft), with 30 percent of components bespoke to the Sports Series. Power is delivered through a seven-speed SSG transmission and transmitted to the road via Pirelli P-Zero™ Corsa tyres, and this power is brought under control with standard-fit carbon ceramic brakes. The Sports Series has its own newly developed suspension system along with ‘Normal’, ‘Sport’ and ‘Track’ handling settings.
Testing D750 NEF files with Capture NX-D to optimise processing. Good for NR but need to get the NR 2013 settings just right. Images need a lot of sharpening and it's definitely easier to apply the final polish in CNX-2.
Tucked away in the old quarter of Alicante. Les Monges Palace Hotel (The Nuns Palace) is a lovely old example of fin de sieclé architecture. It's behind the Ayuntamiento and close to the Basilica de Santa Maria as well as the National Archive.
Designed and built as a collaborative project between the United Kingdom, Germany and Italy, and originally named the Multi-Role Combat Aircraft, the prototype Tornado Interdictor Strike aircraft (IDS) first flew in August 1974. The aircraft has variable geometry wings and is powered by two Turbo-Union RB199-34R turbofans, with a maximum speed of 1452 mph and a service ceiling of 50000 feet. The Air Defence Variant (ADV) version of the Tornado is optimised for long-range interception with radar and infra-red guided air-to-air missiles and one internally mounted 27mm Mauser cannon.
The first of 229 Tornado GR.1 strike aircraft was delivered to the Royal Air Force in 1981 and the first squadron equipped with the aircraft became operational in 1982. The GR.1 is capable of carrying a wide range of armaments, including conventional and anti-airfield bombs, laser-guided bombs, air-to-ground rockets and anti-radar missiles. During the 1991 Gulf War, the Tornado GR.1 force flew 1500 operational sorties mainly against airfields, air defence sites and bridges. Six aircraft were lost in low-level missions. Intended as a mid-life update of the Tornado GR.1 fleet, deliveries of the Tornado GR.4 began in October 1997. While the performance of the aircraft is similar, overall effectiveness is enhanced by a forward–looking infra-red system, a wide-angle head-up display, night vision goggles, new defensive systems and avionics and provision for enhanced anti-armour, stand-off attack and laser designation weapons.
Tornado XZ631, which arrived at Elvington on 22 March 2005, first flew on 24 November 1978 as pre-series aircraft P15 and was the prototype for the conversion work to GR.4 standard carried out by British Aerospace at Warton, Lancashire. The Yorkshire Air Museum is the first independent museum in the United Kingdom to acquire a Tornado, and is the first museum in the country to display the current front-line GR.4 version.
The Ford Falcon was a new introduction to the Ford lineup in 1960. The car was conceived as a cost-optimised compact car that still delivered the qualities and quantities that the US customer saw a critical in a family automobile.
As such, the car was considerably smaller than the full-size cars on sale during the Falcon's development. Even the engine, a 2.2 litre inline six, was considered to be small, as was the engine performance.
The Falcon was a success, and as such, provided the profitable funding for the basic model to be evolved into things it was not originally conceived to be. One of those things was to be the Ford Mustang - the first 'Pony car', but along the way, the basic building blocks to deliver Mustang were provided in the form of the compact, 4.3 litre V8 engine, as fitted to the 1963 Falcon Sprint.
The Sprint was a success, its small size and low weight led to spirited performance. The Sprint was available as both a hardtop coupe and a convertible model.
Size and performance set the template for what was to come. The second generation Falcon, launched in 1964 grew a little bit bigger, and a little bit faster, courtesy of the larger 4.7 L V8 engine, and was the basis for Ford's next big product hit, the Mustang.
This Lego Miniland-scale Ford 1963 Falcon Sprint hardtop Coupe has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.
The Challenge theme chosen is number 28 - 'The Animal Kingdom' - for any vehicle that is animal themed or named.
The EF Tempest IDS (interdiction/strike) is the ground attack version. Optimised for low-level ground attack and close support operations, the IDS version sports increased fuel capacity and a more extensive air-to-surface sensor package, including FLIR and a laser designator for independent targeting of laser-guided air-to-surface munitions.
With the combined power of two EJ290SP engines, the IDS Mk.II has a higher top-speed and carrying capability than the previous single-engine version.
Send me a message on Facebook or LinkedIn if you want me to do some design work for you!
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Yuanyang Rice Terraces, located on the southern slopes of Ailao Mountain in Yuanyang County (part of Honghe Hani Autonomous Prefecture) and located in the south of Yunnan Province of China has been a masterpiece of the ingenuity of the Hani people for generations. Southern Ailao Mountain, with this typical tiered landscape, is famed for its unique frontier scenery.
The Hani people's ancestors came to this steep mountain area 2,500 years ago. In their struggle against the difficult terrain they successfully established the terraces, where they grew rice in order to make a living. The technology of developing fertile land on rugged mountain slopes didn't spread all over China and Southeast Asia until 14th century. The creativity of the Hani people turned this mountain area into one of artistic beauty.
The Honghe Hani rice terraces are an exceptional reflection of a resilient land management system that optimises social and environmental resources, demonstrates an extraordinary harmony between people and their environment in spiritual, ecological and visual terms, and is based on a spiritual respect for nature and respect for both the individual and the community, through a system of dual interdependence known as the ‘Man-God Unity social system’.
Messing around with colour schemes, this one is semi-buildable.
Also optimised down from 1428 to 1400 parts, should improve sturdiness in a few places.
Pure femme bliss……I do love this set, hope you do too! Happy fab Fun Friday Flickerettes!!! Peace and love, always!💋💕🌈😘
The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
Audacia is 225 m long, which in terms of size places her between Allseas’ DP pipelay vessels Lorelay and Solitaire. She is optimised for the execution of small to large diameter pipelay projects of any length in all water depths.
The concept for Audacia was developed entirely in-house by Allseas. Her ship-shape allows for a high transit speed and gives her excellent workability, while a large pipe storage capacity makes her less dependent on offshore supply.
Operating on full dynamic positioning, with a stinger positioned at her bow, Audacia offers the safest pipelay method in congested areas where anchors could endanger the integrity of existing pipelines. Pipeline start-ups and lay-downs are executed in very quick time ensuring any disruption to other activities near platforms is minimised.
Audacia conversion 2006 - 2007
In June 2005 Allseas announced that it would be building a new 225 m long DP pipelay vessel, to be named Audacia. Two months later, the Panamax type bulk carrier "Geeview" was procured.
The "Geeview" finally arrived at the Keppel Verolme shipyard, Rozenburg, in December 2005 and work to convert her into a pipelay vessel commenced in January 2006. Audacia left Keppel Verolme for sea trials in the North Sea in late September 2007 and successfully completed her maiden pipelay project in early December 2007.
Length overall (excl. stinger)
225 m (738 ft)
Length between perpendiculars
217 m (712 ft)
Maximum speed
16 knots
Accommodation
270 persons
Installed power
35,100 kW
Dynamic positioning system
NMD Class 3 / LR DP (AAA), type Kongsberg SDP 11 and SDP 22, fully redundant systems
Cranes / lifting equipment
Pipe transfer crane:
30 t (66 kips) at 33 m (108 ft)
Special purpose crane:
150 t (331 kips) at 16 m (66 ft)
PLET/PLEM installation frame:
550 t (1,213 kips) dual wire
Stinger handling crane:
25 t (55 kips), tandem hoist
Working stations
7 (single joint) welding, 1 NDT and
3 coating stations
Tensioner capacity
3 x 175 t (1,158 kips) at 30 m/min
(98 ft/min)
Pipe diameters
From 2" to 60" O.D.
MK356
Supermarine Spitfire LF MkIXc
Royal Air Force
BBMF
Spitfire Mk IXc MK356 was built at Castle Bromwich and delivered to Digby in March 1944 fitted with a Merlin 66 engine, optimised for operations at low level and below 25.000 feet. She was allocated to 443 ‘Hornet’ Squadron, Royal Canadian Air Force, which became part of 144 Canadian Wing, commanded by Wing Commander J. E. ‘Johnny’ Johnson and was based at various locations on the South Coast of England.
The aircraft flew its first operational mission from Westhampnett on 14 April 1944 as part of a ‘Rodeo’ fighter sweep over occupied France. In the weeks leading up to the Invasion of France, MK356 was involved in various fighter and fighter-bomber missions. On D-Day +1 (7 June 1944) during an invasion beach head cover patrol, her pilot, Flying Officer Gordon Ockenden, a Canadian from Alberta, attacked 4 Bf109s “on the deck”. He chased one of the Messerschmitts, opened fire and obtained strikes. His wingman, Flt Lt Hugh Russell finished it off, so they were both credited with a shared kill.
MK356 was damaged 3 times herself, including 2 belly landings and on 14 June lost a wheel on take-off; the pilot completing the mission prior to making a third belly landing. Normally the aircraft would have been repaired on site but the Squadron moved to a forward operating base in France the next day, leaving MK356 behind to be picked up and stored by a Maintenance Unit.
After the war MK356 was used as an instructional airframe, as a gate guardian at Hawkinge and Locking, and she also served as a static airframe in the film ‘The Battle of Britain’ before going on display in the museum at St Athan.
In January 1992 a complete refurbishment to flying condition was commenced and in November 1997 the aircraft flew for the first time in 53 years, subsequently moving to her present home with the BBMF. Since 2008 the aircraft has been presented as UF-Q, MJ250 of No 601 (County of London) Squadron the aircraft of Flight Lieutenant Desmond Ibbotson. She is in a silver paint scheme used during late 1944 when the Squadron carried out fighter bomber missions over the Balkans from bases in Southern Italy. Ibbotson, who shot down eleven (confirmed) enemy aircraft and survived being shot down by the enemy three times, was tragically killed in a test flight when his Spitfire crashed close to Assisi, Italy in November 1944.
Central Air Force Museum. Monino.
The Sukhoi Su-15 (NATO reporting name 'Flagon') was a twin-engined supersonic interceptor developed by the Soviet Union in the 1960s to replace the Sukhoi Su-11, which was becoming obsolete as the United States and Britain introduced newer and more capable strategic bombers. The Su-15 was a major part of the Soviet interceptor force until the fall of the Soviet Union.
The aircraft is most famous for being involved in the downing of Korean Air Flight 007.
Development.
Recognizing the limitations of the earlier Su-9 and Su-11 in intercepting the then-new Boeing B-52 Stratofortress, particular in terms of radar and aircraft performance, the Sukhoi OKB quickly began the development of a heavily revised and more capable aircraft. A variety of development aircraft evolved, including the T-49, which shared the fuselage of the Su-9 (including its single engine), but used cheek-mounted intakes to leave the nose clear for a large radome for the RP-22 Oryol-D ("Eagle") radar(NATO "Skip Spin"), and the T-5, essentially a heavily modified Su-11 with a widened rear fuselage containing two Tumansky R-11 engines.
These led to the T-58, which combined the twin engines with a modified version of the T-49's nose, but with side inlets further back, behind the cockpit. It was approved for production on 5 February 1962, as the Su-15, and the prototype first flew on 30 May 1962. It entered service testing 5 August 1963, but its service entry was delayed by political infighting with the Yakovlev OKB over production line capacity in Novosibirsk, which was also building the Yak-28P. The Su-15 proved to be superior in most respects other than range, and it was officially commissioned on 3 April 1965. Series production began the following year, and it entered service with the PVO in 1967, replacing Su-9s, Su-11s, and Yakovlev Yak-25s. The initial Su-15 received the NATO reporting name "Flagon-A". A simplified trainer version, the Su-15UT (NATO "Flagon-C"), with no radar or combat capability, entered service in 1970.
Initial delta-winged Su-15s had poor take-off and landing characteristics, and so Sukhoi investigated a new wing design with extended wingtips (increasing wing area) and boundary layer control. Su-15s with the new wing went into production in 1969. They were dubbed "Flagon-D" by NATO, although the Soviet designation was unchanged.
Also in 1969 testing began of the upgraded Su-15T with the Volkov Taifun ("Typhoon") radar, which was based on the MiG-25's powerful RP-25 Smerch-A ("Tornado") radar (NATO "Foxfire"). The Taifun proved troublesome, however, and ceased production after only 10 aircraft had been built. It was followed in December 1971 by the Su-15TM (NATO "Flagon-E"), with the improved Taifun-M radar (NATO "Twin Scan") and provision for UPK-23-250 gun pod or R-60 (AA-8 "Aphid") short-range air-to-air missiles. Aerodynamic demands forced a redesign of the radome with an ogival shape, earning a new NATO reporting name, "Flagon-F", although again the Soviet designation did not change. A comparable combat-capable trainer, the Su-15UM (NATO "Flagon-G"), followed from 1976. The final Su-15UMs, the last Su-15s produced, came off the line in 1979.
Various OKB proposals for upgraded Su-15s with better engines and aerodynamics to satisfy a VVS requirement for a long-range tactical fighter were rejected in favor of the Mikoyan MiG-23 fighter.
Design
Although many components of the Su-15 were similar or identical to the previous Su-9 and Su-11 (NATO reporting name "Fishpot"), including Sukhoi's characteristic rear-fuselage airbrakes, the Su-15 abandoned the shock-cone nose intake for side-mounted intakes feeding two powerful turbojet engines, initially the Tumansky R-11F2S-300. The change allowed room in the nose for a powerful search radar, initially the RP-22 Oryol-D (NATO 'Skip Spin'). The early Su-15 ("Flagon-A") had pure delta wings like its predecessors, but these were replaced from the 11th production series onward by a new 'kinked' delta planform of increased span and area, with a small wing fence above each outer pylon and blown flaps to improve landing characteristics. This was accompanied by a new tail of greater anhedral and a vertical fin of reduced height.
The Su-15 had maximum speed of Mach 2.5 and a rate of climb of 228 m/s. Take-off and landing speeds were comparatively high, with a take-off speed of 247 mph (395 km/h) for early delta-winged 'Flagon-A's and 231 mph (370 km/h) for the larger-winged 'Flagon-F.' While the controls were responsive and precise, the aircraft was unforgiving of pilot error.
Despite its powerful radar, the Su-15, like most Soviet interceptors before the late 1980s, was heavily dependent on ground control interception (GCI), with aircraft vectored onto targets by ground radar stations. It was fitted with the Lazur-S datalink system, which transmitted instructions to the pilot to accomplish the interception. The later Su-15TM had a Vozdukh-1M datalink and SAU-58 (sistema automaticheskogo upravleniya, automatic control system) capable of carrying out completely automatic, 'hands-off' interceptions until the last moments of the interception.
Primary armament of the Su-15 was the R-8/K-8 (AA-3 "Anab"; later R-98) air-to-air missile. Early models carried two missiles, but 'Flagon-D' and later versions could carry four. Like most Soviet missiles, the R-98 was made in both infrared and semi-active radar homing versions, and standard practice was to fire the weapons in pairs (one semi-active radar homing, one IR homing) to give the greatest chance of a successful hit. The IR homing missile was normally fired first in order to prevent the possibility of the IR missile locking on to the radar homing missile. Later 'Flagon-F' models often carried two R-98s and one or two pairs of short-range R-60 (AA-8 'Aphid') missiles. Late-model 'Flagons' also sometimes carried a pair of UPK-23-250 23 mm gun pods on the fuselage pylons, each containing a two-barrel GSh-23L cannon.
Operational history.
The Su-15 formed a significant part of the V-PVO's interceptor force, and was designed to intercept easier targets such as the American B-52 and U-2, and the British V bombers, leaving the more difficult targets such as the XB-70 and B-58 to the faster MiG-25P. The Taifun radar of the Su-15TM was optimised for counter-countermeasure operation, as opposed to range. As an interceptor, the task of the Su-15TM was to fly under autopilot, using GCI commands sent through the datalink. The radar would only be turned on as the interceptor approached the target in order to provide targeting parameters for the radar homing K-8/R-8/R-98 missiles, the high power of the radar allowing it to 'burn through' enemy ECM signals. If all else failed, IR homing versions of the K-8 would provide a last opportunity to shoot down the intruder, along with any gun pods the Su-15 might be carrying.
The Su-15 was optimised for the high-altitude interception role with its fast climb-rate and high speed at high altitude but lacked look-down/shoot-down capability, even with the Su-15TM's more sophisticated Taifun radar. This eventually led to the MiG-23P, which did have look-down/shoot-down capability, becoming the preferred asset of the V-PVO, especially once NATO switched to low-level penetration tactics. Even so, the Su-15 remained an important part of the V-PVO until the fall of the Soviet Union.
As one of the V-PVO's principal interceptors, the Su-15 was involved in a number of incidents with foreign aircraft intruding into Soviet airspace:
One such attack was in 1978, when Korean Air Flight 902 was attacked over Murmansk by a PVO Su-15. Although the civilian aircraft survived the missile hit, two passengers were killed, and the damaged plane subsequently made a forced landing on a frozen lake.
In a 1981 incident, a Baku, Azerbaijan-based Su-15 deliberately rammed an Argentine Canadair CL-44 of Transporte Aéreo Rioplatense (killing the three Argentines and one Briton aboard) which was delivering arms from Israel to Iran after it strayed into Soviet airspace.[1]
Most famously, in the Korean Air Flight 007 incident in 1983, a Korean Boeing 747 was shot down near Moneron Island, after it strayed into restricted Soviet airspace, by a Su-15TM based on Sakhalin, killing all 246 passengers and 23 crew. The incident remains somewhat controversial to this day.
The Su-15 was also credited with shooting down 5 reconnaissance balloons sent to spy on Soviet territory in 1975.
Although it was produced in large numbers (1,290 of all types), the Su-15, like other highly sensitive Soviet aircraft, was never exported to the Warsaw Pact or any other country due to its sophisticated systems. Some Su-15 were reported to be deployed in Egypt in 1972 but were used with Soviet crews. At one point, the Su-15 was considered as a strike fighter, but proved to be too specialised as an interceptor to be used in that role.
After the fall of the Soviet Union, the Su-15 was abruptly retired from the new Russian Air Force in 1993 to comply with the Treaty on Conventional Armed Forces in Europe. Most were hastily scrapped in favour of more advanced interceptors, including the Su-27 and MiG-31, but some are in reserve storage for emergency use. In the Ukraine, the last Su-15s (at Kramatorsk and Belbek) were withdrawn from use in 1996.
General characteristics
Crew: 1
Length: 19.56 m (64 ft 2 in)
Wingspan: 9.34 m (30 ft 7 in)
Height: 4.84 m (15 ft 10 in)
Wing area: 36.6 m² (394 ft²)
Empty weight: 10,874 kg (23,973 lb)
Loaded weight: 17,194 kg (37,920 lb)
Powerplant: 2 × Tumansky R-13-300 turbojets
Dry thrust: 40.21 kN (9,040 lbf) each
Thrust with afterburner: 70.0 kN (15,730 lbf) each
Performance
Maximum speed: Mach 2.1, 2,230 km/h (1,386 mph) armed (2 x K-8/R-8/R-98 missiles, no external fuel tanks) at high altitude, Mach 2.5 clean at high altitude
Range: 1,380 km (897 mi) combat
Ferry range: 1,700 km (1,106 mi)
Service ceiling: 18,100 m (59,383 ft)
Rate of climb: 228 m/s (45,000 ft/min)
Armament
2 × R-98M (AA-3 "Anab"), normally 1 radar homing and 1 IR homing (outer wing pylons)
2 × or 4 × R-60 (AA-8 "Aphid") (inner pylons)
Option of 2 × UPK-23-250 23 mm gun pods on fuselage pylons
Avionics
Radar: «Taifun-M»
Detection range:
high-flying targets: 70 km
low-flying targets: 15 km
Lock range:
high-flying targets: 45 km
low-flying targets: 10 km
Angular range:
vertical: +30°/-10°
horizontal: +/- 70°
One of my favourite parks here in Derby, Markeaton Park. Here's a little corner often overlooked. The masonry is Victorian. There were railings either side but during WW1 it was thought a good morale booster for all ironworks to be 'donated' for the war effort. Utter bollocks.
The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
The use of magnetic fields is fast developing into a most promising area of medical research. Magnetism is cutting edge in the areas of cardiology (remote magnetic navigation, spatially targeted therapeutics), surgery (reflux management system), oncology (magnetic induction hyperthermia), radiology (MRI) and pathology (magneto-optic screening), while the use of medical magnets in pain management is gaining credibility amongst medical practitioners.The principle reason for this magnetic revolution in medicine is science. That is, by testing, validating and refining the optimisation process. Innovation produces more effective technologies and their commercialisation improves the lives of patients. Magnetism in medicine has the added advantage of its non-invasive nature with few side-effects and relatively low-cost. Unfortunately, most people’s concept of magnetic therapy is bipolar magnets in underlays and magnetic jewellery, however these are just a diversion to the real innovation.Endless Possibilities to Change Treatment Parameters.
Using magnetism as an energy source in developing effective therapies has added complexity due to its many treatment parameters. These treatment “windows” include magnetic field strength, frequency, alternating pole orientations, magnetic field gradients, field penetration, location to target tissue and treatment duration. Adjusting the “dose” of any of these parameters can alter the clinical benefits. In reality, with relatively few clinical trials having been completed with static magnets, this is a field still in its embryonic stages. However, abundant anecdotal evidence and promising research already undertaken fuels the expectation of better treatments that will improve people’s lives and make more efficient use of health budgets.Prior to the discovery of antibiotics in the 1940’s, the therapeutic application of electromagnetic fields was widespread amongst doctors and in hospitals. New and effective drugs gave birth to the mammoth pharmaceutical industry which now dominates the medical landscape. Innovative designs and treatment methods using magnetic fields is once again a new frontier in medicine.In the zone is a term commonly used in athletic circles where a focus achieves increased levels of performance. A parallel exists with static magnetic fields, which are said to operate within electrotherapeutic windows. When magnetic field therapy is “in the zone”, the therapeutic effects can be life changing as in the case of John.The following four examples demonstrate how static magnetic fields can be optimised for therapeutic effects.Four Areas Where Magnetism is Changing Medicine:Magnetic Resonance Imaging
Deep Transcranial Magnetic Stimulation
Pulsed Electromagnetic Field Therapy
Static Magnetic Field Therapy
Magnetic Resonance Imaging is at the cutting edge of medical imaging. It uses very strong magnetic fields, strong field gradients and radio waves to produce the most accurate images of the body’s internal structures. Medical specialists order MRI’s when investigating conditions such as tumours, joint, spinal or soft tissue injuries or diseases of the heart or brain which are not visible to x-rays. In fact, the 2003 Nobel Prize in medicine was awarded to Paul Lauterbur and Sir Peter Mansfield for harnessing the combination of magnetic field gradients and radio waves to produce Magnetic Resonance Imaging.
DTMS sends magnetic waves through the brain, targeting areas that cause problems such as obesity, obsessive-compulsive disorder, depression and bipolar disorder. While DTMS has been around since the 1980’s, clinical trials are assessing the effectiveness of distinct treatment protocols. Different machines will penetrate to varying depths in the brain while targeting specific areas such as the prefrontal cortex. Other variables include the strength of the magnetic field and the frequency of the pulses and even the duration of treatment and how often over what time frame. Not unlike static magnets for pain, all these variables need to be tested to determine the optimum treatment.DTMS is used at famous hospitals such as the Mayo Clinic and Johns Hopkins and everyday articles are published on how it works and its benefits. This is one on Science Daily and a more in depth description from a major hospital’s centre for women’s health.Pulsed Electromagnetic Fields (PEMF) vary with time and are said to be pulsed at a certain frequency. These pulsed magnetic fields are generated by running alternating electrical currents through coiled wire. PEMF is used widely in North America and Europe by both humans and animals for fracture healing, pain relief, improved health and athletic performance. A great resource on PEMF is www.drpawluk.com. Static magnets such as Q magnets are just that, static and have no frequency since the field does not vary with time. So frequency is one variation that cannot be varied with most static magnets. The magnetic fields from Q magnets however, do vary spatially (in space) and are said to be inhomogeneous which is the subject of field gradients as discussed above.Neuromagnetics is at the cutting edge in developing wearable magnets to potentially provide comfort of localized temporary relief of minor aches and pains or the treatment of pain and injury recovery. After thousands of patients treated and numerous clinical trials and animal studies, there is now enough evidence to recommend protocols for effective Q magnet placement. Corporate and institutional self-interest would like nothing more than to keep magnetism in medicine sidelined as a discredited practice. In fact it does this by engaging in a practicing called astroturfing. Medicine has a long history of being slow to catch on, which is beautifully illustrated in the incredible story of Dr Ignacio Semmelweis. Ignacio was a 19th century Hungarian obstetrician otherwise known as the “saviour of mothers” after discovering women giving birth with the help of doctors had 3 times the chance of dying than those assisted by only midwives and was one of the first doctors to link hygiene with the spread of infection. He made the connection that doctors delivering babies without washing their hands right after giving autopsies could spread infections. How was Dr Semmelweis treated for this life saving discovery? Remarkably, he was driven out of the medical profession and died in an asylum. Who could have believed it would be another 50 years before washing hands between patients became standard clinical practice. Think of the thousands of needless deaths that occurred in just this one instance because new approaches are rejected. Caution should always be shown with new therapies that have the potential to cause harm, but what are the risks of washing hands or for that matter taping a magnet to your lower back?The legacy of Dr Semmelweis lives on today in the Semmelweis Effect which is a metaphor for human behaviour characterized by reflex-like rejection of new knowledge because it contradicts entrenched norms, beliefs or paradigms.If you thought this sort of thing couldn’t possibly happen today in a world of instant communication, then spare a thought for Australian Dr Barry Marshall, who discovered that the bacterium Helicobacter pylori caused stomach ulcers. This was at a time when conventional science taught that bacteria could not even exist in the stomach. Twelve years after his discovery with no recognition, Dr Marshal resorted to infecting himself with the bacteria to bring on stomach ulcers and quickly cure himself with antibiotics. The time-lag reflects, as Professor William Doe of the Australian National University comments, “how difficult it is to change medical paradigms because everyone has a vested interest in the status quo”. The pharmaceutical industry held the biggest vested interest in ulcers. Two of its biggest all-time earners had been the acid suppressing drugs cimetidine (Tagamet) and ranitidine (Zantac). These drugs did not cure ulcers, meaning patients often needed lifelong therapy. It was only after the drug companies were able to convince educators and policy makers that their drugs should remain an important part of the therapy that Dr Marshal’s theories were taken seriously. The similarities between stomach ulcers and pain are striking if not magnified.Since research on SMF therapy in humans is still emerging, it is vital that the proper foundations are laid for future clinical trials. A fundamental concept in methodology is the assurance that optimal SMF dosage and treatment parameters are established for each clinical condition under study. If the applied SMF is of insufficient strength to reach its target or if the frequency or duration of application is inadequate for the medical condition under investigation, trial results might be invalid or misleading. Such a situation could be likened to conducting a trial to evaluate the effectiveness of the antibiotic doxycycline for treating Mycoplasma pneumonia. If patients in the study are given a single 100 mg dose of the antibiotic, the results might show no significant improvement. It would, however, be erroneous to infer from this result that doxycycline is ineffective for treating Mycoplasma pneumonia.Now with the miniaturisation of magnets, the development of superconducting electromagnets and the introduction of much more powerful rare-earths such as neodymium magnets, new frontiers in magnetism in medicine are developing.
qmagnets.com/blog/magnetic-therapy-2/magnetic-revolution-...
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... before the roundabout ... and before the trees were murdered ... it’s now as asphalt desert, optimised for boy racers ...
... quite a rare card, strangely ...
Ingredients: food colouring, milk, oil, warped mind, too much time...
Photoshop only for contrast optimising...
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A small "bad weather" project ...
This unit build around an Arduino One measures the shutter lag of a Canon Powershot S110 compact camera. The compact camera is equiped with the CHDK Version 1.4.1 ( chdk.wikia.com/wiki/CHDK ) as temporary firmware update. The main goal is to use this (old) camera with a remote shutter release function via its USB port. Actual shutter lag is about 200 msec. By optimising its CHDK Script I hope to end below 100 msec.
The interface to the Canon S110 USB port is done via an EL817 opto coupler (open collector) and 3 x 1.5 volt AG3 ( LR41 ) or equivalent batteries in series to the USB port of the camera. The chrono is started at the same time.
An IR Phototransistor SFH309A detects the single light pulse from the flash and stops the Chrono. To avoid a pré-flash the camera is setup in M(anual) mode and Minimal flash power.
As an experiment, and just for fun, the result is outputted as Text-To-Speech via its speaker and also in Morse code via a small buzzer. Both options uses standard Arduino libraries.
A LCD readout may be later added as option ...
A short video ( youtu.be/V2kl13rwOLg ) illustrates its operation.
A video with better quality may be uploaded later ...
The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
— A normal zoom lens redesigned to be more compact —
Please note all photographs mentioned below can't be shown here!
AI Zoom-Nikkor 35-105mm f/3.5-4.5S
I'll take a step back in time to the days of the F3 to introduce a child of the new NIKKOR lenses, the AI Zoom-Nikkor 35-105mm f/3.5-4.5S. A tremendous number of NIKKOR lenses, redesigned with the switch to auto indexing (AI), were released at this time, but just what sort of lens was this child? And what secrets lie behind the development of the lens? This tale delves into the secrets of the AI Zoom-Nikkor 35-105mm f/3.5-4.5S, which was born during a rough period of reorganisation at Nikon.
by Haruo Sato
I. History of the AI Zoom-Nikkor 35-105mm f/3.5-4.5S
First, let's take a look at the history of the AI Zoom-Nikkor 35-105mm f/3.5-4.5S. The AI Zoom-Nikkor 35-105mm f/3.5-4.5S was released in 1983. It was developed as an interchangeable lens for renewed cameras like the F3HP and FM2. Early AI NIKKOR lenses used the same optics of existing new NIKKOR lens with a new barrel for updated exterior. However, when cameras like the F3 and EM were released in the 1980s, a large number of redesigned AI NIKKOR lenses offering improved specifications were developed. The AI Zoom-Nikkor 35-105mm f/3.5-4.5S was one of those lenses. This period was followed by the AF era. The well-received optics of the AI Zoom-Nikkor 35-105mm f/3.5-4.5S were adopted for the new AI AF Zoom-Nikkor 35-105mm f/3.5-4.5S released in 1986. During the transition period from founding of the AF era through its maturation, this lens also underwent improvements using the same optics with a new barrel. This ultimately resulted in the release of the AI AF Zoom-Nikkor 35-105mm f/3.5-4.5S (NEW) with a straight (push-pull) zoom mechanism and focusing ring in 1991. Optics were renewed and the lens achieved its final incarnation as the AI AF Zoom-Nikkor 35-105mm f/3.5-4.5D IF, released in 1994. The lens had a long run among NIKKOR lenses, selling for approximately 11 years.
II. Development history and the designer
Optics for the AI Zoom-Nikkor 35-105mm f/3.5-4.5S were designed by Tomowaki Takahashi, who worked in the First Research Department, Research Institute as the department was known at the time. Originally, Takahashi developed optical design software. He specialised in optimising (automated design) software. A book titled "Lens design: From aberration coefficient to automated design" was written by Takahashi. At the time, Takahashi was focused on optical theory and software development. The Research Institute was in possession of powerful optical design software, developed and updated in-house, that had been used over the years, and Takahashi was responsible for developing some of this software. There was a very good reason for which Takahashi was chosen to design this photographic lens.
Once upon a time at Nippon Kogaku K. K. (now Nikon Corporation), optical designers and developers were scattered throughout various business units and departments. Naturally, each designer specialised in a particular type of product and was an expert in their chosen field. However, that does not really give them a broad or global point of view. That is because the types of optics in existence for products or fields other than their own are as numerous as are the stars in the sky. There are cases in which flexible and broad knowledge is required to look at obstacles we have never faced or overcome in a whole new light. This led to all of the company's designers being assigned to a single department. Thus, the organisational framework that the noted Nikon designer Zenji Wakimoto had described and long encouraged was finally achieved. This was especially beneficial for designers of photographic lenses that had long been separated into two departments, one involved in research and the other in business. These two departments were finally combined. However, this reorganisation was not without some drama. Experts from the research and business fields had to compete to come up with the best optical design for a zoom lens for which they had yet to discover the optimal design. The winner of that competition would be appointed the leader of the design project. Design competitions are very common today, but at the time working practice was to have one designer for each product. The AI Zoom-Nikkor 35-105mm f/3.5-4.5S was the first project for which experts from the two fields were required to compete with one another to come up with the best design for a 35-105mm f/3.5-4.5 lens. They faced a number of constraints, including requirements regarding optical performance and size restrictions. A particularly difficult requirement was the 52-mm filter (attachment) size. As most are aware, the majority of interchangeable NIKKOR lenses from that time had a 52-mm filter (attachment) size. This was, in fact, a significant obstacle for this project. According to product planning, 35-105mm zoom lenses were positioned as normal zoom lenses for everyday use. It seemed only natural that the filter (attachment) size be 52 mm. Ultimately, the design proposed by Takahashi won the competition. While he went on to develop 35-135mm and 35-200mm lenses in addition to the 35-105mm lens, the AI Zoom-Nikkor 35-105mm f/3.5-4.5S was the first product that was released. Takahashi distinguished himself with development of these zoom lenses and earned the position of Manager in the new 1st Optical Section, Optical Designing Department. Progression from trial production to mass production went smoothly with the support of those around him. Optics originally designed and developed for the AI Zoom-Nikkor 35-105mm f/3.5-4.5S were used, modified, and manufactured right through the AF era, and the lens was very popular with a great number of users for quite a long time.
Now let's take a look at AI Zoom-Nikkor 35-105mm f/3.5-4.5S development history. Work on the design began around 1981 and was ready for trial production just as the cherry blossoms were blooming in the spring of 1982. Some corrections and improvements were needed, and a second round of trial production was initiated. At that time, multiple rounds of trial production was not uncommon, so this was not at all unusual. Mass production began in the summer of 1982, and the lens was finally released in April of 1983 just as spring was being heralded.
III. Lens construction and characteristics
Please forgive me if the following is quite technical. This lens uses the standard for high-power normal zoom lenses that is a four-group zoom structure consisting of positive-negative-positive-positive (convex-concave-convex-convex) structure with which all groups move. This lens was one of the first high-power normal zoom lenses that incorporated a number of advanced technologies. Take a look at lens construction. With the exception of the first (focusing) group, each group acted as both variator and compensator, and it was difficult to specify their individual roles. However, if roles must be specified, I suppose the second group, which contributed most to variable power, could be considered the main variator. We can assume that groups three and four act as both variator and compensator, and see that they combine to form the master lens group. We can also understand that the path along which groups three and four move produces a floating effect that compensates for fluctuations in curvature of field caused by changes in the interval that occur with zooming (as variable power changes). Therefore, with a quick glimpse this structure looks like a three-group positive-negative-positive (convex-concave-convex) zoom structure with a floating group. I wonder if you've noticed something. If we look back at predecessors of this normal zoom lens, we will certainly find Takashi Higuchi. It seems that the blood of the 43-86mm zoom lens flows within it. The DNA of Higuchi's zoom lenses can be found the world over.
So, what characteristics does this four-group positive-negative-positive-positive (convex-concave-convex-convex) zoom lens offer that other zoom lenses do not? It seems that the reins of power have now been handed over to the five-group positive-negative-positive-negative-positive (convex-concave-convex-concave-convex) structure that makes positioning of an image-stabilisation group easy. Let's compare four-group zoom to five-group zoom.
In fact, the difference between four-group zoom and five-group zoom is whether the third positive-lead group, which serves as the master lens in a three-group positive-negative-positive (convex-concave-convex) structure, is divided into two positive (convex) elements or three positive-negative-positive (convex-concave-convex) element. As I noted before, the master lens group in a four-group zoom structure adjusts the space between two positive (convex) elements with a floating motion to correct aberration rather than to control variable power. An exaggerated description would be that it is actually a three-group zoom structure in terms of variable power. Therefore, the zoom group must move significantly to achieve a large zoom ratio, thus requiring significant changes in the total length of the lens. On the other hand, since the master group in a five-group zoom structure is comprised of a positive-negative-positive (convex-concave-convex) triplet, moving the middle negative (concave) element changes the variable power. Therefore, with a five-group structure each group moves less, the total length of the lens changes less, and a higher zoom ratio can be achieved than with a four-group structure.
To this point, it may sound as if a five-group structure is superior to a four-group structure. However, that is not always true. The problem is size. A four-group zoom is smallest at the maximum wide-angle position, and the interval between the third and fourth groups, as well as total thickness, can be relatively small and thin. As the triplet comprised of the third, fourth, and fifth groups are quite thick, five-group zoom lenses cannot be compact. Compared to a four-group zoom lens, five-group zoom lenses are generally longer at the wide-angle position and shorter at the telephoto position. For all of these reasons, the decision to adopt a four-group zoom structure for the 35-105mm zoom, which was then regarded as the next-generation 43-86mm zoom, resulted in a great success.
Now let's take a look at the aberration characteristics of the AI Zoom-Nikkor 35-105mm f/3.5-4.5S. We'll start at the 35-mm maximum wide-angle position. At first glance, aberrations generally appear beautiful. What is noteworthy here is that spherical aberration that can be observed to a certain extent in terms of amount has an exemplary form. There is little asymmetrical coma, and flare is restricted to off-axis portions of spherical aberration. There is little sagittal coma, and there is very little astigmatism for up to 90% of image height with meridional and sagittal deviations near the maximum angle of view. A good balance between correction of curvature field and the amount of spherical aberration generated has been achieved. In short, while some aberration remains, the remaining amount and balance can be regarded as exquisite. In addition, distortion is -4.6% at infinity, but drops to -1.4% at short distances. Next let's look at aberration at a mid-range focal length. Spherical aberration changes gradually resulting in over-correction at around the 70-mm focal length. Curvature of field follows suit for a significant decrease. There is also less coma, and excellent resolving power can be expected. Distortion changes to a positive value. One unfortunate characteristic is the change in spherical aberration to a positive value. This correction results in unattractive background blur or bokeh which can be resolved by stopping down the aperture by a half stop to a full stop. Finally, we'll look at aberration at the 105-mm maximum telephoto position. At the telephoto position, the most notable characteristic is the correction of spherical aberration. There is basically no spherical aberration up to about 70% of the frame from the centre, but it increases gradually in the negative direction at peripheral portions. Moving out from the centre of the frame, consistently negative curvature of field is exhibited to the extreme edges. This overall aberration compensation shows the lens' tendency to achieve pleasing, three-dimensional rendering characteristics. Distortion of roughly +2% can be considered normal for a zoom lens.
Now let's look at point-image formation. At the wide-angle position, point images are expressed to reflect aberration compensation tendencies. While the core of the point image is a bit large, it is well formed. Practically no sagittal coma flare is noticeable to an image height of around 70%, and the point has a nice shape that is close to round. As we might expect, sagittal coma flare does appear near the maximum angle of view, and point images look a little like birds with their wings spread. At mid-range focal lengths, point image cores are small and some flare remains. Off axis, the tendency toward outer coma gradually increases. At the telephoto position, flare is reduced significantly, but the tendency toward outer coma remains.
Now we'll look at MTF values. If we look at characteristics from infinity to shooting distances of several meters, we see that contrast at all focal lengths is excellent at both 10 and 30 lines/mm. 30 lines/mm values at the wide-angle position are relatively consistent to the edges of the frame, but plunge significantly at the extreme edges. I think this was probably the designing policy. I'm quite certain that Takahashi's objective here would have been consistent reproduction of contrast to as close to the edge of the frame as possible. The cost of this can be seen in the sagittal focal plane at the extreme edges of the frame. Contrast at 10 lines/mm drops a little at mid-range focal lengths. This is primarily the result of flare caused by elements of spherical aberration generated with over correction. On the other hand, we see high values with measurement at 30 lines/mm near the centre of the frame. At the telephoto position, MTF values are extremely good throughout 70% of the frame from the centre, with contrast that surpasses that of fixed focal length lenses at both 10 and 30 lines/mm. However, this does not mean that performance at the extreme edges of the frame is extremely bad. Contrast seems to drop gradually. I would say that rendering characteristics seem quite natural.
IV. Actual performance and sample images
Next let's look at results achieved with actual images of distant landscapes. Details regarding performance are noted for each aperture setting. Evaluations are subjective, and based on individual preferences. Please keep in mind that my opinions on sample images and evaluations below are for reference purposes only.
Maximum wide-angle 35-mm position
f/3.5 maximum aperture
Despite slight flare at the centre of the frame, three-dimensional resolution is achieved. Some flare and colour bleed is generated the closer to the edges of the frame we get. Good resolution is preserved nearly to the corners of the frame but resolution at the extreme edges drops drastically at the maximum angle of view. Image formation remains good to the corners of the frame, though, for pleasing results even with this sudden drop in resolution.
f/4 to f/5.6
Stopping down the aperture to f/4 reduces flare and increases sharpness and contrast, especially at the centre of the frame. There is very little change in the corners of the frame. At f/5.6, sharpness is increased to the edges of the frame.
f/8 to f/11
Detail and sharpness increases even more at f/8. At f/11, excellent image quality is achieved with sharpness maintained throughout the entire frame except the most extreme edges of the frame.
f/16 to f/22
Even more consistent rendering is achieved throughout the entire frame, but resolution decreases. The effects of diffraction are visible and resolution suffers slightly.
Mid-range 50-mm position
f/3.8 maximum aperture
Rendering is similar to that achieved at the wide-angle position, but resolution seems to increase even further. There is a little flare at the centre of the frame, possibly due to positive spherical aberration. However, resolution is still good. Chromatic aberration is reduced, nearly eliminating colour bleed. Resolution does still fall in the corners of the frame. Blur characteristics (bokeh) appear harsh. Precaution may be required so that double-line blur is not noticeable.
f/5.6 to f/8
Stopping down the aperture to f/5.6 reduces flare and increases contrast. Details become very clear everywhere except the most extreme edges of the frame. At f/8, sharpness increases even further. Image quality tendencies remain the same.
f/11 to f/16
Consistent rendering is achieved throughout the entire frame. Contrast increases even further. Of all aperture settings, the best image quality is achieved at f/11. An aperture setting of f/11 is best for landscape photos. Performance in the corners of the frame is also improved. At f/16, resolution drops somewhat.
f/22 to f/23
Even more consistent rendering is achieved throughout the entire frame, but resolution decreases. The effects of diffraction are visible and resolution suffers slightly.
Maximum telephoto 105-mm position
f/4.5 maximum aperture
Some flare occurs from the centre of the frame to the edges. Resolution is also a little poor due to the effects of coma and chromatic aberration. However, this soft rendering is consistent to the edges of the frame. This might make for good portraits.
f/5.6 to f/8
Resolution and sharpness are increased by stopping down the aperture a little. Consistent and pleasing results are achieved to the corners of the frame. For some reason, though, background blur is harsh.
f/11 to f/16
At f/11, flare is nearly completely eliminated for an even sharper feel. Consistent rendering is achieved throughout the entire frame. Of all aperture settings, the best image quality is achieved at f/11. An aperture setting of f/11 is best for landscape photos. At f/16, resolution drops somewhat.
f/22 to f/32
Even more consistent rendering is achieved throughout the entire frame, but resolution decreases. The effects of diffraction are visible and resolution suffers slightly.
If sharpness is the goal, the best results would likely be achieved at an aperture setting of f/8 to f/11 at all focal lengths (positions). For portraits, using maximum or near maximum aperture at telephoto position would produce most desired results.
Sample 1
RAW image captured with Nikon D800E w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 35-mm equivalent) at f/3.5 maximum aperture, 1/1000 s (-0.3 EV), ISO 400, with white balance set to Shade, D-Lighting set to Auto, Portrait Picture Control specified (May, 2018)
Sample 1 was captured at the wide-angle 35-mm position at the maximum aperture of f/3.5. If we look at the pattern in the wood panels, and the model's face and hair, we see that the image exhibits a sufficient degree of sharpness. There is also no clear drop in sharpness in the intermediate and peripheral portions of the frame. Consistent rendering is maintained throughout the entire frame. However, we do see a sudden and sharp breakdown in the image in the extreme corners. This breakdown is especially noticeable in the unfortunately harsh background bokeh. However, with little colour bleed, the overall results are quite pleasing.
Sample 2
RAW image captured with Nikon D800E and AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 50-mm equivalent) at approximately f/4.0 (maximum aperture), 1/4000 s (-1.0 EV), ISO 400, with white balance set to Shade, D-Lighting set to Auto, Portrait Picture Control specified (May, 2018)
Sample 2 was captured at around 50 mm at the maximum aperture of approximately f/4. We still see a good level of sharpness, and background bokeh is probably a little harsh, but not more so than would be expected of a typical zoom lens. With little colour bleed, the overall results are quite pleasing.
Sample 3
RAW image captured with Nikon D800E w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 70-mm equivalent) at f/4.5 maximum aperture, 1/500 s (-1.0 EV), ISO 400, with white balance set to Shade (w/ fine tuning of colour temperature), D-Lighting set to Auto, Portrait Picture Control specified (May, 2018)
Sample 3 was captured at the near the maximum telephoto position of 105 mm at the maximum aperture of f/4.5. We see a good level of sharpness at this position, and the gentle bokeh is pleasing. Colouring is good, and there is little sense of chromatic aberration.
Sample 4
RAW image captured with Nikon Z 7 w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 50-mm equivalent) at f/4 maximum aperture, 1/4000 s, ISO 100, with white balance and D-Lighting set to Auto, Landscape Picture Control specified (July, 2019)
Sample 4 was captured at around 50 mm at the maximum aperture of f/4. It exhibits the necessary sharpness, and there is very little peripheral illumination falloff (vignetting). Colouring is good, and chromatic aberration is well suppressed.
Sample 5
RAW image captured with Nikon Z 7 w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 45-mm equivalent) at f/3.8 maximum aperture, 1/4000 s, ISO 100, with white balance and D-Lighting set to Auto, Landscape Picture Control specified (July, 2019)
Sample 5 was captured at around the wide-angle 45 mm at the maximum aperture of f/3.8. It exhibits the necessary sharpness, and there is very little peripheral illumination falloff (vignetting). Some ghost is visible, but for a lens of this time, performance in this regard is excellent. Depending upon the way it is expressed, ghost can be either the poison or the remedy. There is also very little flare, and colours are good.
Sample 6
RAW image captured with Nikon Z 7 w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 50-mm equivalent) at f/4 maximum aperture, 1/4000 s, ISO 100, with white balance and D-Lighting set to Auto, Landscape Picture Control specified (July, 2019)
Sample 6 was captured at around 50 mm at the maximum aperture of f/4. We can see that the image is sufficiently sharp, and blur characteristics for the background bokeh are pleasing. There is also very little flare, and chromatic aberration has little effect on colours.
Sample 7
RAW image captured with Nikon Z 7 w/ AI Zoom-Nikkor 35-105mm f/3.5-4.5S (at 50-mm equivalent) at f/4 maximum aperture, 1/320 s, ISO 100, with white balance and D-Lighting set to Auto, Landscape Picture Control specified (July, 2019)
Sample 7 was captured at around 50 mm at the maximum aperture of f/4 so that we might check blur characteristics. I intentionally framed the photo so that the difficult lattice pattern would be in the background. However, there is no breakdown in background bokeh, and the results are tolerable. Very little axial chromatic aberration also makes for pleasing results.
V. Tomowaki Takahashi
Tomowaki Takahashi was my immediate supervisor when I first began working at Nippon Kogaku K. K. (now Nikon Corporation). He was a true gentleman with a kind and warm nature. He laughed a lot, and I don't remember ever seeing him angry. While I haven't received much guidance from him regarding optical design, he always listened to my outrageous ideas with an open mind. Despite the fact that I often wanted to take my own way, he used to watch out for me like a father does for his child. When I proposed the 24-120mm, he helped me to negotiate with management for approval. He was also my manager and signed off on drawings I presented for my first lens, a 24-50mm zoom. He was definitely a superior in whom I had great trust and faith. As I noted before, Takahashi's specialty was the development of optical software. Naturally, he was also an expert in geometric and wave optics. His knowledge of automated design was especially deep, and, at that time, he developed cutting edge automated design (self-correcting) software. He made full use of the automated design software that he had himself developed in designing the AI Zoom-Nikkor 35-105mm f/3.5-4.5S. However, at that time, automated design was not truly or completely automated. It did not replace human designers. These days, artificial intelligence (AI) has greatly expanded and improved on development possibilities. It is likely that in the not-too-distant future, designers will be able to design a new lens with the press of a button. That was definitely not the case 30 years ago, though. Human designers were completely responsible for specifying initial design values, targets, and weight, calculating changes in RDN, and manipulating factors to forcibly achieve those values and targets. Takahashi was a researcher during that period of development transition. I would like to share with you a memory that Takahashi once shared with me.
When he was young, Takahashi married and was living in corporate housing in Tokyo. However, he didn't like the floor-plan and took it upon himself to forcibly remove one of the house's pillars and a wall. At that time, corporate housing consisted of wooden single-story houses with a small yard. They were typical duplex-style Japanese homes of the Showa era. It seems that Takahashi wanted to combine a 4.5-tatami room and a 6-tatami room into one large room. I heard this story when I was thinking of moving into corporate housing. I asked, "But wasn't that bad for the structure and integrity of the house?" Takahashi replied, "No. It's still standing," (meaning that it hadn't fallen down yet). It seems that was in fact not a problem. It was, however, an incredibly bold move. I'm sure he probably had permission to do what he did, but most people don't usually go so far. After hearing the story, I decided I would definitely NOT move into that house (building). I also believed that it was this way of thinking and going about things that empowered Takahashi to promote his works, and I admired him greatly for it.
Kit used: Nikon D 7100 & AF-S Nikkor 35mm 1: 1.8G
ref: 2876 - 24th March 2020
Just a garden Greenfinch but I though it looked quite nice against the fine blue sky.
Has been optimised for larger view - please press L or click image
Design by M Moser Associates
When workspace designer M Moser redesigned its Hong Kong office, it was determined to visibly demonstrate the benefits of migrating to a more technologically sophisticated, collaborative and Sustainable style of working. The doubling of existing meeting spaces and integration of shared areas such as team hubs, plus ‘heads down’ rooms for more private working and meetings ensured enhanced knowledge sharing. Collaboration was further improved by the seamless integration of new technologies. Incorporating optimised natural daylight, plus energy-efficient individually-lit, island style personal workstations and extensively recycling existing fittings and furnishings, the new office shortly expects to receive LEED certification.
Lead Designer: Karen Wong
Photography: Vitus Lau, Stefan Ripperger
Text: W. Frederic Nitschke
Best shots of this trip to the Masai Mara -
SCARFACE, very large bruised and scared male lion found between the Talek and Ol Keju Ronkai rivers. Scarface is on of the sons of Notch and one of the most important lions in the Masai Mara. He is the leader or one of the leaders of the Marsh Pride and was found here with his brother Morani in the former territory of his other brother Long-face. Long-face had been driven off by Loki and the three other Vikings, a new group of four blond 4 year old male lions. Scarface looks like his Disney character Scar; but is in fact one of the most stabilising forces in the Masai Mara NR (less so on the Triangle side of the Mara River, where he frequently goes for "relations") and is well know for being the most aggressive fighter around. So no doubt he and his brother heard the new lions calling/roaring and came for a look. He and his brother's roars were so frightening to the young interlopers, that the Vikings ran away when Scarface and his brother showed up.
This is the final processed version for now and optimised for printing A2 sized (16.5" × 23.4" (419mm × 594mm) on Giclée Hahnemühle Photo Rag - hence the high contrast)
The Ford Falcon was a new introduction to the Ford lineup in 1960. The car was conceived as a cost-optimised compact car that still delivered the qualities and quantities that the US customer saw a critical in a family automobile.
As such, the car was considerably smaller than the full-size cars on sale during the Falcon's development. Even the engine, a 2.2 litre inline six, was considered to be small, as was the engine performance.
The Falcon was a success, and as such, provided the profitable funding for the basic model to be evolved into things it was not originally conceived to be. One of those things was to be the Ford Mustang - the first 'Pony car', but along the way, the basic building blocks to deliver Mustang were provided in the form of the compact, 4.3 litre V8 engine, as fitted to the 1963 Falcon Sprint.
The Sprint was a success, its small size and low weight led to spirited performance. The Sprint was available as both a hardtop coupe and a convertible model.
Size and performance set the template for what was to come. The second generation Falcon, launched in 1964 grew a little bit bigger, and a little bit faster, courtesy of the larger 4.7 L V8 engine, and was the basis for Ford's next big product hit, the Mustang.
This Lego Miniland-scale Ford 1963 Falcon Sprint hardtop Coupe has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.
The Challenge theme chosen is number 28 - 'The Animal Kingdom' - for any vehicle that is animal themed or named.
The clean ventral surface of the F-35C, uncluttered with radar-reflecting pylons, optimised for stealth attacks.
With this barge, they weren't sure what to optimise the camouflage on the hull for. The sky on a bright sunny day, or rather at night. That lead to the semi-ironic outcome that the parts that blend into the surroundings the best are the lids of the cargo hold - which aren't painted at all.
GMS Noorderlicht
Düsseldorf
13.02.2024
And so here it is! Four hours ago, I returned from my long-awaited return to the city of Liverpool and the county of Merseyside, inspired to come back to the city having completely blown my bus spotting adventures with my then-new, then-poorly-optimised camera. And nearly two years on, am I really glad I got that new camera! Even though I didn't get the BYD E200EVs due to Sunday services and busy schedules on the Monday, ultimately, I am very happy with what I have got from the overnighter to Liverpool.
Here's the bus I really, really wanted to get in the first place - and almost as soon as I stepped off the bus, it was there outside the hotel. Taken a few hours later at Liverpool ONE Bus Station, Arriva Merseyside's 4590, a 2014 ADL Enviro 400, is seen here about to turn around to begin a 75 working to Halewood, wearing a special heritage livery commemorating 50 years since the formation of Merseyside PTE. Representing the long gone council operator now succeeded by Arriva following their purchase of MTL Trust Holdings in 2000, this wears the new 'Journey Mark' logo on the nearside and the old 'Merseyside Transport' logo on the offside.
Cube houses (Dutch: kubuswoningen) are a set of innovative houses built in Helmond and Rotterdam in the Netherlands, designed by architect Piet Blom and based on the concept of "living as an urban roof": high density housing with sufficient space on the ground level, since its main purpose is to optimise the space inside. Blom tilted the cube of a conventional house corner upwards, and rested it upon a hexagon-shaped pylon. His design represents a village within a city, where each house represents a tree, and all the houses together, a forest. The central idea of the cube houses around the world is mainly optimizing the space, as a house, to a better distribution of the rooms inside.
The houses in Rotterdam are located on Overblaak Street, right above the Blaak metro station. The 1977 original plan showed 55 houses, but not all of them were built.[ There are 38 small cubes and two so called 'super-cubes', all attached to each other.
As residents are disturbed so often by curious passers-by, one owner decided to open a "show cube", which is furnished as a normal house, and is making a living out of offering tours to visitors.
The living room of the "show cube" in Rotterdam
The houses contain three floors:
ground floor entrance
first floor with living room and open kitchen
second floor with two bedrooms and bathroom
top floor which is sometimes used as a small garden
The walls and windows are angled at 54.7 degrees. The total area of the apartment is around 100 square metres (1,100 sq ft), but around a quarter of the space is unusable because of the walls that are under the angled ceilings.
In 2006, a museum of chess pieces was opened under the houses.
In 2009, the larger cubes were converted by Personal Architecture into a hostel run by Dutch hostel chain Stayokay.
In 2019, the Art cube opened at Overblaak 30. The Art cube is a place where art and architecture come together. With the original living layout intact, this cube house forms the backdrop for the work of various local artists.
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The ship sails through rough North Atlantic waters along the Norwegian mountains.
After the end of the Viking Age and the transition into the early Middle Ages, ship technology in the North and Baltic Sea regions began to undergo significant development, closely associated with changing trade patterns, economic interests, and a growing network of maritime routes. Whereas Viking longships were primarily optimised for swift raids, coastal navigation, and agile manoeuvring, the following centuries brought forth the need for larger, more robust, and more capacious vessels, better able to withstand the harsh conditions of the North Atlantic and to transport goods over greater distances.
Especially from the Danish waters and the Hanseatic towns along the southern coast of the Baltic Sea—cities such as Lübeck, Rostock, and Wismar—trade routes were gradually established stretching northwards along the Norwegian coasts, onward to the Faroe Islands, Iceland, and in some cases even as far as Greenland. These journeys required ships capable of carrying large volumes of cargo, maintaining stability on open seas, and fitted with rigging that could exploit shifting winds. The result was a range of ship types, such as the knarr and the cog, developed and refined to meet these new demands.
With these more voluminous vessels, merchants, fishermen, and whalers could transport stockfish, hides, whale oil, and other valuable goods between the North Atlantic islands and continental Europe. Bergen in Norway became a crucial hub, where the German Hanseatic League, among others, established permanent trading offices (the Bryggen). From there, goods were redistributed to various European markets. At the same time, stations for seal hunting, whaling, and fishing were set up at strategic coastal locations, linking production areas with regional trading centres.
This evolution in ship technology and maritime infrastructure laid the foundation for a more integrated economy, where the sea was no longer merely a barrier but a vital artery connecting distant regions. It not only brought greater prosperity to the area, but also shaped a North Atlantic culture and commerce that would come to characterise the maritime world of the Middle Ages.
"Whispers of the North Sea Trade"
Beneath iron clouds and heaving tides,
Hulls strain in the grasp of chill winds,
Where once longships sliced the foam and fled,
Now broader decks bear the world’s finds.
Knarr and cog, stout of beam and keel,
Crafted in quiet, shaped by need,
Their sails yearn for far, wind-haunted isles,
Carrying more than gold or seed.
From Danish shores to Bergen’s quay,
These traders stitch distant coasts,
Binds of stockfish, hides, and oil,
Woven on oak where silence boasts.
No longer mere borders of surging brine,
The seas bend to commerce and skill,
Bridging green fjords and grey horizons,
Until distant ports stand still.
In rigging’s song and lantern’s glow,
A maritime age takes form,
Whales yield their oil, winds chart the course,
As nations meet beyond the storm.
Three Haikus:
Stout knarr on dark waves,
Whispered routes beneath grey skies,
Seas carry rich trade.
Cogs drift by damp quays,
Hanseatic tongues echo,
Goods flow like water.
Whale oil lamps glimmer,
In Bergen’s hushed evening gloom,
Masts fade into mist.
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To the Flickr LEGO Community
We would like to take this opportunity to thank all members and LEGO enthusiasts who buy our BATTLE ANDROID building instructions and those who support us with their positive feedback.
Since 2012 we have invested a countless number of hours into optimising the LEGO BATTLE ANDROID robots and into providing you with the models to replicate.
We are proud that you like our visionary constructions and that you are interested in the development of the series.
It is great to be able to share the fun of the assembly with the strong LEGO robot/MECHA community.
You can see by the complete reworking of the website, www.Battle-Android.com, the current 3D images and the new building instructions for the gun MIRAGE 404-S that we are investing every cent into the project.
We would also like to let you know that we are working on four new robots and that we are extending the accessories with the vehicle "MECH Hunter" and the combat drone PREDATOR X40. We have also achieved another milestone: the development of impressive scenery made out of LEGO with which we would like to present the intensive, futuristic BATTLE ANDROID world.
As up until now, you can look forward to original ideas, challenging LEGO models, professional building instructions and a special sci-fi design.
Please continue to have faith in our products as it is only with your help that new models are created and the wait is reduced.
Regards,
The BATTLE ANDROID Team
------------------------------------------------------------------------------------------
DEUTSCH
Wir möchten uns mit diesem Statement bei allen Mitgliedern und LEGO Fans bedanken die unsere BATTLE ANDROID Bauanleitungen kaufen und uns mit Ihrem positiven Feedback unterstützen.
Seit 2012 haben wir unzählige Stunden damit verbracht, die BATTLE ANDROID Roboter aus LEGO zu optimieren und die fertigen Modelle für Euch zum Nachbau anzubieten.
Wir dürfen uns glücklich schätzen, dass unsere fantasievollen Konstruktionen Euern Geschmack getroffen haben und Ihr an dem Ausbau der Serie interessiert seid.
Es ist großartig den Spaß am Zusammenbau mit der starken LEGO Roboter / MECHA Gemeinschaft teilen zu können!
Das wir jeden einzelnen Cent in das Projekt investieren, zeigen wir Euch mit der vollständig überarbeiteten Internetseite www.Battle-Android.com, den aktuellen 3D Bildern und mit dem neuen Bauplan zum Geschütz MIRAGE 404-S.
Auch dürfen wir Euch mitteilen, dass wir an vier neuen Robotern arbeiten und das Zubehör mit dem Fahrzeug "MECH Hunter" und der Kampfdrohne PREDATOR X40 erweitern werden. Ein weiterer Meilenstein ist der Aufbau einer imposanten Kulisse aus LEGO Steinen, mit dem wir Euch die futuristische Welt der BATTLE ANDROID noch intensiver präsentieren wollen.
Wie bisher, könnt Ihr Euch auf unverbrauchte Ideen, anspruchsvolle LEGO Modelle, professionelle Bauanleitungen und auf ein besonderes SIFI Design freuen.
Schenkt uns weiterhin das Vertrauen in unsere Produkte. Nur mit Eurer Hilfe lassen sich neue Modelle erstellen und die Wartezeit verkürzen.
Mit besten Grüßen
Das BATTLE ANDROID Team
Photo originale non optimisée à l'ordinateur. Prise un après-midi à 4 pattes dans un champ, lorsque le soleil a bien voulu pointé le bout de son nez.
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