View allAll Photos Tagged replicator
My replication of a pack shot, found on almost every supermarket website. It is taken from one of my studio photographs. Then using Photoshop I selected it, added Gaussian blur to the edges and raised the curves to maximum.
The award winning HyperIP software delivers WAN Optimization for data replication, cloud storage, iSCSI replication, and other large IP storage and file transfer applications. Deploying HyperIP for replication, backup, recovery and data center migrations provides our partners and customers the confidence that their valuable information will be protected and moved on-time, every time.
At Chico State artist John Pugh has replicated the famous mural he painted on the wall of Taylor Hall more than three decades ago when he was a student at Chico State. On 10/28/2015 I visited the site of the new mural being installed. I happened by when the artist, John Pugh, on the right, was conferring with the Chico State president. At this stage the mural was about half done. The area was fenced off, and I had to stick the lens on my Nikon D750 though a narrow space between two sections of the fence in order to take this photo.
A link to more information about the work of John Pugh: artofjohnpugh.com/murals/
Some background:
The JGSF’s Type 01 “Shin-Hei” military Labor was a derivative of the highly successful civil HL-98 “Hercules 21” construction labor manufactured by Hishii Heavy Industries, which itself was a thorough development of the HL-97 “Bulldog”. Following an accident with a "Bulldog'' in 1998 the new model adopted an electronically controlled suspension, auto speed control, and a canopy system that eliminated the vibration, noise, and poor riding comfort that were the weaknesses of early two-legged Labors. Another novelty was the HL-98’s completely sealed cockpit with VR view of the surroundings for the pilot which offered highly improved crew protection and comfort and also allowed operations in potentially hazardous environment.
With these upgrades the HL-98 became the industrial standard for 2nd generation Labors, being one of the company's best-selling products. This machine was furthermore a priority product into which all of Hishii's state-of-the-art technology was poured into, and “Hercules” became a household name for construction Labors in the late Nineties. There was plenty of consideration for the user in all aspects, such as the reshaped cockpit with an innovative virtual reality interface that made cabin windows obsolete, what also improved driver protection. In addition to the electrification of the actuators, which was a typical feature of the same generation Labors, the battery used a nickel-metal hydride system, which was later followed by the third-generation lithium-ion system. Of course, the reliability and price/performance ratio that Hishii fans always insisted on were excellent, and even today, some say that it is "The best in terms of ease of use at the field level.''
Hishii's typical simplicity and robustness, with attention to safety and security, was what made the HL-98 machine a hit on the civil Labor market, and its versatility quickly drew attention of the Japanese Self Defense Ground Forces. At that time the JGSDF was looking for a light to medium multi-purpose Labor that could be used for both construction and logistics (primarily for engineer/pioneering units) as well as for armed frontline use, in a secondary role. In service it would partly replace the 1st generation AL-97 Atlas and AL-97B-var Hannibal Labors, being lighter, easier to transport and more economical to operate and maintain.
With its robust design and relatively compact dimensions the HL-98 offered a very good basis for further developments and within only two years Hishii Heavy Industries presented the so-called “JGSDF Type 01”, baptized “Shin-Hei” (“First/glorious warrior”). The Shin-Hei strongly resembled the commercial HL-98, sharing its framework and many actuators, but the mechanical systems were upgraded to military spec to allow generally high performance and endurance. Most obvious changes included more complex, hand-like manipulators, so that the Shin-Hei could operate tools and hand-held weapons. A multi-sensor boom (visual, audio, radiation, and atmospheric analysis) was added on the left shoulder as well as a LIDAR projector/receiver on the “forehead”, which offered a wide range of tactical uses and added full all-weather operation ability. The system allowed navigation even in total darkness, exact range measurement and three-dimensional analysis of surrounding details. A further use was motion detection (for extended watch duties), and the LIDAR’s laser beam could furthermore be concentrated to illuminate targets at up to 4.000 m range, either for laser-guided missiles which the Shin-Hei could carry and deploy (see below), or for ordnance that had been launched from 3rd parties like guided artillery shells or laser-guided bombs and missiles dropped from airborne platforms.
Although it had, due to being designed as a multi-purpose Labor, inferior firepower to its predecessor, the Atlas series, the Type 01 was fully capable of dealing with armored vehicles and infantry-level forces. On the right shoulder the Shin-Hei featured a fully stabilized articulated hardpoint that covered a conical area of +/- 45° in both horizontal and vertical planes in front of the torso, which could be rotated by 360°. This actuated pylon could accept several external weapons or tools. This included a sextuple launcher for laser-guided LMAT anti-tank missiles, a smoke grenade mortar with eighteen rounds, a belt-fed 25 mm rapid fire cannon with an external drum magazine against soft but also hardened targets, or a 40 mm grenade launcher, also outfitted with a drum magazine. Instead of weapons the hardpoint could also hold a powerful white/IR searchlight, an IR smoke screen generator, or a grapple cannon with an attached carbon-fiber cable.
Handheld weapons from the JGSDF’s Labor weapon arsenal could be deployed by the Type 01, too, ranging from a long-barreled 40mm rapid-fire machine gun over a heavy anti-labor bazooka to a short combat knife. For riot control the Shin-Hei could furthermore use a machine pistol-type portable firearm, which looked like a submachine gun, capable of firing standard rounds but also non-lethal rubber frag bullets or flechette ammunition against soft targets.
Less visible upgrades included water-, heat- and ABC-insulation for the cockpit in front torso (together with an air supply for 48 hours of operation) and the Labor’s fiber-reinforced plastic and aluminum shell was beefed-up for military operations with composite armor against machine cannon fire of up to 30mm caliber, and optional reactive armor tiles that protected against even larger caliber shells.
Three prototypes were built and the Japanese government ordered 99 production models, which entered service with the JGSDF Amphibious Rapid Deployment Brigade in 2001 but was also adopted by three JGSDF’s pioneer units.
Technical Data:
Code name: Type-01 "Shin-Hei"
Unit type: Military labor
Manufacturer: Hishii Heavy Industries
Operator: Japanese Ground Self Defense Forces (JGSDF)
Number built: 102
Accommodation: pilot only, in heat-, water and ABC-insulated cockpit in front torso
Dimensions:
Height overall (w. sensor boom): 9.42 meters
Height (hull only): 7.45 meters
Width (at shoulders): 5.12 meters
Minimum revolving radius: 5.5 meters
Weight:
7.89 tons (dry/empty)
9.22 tons (fully equipped/armed)
Armor materials:
Fiber-reinforced plastic (FRP) and aluminum hull;
Additional composite armor against small-caliber weapons
Optional reactive armor tiles against armor-piercing weapons
Powerplant:
unknown
Maximum weight lifting capacity:
2.9 tons
Equipment and design features:
Flexible boom with visual and acoustic sensors, range unknown
Heat-, water- and ABC-protected cockpit with 48h air supply
Articulated manipulator hands with opposed thumbs
Full VR pilot interface
Armaments:
No internal weapons installed, but an articulated and stabilized hardpoint on the right shoulder
could accept several weapons, including a 25 mm machine cannon with 150 rounds in a drum
magazine or a launcher with 6x LMAT anti-tank missiles.
Additionally, handheld close and ranged combat weapons could be deployed, as well as a wide
range of pioneering tools
The kit and its assembly:
Some time ago I got my hands on a “reasonably priced” Patlabor IP kit set from Good Smile Company/Moderoid. The company created molds/kits for a wide range of Labors that appear in the original TV series and the movies, thankfully in the old Bandai kits’ rather esoteric 1:60 scale. This range also included a lot of civil Labors, which were formerly only available as dubious vinyl kits. The kit set I got was the HL-98 “Hercules” and ASV 99 “Boxer” combo, two civil construction Labors that shortly appear in supporting roles in the early Nineties movies. I did not have concrete plans for the kits upon purchase, but one of them would certainly become/remain a commercial/civil vehicle – and that will be the Boxer, due to its glazed cockpit. The Hercules Labor looked rather aggressive (at least to me, a little like a small brother of the menacing Phantom robot), and I rather thought that it would be better suited as a police or even military vehicle.
I eventually went for the latter concept; my build/conversion would more or less fall into the timeframe of the rather realistic and politically-heavy Patlabor 2 movie, around 2002, when Labors had, after teething troubles, become a more common sight and fully integrated into public services. Therefore, the HL-98 would become a “classic” JGSDF vehicle, not an exotic prototype anymore, reflected in its equipment/mods and the livery.
A word about the kit…. After initial enthusiasm I was a bit disappointed by the HL-98 kit, though. While it looks flashy and crisp in the box, molded in a peach orange tone with some dark grey details on alternative sprues (that are shared with the Boxer, beware not to throw them away!), the kit revealed the designers’ niggardliness. First of all the kit had been designed to be a rather simple snap-fit model. This is per se not a bad thing, many recent Bandai mecha kits are designed this way to appeal to newbie modelers who can put the model together, put stickers on it, and have a functional action figure within 15 minutes. However, Bandai’s designers still have the advanced modeler in mind and typically offer an alternative water slide decal sheet, and the kit is designed to be built in segments that can be built and painted separately, to be assembled in a final step, e. g. thanks to vinyl caps and clever detail solutions that might require one or two parts more, but that pays out elsewhere.
The Good Smile Company kit(s) lacks this thought altogether, and the number of parts has been reduced to a point that some parts, which would normally require 2 halves, have been molded and cast with “holes”. This might not be an issue, if this would remain invisible – but it isn’t and that’s really disappointing for such a “modern” kit! For instance, the undersides of the feet or of the hips are just “hollow”. Additionally, where a Bandai kit would offer a small, flexible vinyl cap in a joint, half of that joint is in the HL-98’s case completely molded in an ABS-esque material that is quite soft and poorly accepts any paint – the toy aspect seemed to have priority during the molds’ design process! Sure, you can work with this basis, but I feel painfully reminded of the early IP robot kits from the Eighties which did not offer any vinyl caps at all and a very cumbersome, not well thought-through matryoshka layout for arms, legs and torso, so that building separate modules and assembling them as a final step was impossible or required thorough mods.
Beyond these fundamental issues the kit went together quite well. The IP material is solid and thick, but many openings had to be painted before assembly to hide the material’s orange base color. Fit is also not too god, at least for such a modern mold – while the designers tried to hide part seams in natural panel lines, those seams that remain visible are very prominent and require PSR.
Most of my mods went onto the upper torso, including a sensor boom from a Patlabor Brocken on the left shoulder, the prominent LIDAR fairing (from a Bandai Patlabor Ingram Unit 3’s head) or the shoulder gun (from the scrap box, from a ruined 1:144 Run-Valam mecha, plus a drum magazine scratched from leftover Patlabor Brocken parts).
The “mitten”-style hands were also procured from a Bandai Brocken kit, replacing the HL-98’s original pincer-like three- and four-finger manipulators. To emphasize the military aspect, I added reactive armor tiles to the front and the shoulders, cut from 1mm styrene sheet. They beef up the look and add a military touch to the Labor/mecha.
Painting and markings:
A very dry and truthful replication of the typical JGSDF tank/vehicle livery in Dark Green/Dark Earth, and for this purpose I procured the respective authentic tones/paints from Tamiya, namely YF-72 and -73. However, these appear rather pale for what they are supposed to depict? IMHO, the tones rather remind of early WWII RAF Dark Earth and Dark Green (or even British Army Bronze Green) than those Tamiya suggests? Esp. the green is very greyish and close to the German RAL 7009 (Grüngrau), while the brown is very similar to FS 30118 (from the USAF SEA scheme). Dubious, maybe Tamiya’s engineers tried to integrate scale effects?
However, I gave the Tamiya paints a try and eventually stuck to them, even though the contrast between the green and the brown is surprisingly low. I considered adding black contrast stripes here and there (as applied to JGSDF AH-1Fs) but refrained from that when the Labor looked quite good in the basic two-tone camouflage. The pattern was improvised, an attempt to recreate the typical wide-striped JGSDF vehicle camouflage on a humanoid shape.
Once the basic colors had been applied, I gave the model an overall washing with thinned dark brown acrylic artist paint, to emphasize surface details and somewhat darken the rather pale tones, and some post-shading with slightly lighter basic tones (Revell 67 and 87) for weathering and a less uniform look. Decals/markings came next and were improvised with material from 1:72 JGSDF tanks and a Hobby Boss AH-1. After that the whole model was dry-brushed with khaki drab and light grey (Humbrol 72 and 64, respectively) to emphasize details and edges.
An overall coat with matt acrylic varnish followed. The lights around the hull were created with chromatic PET foil, the LIDAR on the forehead was painted glossy black to simulate a translucent fairing for the laser emitter. As a final step the model received a thorough weathering/dusting with watercolors and mineral pigments, esp. around the lower regions of the model but also on the upper surfaces, simulating accumulated dust and mud.
A conversion project that took a while to materialize, due to the inherent problems caused by the kit’s design as a highly simplified snap-fit kit. However, the “militarization” of the HL-98 worked well, and with relatively simple means – it looks quite purposeful now. I just wonder about the Tamiya paints, which are supposed to depict authentic JGSDF tones (I cross-checked that with Tamiya’s JGSDF tank kits like the Type 10 – the instructions recommend FY 72 and 73, too, or their rattle can alternatives). But esp. the green looks very pale and faded, I am not sold on it, even though I eventually stuck with them, and the Labor does not look bad with the low-contrast camouflage.
On assignment for Brooklyn Vegan. Check out the full gallery by clicking here.
© Jessica Amaya - All rights reserved
DO NOT REPLICATE WITHOUT PERMISSION
A 1951 or 1952 model.
Matte black: is it only a primer or is it the finish?
With matte surface finishes increasing in popularity, some owners are trying to replicate that on their own vehicles, attempting the task with aerosol can paint. I don't know whether this one was painted in that manner, or whether this is a primer coat or finish coat, but achieving a nice, even finish utilizing canned spray paint seems simple enough but is rather difficult to achieve. This one was parked at an art supply store, so this might have been the owners’ expression of art.
Two 18-pounders that replicated a creeping barrage from World War One to commemorate the battle of the Somme with members of Ubique.
I have sequenced a series of gun firings in an album here:
www.flickr.com/photos/107007642@N02/albums/72157671282778721
Replication of drawings from children who were sent to Auschwitz and drew on the walls of the camps barracks.
This image is copyrighted to David Smith; Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws. Please contact me at daismiff39@hotmail.com for express permission to use any of my photographs.
Tragedy at Six Bells
By David John Withers, Brynmawr
My father worked in the colliery all his life and I sort of followed him into the pit. I went to work in Six Bells Colliery at 17 years of age.
When I first went on the 0.18 coal face as a collier's helper I was introduced to my 'batty' Reggie Poe who showed me the tools we were using and two chalk marks 15 yards apart on the coal face. This was our working place, 15 yards long by 4-foot-6 deep by 5 feet high. I thought 'bloody hell' - it seemed a huge amount of coal to shift.
Although the other coal faces in our district were more modern with hydraulic roof supports, we were still using the older friction posts and linked bars. I've still got the scars where one of the bars came down on me!
We had quite a few problems with gas on the 0.18 coal face and the dust was killing. At times the conveyor would start up and you couldn't see each other until the dust settled down.
As boys we often refused to go onto the face because of the amounts of dust there - being youngsters we stuck together even when the officials threatened to send us home. It wasn't much of a threat as I was only earning about £6 odd!
I had been working about two years when the explosion happened. I was working on the 0.18 face at Six Bells on the 'turning shift' and arrived at the colliery on the bus to see the place in turmoil and heard that an explosion had happened. As the explosion had occurred at our place of work, we offered to go down and help as we knew the place, but the Rescue Brigade had it under control and wouldn't let us go down.
It's hard to say my feelings about it all. We knew there was gas there and they said a spark had set it off. I had mostly enjoyed the colliery up to then. I remember four of the men who died - I used to give them snuff with powdered bark mixed in as a joke - there was a good spirit amongst the men at the pit.
Once the explosion had happened it put me off. I finished and I put my notice in soon after. I was too young to lose my life in the colliery. If I had been working the day shift that week it would have been me. The explosion opened my eyes to the dangers and I went into the construction industry instead - I was always good with my hands. The pit made me grow up.
The deaths of 45 men killed 50 years ago in a colliery explosion have been remembered with a service at the site.
A gas explosion ripped through the Six Bells colliery near Abertillery, Blaenau Gwent at 10.45am on 28 June 1960.
The Archbishop of Canterbury, Dr Rowan Williams, led a service of remembrance at the site.
He also unveiled a memorial to the tragedy, a 20m high sculpture of a miner by Sebastian Boyesen.
A replication of the birthday boy's family crest - stacked up on a pretty tower. Delivered to Purr on Capital Hill in Seattle.
Summer in Your Hand & Chocolate Hazelnut Cupcakes
Look Cupcake
(206) 228-2788
Trying to get the right combination of "stick" to hold the tissue paper down, on the right subsurface material, with the right glue, so it holds in place while plastic is deposited but can be removed when completed.
That's a mouthful!
First I tried pulling off hair with needle nose pliers then chopped them with rose pruners, then used an exacto knife to shape
Carhenge, which replicates Stonehenge, consists of the circle of cars, 3 standing trilithons within the circle, the heel stone, slaughter stone, and 2 station stones, and the Aubrey circle, named after Sir John Aubrey who first recognized the earthworks and great stones as a prehistoric temple in 1648. It was not until excavations undertaken in the 1920's that they were found to be holes cut to hold timber uprights. A total of 56 holes were discovered and named the Aubrey Holes in honor of John Aubrey's observation.
The artist of this unique car sculpture, Jim Reinders, experimented with unusual and interesting artistic creations throughout his life. While living in England, he had the opportunity to study the design and purpose of Stonehenge. His desire to copy Stonehenge in physical size and placement came to fruition in the summer of 1987 with the help of many family members.
Thirty-eight automobiles were placed to assume the same proportions as Stonehenge with the circle measuring approximately 96 feet in diameter. Some autos are held upright in pits five feet deep, trunk end down, while those cars which are placed to form the arches have been welded in place. All are covered with gray spray paint. The honor of depicting the heel stone goes to a 1962 Caddy.
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.”
“The Eye Moment photos by Nolan H. Rhodes”
nrhodesphotos@yahoo.com
Replicate Designs produces Architectural Scale Models and Custom Displays along with props for advertising, movies and more.
ReServe staffer Jess Geevarghese with Commissioner Edwin Mendez-Santiago (NYC Department for the Aging)
Crisanto Gutiérrez: Links between genome replication and epigenetics (Simposio 2.1. Control del ciclo celular)
The latest and greatest machine from MakerBot Industries features a 410 cubic inch work area and a stunning 100 microns of print resolution!
My first attempt sewing a bag for Barbie.. Followed a pattern from Miss B Couture's website.. Process of making it will be posted to my FB soon ~ www.facebook.com/IrisCreation
My Pac-Man world consists of the games shown here, plus two other Namco TV Games plug-n-play controllers (that replicate the content of the three shown above), Namco Museum Essentials (PS3 download), and Pac-Man Championship Edition DX (PS3 download).
I used my own fabrics for the centre here too as I wanted to replicate what Di had done with her quilt.
Replicating the dynamic natural qualities of sun and moon lighting, the TrueLumen™ LED strips combine the life-sustaining wavelengths of light with the efficiency of LED technology into a low profile, sleek lighting system. The powerful LED chips add the natural shimmering effect and rippling glow found on natural coral reefs while producing virtually no heat and consuming very little electricity. TrueLumen™ LED strips are available in 3 color spectrum combinations - 12,000k Daylight, 453nm Actinic, Rose, Rose/White or a 12,000k/Actinic Blue combination.
I replicated this painting so that all of my posterity and wife's relatives could have a copy of this painting or "touched up photo".
The SD card slot in my Makerbot Replicator1 died a few months ago, couldn't find a replacement. But on ebay there was a "Geeetech MightyBoard LCD 2004 Controller with SD card slot for MakerBot". It works! It's a different layout though, so doesn't fit.