Sponsored images from 
View allAll Photos Tagged problem
Problems:
The ships had lot´s of problems during their long operational careers (probably because they were built in a time that the Soviet Industry was still adapting from the war years).
They were extremely top heavy and the overall structure was poorly built which means that they had to be reinforced eventually.
However for the time they were still regarded as powerful and effective combat ships, most of them operating as the flagship of their main fleets.
For more info about the history of this ship click on the photos below.
Eínon
It looks like a 1956 Ranchero, but there are a couple of problems. 1) It says "Falcon" on the hood; 2) There is no such thing as a 1956 Ford Ranchero or a 1956 Ford Falcon. This is a customized 1956 Ford (Fairlane Crown Vic?), made to look like a Ranchero.
Pentax KX film camera first try.
Photography, wether digital or film, done all manual is about resolving problems. A headache I welcome.
I did this to enter in a weekly competition.
Unfortunately it turned out that "Beards" was last week's competition theme.
This week it's "Jumping".
Fuck jumping.
Mixed media on paper, 10 x 7 inches
Sold.
From Wikipedia, the free encyclopedia
F-84 Thunderjet
RoleFighter-bomber
ManufacturerRepublic Aviation
First flight28 February 1946
IntroductionNovember 1947
Retired1964 (USAF)
1974 (Yugoslavia)
Primary userUnited States Air Force
Number built7,524
Unit cost
US$237,247 (F-84G)[1]
US$769,330 (F-84F)
VariantsRepublic F-84F Thunderstreak
Republic XF-84H Thunderscreech
Republic XF-91 Thunderceptor
The Republic F-84 Thunderjet was an American turbojet fighter-bomber aircraft. Originating as a 1944 United States Army Air Forces (USAAF) proposal for a "day fighter", the F-84 first flew in 1946. Although it entered service in 1947, the Thunderjet was plagued by so many structural and engine problems that a 1948 U.S. Air Force review declared it unable to execute any aspect of its intended mission and considered canceling the program. The aircraft was not considered fully operational until the 1949 F-84D model and the design matured only with the definitive F-84G introduced in 1951. In 1954, the straight-wing Thunderjet was joined by the swept-wing F-84F Thunderstreak fighter and RF-84F Thunderflash photo reconnaissance aircraft.
The Thunderjet became the USAF's primary strike aircraft during the Korean War, flying 86,408 sorties and destroying 60% of all ground targets in the war as well as eight Soviet-built MiG fighters. Over half of the 7,524 F-84s produced served with NATO nations, and it was the first aircraft to fly with the U.S. Air Force Thunderbirds demonstration team. The USAF Strategic Air Command had F-84 Thunderjets in service from 1948 through 1957.
The F-84 was the first production fighter aircraft to utilize inflight refueling and the first fighter capable of carrying a nuclear weapon, the Mark 7 nuclear bomb. Modified F-84s were used in several unusual projects, including the FICON and Tom-Tom dockings to the B-29 Superfortress and B-36 bomber motherships, and the experimental XF-84H Thunderscreech turboprop.
The F-84 nomenclature can be somewhat confusing. The straight-wing F-84A to F-84E and F-84G models were called the Thunderjet. The F-84F Thunderstreak and RF-84F Thunderflash were different airplanes with swept wings. The XF-84H Thunderscreech (not its official name) was an experimental turboprop version of the F-84F. The F-84F swept wing version was intended to be a small variation of the normal Thunderjet with only a few different parts, so it kept the basic F-84 number. Production delays on the F-84F resulted in another order of the straight-wing version; this was the F-84G.
Design and development
An F-84G at Chaumont-Semoutiers Air Base, France, in 1953
In 1944, Republic Aviation's chief designer, Alexander Kartveli, began working on a turbojet-powered replacement for the P-47 Thunderbolt piston-engined fighter. The initial attempts to redesign the P-47 to accommodate a jet engine proved futile due to the large cross-section of the early centrifugal compressor turbojets. Instead, Kartveli and his team designed a new aircraft with a streamlined fuselage largely occupied by an axial compressor turbojet engine and fuel stored in rather thick unswept wings.[1]
On 11 September 1944, the USAAF released General Operational Requirements for a day fighter with a top speed of 600 mph (521 kn, 966 km/h), combat radius of 705 miles (612 nmi, 1,135 km), and armament of either six 0.50 in (12.7 mm) or four 0.60 in (15.2 mm) machine guns. In addition, the new aircraft had to use the General Electric TG-180 axial turbojet which entered production as the Allison J35.
On 11 November 1944, Republic received an order for three prototypes of the new XP-84—Model AP-23.[1] Since the design promised superior performance to the Lockheed-built P-80 Shooting Star and Republic had extensive experience in building single-seat fighters, no competition was held for the contract. The name Thunderjet was chosen to continue the Republic Aviation tradition started with the P-47 Thunderbolt while emphasizing the new method of propulsion. On 4 January 1945, even before the aircraft took to the air, the USAAF expanded its order to 25 service test YP-84As and 75 production P-84Bs (later modified to 15 YP-84A and 85 P-84B).
Meanwhile, wind tunnel testing by the National Advisory Committee for Aeronautics revealed longitudinal instability and stabilizer skin buckling at high speeds.[1] The weight of the aircraft, a great concern given the low thrust of early turbojets, was growing so quickly that the USAAF had to set a gross weight limit of 13,400 lb (6,080 kg). The results of this preliminary testing were incorporated into the third prototype, designated XP-84A, which was also fitted with a more powerful J35-GE-15 engine with 4,000 lbf (17.79 kN) of thrust.[1]
The first prototype XP-84 was transferred to Muroc Army Air Field (present-day Edwards Air Force Base) where it flew for the first time on 28 February 1946 with Major Wallace A. "Wally" Lien at the controls. It was joined by the second prototype in August, both aircraft flying with J35-GE-7 engines producing 3,745 lbf (16.66 kN). The 15 YP-84As delivered to Patterson Field (present-day Wright-Patterson Air Force Base) for service tests differed from XP-84s by having an upgraded J35-A-15 engine, carrying six 0.50 in (12.7 mm) M2 Browning machine guns (four in the nose and one in each wing root), and having the provision for wingtip fuel tanks holding 226 U.S. gal (856 L) each.
Due to delays with delivery of jet engines and production of the XP-84A, the Thunderjet had undergone only limited flight testing by the time production P-84Bs began to roll out of the factory in 1947. In particular, the impact of wingtip tanks on aircraft handling was not thoroughly studied. This proved problematic later.[1]
After the creation of the United States Air Force by the National Security Act of 1947, the Pursuit designation was replaced with Fighter, and the P-84 became the F-84.
F-84s were assigned to the 27th Fighter Wing, 27th Fighter Escort Wing, 27th Strategic Fighter Wing, 31st Fighter Escort Wing, 127th Fighter Day Wing, 127th Fighter Escort Wing, 127th Strategic Fighter Wing, 407th Strategic Fighter Wing and the 506th Strategic Fighter Wing of the Strategic Air Command from 1947 through 1958.[2]
Operational history
The F-84B, which differed from YP-84A only in having faster-firing M3 machine guns, became operational with 14th Fighter Group at Dow Field, Bangor, Maine in December 1947. Flight restrictions followed immediately, limiting maximum speed to Mach 0.8 due to control reversal, and limiting maximum acceleration to 5.5 g (54 m/s²) due to wrinkling of the fuselage skin. To compound the problem, parts shortages and maintenance difficulties earned the aircraft the nickname, "Mechanic's Nightmare".[1] On 24 May 1948, the entire F-84B fleet was grounded due to structural failures.
P-84Bs of the 48th Fighter Squadron, 14th Fighter Group, 1948.
A 1948 review of the entire F-84 program discovered that none of the F-84B or F-84C aircraft could be considered operational or capable of executing any aspect of their intended mission. The program was saved from cancellation because the F-84D, whose production was well underway, had satisfactorily addressed the major faults. A fly-off against the F-80 revealed that while the Shooting Star had a shorter takeoff roll, better low altitude climb rate and superior maneuverability, the F-84 could carry a greater bomb load, was faster, had better high altitude performance and greater range.[1] As a temporizing measure, the USAF in 1949 committed US$8 million to implement over 100 upgrades to all F-84Bs, most notably reinforcing the wings. Despite the resultant improvements, the F-84B was withdrawn from active duty by 1952.[1]
The F-84C featured a somewhat more reliable J35-A-13 engine and had some engineering refinements. Being virtually identical to the F-84B, the C model suffered from all of the same defects and underwent a similar structural upgrade program in 1949. All F-84Cs were withdrawn from active service by 1952.[1]
The structural improvements were factory-implemented in the F-84D, which entered service in 1949. Wings were covered with thicker aluminum skin, the fuel system was winterized and capable of using JP-4 fuel, and a more powerful J35-A-17D engine with 5,000 lbf (22.24 kN) was fitted. It was discovered that the untested wingtip fuel tanks contributed to wing structural failures by inducing excessive twisting during high-"g" maneuvers.[1] To correct this, small triangular fins were added to the outside of the tanks. The F-84D was phased out of USAF service in 1952 and left Air National Guard (ANG) service in 1957.[1]
The first effective and fully capable Thunderjet was the F-84E model which entered service in 1949. The aircraft featured the J35-A-17 engine, further wing reinforcement, a 12 in (305 mm) fuselage extension in front of the wings and 3 in (76 mm) extension aft of the wings to enlarge the cockpit and the avionics bay, an A-1C gunsight with APG-30 radar, and provision for an additional pair of 230 gal (870 L) fuel tanks to be carried on underwing pylons.[1] The latter increased the combat radius from 850 to 1,000 miles (740 to 870 nmi; 1,370 to 1,610 km).
One improvement to the original F-84 design was rocket racks that folded flush with the wing after the 5-inch HVAR rockets were fired, which reduced drag over the older fixed mounting racks. This innovation was adopted by other U.S. jet fighter-bombers.[3]
A Portuguese F-84 being loaded with ordnance in the 1960s, at Luanda Air Base, during the Portuguese Colonial War.
Despite the improvements, the in-service rates for the F-84E remained poor with less than half of the aircraft operational at any given time.[1] This was primarily due to a severe shortage of spares for the Allison engines. The expectation was that F-84Es would fly 25 hours per month, accumulating 100 hours between engine overhauls. The actual flight hours for Korean War and NATO deployments rapidly outpaced the supply and Allison's ability to manufacture new engines.[1] The F-84E was withdrawn from USAF service in 1956, lingering with ANG units until 1959.
The definitive straight-wing F-84 was the F-84G which entered service in 1951. The aircraft introduced a refueling boom receptacle in the left wing,[4] autopilot, Instrument Landing System, J35-A-29 engine with 5,560 lbf (24.73 kN) of thrust, a distinctive framed canopy (also retrofitted to earlier types), and the ability to carry a single Mark 7 nuclear bomb.[1] The F-84G was retired from USAF in the mid-1960s.
Starting in the early 1960s, the aircraft was deployed by the Força Aérea Portuguesa (FAP) during the Portuguese Colonial War in Africa. By 1972, all four operating F-84 aircraft were supplementing the FAP in Angola.[5]
Flying the Thunderjet
Typical of most early jets, the Thunderjet's takeoff performance left much to be desired. In hot Korean summers with a full combat load, the aircraft routinely required 10,000 ft (3,000 m) of runway for takeoff even with the help of RATO bottles (two or four of these were carried, each producing 1,000 lbf (4.4 kN) of thrust for 14 seconds).[1] All but the lead aircraft had their visibility obscured by the thick smoke from the rockets. Early F-84s had to be pulled off the ground at 160 mph (140 kn, 260 km/h) with the control stick held all the way back. Landings were made at a similar speed, for comparison the North American P-51 Mustang landed at approximately 120 mph (100 kn, 190 km/h). Despite the "hot" landing speeds, the Thunderjet was easy to fly on instruments and crosswinds did not present much of a problem.[6]
An F-84E launching rockets.
Thanks to the thick straight wing the Thunderjet rapidly reached its Mach 0.82 limitation at full throttle and low altitude. The aircraft had sufficient power to fly faster, but exceeding the Mach limit at low altitudes resulted in a violent pitch-up and structural failure causing the wings to break off.[6] Above 15,000 ft (4,600 m), the F-84 could be flown faster but at the expense of severe buffeting. However, the airspeed was sufficiently easy to control to make safe dive bombing from 10,000 ft (3,000 m) possible.[6] The top speed limitation proved troublesome against Soviet Mikoyan-Gurevich MiG-15s in Korea. Slower than the MiG, the F-84 was also unable to turn tightly with a maximum instantaneous-turn load of only 3 Gs followed by rapid loss of airspeed. One F-84E pilot credited with two MiG kills achieved his second victory by intentionally flying his aircraft into pitch-up.[6] The MiGs chasing him were unable to follow the violent maneuver and one crashed into the ground. Luckily for the F-84E pilot, the aircraft did not disintegrate but the airframe did suffer heavy warping. The F-84 was a stable gun platform and the computing gunsight aided in accurate gunnery and bombing. Pilots praised the aircraft for Republic's legendary ruggedness.[6]
Pilots nicknamed the Thunderjet "The Lead Sled".[2] It was also called "The Iron Crowbar", "a hole sucking air", "The Hog" ("The Groundhog"), and "The World's Fastest Tricycle", "Ground Loving Whore" as a testament to its long takeoff rolls.[2] F-84 lore stated that all aircraft were equipped with a "sniffer" device that, upon passing V2, would look for the dirt at the end of the runway. As soon as the device could smell the dirt, the controls would turn on and let the pilot fly off the ground. In the same vein, it was suggested a bag of dirt should be carried in the front landing gear well. Upon reaching V2, the pilot would dump the dirt under the wheels, fooling the sniffer device.[2]
Korean War
The Thunderjet had a distinguished record during the Korean War. Although the F-84B and F-84C could not be deployed because their J35 engines had a service life of only 40 hours, the F-84D and F-84E entered combat with 27th Fighter Escort Group on 7 December 1950.[1] The aircraft were initially tasked with escorting the B-29 Superfortress bombers. The first Thunderjet air-to-air victory was scored on 21 January 1951 at the cost of two F-84s.[2] The F-84 was a generation behind the swept-wing Soviet Mikoyan-Gurevich MiG-15 and outmatched, especially when the MiGs were flown by more-experienced pilots, and the MiG counter-air mission was soon given to the F-86 Sabre. Like its famous predecessor, the P-47, the F-84 switched to the low-level interdiction role at which it excelled.
A KB-29M tanker refueling an F-84E over Korea. F-84Es could only refuel the wingtip tanks separately.
F-84G-26-RE Thunderjet 51-16719 while assigned to the 3600th Air Demonstration Team (USAF Thunderbirds), 1954.
The F-84 flew a total of 86,408 missions, dropping 55,586 tons (50,427 metric tons) of bombs and 6,129 tons (5,560 metric tons) of napalm.[2] The USAF claimed F-84s were responsible for 60% of all ground targets destroyed in the war. Notable F-84 operations included the 1952 attack on the Sui-ho Dam. During the war, the F-84 became the first USAF fighter to utilize aerial refueling. In aerial combat, F-84 pilots were credited with eight MiG-15 kills against a Soviet-claimed loss of 64 aircraft. The total losses were 335 F-84D, E and G models.[2]
Portuguese Overseas War
In 1961, the Portuguese Air Force sent 25 of their remaining F-84G to Angola. There they formed the Esquadra 91 (91st Squadron), based at Luanda Air Base. From then on, the F-84s were engaged in the Angolan Theater of the Portuguese Overseas War, being mainly employed in air strike missions against the separatist guerrillas.
The last F-84 were kept operational in Angola until 1974.
Notable achievements
The F-84 was the first aircraft flown by the U.S. Air Force Thunderbirds, which operated F-84G Thunderjets from 1953 to 1955 and F-84F Thunderstreaks from 1955 to 1956. The F-84E was also flown by the Skyblazers team of United States Air Forces Europe (USAFE) from 1950 to 1955.[1]
On 7 September 1946, the second XP-84 prototype set a national speed record of 607.2 mph (527.6 kn, 977.2 km/h), slightly slower than the world record 612.2 mph (532.0 kn, 985.2 km/h) held by the British Gloster Meteor.[1]
On 22 September 1950, two EF-84Es, flown by David C. Schilling and Col. William Ritchie, flew across the North Atlantic from Great Britain to the United States. Ritchie's aircraft ran out of fuel over Newfoundland but the other successfully made the crossing which took ten hours two minutes and three aerial refuelings. The flight demonstrated that large numbers of fighters could be rapidly moved across the Atlantic.[1]
F-84G was the first fighter with built-in aerial refueling capability and the first single-seat aircraft capable of carrying a nuclear bomb.[1]
On 20 August 1953, 17 F-84Gs using aerial refueling flew from the United States to the United Kingdom. The 4,485-mile (3,900 nmi, 7,220 km) journey was the longest-ever nonstop flight by jet fighters.[1]
In 1955, an F-84G became the first aircraft to be zero-length launched from a trailer.[7]
By the mid-1960s, the F-84/F-84F was replaced by the F-100 Super Sabre and the RF-84F by the RF-101 Voodoo in USAF units, being relegated to duty in the Air National Guard. The last F-84F Thunderflash retired from the ANG in 1971. Three Hellenic Air Force RF-84Fs that were retired in 1991 were the last operational F-84s.
Costs
F-84BF-84CF-84DF-84EF-84GF-84FRF-84F
Airframe139,863139,863150,846562,715482,821
Engine41,65441,65441,488146,02795,320
Electronics7,1657,1654,7619,62321,576
Armament23,55923,55937,43341,71363,632
Ordnance2,7199,2524,529
Flyaway cost286,407 for the first 100
163,994 for the next 141147,699212,241212,241237,247769,300667,608
Cost per flying hour390
Maintenance cost per flying hour185185
Notes: The costs are in approximately 1950 United States dollars and have not been adjusted for inflation.[1]
Variants
Straight-wing variants
The XP-84A (foreground) and YP-84As
XP-84
The first two prototypes.
XP-84A
The third prototype with a more powerful J35-GE-15 engine. This airframe was subsequently modified with a pointed fairing over the intake and lateral NACA intakes were installed into the intake trunks.
YP-84A
Service test aircraft; 15 built.
P-84B (F-84B)
First production version, J35-A-15 engine; 226 built.
F-84C
Reverted to the more reliable J35-A-13 engine, improved fuel, hydraulic and electrical systems; 191 built.
F-84D
J35-A-17 engine, various structural improvements. The pitot tube was moved from the tail fin to the splitter in the air intake with fins added to the wingtip fuel tanks; 154 built.
F84 E&G Thunderjet French Air Force 1951–1955
EF-84D
Two F-84Ds, EF-84D 48-641 and EF-84D 48-661 were modified with coupling devices; 641 starboard wing, 661 port wing for "Tip-Tow Project MX106 Wing Coupling Experiments." An EB-29A 44-62093 was modified with coupling devices on both wings. Because of the difference in landing gear lengths, the three aircraft took off separately and couple/uncoupled in flight. The pilot of 641 was Major John M. Davis and the pilot of 661 was Major C.E. "Bud" Anderson.
"One of the more interesting experiments undertaken to extend the range of the early jets in order to give fighter protection to the piston-engine bombers, was the provision for inflight attachment/detachment of fighter to bomber via wingtip connections. One of the several programs during these experiments was done with a B-29 mother ship and two F-84D 'children', and was code named 'Tip Tow'. A number of flights were undertaken, with several successful cycles of attachment and detachment, using, first one, and then two F-84s. The pilots of the F-84s maintained manual control when attached, with roll axis maintained by elevator movement rather than aileron movement. Engines on the F-84s were shut down in order to save fuel during the 'tow' by the mother ship, and inflight engine restarts were successfully accomplished. The experiment ended in disaster during the first attempt to provide automatic flight control of the F-84s, when the electronics apparently malfunctioned. The left hand F-84 rolled onto the wing of the B-29, and the connected aircraft both crashed with loss of all on board personnel (Anderson had uncoupled so did not crash with the other two aircraft)."[8]
F-84E
J35-A-17D engine, Sperry AN/APG-30 radar-ranging gunsight, retractable attachments for RATO bottles, inboard wing hardpoints made "wet" to permit carrying an additional pair of 230 U.S. gal (870 L) fuel tanks. Most aircraft were retrofitted with F-84G-style reinforced canopies. The fuselage was stretched 15"; the canopy was lengthened 8", the canopy frame was lengthened 12" (accounting for another 4"), and a 3" splice panel was added aft of the canopy. The stretch was not done to enlarge the cockpit but rather to enable a larger fuel tank, provide additional space for equipment under the canopy behind the pilot's seat, and to improve aerodynamics. This can be distinguished from earlier models by the presence of two fuel vents on ventral rear fuselage, the added radar in the nose splitter, and the pitot tube was moved downward from mid-height in the splitter (as on the F-84D) to clear the radar installation. 843 built. F-84E 49-2031 was a test aircraft for air-to-air missiles. F-84E 50-1115 was a test aircraft for the FICON project.
EF-84E
Two F-84Es were converted into test prototypes, to test various methods of air-to-air refueling. EF-84E 49-2091 was used as a probe-and-drogue test aircraft. The probe was mid-span on the port wing. Production aircraft with probes (removable) had the probe fitted to the auxiliary wing tanks. EF-84E 49-2115 was used as a FICON test aircraft with a B-36 host. EF-84E 49-1225 and EF-84E 51-634 were test aircraft for the ZELMAL (Zero-length launch, Mat landing) experiments version for point defense, used the booster rocket from MGM-1 Matador cruise missile.
F-84G
Single-seat fighter-bomber capable of delivering the Mark 7 nuclear bomb using the LABS, J35-A-29 engine, autopilot, capable of inflight refueling using both the boom (receptacle in left wing leading edge) and drogue (probe fitted to wingtip fuel tanks), introduced the multi-framed canopy which was later retrofitted to earlier straight-winged F-84s. A total of 3,025 were built (1,936 for NATO under MDAP). The larger engine had a higher airflow at its take-off thrust than the intake had been designed for. This caused higher flow velocities, increased pressure losses and thrust loss. Commencing with block 20, auxiliary "suck-in" doors were added ahead of the wing leading edge to regain some of the thrust loss. At high engine rpm and low aircraft speeds, such as take-off, the spring-loaded doors were sucked open by the partial vacuum created in the duct. When the aircraft reached sufficient airspeed the ram pressure rise in the duct closed the auxiliary doors.[9] F-84G 51-1343 was modified with a periscope system to test the periscope installation proposed for the Republic XF-103.
F-84KX
Eighty ex-USAF F-84Bs converted into target drones for the United States Navy.
RF-84G
F-84G Thunderjets converted by France and Yugoslavia for recon duty with cameras in the ventral fuselage and modified auxiliary wing tanks.
YF-96A aka YF-84F aka YRF-84K
F-84E 49-2430 converted to swept wing configuration. The "first prototype" for the F-84F Thunderstreak. Canopy and ventral speed brake carried over from Thunderjet. Originally with a V-windscreen, later reverted to the standard Thunderjet flat windscreen. Modified by adding a fixed hook at the weapons bay and anhedral horizontal tailplane to enable FICON tests (trapeze capture) with GRB-36D mother ship. The airframe was capable of higher speeds than the Thunderjet engine could deliver. The YF-84F was a follow on with a larger engine and deepened fuselage.
YF-84F
F-84G 51-1344 converted to swept wing configuration. The "second prototype" for the F-84F Thunderstreak. Fuselage deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A.
YF-84F aka YRF-84F
F-84G 51-1345 converted to swept wing configuration with a pointed nose and lateral intakes. This was a test airframe to evaluate the effects of moving the intakes to the wing roots. Like 1344, the fuselage was deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A. For the swept wing versions of the F-84 series, see Republic F-84F Thunderstreak
Tip-Tow
See EF-84D above, did not become operational. See FICON project
Tom-Tom
Two RF-84K and B-36 wingtip coupling experiment, did not become operational. See FICON project
FICON
F-84E and GRB-36D trapeze system, became operational. See FICON project
Swept-wing variants
Main articles: Republic F-84F Thunderstreak and Republic XF-84H
YF-84F
Two swept-wing prototypes of the F-84F, initially designated YF-96A.
F-84F Thunderstreak
Swept wing version with Wright J65 engine.
RF-84F Thunderflash
Reconnaissance version of the F-84F, 715 built.
RF-84K FICON project
Reconnaissance version of the F model, 25 built to hang from the Consolidated B-36 Peacemaker.
XF-84H Thunderscreech
Experimental supersonic-turboprop version.
YF-84J
Two conversions with the General Electric J73 engine.
Operators
Republic F-84 Thunderjet in the Royal Military Museum at the Jubelpark, Brussels.
Imperial Iranian Air Force F-84G of the Golden Crown aerobatic team.
Republic F-84 Thunderjet at the en:Italian Air Force Museum, Vigna di Valle in 2012.
Royal Norwegian Air Force Republic F-84G Thunderjet.
Portuguese Air Force F-84 Thunderjet.
Belgium
Belgian Air Force operated 213 Republic F-84G from March 1952 until September 1957 and 21 Republic RF-84E
Denmark
Danish Air Force operated 240 Republic F-84G fromApril 1952 until January 1962 and 6 Republic F-84E[10]
France
French Air Force operated 335 F-84G from April 1952 until November 1956 and 46 Republic F-84E
Greece
Hellenic Air Force operated 234 Republic F-84G from March 1952 until June 1960. They equipped the 335, 336, 337, 338, 339 and 340 Squadrons (Μοίρα Δίωξης)
Iran Iran
Imperial Iranian Air Force operated 69 Republic F-84G from May 1957 until September 1961
Italy
Italian Air Force operated 256 Republic F-84G from March 1952 until May 1957[11][12]
Netherlands
Netherlands Air Force operated 166 Republic F-84G from April 1952 until December 1957 and 21 Republic RF-84E
Norway
Norwegian Air Force operated 208 Republic F-84G from June 1952 until Jun 1960 and 6 Republic F-84E from 1951 until 1956 and 35 Republic RF-84F from 1956 until 1970
Portugal
Portuguese Air Force operated 125 Republic F-84G from January 1953 until July 1974
Taiwan (Republic of China)
Republic of China Air Force operated 246 Republic F-84G from June 1953 until April 1964
Thailand
Royal Thai Air Force operated 31 Republic F-84G from November 1956 until 1963
Turkey
Turkish Air Force operated 489 Republic F-84G from March 1952 until June 1966
United States
United States Air Force operated 226 Republic F-84B, 191 Republic F-84C, 154 Republic F-84D, 743 Republic F-84E, 789 Republic F-84G
Yugoslavia
Yugoslavian Air Force operated 231 Republic (R)F-84G from June 1953 until July 1974
Major USAF operational F-84 units
Republic F-84E-15-RE Thunderjet Serial 49-2338 of the 136th Fighter-Bomber Wing, Korea
10th Tactical Reconnaissance Wing: RF-84F (1955–1958)
12th Fighter Escort Wing/Group: F-84E/G/F (1950–1957;1962–1964)
14th Fighter Wing/Group: P/F-84B (1947–1949)
15th Tactical Fighter Wing: F-84F (1962–1964)
20th Fighter Bomber Wing/Group: F-84B/C/D/E/F/G (1958–1959)
27th Fighter Escort Wing/Group: F-84E/G/F (1950–1958)
31st Fighter Escort Wing/Group: F-84C/E/F (1948–1950; 1951–1957)
49th Fighter Bomber Wing/Group: F-84E/G (1951–1953)
58th Fighter Bomber Group: F-84E/G (1952–1954)
66th Tactical Reconnaissance Wing: RF-84F (1955–1959)
67th Tactical Reconnaissance Wing: (15th & 45th TRS5) RF-84F/K (1955–1958)
71st Strategic Reconnaissance Wing: RF-84F/K (1955–1956)
81st Fighter Bomber Wing/Group: F-84F (1954–1959)
136th Fighter Bomber Wing/Group F-84E (1951–1952) @ K2, also J-13
312th Fighter Bomber Group: F-84E/G (1954–1955)
363rd Tactical Reconnaissance Wing: RF-84F (1954–1958)
366th Fighter Bomber Wing/Tactical Fighter Wing: F-84E,F (1954–1958;1962–1965)
401st Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1957)
405th Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1953–1956)
407th Strategic Fighter Wing: F-84F (1954–1957)
474th Fighter Bomber Wing: F-84D/E/G (1952–1953)
506th Strategic Fighter Wing: F-84F (1953–1957)
508th Strategic Fighter Wing: F-84F (1952–1956)
3540th Combat Crew Training Wing: F-84E (1952–1953)
3600th Combat Crew Training Wing: F-84D/E/G/F (1952–1957)
Redesignated 4510th CCTW with F-84D/F (1958)
3645th Combat Crew Training Wing: F-84E/G (1953–1957)
4925th Test Group (Atomic): F-84E/F/G (1950–1963)
Royal Netherlands Air Force operational F-84 units
JVS-2 (Jacht Vlieger School): RF-84E (1953)
306 Squadron: F-84G (1953–1954) / RF-84E (1954-1957)
311 Squadron: RF-84E (1951-1952) / F-84G (1952-1956)
312 Squadron: RF-84E (1951-1954) / F-84G (1952-1956)
313 Squadron: RF-84E (1953-1954) / F-84G (1953-1956)
314 Squadron: F-84G (1952-1956)
315 Squadron: F-84G (1952-1956)
Aircraft on display
A F-84 during Zero-length launch testing
Croatia
F-84G
10676 Ex-USAF – Rijeka Airport, Omišalj.[13]
Denmark
F-84G
51-9966/KR-A – Aalborg Defence and Garrison Museum, Aalborg[14]
51-10622/KU-U – Aalborg Defence and Garrison Museum[14]
A-777/SY-H – Danmarks Tekniske Museum, Helsingør[15]
KP-X – Danish Collection of Vintage Aircraft, Skjern[16]
RF-84F
C-581 – Flyvestation Karup Historiske Forening Museet, Karup[17]
C-264 – Danish Collection of Vintage Aircraft, Skjern[16]
Netherlands
F-84G
K-171 – Nationaal Militair Museum, Soesterberg.[18]
Norway
F-84G
51-10161 – Flyhistorisk Museum, Sola, Stavanger Airport, Sola, near Stavanger.[19]
51-11209 – Forsvarets flysamling Gardermoen, Oslo Airport, Gardermoen near Oslo.[20]
52-2912 - Ørland Main Air Station
52-8465 – Royal Norwegian Air Force Museum, Bodø[21]
Portugal
F-84G
5131 – Museu do Ar, Sintra Air Base, Sintra.[22]
5201 - Military and Technical Training Center of the Air Force, Ota (Alenquer).[23]
Serbia
F-84G
10501 – Ex-USAF 52-2936, c/n 3050-1855B Museum of Aviation, Nikola Tesla Airport, Belgrade.[24][verification needed]
10525 – Ex-USAF 52-2939, c/n 3050-1858B Museum of Aviation, Nikola Tesla Airport, Belgrade.[25][verification needed]
10530 – Ex-USAF 52-8435, c/n 3250-2260B Museum of Aviation, Nikola Tesla Airport, Belgrade.[26][verification needed]
Slovenia
F-84G
10642 Ex-USAF 52-2910, c/n 3050-1829B – Pivka Military History Park, Pivka.[27]
Thailand
F-84G at the Royal Thai Air Force Museum
F-84G
51-10582 Ex-USAF and retired Royal Thai Air Force fighter in Royal Thai Air Force Museum
Turkey
110572 F-84G at Atatürk Airport.
F-84G
10572 – Istanbul Aviation Museum.
19953 – Atatürk Airport, İstanbul.
RF-84F
1901 – Istanbul Aviation Museum.
1917 – Istanbul Aviation Museum.
United States
YP-84A
45-59494 – Discovery Park of America, Union City, Tennessee. Formerly at Octave Chanute Aerospace Museum at the former Chanute Air Force Base in Rantoul, Illinois.[28][29]
F-84B
45-59504 – Cradle of Aviation Museum in Garden City, New York.[30]
45-59556 – Planes of Fame Museum in Chino, California.[31]
46-0666 – Mid-Atlantic Air Museum in Reading, Pennsylvania.[32]
F-84C
47-1433 – Pima Air and Space Museum, adjacent to Davis-Monthan Air Force Base in Tucson, Arizona.[33]
47-1486 – Goldwater Air National Guard Base, Sky Harbor International Airport in Phoenix, Arizona.[34]
47-1498 – EAA Airventure Museum in Oshkosh, Wisconsin.[35]
47-1513 – Kansas Aviation Museum at McConnell Air Force Base in Wichita, Kansas.[36]
47-1530 – Cannon Air Force Base, New Mexico.[37]
47-1562 – Pueblo Weisbrod Aircraft Museum in Pueblo, Colorado.[38]
47-1595 – March Field Air Museum at March Air Reserve Base (former March Air Force Base) in Riverside, California.[39]
F-84E
F-84E at the USAF Museum
49-2155 – Yanks Air Museum in Chino, California.[40]
49-2285 – Texas Military Forces Museum in Austin, Texas.[41]
49-2348 – American Airpower Museum in East Farmingdale, New York.[42]
50-1143 – National Museum of the United States Air Force at Wright-Patterson Air Force Base in Dayton, Ohio. It was obtained from Robins Air Force Base, Georgia, in October 1963.[43]
51-0604 – Museum of Aviation at Robins Air Force Base, Georgia.[44]
F-84G
51-0791 – Springfield Air National Guard Base, Springfield, Ohio.[45]
51-11126 - under restoration to airworthiness by a Vulcan Warbirds Inc. for the Flying Heritage Collection in Seattle, Washington.[46][47]
52-3242 – Hill Aerospace Museum, Hill Air Force Base, Utah.[48]
52-8365 - under restoration to airworthiness by a private owner in Edmonds, Washington.[49][50]
Specifications (F-84G Thunderjet)
Line drawing of F-84C
Data from Encyclopedia of US Air Force Aircraft and Missile Systems[1]
General characteristics
Crew: one
Length: 38 ft 1 in (11.60 m)
Wingspan: 36 ft 5 in (11.10 m)
Height: 12 ft 7 in (3.84 m)
Wing area: 260 ft² (24 m²)
Empty weight: 11,470 lb (5,200 kg)
Loaded weight: 18,080 lb (8,200 kg)
Max. takeoff weight: 23,340 lb (10,590 kg)
Powerplant: 1 × Allison J35-A-29 turbojet, 5,560 lbf (24.7 kN)
Performance
Maximum speed: 622 mph (540 kn, 1,000 km/h,Mach .81)
Cruise speed: 475 mph (413 kn, 770 km/h)
Range: 1,000 mi (870 nmi, 1,600 km) combat
Ferry range: 2,000 mi (1,700 nmi, 3,200 km) with external tanks
Service ceiling: 40,500 ft (12,350 m)
Rate of climb: 3,765 ft/min (19.1 m/s)
Wing loading: 70 lb/ft² (342 kg/m²)
Thrust/weight: 0.31 lbf/lb
Armament
6 × .50 in (12.7 mm) M3 Browning machine guns, 300 rpg
Up to 4,450 lb (2,020 kg) of rockets and bombs, including 1 × Mark 7 nuclear bomb
Avionics
A-1CM or A-4 gunsight with APG-30 or MK-18 ranging radar
F-84F Thunderstreak
Republic XF-91 Thunderceptor
XF-84H Thunderscreech
Aircraft of comparable role, configuration and era
Dassault Ouragan
de Havilland Venom
Gloster Meteor
Grumman F9F Cougar
Grumman F9F Panther
McDonnell XF-85 Goblin
Ao Amanhecer - Cristina Mel
Quantas vezes pensa em desistir
De lutar quando a vitória está por vir
Os problemas lhe afetam
Seus amigos lhe desprezam
E o verbo desistir é o seu falar
O inimigo lhe tentando
Sua fé se abalando
E só pensas em desanimar
Faça agora mesmo resplandecer
O brilho desta luz que está em você
Não deixe o inimigo ofuscar
A luz que você tem é pra brilhar
Se Deus está contigo é pra vencer
Ele fortalece e dá poder
Quando o choro vem à noite
A alegria virá ao amanhecer
Ouça agora o que vou falar
Para ser um vencedor tem que lutar
Bençãos e provas são sempre irmãs
Tais quais as noites com as manhãs
Quando se sentir vencido
Saiba que Deus é contigo
Para lhe fazer um vencedor
Faça agora mesmo resplandecer
O brilho desta luz que está em você
Não deixe o inimigo ofuscar
A luz que você tem é pra brilhar
Se Deus está contigo é pra vencer
Ele fortalece e dá poder
Quando o choro vem à noite
A alegria virá ao amanhecer
Faça agora mesmo resplandecer
O brilho desta luz que está em você
Não deixe o inimigo ofuscar
A luz que você tem é pra brilhar
Se Deus está contigo é pra vencer
Ele fortalece e dá poder
Quando o choro vem à noite
A alegria virá
A alegria virá ao amanhecer
Ao amanhecer.
I was having some problems with the auto focus on my camera. Luckily it was still under warranty. It turned out to be just a kitchen knife on my sensor.
A couple more shots from the night of knife throwing in my kitchen.
Strobist: straight from the camera. the knife is really flying. 1 shoot through cam left, 1 bounced cam right, 1 gelled to BG(poor coverage), and 1 cam mounted for the front of the knife. Timed the toss with the timer.
“So, this is the problem as it was told to me by our friend, Icecap.” Said Sky. “There would appear to be a local fish shortage.”
Sky looked at the expressions of horror on the faces of the other bears before he continued.
“Every week I order Icecap a load of fish when we have our order in for honey, well that used to work quite well but recently it is not working at all.”
“Why is it they do not have fish?” Asked Bertie looking amazed at the news.
“Yes, I thought they always had fish, Sky, is this going to happen all the time?” Asked Barnaby feeling very thankful that fish was not his main food.
“I do not know why they do not have fish, they should, they always did, but now they don’t.” Said Sky.
Every bear looked up as Icecap came and sat beside them.
“I think we need more knowledge about fish and the store so we can discover why we have this problem.” Said Posh Bear.
“Well, I went with Elli to the store in her ellicopter to see what was happening.” Said Icecap. “The problem would seem to be they do not have a fish counter there any longer. They are only going to sell fish wrapped into plastic sealed units in future. I got talking to a bear, nice chap, who was waiting to be owned that had lived there for the time, he was saying that the store had been wanting to get rid of the fish counter for ages as it was expensive to run, then came the big hooman sickness that kept everyone indoors and out of stores. That gave the stores the excuse they needed and so they now only have these small sides of fish sealed in hard plastic.” Explained Icecap.
“I see, that is a problem then, anyone any ideas how we can keep Icecap filled up with fresh delicious fish?” Asked Posh Bear.
“Where do they make fish?” Asked Barnaby.
“In the oceans and sea.” Answered Bertie smiling at the idea of a factory line of hoomans making fish to put in the sea.
“Do we know if there is a spare sea kicking around that we could place in the back garden and then Icecap could just lean out of a window when he wanted to eat and help himself.” Explained Barnaby rather proudly that he had got the answer to the problem before anyone else.
“A good idea, Barnaby, but sadly I think you will not be able to find a spare sea, I am fairly sure they are all taken up and as far as I am aware, there are no plans to make new ones just yet.” Said Sky feeling he needed to add some input to the conversation as he is a genius that everyone looked to, to discover answers to difficult questions.
“I suppose I could go and find a sea or ocean and live there.” Said Icecap looking sad at the idea.
“No, that would never work because they don’t have buzzy things in oceans and seas and so we would have no honey.” Said Bertie. “So, if we can’t go nor can our friend Icecap. We need to find an answer.”
“Could we leave a forwarding address to the buzzy things and then they could … no that would not work as they can’t read bear and we can’t write buzzy thing. There must be a logical answer to this problem…” said Sky, rubbing his head with his paw as he tried thinking of the solution.
“The logical answer is easy; it is the illogical answer that I need.” Said Icecap looking shocked that they had been looking at the problem wrong.
“How do you mean, Icecap?” Asked Posh Bear.
“Well, the logical answer is that I ask Elli to fly me to the sea every so often so I can stock up on fish, it wouldn’t take her long and I know she would do it for me.”
“Yes, I can see that, it is a decent way around the problem.” Said Posh Bear smiling.
“Only, I must balance out my fears of flying with Ellie, against the fish the store does have. I was looking for a better answer to get my fish without asking Elli or having the store fish.” Explained Icecap.
“I think I have the answer.” Said Barnaby looking excited.
“What now, Barnaby, maybe send letters to the fish and ask them to catch a lift with Elli?” Said Bertie giggling.
“No, I must admit that I had not thought of that, Bertie. Good idea that it is, I think my idea is much betterer. We find a different store that does sell fish the way Icecap likes it and go there. His fish doesn’t have to come on the same lorry that our honey does.” Barnaby explained.
“Could we try that, Sky? Could you find another store to get it from?” Asked Icecap.
“I think we should try. Good idea young Barnaby, see I am teaching him well. One day he will be a proper genius just like me.” Said Sky smiling as he saw Icecap looking happier.
Meet the Falcon that keeps trying to get at my birds ><....I know he's just hungry and doing what he needs to do....Just wish he didnt need to do it with my birds. Luckily he has not succeeded yet due to my awesome Crows and Jays :D
Rolling In The Deep - Adele - www.youtube.com/watch?v=rYEDA3JcQqw
48/365: The 2013 Edition www.flickr.com/groups/3652013/
18/28 days of hearts
from where i stand www.flickr.com/groups/fromwhereistand/
Sorry for being away but I had computer problems, now I'm up & running.
I have been talking with a fascinating scientist who’s working on genetically-modified neurons to innervate the brain from a silicon substrate. The goal — connect prosthetics to the cranial nerves and eventually, replace all sensory input to the brain with a computer interface. Well… how complicated would this be? While the human brain has 86 billion neurons, he estimates that there are only 4 million cranial nerves to connect, and 3 million of them come from the retina (the color-coded photoreceptors).
Who might volunteer to have their head and spinal cord cut out of their body and their skull removed, to be reborn as a cyborg, fed by an ECMO machine? Many terminally ill cancer patients have not suffered a neurodegenerative disease. Their body will die while the mind is still ripe.
I do not believe we will be able to upload our consciousness to a silicon substate, as Ray Kurzweil has long predicted, at least not any time earlier than we will grow an AI that exceeds human intelligence. The brain in a vat is very different. A prosthetic hijacking of the interface to the sensory cortex is a much simpler task. The inscrutable complexity of the cortex remains just that. We just need to couple to the extant external interface to the body.
He makes it sound… imminent. While the sensory cortex is notable for its neuroplasticity, (the ability to remodel sensory input), can it be this dramatic — from body to borg?
I thought of the adage from Hunter S. Thompson that arose while watching a boxing match on an ether binger: “Kill the body and the head will die.”
Thanks to Genevieve being an MIT alumnus, I can get behind the paywall of the MIT Technology Review October issue on the Mind. Professor Lisa Feldman of Northeastern postulates a problem: “Your brain did not evolve to think, feel, and see. It evolved to regulate your body. Your thoughts, feelings, senses, and other mental capacities are consequences of that regulation. Since allostasis [regulation of body systems] is fundamental to everything you do and sense, consider what would happen if you didn’t have a body. A brain born in a vat would have no bodily systems to regulate. It would have no bodily sensations to make sense of. It could not construct value or affect. A disembodied brain would therefore not have a mind. I’m not saying that a mind requires an actual flesh-and-blood body, but I am suggesting that it requires something like a body, full of systems to coordinate efficiently in an ever-changing world. Your body is part of your mind—not in some gauzy, metaphorical way, but in a very real brain-wiring way.
Your thoughts and dreams, your emotions, even your experience right now as you read these words, are consequences of a central mission to keep you alive, regulating your body by constructing ad hoc categories. Most likely, you don’t experience your mind in this way, but under the hood (inside the skull), that’s what is happening.”
She elaborates, as you might assume: “When your brain remembers, it re-creates bits and pieces of the past and seamlessly combines them. We call this process ‘remembering,’ but it’s really assembling. In fact, your brain may construct the same memory (or, more accurately, what you experience as the same memory) in different ways each time. I’m not speaking here of the conscious experience of remembering something, like recalling your best friend’s face or yesterday’s dinner. I’m speaking of the automatic, unconscious process of looking at an object or a word and instantly knowing what it is. Every act of recognition is a construction. You don’t see with your eyes; you see with your brain. Likewise for all your other senses. Just as your memory is a construction, so are your senses. Everything you see, hear, smell, taste, and feel is the result of some combination of stuff outside and inside your head. Affect is just a quick summary of your brain’s beliefs about the metabolic state of your body, like a barometer reading of sorts.
Brains evolved to control bodies. Over evolutionary time, many animals evolved larger bodies with complex internal systems that needed coordination and control. A brain is sort of like a command center to integrate and coordinate those systems. It shuttles necessary resources like water, salt, glucose, and oxygen where and when they are needed. This regulation is called allostasis; it involves anticipating the body’s needs and attempting to meet them before they arise. If your brain does its job well, then through allostasis, the systems of your body get what they need most of the time.
To accomplish this critical metabolic balancing act, your brain maintains a model of your body in the world. The model includes conscious stuff, like what you see, think, and feel; actions you perform without thought, like walking; and unconscious stuff outside your awareness. For example, your brain models your body temperature. This model governs your awareness of being warm or cold, automatic acts like wandering into the shade, and unconscious processes like changing your blood flow and opening your pores. In every moment, your brain guesses (on the basis of past experience and sense data) what might happen next inside and outside your body, moves resources around, launches your actions, creates your sensations, and updates its model. This model is your mind, and allostasis is at its core.”
Anil Seth from the University of Sussex phrases it more strongly in Our brains exist in a state of controlled hallucination: “The brain is always constructing models of the world to explain and predict incoming information; it updates these models when prediction and the experience we get from our sensory inputs diverge.
The entirety of perceptual experience is a neuronal fantasy that remains yoked to the world through a continuous making and remaking of perceptual best guesses, of controlled hallucinations. You could even say that we’re all hallucinating all the time. It’s just that when we agree about our hallucinations, that’s what we call reality.”
P.S. photo above is a movie prop from Robocop 2
Thousands of people are concentrated and protest in the emblematic Puerta del Sol de Madrid against political and financial corruption. They want reforms in the system to solve the problems of people: unemployment, cuts in social rights, the delay in retirement age. Rule is the same as the PP or PSOE-IU: No solution for the young: 40% unemployment, and political parties have alleged corrupt electoral lists. The people have had enough. The squares of major cities of Spain are saying ENOUGH!
Blue Reincarnation Narcissus by Jaisini
The theme of Narcissus in Paul Jaisini’s “Blue…” may be paralleled with the problem of the two-sexes-in-one, unable to reproduce and, therefore, destined to the Narcissus-like end. Meanwhile, the Narcissus legend lasts.
In the myth of Narcissus a youth gazes into the pool. As the story goes, Narcissus came to the spring or the pool and when his form was seen by him in the water, he drowned among the water-nymphs because he desired to make love to his own image.
Maybe the new Narcissus, as in “Blue Reincarnation,” is destined to survive by simply changing his role from a passive man to an aggressive woman and so on. To this can be added that, eventually, a man creates a woman whom he loves out of himself or a woman creates a man and loves her own image but in the male form. The theme of narcissism recreates the ‘lost object of desire.’ “Blue” also raises the problem of conflating ideal actual and the issue of the feminine manhood and masculine femininity.
There is another story about Narcissus’ fall which said that he had a twin sister and they were exactly alike in appearance. Narcissus fell in love with his sister and, when the girl died, would go to the spring finding some relief for his love in imagining that he saw not his own reflection but the likeness of his sister. “Blue” creates a remarkable and complex psychopathology of the lost, the desired, and the imagined. Instead of the self, Narcissus loves and becomes a heterogeneous sublimation of the self. Unlike the Roman paintings of Narcissus which show him alone with his reflection by the pool, the key dynamic in the Jaisini’s “Blue” is the circulation of the legend that does not end and is reincarnated in transformation when auto-eroticism is not permanent and is not single by the definition.
In “Blue,” we risk being lost in the double reflection of a mirror and never being able to define on which side of the mirror Narcissus is. The picture’s color is not a true color of spring water. This kind of color is a perception of a deep seated human belief in the concept of eternity, the rich saturated cobalt blue.
The ultra-hot, hyper-real red color of the figure of Narcissus is not supposed to be balanced in the milieu of the radical blue. Paul Jaisini realizes the harmony in the most exotic colors combination. While looking at “Blue,” we can recall the spectacular color of night sky deranged by a vision of some fierce fire ball. The disturbance of colors create some powerful and awe-inspiring beauty.
In the picture’s background, we find the animals’ silhouettes which could be a memory reflection or dream fragments. In the story, Narcissus has been hunting - an activity that was itself a figure for sexual desire in antiquity. Captivated by his own beauty, the hunter sheds a radiance that, one presumes, reflects to haunt and foster his desire. The flaming color of the picture’s Narcissus alludes to the erotic implications of the story and its unresolved problem of the one who desires himself and is trapped in the erotic delirium. The concept can be applied to an ontological difference between the artist’s imitations and their objects. In effect, The Jaisini’s Narcissus could epitomize artistic aspiration to the control levels of reality and imagination, to align the competition of art and life, of image with imaginable prototype.
Paul Jaisini’s “Blue” is a unique work that adjoins the reflection to reality without any instrumentality. “Blue” is a single composition that depicts the reality and its immediate reflection. Jaisini builds the dynamics of the desire between Narcissus and his reflection-of-the-opposite by giving him the signs of both sexes, but not for the purpose of creating a hermaphrodite. The case of multiple deceptions in “Blue” seems to be vital to the cycle of desire. Somehow it reminds one of the fate of the artists and their desperate attempts to evoke and invent the nonexistent.
“Blue” is a completely alien picture to Jaisini’s “Reincarnation” series. The pictures of the series are painted on a plain ground of canvas that produces the effect of free space filled with air. “Blue,” to the contrary, is reminiscent of an underwater lack of air; the symbolic meanings of this picture’s texture and color contributes to the mirage of reincarnation.
“Blue Reincarnation” (Oil painting) by Paul Jaisini
New York 2002, Text Copyright: Yustas Kotz-Gottlieb
ALL RIGHTS RESERVED
Despite having the information shown on the sign, the KJRY crew encountered no problems this day, save for the possibly one hundred or so railfans who have gathered here to watch the historic final run of the F-Units.
Some railroads would call that a problem, but not the KJRY crew on this day, as the historic nature of what was taking place was far from lost on them. Having securely coupled on to the lone scrap metal car, the KJRY crew now powers up the locomotives to clear the siding and once again latch on to the train.
It's easy to pick holes in the legend of Thomas the Rhymer. Many of the references to him and his predictions were written centuries after his death, but folklore is not necessarily unreliable just because it's verbal, and there's a good argument that in this case, where there's smoke there may once have been fire!
The problem is that the historical reality of True Thomas has been almost completely submerged in the tidal wave of myth and legend that has grown up around him over the centuries since. While it seems reasonable to dismiss the story that he "disappeared for seven years to live with the Queen of Elfland and returned to Ercildoune with the gift of prophecy", there are plenty of predictions attributed to him that may either be genuine or may have contained some degree of truth.
Popular lore recounts that he prophesied some of the great events in Scottish history, including the death of Alexander III of Scotland in 1286. He is said to have told the Earl of Dunbar:
"On the morrow, afore noon, shall blow the greatest wind that ever was heard before in Scotland."
There having been no significant change in the weather by the time his lordship sat down for his lunch the following day, a "please explain" was sent to Thomas, who replied that the appointed hour had not yet come, shortly after which, news arrived from Fife of the king's death.
Another of the Rhymer's predictions is said to go like this:
"When the Yowes o' Gowrie come to land,
The Day o' Judgment's near at hand"
A "Yowe" in the country parts of Scotland, is a ewe and the Yowes of Gowrie were two large rounded ovine looking rocks in the Tay estuary, just off the shore from Invergowrie, close to the outlet of the Fowlis Burn. Why and how should two large rocks ever come ashore you might well wonder? Well they had been observed over a period of many years to be getting slowly but surely closer to the shoreline! Or to be more precise, the shoreline was getting closer to them! Then in the 19th century they finally did come ashore. The Dundee to Perth railway line was built along that part of the coast line, seemingly just offshore of the yowes, after which the area to landward of the railway was used as a rubbish dump - supposedly burying the yowes in the process. So technically the yowes have "come to land", without triggering the Day of Judgement, although there are parts of Dundee where it probably can't come soon enough!
Perhaps my favourite of the Rhymer's prophecies, concerns Fyvie Castle in Aberdeenshire. He is said to have said:
"Fyvie, Fyvie thou'se never thrive,
lang's there's in thee stanes three :
There's ane intill the highest tower,
There's ane intill the ladye's bower,
There's ane aneath the water-yett,
And thir three stanes ye'se never get."
What does that mean when translated loosely into understandable English?
It is believed that there were three special stones at Fyvie - weeping stones. They remained permanently damp, whatever the weather and the whereabouts of two of them are unknown. The Rhymer's prediction is interpreted as meaning that until all three were located, no eldest son would succeed to his father at Fyvie. The 'Ladye's bower' is the castle's charter room, and the one surviving stone is kept there to this day. Whether there is another one built into the castles 'highest tower', nobody seems to know, but the biggest problem is the one said to be underneath the water-gate. This would place it in the River Ythan, which runs around the castle, and trying to identify a damp stone is a river is of course a difficult task!
So what about the prediction, that no oldest son would inherit? I have known this story, without questioning it, for most of my life, having been solemnly told that indeed, no eldest son had ever inherited the castle. But in the interests of science, I though I would spend some time now trying to find out whether that's true!
Fyvie was originally (before the time of the Rhymer a royal castle. We know that King Alexander II signed charters here in February 1222 and The Bruce stayed here in the early years of the 14th century. Since then, it has been owned by five families - the Prestons, the Meldrums, the Setons, the Gordons and the Forbes-Leiths.
Actually, technically, there were six families! In 1370, King Robert II granted Fyvie to his son and heir John (later Robert III), who in turn passed the castle to his cousin, Sir James Lindsay. However, in 1388 the Scots had a rare victory over the English at the Battle of Otterburn, during which Ralph de Percy was captured by Sir Henry Preston, the brother-in-law of Sir James Lindsay. When Robert III came to the throne two years later in 1390 he purchased the rights to Ralph de Percy's ransom by transferring ownership of Fyvie Castle from Sir James Lindsay to Sir Henry Preston. This would seem rather unfair, although I imagine Sir James would have been adequately compensated, but it does of course set the prophesy off in the right direction - Sir James' heir never inherited Fyvie!
So leaving Sir James Lyndsay to one side, the first effective owner of Fyvie in the post royal era, was Sir Henry Preston. When he died around the year 1433, he wasn't succeeded by his son, because he didn't have any! Fyvie went to Sir Alexander Meldrum of that ilk, who had married one of Sir Henry's two daughters.
Fyvie remained in the hands of the Meldrums for about 160 years, passing through the hands of several (probably five) generations of the family, but as we don't know the genealogy of this part of the Meldrum family, we can't say whether an eldest son ever inherited. Probably yes, but the accuracy of the prophesy can't be disproved! In 1596, Fyvie was sold by the Meldrums to Alexander Seton, later Chancellor of Scotland.
Alexander Seton, 1st Earl of Dunfermline and Chancellor of Scotland, was born in 1555. His first wife, to whom he was already married when he bought Fyvie, was Lillias Drummond and after producing five children for him, all girls, it is said that Lord Seton, blaming his wife for the lack of a son and heir, began an affair with her cousin (and future wife) Grizel Leslie. Betrayed and heartbroken Lillias died not long after learning of the affair, .
Lillias Drummond died in May 1601 and Lord Seton married Grizel Leslie a few months later in October 1601. On their wedding night at Fyvie it is said that they were both distracted by a 'mournful moaning' from outside their bedroom window. A search for the source of the noises produced no results but the next morning the words D. LILLIAS DRUMMOND were found carved into the stone sill outside their bedroom window, in letters three inches high and upside down, the window being over 50 feet above ground level. The letters remain visible to this day and since that time, Fyvie Castle is said to have been haunted by a lady in green, roaming the corridors of the castle, crying at her betrayal by her husband and leaving behind the scent of Rose petals!
How much of that is true, I don’t know, but what is true is that before her death in 1606, Grizel Leslie produced two daughters and a son Charles, and that Charles died young! It was up to Lord Seton's third wife to produce his successor, another Charles.
The eldest son and heir of Charles Seton, 2nd Earl of Dunfermline, also named Charles, died in 1672, just before his father! Alexander, the 2nd son became 3rd Earl of Dunfermline, but dying unmarried, the title passed to his brother James.
James Seton, 4th Earl of Dunfermline, died in 1694, also unmarried - which was somewhat immaterial because, having supported the Jacobite cause in the 1689 Rising, his castle and estate had already been confiscated by the crown. Fyvie remained a crown property until it was sold in 1733.
The purchaser in 1733 was William Gordon, 2nd Earl of Aberdeen. His wife at the time was Anne Gordon, daughter of the 2nd Duke of Gordon and their eldest son William inherited Fyvie from his father. But those that have read this far and are hoping the Rhymer's prophesy will hold true will be delighted to learn that Lord William Gordon had already been married, twice and had two sons by his 2nd wife. So once again, the eldest son and heir didn't inherit Fyvie.
General William Gordon, 1st of Fyvie died in 1816 when, unfortunately for Thomas the Rhymer, who now can never be taken seriously again, was succeeded by his only son William Gordon, 2nd of Fyvie Castle. He died without children in 1847, whereupon Fyvie passed to his nephew, Charles Gordon 3rd of Fyvie.
When the 3rd laird died in 1851, Fyvie passed to his son and heir, for the 2nd (and last) time that we know of in five centuries, William Cosmo Gordon. Either he or his executors put Fyvie up for sale and it sold in 1889 to the 5th and last family to own it.
Fyvie's new owner was Alexander John Forbes-Leith, later 1st Baron Leith of Fyvie. He was a local boy who had made his fortune in the steel industry in the US of A and used Fyvie to house his huge collection of paintings, tapestries, armour and furniture. His only son and heir, Percy Forbes-Leith, 2nd Lt Royal Dragoons, was killed aged 19 in 1900 during the Boer War.
In 1982 Fyvie Castle was once again placed on the market, and in 1984 it was purchased by the National Trust for Scotland.
So could Thomas the Rhymer predict the future? Well it's my belief he could do so every bit as accurately as Nostradamus!
There was a problem with the length of the pants, but it was made up with high sneakers.
It's very well-made, so it's liked.
Yesterday, 27 May 2019 - one of the new problems on Flickr today is having comments and faves not appear. If you get a first comment or make a first comment on someone else's photo, that comment will disappear. The comment is listed under the "bell", but does not appear under the photo. The "bell" stated that I had a comment under each of the five photos I posted today. These were the first comments to be made. Two of the comments stayed, but there was no sign of the other three. The same with faves - some show up, others don't. Other people are having the same problem and have reported it to the Help Forum.
On 23 May 2019, Flickr was unusable and some of the channels on TV were also not working. Combined, these two things made me decide that enough is enough, and that I needed to go for a short drive.
My first stop was at a local pond in the city, where I enjoyed seeing this Lesser Scaup, a Coot, Mallards, and a Common Grackle or two. It was also fun to come across a small group of children with their "care-givers". I identified a Coot for them and told them that it was not a duck and that their babies were so ugly that they were very, very cute. I did see one Red-necked Grebe swimming, but I didn't venture further along the path as I zoomed in on two Police officers checking out a parked car along the pathway.
After spending a bit of time at this location, I drove westwards to my "usual" area, wondering if I would see Mountain Bluebirds and a Snipe. I was in luck with both. This is the area that my small "team" covers for the annual May Species Count, so I was curious as to what I/we might see. The 23rd annual Count took place the day before yesterday, on 26 May. The weather was good (3C - 17C) - no sign of the rain that we've been getting on far too many days recently. However we desperately need the moisture. There are already wild fires in Alberta and the number will only increase over the summer. It is supposed to be another bad summer with fires and smoke.
There were nine of us on the May Species Count, travelling in two cars. We were out for 7 hours, travelling 52 km in our Count area, and saw 66 bird species. I will add the list of species in a comment box below so that I will be able to look back in a year's time and remind myself of what we saw in 2019.
Please give attribution to 'ccPixs.com' (and point the link to www.ccPixs.com). Thanks!
Social Media: www.seywut.com/Chris
Quoting Smithsonian National Air and Space Museum | Concorde, Fox Alpha, Air France:
The first supersonic airliner to enter service, the Concorde flew thousands of passengers across the Atlantic at twice the speed of sound for over 25 years. Designed and built by Aérospatiale of France and the British Aviation Corporation, the graceful Concorde was a stunning technological achievement that could not overcome serious economic problems.
In 1976 Air France and British Airways jointly inaugurated Concorde service to destinations around the globe. Carrying up to 100 passengers in great comfort, the Concorde catered to first class passengers for whom speed was critical. It could cross the Atlantic in fewer than four hours - half the time of a conventional jet airliner. However its high operating costs resulted in very high fares that limited the number of passengers who could afford to fly it. These problems and a shrinking market eventually forced the reduction of service until all Concordes were retired in 2003.
In 1989, Air France signed a letter of agreement to donate a Concorde to the National Air and Space Museum upon the aircraft's retirement. On June 12, 2003, Air France honored that agreement, donating Concorde F-BVFA to the Museum upon the completion of its last flight. This aircraft was the first Air France Concorde to open service to Rio de Janeiro, Washington, D.C., and New York and had flown 17,824 hours.
Gift of Air France.
Manufacturer:
Societe Nationale Industrielle Aerospatiale
Dimensions:
Wingspan: 25.56 m (83 ft 10 in)
Length: 61.66 m (202 ft 3 in)
Height: 11.3 m (37 ft 1 in)
Weight, empty: 79,265 kg (174,750 lb)
Weight, gross: 181,435 kg (400,000 lb)
Top speed: 2,179 km/h (1350 mph)
Engine: Four Rolls-Royce/SNECMA Olympus 593 Mk 602, 17,259 kg (38,050 lb) thrust each
Manufacturer: Société Nationale Industrielle Aérospatiale, Paris, France, and British Aircraft Corporation, London, United Kingdom
Physical Description:
Aircaft Serial Number: 205. Including four (4) engines, bearing respectively the serial number: CBE066, CBE062, CBE086 and CBE085.
Also included, aircraft plaque: "AIR FRANCE Lorsque viendra le jour d'exposer Concorde dans un musee, la Smithsonian Institution a dores et deja choisi, pour le Musee de l'Air et de l'Espace de Washington, un appariel portant le couleurs d'Air France."
Attending to a postal vehicle breakdown in La Crosse, Wisconsin. I never knew the U.S. Post Office had its own tow-trucks . . . live and learn.
I had problems adjusting the color balance.
2024 RM Sotheby's Auction Preview Monterey: 1967 Ferrari 275 GTB/4 NART Alloy by Scaglietti
Yes I am back Things didn't take long to sort out . Silver glitter dress and hold ups. Have a great weekend xx
Look Guys...You all look like that you have a problem to share......And goodness me......Don't for one moment think I don't know that we have no windows or doors in our new house....Never mind a carpet on the floor......But look on the bright side........ We do have a roof over heads with some fitted benches for seating and a beautiful view to our back yard......And let's not forget that with this size property there will be a lot less housework for you to do......Leaving you much more time for you all to enjoy my guitar playing and singing....What do you mean.....That is the problem!!!!!!!!!!!!!!!!!! .
.
PS On a serious note....Halo would like you to know that if you could see just a bit further to the next field.....You not only see sheep ready for lambing ......But the field after is Silverstone....The home of British motorsport......
.
Copyright © John G. Lidstone, all rights reserved.
I hope you enjoy my work and thanks for viewing.
NO use of this image is allowed without my express prior permission and subject to compensation/payment.
I do not want my images linked in Facebook groups.
It is an offence, under law, if you remove my copyright marking, and/or post this image anywhere else without my express written permission.
If you do, and I find out, you will be reported for copyright infringement action to the host platform and/or group applicable and you will be barred by me from social media platforms I use.
This applies to all of my images.
My ownership & copyright is also embedded in all metadata.
Be fair, enjoy and no problem.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Press "F" if you like it.
Ferrari FXX Evoluzione Engine ( V12 860hp ! )
Spotted @ Spa-Francorchamps RaceTrack
Corse Clienti Ferrari
Follow me on www.facebook.com/cadartemericphoto & on auto-motion.eu !
No checkout lane soda
Edwardsville, PA. February 2020.
------------------------------------------------------------------------------------------
If you would like to use THIS picture in any sort of media elsewhere (such as newspaper or article), please send me a Flickrmail or send me an email at natehenderson6@gmail.com
IN ENGLISH BELOW THE LINE
Es tracta d'un ambrotip amb vidre clar, de format 13x18cm, realitzat amb una càmera Konrad G. Seitz fabricada cap al 1895; objectiu Derogy de tipus Petzval fabricat entorn 1877; col·lodió Old Workhorse de Franalog; revelador Mamut MD7.
Les plaques de col·lodió es realitzen al moment, cobrint una placa de vidre o planxa metal·lica negra amb col·lodió i sals de cadmi i/o potassi, sensibilitzat amb nitrat de plata. Aleshores s'ha de fer la fotografia i revelar-la en uns 5 minuts, abans no s'assequi la emulsió. És un dels processos fotogràfics més antics del món, inventat el 1851, i que dominà fins el 1880. Però ara ha resorgit, ja que les imatges, molt treballades, que dona són úniques, màgiques i i irrepetibles.
ca.wikipedia.org/wiki/Col%C2%B7lodi%C3%B3_humit
=====================
This is one of my first plate made with a Petzval lens, adjoined to the camera with a DIY lens board.
Clear glass ambrotype in 13x18cm format, made with a Konrad G. Seitz tailboard camera in Nuremberg c.1895; Derogy portrait Petzval lens made c.1877; Old Workhorse collodion by Franalog; MP.
The collodion plates are made covering a glass plate or black metal plate with collodion and salts of cadmium and / or potassium, sensitized with silver nitrate. Then you have to take the photo and reveal it in about 5 minutes, before the emulsion dries. It is one of the oldest photographic processes in the World, invented in 1851, and which dominated photography until 1880. But now it has resurfaced, as the images, very elaborate to create, that it gives are unique, razor sharp, magical and unrepeatable.
en.wikipedia.org/wiki/Collodion_process
intrepidcamera.co.uk/blog/rikard-osterlund-guide-to-wet-p...
At first sight the church of All Saints at Wilden, just to the north east of Stourport on Severn, may not appear to be anything out of the ordinary, a humble Victorian brick church with a bellcote, consisting solely of single aisle nave and chancel with little structural division. But within lies one of the most beautiful sets of windows in the Midlands, a complete scheme by Morris & Co from designs of Edward Burne Jones, dating from 1902-14.
The church itself was built in 1880 by the architect W.J.Hopkins and funded by Alfred Baldwin, whose family church this became; they lived nearby and were major industrialists, owning the nearby ironworks. Baldwin was married to Louisa MacDonald, whose three sisters also had notable marriages, to John Lockwood Kipling (father of Rudyard), the artist Edward Poynter and, most significant of all here, Sir Edward Burne Jones. This collaboration of dynasties resulted in the superb windows at Wilden church, though all were installed after the death of Burne Jones himself.
A detail of the east window appears to show the Archangel Raphael with the young Tobias from the Old Testament story, though the boy is reputedly a likeness of Alfred Baldwin's son and Burne Jones's nephew, the future Prime Minister Stanley Baldwin.
The windows are exceptionally beautiful and richly reward a visit to this unassuming building. Most are designs reused from the great stock of Burne Jones's drawings held by Morris & Co, and which appear in many other windows across the country. A particularly notable two-light window has his familiar figure of Joshua in armour, balanced by a charming panel of pure foliage (apparently arising from a problem with indecision on the part of the donors as to who should be portrayed here, but a very happy accident I think).
The church is generally kept locked except for the first saturday of each month (and school holiday wednesdays), otherwise an appointment will be necessary to gain entry.
This was my 2nd visit, and I inadvertently turned up an hour early, but as luck would have it the nice lady opening up the church that morning also arrived an hour early (owing to there being a wedding later that day) so in the end my timing couldn't have been better (and she very kindly made me a cup of tea too, so hospitalitiy here was much appreciated! :-)
"Apollo and Daphne" by Gian Lorenzo Bernini within the Freedom Mausoleum at Forest Lawn Glendale, California