A Life at the beach - comment on as many photos as u post.
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The Cat’s Eye Flea Market in Walnut Grove, Missouri, is a favorite of mine. The old building is empty, and the business moved to a different location in town. However, I think it has closed as well. The building in the photo has a corner location and just seems to have such character, in spite of the crumbling bricks and boarded-up windows. I’d never be able to go inside, however, because of the Parallel Parking requirement....
At the container terminal in Bremerhaven there are many container gantry cranes. This one is still a very old one, which was built as a grid tube construction to bring less weight to the pier. With today's requirements, such a bridge is no longer sufficient. Completely different dimensions and designs are required.
Am Container Terminal in Bremerhaven stehen viele Container Verladebrücken. Diese hier ist noch eine sehr alte, die als Gitterrohr Konstruktion gebaut wurde, um weniger Gewicht auf die Pier zu bringen. Bei den heutigen Ansprüchen, reicht solch eine Brücke nicht mehr stand. Da sind ganz andere Dimensionen und Bauarten gefragt.
Réalisé par le bureau d’architecture Beguin-Massart, le bâtiment, recouvert d’une résille opaline aux contours doucement arrondis, se dépose comme une lanterne au cœur de la ville. Il est l’aboutissement d’une réflexion où les architectes ont su rencontrer la poétique du lieu, son histoire, sa beauté, et toutes les exigences fonctionnelles d’un musée d’aujourd’hui. Avec plus de 600 m2 de surface d’exposition, un espace librairie, un centre de documentation, un espace de rencontre et d’activités pédagogiques et tous les locaux techniques nécessaires à la conservation des oeuvres, le Trinkhall s’inscrit dans une nouvelle dynamique.
Designed by the Beguin-Massart architectural firm, the building, covered with an opaline mesh with gently rounded contours, sits like a lantern in the heart of the city. It is the culmination of a reflection in which the architects knew how to meet the poetics of the place, its history, its beauty, and all the functional requirements of a museum today. With more than 600 m2 of exhibition space, a bookstore space, a documentation center, a meeting space and educational activities and all the technical rooms necessary for the conservation of works, the Trinkhall is part of a new dynamic .
Omdat de Parkzaal in de Plantage te klein is geworden, komen een aantal mensen op 15-09-1881 bij elkaar en besluiten een 'Voorloopige Commissie tot het bouwen van een Concertzaal' te starten.
De Commissie benadert Pierre Cuypers, architect van het Rijksmuseum, voor het kiezen van een geschikte locatie. Het Concertgebouw ligt dan nog net buiten de gemeentegrens, in de weilanden van Nieuwer-Amstel.
Op 7-3-1882 zijn de plannen gemaakt voor een Naamloos Vennootschap met een startkapitaal van fl 400.00,= en aandelen die voor fl 1000,00 te koop worden aangeboden.
Op 8-7-1882 wordt de NV dan daadwerkelijk opgericht en is er nog maar fl 250.000,00 aan aandelen ingetekend.
Men kiest voor het ontwerp van de Amsterdamse architect Adolf Leonard (Dolf) van Gendt. De eisen voor deze bouw zijn simpel: Mag niet meer dan fl 300.00,00 kosten, moet plaats bieden aan 2000 toehoorders en passen op een terrein van 13x55 meter. Er worden geen eisen gesteld aan de bouwstijl.
Eind 1886 is het Concertgebouw afgerond, maar het wordt pas op 11-4-1888 geopend. Dit duurt zo lang door gebrek aan vertrouwen van de geldschieters en omdat er onenigheid is met de gemeente Nieuwer-Amstel over het dempen van een slootje, de bestrating van de toegangswegen en de levering van de straatverlichting.
Rijksmonument 288
Because the Park Hall in the Plantage has become too small, a number of people come together on 15-09-1881 and decide to start a 'Preliminary Commission to build a Concert Hall'.
The Commission is approaching Pierre Cuypers, architect of the Rijksmuseum, to choose a suitable location. The Concertgebouw is still just outside the municipal boundary, in the meadows of Nieuwer-Amstel.
On 7-3-1882 plans were made for a Limited Company with a starting capital of NLG 400.00 and shares that were offered for sale for NLG 1000.00.
On 8-7-1882 the NV was actually established and only NLG 250,000.00 in shares was subscribed.
The design of the Amsterdam architect Adolf Leonard (Dolf) van Gendt has been chosen. The requirements for this construction are simple: May not cost more than NLG 300,00.00, must accommodate 2000 audience members and fit on an area of 13x55 meters. There are no building style requirements.
The Concertgebouw was completed at the end of 1886, but it will not be opened until 11-4-1888. This is taking so long due to a lack of confidence from the lenders and because there is disagreement with the municipality of Nieuwer-Amstel about filling in a ditch, paving the access roads and supplying street lighting.
By the WhiskyLady:
With spectacular coastline, breathtaking views across to the Small Isles, abundant wildlife (including the elusive Scottish wildcat), ancient oakwoods and stunning white beaches, Ardnamurchan is constantly surprising and always unforgettable. A truly unique place to visit they say (and according to the pictures, I can only agree…)
But what sets Ardnamurchan Distillery (which opened in July 2014) apart, beside its uncommon location, is also the importance attached on being the greenest Scottish distillery.
Uniquely in the whisky industry, all the power and heat requirements for the Ardnamurchan Distillery come from local renewables – the river that provides the distillery’s cooling water has a hydro-electricity generator and the biomass boiler is fuelled by woodchip from local forestry – the overall footprint of the distillery is a light one.
Ardnamurchan is one of the UK’s great unspoiled wildernesses. Rugged, isolated and utterly wild, it juts into the Atlantic at the most westerly point of the British mainland. And this beautiful part of the world is also home to one of the most recently-built Scottish distilleries: Ardnamurchan Distillery, a project brought to life by the renowned whisky merchants of Adelphi.
In addition, the by-products of the whisky-making process are recycled on the peninsula – the still energy-rich draff (what’s left in the mash tun) being used to feed all the livestock on the peninsula, and the pot ale (what’s left in the stills) as fertiliser.
Recently, all 2,500 bottles of Ardnamurchan Spirit 2016 AD have sold out in a record time, with Adelphi Distillery, parent company of Ardnamurchan Distillery, claiming it had orders for three times the number of bottles available.
Young artist Ariya McDonald is putting the finishing touches on a traffic light control box in Sandgate, Brisbane. I hadn't noticed this box previously, which Ariya tells me did not have a mural on it. There are very few unpainted ones around Brisbane now.
Apparently after your application to paint is accepted by the Brisbane City Council, it gives the artist a kit of gear including paint to do the work within two weeks. Ariya, who gave me permission to take her photo is a student at the local Sandgate District High School, which she pays tribute to on the side of the box. She has included books for learning and an Australian White Ibis which are prolific locally as the needed links to the area, a fundamental requirement for permission to paint.
Sunday is usually my flickr day off but we discovered Ariya working away as we went to the chemist today.
Surplus to requirements as they say, these are now for sale and will be available at French Fender Day tomorrow for anyone who might be interested. Clockwise starting with the small Mafac tool kit, is a Manufrance front bag, Brooks panniers, Manufrance panniers, Peugeot panniers, vintage French (takeoff from a 60's Motobacane) saddlebag, and in the center is a Brooks Millbrook saddlebag.
June 6, 2023 chosen as the cover photo for the Panoramas - Panoramiques flickr group.
From Wikipedia:
The Go Between Bridge, formerly known as the Hale Street Link, is a toll bridge for vehicles, pedestrians and cyclists over the Brisbane River in inner-city Brisbane, Queensland, Australia. The bridge connects Merivale and Cordelia Streets in West End to Hale Street and the Inner City Bypass at Milton. It is Brisbane's first inner-city traffic bridge in 40 years and carries around 12,000 vehicles per day. The bridge opened to traffic on 5 July 2010 and is now operated by Transurban Queensland.
The Go Between Bridge is named after the popular Australian indie rock band The Go-Betweens, which was formed in Brisbane. The bridge was part of Campbell Newman's TransApex transport plan. It extends the Inner City Bypass across the Brisbane River.
A charity concert featuring Robert Forster from the Go-Betweens and other singers was held on 25 June, followed by a community open day on 4 July 2010.
Construction began in July 2008 and the project was completed in early July 2010. The bridge was built by The Hale Street Link Alliance (HSLA) which consisted of four companies; Bouygues Travaux Publics, Macmahon Holdings, Seymour Whyte and Hyder Consulting. During construction, lane closures on Coronation Drive caused delays for motorists and resulted in temporary changes to associated public transport services. The final concrete pour for the main bridge span occurred on 2 December 2009. The construction cost for the bridge was A$338 million.
The Go Between Bridge is a four-lane bridge with dedicated pedestrian and cycle pathways. It is a three span, twin concrete box girder structure built using balanced cantilever construction. The main bridge span is 117 m (384 ft) long, supported by two river piers located 74 m (243 ft) north and 80 m (260 ft) south of the abutments on each river bank. The pathways are 3.6 m (12 ft) wide and designed for equitable access. A pedestrian pathway is located on the eastern (city) side of the bridge and a cycleway on the western (Toowong) side. As the bridge is steep, the pedestrian path was built as a separate structure at a lesser grade. This allows for the path gradient to comply with equitable and disabled access requirements.
1952 Porsche 356 Glaser Cabriolet 1300.
On show in Peter Iversen’s show room in Sagen Denmark His interest in restoration began early, having restored his first car, a VW Käfer, in his Father’s garage. After having served his apprenticeship as a mechanic, he opened his own workshop in 1986 starting with his very first restoration of a Porsche 356 Coupe.
Now, decades later, we have restored all kinds of classic Porsche models: Coupes, Convertibles, Speedsters, Roadsters, 550 Spyders, Porsche prototypes and a vast number of different engine types.
Today Peter Iversen Specialværksted is a combination classic Porsche workshop and a private Porsche collection.
Keywords such as perfection, originality and first-class quality are still essential to the workshop.
All cars are restored in accordance with the requirements and wishes of the customer.
Gläser Karroserie GmbH was founded in the mid-nineteenth century in Dresden. Between the World Wars they were well known for coachbuilding and produced bodies for many well-known automobile manufacturers. Post-war Gläser was located in Ullersricht north of Munich. Porsche contracted them to build cabriolets, including their first production car chassis #5001 and later the famed America Roadsters. From late 1950 through to late 1952 they built 242 cabriolets and 17 America Roadsters. Several of the final cars were completed at Reutter as Gläser went into receivership.
Linus and his friend, the cheerful pumpkin, are enjoying a few moments of sunshine on the terrace. The pumpkin is a funny little plush thingy which I bought at our annual pumpkin exhibition a year ago. Cleo and Fynn both hate it and refuse to pose with the pumpkin. Apparently Linus has lower aesthetic requirements as he and pumpkin seem to get along well.
This photo satisfies Requirement 1: Shoot a Selfie. This image displays a mirror selfie taken from my apartment room. The interesting setting is that i really love taking mirror selfies from my phone thus this requirement was a really good and easy fit for me. The photo was a stay-at-home photo, captured on a sunny day indoors (around the golden hour time). I used a slow Shutter speed of 1/20 for excess lighting and to compensate the extra light, I used an ISO of 100. To capture a clear image, I used an aperture of f/4.5.The lens used is a macro lens so the focal length was 35 mm for a macro shot.
I also post edited this picture to balance the exposure and contrast, changed the shadow setting as well as the highlights of the picture, to make the portrait a bit more evident and sharp. I used the basic tools on my Macbook Pro to adjust, nothing major was done other than that. Increased the vibrance of the picture.
Photos taken during a break as a key worker. Social distancing and face covering requirements kept to at all times.
First Aberdeen 38224 on Route 2 to Ashwood. 04th April 2021.
Built for the Small Category of the Microscale Magic Harry Potter Contest being held by The Brothers Brick.
The Room of Requirement is one of the most memorable things for me from the HP books/movies. This was a fun build to do all in,all, though it was challenging getting the piles of junk to look okay. I am not sure how well the rug turned out, let me know your thoughts : / I feel it would look better if it were not parallel to the border.
Enjoy
The same plants as the last picture. I use the setting of f/5.0 1/640 and iso400 about the same as the last photo, but 38mm because I cant walk into the plant closer this time. In lightroom, I use a different temperature just to make a different feeling of the same plant and is seems work to make the plant more like a "healthy" feeling and more texture and natural.
Amongst the coaching stock and with the Coaling tower looking over, the dependable 08485 takes a weekend rest at Carnforth.
The loco was offered for sale by DB Schenker in 2010 after being declared surplus to requirements. A long term resident of the Carlisle area, it had spent most of the previous decade officially stored but still seeing use, notably at both Currock and Kingmoor.
Despite it's appearance, the locomotive is very much operational and although it looks much the same today as it did in this picture from late 2014, it has had some serious money spent on it over the last couple of years.
With New Zealand's restrictive axle weight limits and dimensional requirements, the 8-wheeled tractor unit has proliferated in recent years. Unlike some other offerings in the marketplace the Mercedes-Benz Actros doesn't look like a hastily conceived adaption whereby another steering axle has been bunged underneath !!
L.W.Bonney & Sons have a very mixed fleet, the majority of which are adorned with their attractive, traditional and well-executed livery. The treatment of the front grille on the Actros is most pleasing IMHO. All in all a most attractive modern lorry!
Im not so enamoured with the Actros's replacement, but it may yet grow on me.......but NEVER in plain white!
This fulfills the requirements for #3 and #4 Bugs and Plants. These were my camera settings: 1/200 f 5.6 and ISO 400. In Photoshop, I lightened the exposure to make it a little brighter and intensified the color by adjusting the saturation and vibrancy. I also used the unsharpen mask in order to give me extra detail.
The bees weren't very cooperative so getting a great focus was challenging. Also getting a good composition was difficult as well.
The challenge:
This week’s challenge is Interior Architecture. You can photograph any architectural element that catches your eye: Floors, ceilings, windows, doors, stairs, chairs, woodwork, metalwork, something new, old, big, or small. The only requirement is that the architecture must be found indoors.
My process:
Apparently when I think of architecture, I think of the view from the outside because I could not for the life of me think of a local place with inspiring indoor architecture. So today I went to the only place I could think of. The Opera Galleria in Fort Collins has shops on the ground floor and offices on the second floor with a walkway that looks over an atrium.
I walked around to find a good viewpoint and decided on a vantage point from the second floor walkway for the most balanced perspective. (Taking the photo from the ground floor introduced a lot of perspective distortion that just didn’t work for me.) It was cloudy today, so I wasn’t able to capture a blue sky through the glass ceiling, but it also meant that I didn’t have to deal with harsh shadows from direct sunlight streaming in.
I used a wide angle lens and included more in the frame than I wanted in order to give me room to correct for perspective distortion. In the past I have run into problems when I had to correct perspective I lost some elements of my image. So I gave myself extra leeway this time.
Because of the wide range of tonal values in the scene, I bracketed three exposures to make an HDR image in post-processing. I then upped the overall contrast as well as the saturation of the blues and greens in the image because I liked the pop of contrasting color against the warm tones of the walls (and the indoor lighting).
Canon 5Diii, Canon EF16-35mm f/2.8L III (at 16mm), 0.5-2 seconds, f/20, ISO 100, RAW. Bracketed +/-1 EV (Aperture Priority) and merged to HDR in LR. Post-processing in LR.
CC appreciated.
This is another photo that I took on the Steel Wool photography day. I tried a different setting, instead of using vertical view of the camera to capture the narrow space where I stood in the middle of 2 walls, I changed to use horizontal view to capture more sparks flying out. With this setting, I stood in this middle of hallway that has multiple columns and used the opposing columns as the objects from which the sparks could bounce off.
The setting was also similar to the other steel wool photo, which has aperture f/16.0 (Sunny 16 Rule), shutter speed set at 25s and the ISO set at 100.
I did some cropping to place the flaring circle in the middle and some increased "Blacks" to make myself more visible in the frame.
This was my first time trying to do Steel Wool Photography. On my first day trying it, I ran out of steel wool right after I got the hang of it; therefore, I decided to give it another try on the next day and successfully took some great photos in the end.
I chose to a narrow space in order for the sparks to bounce of the walls and created such effect. On the camera setting, after researching lots of sources online, I tried different settings and ended up setting the shutter speed to 25s in order to capture as much sparks as possible. The white balance was set to Daylight to keep the natural color of the fire, and the aperture was f/16.0 since we don't really want any depth of field for this photo, and interestingly, it matches with the "Sunny 16 Rule" that we discussed in class. For ISO, I set it to 100 as I don't want any part of the photo to get overexposed so that it would be a lot harder to fix the color later in Lightroom. The photo satisfies requirement as the main object I chose was the sparks, which are blurry due to the long shutter speed (that created "lines" of sparks instead of dots).
For image processing, I increased "Blacks" to the maximum to bring out details on my jacket, as well as to make the photos more lively. I also did some focus on myself as the part of me in the photo was totally dull before the post-processing phase.
This picture meets requirement 4. The real color of the scene should not be this reddish. I change the white balance to make it look warm(maybe too warm).
Lake Eola is a small lake in Downtown Orlando, Florida, located at 28°32′37″N 81°22′22″W in Lake Eola Park. The lake is actually a sinkhole and is famous for its fountain. The sinkhole is approximately 23 feet 8 inches (7.21 m)deep and is located 100 feet (30.5 m) east of the fountain. The fountain changes colors at night like a light show. The lake is 4,493 feet (1,369 m) in circumference and 23 acres (9.3 ha) large. A 0.85-mile (1.37 km) multi-use sidewalk surrounds the water.
In 1883, wealthy Orlando resident Jacob Summerlin—owner of the Summerlin Hotel, the first City Council president, and financial lender for the construction of Orlando's courthouse in the 1870s—donated a large tract of land to establish a park in Orlando. In 1883, Summerlin came to a city council meeting and offered the land around the lake on the condition that was beautified and turned into a park. He also required that the city plant trees and put a "driveway" around the lake. To ensure that the city followed through with the stipulations of the donation, Summerlin put reverter clauses in the contract to allow his heirs to reclaim the property if the city failed in its obligations. Several years later, his sons threatened to exercise the reverter clause if the city did not make good on its promise. Today, the park is still maintained according to his requirement that it be kept beautiful.
The park was informally established in 1888 using the first parcel of land; it was the first of many that were donated to the City of Orlando by several families. His sons named it Lake Eola, after a lady they both knew. The area was officially declared as a park in 1892. The park area has been home to a zoo; a horse race track; tennis courts; a pier with a dance area; and the broadcast site of a local radio station. The fountain was installed in 1912 at a cost of $10,000. A replacement, originally dubbed the "Centennial Fountain," was installed in 1957 at a cost of $350,000. The actual name of the fountain is the "Linton E. Allen Memorial Fountain". The iconic water feature is the unofficial symbol of Orlando.
Lake Eola Park was expanded in 1993 with the closure of Washington Street, which ran between Lee's Lakeside restaurant and the park. With the expansion, the restaurant and Post Parkside Apartments were now located in the park. The International Food Court was also created at this time.
In late August 2009, lightning struck the fountain, rendering it inoperable. The city has a $1 million insurance policy on the fountain, with a $500,000 deductible. Because of the city's then-current budget crisis, the fate of the fountain was unknown. On October 15, 2009, Mayor Buddy Dyer announced that the city would not only repair the fountain, but "also replace its cracked plastic skin and install a state-of-the-art system of lights and water jets" at a cost of $2.3 million. The fountain was rededicated and resumed operation on July 4, 2011.
In July 2013 the park expanded to the Southeast to include East Washington Street. The expansion added an extra 1.36 acres of lawn, new LED lighting, widened sidewalks, nearly 4,000 square feet of paved patio and an additional 7,500 square feet of brick paved space on East Washington Street. In September 2013 the City opened Eola House at 12 East Washington Street. The house sits on the expanded part of the park and serves as a welcome center, gift shop and park offices for the Lake Eola Park.[6] Also in 2013, six sculptures were installed by the non-profit See Art Orlando.
Credit for the data above is given to the following website:
All of my friends know that I love to travel. But while I love seeing new places and countries, I don't feel the same way about flying....or rather the act of flying. And the smaller the plane, the more I tend to get that sinking feeling. My friend Bruce has been a bit of an aviation buff for many years. He can easily tell you the names and paths of just about every type of plane landing at the airport. So when a mutual acquaintance of ours made a suggestion to take a short flight around the island (for his pilot's license requirements), he was ready to jump at the chance. I will admit that I was lukewarm to the idea but their enthusiasm was infectious.
Maybe it was time to try something new. So, even with the initial misgivings, I decided to jump in. The first flight got cancelled due to the weather but the second one looked good. So on May 5 2018 (Cinco de Mayo), I decided to bite the bullet and packed up my camera to take in a side of Barbados not seen by many. I've been on a plane to and from Barbados before, but never circling the island at around 2,000 ft. And what an experience it was.
One of the things that I discovered about flying in a small plane is that while you're in the air at 2,000 feet, a simple kit lens can still get you some great detail shots. My telephoto lens was in my camera bag which was stowed away in the baggage compartment (under the plane). So that was out of the question. I was going to shoot wide mostly anyway, but it was nice to know that the 55mm setting was enough to get this close.
More to come....hope you're excited to see this series.
To all of you, hope you enjoyed the weekend and have an awesome week ahead, wherever you are!
Read more about that afternoon in my blog post here:
Facing Fears: A Cinco De Mayo Adventure
Catch me also on:
Website: NickyHighlanderPhoto (dot) Com
Twitter: @nhighlanderfoto
Instagram: @nickyhighlander
Camera: NIKON D7200
Lens: Nikon 18-55mm G VR DX AF-S Zoom Lens
Shutter speed: 0.008 sec (1/125)
Aperture: f/10
ISO setting: 160
© Nicky Highlander Photography 2018
All Rights Reserved
So, this week's theme is 'Twiinz!'
Photo Requirements:
- You can either use the same doll (edited in) as your twin, or another doll with a somewhat similar look as your twin.
If time permits, I'd like you to add a short storyline about the 'relationship' with your twin! :)
PHOTOS DUE AUGUST 22 2014
This photo covers requirement 3, background blurred.
I shot this photo at the mirror with my hand in front of the camera. To get a background blur, I set the shutter speed to 1/6s. Then, I tried my best to freeze my hands and turn my body so that my left hand stays relatively still with the camera.
To prevent my hand from getting out of focus during the movement, I set the aperture to f14.
After around 100 attempts, I finally got an image with my hand sharp and the background blurred.
Requirements:
-A simple white background ✔
-Wear swimsuit ✔
-Have a nice pose ✔
-Wear black shoes ✔
Best Photo, yessss!
___________________________________________________________________________________
The Nature of Dreams
SIGMUD FREUD'S theory of dreams was part of his theory of man. He assumed that man in the course of his growth is forced to repress evil strivings - egocentricity, destructiveness, irrationality - in order to adapt himself to the requirements of social life. He does so, said Freud, partly by turning his asocial strivings into socially useful ones - a process which Freud interpreted as either "sublimation" or "reaction formation." Successful "sublimation" is exemplified by the surgeon who was turned his original sadistic strivings into a socially useful activity. An example of successful "reaction formation" is that of a humanitarian who has developed great kindness in combatting his destructive potentialities. The best in man, according to Freud, is rooted in his worst.
When we are asleep, Freud reasoned, we relax the effort that normally restraints the criminal we are at bottom. Our dream life is the refuge, as it were, where we recover from the heavy burden of our culture and are free to satisfy repressed infantile strivings. Yet even in sleep the internal censor's attention is only relaxed, not entirely dismissed. To deceive him, we dream in a kind of secret code. The real meaning of the dream can be understood only if the code is deciphered. This process of deciphering is what Freud called the interpretation of dreams.
Freud's theory of dream shocked psychologists and was denounced by many as unscientific. Most of his followers have denied it fanatically, though some accepting its heavy content of truth, came to consider it one-sided. Carl Custav Jung, who became the leader of his group, tended increasingly emphasize the 'higher' aspects of dreams just as one-sidedly as Freud has emphasized the 'lower'. Where Freud has found in dreams only irrational infantile strivings, Jung saw only expressions of moral or religious experiences, which he interpreted as outgrowth of racially inherited religious and metaphysical ideas.
If a man saw his dream a woman whose features were unknown to him, Freud would assume that this woman represented his mother, that the infantile sexual attachment to the mother, repressed in the conscious state, was satisfied in his dream. Freud argued that the dream she remained unknown to the dreamer in order to fool the censor. Relating this longing for the mother to the recent experiences of the dreamer, the analyst sought the hidden incestuous aspects in the dreamer's relationship to a woman which whom he may recently have fallen in love. Jung, on the other hand, tended to interpret the unknown woman as the image of the "unconscious", and also as a symbol of feminine aspects in the male dreamer's personality.
Had Jung been less concerned with the creating another school, and less fascinated by irrational racialism, his departure from Freud's dogmatism could have avoided the blind alley into which it ultimately led. As matters stand, a constructive revision of Freud's theory of dreams must pick up the thread where it was left before Jung's and other schools of psychoanalysis were formed.
WE MAY begin with Aristotle's definition of dreams, quoted but not accepted by Freud: Dreams are expressions of any kind of mental activity under the condition of sleep. The distinctive quality of dreams, the, is not a particular area of experience - neither Freud's "infantile wishes" nor Jung's "true picture of the subjective state" -but the effect of the condition of sleep upon our mode of experiencing.
Physiologically, sleep is a condition of chemical regeneration of the organism. Energy is restored while physical activity and even sensory perception are almost entirely discontinued. Sleep suspends the main function of waking life: reacting to reality by perception and action. This difference between the biological functions of waking and of sleeping is, in fact, a difference between two states of experience. In the waking state, thoughts or feelings responds primarily to challenge - the challenge of mastering our environment, changing it, defending ourselves against it. The primary task of waking man is survival; this means essentially, that he must think in terms of time and space, and that his thoughts are subject to the logical laws which are necessary for action.
During sleep the frame of reference changes radically. While we sleep we are not concerned with bending the outside world to our purposes. We are helpless - but we are also free. We are free from the burden of work, from the task of attack or defense, from the watching and mastering reality. We live in an inner world concerned exclusively with ourselves.
In sleep the realm of necessity has given way to the realm of freedom where "I" am the only system to which thoughts and feelings refer. In a dream the grief I experienced 10 years ago may be just as strong now, and I may hate a person on the other side of the globe as intensely as if he stood beside me. Sleep experience need not pay attention to qualities that are important in coping with reality. If I feel, for instance, that a person is a coward, I may dream that he has changed into a chicken. This change is illogical in terms of my orientation to outside reality, but logical in terms of what I feel about the person. Sleep experience, therefore, is not lacking in logic, but it is subject to a special logic of its own, which is entirely valid in that particular experiential state.
The "unconscious" is unconscious only in relation to the "normal" state of activity. When we call it "unconscious", we really say only that it is an experience alien to the frame of mind which exists while we act; it is then felt as a ghost-like, intrusive element, hard to get hold of and to remember. But the day world is an unconscious in our sleep experience as the night world is in our waking experience.
From what has been said so far it follows that the concepts "conscious" and "unconscious" are to be understood relative to the sleeping and waking states respectively. As and old Chinese poet put it: "I dreamed that I am a butterfly; now I do not know, am I a man who dreamed he was a butterfly or am I a butterfly who dreams it is a man." In the waking state of action those experiences which feel real in the dream are "unconscious." But when we are asleep and no longer preoccupied with action but with self-experience, the waking-experience is "unconscious" and sometimes it is a hard struggle to chase away the sleep world and to convince oneself of the reality of the waking world.
It is true that even in the waking state of existence, thinking and feeling are not entirely subject to the limitations of time and space. Our creative imagination permits us to think about past and future objects as if they were present, and of distant objects as if they were before our eyes. It could therefore be argued that the absence of the space-time system is not characteristic of sleep existence in contradiction to waking existence, but of thinking and feeling in contradiction to acting. Here it becomes necessarily to clarify an essential point.
We must distinguish between the contents of thought process and the logical categories employed in thinking. While it is true that the contents of our waking thoughts are not subject to limitations of space and time, the logical categories of thinking are those of the space-time logic. I can, for instance, think of my father, and state that his attitude in a certain situation is identical with mine; this statement is logically correct. If I state, on the other hand, "I am my father," the statement is "illogical" because it is not conceived in reference to the physical world. The sentence is logical, however, in a purely experiential realm: it expresses the experience of intense closeness to my father. When I have a feeling in the waking state with regard to a person whom I have not seen for 20 years, I remain aware of the fact that the person is not present. But if I dream about the person, my feelings deals with the person "as if he or she were present" is to express the feeling in logical waking-life concepts. In sleep existence there is no "as if"; the person is present. (It is true, however, that sleep is not completely free from action concepts, as proved by the fact that sometime we think in our dream that what we dream cannot really be so.)
The experiential mode of thought occurs in other forms of dissociation besides dreams - in the hypnotic trance, in psychoses, in early infantile experience, and possibly in primitive thinking. And there is, of course, the state of intense mystical contemplation, wherein attention is withdrawn completely from the outside world as a potential field of action, and is completely focused on self-experience although the person remains awake. The mystic, indeed, considers this state to be highest awareness. The language employed in such a state of contemplation follows the experiential logic of dream, not the action logic of "normal" thinking.
So the sleep existence, it seems, is only the extreme case of a purely contemplative experience, which can also be established by a waking person if he focuses on his inner experience. Symbolic language employing experimental logic is one mode of human expression - just as valid and rational as our "normal" logic, and different from it only as to the systems of reference. These systems, in turn, are determined by the total orientation of the culture. Cultures, in which the emphasis is on self-experience, such as those of the East, or some "primitive" cultures where mastery of nature is little developed, give great scope to this symbolic language. In modern Western culture, almost exclusively focused on activity in the sense of mastery over nature, the comprehension of symbolic language has atrophied. Dreams are remnants of a legitimate mode of human expression, one well known, now looked up as if they were undecipherable hieroglyphs.
IT is peculiarity of dreams that inner experiences are expressed as if they were sensory experiences, subjective states as if they were actions dealing with the external reality. This interchange between the two modes of experience is the very essence of symbols, and particularly of the dream symbol. While the body is inactive and the senses shut down, the inner experience makes use of the dormant faculties of sensory reaction.
A forceful illustration of the dream's symbolic language is the story of Jonah. God commanded the prophet to help the people of Nineveh to repent of their sin and so to save them. But Jonah is a man of stern justice rather than of mercy; he declines to feel responsible for sinners and attempts to escape from his mission. he boards a ship. A storm comes up. Jonah goes into hold of the ship and falls into a deep sleep. The sailors believe that God sent the storm because of jonah and throw him into sea. He is swallowed by a whale and stays inside the animal for several days.
The central theme of this symbolic, dreamlike story is Jonah's desire for complete seclusion and irresponsibility - a position which at first was meant to save him for mission, but eventually is turned into a unbearable, prisonlike existence. The ship, the sleep, the ocean, the whale's belly - all are different symbols of that state of existence. They follow each other in time and space, but they stand for growing intensity of a feeling - the feeling of seclusion and protection. Being inside the whale has brought this experience to such a final intensity that Jonah cannot stand it any longer; he turns to God again; he desires to be freed, to go on with his mission.
SO far we have been concerned with the mode of expression and the particular logic of dreams resulting from the peculiar condition of sleep. We must now turn to the question in what respect the state of sleep also determines the content of dreams. According to Freud it does so in a specific way. Culture, in his view, suppresses our primitive-bad-instincts and the sublimation and reaction formation springing from this suppression are very essence of civilized life. Quite logically, then, in his view, dreams must bring out our worst, since in our sleep we are free - from the cultural pressure.
There can be no doubt that many dreams express the fulfillment of irrational, asocial and immoral wishes which we repress successfully during the waking state. When we are asleep and incapable of action it becomes safe to indulge in hallucinatory satisfaction of our lowest impulses. But the influence of culture is by no means as one-sidedly beneficial as Freud assumed. We are often more intelligent, wiser and more moral in our sleep than in waking life. The reason for this is the ambiguous character of our social reality. In mastering this reality we develop our faculties of observation, intelligence and reason; but we are also stultified by incessant propaganda, threats, ideologies and cultural "noise" that paralyze some of our most precious intellectual and moral functions. In fact, so much of what we think and feel is in response to these hypnotic influences that one may well wonder to what extent our waking experience is "ours." In sleep, no longer exposed to the noise culture, we become awake to what we really feel and think. The genuine self can talk; it is often more intelligent and more decent than the pseudo self which seems to be "we" when we are awake.
My conclusion, then, is that we may expect to find true insights and important value judgments expressed in our dreams, as well as immoral, irrational wishes. We may even find in them reliable predictions based on a correct appreciation of the intensity and the direction of forces operating in ourselves and in others. Both Freud's emphasis on the "low" and Jung's emphasis on the "high" aspect of dream content are dogmatic restrictions. Only if it is recognized that dreams can express either side of a dreamers nature is the way cleared for a real understanding to them.
The following examples illustrate the alternative interpretations that can be given to the same dream. The dreamer sees himself naked in the presence of strangers and feels ashamed but powerless to alter the painful situation. Freud said that this dream represented an infantile exhibitionistic impulse still alive in the adult. During sleep this impulse comes to the fore and finds its fulfillment in the dream; the dreamer's mature personality, not entirely silenced, reacts with shame and fear to the very wishes of his infantile self.
No doubts many nakedness dreams are to be so understood. But others must be interpreted differently. Nakedness is not necessarily an expression of sexual exhibitionism; it can also symbolize the true self of a person, free from pretense and make-believe. A person who dreams of himself as being naked in a well-dressed group may give symbolic expression to his wish to be honest, to be more himself, not to be conformist who wants to please everybody. And his embarrassment in the dream is the same embarrassment he would feel in waking, too, whenever he tried to discard his dependence on other people's opinion.
According to the orthodox Freudian interpretation, the nakedness dream's essential impulse is an infantile sexual desire; in the alternative, it is a rational wish, rooted in the most mature part of the dreamer's personality. But if so, why should it be distinguished in dream symbolism? Why should we repress some of our very best impulses? The answer is that in our culture people are no less ashamed of their best strivings than of their worst. Generosity is suspected as "foolish", honesty as "naive", integrity as "not practical." While one tendency within our complex culture presents these qualities as virtues, another stigmatizes them as "idealistic dreams." Consequently wishes motivated by such virtues often live and underground existence together with wishes rooted in our vices. To mistake rational wishes of the dreamer for expressions of irrational strivings makes it impossible for him to recognize positive goals which he has set himself. Yet to see in every dream an ideal or profound religious symbol is just as fallacious. Whether a dream is to be understood as an expression of the rational or the irrational side in ourselves can be determined only by a full investigation of the individual case - by knowing the dreamer's character, his associations with the dream elements, the problems he was concerned with before he fell asleep.
The following dream is an example of unconscious insight and moral judgment: A man has visited X, a widely known figure whose kindness and wisdom are praised by everybody. He was properly impressed by the admirable man. The same night he dreams of X, who now has a cruel face and tries to swindle a poor old woman out of her last dollar. He remembers this dream the next day, is quite surprised and wonders why the dream picture of X differs so completely from the "real" picture of the day before. Suddenly he is struck by the recollection that his instinctive reaction to X had been one of intense antipathy - but so fleeting had this first reaction been that he was not aware of it at the time of the visit. Actually his antipathy was his real insight into X's character. it was silenced at once by the conventional picture of X: the "noise" had drowned the dreamer's real judgment, which awoke when he was asleep.
If this dream were understood in Freud's terms, the subject would accuse himself of unconscious hostility and, having discovered his own wickedness, would be all the more prone to accept the conventional picture of X. If, on the other hand, the interpreter assumed that dreams unerringly express the "real" judgment, the dreamer might accept his dream as evidence against X, and act accordingly, though it may indeed have expressed only the dreamer's own hostility. Which interpretation is correct can be found only in an appraisal of the dreamer's total situation.
One of the best known dreams of prediction is Joseph's dream, reported in the Bible. He dreamed that the sun, moon and stars were making obeisance to him. His brothers, hearing of the dream, did not need the help of an expert to understand that the dream expressed a feeling of superiority over his parents and brothers. It certainly can be argued that the infantile rivalry with father and brothers was the root of the dream (which would be Freud's interpretation). But what Joseph saw in the dream later came true; the dream indeed predicted future events. And Joseph was able to make such a prediction because he sensed his exceptional gifts, which made him actually superior to the other members of his family; but the conceited character of such insight made it impossible for him to be aware of his superiority - except under the condition of sleep.
WHEN we dream we speak a language which is also employed in some of the most significant documents of culture: in myths, in fairy tales and art, recently in novels like Franz Kafka's. This language is the only universal language common to all races and all times. It is the same language in the oldest myths as in the dreams every one of us has today. Moreover, it is a language which often expresses inner experiences, wishes, fears, judgments and insights which much greater precision and fullness than our ordinary language is capable of. Yet symbolic language is a forgotten language, considered by most as non-sensical or unimportant. This ignorance not only prevents us from understanding the wisdom expressed in myths but also from being in touch with a significant part of ourselves. "Dreams which are not understood are like letters which are not opened," says the Talmud, and this statement is undeniably true.
Why, then, do we not teach the understanding of this forgotten language as a subject in the curriculum of higher education?
True, there are dreams so difficult and complicated that it requires a psychologist of great knowledge and technical skill to understand them; and sometimes even the expert will fail. But is this so different from the study of languages, of mathematics, of physics? Liberal education, in genera, only lays the foundation for more specialized skills which the student later develops for himself. The analogy between teaching dream interpretation and teaching languages is particularly close, not only because dream language is a sort of "foreign" language but also because the results of teaching are similar. No student succeeds in mastering a foreign language without specialized study; but even an average undergraduate is capable of understanding syntax and grammar.
For a number of years I have been teaching dream interpretation not only to graduate students of psychoanalysis but also to undergraduates at Bennington College. The results, at least to my satisfaction, compare with the results of teaching any other subject matter to the same group of students. Remarkable achievements have been rare in this as in any other field; the minimum achievements have not been lower. The aim is to help the student to understand an unknown language in which he expresses important aspects of his own personality, and also to understand a mode of expression in which mankind has expressed some of its most significant ideas.
___________________________________________________________________________________
The Nature of Dreams - Erich Fromm
This set of photos meets requirement 4. I took it at a small fountain at Uvillage beside the playground. I saw some kids playing at the fountain which is very interesting. They put leaf at the middle and it will move with the water flow. I use a high ISO since the light is somewhat dark. You can see the position of the leaf change in this set of photo.
Finningley 1993. This was the unsuccessful design for AEW and AWACS missions. Unfortunately, due to not meeting requirements, the project was cancelled and the Boeing E-3D Sentry ordered instead.
When I took this photo, the output was naturally magical. To enhance how I felt about this photo, I went to lightroom changing the green trees to a fairy purple. The colors added to this photo helped deliver a majestic, mysterious, fairy fountain. The purple gave a fairy, youthful mood while the crystal blue water enhanced the scenery. I purposefully set the shutter to 1/800 to grab clear crystals water pebbles from the water fountain. The shutter and aperture of f/4.6 helped grab the natural sunlight that is shining on the fountain.
Requirement 4: Wrong white balance
When I saw this blackbird in reeds, I thought that it’s a good opportunity to experiment with wrong white balance. I used aperture priority mode with using the lens maximum possible aperture of f/5.6 and ISO 360, to capture enough light and blur the background so it doesn’t distract from the bird. I wanted colors on the photo be warmer than in reality, so I set white balance to “Flash.” That day was a very cloudy one, and I didn’t used flash itself, so the wrong white balance allowed me to create warm-tinted photo.
This is the photo I have taken while the walkabout on Tuesday. This is an S-curve made by the shape of the road. I use the setting of f/5.6, 55mm so that the depth of field is large enough to made close and near object in focus. 1/1250 and iso400 because there is very enough sun light source and I could reduce the noise made by high iso. After taking, I use lightroom to adjust the warmness of the photo a lot and also for the colorness so that the photo seems more natural.
Rolls Royce Silver Shadow 1 (1965-77)
Engine 6750cc V8 OHV
Chassis No: SRH20315
Produduction 16717 (+ 2776 LWB)
Registration Numnber JPY 317 N (Middlesboro)
ROLLS ROYCE SET
www.flickr.com/photos/45676495@N05/sets/72157623690651737...
The Silver Shadow was introduced in 1965 as the first ever monocoque model from Crewe, designed by John Polwhele Blatchley it was a major departure from its predecessor the Silver Cloud, the new Shadow was 3 1⁄2 inches (8.9 cm) narrower and 7 inches (18 cm) shorter than the Silver Cloud, but offered passengers increased space and more luggage capacity Other new features included disc brakes replacing drums, and independent rear suspension instead of the outdated live axle design of previous Rolls models. Powered by a 172 hp (128 kW) 6.2 L V8 the engine was enlarged to 6750cc of 189hp (141 kw) for 1970 Both powerplants were coupled to a General Motors-sourced Turbo Hydramatic 400 automatic gearbox, except on pre-1970 right-hand-drive models, which used the same 4-speed automatic gearbox as the Silver Cloud (also sourced from General Motors, the Hydramatic).
The Silver Shadow 1 was replaced by the Silver Shadow II for 1977 introducing a number of mechanical changes, externally the bumpers were changed from chrome to alloy and rubber energy absorbing bumpers in line with United States requirements
This car was offered for sale at the H and H Buxton Pavilion Gardens sale of 10th April 2019, selling for £ 5,287.50 inc. buyers premium
Diolch yn fawr am 69,983,824 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel
Thank you 69,983,824 amazing views, enjoy and stay safe
Shot 10.04.2019 at The Pavilion Gardens, Buxton, Derbyshire Ref 138-280
Requirement 1: Side Lighting. This photo was taken just as the sun touched the frosted tips of the bush. The camera was handheld and the picture was taken with the lens in manual focus. With the sun at my right I knelt down and focused on the middle of the shot. Some slight adjustments were made using Lightroom.
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I work Full time in the media and have amassed considerable experience on both sides of the camera, I am a Walk On Artist or Stand In / Body Double (for a Number of "A" list Actors) Voice Over Artist, Assistant Director or Supporting Artist.
I have Full DBS / CRB As per the new requirements.
Additionally I have Access to a considerable number of Genuine Costumes / Uniforms, Including Period or Historical pieces, please see my photos.
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Douglas A-4 Skyhawk was a single seat subsonic carrier-capable attack aircraft developed for the United States Navy and United States Marine Corps in the early 1950s. The delta winged, single turbojet engined Skyhawk was designed and produced by Douglas Aircraft Company, and later by McDonnell Douglas. It was originally designated A4D under the U.S. Navy's pre-1962 designation system.
The Skyhawk was a relatively lightweight aircraft with a maximum takeoff weight of 24,500 pounds (11,100 kg) in its late versions and had a top speed of more than 670 miles per hour (1,080 km/h). The aircrafts supported a variety of missiles, bombs and other munitions, and late versions were capable of carrying a bomb load equivalent to that of a World War II-era Boeing B-17 bomber.
The type saw an intensive career with the US Navy and the US Marine Corps, and is still in frontline use in several countries, e. g. Brazil and Argentina.
Another potential user was France. The story began with two different design requirements in the early 1950s for land-based, light fighters, one for the French Air Force and the other for NATO air forces. French manufacturer Dassault responded and used the same basic design for both these specifications, designated as the Étendard II and Étendard VI respectively, neither of which received any orders, though. The company also developed a larger and more powerful variant, which was called the Mystère XXIV, simultaneously as a private venture.
The French Navy, the Aéronavale, showed interest in the more powerful aircraft, and this interest in a lulti-purpose fighter for carrier operations led to a public competition which was opened to foreign submissions, too. Dassault constructed a prototype navalized version of the Mystère XXIV, now designated Étendard IVM, and the first prototype conducted its first flight on 24 July 1956. As contenders, Douglas offered a modified A4D-2 Skyhawk and from Great Britain the Supermarine Scimitar was proposed, but immediately rejected as being much too large and complex for the Aéronavale's needs.
In order to compare the potential contenders, the Étendard IVM was to be pitted against the Skyhawk, and so a total of six so-called A4D-2Fs, modified to French specifications, took part in an extensive field test over the course of the next 15 months against a total of seven Étendard prototypes (the last being a prototype for the Étendard IVP photo reconnaissance variant), which differed by engines and equipment details.
The French Skyhawk variant had, compared with the standard A4D-2 of the US Navy, improved navigation and flight control systems. The A4D-2F also featured a strengthened airframe and had air-to-air refueling capabilities. Specific to these machines were a TACAN receiver and a braking parachute under the tail for land operations.
Internal armament was, upon the potential customer’s request, changed from the original pair of American 20 mm (0.79 in) Colt Mk 12 cannon with 200 RPG in the wing roots to a pair of 30mm DEFA cannon with 150 RPG. As a marketing measure, the A4D-2F was equipped with guidance avionics for the American AGM-12 Bullpup missile, in hope that France would procure this weapon together with the aircraft as a package and open the door for further weapon exports. Other ordnance included rocket pods, bombs, and drop tanks, carried on five external pylons (two more under the outer wings than the standard A4D-2).
Not being convinced of the AGM-12 and political preference of domestic equipment, French officials insisted on additional avionics for indigenous guided weapons like the Nord AA-20 air-to-air or the AS-20 air-to-ground missiles, as well as for the bigger, newly developed AS-30. Since the internal space of the AD4 airframe was limited, these additional components had to be housed in a long, spinal fairing that extended from the fin root forward, almost up to the cockpit. Another consequence of the scarce internal space was the need to provide radio-guidance for the French missiles through an external antenna pod, which was to be carried under the outer starboard pylon, together with two missiles on the inner pylons and an SNEB unguided missile pod (frequently empty) under the port outer pylon as aerodynamic counterbalance.
Trials between the contenders started in summer 1957, at first from land bases (primarily Landviseau in Brittany), but later, after its reconstruction with a four degree angled flight deck and a mirror landing sight, also aboard of the revamped French carrier ‘Arromanches’ (R 95, former HMS Colossus). The A4D-2F turned out to be the more effective fighter bomber, especially concerning the almost twice as high weapon load as the Étendard’s. On the other side, the Étendard benefitted from its Aida radar (the A4D-2F only had an AN/APN-141 radar altimeter and a state-of-the-art AN/ASN-19A navigation computer) and from strong supporters from both military and political deciders. Dassault kept lobbying for the indigenous aircraft, too, and, despite many shortcomings and limitations, the Étendard was chosen as the winning design. Even a proposed radar upgrade (just introduced with the A4D-3/A-4C for the US Navy) was during the late evaluation stages in 1958 would not change the French officials’ minds.
“Sufficiently satisfied” with its performance, the French Navy would procure for 69 Étendard IVM fighters and 21 Étendard IVP reconnaissance versions. The sextet of test Skyhawks was returned in late 1961 to the United States, where the airframes were at first stored and later underwent modifications at Lockheed Service Co. to become A-4Ps for the Argentine Air Force, delivered in 1966.
From 1962, the winning Étendard IVM was being deployed aboard the service's newly built Clemenceau-class aircraft carriers, the Clemenceau and Foch. Later, in 1972, the Skyhawk (in the form of a modified A-4M) made a return to France as an alternative to the stillborn Jaguar M, a navalized variant of the Anglo-French SEPECAT Jaguar, which was intended to become the Étendard's replacement. But this effort was once more derailed by political lobbying by Dassault, who favored their own proposed upgraded version of the aircraft, which would later enter service as the Super Étendard.
General characteristics:
Crew: one
Length: 39' 4" (12 m)
Wingspan: 26 ft 6 in (8.38 m)
Height: 15 ft (4.57 m)
Wing area: 259 ft² (24.15 m²)
Airfoil: NACA 0008-1.1-25 root, NACA 0005-0.825-50 tip
Empty weight: 9,146 lb (4,152 kg)
Loaded weight: 18,300 lb (8,318 kg)
Max. takeoff weight: 24,500 lb (11,136 kg)
Powerplant:
1× Curtiss-Wright J65-W-16A turbojet with 7,700 lbf (34 kN)
Performance:
Maximum speed: 575 kn (661 mph, 1,064 km/h)
Range: 1,700 nmi (2,000 mi, 3,220 km)
Combat radius: 625 nmi, 1,158 km
Service ceiling: 42,250 ft (12,880 m)
Rate of climb: 8,440 ft/min (43 m/s)
Wing loading: 70.7 lb/ft² (344.4 kg/m²)
Thrust/weight: 0.51
g-limit: +8/-3 g
Armament:
2× 30 mm (1.18 in) DEFA cannon, 150 RPG, in the wing roots
Total effective payload of up to 5,000 lbs (2,268 kg) on five hardpoints
- 1× Centerline: 3,500 lbs capability
- 2× Inboard wing: 2,200 lbs capability each
- 2× Outboard wing: 1,000 lbs capability each
The kit and its assembly:
This is another contribution to the “In the Navy” Group Build at whatifmodelers.com. The idea of a French Navy Skyhawk is not new and has been tackled before (in the form of CG renditions and model hardware alike), and I had been wanting to build one, too, for a long time – and the current GB was a good occasion to tackle a build.
The Skyhawk was actually tested by the Aéronavale, but, as described in the background, not until the early 1970s and together with the LTV A-7, when the Jaguar M came to nothing, not in the late 1950ies where this fictional model is rooted.
Anyway, I liked the Fifties idea much and spun a story around the Étendard’s introduction and a fictional competition for the Aéronavale’s next carrier-borne fighter bomber. The idea was further fueled by the relatively new Airfix model of the early A-4B, which would fit well into the project’s time frame. And I already had a respective kit stashed away for this project...
The Airfix kit is very nice, fit and detail (including, for instance a complete air intake section with a jet fan dummy, and it features a very good pilot figure, too) are excellent, even though some things like very thick sprue attachment points here and there and the waxy, rather soft styrene are a bit dubious. But it’s a good kit, nevertheless, and cleverly constructed: many seams disappear between natural panel lines, it’s a pleasant build.
Since this model was to be a kind of pre-production machine based on a relatively new standard aircraft, not much was changed. Most visible additions are the dorsal spine (a simple piece of sprue, blended onto the back and into the fin fillet) and the ordnance.
But there are minor changes, too: The cannon installation was also modified, from the original wing root position into slightly lower, bulged fairings for the more voluminous DEFA cannon. The fairings were carved from styrene profiles and outfitted with the OOB barrels. IDF Skyhawks/Ahit with 30mm cannons were the design benchmark, blending the fairings into the curved wing roots and hiding the original gun openings was actually the most challenging part of the build.
Some pitots and blade antennae were replaced or changed, too. Lead was cramped into the space between the cockpit and the air intake installation for a proper stance. The Airfix kit is in so far nice as this compartment is easily accessible from below, as long as the wings have not been mounted yet.
The cockpit, together with the pilot figure, were taken OOB, just the pilot’s head was modified to look sideways and an ejection trigger handle was added to the seat.
The pair of AS-30 once were AS-30Ls from an Italeri Mirage 2000 kit, slightly modified with a simple, conical tip and booster rocket nozzles on the tail. The corresponding underwing radar pod is a drop tank from a vintage Airfix Kaman Seasprite, while the other outer pylon carries a scratched camera pod, IIRC it once was a belly tank from a 1:144 F-16.
Painting and markings:
On purpose, relatively simple. The early French Étendard IVM was the benchmark with its blue-gray/white livery. Biggest challenges were actually to find an appropriate tone for the upper gray, which appears, much like the British Extra Dark Sea Gray, between anything from dark blue to medium gray, depending on light and surroundings, esp. with a glossy finish.
I could not find any definitive or convincing paint suggestions, what I found ranges between FS 36270 (Medium Gray, much too light) and FS 36118 (Gunship Gray, much too violet) and Humbrol 77 (Navy Blue, much too green) to a mix of Humbrol 57 and 33 (Sky Blue + Black!). Really weird… And to make matters worse, some Étendards were furthermore painted in a lighter blue-gray for operations over the Mediterranean Sea!
Since I wanted a unique tone, I settled upon Revell 79 (RAL 7031, Blaugrau) for the upper surfaces, a dark, petrol blue gray. The undersides were painted in an off-white tone (a grayish Volkswagen color from the Seventies!) with acrylic paint from the rattle can – with the benefit that the whole landing gear could be primed in the same turn, even though it was later painted over with pure white (Humbrol 130), which was also used on/in the air intakes. The cockpit interior was painted in bluish gray (FS 35237), the interior of the air brakes, slats and edges of the landing gear covers became bright red (Humbrol 60). The red markings around the air intakes were created with paint and decals. Another eye-catcher are the bright orange AS-30 test rounds.
A thin, black ink wash was applied to the kit in order to emphasize the engraved panel lines. Only light shading was added to the panels through dry-brushing, more for presentation drama than true weathering.
Most Aéronavale-specific markings come from an Academy Super Étendard decal sheet, most stencils come from the OOB Skyhawk sheet. As a kind of prototype and part of Douglas’ fictional marketing effort for the machine, I placed the French roundels in six positions and also added French flags ( the Étendard prototypes were similarly decorated, by the way). Finally, everything was sealed under a coat of matt varnish with a slight, sheen finish.
A relatively simple whif project, and a nice distraction from the many recent kitbashes and major conversions. The Aéronavale livery suits the Scooter well, and what I personally like a lot about this one is that it “tells the story” behind it – it’s more than a generic Skyhawk in French colors.
And, as a final twist of history, nowadays the Skyhawk actually IS in use on board of a French carrier: in the form of the Brazilian Naval Aviation’s AF-1, former Kuwaiti A-4KU airframes, from CV Sao Paulo, former French Navy carrier Foch! :D
Requirements 1 & 2: underexposure & motion blur.
I wanted to create non-ordinary artistic photo of flowers, so I decided to experiment with flowers and motion. To achieve motion blur effect, I used manual mode and played with different settings to get desired effect. For this shot, I used shutter speed of 1/5 (0.2 sec), with ISO of 160 and f/14.0 aperture to create underexposed effect. I was also moving my camera from right to left when I was shooting to get motion.
In post production, I slightly reduced light to make background completely black. I also increased vibrance and contrast to make flowers more bright and distinguishable.
I take this photo at my home to satisfy the requirement 2. I arrange my roommate near the window, and I let very few light comes in to show the effect of key light and fill light. As you can see, the key light is the sun, and the fill light is the light reflected by his left neck and face. The reason why I choose the curtain as the background because its texture is good.
The camera setting is aperture f/11 to have a reasonable DoF, shutter speed 1/8 is to avoid hand shake, ISO 100 is to reduce the noise. Focal length 44.9 mm is to make my roommate takes a good proportion of this whole picture.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In 1935, the German Reich Air Ministry (RLM, Reichsluftfahrtministerium) produced a requirement for a twin engined general purpose floatplane, suitable for patrol and for anti-shipping strikes with bombs and torpedoes. Proposals were received from Heinkel Flugzeugwerke and from the Blohm & Voss aircraft subsidiary Hamburger Flugzeugbau. On 1 November 1935, orders were placed with Heinkel and Hamburger Flugzeugbau for three prototypes each of their prospective designs, the He 115 and the Ha 140.
The first prototype Heinkel flew in August 1937, testing was successful and the He 115 design was selected over the Ha 140 early in 1938, leading to an order for another prototype and 10 pre-production aircraft. The first prototype was used to set a series of international records for floatplanes over 1,000 km (620 mi) and 2,000 km (1,200 mi) closed circuits at a speed of 328 km/h (204 mph).
Defensive armament initially consisted of two 7.92 mm (.312 in) MG 15 machine guns, one in the nose and one in the dorsal position. Late He 115s were fitted with a fixed forward-firing 15 mm or 20 mm MG 151 cannon and two fixed, rearward-firing 7.92 mm (.312 in) MG 17 machine guns in the engine nacelles.
As main armament, the early He 115 variants carried LTF 5 or LTF 6b torpedoes and SD 500 500 kg (1,100 lb) or SC 250 250 kg (550 lb) bombs. Some also carried LMB III or LMA mines, and later variants could trade fuel for ordnance, so that their range was extended.
At the beginning of the war, the He 115 was used for dropping parachute mines in British waters, normally aiming for narrow passages close to busy ports on the English south coast; the River Thames was also a prime target. Apart from its use as a minelayer and torpedo bomber, the He 115 was used for coastal reconnaissance and by KG 200 to drop agents behind enemy lines.
However, the He 115’s slow speed and relatively light defensive armament remained a constant weakness, and in order to eradicate this flaw, Heinkel proposed in 1939 a new variant with a crew of four (instead of three), considerably more powerful BMW 801 radial engines and an additional weapon station in a ventral position behind the bomb bay.
An initial prototype, called He 115 D-0 and fitted with BMW 801C engines rated at 1,147 kW (1,560 PS) each, was produced in 1940 and successfully field-tested. Especially the new engines made a considerably change: the He 115 D’s top speed rose from a ponderous 327 km/h (203 mph) of the early variants with BMW 132K 9-cylinder radial engines to more than 400 km/h (248) in level flight, and other performance figures were improved. Nevertheless, the additional weapon station did not find approval – it turned out to be obsolete, because instead of more, heavier weapons with a longer range and a higher weight of fire were needed. Additionally, the accommodation for a fourth crew member added much dead weight to the aircraft, so that the whole proposal was regarded as ineffective ans subsequently deleted.
However, in this refined form, the upgraded machine was accepted by the RLM in 1940. He 115 production was not resumed, though, but rather turned into an upgrade program for the fleet of in-service aircraft (He 115 B and C in various sub-versions), leading to a variety of He 115 D variants.
The He 115 D upgrade primarily consisted of engine upgrades, now with BMW 801A engines. For defense, the He 115 D's rear gunner/radio operator became armed with two 13 mm (.51 in) MG 131 machine guns, which replaced his former light MG 17 machine gun as well as the optional fixed machine guns in the rear of the engine fairings, which had proven themselves to be highly ineffective, once enemy pilots had become aware of them. Since the He 115’s narrow body precluded any powered turret on the upper or lower fuselage, the defensive armament was moved to the flanks: Each of the heavy machine guns was fitted into half-teardrop-shaped Ferngerichtete Drehringseitenlafette FDSL 131/1B turrets and mounted on each side of the aircraft. This unusual installation was remote-controlled from the gunner's position in the rear of the glazed cockpit area with a sophisticated gun-aiming setup, and could cover a wide section of the aircraft’s rear hemisphere – even under it, which was a major improvement.
The unit was controlled through a pivoting handgun-style grip, trigger and gunsight at its center, to aim the guns vertically - with both turrets elevating and depressing together when operated - and horizontally, in pivoting each gun separately, outward away from the fuselage side when aimed to one side or the other. Aiming was facilitated through a bifurcated telescopic sight that allowed almost free sight above and below the fuselage in almost any rearward-facing direction. The guns were electrically moved and fired, and an electrical contact breaker acted as a form of "interrupter", as used on many forms of multi-engined, turret-armed WW II aircraft, preventing the gunner from shooting off the He 115’s tail plane.
Another armament improvement for all He 115 D variants consisted of the replacement of the light, nose-mounted MG 17 machine gun with a heavier MG 131. The fixed MG 151/20 cannon under the nose, carried in a fairing in front of the bomb bay, was retained or retrofitted to all D conversions.
Several variants were introduced: The D-1 was the initial, standardized torpedo bomber and mine layer, while the D-2 had reinforced floats and special equipment for operation from ice or snow. The D-3 was a dedicated mine layer. For this special role these machines received enlarged bomb bay doors, so that two parachute-droppable sea mines could be carried instead of just one, exploiting the type’s improved ordnance capacity of 2.000 kg (4.400 lb).
The D-4 variant was a specifically modified version for anti-shipping operations. Some were direct conversions, but many D-1s and D-2s were upgraded to this standard, too, all receiving the new designation.
For its special role, the He 115 D-4 variant was outfitted as a carrier aircraft for the guided Henschel Hs 293 glide bomb and the Hs 294 glide torpedo. Due to its weight and size, only a single Hs 294 could be carried externally under the fuselage, and it was rarely deployed since the weapon’s weight and drag drastically affected the He 115’s handling. The weapon’s deployment was also hazardous, due to the struts under the He 115’s fuselage. The Hs 293 saw more frequent (and successful) use. Theoretically, two Hs 293 bombs could be carried on pylons under each of the reinforced outer wings (which could carry up to 1.000 kg (2.200 lb) each), but, typically, only a single Hs 293 was carried under the starboard wing and a drop tank as counterweight and range compensation for the extra drag under the port wing. Furthermore, the He 115 D-4 was outfitted with either the FuG 203 “Kehl” radio guidance and control transmitter system and a steering console at the bomb aimer’s station, who visually guided the bomb to its target through a simple joystick, or, alternatively, the FuG 203 with its draggy antenna array was replaced by the more reliable FuG 207 “Dortmund” wire guidance system (incl. a spool with 18 km /11 ml of 0.3mm wire attached to the weapon pylon). The respective machines were differentiated by an “a” and “b” suffix.
The final variant that entered service was the D-5, a fast, long-range reconnaissance aircraft. It featured a reduced armor and armament, but carried additional fuel tanks and camera equipment.
Field modifications and other upgrades were also common: Some machines received a manually operated MG 151/20 machine cannon in the nose weapon station instead of the standard MG 131 for a better defense of the front sector, and some machines were upgraded with a MK 103 30 mm machine cannon in a more voluminous fairing under the bomb aimer’s station.
A few D-1 and D-4 machines were also experimentally outfitted with a 37 mm (1.46 in) Bordkanone 3,7 (a.k.a. BK 3,7) with 28 rounds and even a 50mm (1.96 in) MK 214 machine cannon with 22 rounds in a drum magazine in this position – primarily against ship targets, but also against slow Allied patrol bombers, which could be attack out of their defensive weapons’ range.
In total, about 100 He 115 B and Cs were upgraded to the D standard, which was finished by late 1943. The aircraft had its finest moment on anti-shipping operations against Arctic convoys from bases in northern Norway. Because the first convoys lacked air cover, the slow and lightly armed He 115 was less vulnerable than near the English coast. With the appearance of carriers and escort carriers, coupled with new Soviet heavy fighters like the Petlyakov Pe-3bis, Luftwaffe air superiority over the convoys was challenged and losses increased. The remaining He 115 B and Cs were consequently taken out of front line service in 1944 (but still served in search and rescue duties or in covert operations), but some of the He 115 D, esp. the more sophisticated D-4 and D-5 versions, soldiered on until 1945.
General characteristics:
Crew: 3 (pilot, bomb aimer, radio operator/rear gunner)
Length: 17.30 m (56 ft 9 in)
Wingspan: 22.28 m (73 ft 1 in)
Height: 6.60 m (21 ft 7.75 in)
Wing area: 87.5 m² (942 ft²)
Empty weight: 6,150 kg (13,564 lb)
Loaded weight: 12,200 kg (26,872 lb)
Powerplant:
2x BMW 801A 14-cylinder radial engine, 1,560 PS (1,539 hp, 1,147 kW) each
Performance:
Maximum speed: 403 km/h (250 mph)
Cruising speed: 365 km/h (227 mph)
Combat radius: 2,100 km (1,305 mi)
Service ceiling: 7,400 m (24,240 ft)
Wing loading: 139.4 kg/m² (28.2 lb/ft²)
Power/mass: 188 W/kg (0.116 hp/lb)
Armament:
1× fixed 20 mm (.787 in) MG 151/20 machine cannon under the front fuselage
1× flexible 13mm (.51 in) MG 131 machine gun in nose position
2× remote-controlled 13 mm (.51 in) MG 131 in FDSL 131/1B barbettes on the flanks
A total internal and external ordnance load of 2.000 kg (4.400 lb),
including up to 5× 250 kg (550 lb) bombs, or two such bombs and one torpedo of 800 kg (1,800 lb),
or one 920 kg (2,030 lb) sea mine in the Internal bomb bay.
A single Hs 294 guided glide torpedo, carried externally under the fuselage.
Alternatively, two underwing hardpoints could carry loads of up to 1.000 kg each, including iron bombs
and drop tanks (up to 900 l), Hs 293 guided glide bombs and unguided LT10 “Friedensengel” or LT 11
“Schneewittchen“ glide torpedoes.
The kit and its assembly:
A project I had on the agenda for a long time, even collecting donor parts and kits, but never had the drive to tackle it. But the “Amphibian” GB at whatifmodelers.com in late 2017 gave the impulse to finally build a model of the semi-fictional upgrade of the rather overlooked He 115 floatplane.
The whole thing is not purely fictional, since the BMW 801-powered He 115 D actually existed – but only as a single prototype. However, I wondered if some more upgrades would have been possible, and this led to this model.
The basic kit is Matchbox’ venerable He 115 B/C – a simple affair, but the He 115 is, to be honest, a simple aircraft, slender and big. In my case, it’s a Revell re-boxing, and the dark green styrene, in which it is moulded, turned out to be rather brittle, not making it a truly pleasant build (unlike the light grey styrene Revell frequently uses for the Matchbox re-issues, which is somewhat smoother).
As the only IP alternative there’s just the FROG mould (and, beware, it comes in a Revell re-boxing, too!), but I am not certain if it is anything good at all? The Matchbox kit appears to be a bit more modern, even though it is very, well, simple, and basically goes together well. But it needs attention at every seam, and the nose section is tricky to mount, too.
The model was built mostly OOB, but received some superficial mods and enhancements:
The BMW 801 engine transplants come from an Italeri Do 217 K-1, including the propellers and the engine mounts/adapters. The problem: the diameter of the 14-cylinder engines is markedly smaller than the original 9-cylinder radials, so that the “adapters” had to be used to bridge this difference. But even with this help, some serious sanding and PSR were necessary. Additionally, the BMW 801s are longer than the original engines, and the adapters push them forward even a little more. Thanks to the aircraft’s sheer size, this change of proportions is not too obvious.
The FDSL 131 barbettes were taken from an Italeri/Bilek Me 210 kit, which has been earmarked for a conversion (without them). In order to mount the weapon stations, holes were drilled into the He 115’s flanks and, internally, a construction to hold them in place, made from styrene strips, was added. The periscopic sights above and below the fuselage were scratched from round styrene strips. As a side effect, the original hole in the canopy for the manual machine gun was elegantly covered.
Under the nose, a fairing for the machine cannon was scratched – it consists of sections from an F-14 recce pod. The MK 103’s barrel was scratched from styrene, with an improvised muzzle brake. The manually operated MG 17 in the nose was replaced by a heavy MG 151/20.
The Hs 293 comes from a Revell He 177 A-6, together with its pylon. Just a small fairing (a modified 1:144 F-16 centerline drop tank) was added as a container for the wire spool. The drop tank on the other side is a find from the scrap box (IIRC, it belongs to an ART Model F8F Bearcat), modified with fins to (vaguely) resemble the Luftwaffe’s 900 l drop tanks for the Do 217 (which carried the Hs 293 in a similar fashion).
Under the floats I added scratched ice skids, a suitable upgrade for an aircraft operated in Norway and over the Northern Atlantic.
Inside of the cockpit, a few details were added like a floor for the bomb aimer figure, and some internal structures added (all scratched from cardboard, and styrene strips and bits), plus a rack for the bomb aimer from an Italeri He 111, IIRC. Not much effort was put into this area of the model, since the kit would have its canopies closed, and the many braces on the clear parts would preclude any good view, anyway.
Painting and markings:
Finally a good occasion to apply a scheme that some He 177 bombers, operated over the Atlantic, carried around 1944, consisting of a disruptive pattern of RLM02 greenish grey and (supposedly) dark green RLM 73, with hard edges and a low, hard waterline to light blue undersides.
However, based on the illustrations and a few real world He 177 color pics in that scheme, I rather changed the dark green tone to RLM 72, which is rather a dull, dark greyish olive drab than the bluish RLM 73. The undersides became Lichtblau, RLM 76 – another deliberate choice instead of the typical, brighter RLM 65 for sea-borne aircraft. The upper camouflage was taken around the wings’ leading edges and onto the floats.
The paints come from the different sources: for the RLM 02, I used Revell’s acrylic 45 (which is a tad more olive green and darker than RLM 02), the RLM 72 was approximated with Humbrol 66 (Olive Drab), which IMHO comes very close to the murky German tone. RLM 76 for the undersides comes from the ModelMaster Authentic line.
Due to the sheer size and the complex structure of the aircraft with its floats and the many struts, painting took some time. Everything was painted with brushes, freehanded, only for the waterline on the rear fuselage some tape was used.
After the basis scheme was settled and dry, the kit received a light black ink wash and some panel post-shading with lighter versions of the basic tones, including “pure” RLM 02 (Humbrol 240).
The markings/decals were puzzled together from the scrap box – on the upper surfaces, simplified white crosses with thin outlines were used, almost resulting in a low-viz livery, and the tactical code was created from single letters (TL Modellbau). The “angry penguin” emblem is not really correct, but I thought that it would be a suitable mascot for the aircraft and its theatre of operations.
After that the model received some weathering with dry-brushed light grey on the leading edges and walkway areas. Exhaust soot behind the engines was created with grinded graphite and also some dry-brushing with light grey, simulating burnt areas due to lean fuel mixtures. On the floats I also added a waterline – a frequent sign of wear on the He 115 when it would stay aground/afloat for some time, with a mix of greens and greys.
The interior became RLM 66 (Dark Grey, used Humbrol 67, which is supposed to be that tone), as a typical late-war color instead of the earlier RLM 02 in which the He 115 was originally delivered. Both Hs 293 and the drop tank were painted in RLM 65 (Humbrol 65), as a subtle color contrast to the otherwise rather subdued aircraft.
A relatively subtle conversion, of a rather overlooked (and actually pretty boring) aircraft. Looks more interesting now, I think, and everything that went into the conversion was picked from real life and mixed up for something new.
The longer, slender BMW 801 engines make the aircraft IMHO look more elegant and purposeful, and the barbettes, as well as the bigger guns in general, are a suitable upgrade, too. The Hs 293 might be a little over the top, but for a slightly futuristic Luft ‘46 touch it’s just the ticket – and from an ordnance load perspective it’s even plausible. And, finally, the special paint scheme (which is real, too) just underlines the modernization of the venerable aircraft type for the late 1944 era.
I took this photo on the sky view observatory on Colombia center and satisfies requirement 2. I made this panorama by take three photos and for each photo, i set aperture to f/3.2 and iso of 125 and the shutter speed 15s so that the image is well exposed during the night. And i set the white balance to 2500k for a cooler image. Then i used photoshop to combine those three image with exact same settings into on picture. But the picture is twisted and in distortion. Then i import the image into lightroom and then use the camera fix to twist the image back. Then i crop the image. And Increasing the sharpness and saturation.
Spotted on Trademe on Monday, 17 December 2018.
This bus is now surplus to requirements with Coachways. Has 45 seats and a fully refurbished interior. Very tidy, 8k paint job within the last 12 months - no scratches or dents!. Well maintained and reliable. Asking price $14,000.
Operator - Coachways NZ - Otahuhu
Fleet Number - 1729
Registration - NS1648 (16/12/1987)
Chassis Type - MAN SL202
Chassis No. - 3870113
Body Manufacturer - Coachwork International
Body Date - 1987
Seating Codes - B45D
Notes - ex (1729) NS1648, New Zealand Coach Services, Lower Hutt; ex (1729) NS1648, NZ Bus, Auckland.
Livery - Coachways
Between 1986 and 1989 Auckland, New Plymouth, Wellington and Christchurch all purchased MAN SL202 buses with CWI B45+27D bodies.
The bodies are the German "Stadt 80" design.
For New Plymouth and Christchurch these were the last buses purchased before privatisation. The buses are all equipped with ZF automatic transmissions.
Those for Auckland, Christchurch and New Plymouth have 5 speed transmissions.
The Wellington buses have 4 speed ZF transmissions and a lower differential ratio. While this means they perform well on the hills they have a maximum top speed of 75kph.
No. 1729 started service life as one of 69 Auckland Regional Council buses (numbered 1689-1757) of this model that all passed to Transportation Auckland Corporation Ltd, which operated as Yellow Bus Co. on 12/6/1991. In 1998 this became Stagecoach Auckland.
The numbers followed on from the earlier MAN SL200 buses delivered in 1981 to 1985 and numbered 1601-1688.
1729 NS1648 (16/12/1987) / VIN:7940096 / Notes: Swanson depot; To Shore depot 2010; Parked at Swanson 2/7/2010. - Omnibus Society.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
After the division of Czechoslovakia by Germany in 1939, Slovakia was left with a small air force composed primarily of Czechoslovak combat aircraft. This force defended Slovakia against Hungary in March 1939, in the Slovak–Hungarian War in March 1939 in which Hungary reoccupied Carpathian Ruthenia and parts of southern Slovakia. In this the SVZ suffered some losses against Royal Hungarian Air Force. Later, the SVZ also took part in the German Invasion of Poland. The SVZ took part in Axis offensives in the Ukraine and Russian Central front sectors of the Eastern Front under the lead of Luftwaffe in the Stalingrad and Caucasus operations. This engagement resulted in great losses of aircraft and personnel, though.
During the World War II, the Slovak Air force was charged with the defense of Slovak airspace, and, after the invasion of Russia, provided air cover for Slovak forces fighting against the Soviet Union on the Eastern Front. For the rest of the war the SVZ fought US Army Air Forces and Royal Air Force raids against Slovakia.
Among the many more or less outdated German aircraft types inherited from the Luftwaffe during the early stages of WWII was a small number of Hs 123 A-1 dive bombers. The Henschel Hs 123 was a small single-seat biplane dive bomber and close-support attack aircraft. The aircraft was designed to meet the 1933 dive bomber requirements for the reborn Luftwaffe. Both Henschel and rival Fieseler (with the Fi 98) competed for the production contract requirement, which specified a single-seat biplane dive bomber. The first prototype, the Hs 123 V1, was cleared for its maiden flight on 1 April 1935; General Ernst Udet, a World War I ace, flew it on its first public demonstration flight on 8 May 1935. The first three Henschel prototypes, with the first and third powered by 485 kW (650 hp) BMW 132A-3 engines and the second by a 574 kW (770 hp) Wright Cyclone, were tested at Rechlin in August 1936. Only the first prototype had "smooth" cowlings; from that point on, all aircraft had a tightly fitting, characteristic cowling that included 18 fairings covering the engine valves. The Henschel prototypes did away with bracing wires and although they looked slightly outdated with their single faired interplane struts and cantilever main landing gear legs attached to smaller (stub) lower wings, the Hs 123 featured an all-metal construction, clean lines and superior maneuverability. Its biplane wings were of a "sesquiplane" configuration, whereby the lower wings were significantly smaller than the top wings.
The overall performance of the Hs 123 V1 prototype prematurely eliminated any chance for the more conventional Fi 98, which was cancelled after a sole prototype had been constructed. During testing, the Hs 123 proved capable of pulling out of "near-vertical" dives; however, two prototypes subsequently crashed due to structural failures in the wings that occurred when the aircraft were tested in high-speed dives. The fourth prototype incorporated improvements to cure these problems; principally, stronger center-section struts were fitted. After it had been successfully tested, the Hs 123 was ordered into production with a 656 kW (880 hp) BMW 132Dc engine.
The Hs 123 was intended to replace the Heinkel He 50 biplane reconnaissance and dive bomber as well as acting as a "stop-gap" measure until the more modern and capable Junkers Ju 87 became available. As such, production was limited and no upgrades were considered, although an improved version, the Hs 123B, was developed by Henschel in 1938. A proposal to fit the aircraft with a more powerful 716 kW (960 hp) "K"-variant of its BMW 132 engine did not proceed beyond the prototype stage, the Hs 123 V5. The V6 prototype fitted with a similar powerplant and featuring a sliding cockpit hood was intended to serve as the Hs 123C prototype.
About 265 aircraft were produced and production of the Hs 123A ended in Autumn 1938. It was flown by the German Luftwaffe during the Spanish Civil War and the early to midpoint of World War II. At the outbreak of hostilities, Hs 123s were committed to action in the Polish Campaign. Screaming over the heads of enemy troops, the Hs 123s delivered their bombs with devastating accuracy. A frightening aspect of an Hs 123 attack was the staccato noise of its engine that a pilot could manipulate by changing rpm to create "gunfire-like" bursts. The Hs 123 proved rugged and able to take a lot of damage and still keep on flying. Operating from primitive bases close to the front lines, the type was considered by ground crews to be easy to maintain, quick to re-equip and reliable even under dire field conditions.
The Polish campaign was a success for an aircraft considered obsolete by the Luftwaffe high command. Within a year, the Hs 123 was again in action in the Blitzkrieg attacks through the Netherlands, Belgium and France. Often positioned as the Luftwaffe's most-forward based combat unit, the Hs 123s flew more missions per day than other units, and again proved their worth in the close-support role. With Ju 87s still being used as tactical bombers rather than true ground support aircraft and with no other aircraft capable of this mission in the Luftwaffe arsenal the Hs 123 was destined to continue in service for some time, although numbers were constantly being reduced by attrition.
The Hs 123 was not employed in the subsequent Battle of Britain as the English Channel proved an insuperable obstacle for the short-ranged aircraft, and the sole leftover operator, II.(Schl)/LG 2, went back to Germany to re-equip with the Messerschmitt Bf 109E fighter bomber (Jabo) variant. The Bf 109E fighter bomber was not capable of carrying any more bombs than the Hs 123. It did, however, have a greater range and was far more capable of defending itself. On the downside were the notoriously tricky taxiing, ground handling, and takeoff/landing characteristics of the Bf 109, which were exacerbated with a bomb load.
At the beginning of the Balkans Campaign, the 32 examples of the Hs 123 that had been retired after the fall of France were taken back into service and handed over to the Slovak Air Force to replace the heavy losses on the Eastern Front after combat fatigue and desertion had reduced the pilots' effectiveness. Most of Slovakia's obsolete biplanes were replaced with modern German combat aircraft, including the Messerschmitt Bf 109, so that the Hs 123s were initially regarded with distrust – but the machines proved their worth in the ensuing battles. The Slovak Hs 123s took part in the Battle of Kursk and supported ground troops, some were outfitted with locally designed ski landing gears which proved to be a very effective alternative to the Hs 123’s spatted standard landing gear which was prone to collect snow and mud and even block. After this deployment at the Russian front, the Slovak Air Force was sent back to defend Slovak home air space, primarily executed with Messerschmitt Bf 109 E and G types, Avia B-534, and some other interceptor types, also helped by Luftwaffe units active in the area.
Being confined to national borders, the Slovak Hs 123s were put in reserve and relegated to training purposes, even though they were occasionally activated to support German ground troops. From late August 1944 the remaining Hs 123s also actively took part in the suppression of the Slovak National Uprising against Germany.
Since Hs 123 production had already stopped in 1940 and all tools had been destroyed, the permanent attritions could not be replaced - due to a lack of serviceable airframes and spare parts the type’s numbers dwindled. When Romania and the Soviet Union entered Slovakia, they organized with some captured aircraft and defectors a local Insurgent Air Force to continue the fight against Axis forces in country, including the last operational Slovak Hs 123s. No aircraft survived the war.
General characteristics:
Crew: 1
Length: 8.33 m (27 ft 4 in)
Wingspan: 10.5 m (34 ft 5 in)
Height: 3.2 m (10 ft 6 in)
Wing area: 24.85 m² (267.5 sq ft)
Empty weight: 1,500 kg (3,307 lb)
Gross weight: 2,215 kg (4,883 lb)
Powerplant:
1× BMW 132Dc 9-cylinder air-cooled radial piston engine with 660 kW (880 hp),
driving a 2-bladed metal variable-pitch propeller
Performance:
Maximum speed: 341 km/h (212 mph, 184 kn) at 1,200 m (3,937 ft)
Range: 860 km (530 mi, 460 nmi) with a 100 l drop tank
Combat range: 480 km (300 mi, 260 nmi) with 200 kg (440.9 lb) of bombs
Service ceiling: 9,000 m (30,000 ft)
Rate of climb: 15 m/s (3,000 ft/min)
Armament:
2× 7.92 mm MG 17 machine guns, 400 rpg
Up to 450 kg (992.1 lb) of bombs under fuselage and wings
The kit and its assembly:
A relatively simple what-if project, and it took a while to figure out something to do with a surplus Airfix Hs 123 A kit in The Stash™ without a proper plan yet. The Hs 123 is an overlooked aircraft, and the fact that all airframes were used during WWII until none was left makes a story in Continental Europe a bit difficult. I also did not want to create a German aircraft – Finland was an early favorite, because I wanted to add a ski landing gear (see below), but since I won’t build anything with a swastika on it this option was a dead end. Then I considered an operator from the Balkans, e. g. Romania, Bulgaria, Croatia or Slovakia – and eventually settled for the latter because of the national markings.
The kit was built almost OOB, and the Airfix Hs 123 is a nice offering. Yes, it’s a simple kit, but its is IMHO a very good representation, despite the many rivets on the hull, a rather bleak interior and some sinkholes (e. g. on the massive outer wings struts). It goes together well, just a little PSR here and there. I just added a dashboard (scratched from styrene sheet) and modified the OOB 50 kg bombs with extended impact fuzes with a flat, round plate at the tip, so that the bomb itself explodes above soft ground or snow for a bigger blast radius.
The only major modification is a transplanted ski landing gear from a PM Model (Finnish) Fokker D.XXI, which had to be reduced in length to fit under the compact Hs 123. A small tail ski/skid was scratched from styrene sheet material.
Thankfully, the Hs 123 only calls for little rigging – just between the central upper wing supports and there is a characteristic “triangle” wiring in the cowling. All these, together with the wire antenna, were created with heated sprue material.
Painting and markings:
Finland had been a favorite because I would have been able to apply a more interesting paint scheme than the standard Luftwaffe RLM 70/71/65 splinter scheme with a low waterline that was typical for the Hs 123 during WWII. However, as a former Luftwaffe aircraft I retained this livery but decided to add a winter camouflage as a suitable thematic supplement to the skis.
The basic colors became Humbrol 65 underneath and 30 and 75 from above – the latter for a stronger contrast to the Dunkelgrün than Humbrol 91 (Schwarzgrün). Thanks to the additional whitewash mottles, which were inspired by a similar livery seen on a contemporary Bulgarian Avia B.534, I did not have to be too exact with the splinter camouflage.
The cockpit and cowling interior were painted with RLM 02 (Humbrol 240), the propeller blades became Schwarzgrün (Humbrol 91, further darkened with some black) and the bombs were painted in a dark grey (Revell 77) while the small 100 l drop tank became bare aluminum (Revell 99).
However, before the white mottles could be added, the kit received its decals so that they could be painted around the markings, just as in real life. The Slovak national markings had to be scratched, and I used standard white simplified German Balkenkreuze over a cross made from blue decal stripes. Later a separate red decal circle was placed on top of that. The only other markings are the red “7” codes, edged in white for better contrast (from a Heller Bf 109 K) and the fuel information triangles on the fuselage from the Hs 123’s OOB sheet. As an ID marking for an Eastern Front Axis aircraft, I retained the wide yellow fuselage stripe from the OOB, sheet, too, and added yellow tips on the upper wings’ undersides.
The whitewash camouflage was then created with white acrylic paint (Revell 05), applied with a soft brush with a rounded tip. Once this had dried, I treated the surfaces with fine wet sandpaper for a weathered/worn look.
Finally, after some soot stains behind the exhausts and around the machine gun nozzles, the kit was sealed with matt acrylic varnish and the rigging (see above) was done.
The Hs 123 might not be the sexiest aircraft of WWII, but I like this rugged pug which could not be replaced by its successor, the Ju 87, and served in its close support role until literally no aircraft was left. Putting one on skis worked quite well, and the exotic Slovak markings add a special touch – even though the national markings almost disappear among the disruptive whitewash camouflage! The result looks quite plausible, though, and the old Airfix kit is IMHO really underestimated.
Tech. Sgt. Alan Greene, a 70th Air Refueling Squadron boom operator, lowers the boom to an F-16 Fighting Falcon during an aerial refueling mission out of Luke Air Force Base, Ariz., Nov. 16, 2016. F-16 pilots train on refueling operations to be prepared for longer mission requirements. (U.S. Air Force photo/Senior Airman James Hensley)
My white 13" Apple Macbook laptop computer.
pictured: bottom
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specs:
13.3" TFT glossy widescreen display (1280 x 800 resolution)
2.4 GHz Intel Core 2 Duo CPU
2 GB of RAM (DDR2)
160 GB hard drive (5,400 rpm)
Intel GMA X3100 graphics processor (144 MB shared RAM)
built-in iSight video camera
slot-loading 8x SuperDrive (DVD+/-R, DVD+/-RW, CD-R, CD-RW)
FireWire 400 (1 port)
USB 2.0 (2 ports)
Mini-DVI port
10/100/1000BASE-T ethernet port
built-in AirPort Extreme wi-fi wireless networking (802.11g/n)
Bluetooth 2.0 + EDR
optical digital audio input/analog audio line in
optical digital audio output/analog headphone out
built-in stereo speakers
meets Energy Star requirements
size: 12.78" x 8.92" x 1.08"
weight: 5.0 pounds