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She would return to the same spot, at the same time, week after week, after week... hoping that she would bump into him again... The spot where a handsome stranger bent her over the wall and took her from behind. The dress was different, but the desire remained the same...
Copyright © John G. Lidstone, all rights reserved.
You are warned: DO NOT STEAL or RE-POST THIS PHOTO.
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If you do, and I find out, you WILL be reported for copyright infringement action to the host platform and/or group applicable.
The same applies to all of my images.
My copyright is also embedded in the image metadata.
I shot both stills & video at the same time during Lakey Peterson's record-setting heat at the pro women's Nike Hurley US Open Surfing contest in Huntington Beach!
Here's some of the video I shot with the above 45WINDSURF / 9SHOOTER rig:
www.youtube.com/watch?v=_o3Yh2CWKsk
And here're some of the photographic stills! www.flickr.com/photos/herosjourneymythology45surf/sets/72...
Enjoy!
Nikon D4 with AF-S Nikkor 600mm f/4G ED VR & Video Camera @ Huntington Beach!
Shooting some video and photographic stills of surfers at the Nike US Open at Huntingon Beach!
I call the above combination the 45WINDSURFER as it lets you SURF the intermittent waves of stills photography, while catching the constant WIND of video. :) I shoot all my models with a variation of this setup too, using the D800 instead with the 70-200 mm VR2.
Here is my gear for tomorrow's finals:
Nikon D4 with AF-S NIKKOR 600mm f/4G ED VR & Video Camera!
The AF-S NIKKOR
600mm f/4G ED VR is a high-speed, high-performance prime lens which features Nikon’s VR image stabilization and Nano Crystal Coat!
The Nikon D4 rocks! It focuses fast and continuously! It can shoot 12 RAWS/second! Ideal for shooting Kelly Slater pulling tricks!
The video camera is the amazing image-stabilized Panasonic X900MK 3MOS 3D Full HD SD Camcorder. The 3MOS Sensor splits the light information captured by the lens into the three primary colors - red, green and blue - and processes each color with its own individual sensor. This reduces light loss compared to the 1MOS sensor. Pixel Shift Technology, which took years to develop, provides a huge number of effective pixels for moving pictures – equivalent to four times the pixel count of Full-HD. This technology renders ultrafine images with excellent color reproduction and superb detail! It is built with an awesome F1.5 LEICA lens! The image stabilization is amazing on this, even at full zoom!
Using a rugged Manfrotto tripod and a Manfrotto Bogen tripod head!
Wish me luck @ the finals! :) Wish you could join me to shoot stills & video of the world's greatest surfers!
These pictures were shot with the Sony Alpha 65 (A65).
The panasonic camcorder shoots at 60P and I slow it down to 24P in post for slow motion!
Check out my other miniature railway pics on Flickr:
www.flickr.com/photos/trainsandstuff/collections/72157625...
This railway was opened in May 1911 by local postman Griffith Llewelyn. It was known simply as Llewelyn's Miniature Railway but most of the finance had been provided by 4 local businessmen including Southport dentist Prosper Ladmore.
The first loco on the line was a Bassett Lowke 'Class 10' No.18 'George the Fifth' but this was sold a couple of years later to the Rhyl Miniature Railway and replaced by a larger 'Class 20' from Bassett Lowke No.22 'Prince of Wales'. In 1923 this was joined by another 'Class 20' No. 21 'Prince Edward of Wales' which came from the Fairbourne Railway.
These two locos continued to run at Southport until the late-1960s and were renamed on a regular basis, sometimes carrying two names at the same time! (one on each side). Eventually they settled down to permanent names - 'Prince of Wales' became 'Princess Elizabeth' and 'Prince Edward of Wales' became 'King George'.
At the end of 1933 the line was placed into receivership and was taken over by local engineer Harry Barlow who had already been involved with the line for several years.
It prospered under Barlow's control and in the late-1940s he extended the track and started building a fleet of new diesel-electric locos. In 1950 he built a new train for Southport Pier ('The Silver Belle') and the following year he built and operated the Festival of Britain railway at Battersea Park in London.
Barlow retired at the end of 1968 and sold the railway for £20,000 to a couple of local business owners. The two steam locos were not included and were later sold separately - 'King George' was auctioned at Christies in May 1969 for £950.
The railway at Southport was sold in 2001 and again in 2016 and continues in operation today and still uses some of the locos and carriages built by Barlow in the 1950s and 1960s. It is now the oldest continuously operated miniature railway in the world.
What happened to the steam locos? 'King George' ended up at the Whorlton Lido Railway in Co Durham where it operated for many years before being sold into private ownership where it survives today.
'Princess Elizabeth' was acquired by Bill McAlpine and went to Steamtown Railway Museum in Carnforth where it ran for 20-odd years. In 1983 it made a brief return to Southport to appear in a gala weekend. In 2000 the entire railway at Carnforth was sold to Hollywood movie director Francis Ford Coppola. 'Princess Elizabeth' now resides in working order on his California estate alongside the original Southport loco No, 18 'George the Fifth' which was acquired from Carnforth at the same time.
I shot both stills & video at the same time during Lakey Peterson's record-setting heat at the pro women's Nike Hurley US Open Surfing contest in Huntington Beach!
Here's some of the video I shot with the above 45WINDSURF / 9SHOOTER rig:
www.youtube.com/watch?v=_o3Yh2CWKsk
And here're some of the photographic stills! www.flickr.com/photos/herosjourneymythology45surf/sets/72...
Enjoy!
Nikon D4 with AF-S Nikkor 600mm f/4G ED VR & Video Camera @ Huntington Beach!
Shooting some video and photographic stills of surfers at the Nike US Open at Huntingon Beach!
I call the above combination the 45WINDSURFER as it lets you SURF the intermittent waves of stills photography, while catching the constant WIND of video. :) I shoot all my models with a variation of this setup too, using the D800 instead with the 70-200 mm VR2.
Here is my gear for tomorrow's finals:
Nikon D4 with AF-S NIKKOR 600mm f/4G ED VR & Video Camera!
The AF-S NIKKOR
600mm f/4G ED VR is a high-speed, high-performance prime lens which features Nikon’s VR image stabilization and Nano Crystal Coat!
The Nikon D4 rocks! It focuses fast and continuously! It can shoot 12 RAWS/second! Ideal for shooting Kelly Slater pulling tricks!
The video camera is the amazing image-stabilized Panasonic X900MK 3MOS 3D Full HD SD Camcorder. The 3MOS Sensor splits the light information captured by the lens into the three primary colors - red, green and blue - and processes each color with its own individual sensor. This reduces light loss compared to the 1MOS sensor. Pixel Shift Technology, which took years to develop, provides a huge number of effective pixels for moving pictures – equivalent to four times the pixel count of Full-HD. This technology renders ultrafine images with excellent color reproduction and superb detail! It is built with an awesome F1.5 LEICA lens! The image stabilization is amazing on this, even at full zoom!
Using a rugged Manfrotto tripod and a Manfrotto Bogen tripod head!
Wish me luck @ the finals! :) Wish you could join me to shoot stills & video of the world's greatest surfers!
These pictures were shot with the Sony Alpha 65 (A65).
The panasonic camcorder shoots at 60P and I slow it down to 24P in post for slow motion!
SX-70
Artistic TZ film
It's the same future
waiting there regardless,
- from "Prayer To Escape The East" by Christopher Buckley
Still waiting on my PX 100 film to arrive. Also sick again.
I shot both stills & video at the same time during Lakey Peterson's record-setting heat at the pro women's Nike Hurley US Open Surfing contest in Huntington Beach!
Here's some of the video I shot with the above 45WINDSURF / 9SHOOTER rig:
www.youtube.com/watch?v=_o3Yh2CWKsk
And here're some of the photographic stills! www.flickr.com/photos/herosjourneymythology45surf/sets/72...
Enjoy!
Nikon D4 with AF-S Nikkor 600mm f/4G ED VR & Video Camera @ Huntington Beach!
Shooting some video and photographic stills of surfers at the Nike US Open at Huntingon Beach!
I call the above combination the 45WINDSURFER as it lets you SURF the intermittent waves of stills photography, while catching the constant WIND of video. :) I shoot all my models with a variation of this setup too, using the D800 instead with the 70-200 mm VR2.
Here is my gear for tomorrow's finals:
Nikon D4 with AF-S NIKKOR 600mm f/4G ED VR & Video Camera!
The AF-S NIKKOR
600mm f/4G ED VR is a high-speed, high-performance prime lens which features Nikon’s VR image stabilization and Nano Crystal Coat!
The Nikon D4 rocks! It focuses fast and continuously! It can shoot 12 RAWS/second! Ideal for shooting Kelly Slater pulling tricks!
The video camera is the amazing image-stabilized Panasonic X900MK 3MOS 3D Full HD SD Camcorder. The 3MOS Sensor splits the light information captured by the lens into the three primary colors - red, green and blue - and processes each color with its own individual sensor. This reduces light loss compared to the 1MOS sensor. Pixel Shift Technology, which took years to develop, provides a huge number of effective pixels for moving pictures – equivalent to four times the pixel count of Full-HD. This technology renders ultrafine images with excellent color reproduction and superb detail! It is built with an awesome F1.5 LEICA lens! The image stabilization is amazing on this, even at full zoom!
Using a rugged Manfrotto tripod and a Manfrotto Bogen tripod head!
Wish me luck @ the finals! :) Wish you could join me to shoot stills & video of the world's greatest surfers!
These pictures were shot with the Sony Alpha 65 (A65).
The panasonic camcorder shoots at 60P and I slow it down to 24P in post for slow motion!
the same holds true for 'michelle,' another long-time, and featured performer at calypso. her feminine and shapely figure just doesn't jive with the masculine beginning to her life...
I must've taken a dozen shots of about the same thing, as the sun went down and clouds slid across the canyon the light kept changing and the shadows put different areas into relief.
Posting all of 'em would get old quick so here's a sample.
(map location approximate, can't find the trail on these *expletive deleted* flickr maps)
__________________________________________________________________________
Picking up the pace now on the way home, it was even getting hot at Red Canyon. Time for somewhere cooler so Grand Canyon North Rim here we come.
July 8th, 2012 - "As The Pendulum Swings" Day 35 - Red Canyon to Grand Canyon
Nikon D810 & 4K Sony Camcorder & 45surf Achilles' Odyssey T-shirt Photos Taken by the Nikon D800E! She (The d800E) Was Jealous, But I still Love Her!
The 45surfer bracket setup for simultaneous stills and video (Nikon D810 + 150-600mm Tamron Zoom Lens for Nikon + the new 4K Sony FDR-AX100/B 4K Video Camcorder) allows me to shoot 4K video alongside 36mp stills of the Surf Goddesses! Will be using this setup at the Vans US Open of Surfing in late July in Huntington Beach (Surf City USA!), and the Hurley Pro at Trestles in September! This power was simply inconceivable a few short years ago! There was a lull so I shot some of the 45surf t shirts and 45surf hoodies too! Fall is around the corner when I sleep in my hoody every night as the Malibu Canyons nights get cold!
The Nikon D810 is the hottest model I have shot to date, up there with the swimsuit bikini model goddesses! :)
JK, I could shoot the bikini models with a Canon 5D MK3 even and they'd still look good.
Shown with the Tamron SP 150-600mm F/5-6.3 Di VC USD Lens for Nikon ! For shooting Alana Blanchard & the surf goddesses at the Van's US Open in a couple weeks!
Nikon D810 + Sony FDR-AX100/B 4K Video Camcroder Photos Taken by Nikon D800E! She (the D800E) Was Jealous, But I still Love Her!
The Nikon D 810 is mounted on a sturdy aluminum Vanguard Tripod or quality Manfroto Monopod! I prefer the alunimum over the carbon as it is thinner and heavier and has less of a chance of getting caught in a gust and tipping over! Although it happened once at the grand canyon, but I caught it! But the lightweight carbon-fiber with the wider legs would blow away! :)
All the best on your Epic Hero's Journey from Johnny Ranger McCoy! :)
"The South End is a neighborhood of Boston, Massachusetts. It is bordered by Back Bay, Chinatown, and Roxbury. It is distinguished from other neighborhoods by its Victorian style houses and the many parks in and around the area. The South End is the largest intact Victorian row house district in the country, as it is made up of over 300 acres. Eleven residential parks are contained within the South End. In 1973, the South End was listed in the National Register of Historic Places. Much of the South End was originally marshlands in Boston's South Bay. After being filled in, construction of the neighborhood began in 1849.
It is home to many diverse groups, including immigrants, young families, and professionals, and it is very popular with the gay and lesbian community of Boston. Since the 1880s the South End has been characterized by its diversity, with substantial Irish, Jewish, African-American, Puerto Rican (in the San Juan Street area), Chinese, and Greek populations. In 2010, the population was 55.2% white, 13.3% Hispanic, 12.5% Black or African American, 16.2% Asian, and 2.7% other; 55.2% of its residents had a bachelor's degree or higher; the median household income was $57,699; the median age was 36; 65.6% were primarily English speakers; and 12.9% were primarily Spanish speakers.
Boston (US: /ˈbɔːstən/), officially the City of Boston, is the state capital and most populous city of the Commonwealth of Massachusetts, as well as the cultural and financial center of the New England region of the United States. It is the 24th-most populous city in the country. The city boundaries encompass an area of about 48.4 sq mi (125 km2) and a population of 675,647 as of 2020. It is the seat of Suffolk County (although the county government was disbanded on July 1, 1999). The city is the economic and cultural anchor of a substantially larger metropolitan area known as Greater Boston, a metropolitan statistical area (MSA) home to a census-estimated 4.8 million people in 2016 and ranking as the tenth-largest MSA in the country. A broader combined statistical area (CSA), generally corresponding to the commuting area and including Providence, Rhode Island, is home to approximately 8.2 million people, making it the sixth most populous in the United States.
Boston is one of the oldest municipalities in America, founded on the Shawmut Peninsula in 1630 by Puritan settlers from the English town of the same name. It was the scene of several key events of the American Revolution and the nation's founding, such as the Boston Massacre, the Boston Tea Party, the Battle of Bunker Hill, and the siege of Boston. Upon American independence from Great Britain, the city continued to be an important port and manufacturing hub as well as a center for education and culture. The city has expanded beyond the original peninsula through land reclamation and municipal annexation. Its rich history attracts many tourists, with Faneuil Hall alone drawing more than 20 million visitors per year. Boston's many firsts include the United States' first public park (Boston Common, 1634), first public or state school (Boston Latin School, 1635) first subway system (Tremont Street subway, 1897), and first large public library (Boston Public Library, 1848).
Today, Boston is a center of scientific research; the area's many colleges and universities, notably Harvard and MIT, make it a world leader in higher education, including law, medicine, engineering and business, and the city is considered to be a global pioneer in innovation and entrepreneurship, with nearly 5,000 startups. Boston's economic base also includes finance, professional and business services, biotechnology, information technology, and government activities. Boston is a hub for LGBT culture and LGBT activism in the United States. Households in the city claim the highest average rate of philanthropy in the United States. Boston businesses and institutions rank among the top in the country for environmental sustainability and new investment." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
On January 6th, 2015 Dr. Bob Wallace and JoJo Brian Reibel - Wallace were married inside St. Petersburg's City Hall... ceremony officiated by Mayor Rick Kriseman.
An huge old tractor, along the road for some exhibition...
Original shot taken with a Panasonic Lumix DMC-FZ7, various post processing.
All of my cats loved airing cupboards.
They migrated there in winter. The routine was the same; they would eat breakfast, nip outside to perform a covert bowel evacuation in next door’s garden, scrape ashamedly over the mess and then scurry back in through the cat flap with icy cold coat, straight past everyone in the kitchen, ignoring the chorus of delighted greetings, trotting straight up the stairs to Bedfordshire.
Meanwhile I, ashen faced, would be getting ready to go to wretched school with a churning, nervous tummy and feeling unrelenting envy towards my cat.
Upon my return home from hell my first priority would be a routine sweep of the house to seek out some furry comfort. Having looked on each bed and each lap I knew where pussy would be. Pulling open those venetian airing cupboard doors I would be met with my two favourite things; the warm waft of fresh washing and curled atop it a roasted, furry, purring bundle. My visiting of the airing cupboard became like a pilgrimage to some kind of religious shrine, the scent calmed me and to behold my god all contented and relaxed on his or her throne filled me with peace. My arrival always prompted God to stretch and yawn and I would plunge my face into the piping hot fur and breathe in purest comfort. The scent of washing and of washing enwrapped cat is a fragrance Jo Malone really needs to work on.
In my daily grind I see a lot of airing cupboards. Photographing and floorplanning people’s homes is what (just barely) pays for my wine and nibbles and in every house I visit, without fail I will have to measure the airing cupboard. I may in fact hold a world record for the sheer number of airing cupboards I have inhaled. I have no idea if the vendors are aware of the high that the washing scent gives me. Do I emerge from their cupboards with dilated pupils, or nostrils? Do they think I get off on the smell of their smalls? I am thinking of creating a book filled with surreptitiously taken photos of the nation’s airing cupboards. This book instead of being on the coffee table must be stowed in an airing cupboard where it can be infused with the scent of its subject.
I have lately found myself particularly drawn to my own airing cupboard. On particularly low mornings I will open the door to hunt out a pair of oven fresh knickers with the same ashen face that I wore before school, hear the reassuring sound of the boiler chugging, feel the cuddle of mumsy air and want to curl up on a shelf, fall asleep and wait for someone who worships me to come and plunge their face into my belly after school.
Myriam, the head of the health centre, provides soap to the family as she encourages them to continue their efforts to avoid falling into the same situation again. "It makes me proud when a child is cured. I always insist that the parents follow up the treatment at the health centre," she says.
©UNICEF/Andrian. All rights reserved. Licensed to the European Union under conditions.
The Same But Different ~ Flickr Lounge
Thank you to everyone who pauses long enough to look at my photo. Any comments or Faves are very much appreciated.
Other than one or two very short local shoots close to home, I hadn’t been out to take photographs for more than a month. Just very busy with work and traveling a lot. I had just gotten home from traveling all week and I had planned on just relaxing the next day. However, just before I went to bed I checked my e-mail and saw a couple of reports of three Wood Storks and some Sandhill Cranes being spotted at Swan Lake National Wildlife Refuge in north-western Missouri. Swan Lake is a good 3 ½ hour drive from my home, which meant that I was going to have to wake up and be on the road no later than 3:00 a.m. if I wanted to be at the refuge in time to photograph in the early morning light. 3:00 a.m. was not my definition of “just relaxing.” However, I had never seen or photographed a Wood Stork in the wild. I set my alarm for 2:15 a.m.
Wood Storks are not common in Missouri. A subtropical and tropical species, Wood Storks are mostly found in South America, Central America and the Caribbean, with small populations in southeastern U.S. states, mostly in Florida, Georgia, the Carolinas and Texas. I have seen reports of Wood Storks being spotted in Missouri before, but as is usually the case, by the time I get there the birds have flown off to another location.
I managed to get on the road by 3:00 a.m., and after a stop for gas and a couple of restroom breaks along the way, I arrived at the entrance to Swan Lake National Wildlife refuge at 6:45 a.m. The sun was already fairly high on the horizon, which would normally mean that I would have very little time to photograph in the good morning light before the sun rose too high in the sky and created harsh, contrasty light. However, despite weather forecasts the night before calling for partly sunny skies with no precipitation, the area around Swan Lake was overcast - - a perfect blanket of clouds that would soften the sun’s harsh rays and allow me to keep shooting well into the late morning.
As I pulled into the entrance I again checked my e-mail. Another birder (Terry) had already arrived on the refuge and had spotted a single Wood Stork. Terry had very kindly reported the bird’s exact location, and after stopping to mount my telephoto lens onto my camera, I headed straight there.
As I arrived, Terry was driving away but stopped his car and rolled down his window. We had never met before, but I asked if he was the same person who had just reported the Wood Stork. He confirmed that he was. I looked around and didn’t see anything, and Terry told me that if I just pulled my car up another 30 feet past some brush, I would see the Wood Stork fishing in a shallow pool. Terry drove off and I slowly pulled my vehicle up past the brush . . . and there was the Wood Stork.
I very quietly got my tripod and camera out of the car and spent most of the next hour photographing the Wood Stork. This Wood Stork was about 3 ½ feet tall. Wood Storks mostly eat fish and insects, and they have a very unusual way of catching their food. They stick their open bills into the water, and then use one of their long legs to stir the water in front of them as they walk. By doing this, the Wood Stork essentially corrals the fish into its open mouth, where it grabs the fish, pulls it out of the water, and gulps it down . . . often times flipping it into the air before it does so, as seen in one of these photos.
As I watched the Wood Stork do this over and over again, it suddenly started to rain. What happened to the weather forecast that said it was supposed to be partly sunny with no precipitation?! I decided that since the rain was not bothering the Wood Stork, I was going to let it bother me either, so I kept on photographing.
Eventually, I gave up on the Wood Stork before it gave up on me. After taking several hundred photos, I decided to see if I could find the Sandhill Cranes that had also been reported the previous day. After driving around the refuge and visiting a couple of nearby conservation areas, I was unable to locate the Sandhill Cranes. Nonetheless, I was pretty happy that I finally got an opportunity to photograph a Wood Stork.
Taken on July 28, 2018, at Swan Lake National Wildlife Refuge located in Chariton County, Missouri.
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer, Mark S. Schuver.
The best way to view my photostream is on Flickriver: Nikon66's photos on Flickriver
Hamburg, March 2011
(spring test-drive Berlin - Hamburg, no problems)
Alfa Romeo GT 1300 Junior
year of production: 1971
first registration in Germany: 1975
cylinder: 4
cubic capacity: 1290 cc
power: 88 PS
The Alfa Romeo 105/115 series Coupés were a range of cars manufactured from 1963 until 1977.
They were the successors to the celebrated Giulietta Sprint coupé and used a shortened floorpan from the Giulia Berlina car.
These appealing cars were made in a wide variety of models over a period of 13 years, so they provide a lot of material for study by Alfa Romeo enthusiasts.
The basic body shape shared by all models was designed by Giorgetto Giugiaro for Bertone. It was one of his first major projects for Bertone, and borrowed heavily from his earlier design for the Alfa Romeo 2000 Sprint/2600 Sprint. The balance of glass and metal, the influence of the shape of the front and rear glass on the shape of the cabin, and the flat grille with incorporated headlamps were groundbreaking styling features for the era.
All models feature the four cylinder, all-light-alloy Alfa Romeo Twin Cam engine in various cubic capacities from 1290 cc to 1962 cc. All versions of this engine fitted to the 105 series coupes featured twin carburettors. Competition models featured cylinder heads with twin spark plugs. Common to all models was also a 5-speed manual transmission and disc brakes on all four wheels. The rear suspension uses a beam axle with coil springs. Air conditioning and a limited slip rear differential were optional on the later models. The 105 series coupés featured the GT (Gran Turismo) model description, which was common to all models in one form or another.
The various different models in this range can be considered in two broad categories:
On one hand were the various Gran Turismos and Gran Turismo Veloces. These were meant to be the most sporting cars in the Alfa Romeo range and sold very well to enthusiastic motorists around the world. The first model available was the Giulia Sprint GT (1963) which evolved into the Giulia Sprint GT Veloce (1965), the 1750 GTV (1968) and the 2000 GTV (1972–1976), with engines increasing in cubic capacity from 1570 cc (Giulia Sprint GT/GTV) through 1779 cc (1750 GTV) to 1962 cc (2000 GTV).
On the other hand was the GT Junior range, which featured engines with smaller cubic capacities. GT Juniors sold in great numbers to people who wanted a sporting, stylish car that handled well, but either did not require the maximum in engine power, or could not afford the taxation on larger engine capacities in some markets - most notably, Alfa Romeo's home Italian market.
Junior models began with the first GT 1300 Junior in 1966. The GT 1300 Junior continued until 1976 with the 1290 cc engine and various modifications incorporating features from the evolution of the GT's and GTV's. From 1972 a GT 1600 Junior model was also available, with the 1570 cc engine.
Both categories were used to derive GTA ("Allegerita") models, which were specifically intended for competition homologation in their respective engine size classes. The GTA's featured extensive modifications for racing, so they were priced much higher than the standard models and sold in much smaller numbers. Practically all GTA's made were used in competition, where they had a long and successful history in various classes and category. These models included the Giulia Sprint GTA and GTA 1300 Junior.
The 2000 GTV (Tipo: 105.21) was introduced in 1971 together with the 2000 Berlina sedan and 2000 Spider “Fastback” (Series 2). The 2000 range was the replacement for the 1750 range. Once again the engine was rationalized throughout the range. The engine displacement was increased to 1962 cc with a change of the bore and stroke to 84 mm × 88.5 mm. Oil and radiator capacities remained unchanged. The engine produced 132 PS (97 kW; 130 hp) at 5500 rpm.The interior trim was also changed, with the most notable differences being the introduction of a separate instrument cluster, instead of the gauges installed in the dash panel in earlier cars.
Externally the 2000 GTV is most easily distinguished by the following features:
Grille with horizontal chrome bars, featuring protruding blocks forming the familiar Alfa heart in outline; Smaller hubcaps with exposed wheel nuts; Optional aluminum alloy wheels of the same size as the standard 5. 1/2J × 14 steel items, styled to the "turbina" design first seen on the alloy wheels of the Alfa Romeo Montreal. "Turbina" refers to the wheel's resemblance to a jet engine inlet; The larger rear light clusters first fitted to United States market 1750 GTV's were standard for all markets on the 2000 GTV.
The 2000 GTV is most easily distinguished by its different grille. From 1974 on, this became standard on the GT 1300 Junior and GT 1600 Junior as well when the 105 Series coupe models were rationalized and these external features became common to post-1974 GT 1300 Junior and GT 1600 Junior models, with only few distinguishing features marking the difference between models.37,459 2000 GTVs were made before production ended. (© en.wikipedia.org/wiki/Alfa_Romeo_105/115_Series_Coup%C3%A9s ).
White-haired goldenrod
Credit: John MacGregor (KY Dept. of Fish and Wildlife Resources)
FOR IMMEDIATE RELEASE August 31, 2015
Contacts: Tom MacKenzie, U.S. Fish and Wildlife Service, tom_mackenzie@fws.gov, 404-679-7291
Kristen Peters, U.S. Fish and Wildlife Service, kristen_peters@fws.gov, 404-679-7172
Marie Walker, U.S. Forest Service, mwalker04@fs.fed.us, 859-745-3145
Agencies Conserve Imperiled Species in Eastern Kentucky;
Propose delisting for one plant, and positive steps for a darter
Stanton, Ky. – State and Federal conservation agencies came together here today to celebrate partnerships that are delivering conservation successes in eastern Kentucky.
After more than two decades of collaboration and conservation work in the Daniel Boone National Forest, the U.S. Fish and Wildlife Service is proposing to remove the white-haired goldenrod – a plant unique to eastern Kentucky – from the list of threatened and endangered species under the Endangered Species Act (ESA).
Daniel Boone National Forest and the Kentucky State Nature Preserves Commission played leading roles in the white-haired goldenrod’s recovery. White-haired goldenrod is only found in sandstone rock shelters or on sandstone cliffs with overhanging ledges in the Red River Gorge region of eastern
Kentucky. When the plant was listed as threatened in 1988, threats included the loss of habitat due to recreational activities such as rock climbing, hiking, camping, and rappelling; artifact collection; and a proposed reservoir project.
“The Daniel Boone National Forest began a project to fence white-haired goldenrod sites affected by recreational use in about 2003,” said Bill Lorenz, forest supervisor for the Daniel Boone National Forest.
“We asked the public to help us protect the plant by staying out of the fenced rock shelters where some damage was occurring. We were pleased at how quickly members of the public acknowledged our request and complied.”
“The Kentucky State Nature Preserves Commission has been monitoring white-haired goldenrod in the
Red River Gorge for more than 20 years,” said Donald S. Dott, Jr., director Kentucky State Nature Preserves Commission. “While recreational impact to some of the populations has occurred, the majority of the plant’s populations have been stable for well over 10 years. We believe that with an annual
monitoring program, public education, and an effective management plan coordinated by several agencies and conservation groups, this unique and rare goldenrod will be protected.”
“We are thankful for the great efforts of the U.S. Forest Service and the Kentucky State Nature Preserves Commission that helped us guide the white-haired goldenrod toward recovery,” said Mike Oetker, the
U.S. Fish and Wildlife Service’s Southeast Deputy Regional Director. “The proposed delisting of the white-haired goldenrod demonstrates that the Endangered Species Act works, and we will continue to work with our conservation partners to monitor and manage the plant’s populations.”
At the same time, the two federal agencies also are stepping up to proactively conserve the Kentucky arrow darter, a candidate for protection under the ESA. Through a Candidate Conservation Agreement signed today, the U.S. Fish and Wildlife Service and U.S. Forest Service are committing to take actions that will protect the small fish found in some of the small, headwater streams of the Daniel Boone National Forest. The Red Bird Ranger District of the Daniel Boone National Forest is a stronghold for the darter. Populations of the Kentucky arrow darter in the Daniel Boone National Forest and the University of Kentucky’s Robinson Forest constitute almost 49 percent of the species’ remaining occupied habitat.
Habitat loss and degradation represent the most significant threats to the darter.
This commitment to proactive, voluntary conservation will ensure needed management actions for the Kentucky arrow darter will occur. Some improvements under this agreement include replacing culverts impeding the Kentucky arrow darter’s natural movements and developing a forest-wide monitoring program for the fish.
“The Candidate Conservation Agreement is the latest step to proactively address at-risk species throughout the Southeast,” said Southern Regional Forester Tony Tooke. “The CCA is another example
of the long-standing partnership between the U.S. Fish and Wildlife Service and the U.S. Forest Service, which has produced multiple CCAs over the past several years.”
The U.S. Fish and Wildlife Service will decide whether to protect the Kentucky arrow darter under the ESA later this fall. This decision is part of the Service’s efforts to implement a court-approved work plan under a Multi-District Listing Agreement aimed at addressing a series of lawsuits concerning the agency’s ESA listing program. The intent of the agreement is to significantly reduce a litigation-driven workload.
For more information about the work plan, see www.fws.gov/southeast/candidateconservation/.
This settlement and others led to a broader partner-driven effort in the Southeast to more fully use
flexibilities within the ESA to put the right conservation in the right places and benefit imperiled species.
The proactive effort for the Kentucky arrow darter is part of this collaborative strategy to boost plant and wildlife populations and habitat before they need protection under the ESA.
The proposed delisting of the white-haired goldenrod follows a comprehensive review by the Service of the best available scientific and commercial information concerning the plant’s status as required by the ESA.
Along with the goldenrod’s proposed delisting, the Service is announcing a draft post-delisting monitoring plan for the plant. The public is invited to submit comments on the delisting proposal and the draft post-delisting monitoring plan for 60 days through November 2, 2015.
Over the last 21 years, the Daniel Boone National Forest redirected trails, installed and maintained protective fencing around sensitive locations where the plant is found, completed numerous back-country patrols near white-haired goldenrod habitats, and placed informational signs at rock shelters, picnic areas, and trailheads that provided information about the plant and ways the public could avoid impacting it.
The Kentucky State Nature Preserves Commission completed multiple status surveys for the species from 1996 to 2013, including an intensive range-wide effort in 2008-2009. These surveys documented each occurrence’s population size and viability, habitat condition, and the severity of the threats facing each population. The Kentucky State Nature Preserves Commission also prepared a variety of fact sheets and
posters that educated the public about the plant and how to protect its populations.
Currently, the U.S. Fish and Wildlife Service, the Daniel Boone National Forest and the Kentucky State Nature Preserves Commission are working to finalize a cooperative management agreement that will provide for the plant’s long-term protection. The management agreement outlines conservation actions
that will benefit the goldenrod.
Written comments concerning the proposed delisting of the white-haired goldenrod or its draft post-delisting monitoring plan should be submitted by accessing the Federal eRulemaking Portal: www.regulations.gov.
Follow the instructions for submitting comments on Attn: FWS-R4-ES-2014-0054. Comments also can be mailed to U.S. Fish and Wildlife Service Headquarters, MS. ES, 5275 Leesburg Pike, Falls Church, VA, 22041-3803, Attn: FWS-R4-ES-2014-0054.
For more information about the proposed delisting of white-haired goldenrod, please visit
fws.gov/southeast/wildlife/plant/white-haired-goldenrod or the U.S. Fish and Wildlife Service’s Kentucky Ecological Services Field Office website at www.fws.gov/frankfort/.
###
This is one of a collection of images found in a junk shop that appeared to come from the same family.
+++ 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 Dewoitine D.520 was a French fighter aircraft, designed in response to a 1936 requirement from the French Air Force for a fast, modern fighter with a good climbing speed and an armament built around a 20 mm cannon. At the time the most powerful V 12 liquid-cooled engine available in France was the Hispano-Suiza 12Y, which was less powerful, but lighter than contemporary engines such as the Rolls-Royce Merlin and Daimler-Benz DB 601. Other fighters were designed to meet the specifications but none of them entered service, or entered service in small numbers, too late to play a significant role during the Battle of France.
Unlike the Morane-Saulnier M.S.406, which was at that time the most numerous fighter in the French Air Force, the Dewoitine D.520 came close to being a match for the latest German types, such as the Messerschmitt Bf 109. It was slower than the Bf 109E but superior in manoeuvrability. Because of a delayed production cycle, only a small number were available for combat against the Luftwaffe. The D.520 proved to be relatively capable as a dogfighter against the Luftwaffe's inventory, but lacked sufficient numbers to make a difference.
Other countries – aware of the aggressive German neighbor – became interested in the D.520, too. Among them, Czechoslovakia was one of the first customers. The country was about to modernize its air force and make the transition from biplane to modern monoplane fighters, and an indigenous development, the Avia B.35, was lagging behind schedule. The Avia B.35 was designed to meet a 1935 requirement by the Czechoslovakian Air Force for a replacement for their B-534 fighter biplanes. The B.35 was an elegant, low-wing monoplane with an elliptical wing. The fuselage was constructed from welded steel tube, covered in metal ahead of and including the cockpit and fabric aft of the cockpit, while the wing was of entirely wooden construction. Rather anachronistically, the Air Force specified a fixed tailwheel undercarriage for the aircraft, in the hope that this would speed development, as the mechanism for retracting the undercarriage was not yet available.
However, in late 1937 it had become clear that the B.35 would not be ready soon, and the Czechoslovakian air force was in dire need for faster fighters that could cope with the German Bf 109E.
The relations to France led to the provision of the Dewoitine D.520, which was about to enter service and production, and the type was to be produced (including the engines) in license at Tatra.
These plans were to no avail, though: On 29 September 1938, Britain and France ceded control in the Appeasement at the Munich Conference; France ignored the military alliance it had with Czechoslovakia, and during October 1938, Nazi Germany occupied and annexed the Sudetenland border region, effectively crippling Czechoslovak defences.
In order to improve the Czechoslovak air force, twelve early D.520 fighters were directly procured from France and delivered in February 1939 (even though these machines came unarmed and had to be outfitted with weapons locally). Domestic production was expected to start – initially supported through kitted aircraft from France - in late 1939, with the plan to produce 200 aircraft. But this never happened: on 15 March 1939, the remainder ("rump") of Czechoslovakia was invaded and divided into the Protectorate of Bohemia and Moravia and the puppet Slovak State.
The small band of Czechoslovak D.520 fought valiantly with the 38th Field Flight for a few weeks, but due to the lack of spare parts and the overwhelming number of German fighters, the small fighter force only lasted for a couple of weeks, and by mid-1939 all machines were destroyed or had become unserviceable.
General characteristics:
Crew: one
Length: 8.6 m (28 ft 3 in)
Wingspan: 10.2 m (33 ft 5⅓ in)
Height: 2.57 m (8 ft 5 in)
Wing area: 15.87 m2 (171 ft²)
Empty weight: 2,123 kg (4,680 lb)
Loaded weight: 2,677 kg (5,902 lb)
Max. takeoff weight: 2,785 kg (6,140 lb)
Powerplant:
1× Hispano-Suiza 12Y-45 liquid-cooled V12 engine, rated at 690 kW (930 hp)
Performance:
Maximum speed: 560 km/h (302 kn, 347 mph)
Range: 1,250 km (675 nmi, 777 mi)
Service ceiling: 10,000 m (33,000 ft)
Rate of climb: 14.3 m/s (2,820 ft/min)
Wing loading: 167 kg/m2 (34.2 lb/ft2)
Power/mass: 257 W/kg (0.156 hp/lb)
Armament:
1× 20 mm Hispano-Suiza HS.404 cannon with 60 RPG,
mounted between the engine’s cylinder bank and firing through the propeller hub
4× 7.92 mm (0.312 in) vz. 30 (Česká zbrojovka Strakonice) machine guns
with 250–300 RPG in the outer wings
The kit and its assembly:
A quickie and the reaction to a recently posted profile from fellow modeler Wenzel from the Czech Republic in April 2018 at whatifmodelers.com: a Dewoitine D.520 in Czechoslovak pre-WWII colors and markings. Even though the profile’s indicated time frame would be somewhat fishy, I liked the design of this whif. And the fact that I had a surplus Hobby Boss D.520 kit without a concrete plan (yet) in the stash made me spontaneously tackle this small project.
The kit was built OOB, and it is – like many small Hobby Boss kits – a very simple affair with engraved panel lines and a rather rudimentary cockpit. Another weak point is the canopy. While it is perfectly clear, the shape looks a bit odd to me, as if oversized. The fit is not bad, but unfortunately there are location pins/struts molded into the single piece part, and these remain visible even if you build the model OOB.
The only changes I made are some added cockpit interior details, and I cut the canopy into pieces so that it could later be presented in open position for the beauty pics.
Painting and markings:
I stuck with the inspiring profile, as close as possible. It did not come with detailed information about the potential Czech squadron, but after doing some legwork I found out that the profile’s markings (the “H” code and the blue propeller spinner) belong to the Czechoslovak Air Force’s 38th Letka around 1938.
The profile also came with FS tone suggestions, and I stuck to them as good as possible, too. For the Dark Brown (FS 30108) I used Humbrol 10 mixed with some 160. The Dark Green (FS 34097) is Humbrol 105 (Marine Green) and the Tan tone (FS 30266) is RAL 7028 (German WWII Dunkelgelb, from Modelmaster). The latter was used on purpose in order to have a less reddish sand tone on the aircraft.
I also deviated from the benchmark on the undersides, for which FS 36495 had been suggested. I found the tone to be too light for my taste and replaced it with Light Gull Grey (FS 36440, Humbrol 129). The spinner was painted with a mix of Humbrol 15 and 89, trying to match the national markings as good as possible.
As usual, the kit received a light black ink washing and some post-shading in order to emphasize panels.
The cockpit interior was painted in dark grey, while the landing gear and its wells became bluish-grey (according to French aircraft).
The markings were gathered from the scrap box: the Czech roundels come from a recent KP Yak-23 sheet (printed by Propagteam), the tactical letter code was created with white, modern 24” RAF code letters from Xtradecal. My only personal addition is the manufacture code on the fin in front of the roundel, taken from the OOB sheet.
Finally, some soot stains around the gun ports and the exhausts were added with graphite, some more very light dry-brushing with acrylic pale grey was done, and the D.520 received a coat with matt acrylic varnish (Italeri).
A quick and simple project, but a nice distraction from the recent Cold War builds. I like how well the D.520 blends into its fictional Czech role, due to the same engine that powered several pre-WWII Avia designs. The disruptive scheme suits the aircraft, well, too, and with the Czech roundels the whole thing can even be called colorful!
Fonte official FB page:
Over the course of Devin Townsend’s storied career, a single constant has persevered: change. As far back as Steve Vai’s Sex & Religion, which Townsend fronted, to 2001’s landmark full-length Terria to the multi-instrumentalist’s country rock outfit Casualties of Cool to his stunning new album Transcendence, the Canadian isn’t too interested in keeping an even musical keel. To stay the proverbial course is, well, anathema. For certain, he’s far too impatient to write the same Strapping Young Lad song over and over—which is why he folded the band in 2007—and it’s likely there will never be a fourth or fifth Ziltoid album (a third if we’re lucky) because by that point he’ll be in a totally different frame of mind for galactic puppets gone awry.
“The Devin Townsend Project is still essentially a solo project,” he reminds. “One of several, but the difference is that I've had a dedicated team of talented folks here that really had great ideas. of the ways I consciously stepped out of my comfort zone was to the solicit feedback from not only the band, but also to production and engineering. Opinions from people I trust at the management and label, and all with a sense of building a kind of archetype of the DTP sound that would not ostracize people who enjoy the style, but keeping it fresh for me as well. One of the things I did was present my vision—which I’ve always done—and within that framework, I’d massage it with the team. For this record, in those sections, I’d bring it to the band and say, ‘Look guys, here’s what it’s supposed to do. This is how it’s supposed to make me feel. And how the audience is supposed to feel. This is how it interacts with the parts prior and after. That’s why it exists. It’s not complicated because we’re trying to jerk off here. It’s complicated because, in my mind, the emotional component of the section is complicated. But in lieu of how quickly I tend to purge music I’m thinking: how can we make it cooler while I can still move quickly? 'Here’s the basic chord structure guys, this is what I think it should basically do, be it angular or in thirds or whatnot... Dave [Young; guitars] and Mike [St-Jean; keyboards] Ryan (VanPoederooyen: drums) and Brian (Waddell: bass) , can you think of something cooler there? I’ll be back tomorrow.’”
“It took a year to try and figure out a template for what DTP should be and still be of interest to me,” remembers Townsend, “And as much as I’ve been a control freak for so long, I’m also at an age where I recognize those elements—like friends—in my life are ultimately more important than music, and the need to control something like the DTP at this point is more rooted in insecurity now that necessity. I do enjoy being part of a team. I like to think after so many records with these guys that I don't really have to be at the center of everything. I can trust a team of people—the right people—to help where I need help. I need an engineer who has better ears than me. My ears are getting tired after all these years. If you put together a team whose strengths are better than yours, and then you put in your strengths, then what comes out of it, for no other reason than for an experiment, is really cool. And in line with my need for a project to have a theme to draw me into it, That’s what this records theme became. It’s an experiment put to music. If anything really kick started the inspiration for the record, it was that. The desire to get the DTP 'right' for what it is.”
Recorded at The Armoury Studios in Vancouver, Canada with Townsend and Adam ‘Nolly’ Getgood (Periphery, Animals as Leaders), Transcendence sounds absolutely massive. From the moment ‘Truth’—a re-work from the Infinity album—monstrously blends into the soul-stirring ‘Stormbending’ to the undulating cool of mid-point jam ‘Secret Sciences’ and Ween cover ‘Transdermal Celebration’, Townsend and crew have engineered a modern-day classic. The sheer scale of tracks like ‘Failure’, ‘Higher’, and the majestic title track is at once daunting and inviting. Transcendence pulls the listener in like a movie score. It has the emotional heft of Rosenman’s Star Trek IV: The Voyage Home and the mega-riff power of Black-era Metallica.
Even if Transcendence had its 'bikini wax' moments—(Townsend metaphorically refers to his process as 'professionally hitting myself in the face with a hammer')—the final product is fantastic. In many ways, it’s typical The Devin Townsend Project, however there is now an inviting sense of depth and relative breathing room in the sound. Always professional and sonically awash in darks, lights, and colors between, it turned out not only to be an acceptable new DTP record, but arguably one of the best. What also added to the overall quality was the addition of five guest musicians—including but not limited to ex-The Gathering vocalist Anneke Van Giersbergen, vocalists Ché Aimee Dorval and Katrina Natale—and a five-person choir called Tigers In A Tank. Their contribution to Transcendence’s overall ambiance is noteworthy and necessary.
“Well, I love working with female vocalists because I’m not particularly fond of singing and I really react emotionally to female voices,” posits the frontman. “I kind of fell into singing. I could never find someone who would sing like I wanted, so I begrudgingly took the job. Anneke’s obviously worked with me for a while now. Ché was on this record because she was with me in Casualties of Cool. And Katrina sang one song on the Ghost album. Also, I wanted the three of them on this record if this was to be the last DTP record. They bring it all together. So, sticking with the same people is the same reason I’ve been married for so long. Once I find great people, I have no need to look elsewhere for the similar things. It’s kind of great as it eliminates option paralysis in that area, though as different needs arise, often things evolve as well. As for the choir, it’s typically been inefficient. For the last record, I went to Amsterdam and it was crazy. I went to Sweden and it was cool but super-expensive. On Epicloud, I had a gospel choir, but had to over-dub a lot. For this one, I asked my buddy Eric [Severinson] to find three capable women and two men. I was able to create the choir by doing over-dubs and recording on-the-fly. It turned out great and it was very efficient.”
With over 60 songs in the bag for Transcendence, (not all, he is quick to point out, of the same quality) Townsend obviously had to pare down. The songs that made it, however, are breathtaking in their scope, beautiful in their presentation, and heavy—noticeably—enough to out-bombast the sum of The Devin Townsend Project’s previous full-lengths. Certainly, Townsend knows how he feels about the songs on Transcendence (and its accompanying second disc). Each song, from ‘Truth’ and ‘Secret Sciences’ to ‘Stars’ and ‘Offer Your Heart’, provoked a reaction from the man.
“My litmus test for whether or not a song or a record is working is really about my visceral reaction to it,” Townsend says. “If I react to it, then it’s correct, for me. That reaction could be repulsion, it could make me cry, it could irritate me, I could be loving it, it’s pretty much all the same. As long as I’m affected by the song, then I know I have something accurate.”
As for the Townsend’s loyal fans? The very fans who’ve been waiting with bated breath for Transcendence?
“If it gives me a reaction, then I hope it’ll contribute something to their world. Ultimately, I'm happy to contribute my observations to the massive sea of music. If there's anything that became clear to me throughout this all is the value of being part of something as opposed to being too concerned about 'being' the thing'