Ursinho com presente

Bolachas Decoradas Natal 2009 (coleção 1)

www.veramadeira.blogspot.com

Also got a Lego kit for three items including a rangefinder camera not unlike a Leica.

... présenté au musée Stella Matutina, Saint-Leu.

 

Ce type d'autocar apparaît à la Réunion dans les années 1920. Il est constitué d'un châssis de camion importé de métropole, la carrosserie construite localement est réduite à sa plus simple expression : un capot pour recouvrir le moteur, des ailes sur le devant et un toit à impériale pour recevoir les bagages, sacs postaux et marchandises diverses. L'absence de carrosserie sue les côtés expose les passagers à tous les vents. Une bâche est déroulée en cas de pluie et les plonge alors dans une obscurité totale. Des banquettes en bois d'un seul tenant obligent le receveur à des acrobaties sur le marchepied latéral.

 

This type of coach appeared in Réunion in the 1920s. It consisted of a truck chassis imported from mainland France, with the locally built body reduced to its simplest form: a hood to cover the engine, fenders at the front, and an open-top roof to carry luggage, mailbags, and other goods. The lack of side panels left passengers exposed to the elements. A tarpaulin was unfurled in case of rain, plunging them into total darkness. The one-piece wooden benches forced the conductor to perform acrobatics on the side step.

+++ DISCLAIMER +++

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

  

Some background:

The AMD Mystère S represents one of the many evolutionary steps in French 2nd generation jet fighter aircraft design, which began with the straight-wing Dassault Ouragan and progressed through the Mystère II/III and Mystère IV to the supersonic Super Mystère SM2B. Internally designated AMD 461 and originally called the Mystère X (Roman numeral “10”, not the letter “X”), the new aircraft was the attempt to improve the successful Mystère IV from 1953 in many respects, following Marcel Dassaults strategy to take small, evolutionary steps instead of radical quantum leaps. While the overall outlines were similar and followed the proven layout of the former Dassault jet fighters, the AMD 461 was a completely new design, though.

 

First of all, the machine was from the start designed around the indigenous axial-flow Atar 101 jet engine, since it had become obvious that the former radial-flow engines used in Dassault’s fighters, like the Rolls-Royce Tay and its French-built version, the Hispano-Suiza Verdon 350, did not offer the potential for sustained supersonic performance in level flight. As a result, the fuselage became thinner and the aircraft had a less tubby look. Furthermore, in order to achieve the ambitious performance goals, a new wing was devised, and it incorporated leading edges made from novel composite materials. The wing shape was more complex than previous AMD designs: unlike the simple trapezoid Mystère II and IV wing designs, the AMD 461’s wings had kinked wing leading edges at about half span, so that the wing root sections were extended forward and had a slightly stronger sweep than the outer wing sections (47° vs. 45°), resulting in a crescent planform with rounded tips. Dogteeth at the kinks’ position increased the wings’ critical Mach number, augmented by small boundary layer fences. A novelty were power-operated ailerons. The tail surfaces were swept, too, and featured a variable-incidence tail plane.

 

The Mystère IV’s circular nose air intake arrangement was retained, but the intake received a sharper lip for better aerodynamic efficiency at high speed. The intake ducts were split deeper down inside of the fuselage, flanking the cockpit and the weapon bay behind it (see below) on both sides. The small ranging radar, originally developed for the upgraded Mystère IVB (which never made it into series production due to a fatal prototype crash and the progress of AMD’s other supersonic projects), was relocated and now mounted on top of the intake section, reminiscent of the F-86’s arrangement. A gun camera was placed outside of the intake in a small fairing on the starboard side. Two pitots under the air intake (one main and a secondary sensor) replaced the Mystère IV’s single wing-mounted sensor boom.

 

Being a classic “gunfighter”, the AMD 461’s main armament comprised a pair of 30mm DEFA cannon in the lower front fuselage, taken over from the Mystère IV, and a retractable Type 103 pannier for 45 unguided MATRA missiles against air or ground targets behind the front wheel well. Four underwing hardpoints could carry a total payload of 1.500 kg (3.300 lb), including a pair of supersonic 625 l drop tanks on the inner pair of pylons. A typical fighter weapon were lightweight Matra Type 116M launchers, each with 19 unguided SNEB-68 air-to-air rockets. Up to four could be carried under the wings. In a secondary attack/fighter bomber role, bombs of various caliber (up to 500 kg/1.100 lb on the inner and 250 kg/550 lb on the outer hardpoints) and other unguided missiles/pods were possible, too.

 

The first Mystère X prototype was powered by the Atar 101D with 29,420 N (6,610 lbf) of thrust, and it flew successfully in June 1953. However, due to the lack of an afterburner at this stage, the machine could only become supersonic in a dive, just like the former Mystère fighters, and it offered in this guise only minimal performance improvements – even though the handling near Mach 1 was already noticeably better. The initial flight test program was successful, though, and the Armée de l’Air immediately placed an order for 100 Mystère X aircraft, intended to improve the Armée de l’Air’s interception capabilities as soon as possible. Serial production started instantaneously, even while the flight tests were still ongoing, and the production machines were powered by the newly developed Atar 101F, which had just been cleared for production and operation on the Mystère X prototype. The Atar 101F was basically a D model with an afterburner added to it, to produce a temporary thrust of 37,300 N (8,400 lbf) and ensure the desired top speed in level flight of more than Mach 1. As a result, the Mystère X’s tail section had to be modified to accommodate the new engine’s longer tailpipe, which did not feature an adjustable nozzle yet – it was simply extended beyond the fin’s trailing edge, and even then the longer jet pipe protruded from the hull. However, this modification was successful and incorporated into the serial aircraft. With the Atar 101F, the serial production Mystère X’s performance was appreciably improved: beyond supersonic top speed, initial rate of climb was almost doubled in comparison with the Mystère IV, but the thirsty afterburner engine almost nullified any gain in range from the new type’s higher internal fuel capacity. Drop tanks had to be carried almost all the time.

 

The quick (if not hastened) order for the Mystère X also served as an insurance policy in the event of the AMD effort failing to produce an even more capable supersonic aircraft with the Mystère XX, a project that had been under development as a private venture in parallel, but with a time lag of about two years and benefitting from the research that had been done for the AMD 461. However, both designs turned out to be successful and both were adopted for service. They became known to the public as the Mystère S (for ‘supersonique’) and the Super Mystère, respectively. The first Super Mystère prototype, powered by a Rolls-Royce Avon RA.7R, took to the air on 2 March 1955, and the promising aircraft already broke the sound barrier in level flight the following day. The Super Mystère turned out to be the more capable and modern aircraft thanks to its new, more powerful Atar 109G-2 engine.

 

The more capable Super Mystère was immediately favored and, as a consequence, the running Mystère S order was cancelled in May 1955 and its initial production run limited to a mere 54 airframes - the number that had been completed until that point. The Super Mystère became the Armée de l’Air’s standard fighter for the late Fifties and production was quickly switched to the new type, 180 specimen were eventually built. Since a mix of types in the operational fighter squadrons was not economical, the Armée de l’Air decided to separate them and find a different role for the young but relatively small Mystère S fleet. Since the aircraft had a rugged airframe and had shown very good handling characteristics at medium to low altitude, and because the Armée de l’Air was lacking a fast, tactical and indigenous reconnaissance aircraft at that time (the standard type was the RF-84F), the Armée de l’Air decided in 1956 to convert the Mystère S fighters accordingly.

 

This modification was a relatively easy task: The retractable missile pannier (which was hardly ever used) was removed and its well behind the cockpit offered sufficient internal space for optical reconnaissance equipment in a conditioned compartment. This comprised four OMERA cameras (less than the RF-84F’s six cameras), covered by a ventral canoe fairing. One camera was facing forward, two were set on mounts that allowed vertical photography or camera orientation to either port or starboard, and the fourth camera had a panoramic field of view. After these modifications, the machines were re-designated Mystère SR to reflect their new role and capabilities.

 

Initially, the converted machines retained the twin DEFA cannon armament and full external stores capability. Typical load in the new photo-recce role was the standard pair of drop tanks, plus optional flares for night photography. In this guise the Mystère SR fleet was distributed among two reconnaissance units, ER 2/33 “Savoie” and ER 3/33 “Moselle” in Eastern France, close to the German border, starting service in April 1957.

Later in their career, the Mystère SR’s guns and also the ranging radar equipment (even though the empty small radome was retained) were often removed. This was initially a weight-saving measure for better performance, but due to their short legs many Mystère SRs had extra fuel tanks added to the former gun and ammunition bays. In some cases the space was used to house additional mission equipment, the aircrafts’ designation did not change, though. The integration of the new Matra R.550 Magic AAM was considered briefly in 1970, but not deemed relevant for the Mystère SR’s mission profile. However, eight late-production Mystère SRs received a new, bigger panoramic OMERA camera, which necessitated a larger ventral fairing and some other internal changes. These machines were re-designated Mystère SRP (‘panoramique’). Another early Mystère SR was used for the development of indigenous infra-red linescan and side looking airborne radar systems, which were both later incorporated in an under-fuselage pod for the Mirage IIIR.

 

Having become quickly obsolete through the introduction of 3rd generation jet fighters in the early Sixties – namely the Mirage III – the Mystère SR’s active career only lasted a mere 10 years, and the Mirage III’s fighter variants quickly replaced the Super Mystère, too. Due to its many limitations, the Mystère SR was soon replaced by the Mirage IIIR reconnaissance version, by 1974 all aircraft had been retired. Another reason for this early operational end were durability problems with the composite elements on the aircraft’s wings – there had been no long-term experience with the new material, but the elements tended to become brittle and collapse under stress or upon bird strikes. AMD conceived a plan to replace the affected panels with light metal sheets, but this update, which would have prolonged service life for 10 more years, was not carried out. After spending 5 years in mothballed storage, all surviving Mystère SR airframes were scrapped between 1980 and 1981.

  

General characteristics:

Crew: 1

Length: 42 ft 3 in (12.88 m) overall

42 ft 3 in (12.88 m) w/o pitots

Wingspan: 32 ft 4 in (9.86 m)

Height: 3.75 m (12 ft 4 in)

Wing area: 345.5 sq ft (32.2 m²)

Empty weight: 13,435 lb (6,094 kg)

Gross weight: 21,673 lb (9,831 kg)

Fuel capacity: 3,540 l (778 imp gal; 934 US gal) internally

plus 2x 625 l (72 imp gal; 165 US gal) drop tanks

 

Powerplant:

1× Atar 101F turbojet, rated at 29.42 kN (6,610 lbf) dry thrust

and with 37.3 kN (8,400 lbf) with afterburner

 

Performance:

Maximum speed: 1,110 km/h (600 kn, 690 mph) at sea level

1,180 km/h (637 kn 732 mph,) at 11,000 m (36,089 ft)

Combat range: 915 km (494  nmi, 570 mi) with internal fuel only

Maximum range: 1,175 km (730 mi, 634 nmi)

Service ceiling: 45,800 ft (14,000 m)

Rate of climb: 14,660 ft/min (74.5 m/s)

Time to altitude: 40,000 ft (12,000 m) in 4 minutes 41 seconds

 

Armament:

2x 30mm (1.18 in) DEFA 552 cannon with 150 rounds per gun (later frequently deleted)

Four underwing hardpoints for 1.500 kg (3.300 lb) of ordnance,

including a pair of 625 liter drop tanks, flares and various unguided missiles and iron bombs

  

The kit and its assembly:

A project I had on my idea list for a long time – there were so many AMD jet fighter designs (both that entered service but also many paper projects and prototypes) during the Fifties and Sixties that I wondered if I could smuggle a what-if type somewhere into the lineage. A potential basis appeared when I recognized that the British Supermarine Swift had a fuselage shape quite similar to the contemporary French fighters, and from this impression the idea was born to “Frenchize” a Swift.

 

This called for a kitbash, and I used a Matchbox Mystère IV (Revell re-boxing) for the French donor elements that would be grafted onto an Xtrakit FR.5 model, which looks good in the box but has serious fit issues, e.g. between the rear fuselage halves or when the wings have to be mated with the completed fuselage.

The transplantations from the rather primitive/blunt Matchbox Mystère included the whole cockpit section except for the interior, which was taken from the in this respect much better Swift, the glazing, the spine and the whole tail with fin and stabilizers. The Swift provided most of the fuselage, the wings and the landing gear, even though I used the Mystère’s main wheels because of their characteristic hub caps/brake arrangement.

Mating the fuselage sections from the two models became a major stunt, though, because the diameters and shapes were rather different. Three-dimensional gaps and steps behihd the cockpit had to be bridged, initially with 2C putty for the rough overall shape and then with NC putty for a smooth finish. A gap in the spine in front of the fin had to be improvised/filled, too, and the Mystère’s fin had to be tailored to the different Swift rear fuselage shape, too.

The result looks a little odd, though, the Swift’s original air intake ducts now look from certain angles like hamster cheeks – but after all, the ducts have to pass the central cockpit section on both sides somehow, so that the arrangement makes nonetheless sense. And the small dorsal spine taken over from the Mystère changes the Swift’s profile considerably, as well as the shorter Dassault-style canopy.

 

The small ranging radar radome is just a piece of sprue from the Mystère kit, blended into the rest of the fuselage with putty. The interior of the air intake was heavily modified – the original splitter, positioned directly inside of the intake, was deleted and the walls trimmed down for a much thinner/sharper lip. Inside of the intake a bulkhead was added as a sight blocker, and a new splitter was mounted to the new bulkhead in a much deeper position. The gun camera fairing is a piece of styrene profile, the new twin pitots (reminiscent of the SM2B’s arrangement) were made from heated sprue material.

The camera fairing is the lower half from a P-47 drop tank, left over from a Hobby Boss kit, IIRC, and in order to fit the Swift’s cockpit tub into the Mystère’s fuselage the rear bulkhead had to be re-created with the help of paper tissue drenched with white glue.

The drop tanks come from a KP MiG-19, which had the benefit of integral, thin pylons at a suitable position for the Mystère SR. For a different look I just canted their fins downwards.

  

Painting and markings:

For a subtle impression I settled for an authentic livery: the French rendition of the USAF SEA scheme for the F-100 with local CELOMER tones, which was not only applied to the Armée de l’Air’s F-100s (these were originally delivered in NMF and camouflaged later in the Sixties), but also to the Super Mystères - the SM2Bs actually carried a quite faithful adaptation of the USAF’s F-100 pattern! However, the indigenous CELOMER paints differed from the original U.S. Federal Standard tones (FS 30219, 34102, 34079 and 36622, respectively), esp. the reddish light tan was more of an earth tone, and the dark green had a more bluish hue.

 

This offered some freedom – even more so because real life pictures of French reference aircraft show a wide range of shades of these basic tones and frequent serious weathering. Instead of the U.S. tan I went for RAF Dark Earth (Humbrol 29), the dark Forest Green was replaced with Humbrol 75 (Bronze Green). The light green became a 2:1 mix of Humbrol 117 (the original FS 34102) with Humbrol 78 (RAF Cockpit Green), for more contrast and less yellow in the tone. The undersides were painted with Humbrol 166 (RAF Light Aircraft Grey).

After a black ink wash I gave the model a thorough panel post-shading and recreated some lost panel lines with the help of silver paint, too. I also added some paint patches and touch-ups, for a rather worn look of the aircraft.

The black areas around the gun muzzles were created with the help of decal material, generic black decal sheet material was also used to create the camera windows. Grey (Revell 75) dielectric panels were added to the fin tip and behind the cockpit. The cockpit interior became very dark grey (Revell 09, Anthracite, with some dry-painted medium grey on top), while the landing gear and the respective wells were left in aluminum (Humbrol 56).

 

The decals are a mix from various sources. The ER 2/33 markings came from a Heller Mirage III sheet, which offers an optional IIIR from 1984. I also settled for relatively small roundels (from a Mirage F.1C) – a trend which started in the Armée de l’Air in the early Seventies and also comprised the deletion of the fin flash. Contemporary real world SM2Bs with the French SEA cammo frequently carried a similar type of subdued markings instead of earlier, bigger roundels found on the machines in NMF finish or on the aircraft from EC 1/12 "Cambresis" with their unique and different camouflage in two shades of green and a rather sandy tan, almost like a desert paint scheme. The white tactical code “33-PS” was improvised with single 4mm letters from TL Modellbau. The stencils were puzzled together from various Mirage III/V/F.1C sheets and also from an IAI Kfir.

 

The kit received some additional dry-painting with silver to simulate more wear, and was finally sealed with a coat of matt acrylic varnish.

  

Another “missing link” build, but I think that my Mystère S fits stylistically well into the (non-existent, though) gap between the Mystère IV and the Super Mystère, sporting vintage details like the round air intake but coupled with highly swept wings and the Swift’s elegant lines. The “traditional” French paint scheme adds to the realism - and, when put in the right background/landscape context, turns out to be very effective. Not a spectacular model, despite serious body work around the cockpit, but a convincing result.

Galton Bridge present, from about the same spot as No. 25057 (see previous picture) had been observed some twenty seven years earlier. The station, whose high level platforms serve the Jewellery Line and low level platforms the electrified Stour Valley Line, opened in 1995 when the line from Birmingham Snow Hill to Galton Junction, utilising the trackbed to the closed Great Western main line, as re-instated. After a wet day, as evidenced by the platform puddles and passengers all gathered beneath the platform canopy, the sun finally broke through in time to greet the arrival of Tyseley-based 'Castle' No. 5043 'Earl of Mount Edgcumbe' heading the return Vintage Trains 'Cotswold Explorer' charter, 1Z54 1526 Oxford - Worcester Shrub Hill - Tyseley Warwick Road. Trees now obscure any view of the low level Stour Valley Line, although its position can be easily determined by the bridge girder situated beneath the tracks (to the left of the first coach), which is the very same as can be seen at the rear of the train in the previous picture. There is one other notable change, as the two tower blocks which dominate the 1986 view have now been demolished. Copyright Photograph John Whitehouse - all rights reserved

Ceres Tours 818 first maiden trip ...

 

Location: CSBT

Tinha comentado que o Delírio Rosa tinha dado uma amassadinha, né? Pois é... Já que era pra passar um top coat, resolvi dar um up carimbando. E aproveitando o clima barbie, usei estampas de coisas que meninas gostam: borboletas, sapatos de salto alto, esmaltes, laços e batons.

 

Para o up, usei:

 

- esmalte preto Black, da Ellen Gold, pra carimbar

- estampa de borboletas, da placona 01, da Apipila

- estampa de sapatos de salto alto, da placona 01, da Apipila

- estampa de esmaltes, da placona 01, da Apipila

- estampa de laços, da placona 01, da Apipila

- estampa de batons, da placona 01, da Apipila

- 01 camada do top coat 0.60 Speedy, da Color Club

 

A estampa de borboletinha não apareceu pq a unha do meu dedão está uma vergonha! Quebrou mto mto mto mto no taloooooooo! :´(

Não sei se gostei... Ou não... Sei que ficou bem coisa de menina mesmo! *o*

 

Presented by Carlton Hobbs LLC, of Tuxedo Park NY

at The Fall Show 2023

Fort Mason Center

San Francisco, California

Disfrutando de la Rumba al estilo Party Rock en El Tigre

 

تسلميين ي مآمآ ع آلهديآ,, فديتج وآلله , مآ تقصرين

ربي يحفظج لنآ وعسسى آلله يطول بعمرج ي آلغآلية

..

آلنويز مقصود طبعآ بآلمعآلجة

آحسس آني آول مره آعآلج آلصور جي

وش رآيكم..؟

Digital camera

+++ 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:

Following good performance from the pioneering diesel-hydraulic locomotive the DB Class V 80, the Deutsche Bundesbahn planned in 1953 to build several types of new diesel locomotive, primarily to replace steam powered locomotives.These were: V 60, and V 65, both shunters, the V 65.2, also for shunting as well as light freight trains, the heavy DB Class V 200, for express passenger trains, and the universal V 160 for both freight and passenger work on the main network.

 

The new V 160 class was a central piece in this line-up, because it would replace important steam-powered engines such as the BR 03, BR 23, BR 38.10 (former Prussian P 8 class), BR 39 (ex P 10), BR 50, BR 57 (ex G 10) and BR 78 (ex T 18). Steam heating for passenger coaches was necessary, and a top speed of 120 km/h was specified. Initially, a 1,600 hp powerplant, consisting of two engines of the same type as in the light V 80 was planned, the first newly developed diesel locomotive built for main line service by the Deutsche Bundesbahn (but only built in 10 examples). This dual engine arrangement had already been successfully introduced in the heavy V 200, which was initially powered by two 1,000 hp diesel engines. However, it was soon realized, that, if a single, high-powered engine could be used, weight, complexity and therefore maintenance and other costs would be considerably reduced. The V 160’s design was modified accordingly and a single MTU V16 four-stroke diesel engine was chosen. Both two-axle bogies were powered via drive shafts from a two speed hydraulic drive from Voith, which offered a compromise between the requested high speed for light passenger trains and the alternative reduced second gear with lower top speed, but much higher torque, for freight train service. Gears could only be switched when the locomotive was standing still, though.

 

In the spring of 1956, V 160 development began at Krupp. Welded steel components along with other lightweight materials were used to keep the axle load well below 20t, so that the V 160 could be safely operated on secondary lines. However, in the main production series of locomotives, some of the lighter weight welded construction was abandoned in favor of less expensively produced components - leading to an increase in axle weight from ~18.5 to ~20t, which was still acceptable but lowered overall production costs. This was furthermore not regarded as a major problem since the DB perspectively started to abandon branch lines, switching to more economical diesel multiple units or giving them up altogether towards the Seventies.

 

The first V 160 unit was delivered on 6 August 1960, with eight more following by 1962 from both Krupp and Henschel. These prototype units, due to their rounded, “busty” front end, were later to become unusual amongst the entire V 160 family and earned them the nickname “Lollo” (in allusion to Gina Lollobrigida). A final prototype V 160 010, the tenth, was manufactured by Henschel in 1963 and the first to feature the serial locomotives’ angled front end, which was inspired by the design of the super-heavy V 320 Henschel prototype.

 

Despite the single main engine, the V 160 was still a complex locomotive. In addition to the main engine, the V 160 featured a small, independent auxiliary diesel engine, driving a generator providing the 110 V electrical supply for lighting as well as driving an electric air compressor for the brakes. The steam heating apparatus, sourced from Hagenuk and powered by fuel oil, took up one end of the locomotive, between the engine and drivers cabin. It had the capacity to satisfactorily heat 10 coaches when the outside temperature was -10°C. For passenger train service, most V 160 locomotives were also equipped for push-pull operation, as well as for multiple working, controlled via a 36 pin control cable and respective sockets on the locomotives front ends.

 

The prototypes performed well, and volume production began, numbers V 160 011 to V 160 224 being built between 1964 and 1968 by Krupp, Henschel, KHD, Krauss-Maffei and MaK. The first V 160/216 locomotives entered service on the Hamburg to Lübeck line, working push-pull double decked passenger trains, replacing the BR 38.10 and BR 78 steam engines. The engines were also used on freight workings as well. On push-pull passenger working, the locomotives were sometimes found in the middle of the train - which facilitated easier separation of carriages en route.

 

By the time the 156th example was under completion, the Deutsche Bundesbahn changed its numbering system. From then on, the V 160 class were re-designated as Class (Baureihe = BR) 216, with the individual unit numbering continuing as before. Over the next decade, because of changing requirements – mostly in terms of increased power, speed as well as the requirement for electrical passenger heating – a number of related classes sprang up, the BR 210, 215, 217, 218 and 219. Although some were a little longer and carried additional components (e.g. an auxiliary jet engine), all of them were essentially based on the original V 160 and more than 800 machines of all types were eventually built.

 

Since the 1990s, the Bundesbahn’s BR 216 locomotives scope of work started to shift more on freight than on passenger trains because of the lack of steam-heated passenger stock. From 2000 onwards, the Deutsche Bahn AG’s BR 216 fleet was phased out, with the last locomotive being decommissioned in 2004.

Several locomotives were sold to private operators like rail construction companies and remained in frequent use, and some retired BR 216s were re-built and offered for sale, too. The first in the series of rebuilt Class 216s was called type “DH 1504” and created in 1998 by the firm 'On Rail'. Despite only little external changes, the result was an almost completely new locomotive, only the transmission, bogies and frame were saved from the original locomotive. The original V16 diesel engine with 1,370 kW (1.900 hp), was replaced with a lighter but more powerful 1500 kW (2,085 hp) V12 four-stroke diesel engine, also from MTU. On customer demand, a new electric Webasto heating system could be installed instead of the original steam heating system, making the DH 1504 capable of operating modern passenger trains, and for this purpose the units were also fitted for multiple working as well as for remote control operation (e.g. for shunting). Another option was additional ballast, so that the axle load could be kept at 20 tons for better traction. Otherwise, 18 t axle load was standard for the revamped DH 1504.

 

Since 1998, 6 of these locomotives were re-built for private operators in Germany. By late 2019, three DH 1504 locomotives were in the use of the Osthannoversche Eisenbahnen (OHE), two work for the Niederrheinische Verkehrsbetriebe (NIAG) and one for the Mindener Kreisbahnen (MKB). However, the biggest sales success for OnRail’s modernized BR 216 was the export to Poland, where the PKP (Polskie Koleje Państwowe, Polish State Railways). After its privatization in 2001, the PKP was looking for a low-cost replacement for its last ST-43 Class diesel electric freight locomotives of Romanian origin, which dated back to the 1960ies. Twenty DH 1504 locomotives for mixed duties were built by OnRail between 2001 and 2005 and entered PKP service as Class SU-29 (spalinowa uniwersalna = mixed-traffic diesel locomotive with hydraulic transmission and multiple-unit control). Their initial primary field of duty was the cross-border freight traffic on the east-west relation on the PKP “Polskie line Kolejowe”, the so-called “Niederschlesische Gütermagistrale”. Since 2005, this route had been expanded, electrified and became double-railed, so that the SU-29s gradually took over more and more passenger train duties on non-electrified major lines. The SU-29 machines are expected to remain in PKP service beyond 2030.

  

General characteristics:

Gauge: 1,435 mm (4 ft 8½ in) standard gauge

UIC axle arrangement: B´B´

Overall length: 16,800 mm (52 ft 57⁄8 in)

Pivot distance: 8,600 mm

Bogie distance: 2,800 mm

Wheel diameter (when new): 1000 mm

Fuel supply: 3,800 l

Service weight: 80 t

 

Engine:

MTU 4000R20 V12diesel engine with 1500 kW (2,085 hp) at 1,800 RPM

 

Gearbox:

Voith L821rs 2-speed gearbox

 

Performance:

Maximum speed: 120 km/h (75 mph) or 80 km/h (50 mph)

Torque: 235,2 kN

 

The kit and its assembly:

Well, this is a rather unusual what-if “build”, since this not a model kit as such but rather the conversion of a readymade H0 gauge model railway locomotive for the “Back into service” group build at whatifmodelers.com in late 2019.

 

The inspiration was not original, though: some time ago I stumbled across a gift set from the former East-German manufacturer Piko, apparently for the Polish market. It contained a set of double deck passenger wagons, and a (highly simplified, toy-like) German BR 216 in PKP markings. It was called SU-29 and carried a very crude and garish green livery with yellow front ends – inspired by real world PKP diesel locomotives, but… wrong. I found this so bizarre that it stuck in my mind. When I dug a little further, my surprise even grew when I found out that there were other national adaptations of this simple Piko BR 216 (e .g. for Denmark) and that Piko’s competitor Roco offered a similar BR 215 in PKP colors, too! This time, the fictional locomotive was designated SU-47 (which cannot be since this would indicate a locomotive with electric power transmission – poor job!), and it also wore a bright green livery with yellow front markings. Bizarre… And the PKP does NOT operate any BR 216 at all?!

 

However, with the GB topic in mind, I decided to create my own interpretation of this interesting topic – apparently, there’s a market for whiffy model locomotives? The basis became a 2nd hand Märklin 3075 (a BR 216 in the original red DB livery), not a big investment since this is a very common item.

In order to easy painting, the locomotive was disassembled into its major sections and the body stripped of any paint in a one-week bath in oven cleaner foam, a very mild and effective method.

 

The heavy metal chassis was not modified, it just received a visual update (see below).

 

The upper body underwent some cosmetic surgery, though, but nothing dramatic or structural, since the DH 1504 described above only differs in minor external details from the original BR 216. I decided to modify the front ends, especially the lights: Locomotives in PKP service tend to have VERY large lamps, and I tried to incorporate this characteristic feature through masks that were added over the original light conductors, scratched from styrene tube material.

In the course of this facial surgery, the molded handles at the lower front corners were lost. They were later replaced with three-dimensional silver wire, mounted into small holes that were drilled into the hull at the appropriate positions. Fiddly stuff, but I think the effort was worth it.

 

The original vent grills between the lower lamps were sanded away and covers for the multiple working cable adapters on the front ends added – scratched with small styrene profile bits.

For a cleaner, modern look, I removed the original decorative aluminum profile frame around the upper row of cooling louvers. The roof was modified, too: beyond the bigger headlight fairing, the exhaust for the auxiliary diesel engine was removed, as well as the chimney for the old steam heating system. The diesel engine’s exhaust pipes were lengthened (inspired by similar devices carried by DB BR 218), so that the fumes would be deviated away from the locomotive’s hull and the following wagons. Horns and a blade antenna for each driver’s cabin were added, too.

  

Painting and markings:

Both Piko and Roco V 160s in PKP markings look garish – righteously, though, since PKP locomotives used to carry for many years very striking colors, primarily a dark green body with a light green/teal contrast area on the flanks and yellow quick recognition front markings. However, I did not find any of the two model designs convincing, since they rather looked like a simple toy (Piko) or just wrong (Roco, with a surreal grass green contrast tone instead of the pale teal).

 

I rather went for something inspired by real world locomotives, like the PKP’s SU- and SP-45s. The basic design is an upper body with a dark green base (Humbrol 76, Uniform Green) and a pale green-grey area around the upper row of louvres (an individual mix of Humbrol 96 and 78). The kink under the front windows was used for waterline reference, the front section under the windows (in the dark green base) was painted in bright yellow (Humbrol 69) as a high-viz contrast, a typical feature of PKP locomotives. The chassis received a grey-green frame (somewhat visually stretching the locomotive) with bright red (Humbrol 19) headstocks, a nice color contrast to the green body and the yellow bib.

Silver 1.5mm decal stripes (TL Modellbau) were used to create a thin cheatline along and around the whole lower section. At some time I considered another cheatline between the light and dark green, but eventually ignored this idea because it would have looked too retro. The locomotive’s roof became medium grey (Revell 47).

 

The running gear and the tanks between the bogies were painted in very dark grey (Humbrol 67, similar to the original DB livery in RAL 7021) and weathered with a light black ink wash, some thinned Burnt Umbra (simulating dust and rust) plus some light dry-brushing with dark grey that emphasized the surface details. This used look was also taken to the upper body of the locomotive with watercolours (Grey, Black and some Sienna and Burnt Umbra) for a more natural look of daily service – rather subtle, and I emphasized the louvres, esp. on the light background, where they tended to disappear.

 

Individual markings consist of single decal letters in silver and white in various sizes (also TL Modellbau) for the locomotive’s registration code as well as of H0 scale catenary warnings from Nothaft Hobbybedarf, plus some generic stencils from various model decal sheets (incl. Cyrillic stencils from an 1:72 MiG-21 decal sheet…).

 

For a uniform finish I gave the locomotive an overall coat of matt acrylic varnish from the rattle can – it still has a slightly sheen finish and matches well the look of Märklin’s standard rolling stock.

  

A different kind of what-if project, but this has not been my first H0 scale locomotive conversion. The fictional PKP SU-29 looks a bit weird, with the garish paint scheme and the oversized headlights, but this strangeness makes this model IMHO quite convincing. The model is fully functional, even the light works well in the enlarged headlight fairings. Maybe I’ll sell it, since I do not have the appropriate model railway set at hand to effectively use it (which is also the reason for the rather limited scope of pictures of the finished item). And I am curious what people might be willing to pay for such a unique, fictional item?

 

Dr Martens for school

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A BNSF ES44C4 leads eastbound train V-CLOMDO1-13W past the old Texaco Petrified Wood gas station in Decatur, Texas on a sunny March 15, 2017.

IR HDR. IR converted Canon 40D (Lifepixel.com) . Canon 17-55 F2.8 IS lens. Shot at ISO 100, F8, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE.

 

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

Photomatix Pro

PTGui

 

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

 

Few ways exist that could be better to celebrate than surrounded by this. Mother Nature was there to tell me: "Good morning, welcome, happy birthday to you, Bren".

experimenting on a new technique - INSECT MACRO HDR!

Salt Lake City, Utah, USA

Model Chelly

Fledermaus didn't understand the lyrics.

vue d'ensemble

More Info: Beyond Present Knowledge

A personal project: Seascape Photo Collection

Tempo de Natal.... tempo de presentear com amor....

The present building is made from blue lias and hamstone and dates from the 14th century, although restorations and alterations have taken place. It is built in the perpendicular style. At the time of the dissolution, Drayton was held, with Thorney & Midelney Manor, by the Abbot of Muchelney.

The two windows in the Lady Chapel depict Our Lady with scenes of local arts & crafts and were designed by Martin Travers, who also designed the rood figures and candelabra. In the north aisle, facing west is a window, said to be original from about 1350. The rest of the stained glass is mostly Victorian. As well as scenes depicting Christ in Glory, the Nativity, the Last Supper and Christ, the Light of the World, there are emblems of St Catherine (wheel) and St Peter & St Paul (cross keys and sword of the Abbey), and the diocesan badge of St Andrew.

The panelled chancel arch, with canopied niches is 15th century. The pulpit is open with vigorous carvings of the wild beasts of the Evangelists. The pulpit, lectern and tower screen are oak, and made from oak taken for the tower. The carpenter was from the local village of Norton sub Hamdon. The tower contains eight bells and has been said to be ‘the sweetest peal in Somerset’. The bells are regularly rung for Sunday services and weddings. The ringers can be seen from the inside of the church where a ringing chamber is a glass fronted tower balcony.

A number of the appointments in the church were the gift of the Trevillion family who still live in Midelney Manor.

Outside the ancient cross is 15th century and two giant yews, which are mentioned in the Doomsday book, were grown to provide bows for soldiers. They are said to be among the oldest in the diocese. The church is dedicated to St Catherine, who is said to be patroness of Philosophers and Preachers. She was tortured by being splayed on a wheel and finally beheaded. The firework ‘Catherine Wheels’ are named after her. At certain times of year, the altar fontal depicts a spoked wheel, her symbol.

What you have on your slides should just be the tip of the iceberg.

Tigelinha fofa e biscoitinhos recheados deliciosos!!! Hummmmmmmmmmm...

Receber amigas em casa, ter um sábado supimpa e ainda ganhar coisinhas necessárias e lindas, não tem preço! Quem tem amiga, não fica sem! Obrigada, @alexandramatsu ! Agora eu tenho, lálálá🎶🎵 @katiaemanias e @camisjufaria adoooorei o nosso sá

Photo StéphanLouisMarie

 

ce soir

le soleil

s'est couché

sur le bras tendu

de l'Enfant Roi

c'est Joujouille

qu'il offrait

au monde

Joujouille rouge

de désir

flamboyant

dans l'azur

de l'espoir

 

carolll

This lady is one of the pioneers of modern microcomputing and the creator of the original ARM RISC processor.

2017-05-28

YBP

 

The left hand 'Y' comes from the hip of the bas relief 'Vénus de Laussel' which is dated at 25,000 ybp. This 'Y' sign looks to have come from a decision to make a mark, and may register a small tatoo or assign a meaning to the overall image of a naked woman who is seen holding a graduated horn towards her face.

 

The central 'b' is a claviform sign - of a style seen in the caves of Niaux and Pindal. Most claviforms are closer to 'p's or 'D's and appear as two lines. This massive version also resembles slightly a 'femme bison' schematic. Claviforms take their name from an allusion to the image of a 'club' and are some of the very first images ever made by man, with dates from as early as 34,000 ybp (Altamira). Claviforms are widely known in Spain and France and obviously had a meaning that was easy for people to commit to and understand.

 

The right hand 'P' is a schematic drawing of a dolmen by the 'Centre de recherche archéologique du Haut-Languedoc'. The drawing is of a dolmen 'à plan 'P'' and contrasts with 'plan en 'q'' and 'couloir central'; 'couloir coudé' and so on. Whilst there were megaliths prior to 7,000 ybp, and a continuation of themes and use after 5,000 ybp, it can be said that the age of dolmens was roughly between 7,000 ybp and 5,000 ybp.

 

YBP is the acronyme of 'years before present'.

'Present ' is defined as 1950 making 1951 the future in ybp.

The abbreviation of YBP is BP - which can be confused for a petroleum giant.

Alternatives to YBP include BC. As prehistory runs rings around the world, BC can seem to carry too much historical and local weight, thus ybp.

CE is another alternative to YBP. It uses the same date as BC and AD, only now, with the same letters as both the logo for 'Conformité Europééne" and "China export".

Ybp starts to get big with mybp (million years before present): by which point the dates have long since disappeared from man's prehistoric diaspora.

 

None of the 'letters' saw the alphabet coming.

 

AJM 28.06.17

  

+++ DISCLAIMER +++

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

 

Some background:

The origins of the mighty Hawker Harpy date back until the late 1940ies, when the British MoD issued a specification for "an interceptor fighter with supersonic performance" under the handle F.23/49. In May 1949 OR.268 was prepared and finally issued in April 1950. It called for a twin-engine single-seat supersonic fighter to operate in Europe and desirably any other part of the world. The initial design requirements were not too demanding: a top speed of at least Mach 1.2 was called for, with climb to 50.000' (15.240m) in no more than 360 seconds. The fighter had to have a rate of climb of at least 1.000'/min (305m/min) and a minimum endurance from take-off to landing of at least 60min. At least two 30mm Aden cannon were to be carried.

 

At this stage, two companies submitted proposals: English Electric with the P.1, which should become the eventual winning design as the formidable Mach 2-capable BAC Lightning, and Hawker with the P.1082 and P.1086 designs. P.1082 was a sleek, supersonic development of the Hawker Hunter, which was rejected, as it only featured a single, reheated engine and too little future development potential. P.1086 vaguely resembled the later Soviet Su-15 interceptor with two engines side by side in the rear fuselage, fed by lateral air intakes and featured a cropped delta wing, paired with swept tail surfaces. P.1086 was rejected, too, as it fell short in performance in comparison with the P.1, even though the range would have been better.

 

As the Lightning entered production and service after a long and troublesome development phase until the late 1950ies, technical advances and new threats through supersonic bombers like the Tupolev Tu-22, armed with long range air-to-ground missiles had emerged. While the Lightning was an excellent interceptor with an outstanding rate of climb and a top speed of more than Mach 2.0at height, it had several shortcomings that could never really be rectified: one flaw was its limited payload of two guided AAMs (initially IR-guided Firestreaks, later radar-guided Red Top AAMs), but its biggest shortcoming was the very limited range that left esp. in the northern regions of Great Britain a defense gap.

 

This led in in 1955 to the requirement for a 'Day-Night High Altitude Fighter Aircraft' under OR.239/F.155, which was to be able to operate against enemy bombers coming in at 60.000' (18.288m) altitude and at Mach 1.3, with service entry as soon as possible and not beyond 1963 (the BAC Lightning was considered to be sufficient until about 1960). A new radar was to be developed for the aircraft, operated by a second crew member.

 

Almost all British manufacturers submitted designs, including Hawker with several proposals like the P.1103, a large aircraft based on the Hunter with a chin air intake and missile rails on its wing tips. There was also the P.1110, a much revised P.1086 design - basically an enlarged and much refined version of the 1950 concept, but now with an area-ruled fuselage and powered by two Sapphire Sa.7LR engines, rated at 11.000lb (48.9kN) dry thrust and at 15.400lb (68.4kN) with full afterburner and optimized for high altitude duty.

 

The P.1110 was still a single-seater, though, equipped with the same AI.23B radar as the BAC Lightning, which it was to support, not to replace. The Ferranti AI.23 radar supported autonomous search, automatic target tracking, and ranging for all weapons, while the pilot attack sight provided gyroscopically derived lead angle and backup stadiametric ranging for gun firing. The radar and gunsight were collectively designated the AIRPASS: Airborne Interception Radar and Pilot Attack Sight System.

 

The P.1110’s selling point was its long range (the combat radius exceeded the Lightning’s maximum range), coupled with a top speed of more than Mach 2 and the ability to carry up to six (normal payload would be four) AAMs, plus two internal cannons. Another factor that made the Hawker aircraft attractive was that it was a simple design, bearing no visible development risk, and that the bigger radome offered the option to install not only a larger antenna, but also offered the possibility to install an overall much more powerful radar system that would be more suitable for the primary long-range interception task of the type.

 

Even though Fairey’s (based on the famous Delta research aircraft) and Armstrong Whitworth’s designs were officially favored, things went in a totally different direction: in early 1957 the MoD issued its infamous White Paper that basically rang the death knell to all new fighter developments - axing the F.155 program in favor of ground-based missile defense systems – the manned fighter was considered obsolete over night!

 

Anyway, things would not change that fast in real life, and this gave way for the “last manned fighter” for the RAF: the P.1110. It was clear that it was just a stopgap solution, as the Lightning would, if any interceptor development was cut down, be the only operative interceptor for Great Britain in the near future, leaving the aforementioned weak spots esp. at the northern borders. A foreign potential option for the required aircraft, the mighty CF-105 'Arrow' from Canada, had also been recently cancelled, so the modified P.1110 was seen as the most cost-efficient domestic solution.

 

Work started fast and at good pace: the first P.1110 prototype (a total of four were to be built, one of them only a static airframe for ground tests) already made its maiden flight in September 1959. As it relied on proven avionics the type became ready for service in early 1961. The new aircraft was christened ‘Harpy F.1’ and it served alongside the BAC Lightning interceptors on long range patrol flights, high altitude interceptions and in QRA service. It partly replaced older Gloster Javelin versions in the all-weather fighter role.

 

Beyond the primary missile-toting interceptor role the Harpy could also carry an impressive load of up to 10.000 lb (4.540 kg) of other ordnance, including Matra rocket pods and iron or cluster bombs of up to 1.000 lb (454 kg) caliber.

 

The Harpy was a big aircraft and not really suited for dogfight scenarios, but it had - in contrast to the Lightning - a spacious cockpit which made long flights agreeable. Take-off and landing speeds were comparatively high, though, with a take-off speed of 231 mph (370 km/h). While the controls were responsive and precise, the aircraft was unforgiving of pilot error. Indeed, the type's attrition rate was high: 18 aircraft would be lost through accidents.

 

As only 65 were built, operating the type was costly, and towards the late 1960s already a more economical solution was searched for. The aging Lightning fleet also started to call for a replacement. The pure missile air defense had quickly turned out to be a political error, but in its wake it had caused severe consequences for Britain's aircraft industry, as aircraft development had been cut back. Eventually, as domestic types were lacking, the Spey-engined McDonnell F-4 Phantom II entered RAF service (after having been bought for the Royal Navy in the first place) in 1969.

 

Both Lightning and Harpy suffered in service under the high work load for the pilot, who had not only to engage a potential enemy at high speed but also had to operate the radar and weapons system at the same time. Another limiting factor for both types' effectiveness was the more and more obsolete Firestreak and Red Top missiles, which only had an effective range of up to 7.5 miles (12 km) and relied on IR homing. Plans to outfit the Lightning with American Falcons, Sparrows or even Sidewinders in 1958 were fruitless (either necessitating an altogether new fire control system or limiting the aircraft's performance), so that the Harpy would not benefit from more capable weapons, too - even though it offered the better development basis with its bigger radome, range and payload.

 

Only few hardware updates were actually made during the Hawker Harpy’s active service period, including the addition of a removable, fixed in-flight refueling probe, an improved escape system along with additional room for more electronic counter-measures equipment. By 1973 all machines were modified accordingly and re-designated F.1A.

 

Both Harpy and Lightning were hard to replace, though, as the RAF Phantoms initially also had to fill out an attack and reconnaissance role (a gap which was to be filled with the SEPECAT Jaguar), so both interceptors soldiered on until the early 1980ies. Both were replaced by the Phantoms, the large Harpy made its final flight in May 1982 while the last Lightning was retired in 1988, as the Tornado ADV was under development and would unite what even the couple of Harpy and Lighning never achieved in their service career.

  

General characteristics:

Crew: 1

Length: 21.52 m (70 ft 7 in)

Wingspan: 9.34 m (30 ft 8 in)

Height: 5.41 m (17 ft 9 in)

Wing area: 42.2 m² (454 ft 3 in)

Empty weight: 10,371 kg (22,864 lb)

Loaded weight: 15,288 kg (33,704 lbf)

Max. take-off weight: 18,879 kg (41,621 lbf)

 

Powerplant:

2× reheated Armstrong Siddeley Sapphire Sa.7LR engines, rated at 11.000lb (48.9kN) dry thrust and at 15.400lb (68.4kN) with afterburner

 

Performance:

Maximum speed: Mach 2.1

Combat radius with 5 min combat: 647 nmi (746 mi, 1,200 km)

Ferry range: 1.403 nmi (1.615 mi, 2.600 km) with 3 external fuel tanks

Service ceiling: 18.100 m (59.383 ft)

Rate of climb: 83 m/s (16.405 ft/min)

Wing loading: 447.4 kg/m² (MAX T-O Weight) (91.63 lb/ft² (MAX T-O Weight))

Thrust/weight: 0.5; 0.91 with afterburner (MAX T-O Weight)

 

Armament:

2× Aden 30mm (1.18”) cannons under the air intakes with 120 RPG

7× hard points (6 under wing and one centerline hard point) for air-to-air missiles (Firestreak or, from 1965 on, primarily Red Top), fuel on three wet pylons, or bombs, Matra pods with 18 unguided 68mm SNEB rockets, for a total maximum load of 10.000 lb (4.540 kg)

  

The kit and its assembly:

Hopefully royalists will forgive me for this... but did you ever see an aircraft and get the spontaneous idea what it actually could be or have been? Well, the Chinese J-8II is such a case. In fact, the J-8 was born as a scaled-up MiG-21F with two engines, and it was later modified to carry a nose radome and lateral air intakes. Somehow this large jet fighter had IMHO a British look about it… I couldn't help, it HAD to become an RAF aircraft! Totally anachronistic, but worth the try ;).

 

Anyway, it is still SO retro that I had to put even the modernized version back in time by about 20 years, when it would have been up to date. Just for reference: imagine that the real J-8II entered service in China when the Harpy was retired after 20 years of service in my fictional background story…

  

Well, to be honest I have had this one on my idea list for a long time, but as it would ‘just’ be an almost OOB build I always held in back, favoring more complicated works. Anyway, as I had a Trumpeter J-8II kit in store AND appropriate decals I decided to work the Harpy out as the first kit in 2014.

 

As already mentioned, this is an almost OOB build of the Trumpeter J-8II (NATO code 'Finback B'), with only minor modifications. The kit is very nice: Fit is good, you get recessed panel lines, as many details as you can ask for – just some fit issues with the fuselage halves and slight sink holes at the air intakes. While you need some putty, anyway, the thing goes together very easily.

 

Personal mods to create the Hawker Harpy include a Matchbox pilot figure for the cockpit, two fins ('Finback A' style) instead of the J-8II's single MiG-23 style folding fin, new drop tanks (from a Matchbox Hawker Hunter, with fins added) and four Red Top missiles (from an Eastern Express Sea Vixen) – all for a convincing RAF look.

 

Other small mods include e. g. getting rid of some typical Soviet-style antennae (even though I kept the almost iconic anti-flutter weights on the tailplane) and the GSh-23-2 cannon fairing under the fuselage, which was replaced by two single gun fairings for 30mm Aden cannons under the air intakes.

  

Painting and markings:

Classic RAF colors from the Sixties, with Dark Slate Gray/Dark Sea Gray from above and Light Aircraft Gray below (Humbrol 163, 164 and 166, respectively). The aircraft received a light black ink wash in order to emphasize the kit’s fine engraved panel lines, as well as some dry-painting with lighter shades (including Dark Slate Gray/Dark Sea Gray from Modelmaster – these tones are a tad lighter than the Humbrol counterparts, and Humbrol 196, RAL 7035).

 

The cockpit interior was painted in dark gray, while the landing gear wells and the other interiors were left in Aluminum. The landing gear was painted in Steel, the wheel discs white and the air brakes in red from the inside.

 

Decals/markings come from an Xtradecal sheet for RAF Phantom FG.1/FGR.2s, "XL196" is, AFAIK, a ‘free’ (never used) RAF serial number that fits around 1962. Some additional stencils and markings were painted onto the fuselage by brush.

 

After decal application the kit received an overall coat of semi-gloss Tamiya acrylic varnish.

  

The Hawker Harpy is/was simple kit travesty, but IMHO the resulting ‘British product’ looks very convincing and late-1950ies style?

 

  

Translated from the Japanese language, "nyotaimori" means the presentation or demonstration of the female body. This is a very ancient way of feeding sushi and sashimi on the body bare girl, and in rare instances, men.

  

www.meterdown.com/2011/04/japanese-food-presenting-art-by...

 

PRESENTED BY STAR TRIBUTE 23

Join us today for an amazing Fleetwood Mac Tribute Show by the excellent Star Tribute 23 Group @12PM SLT, bringing to us all a show full of music and with the greatest hits of this legendary band. And of course, we got DJ Del right before the show to warm things up with his energetic set with his always lovely Hostess Sen. So come on over and join us for another great time!

Dress Code: Smart Casual

Today's schedule:

DJ Del/Hostess Sen: 10AM-12PM SLT

Fleetwood Mac Tribute Show: 12-2PM SLT

Limo (club): maps.secondlife.com/secondlife/Tudors/182/62/28

FLEETWOOD MAC maps.secondlife.com/secondlife/Tudors/198/143/2499

Tudors Flickr: www.flickr.com/groups/14817141@N24/

Tudors Discord: discord.gg/YeQbxEEQ

Tudors Facebook: www.facebook.com/groups/1217867629092393

The present choir screen is the result of two main phases of work, the first in the early 18th century when a much plainer screen was erected by Nicholas Hawksmoor and adorned with the two monuments (both designed by William Kent and sculpted by Michael Rysbrack) to Isaac Newton and Earl Stanhope (an unusual arrangement that speaks of the abbey's shortage of space!). The much richer Neo-Gothic front was added in the 1830s by Edward Blore with the colouring and gilded added in the 1950s by Stephen Dykes Bower.

 

Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.

 

The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.

 

The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.

 

The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!

 

For further details (and restrictions) see below:-

www.westminster-abbey.org/visit-us/photography-in-the-abbey

I've been away for quite a while so I figure a really nice post is in order ! The Street Classics cruise night continued this summer and attracts some fantastic machines. This hot rod is one of them.