Realizing I'm a year and a half behind on posting pics, I'm going to try posting by month, and play a bit of catch up. Presenting July of '16.

 

While Flickr will always have the most images of each outfit, follow me on Instagram (/secretjess42) to see the latest pics!

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The OV-10 Bronco was initially conceived in the early 1960s through an informal collaboration between W. H. Beckett and Colonel K. P. Rice, U.S. Marine Corps, who met at Naval Air Weapons Station China Lake, California, and who also happened to live near each other. The original concept was for a rugged, simple, close air support aircraft integrated with forward ground operations. At the time, the U.S. Army was still experimenting with armed helicopters, and the U.S. Air Force was not interested in close air support.

The concept aircraft was to operate from expedient forward air bases using roads as runways. Speed was to be from very slow to medium subsonic, with much longer loiter times than a pure jet. Efficient turboprop engines would give better performance than piston engines. Weapons were to be mounted on the centerline to get efficient aiming. The inventors favored strafing weapons such as self-loading recoilless rifles, which could deliver aimed explosive shells with less recoil than cannons, and a lower per-round weight than rockets. The airframe was to be designed to avoid the back blast.

 

Beckett and Rice developed a basic platform meeting these requirements, then attempted to build a fiberglass prototype in a garage. The effort produced enthusiastic supporters and an informal pamphlet describing the concept. W. H. Beckett, who had retired from the Marine Corps, went to work at North American Aviation to sell the aircraft.

The aircraft's design supported effective operations from forward bases. The OV-10 had a central nacelle containing a crew of two in tandem and space for cargo, and twin booms containing twin turboprop engines. The visually distinctive feature of the aircraft is the combination of the twin booms, with the horizontal stabilizer that connected them at the fin tips. The OV-10 could perform short takeoffs and landings, including on aircraft carriers and large-deck amphibious assault ships without using catapults or arresting wires. Further, the OV-10 was designed to take off and land on unimproved sites. Repairs could be made with ordinary tools. No ground equipment was required to start the engines. And, if necessary, the engines would operate on high-octane automobile fuel with only a slight loss of power.

 

The aircraft had responsive handling and could fly for up to 5½ hours with external fuel tanks. The cockpit had extremely good visibility for both pilot and co-pilot, provided by a wrap-around "greenhouse" that was wider than the fuselage. North American Rockwell custom ejection seats were standard, with many successful ejections during service. With the second seat removed, the OV-10 could carry 3,200 pounds (1,500 kg) of cargo, five paratroopers, or two litter patients and an attendant. Empty weight was 6,969 pounds (3,161 kg). Normal operating fueled weight with two crew was 9,908 pounds (4,494 kg). Maximum takeoff weight was 14,446 pounds (6,553 kg).

The bottom of the fuselage bore sponsons or "stub wings" that improved flight performance by decreasing aerodynamic drag underneath the fuselage. Normally, four 7.62 mm (.308 in) M60C machine guns were carried on the sponsons, accessed through large forward-opening hatches. The sponsons also had four racks to carry bombs, pods, or fuel. The wings outboard of the engines contained two additional hardpoints, one per side. Racked armament in the Vietnam War was usually seven-shot 2.75 in (70 mm) rocket pods with white phosphorus marker rounds or high-explosive rockets, or 5" (127 mm) four-shot Zuni rocket pods. Bombs, ADSIDS air-delivered/para-dropped unattended seismic sensors, Mk-6 battlefield illumination flares, and other stores were also carried.

Operational experience showed some weaknesses in the OV-10's design. It was significantly underpowered, which contributed to crashes in Vietnam in sloping terrain because the pilots could not climb fast enough. While specifications stated that the aircraft could reach 26,000 feet (7,900 m), in Vietnam the aircraft could reach only 18,000 feet (5,500 m). Also, no OV-10 pilot survived ditching the aircraft.

 

The OV-10 served in the U.S. Air Force, U.S. Marine Corps, and U.S. Navy, as well as in the service of a number of other countries. In U.S. military service, the Bronco was operated until the early Nineties, and obsoleted USAF OV-10s were passed on to the Bureau of Alcohol, Tobacco, and Firearms for anti-drug operations. A number of OV-10As furthermore ended up in the hands of the California Department of Forestry (CDF) and were used for spotting fires and directing fire bombers onto hot spots.

 

This was not the end of the OV-10 in American military service, though: In 2012, the type gained new attention because of its unique qualities. A $20 million budget was allocated to activate an experimental USAF unit of two airworthy OV-10Gs, acquired from NASA and the State Department. These machines were retrofitted with military equipment and were, starting in May 2015, deployed overseas to support Operation “Inherent Resolve”, flying more than 120 combat sorties over 82 days over Iraq and Syria. Their concrete missions remained unclear, and it is speculated they provided close air support for Special Forces missions, esp. in confined urban environments where the Broncos’ loitering time and high agility at low speed and altitude made them highly effective and less vulnerable than helicopters.

Furthermore, these Broncos reputedly performed strikes with the experimental AGR-20A “Advanced Precision Kill Weapons System (APKWS)”, a Hydra 70-millimeter rocket with a laser-seeking head as guidance - developed for precision strikes against small urban targets with little collateral damage. The experiment ended satisfactorily, but the machines were retired again, and the small unit was dissolved.

 

However, the machines had shown their worth in asymmetric warfare, and the U.S. Air Force decided to invest in reactivating the OV-10 on a regular basis, despite the overhead cost of operating an additional aircraft type in relatively small numbers – but development and production of a similar new type would have caused much higher costs, with an uncertain time until an operational aircraft would be ready for service. Re-activating a proven design and updating an existing airframe appeared more efficient.

The result became the MV-10H, suitably christened “Super Bronco” but also known as “Black Pony”, after the program's internal name. This aircraft was derived from the official OV-10X proposal by Boeing from 2009 for the USAF's Light Attack/Armed Reconnaissance requirement. Initially, Boeing proposed to re-start OV-10 manufacture, but this was deemed uneconomical, due to the expected small production number of new serial aircraft, so the “Black Pony” program became a modernization project. In consequence, all airframes for the "new" MV-10Hs were recovered OV-10s of various types from the "boneyard" at Davis-Monthan Air Force Base in Arizona.

 

While the revamped aircraft would maintain much of its 1960s-vintage rugged external design, modernizations included a completely new, armored central fuselage with a highly modified cockpit section, ejection seats and a computerized glass cockpit. The “Black Pony” OV-10 had full dual controls, so that either crewmen could steer the aircraft while the other operated sensors and/or weapons. This feature would also improve survivability in case of incapacitation of a crew member as the result from a hit.

The cockpit armor protected the crew and many vital systems from 23mm shells and shrapnel (e. g. from MANPADS). The crew still sat in tandem under a common, generously glazed canopy with flat, bulletproof panels for reduced sun reflections, with the pilot in the front seat and an observer/WSO behind. The Bronco’s original cargo capacity and the rear door were retained, even though the extra armor and defensive measures like chaff/flare dispensers as well as an additional fuel cell in the central fuselage limited the capacity. However, it was still possible to carry and deploy personnel, e. g. small special ops teams of up to four when the aircraft flew in clean configuration.

Additional updates for the MV-10H included structural reinforcements for a higher AUW and higher g load maneuvers, similar to OV-10D+ standards. The landing gear was also reinforced, and the aircraft kept its ability to operate from short, improvised airstrips. A fixed refueling probe was added to improve range and loiter time.

 

Intelligence sensors and smart weapon capabilities included a FLIR sensor and a laser range finder/target designator, both mounted in a small turret on the aircraft’s nose. The MV-10H was also outfitted with a data link and the ability to carry an integrated targeting pod such as the Northrop Grumman LITENING or the Lockheed Martin Sniper Advanced Targeting Pod (ATP). Also included was the Remotely Operated Video Enhanced Receiver (ROVER) to provide live sensor data and video recordings to personnel on the ground.

 

To improve overall performance and to better cope with the higher empty weight of the modified aircraft as well as with operations under hot-and-high conditions, the engines were beefed up. The new General Electric CT7-9D turboprop engines improved the Bronco's performance considerably: top speed increased by 100 mph (160 km/h), the climb rate was tripled (a weak point of early OV-10s despite the type’s good STOL capability) and both take-off as well as landing run were almost halved. The new engines called for longer nacelles, and their circular diameter markedly differed from the former Garrett T76-G-420/421 turboprop engines. To better exploit the additional power and reduce the aircraft’s audio signature, reversible contraprops, each with eight fiberglass blades, were fitted. These allowed a reduced number of revolutions per minute, resulting in less noise from the blades and their tips, while the engine responsiveness was greatly improved. The CT7-9Ds’ exhausts were fitted with muzzlers/air mixers to further reduce the aircraft's noise and heat signature.

Another novel and striking feature was the addition of so-called “tip sails” to the wings: each wingtip was elongated with a small, cigar-shaped fairing, each carrying three staggered, small “feather blade” winglets. Reputedly, this installation contributed ~10% to the higher climb rate and improved lift/drag ratio by ~6%, improving range and loiter time, too.

Drawing from the Iraq experience as well as from the USMC’s NOGS test program with a converted OV-10D as a night/all-weather gunship/reconnaissance platform, the MV-10H received a heavier gun armament: the original four light machine guns that were only good for strafing unarmored targets were deleted and their space in the sponsons replaced by avionics. Instead, the aircraft was outfitted with a lightweight M197 three-barrel 20mm gatling gun in a chin turret. This could be fixed in a forward position at high speed or when carrying forward-firing ordnance under the stub wings, or it could be deployed to cover a wide field of fire under the aircraft when it was flying slower, being either slaved to the FLIR or to a helmet sighting auto targeting system.

The original seven hardpoints were retained (1x ventral, 2x under each sponson, and another pair under the outer wings), but the total ordnance load was slightly increased and an additional pair of launch rails for AIM-9 Sidewinders or other light AAMs under the wing tips were added – not only as a defensive measure, but also with an anti-helicopter role in mind; four more Sidewinders could be carried on twin launchers under the outer wings against aerial targets. Other guided weapons cleared for the MV-10H were the light laser-guided AGR-20A and AGM-119 Hellfire missiles, the Advanced Precision Kill Weapon System upgrade to the light Hydra 70 rockets, the new Laser Guided Zuni Rocket which had been cleared for service in 2010, TV-/IR-/laser-guided AGM-65 Maverick AGMs and AGM-122 Sidearm anti-radar missiles, plus a wide range of gun and missile pods, iron and cluster bombs, as well as ECM and flare/chaff pods, which were not only carried defensively, but also in order to disrupt enemy ground communication.

 

In this configuration, a contract for the conversion of twelve mothballed American Broncos to the new MV-10H standard was signed with Boeing in 2016, and the first MV-10H was handed over to the USAF in early 2018, with further deliveries lasting into early 2020. All machines were allocated to the newly founded 919th Special Operations Support Squadron at Duke Field (Florida). This unit was part of the 919th Special Operations Wing, an Air Reserve Component (ARC) of the United States Air Force. It was assigned to the Tenth Air Force of Air Force Reserve Command and an associate unit of the 1st Special Operations Wing, Air Force Special Operations Command (AFSOC). If mobilized the wing was gained by AFSOC (Air Force Special Operations Command) to support Special Tactics, the U.S. Air Force's special operations ground force. Similar in ability and employment to Marine Special Operations Command (MARSOC), U.S. Army Special Forces and U.S. Navy SEALs, Air Force Special Tactics personnel were typically the first to enter combat and often found themselves deep behind enemy lines in demanding, austere conditions, usually with little or no support.

 

The MV-10Hs are expected to provide support for these ground units in the form of all-weather reconnaissance and observation, close air support and also forward air control duties for supporting ground units. Precision ground strikes and protection from enemy helicopters and low-flying aircraft were other, secondary missions for the modernized Broncos, which are expected to serve well into the 2040s. Exports or conversions of foreign OV-10s to the Black Pony standard are not planned, though.

  

General characteristics:

Crew: 2

Length: 42 ft 2½ in (12,88 m) incl. pitot

Wingspan: 45 ft 10½ in(14 m) incl. tip sails

Height: 15 ft 2 in (4.62 m)

Wing area: 290.95 sq ft (27.03 m²)

Airfoil: NACA 64A315

Empty weight: 9,090 lb (4,127 kg)

Gross weight: 13,068 lb (5,931 kg)

Max. takeoff weight: 17,318 lb (7,862 kg)

 

Powerplant:

2× General Electric CT7-9D turboprop engines, 1,305 kW (1,750 hp) each,

driving 8-bladed Hamilton Standard 8 ft 6 in (2.59 m) diameter constant-speed,

fully feathering, reversible contra-rotating propellers with metal hub and composite blades

 

Performance:

Maximum speed: 390 mph (340 kn, 625 km/h)

Combat range: 198 nmi (228 mi, 367 km)

Ferry range: 1,200 nmi (1,400 mi, 2,200 km) with auxiliary fuel

Maximum loiter time: 5.5 h with auxiliary fuel

Service ceiling: 32.750 ft (10,000 m)

13,500 ft (4.210 m) on one engine

Rate of climb: 17.400 ft/min (48 m/s) at sea level

Take-off run: 480 ft (150 m)

740 ft (227 m) to 50 ft (15 m)

1,870 ft (570 m) to 50 ft (15 m) at MTOW

Landing run: 490 ft (150 m)

785 ft (240 m) at MTOW

1,015 ft (310 m) from 50 ft (15 m)

 

Armament:

1x M197 3-barreled 20 mm Gatling cannon in a chin turret with 750 rounds ammo capacity

7x hardpoints for a total load of 5.000 lb (2,270 kg)

2x wingtip launch rails for AIM-9 Sidewinder AAMs

  

The kit and its assembly:

This fictional Bronco update/conversion was simply spawned by the idea: could it be possible to replace the original cockpit section with one from an AH-1 Cobra, for a kind of gunship version?

 

The basis is the Academy OV-10D kit, mated with the cockpit section from a Fujimi AH-1S TOW Cobra (Revell re-boxing, though), chosen because of its “boxy” cockpit section with flat glass panels – I think that it conveys the idea of an armored cockpit section best. Combining these parts was not easy, though, even though the plan sound simple. Initially, the Bronco’s twin booms, wings and stabilizer were built separately, because this made PSR on these sections easier than trying the same on a completed airframe. One of the initial challenges: the different engines. I wanted something uprated, and a different look, and I had a pair of (excellent!) 1:144 resin engines from the Russian company Kompakt Zip for a Tu-95 bomber at hand, which come together with movable(!) eight-blade contraprops that were an almost perfect size match for the original three-blade props. Biggest problem: the Tu-95 nacelles have a perfectly circular diameter, while the OV-10’s booms are square and rectangular. Combining these parts and shapes was already a messy PST affair, but it worked out quite well – even though the result rather reminds of some Chinese upgrade measure (anyone know the Tu-4 copies with turboprops? This here looks similar!). But while not pretty, I think that the beafier look works well and adds to the idea of a “revived” aircraft. And you can hardly beat the menacing look of contraprops on anything...

The exotic, so-called “tip sails” on the wings, mounted on short booms, are a detail borrowed from the Shijiazhuang Y-5B-100, an updated Chinese variant/copy of the Antonov An-2 biplane transporter. The booms are simple pieces of sprue from the Bronco kit, the winglets were cut from 0.5mm styrene sheet.

 

For the cockpit donor, the AH-1’s front section was roughly built, including the engine section (which is a separate module, so that the basic kit can be sold with different engine sections), and then the helicopter hull was cut and trimmed down to match the original Bronco pod and to fit under the wing. This became more complicated than expected, because a) the AH-1 cockpit and the nose are considerably shorter than the OV-10s, b) the AH-1 fuselage is markedly taller than the Bronco’s and c) the engine section, which would end up in the area of the wing, features major recesses, making the surface very uneven – calling for massive PSR to even this out. PSR was also necessary to hide the openings for the Fujimi AH-1’s stub wings. Other issues: the front landing gear (and its well) had to be added, as well as the OV-10 wing stubs. Furthermore, the new cockpit pod’s rear section needed an aerodynamical end/fairing, but I found a leftover Academy OV-10 section from a build/kitbashing many moons ago. Perfect match!

All these challenges could be tackled, even though the AH-1 cockpit looks surprisingly stout and massive on the Bronco’s airframe - the result looks stockier than expected, but it works well for the "Gunship" theme. Lots of PSR went into the new central fuselage section, though, even before it was mated with the OV-10 wing and the rest of the model.

Once cockpit and wing were finally mated, the seams had to disappear under even more PSR and a spinal extension of the canopy had to be sculpted across the upper wing surface, which would meld with the pod’s tail in a (more or less) harmonious shape. Not an easy task, and the fairing was eventually sculpted with 2C putty, plus even more PSR… Looks quite homogenous, though.

 

After this massive body work, other hardware challenges appeared like small distractions. The landing gear was another major issue because the deeper AH-1 section lowered the ground clearance, also because of the chin turret. To counter this, I raised the OV-10’s main landing gear by ~2mm – not much, but it was enough to create a credible stance, together with the front landing gear transplant under the cockpit, which received an internal console to match the main landing gear’s length. Due to the chin turret and the shorter nose, the front wheel retracts backwards now. But this looks quite plausible, thanks to the additional space under the cockpit tub, which also made a belt feed for the gun’s ammunition supply believable.

To enhance the menacing look I gave the model a fixed refueling boom, made from 1mm steel wire and a receptor adapter sculpted with white glue. The latter stuff was also used add some antenna fairings around the hull. Some antennae, chaff dispensers and an IR decoy were taken from the Academy kit.

 

The ordnance came from various sources. The Sidewinders under the wing tips were taken from an Italeri F-16C/D kit, they look better than the missiles from the Academy Bronco kit. Their launch rails came from an Italeri Bae Hawk 200. The quadruple Hellfire launchers on the underwing hardpoints were left over from an Italeri AH-1W, and they are a perfect load for this aircraft and its role. The LAU-10 and -19 missile pods on the stub wings were taken from the OV-10 kit.

  

Painting and markings:

Finding a suitable and somewhat interesting – but still plausible – paint scheme was not easy. Taking the A-10 as benchmark, an overall light grey livery (with focus on low contrast against the sky as protection against ground fire) would have been a likely choice – and in fact the last operational American OV-10s were painted in this fashion. But in order to provide a different look I used the contemporary USAF V-22Bs and Special Operations MC-130s as benchmark, which typically carry a darker paint scheme consisting of FS 36118 (suitably “Gunship Gray” :D) from above, FS 36375 underneath, with a low, wavy waterline, plus low-viz markings. Not spectacular, but plausible – and very similar to the late r/w Colombian OV-10s.

The cockpit tub became Dark Gull Grey (FS 36231, Humbrol 140) and the landing gear white (Revell 301).

 

The model received an overall black ink washing and some post-panel-shading, to liven up the dull all-grey livery. The decals were gathered from various sources, and I settled for black USAF low-viz markings. The “stars and bars” come from a late USAF F-4, the “IP” tail code was tailored from F-16 markings and the shark mouth was taken from an Academy AH-64. Most stencils came from another Academy OV-10 sheet and some other sources.

Decals were also used to create the trim on the propeller blades and markings on the ordnance.

 

Finally, the model was sealed with a coat of matt acrylic varnish (Italeri) and some exhaust soot stains were added with graphite along the tail boom flanks.

  

A successful transplantation – but is this still a modified Bronco or already a kitbashing? The result looks quite plausible and menacing, even though the TOW Cobra front section appears relatively massive. But thanks to the bigger engines and extended wing tips the proportions still work. The large low-pressure tires look a bit goofy under the aircraft, but they are original. The grey livery works IMHO well, too – a more colorful or garish scheme would certainly have distracted from the modified technical basis.

present by www.pooldodo.com

Finalmente, llegaron a la casa con globos, paquetitos y hasta un perrito huérfano que adoptaron.

Présentation du GX Linium électrique lors de Busworld 2017.

Bus : GX Linium

Mise en service : 09/2017

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Last week a girlfriend of mine asked me if I could help her out with a wedding present. After accepting the "challenge," I thought, hmmm....what will truly capture the magic of marriage, and who can I look to that really kicks ass in matters of the heart? Then it hit me like a ton of bricks - duh, Gob Bluth!

 

So I borrowed one of my fav Arrested Development moments - and this little gem of a wedding gift was born!

 

Gob: My God, what is this feeling?

Michael: Well, you know the-the feeling that you’re... that you’re feeling is-is what many of us call “a feeling.”

Gob: But it’s not like envy, or even hungry.

Michael: Could it be love?

Gob: I know what an erection feels like, Michael. No, it’s the opposite. It’s... it’s like my heart is getting hard.

 

If you haven't yet checked out my blog...you probably should. Give it a whirl.

¿Porque al atardecer el cielo se vuelve de color rojo?

 

Esto es debido a que el sol esta muy bajo en el cielo cuando esto ocurre.

 

Las ondas de luz azul , que son cortas , son esparcidas por el polvo presente en la atmósfera , de manera que en esos momentos del día las ondas de luz roja y naranja , que son más largas , nos llegan mejor y convierten el cielo en un precioso espectáculo de colores cálidos.

 

Una cantidad de humedad, relativamente pequeña ,acompañada de partículas de polvo y ceniza es suficiente para provocar en el cielo las múltiples manifestaciones de color.

   

El sol se enrojeció mientras descendía hacia las colinas y la bruma se tiñó con su resplandor, convirtiendo el cielo del oeste en una hemorragia nasal de Dios.

 

Un Saco de Huesos (Stephen King)

 

Every year I give my step-son a word upon which to base his Christmas present to me. This started way back when he was a teen. This year’s word was “lacy”. These delightful lacy cookies are only 24 calories each, and the lacy meditation journal is very timely, as I've nearly filled up the one I have. Previous word-gifts in comments.

Presenting the “Sia” Set consisting of the Sia Hoodie & Leggings. Available in 10 regulars and 7 fatpack exclusives. Paired with the Dreem Mini Crossbody & sneakers by Betrayal x Viet “Chace Sneakers” to complete this cozy set. Fitted for Legacy, Kupra, Reborn, Maitreya, Peach, & Waifa

 

Try demo before purchase!

 

DREAMDAY

 

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Le château de Rovorée, ancienne place forte médiévale, est mentionné pour la première fois en 1217. Il est bâti sur une motte artificielle dont la terre provient des fossés.

 

Sa position stratégique, situé sur une pointe, en fait un excellent poste de surveillance.

 

Sa destruction sera définitive en 1333 suite à la guerre entre les savoyards et les faucignerands.

 

La bâtisse actuelle date de 1926 et est l’œuvre de l'architecte genevois Maurice Turretini.

What we left in the fire,

in the ashes of yesterday's tomorrow,

dances in the embers

and swirls into the ether.

Past-present-future

 

(Dragostesun)

  

www.500px.com/dragostesun

 

Thanks for your visit!

Present condition these slides/slippers are in now after being worn by Gigi for months. Gigi says there is still some life left in these so she will continue pounding them with her adorable feet with every step (2)

A gaily wrapped gift with a big red&white bow, seen in a store window.

  

The ancient city of Jerash, which boasts an unbroken chain of human occupation dating back more than 6,500 years. Jerash lies on a plain surrounded by hilly wooded areas and fertile basins. Conquered by General Pompey in 63 BC, it came under Roman rule and was one of the ten great Roman cities of the Decapolis League.

 

The city's golden age came under Roman rule, during which time it was known as Gerasa. The site is now generally acknowledged to be one of the best-preserved Roman provincial towns in the world.

 

@2021-2099 Copyright Rudr Peter. All rights reserved under the International Copyright laws. This picture and portions of this image should not be used in any print and electronic form without permission from me.

 

UNESCO_World_Heritage_Sites

Quseir Amra

Jordan

Petra

Wadi_Rum

Nabatean

Amman

Dead_Sea

Siq

Treasury

Al-Khazneh

Aretas

Moses

Khazali_Canyon

Jerash

Hippodrome

Roman_ruins

Citadel

Mosaics_Madaba

Dana_Reserve

Ajlun_Castle

Ajloun

Castle

Travel

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happyplace

Weekend Party

ABBEY CHURCH OF HOLY CROSS WITH SAINT EDBURGHA, CHURCH WALK, PERSHORE, WORCESTERSHIRE

 

Heritage Category: Listed Building.

 

Grade I listed.

 

List Entry Number: 1387027.

  

Details

 

SO 9445; 648-1/5/93

 

PERSHORE, CHURCH WALK (west side)

 

Abbey Church of Holy Cross with St Edburgha

 

(Formerly Listed as: Abbey Church of Holy Cross)

 

11/02/65

 

GV

 

I

 

Abbey, now parish church. Founded C7; present building C11-C13 with some later-medieval remodelling; some C17 buttressing following Dissolution; major restoration 1860s by Giles Gilbert Scott; further alterations early C20. MATERIALS: mainly of limestone ashlar with parapeted plain tile, stone-tile and lead roofs. PLAN: apse; chancel with choir aisles, N and S transepts and crossing tower; the nave demolished at Dissolution.

 

EXTERIOR: C19 apse has narrow lancets with continuous hoodmould; diagonal buttresses with offsets; corbel table; and steeply pitched roof. Chancel N aisle has moulded single-light windows; continuous hoodmould; plain corbel table; moulded plinth; offset buttresses which have moulded strings and crocketed pinnacles with geometric blind tracery and rise as flying buttresses extending to clerestory. N clerestory has single-light windows with deep moulded embrasures surmounted by continuous hoodmould; lombard frieze and embattled parapet; polygonal E end surmounted by crocketed pinnacles. NE chapel has coped gable with apex stone and Perpendicular tracery to its E window. S chancel aisle similar to N aisle with Perpendicular E, SE and S windows; clasping buttresses, some incorporating slender 3/4 round shafts; blocked pointed and moulded arch to former S transept chapel with clustered shaft piers and remains of springing to vaulting. South transept: mostly Romanesque. Its E wall has two further attached moulded pointed arches with blocked round-arched features; adjacent are three bays of C13 crocketed blind arcading of former sedilia and piscina, with quatrefoil mouldings; embattled parapet with lombard frieze incorporating grotesques. South transept S wall: chevron-moulded blind arcading to gable, interspersed with single round-headed lights; cable-moulded string course; remodelled triple lancet window; roofline of former monastic buildings visible; central pier and blocked doorway.

 

South transept W wall: similar lombard frieze; roofline of former nave S aisle visible, and blocked aisle round arch with adjacent 3-light Perpendicular window and lancets to corner stair turret. West wall has blocked round-headed crossing arch with relieving arch above; remains of nave and arcade walls have Romanesque piers with cushion capitals; heavily moulded former S doorway of six orders with stiff leaf capitals to E; inserted W window and door; the W wall all now heavily buttressed. North transept: remodelled and reinforced, but retains blocked round-headed arch to former N nave arcade. Tower: of four stages, completed 1330; four octagonal pinnacles, embattled at base, surmounted by large crockets with weathervanes; ringing chamber has four windows to each side, of two lights with geometric tracery, each central pair louvred and flanked by blind outer windows; ballflower-moulded string course and parapet; third stage has embattled string course with ballflower mouldings at base and 2-light windows with trefoil-headed tracery; on W side, former nave roof-line is visible and small blocked round-arched window; on E, N and S sides, former chancel and transept roof-lines interrupt 2nd-stage windows; lancets to staircase corner turrets.

 

INTERIOR: comprises apse and former chancel of five bays, now used as church, and crossing with nave truncated at W arch. E apse, built C19 in Early English style on site of former Lady Chapel, is 5-sided with three narrow lancets to E end flanked by triple-arched blind arcades, all with narrow pointed moulded arches, stiff leaf capitals and detached shafts, some of Purbeck marble; vault has heavily-moulded ribs and central boss. Chancel: rebuilt following fire in 1223, has polygonal E end with pointed E arch of six orders with roll mouldings supported by stiff-leaf capitals above clustered piers of detached or 3/4 round shafts, some of Purbeck marble; similar, unmarbled, piers to chancel arcades; combined triforium and clerestory, rising above moulded string course, incorporate single pointed lights within triple pointed-arched arcades of tall clustered shafts with stiff-leaf capitals, blind at E end; tierceron vaults have ribs rising from stiff-leaf corbels and stiff-leaf bosses. Aisles: slender attached piers of clustered shafts with stiff-leaf capitals and quadripartite vaults with roll-moulded ribs; N aisle lancet windows are all moulded with shafts and stiff-leaf decoration. NE chapel: moulded piscina in S wall and trefoil-headed shallow niche on E wall; S aisle has mainly Perpendicular windows; SE chapel has medieval floor tiles and moulded piscina in S wall.

 

North transept: blocked Romanesque arch with moulded capitals to N choir aisle; above this, a later adapted opening, a blocked opening, and former roof-line; taller Romanesque arch with cushion capitals to former nave N aisle. South transept: mainly Romanesque; roll-moulded arch with cushion capitals to S choir aisle; wider arch to former E chapel, now blocked and with inserted later-medieval blind arcading of eight bays of cusped tracery surmounted by coving with leaf motifs; a deep, splayed, moulded round-arched window; blocked doorway above; remains of bead-moulded blind arcading, now shaftless, extends around SE and S walls; above is a Romanesque triforium arcade with heavy capitals rising from partly-moulded string course; similar clerestory arcade above with four pierced quatrefoils in S wall; round arch to SW staircase turret; blocked tall S nave aisle arch, as N aisle arch; cross-vault with moulded ribs and leaf bosses incorporating shields along ridge rib. Crossing has tall round arches with double 3/4 round shafts and some figurative, but mainly cushion, capitals; above, in tower, are 2 tiers of trefoil-headed arcading with heavily-moulded and partly-embattled string courses, part blind and part incorporating 2-light tower windows with trefoil heads, set back behind detached shafts; unusual bellcage erected 1864 by Gilbert Scott. FITTINGS: Romanesque font at NW with seated figures under billet-moulded arcade; replaced lower pedestal and cover. Benefaction board to Henry Smith and others, 1626, on NE tower arch, has a painted inscription on painted boards within moulded wooden frame. C18 hatchment over N entrance, of painted canvas with motto Resurgam; further hatchments in SE transept with inscriptions Morses Omnibus Communis and In Coelo Quies.

 

MONUMENTS: freestanding effigies in S transept include: to E, an abbot, possibly William de Harvington or Abbot Hert, on tomb chest incorporating quatrefoils; to W, a cross-legged knight in chain mail, possibly Sir William de Harley, C13; on SW wall, painted Haselwood wall monument commemorates Thomas, d.1624, Elizabeth, and Sir Francis, and comprises one recumbent and 2 kneeling figures, a blank inscription panel within cartouche to rear, 3 free-standing piers supporting elaborately-carved arms, and chest with strapwork panels and scagliola decoration; further monument to Fulke and Dorothy Haselwood has 9 children in relief; other modest C18 and C19 wall monuments; in S transept, free-standing war memorial with cast bronze figure of Immortality by Alfred Drury; many ledger slabs in floor throughout. Parchment inspeximus of the Royal Privileges of the Abbey of Pershore, 1453, in metal case fixed to crossing S wall.

 

C19 wallpainting in medieval style to W wall of crossing; traces of medieval wallpainting on crossing piers. Section of late-medieval woodcarving incorporating inscription in NE transept; late-medieval wooden chest against W wall. STAINED GLASS: includes windows by Clayton and Bell, Hardman and Co and Kempe.

 

(BoE: Pevsner N: Worcestershire: Harmondsworth: 1968-; Wilson M: Pershore Abbey: Much Wenlock: 1994-).

  

Listing NGR: SO9478845793

 

This List entry has been amended to add sources for War Memorials Online and the War Memorials Register. These sources were not used in the compilation of this List entry but are added here as a guide for further reading, 27 October 2017.

 

Legacy

The contents of this record have been generated from a legacy data system.

 

Legacy System number: 474443

Legacy System: LBS

  

Sources

 

Books and journals

 

Pevsner, N, The Buildings of England: Worcestershire, (1968)

Wilson, M , Pershore Abbey, (1994)

 

Websites

 

War Memorials Online, accessed 27 October 2017 from www.warmemorialsonline.org.uk/memorial/155580

 

War Memorials Register, accessed 27 October 2017 from www.iwm.org.uk/memorials/item/memorial/3141

  

historicengland.org.uk/listing/the-list/list-entry/1387027

 

See also:-

 

historicengland.org.uk/listing/the-list/list-entry/1005303

 

en.wikipedia.org/wiki/Pershore_Abbey

The Parthenon on the Athenian Acropolis or precisely, the remains of it in its modern appearance.

 

Built between 447-438 BC (decoration extended until 432) and dedicated to Athene, also Pallas Athene and/or Athene Parthenos, as thanks to the goddess for the Hellenic victory over the Persian Invaders.

 

The Parthenon was commissioned by the Athenian politician Pericles as a part of a wider building program on the Acropolis to resemble the power and ambitions of Athens within the Delian League and Greece as a whole.

 

It is considered the most important surviving building of Classical Greece and as the zenith of the Doric order. The Parthenon was further richly ornate with highly detailed Metopes and Pediments as well as the famous Frieze.

 

Since 1975 the Greek government initiated the restoration of the over 2.500 years old monument. The efforts to restore and conserve this site are a continuing process to the present day.

 

____________________________________________________

 

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Hello everyone, I'm presenting you my first purchasable model which is a french camoflaged AMR 35 acg1.

I improved and recolored my belgian one to make this new one.

It's camoflaged according to french late 30's camoflages and comes with a few water decals (unit insignia, number of the vehicle, licence plates, french roundel) that I placed according to archive documents. Of course the turrest can rotate 360° and the hatch opens to allow a minifig to fit in. The pieces are in perfect condition and the tracks are from brickmania. The minifig is not necessarily included (as you want). Their is only one available.

If you are interested send me an email at: superspartane@gmail.com

 

I hope you'll like this new version of my AMR 35 acg1 :)

 

(There are more tanks that'll come in the next week)

Singapore River Festival 2015: 'Les Voyageurs' presented by Cedric Le Borgne at the Asian Civilisations Museum.

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The AH-1 Cobra was developed in the mid-1960s as an interim gunship for the U.S. Army for use during the Vietnam War. The Cobra shared the proven transmission, rotor system, and the T53 turboshaft engine of the UH-1 "Huey". By June 1967, the first AH-1G HueyCobras had been delivered. Bell built 1,116 AH-1Gs for the U.S. Army between 1967 and 1973, and the Cobras chalked up over a million operational hours in Vietnam.

The U.S. Marine Corps was very interested in the AH-1G Cobra, too, but it preferred a twin-engine version for improved safety in over-water operations, and also wanted a more potent turret-mounted weapon. At first, the Department of Defense had balked at providing the Marines with a twin-engine version of the Cobra, in the belief that commonality with Army AH-1Gs outweighed the advantages of a different engine fit. However, the Marines won out and awarded Bell a contract for 49 twin-engine AH-1J SeaCobras in May 1968. As an interim measure the U.S. Army passed on thirty-eight AH-1Gs to the Marines in 1969. The AH-1J also received a more powerful gun turret with a three-barrel 20 mm XM197 cannon based on the six-barrel M61 Vulcan cannon.

 

During the 1990s, the US forces gradually phased out its Cobra fleet. The withdrawn AH-1s were typically offered to other potential operators, usually NATO allies. Some were also given to the USDA's Forest Service for fire surveillance, and a handful AH-1s went into private hands, including the NASA. Among these airframes were some USMC AH-1Js, which had in part been mothballed in the Mojave Desert since their replacement through more powerful and modern AH-1 variants and the AH-64.

About twenty airframes were, after having been de-militarized, bought by the Kaman Corporation in 2003, in a bold move to quickly respond to more than 20 inquiries for the company’s K-1200 ‘K-Max’ crane synchropter since the type’s end of production in 2001 from firefighting, logging and industry transport requirements. While not such a dedicated medium lift helicopter as the K-1200, which had from the outset been optimized for external cargo load operations, the twin-engine AH-1J promised to be a very effective alternative and a powerful basis for a conversion into a crane helicopter.

 

The result of this conversion program was the Kaman K-1300, also known as the “K-Cobra” or “Crane Cobra”. While the basic airframe of the AH-1J was retained, extensive detail modifications were made. To reduce weight and compensate for the extensive hardware changes, the SeaCobra lost its armor, the chin turret, and the stub wings. Beyond that, many invisible changes were made; the internal structure between the engine mounts was beefed up with an additional cage structure and a cargo hook was installed under the fuselage in the helicopter’s center of lift.

 

To further optimize the K-Cobra’s performance, the dynamic components were modified and improved, too. While the engine remained the same, its oil cooler was enlarged and the original output limit to 1.500 shp was removed and the gearbox was strengthened to fully exploit the twin-engine’s available power of 1,800 shp (1,342 kW). The rotor system was also modified and optimized for the transport of underslung loads: the original UH-1 dual-blade rotors were replaced with new four-blade rotors. The new main rotor with rugged heavy-duty blades offered more lift at less rotor speed, and the blades’ lift sections were moved away from the hub so that downwash and turbulences directly under the helicopter’s CoG and man hook were reduced to keep the cargo load more stable. Due to the main rotor’s slightly bigger diameter the tail rotor was changed into a slightly smaller four-blade rotor, too. This new arrangement made the K-1300 more stable while hovering or during slow speed maneuvers and more responsive to steering input.

 

The Cobra’s crew of two was retained, but the cockpit was re-arranged and split into two compartments: the pilot retained the original rear position in the tandem cockpit under the original glazing, but the gunner’s station in front of him, together with the secondary dashboard, was omitted and replaced by a new, fully glazed cabin under the former gunner position. This cabin occupied the former gun station and its ammunition supply and contained a rearward-facing workstation for a second pilot with full controls. It was accessible via a separate door or a ladder from above, through a trap door in the former gunner’s station floor, where a simple foldable bench was available for a third person. This arrangement was chosen due to almost complete lack of oversight of the slung load from the normal cockpit position, despite a CCTV (closed circuit television) system with two cameras intended for observation of slung loads. The second pilot would control the helicopter during delicate load-handling maneuvers, while the primary pilot “above” would fly the helicopter during transfer flights, both sharing the workload.

 

To accommodate the cabin under the fuselage and improve ground handling, the AH-1J’s skids were replaced by a stalky, fixed four-wheel landing gear that considerably increased ground clearance (almost 7 feet), making the attachment of loads on the ground to the main ventral hook easier, as the K-1300 could be “rolled over” the cargo on the ground and did not have to hover above it to connect. However, an external ladder had to be added so that the pilot could reach his/her workstation almost 10 feet above the ground.

 

The bulky ventral cabin, the draggy landing gear and the new lift-optimized rotor system reduced the CraneCobra’s top speed by a third to just 124 mph (200 km/h), but the helicopter’s load-carrying capacity became 35% higher and the Cobra’s performance under “hot & high” conditions was markedly improved, too.

For transfer flights, a pair of external auxiliary tanks could be mounted to the lower fuselage flanks, which could also be replaced with cargo boxes of similar size and shape.

 

K-1300 buyers primarily came from the United States and Canada, but there were foreign operators, too. A major operator in Europe became Heliswiss, the oldest helicopter company in Switzerland. The company was founded as „Heliswiss Schweizerische Helikopter AG“, with headquarters in Berne-Belp on April 17, 1953, what also marked the beginning of commercial helicopter flying in Switzerland. During the following years Heliswiss expanded in Switzerland and formed a network with bases in Belp BE, Samedan GR, Domat Ems GR, Locarno TI, Erstfeld UR, Gampel VS, Gstaad BE and Gruyères FR. During the build-up of the rescue-company Schweizerische Rettungsflugwacht (REGA) as an independent network, Heliswiss carried out rescue missions on their behalf.

 

Heliswiss carried out operations all over the world, e. g. in Greenland, Suriname, North Africa and South America. The first helicopter was a Bell 47 G-1, registered as HB-XAG on September 23, 1953. From 1963 Heliswiss started to expand and began to operate with medium helicopters like the Agusta Bell 204B with a turbine power of 1050 HP and an external load of up to 1500 kg. From 1979 Heliswiss operated a Bell 214 (external load up to 2.8 t).

Since 1991 Heliswiss operated a Russian Kamov 32A12 (a civil crane version of the Ka-27 “Helix”), which was joined by two K-1300s in 2004. They were frequently used for construction of transmission towers for overhead power lines and pylons for railway catenary lines, for selective logging and also as fire bombers with underslung water bags, the latter managed by the German Helog company, operating out of Ainring and Küssnacht in Germany and Switzerland until 2008, when Helog changed its business focus into a helicopter flight training academy in Liberia with the support of Germany's Federal Ministry of Education and Research.

A second Kamov 32A12 joined the fleet in 2015, which replaced one of the K-1300s, and Heliswiss’ last K-1300 was retired in early 2022.

  

General characteristics:

Crew: 2, plus space for a passenger

Length: 54 ft 3 in (16,56 m) including rotors

44 ft 5 in (13.5 m) fuselage only

Main rotor diameter: 46 ft 2¾ in (14,11 m)

Main rotor area: 1,677.64 sq ft (156,37 m2)

Width (over landing gear): 12 ft 6 in (3.85 m)

Height: 17 ft 8¼ in (5,40 m)

Empty weight: 5,810 lb (2,635 kg)

Max. takeoff weight: 9,500 lb (4,309 kg) without slung load

13,515 lb (6,145 kg) with slung load

 

Powerplant:

1× P&W Canada T400-CP-400 (PT6T-3 Twin-Pac) turboshaft engine, 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 124 mph (200 km/h, 110 kn)

Cruise speed: 105 mph (169 km/h, 91 kn)

Range: 270 mi (430 km, 230 nmi) with internal fuel only,

360 mi (570 km 310 nmi) with external auxiliary tanks

Service ceiling: 15,000 ft (4,600 m)

Hovering ceiling out of ground effect: 3,000 m (9,840 ft)

Rate of climb: 2,500 ft/min (13 m/s) at Sea Level with flat-rated torque

 

External load capacity (at ISA +15 °C (59.0 °F):

6,000 lb (2,722 kg) at sea level

5,663 lb (2,569 kg) at 5,000 ft (1,524 m)

5,163 lb (2,342 kg) at 10,000 ft (3,048 m)

5,013 lb (2,274 kg) at 12,100 ft (3,688 m)

4,313 lb (1,956 kg) at 15,000 ft (4,600 m)

  

The kit and its assembly:

This is/was the second contribution to the late 2022 “Logistics” Group Build at whatifmodellers.com, a welcome occasion and motivation to tackle a what-if project that had been on my list for a long while. This crane helicopter conversion of a HueyCobra was inspired by the Mil Mi-10K helicopter – I had built a 1:100 VEB Plasticart kit MANY years ago and still remembered the helicopter’s unique ventral cabin under the nose with a rearward-facing second pilot. I always thought that the AH-1 might be a good crane helicopter, too, esp. the USMC’s twin-engine variant. And why not combine everything in a fictional model?

 

With this plan the basis became a Fujimi 1:72 AH-1J and lots of donor parts to modify the basic hull into “something else”. Things started with the removal of the chin turret and part of the lower front hull to make space for the ventral glass cabin. The openings for the stub wings were faired over and a different stabilizer (taken from a Revell EC 135, including the end plates) was implanted. The attachment points for the skids were filled and a styrene tube was inserted into the rotor mast opening to later hold the new four-blade rotor. Another styrene tube with bigger diameter was inserted into the lower fuselage as a display holder adapter for later flight scene pictures. Lead beads filled the nose section to make sure the CraneCobra would stand well on its new legs, with the nose down. The cockpit was basically taken OOB, just the front seat and the respective gunner dashboard was omitted.

 

One of the big challenges of this build followed next: the ventral cabin. Over the course of several months, I was not able to find a suitable donor, so I was forced to scratch the cabin from acrylic and styrene sheet. Size benchmark became the gunner’s seat from the Cobra kit, with one of the OOB pilots seated. Cabin width was less dictated through the fuselage, the rest of the cabin’s design became a rather simple, boxy thing – not pretty, but I think a real-life retrofitted cabin would not look much different? Some PSR was done to hide the edges of the rather thick all-clear walls and create a 3D frame - a delicate task. Attaching the completed thing with the second pilot and a dashboard under the roof to the Cobra’s lower hull and making it look more or less natural without major accidents was also a tricky and lengthy affair, because I ignored the Cobra’s narrowing nose above the former chin turret.

 

With the cabin defining the ground helicopter’s clearance, it was time for the next donors: the landing gear from an Airfix 1:72 Kamow Ka-25, which had to be modified further to achieve a proper stance. The long main struts were fixed to the hull, their supporting struts had to be scratched, in this case from steel wire. The front wheels were directly attached to the ventral cabin (which might contain in real life a rigid steel cage that not only protects the second crew member but could also take the front wheels’ loads?). Looks pretty stalky!

Under the hull, a massive hook and a fairing for the oil cooler were added. A PE brass ladder was mounted on the right side of the hull under the pilot’s cockpit, while a rear-view mirror was mounted for the ventral pilot on the left side.

 

The rotor system was created in parallel, I wanted “something different” from the UH-1 dual-blade rotors. The main rotor hub was taken from a Mistercraft 1:72 Westland Lynx (AFAIK a re-boxed ZTS Plastyk kit), which included the arms up to the blades. The hub was put onto a metal axis, with a spacer to make it sit well in the new styrene tube adapter inside of the hull, and some donor parts from the Revell EC 135. Deeper, tailored blades were glued to the Lynx hub, actually leftover parts from the aforementioned wrecked VEB Plasticart 1:100 Mi-10, even though their length had to be halved (what makes you aware how large a Mi-6/10 is compared with an AH-1!). The tail rotor was taken wholesale from the Lynx and stuck to the Cobra’s tail with a steel pin.

  

Painting and markings:

Another pushing factor for this build was the fact that I had a 1:72 Begemot aftermarket decal sheet for the Kamow Ka-27/32 in The Stash™, which features, among many military helicopters, (the) two civil Heliswiss machines – a perfect match!

Using the Swiss Helix’ as design benchmark I adapted their red-over-white paint scheme to the slender AH-1 and eventually ended up with a simple livery with a white belly (acrylic white from the rattle can, after extensive masking of the clear parts with Maskol/latex milk) and a red (Humbrol 19) upper section, with decorative counter-colored cheatlines along the medium waterline. A black anti-glare panel was added in front of the windscreen. The auxiliary tanks were painted white, too, but they were processed separately and mounted just before the final coat of varnish was applied. The PE ladder as well as the rotors were handled similarly.

 

The cockpit and rotor opening interior were painted in a very dark grey (tar black, Revell 06), while the interior of the air intakes was painted bright white (Revell 301). The rotor blades became light grey (Revell 75) with darker leading edges (Humbrol 140), dark grey (Humbrol 164) hubs and yellow tips.

 

For the “HELOG/Heliswiss” tagline the lower white section had to be raised to a medium position on the fuselage, so that they could be placed on the lower flanks under the cockpit. The white civil registration code could not be placed on the tail and ended up on the engine cowling, on red, but this does not look bad or wrong at all.

The cheatlines are also decals from the Ka-32 Begemot sheet, even though they had to be trimmed considerably to fit onto the Cobra’s fuselage – and unfortunately the turned out to be poorly printed and rather brittle, so that I had to improvise and correct the flaws with generic red and white decal lines from TL Modellbau. The white cross on the tail and most stencils came from the Begemot sheet, too. Black, engine soot-hiding areas on the Cobra’s tail were created with generic decal sheet material, too.

 

The rotor blades and the wheels received a black ink treatment to emphasize their details, but this was not done on the hull to avoid a dirty or worn look. After some final details like position lights the model was sealed with semi-matt acrylic varnish, while the rotors became matt.

  

A weird-looking what-if model, but somehow a crane-copter variant of the AH-1 looks quite natural – even more so in its attractive red-and-white civil livery. The stalky landing gear is odd, though, necessitated by the ventral cabin for the second pilot. I was skeptical, but scratching the latter was more successful than expected, and the cabin blend quite well into the AH-1 hull, despite its boxy shape.

 

The last of the Skinkmas series. Hope you enjoyed them!

..........

 

Ayer me di un paseo. Llevaba puestos los ojos de mirar, y ver. Y me di cuenta de que por fin está llegando la primavera.

Que cumplas muchos mas, my sweet friend...

 

...........

Agradeço pelo presente Squad Tebet.

 

Ágatha, Bia, Bruna, Cecília Barbosa, Cecília Ramos, Daiane, Eduardo, Gigica, Hissa, Isabella, Maria Júlia e Raiana.

Villa Cavrois

A ministra do Planejamento e Orçamento Simone Tebet recebendo mais presentes pela data de seu aniversário (22).

IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 6 exposures processed with Photomatix. Tokina 11-16mm lens

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

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Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

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The days being nearly fulfilled when the Blessed Virgin must, according to the Law, present and redeem her firstborn in the Temple, 143143 The laws about ‘Purification’ and offerings after childbirth are in Lev. 12.4-8, and the ‘sanctification’ of the first-born is directed in Exod. 13.2 and Num. 3.13. (SB) all was prepared for the Holy Family’s journey first to the Temple and then to their home in Nazareth. On the evening of Sunday, December 30 th, the shepherds had been given everything left behind by Anna’s servants. The Cave of the Nativity, the side-cave, and Maraha’s grave were all completely swept out and emptied. Joseph left them all quite clean. In the night of Sunday, December 30 th, to Monday, December 31 st, I saw Joseph and Mary with the Child visiting the Cave of the Nativity once more and taking leave of that holy place. They spread out the kings’ carpet on Jesus’ birthplace, laid the Child on it and prayed, and finally laid it on the place where He had been circumcised, kneeling down in prayer there, too. At dawn on Monday, December 31 st, I saw the Blessed Virgin mount the donkey, which the old shepherds had brought to the cave all equipped for the journey. Joseph held the Child while she settled herself comfortably; then he laid Him in her lap. She sat sideways on the saddle with her feet on a rather high support, facing backwards. She held the Child on her lap wrapped in her big veil and looked down on Him with an expression of great happiness. There were only a few rugs and small bundles on the donkey. Mary sat between them. The shepherds accompanied them part of their way before taking a moving farewell of them. They did not take the way by which they had come, but went between the Cave of the Nativity and the grave of Maraha, round the east side of Bethlehem. Nobody noticed them.

[January 30 th:] This morning I saw them going very slowly on the short journey from Bethlehem to Jerusalem: they must have made many halts. At midday I saw them resting on benches round a fountain with a roof over it. I saw some women coming to the Blessed Virgin and bringing her jugs with balsam and small loaves of bread. The Blessed Virgin’s sacrifice for the Temple hung in a basket at the side of the donkey. This basket had three compartments, two of which were lined with something. These contained fruit. The third was of open wickerwork and a couple of doves could be seen in it. Towards evening I saw them enter a small house beside a large inn about a quarter of an hour from Jerusalem. This was kept by an old childless couple who welcomed them with particular affection. I now know why I mistook Anna’s companions yesterday for the people from an inn in Jerusalem: I had seen them stopping here with these good old people on their way to Bethlehem, when they had no doubt arranged about a lodging for the Blessed Virgin. The old couple were Essenes and related to Joanna Chuza. The husband was a gardener by trade, trimmed hedges, and was employed in work on the road.

[February 1 st:] I saw the Holy Family with these old innkeepers near Jerusalem during the whole of today. The Blessed Virgin was generally alone in her room with the Child, who lay on a rug on a low ledge projecting from the wall. She was praying all the time, and seemed to be preparing herself for the coming ceremony. It was revealed to me at the same time how one should prepare oneself for receiving Holy Communion.

I saw the appearance of a number of holy angels in her room, worshipping the Infant Jesus. I do not know whether the Blessed Virgin also saw these angels, but I think so, because I saw her rapt in contemplation. The good people of the inn did everything possible to please the Blessed Virgin: they must have been aware of the holiness of the Infant Jesus.

About seven o’clock in the evening I had a vision of the aged Simeon. He was a thin, very old man with a short beard. He was an ordinary priest, was married, and had three grown-up sons, the youngest of whom might have been about twenty. I saw Simeon, who lived close to the Temple, going through a narrow dark passage in the Temple walls into a small vaulted cell, built in the thickness of the wall. I saw nothing in this room but an opening through which one could look down into the Temple. I saw the aged Simeon kneeling here rapt in prayer. Then the appearance of an angel stood before him and warned him to take heed of the little child who should be first presented early next morning, for this was the Messiah for whom he had so long yearned. After he had seen Him, he would soon die. I saw this so plainly; the room was illuminated, and the holy old man was radiant with joy. Then I saw him going to his house and telling his wife with great joy what had been announced to him. After his wife had gone to bed, I saw Simeon betake himself to prayer again.

I never saw devout Israelites and their priests praying with such exaggerated gestures as the Jews today. I did, however, see them scourging themselves. I saw the prophetess Anna praying in her cell and having a vision about the Presentation of the Infant Jesus in the Temple.

[February 2 nd:] This morning, while it was still dark, I saw the Holy Family, accompanied by the people of the inn, leaving the inn and going to Jerusalem to the Temple with the baskets of offerings and with the donkey laden for the journey. They went into a walled courtyard in the Temple. While Joseph and the innkeeper stabled the donkey in a shed, the Blessed Virgin and her Child were kindly received by an aged woman and led into the Temple by a covered passage. A light was carried, for it was still dark. No sooner had they entered this passage than the aged priest Simeon came, full of expectation, towards the Blessed Virgin. After addressing a few friendly words to her, he took the Child Jesus in his arms, pressed Him to his heart, and then hurried back to the Temple by another way. Yesterday’s message from the angel had so filled him with longing to see the Child of the Promise, for whom he had sighed so long, that he had come out here to the place where the women arrived. He was dressed in long garments such as the priests wear when not officiating. I often saw him in the Temple, and always as an aged priest of no elevated rank. His great devoutness, simplicity, and enlightenment alone distinguished him.

The Blessed Virgin was led by her guide to the outer courts of the Temple where the ceremony took place, and she was here received by Noemi, her former teacher, and Anna, who both lived on this side of the Temple. Simeon, who now once more came out of the Temple to meet the Blessed Virgin, led her, with her Child in her arms, to the customary place for the redemption of the firstborn. Anna, to whom Joseph gave the basket with the offerings, followed her with Noemi. The doves were in the lower part of the basket; above them was a compartment with fruit. Joseph went by another door into the place set apart for men.

It must have been known in the Temple that several women were coming for the presentation ceremony, for everything was arranged. The room where the ceremony took place was as big as the parish church here in Dülmen. Many lamps were burning on its walls, forming pyramids of light. The little flames are at the end of a bent tube projecting from a golden disc which shines almost as brightly as the flame. Hanging from this disc by a woven cord is a little extinguisher which is used to put out the light without making any smell and removed again when the lamps are lit.

An oblong chest had been brought out by several priests and set before a kind of altar with what looked like horns at each corner. The doors of this chest were opened to form a stand on which a large tray was laid. This was covered first with a red cloth, and then with a transparent white one, which hung down to the ground on each side. Burning lamps with several branches were placed at the four corners of this table, in the middle of which was an oblong cradle flanked by two oval bowls containing two baskets. All these things had been brought out of drawers in the chest, with priests’ vestments, which were laid on the other permanent altar. The table which had been set up for the offering was surrounded by a railing. On each side of this room were seats, raised one above the other, in which were priests saying prayers.

Simeon now approached the Blessed Virgin, in whose arms the Infant Jesus lay wrapped in a sky-blue covering, and led her through the railing to the table, where she laid the Child in the cradle. From this moment I saw an indescribable light filling the Temple. I saw that God Himself was in it, and above the Child I saw the heavens opening to disclose the Throne of the Holy Trinity. Simeon then led the Blessed Virgin back to the women’s place. Mary wore a pale sky-blue dress, with a white veil, and was completely enveloped in a long yellow cloak. Simeon then went to the permanent altar on which the vestments had been laid out, and he and three other priests vested each other for the ceremony. They had a kind of little shield on their arms, and on their heads were caps divided like miters. One went behind and the other in front of the table of offering, while two others stood at the narrow ends of it praying over the Child. Anna now came up to Mary and handed her the basket of offerings, which contained fruit and doves in two separate compartments, one above the other. She led her to the railing in front of the table, and there both remained standing. Simeon, who was standing before the table, opened the railing, led Mary up to the table, and placed her offering on it. Fruit was placed in one of the oval dishes and coins in the other: the doves remained in the basket. 144144 In 1823, when recounting Jesus’ stay in Hebron during the third year of His ministry, some ten days after the death of the Baptist, Catherine Emmerich said that she saw Our Lord teaching, on Friday the 29th day of the month of Thebet (i.e. Jan. 17th), from the Sabbath reading taken from Exodus, Chapter 10 to Chapter 13.17. He taught about the Egyptian plague of darkness and about the redemption of the first-born. In connection with the latter she recounted once more the whole ceremony of the Presentation of Christ in the Temple, including the following, omitted from the description given in the text:‘The Blessed Virgin did not present Our Lord in the Temple until the forty-third day after His birth. Because of the feast, she waited for three days with the good people of the inn outside the Bethlehem gate of Jerusalem. Besides the customary offering of doves, she presented to the Temple five triangular pieces of gold from the kings’ gifts, as well as several pieces of beautiful stuff for embroidery. Before leaving Bethlehem, Joseph sold to his cousin the young she-ass which he had given him in pledge on Nov. 30th. I have always thought that the she-ass, on which Jesus rode into Jerusalem on Palm Sunday, was a descendant of hers.’ (CB) Simeon remained standing with Mary before the table of offering, and the priest who stood behind it lifted the Infant Jesus from the cradle and held Him up towards the different sides of the Temple, making a long prayer the while. He then gave the Child to Simeon, who laid Him once more in Mary’s arms and prayed over her and the Child from a scroll hanging on a stand beside him. Simeon then led the Blessed Virgin back to where Anna was waiting for her in front of the railing, after which Anna took her back to the railed-off women’s enclosure. Here some twenty women were waiting to present their firstborn. Joseph and the other men were standing farther back in the place for men.

The priests at the permanent altar now began a service with incense and prayers. The priests in the seats took part in this service, making gestures, but not such violent ones as the Jews of today. At the close of this ceremony, Simeon came up to where Mary was standing, took the Infant Jesus from her into his arms, speaking long and loudly over Him in raptures of joy and thanking God that He had fulfilled His Promise. He ended with his Nunc Dimittis [ Luke 2.29-32]. After the Presentation Joseph came up, and he and Mary listened with great reverence to Simeon’s inspired words to the Blessed Virgin [ Luke 2.34]. When Simeon had finished speaking, the prophetess Anna was also filled with inspiration, and spoke long and loudly about the Infant Jesus, hailing His Mother as blessed. I saw that those who were present were greatly moved by all this, and the priests, too, seemed to hear something of what was happening; but no sort of disturbance was caused thereby. It seemed as if this loud inspired praying was nothing unusual, as if it often happened, and as if it must all be so. At the same time I saw that the hearts of all the bystanders were much moved, and all showed great reverence to the Child and His Mother. Mary was like a heavenly rose in radiance.

The Holy Family had, in appearance, made the most humble offering; but Joseph gave Anna and the aged Simeon many of the triangular yellow pieces in secret, to be used specially for poor girls who were being brought up in the Temple and could not afford the expense.

I saw the Blessed Virgin and her Child being accompanied by Anna and Noemi back to the outer court, whence they had fetched her, and there they took leave of each other. Joseph was there already with the two people from the inn; he had brought the donkey which carried Mary and the Child, and they started at once on their journey from the Temple through Jerusalem to Nazareth. I did not see the presentation of the other firstborn children that day, but I feel that they were all given a special grace, and that many of them were among the massacred Innocents.

The Presentation must have ended about nine o’clock this morning, for it was at this time that I saw the departure of the Holy Family. That day they traveled as far as Bethoron, where they spent the night at the house which had been the last stopping-place of the Blessed Virgin when she was brought to the Temple thirteen years before. The owner of this house seemed to me to be a schoolteacher. Servants sent by Anna were waiting here for them. They went to Nazareth by a much more direct road than on their way to Bethlehem, when they had avoided all towns and had only stopped at lonely houses. Joseph had left in pledge with his relations the young she ass which had shown him the way on their journey to Bethlehem, for he still intended to return to Bethlehem and build a house in the Shepherds’ Valley. He had spoken to the shepherds about it, and told them that he was taking Mary to her mother only for a time until she should have recovered from the discomfort of her lodging. With this plan in his mind, he had left a good many things with the shepherds. Joseph had a strange kind of money with him; I think he must have been given it by the three kings. Inside his robe he had a kind of pouch, in which he carried a quantity of little thin shining yellow leaves rolled up in each other. Their corners were rounded and something was scratched on them. Judas’ pieces of silver were thicker and tongue-shaped; the whole pieces were rounded at both ends and the half pieces at one end only.

1. A VIEW OF THE THREE HOLY KINGS ON THEIR JOURNEY HOME.

 

At this time I saw all three kings together again beyond a river. They had a day of rest and kept a feast. At this place there was one big house with several smaller ones. The direction taken by the kings on their way home lies between the road they followed on their journey to Bethlehem and that by which Jesus came out of Egypt in the third year of His ministry. At first they traveled very quickly, but after this resting-place their pace was much slower than when they came. I always saw a shining youth going before them and sometimes talking with them. They left Ur on the right.

2. SIMEON’S DEATH.

 

[February 3 rd:] Simeon had a wife and three sons, of whom the eldest was about forty and the youngest twenty years old. All three served in the Temple, and were later secret friends of Jesus and His followers. All became disciples of Our Lord, but at different times: before His death or after His ascension. At the Last Supper one of them prepared the Paschal Lamb for Jesus and the Apostles; but these were perhaps grandsons, not sons, of Simeon; I am not sure. Simeon’s sons did much to help the friends of Our Lord at the time of the first persecutions after the Ascension. Simeon was related to Seraphia, who was later given the name Veronica, and also, through her father, to Zechariah.

I saw that Simeon fell ill yesterday immediately on returning home after his prophecy at the Presentation of Jesus, but he spoke very joyfully with his wife and sons. Tonight I saw that today was to be the day of his death. Of the many things I saw I can only remember this much. Simeon, from the couch where he lay, spoke earnestly to his wife and children, telling them of the salvation that was come to Israel and of everything that the angel had announced to him. His joy was touching to behold. Then I saw him die peacefully and heard the quiet lamentation of his family. Many other old priests and Jews were praying round his bed. Then I saw them carry his body into another room. They placed it on a board pierced with holes, and washed it with sponges, holding a cloth over it so that its nakedness could not be seen. The water ran through the board into a copper basin placed beneath it. Then they covered the body with big green leaves, surrounded it with bunches of sweet herbs, and wrapped it in a great cloth in which it was tied up with long bandages like a child in swaddling bands. The body lay so straight and rigid that I thought the bands must have been tied right round the board.

In the evening Simeon was buried. His body was carried to the grave by six men bearing torches. It lay on a board more or less the shape of a body, but surrounded by an edge higher in the middle of its four sides and lower at the corners. The wrapped-up corpse lay on this board without any other covering. The bearers and those who followed them walked quicker than is usual at our burials. The grave was on a hill not very far from the Temple. The door of the sepulcher was set slanting against a little hill. It was walled inside with a strange kind of masonry like that which I saw St. Benedict working at in his first monastery. 145145 In a vision of the life of St. Benedict which Catherine Emmerich had on Feb. 10th, 1820, she saw amongst other things that as a boy he was shown by his teacher how to use colored stones to make all kinds of ornaments and arabesques in the sand of the garden in the manner of the old pavements. Later she saw him, when a hermit, decorating the roof of his cell or cave with a reproduction in rough mosaic of a vision of the Last Judgment. Still later she saw St. Benedict’s followers imitating and extending this form of decoration. After contemplating in its smallest details the whole history and development of his Order from its foundation, she said: ‘Because in the Benedictines the inner spirit became less active and alive than its outer shell, I saw their churches and monasteries becoming too much ornamented and decorated. I thought to myself, that comes from the picture Benedict made in his cell; it has shot up like a weed, and when once this superstructure collapses, it will strike many of them at the same time.’ (CB) The walls, like those in the Blessed Virgin’s cell in the Temple, were decorated with stars and other patterns in colored stones. The little cave in the middle of which they laid the corpse was just large enough to allow them to pass round the body. There were some other funeral customs such as laying various things beside the dead man—coins, little stones, and I think also food, but I am not sure.

3. THE ARRIVAL OF THE HOLY FAMILY AT ST. ANNE’S HOUSE.

 

In the evening I saw the Holy Family arrive at Anna’s house, which is about half an hour’s distance from Nazareth in the direction of the valley of Zabulon. There was a little family’ festival like the one when Mary left home for the Temple. A lamp was burning above the table. Joachim was dead, and I saw Anna’s second husband as master of the house. Anna’s eldest daughter, Mary Heli, was there on a visit. The donkey was unloaded, for Mary meant to stay here for some time. All were full of joy over the Infant Jesus, but it was a tranquil inner joy; I never saw any of these people giving way to very violent emotions. Some aged priests were there, and all present partook of a light meal. The women ate separately from the men, as is always the custom at meals.

I saw the Holy Family still in Anna’s house a few days later. There are several women there, Mary Heli, Anna’s eldest daughter, with her child Mary Cleophas, a woman from Elizabeth’s home, and the maidservant who was with Mary in Bethlehem. This maidservant did not wish to marry again after the death of her husband, who had not been a good man, and came to Elizabeth at Juttah, where the Blessed Virgin made her acquaintance when she visited Elizabeth before John’s birth. From here this widow came to Anna. Today I saw Joseph in Anna’s house packing many things on donkeys and going in front of the donkeys (of which there were two or three) towards Nazareth, accompanied by the maid.

I cannot remember the details of all that I saw today in Anna’s house, but I must have had a very vivid impression of it all, for while I was there I was in an intense activity of prayer, which is now hardly comprehensible to me. Before I came to Anna’s house I had been in spirit with a young married couple who supported their old mother; they are both mortally ill, and if they do not recover, the mother will perish. I know this poor family, but have had no news of them for a long time. In desperate cases like this I always invoke St. Anne, and when I was in her house today in my vision, I saw, in spite of the season of the year, and though the leaves had all fallen, many pears, plums, and other fruit hanging on the trees in her garden. When I went away I was allowed to pick these, and I took the pears to the young couple who were ill and so cured them. After that I was made to give some to many other poor people, known and unknown to me, who were restored to health by them. No doubt these fruits signified graces obtained through the intercession of St. Anne. I fear that these fruits mean much pain and suffering for me, which always comes after visions in which I pick fruit in the gardens of the saints—this has always to be paid for. Perhaps these souls are under the protection of St. Anne, and are thus entitled to fruit from the garden; or perhaps it happened because, as I have always recognized, she is a patroness in desperate cases.

4. THE WEATHER IN PALESTINE.

 

[When asked what sort of weather she saw in Palestine at this time of the year, she answered:] I always forget to mention that, because it seems to me all so natural that I always think everyone knows about it. I often see rain and mist, and sometimes a little snow, but this melts at once. I often see leafless trees with fruit still hanging on them. I see several crops in the year, and I see them beginning to harvest in our spring. Now that it is winter I see people going along the roads wrapped up, with their cloaks over their heads.

[February 6 th:] This afternoon I saw the Blessed Virgin going from Anna’s house to Joseph’s house in Nazareth. She was accompanied by her mother, who carried the Infant Jesus. It is a very pleasant walk of half an hour among hills and gardens. Anna sends provisions from her own house to Joseph and Mary in Nazareth. How beautiful is the life of the Holy Family! Mary is at once the mother and the humblest handmaid of the Holy Child and at the same time she is Joseph’s servant. Joseph is her faithful friend and humblest servant. When the Blessed Virgin rocks the Infant Jesus to and fro in her arms, how marvelous to see the all-merciful God, who made the world, allowing Himself out of His great love to be treated like a helpless little child! How dreadful in comparison the coldness and self-will of deceitful and hard-hearted men!

eu que fiz *-*

mais cupcakes aqui na galeria:

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www.flickr.com/photos/dehzarpelon/5350885248/

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“Be around positive like-minded people, and do things that you love and make you happy. Don’t try to change yourself for others or what is presented to you as beautiful by the media. Bask in your own differenze- it’s what makes you, you.”

Tara Laughton

 

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... do meu querido amigo Rogério (CARIOCANDO), que trabalhou esta minha foto do jardim da casa de Monet, de forma magnifica como soh ele sabe fazer !!! Obrigada pelo carinho amigo !!!!

Boa sexta a todos !!!

 

A foto é esta aqui : www.flickr.com/photos/21guilherme/787919585/in/photostream

Lake Geneva, Wisconsin, USA

"Surgeons' Hall in Edinburgh, Scotland, is the headquarters of the Royal College of Surgeons of Edinburgh (RCSED). It houses the Surgeons' Hall Museum, and the library and archive of the RCSED. The present Surgeons' Hall was designed by William Henry Playfair and completed in 1832, and is a category A listed building.

 

Surgeons' Hall Museum is the major medical museum in Scotland, and one of Edinburgh's many tourist attractions. The museum is recognised as a collection of national significance by the Scottish Government.

 

The museum reopened in September 2015, after being closed for an eighteen-month period of redevelopment.

 

The Royal College of Surgeons of Edinburgh was incorporated in 1505, when it received its Seal of Cause or charter and became styled as 'The Incorporation of Surgeons and Barbers of Edinburgh'. The Museum at Surgeons Hall, Edinburgh dates from 1699 when the Incorporation announced that they were making a collection of ‘natural and artificial curiosities’. and advertised for these in the first edition of a local paper, the Edinburgh Gazette. Daniel Defoe, an early visitor in 1726, wrote in his Tour thro' the whole Island of Great Britain that the 'chamber of rarities' contained many curious things too numerous for him to describe. Much of this early collection was given to the University of Edinburgh in the 1760s.

 

By the early years of the 19th Century, the Incorporation had received a Royal Charter to become the Royal College of Surgeons of Edinburgh. The College saw its primary role as the teaching of anatomy and surgery, the training of surgeons, and examination of their acquired knowledge. Anatomy and pathology specimens were crucial to that function. The museum expanded dramatically with the acquisition of two large collections. John Barclay, a successful anatomy demonstrator in the extramural school of medicine donated his collection, while Sir Charles Bell, Professor of Surgery in the University of London and latterly in the University of Edinburgh sold his collection to the museum. These collections were much too large to be housed in the original 1697 Surgeons' Hall, and so the surgeons commissioned the leading Edinburgh architect William Playfair to build the present day Surgeons Hall, which opened in 1832. At first the entire upper floor of the building was devoted to the museum collections, which were open to the public and attracted large visitor numbers. Throughout the 19th and early 20th century the collection expanded as it became customary for surgeons and pathologists to donate not only specimens which they regarded as interesting or instructive, but surgical instruments and equipment. With the great scientific and technical advances of the time, the museum began to acquire anaesthetic equipment, histology slides, X-rays and photographs.

 

Edinburgh (/ˈɛdɪnbərə/; Scots: Edinburgh; Scottish Gaelic: Dùn Èideann [ˈt̪uːn ˈeːtʲən̪ˠ]) is the capital of Scotland and one of its 32 council areas. Historically part of the county of Midlothian (interchangeably Edinburghshire before 1921), it is located in Lothian on the Firth of Forth's southern shore.

 

Recognised as the capital of Scotland since at least the 15th century, Edinburgh is the seat of the Scottish Government, the Scottish Parliament and the supreme courts of Scotland. The city's Palace of Holyroodhouse is the official residence of the monarch in Scotland. The city has long been a centre of education, particularly in the fields of medicine, Scots law, literature, philosophy, the sciences and engineering. It is the second largest financial centre in the United Kingdom (after London) and the city's historical and cultural attractions have made it the United Kingdom's second most visited tourist destination attracting 4.9 million visits including 2.4 million from overseas in 2018.

 

Edinburgh is Scotland's second most populous city and the seventh most populous in the United Kingdom. The official population estimates are 488,050 (2016) for the Locality of Edinburgh (Edinburgh pre 1975 regionalisation plus Currie and Balerno), 518,500 (2018) for the City of Edinburgh, and 1,339,380 (2014) for the city region. Edinburgh lies at the heart of the Edinburgh and South East Scotland city region comprising East Lothian, Edinburgh, Fife, Midlothian, Scottish Borders and West Lothian.

 

The city is the annual venue of the General Assembly of the Church of Scotland. It is home to national institutions such as the National Museum of Scotland, the National Library of Scotland and the Scottish National Gallery. The University of Edinburgh, founded in 1582 and now one of four in the city, is placed 20th in the QS World University Rankings for 2020. The city is also known for the Edinburgh International Festival and the Fringe, the latter being the world's largest annual international arts festival. Historic sites in Edinburgh include Edinburgh Castle, the Palace of Holyroodhouse, the churches of St. Giles, Greyfriars and the Canongate, and the extensive Georgian New Town built in the 18th/19th centuries. Edinburgh's Old Town and New Town together are listed as a UNESCO World Heritage site, which has been managed by Edinburgh World Heritage since 1999." - info from Wikipedia.

 

Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.

 

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For a Christmas present I took on the job of restoring my mothers old photo album which was falling apart and many of the photos were damaged and torn. I bought a new album the sort where you just have plain pages and stuck all the photos back in using sticky corners .I much prefer this style of album to the ones with the clear film that goes over the photos . The ones that were really damaged I scanned then photoshopped as much as I could . Also collected some photos from other members of the family that would be a surprise for her to discover some new old photos . I think something else that I had in mind was that we don't really own these pictures, we just look after them for future generations and its our responsibility to keep them in good order.

 

It was a real labour of love and took several weeks to complete with a few solid days towards the end to get it finished in time . A lot of work but all worth it to see the look on her face as she thumbed carefully through the new album enjoying every page.

 

This is one of the pictures she had previously never seen before and one of my favourites . Its of her mother who is the central girl in the photo enjoying a swim with friends on Brighton beach .

This is a nice book giving a potted history of looks through the last century. it has a great section on the 20s,30s and 40s

 

So I might have some period looks going on in the new year,

This is a photo of the new Bull's Garage after the original site was demolished due to the opening of RAF Swinderby.

A pub was demolished to make way for this garage which in the present day is the A46 Lincoln to Newark road.

I don't know how long the garage operated under the name Bull's Garage as in later years this became more of a service station between the two locations.

In 1989 this was a Heron filling station, later selling Elf before it closed around 1994 and was decomissioned.

The buildings still stand in the present day and has been home to a plumbing & heating company for some time.

In the early 2000's this road was made dual carriageway.

The site in the present day

www.google.com/maps/place/Green+Ln,+Lincoln/@53.1465521,-...

Thanks to Geoff Lloyd for permission to reproduce this photo.

Paul Farrows photo from 1989 as well as a recent photo from me are in the comments below.

 

present for me from FAROUK (mustazz' de gomm') www.flickr.com/photos/60076919@N03

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