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i love how this turned out:)
lol this was the first time ive worn something other than my "photography dresses" ha it was sooooooooo hot...
while i was shooting though i had a great new idea for this concept.. unfortunately im sick and have spent most of today in bed, so i wasn't really in the mood to jump on it.. il just add it to my other pages of random photog ideas:)
Love is what makes two people sit in the middle of a bench when there is plenty of room at both ends.
Separation is that deep chasm of longing for a lost love.
This tripod assisted exposure was taken by an Asahi Pentax 6 X 7 medium format film camera with a Super-Multi-Coated Takumar/6X7 1:4.5/75mm lens and 82mm R72 IR filter using Rollei IR 400 film, scanned by an Epson Perfection V600 and digitally rendered with Photoshop.
Photos taken at our ESOC mission control centre around the time of AOS(acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
The PSVs at Syncrude's Aurora mine site is the first step in which the bitumen is separated from the oil sand and water. The sand is stored for reclamation and road building purposes and the bitumen is hydro-transported 35 kilometers piped to Syncrude's Mildred Lake upgrading facilities for further processing.
Photographer: Bob Nyen
Well, maybe. If you were close to a berg when it separated ... or toppled. But, if you had a Sigma 150-500mm lens it would make it pretty much anxiety free, of course. :-)
For the benefit of those we have duty towards, we part ways.
We know that in some way, in some manner, we shall reunite - The will of iron, we possess.
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
All over the capital, the Arirang adverts (« Grand mass gymnastic and artistic performance », « Welcome to Pyongyang » and so on) warn the profane…Between August and October, takes place one of the biggest and most impressive performances in the world. The tone is set : even the Beijing Olympics ceremony can’t compete with the mass games organized by the Democratic People's Republic of Korea (DPRK). The show is held several times a week and welcomes tourists from all over the World, including the US, in one of the most isolated and despised country on earth. The well-called « mass games » are designed to emphasize group dynamics rather than individual performances as the supreme emblem of communism. Prepared by hundred of thousands performers all along the year, after their classes for the youngest of them, they are entirely dedicated to the NK’s leader Kim Jong Il and his deceased father Kim Il Sung, considered as the « Eternal president » and « sun of the 21st century »…
In the surroundings of Pyongyang's May Day giant Stadium, two girls are running to perform for the Arirang show. They are already dressed in their gymnastic outfits, as well as some 100,000 others who participate to the performance. They all come to honour their self-proclaimed « dear leader » Kim Jong Il, after a very hard and gruelling training, since their earliest age. Yet, it has been many years that Kim Jong Il has not shown up, formally for business reasons. But officials now admit the western medias’ assertions of illness. Anyways, Kim Jong Il or not, the mass games are held every year in Pyongyang, as a means for the regime to show to the entire world the country’s strength and good shape. To reach this sole purpose, not less than 100,000 people are involved in a choreographed show of simultaneous dancing and gymnastics. Many symbols are displayed by thousands of trained athlets, whether they are adults or even children. Hand over their heart, the young pupils sing in chorus "We are the happiest children in the world", one of the famous propaganda songs in North Korea. Many dancers make movements either with ribbons or colourful flowers named « kimjonglias » after the leader Kim Jong Il. All along the show, a live band plays a ceremonious music.
On the background, some 20,000 young koreans sit on the terraces, facing the spectators. They flip coloured cards at a high speed to form a fresco of animated and detailed images, changing from one to another. Each time they turn the page to create a new giant picture, they cry out. It creates a awe-inspiring atmosphere, as the shout is mixed with the noise of thousands of pages turned at the same moment. The figures are stunning : to compose these images, 2000 children are needed to make only one soldier, 20,000 for a north korean flag. Hiding a much more grim reality, the panels represent Pyongyang enlightened by night, wheat fields ready for harvest, scientists at work, atoms as symbols of the nuclear bomb and others for the reunification of two Koreas. One of the North Korea’s myths (history according to them) is recounted by the means of a huge image made by thousands of children. It represents the two pistols reportedly used by Kim Il Sung, when he founded the Anti-Japanese People’s Guerrilla Army in 1932. When the pistols appear, the audience applauses loudly. Among them, many soldiers attend the show as the ultimate award after years of good and faithful service.The thousands and thousands of boys and girls involved create a giant mass movement in the stadium which leaves the public stunned. These talented performers are used to that kind of performance: in North Korea they have to dance, sing, jump and spin around as many times as there are celebrations, always in praise of their leaders. There are mainly two sorts of shows. The first one is the classical artistic show, named "Arirang" after the famous korean folk song (whose story sometimes changes, but most often recounts the legend of a disappointed woman who hopes that her lover will return to her –metaphor of the break-up with South Korea). The second one is a more political show, which was untitled in 2008 "Prosper our country" and intended to show the country’s greatest achievements and its struggle against the foreign oppressors.
The show continues in the same way for one hour. Thereafter, the thousands of people present vanish in the dark and silent streets of Pyongyang, which contrast with the flood of lights and music in the stadium. Within the space of a few hours, it gives us a a strange feeling, between the real and unreal, of another universe both terrifying and fantastic.
Dans toute la ville, les publicités d’Arirang (« Grande représentation gymnastique et artistique de masse », « Bienvenue à Pyongyang » etc.) mettent le profane en garde …Entre août et octobre, a lieu l’une des plus grandes et impressionnantes représentations au monde. Le ton est donné : pas même la cérémonie des Jeux de Pékin ne peut rivaliser avec les mass games organisés par la République Démocratique Populaire de Corée (RDPC). Le spectacle se tient plusieurs fois par semaine et accueille des touristes du monde entier, y compris des Etats-Unis, dans l’un des pays les plus isolés et méprisés sur terre. Les biens nommés mass games (« mouvements de masse») sont conçus pour mettre en avant les dynamiques de groupe plutôt que les performances individuelles comme emblème suprême du communisme. Préparés par des centaines de milliers d’artistes tout au long de l’année, après les cours pour les plus jeunes d’entre eux, les jeux sont entièrement dédiés au leader de la Corée du Nord, Kim Jong Il, et feu son père Kim Il Sung, considéré comme l’ « Eternel président » et « soleil du 21ème siècle »…
Aux environs du Stade géant May Day de Pyongyang, deux filles courent pour participer au spectacle de Arirang. Elles sont déjà en costume de gymnastique, tout comme quelque 100 000 autres qui participent à la représentation. Tous viennent pour honorer leur autoproclamé « cher leader » Kim Jong Il, après un très difficile et éprouvant entraînement, depuis leur plus jeune âge. Pourtant, cela fait plusieurs années que Kim Jong Il ne s’est pas montré, formellement pour des raisons professionnelles. Mais des officiels admettent les assertions des médias occidentaux sur sa maladie. Quoi qu’il en soit, Kim Jong Il ou pas, les jeux de masse ont lieu chaque année à Pyongyang, comme moyen pour le régime de montrer au monde entier la puissance et bonne santé du pays. Pour atteindre ce seul but, pas moins de 100 000 personnes sont engagées dans une chorégraphie de danses et gymnastiques synchronisées. De nombreux symboles sont affichés par des milliers d’athlètes entraînés, qu’il s’agisse d’adultes ou même d’enfants. Main sur le cœur, les jeunes élèves chantent en chœur « Nous sommes les enfants les plus heureux du monde », l’une des chansons de propagande les plus connues en Corée du Nord. De nombreux danseurs font des mouvements avec des rubans ou avec des fleurs colorées appelées « kimjonglias », du nom du leader Kim Jong Il. Tout le long du spectacle, un orchestre joue une musique solennelle.
À l’arrière-plan, quelque 20 000 jeunes coréens sont assis sur les gradins, faisant face aux spectateurs. Ils retournent des cartes colorées à une grande vitesse pour former une fresque d’images animées et détaillées, changeant de l’une à l’autre. Chaque fois qu’ils tournent la page pour créer une nouvelle illustration, ils crient. Cela crée une atmosphère impressionnante, le cri étant mêlé avec le bruit de milliers de pages tournées au même moment. Les chiffres sont stupéfiants : pour composer ces images, 2000 enfants sont nécessaires pour faire un seul soldat, 20 000 pour un drapeau de la Corée du Nord. Cachant une réalité bien plus dure, les panneaux représentent Pyongyang éclairée la nuit, des champs de blé prêt à être récolté, des scientifiques au travail, des atomes comme symboles de la bombe nucléaire et d’autres pour la réunification des deux Corées. L’un des mythes de Corée du Nord (ou histoire selon eux) est relaté au moyen d’une image gigantesque faite par des milliers d’enfants. Elle représente les deux pistolets que Kim Il Sung aurait utilisés quand il a fondé l’armée de guérilla populaire anti-japonaise en 1932. Lorsque les deux pistolets apparaissent, le public applaudit bruyamment. Parmi eux, de nombreux soldats assistent au spectacle comme récompense ultime après des années de bons et loyaux services. Les milliers et milliers de garçons et de filles participant créent un mouvement de masse géant dans le stade, qui laisse le public ébahi. Ces artistes talentueux sont coutumiers de ce type de représentation : en Corée du Nord ils doivent danser, chanter, sauter et virevolter autant de fois qu’il y a de célébrations, toujours à la gloire de leurs chefs. Il existe principalement deux sortes de spectacles. Le premier est le spectacle classique artistique, appelé « Arirang » d’après la célèbre chanson folklorique coréenne (dont l’histoire quelques fois change, mais qui raconte le plus souvent la légende d’une femme déçue qui espère que son amant lui reviendra –métaphore de la séparation avec la Corée du Sud). Le second est un spectacle plus politique, qui était intitulé en 2008 « Que prospère notre pays » et qui tentait de montrer les plus grandes réalisations du pays et sa lutte contre les oppresseurs étrangers.
Le spectacle continue de cette façon pendant une heure. Ensuite, les milliers de personnes présentes disparaissent dans les rues sombres et silencieuses de Pyongyang, ce qui contraste avec le déluge de lumières et de musique dans le stade. En l’espace de quelques heures, cela nous donne un étrange sentiment, entre le réel et l’irréel, d’un autre univers à la fois terrifiant et fantastique.
© Eric Lafforgue
Called 'The Meeting Place' by Paul Day, this 30-foot sculpture stand beneath the clock in St Pancras station, London.
He explains: "I went away for 24 hours to think about the project and I came back with three ideas. One was the embracing couple under a clock at a railway station; something that can be universally recognised as a symbol of travel is the couple being reunited. The clock becomes a moon at night. There is a sense of reunification. That had the romantic element...
"It's like a giant signpost to direct the gaze up to the clock. It also has a sense of optimism and universal appeal. The figures themselves, I wanted them to be outside of race and outside of time...
"The couple itself will be the icon of the sculpture but around the base, on the frieze, I look at all kinds of different meetings and one of the things that made me think about that was the film 'Love Actually.' At the airport scene, when you get all the characters together and suddenly the doors open and out come the people that have been away and you get all sorts of meetings and people being reunited. I think that is an interesting slice of life and in a way the relief around the base has to be a rich tapestry about people getting together again after being apart. All separation involves a suspended moment when one wonders is this forever?"
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
This old woman sitting on the ground was separating the seed pods from the seeds (not sure what specific plant).
I've been waiting to upload this one for a while :)
Land and Sea. Separate - but constantly changing. Different parts of the one system.
Balance.
If only humans could achieve this!
Ceremony of Separation
Autumn/Winter 2015 - 2016
Dress of black cotton-rayon chiffon and nylon tulle faced with black lace and padded with white synthetic wadding.
The Metropolitan Museum of Art’s Costume Institute spring 2017 exhibition, Rei Kawakubo/Comme des Garçons: Art of the In-Between, on view from May 4 through September 4, examines Kawakubo’s fascination with interstitiality, or the space between boundaries. In Kawakubo’s work, this in-between space is revealed as an aesthetic sensibility, establishing an unsettling zone of oscillating visual ambiguity that challenges conventional notions of beauty, good taste, and fashionability. A thematic exhibition, rather than a traditional retrospective, this is The Costume Institute’s first monographic show on a living designer since the Yves Saint Laurent exhibition in 1983.
--- Metropolitan Museum of Art
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
In July 1967, the first Swedish Air Force student pilots started training on the Saab 105, a Swedish high-wing, twin-engine trainer aircraft developed in the early sixties as a private venture by Saab AB. The Swedish Air Force procured the type for various roles and issued the aircraft with the designation Sk 60.
The Sk 60 entered service in 1967, replacing the aging De Havilland Vampire fleet, and had a long-lasting career. But in the late Eighties, by which point the existing engines of the Swedish Air Force's Sk 60 fleet were considered to be towards the end of their technical and economic lifespan and the airframes started to show their age and wear of constant use, the Swedish Air Force started to think about a successor and/or a modernization program.
Saab suggested to replace the Saab 105’s Turbomeca Aubisque engines with newly-built Williams International FJ44 engines, which were lighter and less costly to operate, but this was only regarded as a stop-gap solution. In parallel, Saab also started work for a dedicated new jet trainer that would prepare pilots for the Saab 39 Gripen – also on the drawing boards at the time – and as a less sophisticated alternative to the promising but stillborn Saab 38.
The Saab 38 (also known as B3LA or A 38/Sk 38) was a single-engine jet trainer and attack aircraft planned by Saab during the 1970s and actually a collaboration between Saab and the Italian aircraft manufacturer Aermacchi (the aircraft resembled the AMX a lot). It was to replace the older Saab 105 jet trainer in the Swedish Air Force, too, but the aircraft never got past the drawing board and was canceled in 1979 in favor of the more advanced Saab JAS 39 Gripen multi-role fighter.
Anyway, this decision left Sweden without a replacement for the Sk 60 as transitional trainer and as a light attack and reconnaissance aircraft.
In 1991, Saab presented its new trainer design, internally called "FSK900", to the Swedish Air Force. The aircraft was a conservative design, with such a configurational resemblance to the Dassault-Dornier Alpha Jet that it is hard to believe Saab engineers didn't see the Alpha Jet as a model for what they wanted to do. However, even if that was the case, the FSK900 was by no means a copy of the Alpha Jet, and the two machines can be told apart at a glance. FSK900 had a muscular, rather massive appearance, while the Alpha Jet was more wasp-like and very sleek. The FSK900 was also bigger in length and span and had an empty weight about 10% greater.
The FSK900 was mostly made of aircraft aluminum alloys, with some control surfaces made of carbon-fiber / epoxy composite, plus very selective use of titanium. It had high-mounted swept wings, with a supercritical airfoil section and a leading-edge dogtooth; a conventional swept tail assembly; tricycle landing gear; twin engines, one mounted in a pod along each side of the fuselage; and a tandem-seat cockpit with dual controls.
The wings had a sweep of 27.5°, an anhedral droop of 7°, and featured ailerons for roll control as well as double slotted flaps. The tailplanes were all-moving, and also featured an anhedral of 7°. An airbrake was mounted on each side of the rear fuselage. Flight controls were hydraulic, and hydraulic systems were dual redundant.
The instructor and cadet sat in tandem, both on zero-zero ejection seats, with the instructor's seat in the rear raised 27 centimeters (10.6 inches) to give a good forward view. The cockpit was pressurized and featured a one-piece canopy, hinged open to the right, that provided excellent visibility.
The landing gear assemblies all featured single wheels, with the nose gear retracting forward and the main gear retracting forward and into the fuselage, featuring an antiskid braking system. The twin engines were two Williams International FJ44-4M turbofans without reheat, each rated at 16.89 kN (3,790 lbst). These were the same engines, that Saab had also proposed for Saab’s Sk 60 modernization program, even though a less powerful variant for the lighter aircraft.
The FSK900 could be fitted with two pylons under each wing and under the fuselage centerline, for a total of five hardpoint. The inner wing pylons were wet and could be used to carry 450 liter (119 US gallon) external tanks, a total external payload of 2,500 kg (5,500 lb) could be carried.
External stores included a centerline target winch for the target tug role, an air-sampling pod for detection of fallout or other atmospheric pollutants, jammer or chaff pods for electronic warfare training, a camera/sensor pod and a baggage pod for use in the liaison role. The aircraft also featured a baggage compartment in the center fuselage, which also offered space for other special equipment or future updates.
Potential armament comprised a conformal underfuselage pod with a single 27 mm Mauser BK-27 revolver cannon with 120 rounds (the same weapon that eventually went into the Saab Gripen).
Other weapons included various iron and cluster bombs of up to 454 kg (1.000 lb) caliber, unguided missiles of various calibers and the Rb.74 (AIM-9L Sidewinder) AAM. A radar was not mounted, but the FSK900’s nose section offered enough space for a radome.
The Swedish Air Force accepted the Saab design, leading to a contract for two nonflying static-test airframes and four flying prototypes. Detail design was complete by the end of 1993 and prototype construction began in the spring of 1994, leading to first flight of the initial prototype on 29 July 1994. The first production "Sk 90 A", how the basic trainer type was officially dubbed, was delivered to the Swedish Air Force in 1996.
In parallel, a contract was signed for the re-engining of 115 Saab Sk 60 aircraft in 1993; the number of aircraft to be upgraded was subsequently reduced as a result of cuts to the defense budget and the advent of the FSK900, of which 60 were ordered initially.
The Sk 90 was regarded as strong, agile, and pleasant to fly, while being cheap to operate. Sk 90 As flying in the training role typically painted in the unique “Fields & Meadows” splinter camouflage, although decorative paint jobs showed up on occasion and many aircraft received additional dayglow markings.
Some of the few aircraft given to operational squadrons, which used them for keeping up flight hours and as hacks, had apparently been painted in all-grey camouflage to match the combat aircraft they shared the flight line with.
With the Sk 90 S a new variant was soon introduced, replacing the Sk 60 C, two-seat ground attack/reconnaissance version for the Swedish Air Force with an extended camera nose. It featured a similar camera arrangement to the Sk 60 C with a panoramic camera, plus an avionics palet in the baggage compartment for a modular DICAST (Digital Camera And Sensor Tray) pod under the fuselage. Unlike the Sk 60 C, which was converted from existing Sk 60 A trainers, the Sk 90 S was an original design. 20 were delivered until 1997, together with the standard trainers, which were kept on the production lines at slow pace until 1999.
A total of 108 production Sk 90s were built, and the Swedish Air Force has no further requirement for new Sk 90s at present. Upgrades are in planning, including fit of at least some Sk 90s with a modern "glass cockpit" to provide advanced training for the Saab Gripen (which had entered service in June 1992), and a full authority digital engine control (FADEC) for the FJ44-4M turbofans. Integration of the Rb.75 (the AGM-65A/B Maverick in Swedish service) together with a pod-mounted FLIR camera system was also suggested, improving the Sk 90’s attack capability dramatically. These updates were started in 2000. The modified aircraft received the designation Sk 90 B and Sk 90 SB, respectively, and until 2006 the whole fleet was updated.
Tests were also made with reinforced underwing pylons that would allow the carriage of the RBS-15 anti-ship missile. Even though the Sk 90 did not carry a radar, the missile-armed trainers were considered as a linked multiplicators for Saab 39s with the appropriate avionics, so that salvoes of multiple missiles could be launched in order to overload ship defences and improve hit probability. While the latter assumption was proved as correct during field trials with two modified Sk 90s, the missiles’ extra drag and the consequent loss in agility, speed and range made the concept unpractical, since the armed Sk 90 could not keep up with the Saab 39, limit reaction time and would offer an easy target.
Another plan was the Sk 90 C, a two-seater with enhanced attack capabilities. Its most distict feature was a simplified PS-05/A pulse-Doppler X band multi-mode radar, developed by Ericsson and GEC-Marconi for the JAS 39 Gripen.
The system was based on the Blue Vixen radar for the Sea Harrier that also served as the basis for the Eurofighter's CAPTOR radar, and it would allow a highly improved air-to-air and air-to-ground capability, also in better concunction with the Saab Gripen as lead aircraft. Two technology demonstrators were converted from Sk 90 A trainers, but the project was shelved - due to budget restrictions and simply through the fact that the JAS 39 Gripen offered anything the Swedish Air Force had called for in just one, single weapon system, so that the Sk 90 remained in its advanced trainer and tactical recce role. The technology package was offered to foreign customers, though.
Despite its qualities and development potential, the Sk 90 did not attain much foreign interest. It suffered from bad timing and from the focus on domestic demands. It came effectively 10 years too late to be serious export success, and the Sk 90 was very similar to the Dassault/Dornier Alpha Jet (even though it was cheaper to operate) - at a time when the German Luftwaffe started to prematurely phaze out its attack variant and flooded the market with cheap second hand aircraft in excellent condition. Besides, the Saab Sk 90 had, with the BAe Hawk, another proven competitor with a long operational track record all over the world.
Modest foreign sales could be secured, though: Austria procured 36 Sk 90 Ö in 2002 (basically comparable with the updated Sk 90 B), replacing its Saab 105 fleet and keeping up its close connection with Saab since the Seventies. Malaysia showed interest, too, as well as Singapore, Myanmar, Finland, Poland and Hungary.
The latest interest came from the Republic of Scotland in late 2017 – after the country’s separation from the United Kingdom and building an independent air force with a supplier from a neutral country.
The Republic of Scotland’s Air Corps (RoScAC) started negotiations with Saab and the Swedish government over either eight newly built or refurbished, older Sk 90 As that were updated to C standard with the PS-05/A radar.
Scotland additionally showed interest in a small fleet of 1st generation Saab 39 interceptors that would replace the RAF fighters based on Scottish ground.
General characteristics:
Crew: two pilots in tandem
Length incl. pitot: 13.0 m (42 ft 8 in) for the A trainer, 13.68 m (44 ft 10 in) for the S variant
Wingspan: 9.94 m (32 ft 7 in)
Height: 4.6 m (15 ft 1 in)
Empty weight: 3,790 kg (8,360 lb)
Max. takeoff weight: 7,500 kg (16,530 lb)
Powerplant:
2× Williams International FJ44-4M turbofans without reheat, rated at 16.89 kN (3,790 lbst) each
Performance:
Maximum speed: 1,038 km/h (645 mph)
Range: 1,670 km (900 nm)
Armament:
No internal gun; five hardpoints for 2,500 kg (5,500 lb) of payload and a variety of ordnance
The kit and its assembly:
A simple kit travesty! This is basically the 1:72 Kawasaki T-4 from Hasegawa, with little modifications.
Originally, I wondered what an overdue Saab 105 replacement could or would look like? The interesting Saab 38 never saw the light, as mentioned above, there was also an A-10-style light attack aircraft (maybe to be built as a kitbashing some day...) and I assume that neutral Sweden would rather develop its own aircraft than procure a foreign product.
Consideration of the BAe Hawk, Alpha Jet and the L-39 Albatros as inspirations for this project, I eventually came across the modern but rather overlooked Japanese Kawasaki T-4 trainer – and found that it had a certain Swedish look about it? Hmm... And coupled with a very characteristic paint scheme, like “Fields & Meadows”, maybe…?
I wanted to keep things simple, though, so the T-4 was mostly built OOB. A pleasant experience. The kit is relatively simple and fit is very good, with only minimal PSR necessary.
The only changes are the underwings hardpoints, which come from a Heller SEPECAT Jaguar, the pair of drop tanks (from an Academy F-5E, IIRC), a scratched recce pod for the ventral hardpoint and a modified bow section. This camera nose is a transplant from a Marivox Saab 105, assuming that the new trainer would be employed in similar roles as the Sk 60. The respective Swedish kit comes with a lot of optional parts, including the extended Sk 60 C’s camera nose - and it fits very well onto the T-4's rounded nose.
Painting and markings:
Well, when building a kit is not a true challenge, maybe the paint job is? The T-4 in a "Fields & Meadows" livery was the initial inspiration for this build, so I tried to stick with the concept as far as possible, even though I'd assume that Swedish aircraft in the kit's time frame would rather be grey with subdued markings. But there's hardly anything as Swedish and spectacular as "Fields & Meadows", and this scheme would also be perfect for the tactical recce role of this build.
The pattern was loosely inspired by the Saab Viggens’ scheme (I found pictures of Sk 60 in Fields & Meadows, but could not puzzle together a complete view) as benchmark.
Painting was done with a fine brush (size 2), free-handedly. Even the waterline was created without masking tape - a clean, bigger brush (size 6) was enough to create the sharp edge. This sounds bizarre and maybe suggest a masochistic touch, but it actually worked better than expected - and I was in the lucky situation that I did not have to slavishly copy and recreate the splinter pattern on a real-world model. ;-)
Finding proper tones for the famous and very characteristic Swedish paint scheme was not easy, though. Pictures of real aircraft vary largely, light conditions and weathering make a proper identification difficult, to say the least. Since I wanted a simple solution (a lot of corrections during the painting process was expected), I settled upon the following enamel tones:
• Modelmaster 2060, RAF Dark Green
• Humbrol 150, Forest Green FS 34127
• Humbrol 72, Khaki Drill, for the earth tone
• A 1:1 mix of Humbrol 33 (Flat Black) + Modelmaster 2094 (RAL 7021) for a very dark grey
• Humbrol 247 (RLM 76) for the undersides
Painting was done from black (starting here because it was the only mixed tone), then the earth tone, light green and finally the dark green - a slow (2 full days) but rather uncomplicated process. But I think that the effort paid out, and helps selling the fictional Sk 90 idea.
The cockpit was painted in neutral grey, while the landing gear and the air intakes became white. A very Swedish touch are the bright green headrests - seen on Saab 37.
The markings were kept simple, puzzled together from various sources. Tactical codes come from a Heller Saab 37 Viggen sheet, while the roundels come from an RBD Models sheet (great stuff!) from Sweden - they actually belong to a Saab 32, but since the roundel sizes are normed the transplant onto the smaller aircraft here was easy and even plausible.
Some stencils were taken from the T-4 OOB sheet or gathered together from the scrap box, e .g. the "FARA" warnings.
The silver trim at the flaps and the fin rudder were made with generic 0.5mm decal stripes in silver. Similar strips in black were used to create the de-icers on the wings' leading edges.
Finally, the kit was sealed with matt acrylic varnish (Italeri).
Not tough to build, but still a challenge to paint. But the result is spectacular, and the T-4 under foreign flag looks disturbingly plausible. How could Sweden hide this aircraft from the public for so long...?
And it's certainly not the last T-4 I will build. A Scottish aircraft, as mentioned in the background, is a hot candidate - but the aircraft has a lot of OOB whiffing potential...
Not sure but but I think this is the first stage separation from the SpaceX launch on 2024-06-18 from Vandenberg SFB, California.
Photos taken at our ESOC mission control centre around the time of AOS (acquisition of signal) from ExoMars/TGO following the separation of the Schiaparelli lander Credit: ESA/P. Shlyaev
My grandaughter moved to Port Perry, Ontario and we went to visit! Its a tourist area and I saw this outside an antique store and fell right in love with it! No, I didn't buy it!
en.gongdong.com/products/serum-separation-tubes/
Golden VacTM SST serum separator tube gold-top vacuum blood tubes for serum determinations in chemistry, immunology, and serology tests. The Serum Separation Tube is Serum Blood Collection Tube.
Description of Serum Separation Tubes
01
Coated with ultrasonically spray-dried microscopic silica particles which activate blood clotting.
02
Contain an inert polymer gel that separates the serum from the blood clot during centrifugation, preventing contamination of the serum.
03
Gently mix the blood collection tube by inverting 5-6 times immediately to activate clotting after blood drawing.
04
Allow the tube to stand for 30 minutes or until the clot is formed before centrifuging.
05
Centrifugation: 1800-2200 g for 8-15 minutes at 18-25° C.
Specification of Serum Separation Tubes
Cat. No
Volume/ml
Size/mm
Additive
Separator
Material
Cap Color
Closure
GD040SGC
4.0
13X75
Clot Activator
Gel
PET/GLASS
gold top serum separator tube
Safety Cap+Rubber
GD040SGC2
4.0
13X100
Clot Activator
Gel
PET/GLASS
Safety Cap+Rubber
GD050SGC
5.0
13X100
Clot Activator
Gel
PET/GLASS
Safety Cap+Rubber
GD060SGC
6.0
13X100
Clot Activator
Gel
PET/GLASS
Safety Cap+Rubber
GD080SGC
8.0
16X100
Clot Activator
Gel
PET/GLASS
Safety Cap+Rubber
GD080SGCR
8.0
16X100
Clot Activator
Gel
PET/GLASS
Rubber Stopper
GD085SGC
8.5
16X100
Clot Activator
Gel
PET/GLASS
Safety Cap+Rubber
GD085SGCR
8.5
16X100
Clot Activator
Gel
PET/GLASS
Rubber Stopper
All SST serum separator tubes are supplied in 1000pcs or 1200 pcs/ctn.
Gongdong Medical offers a gold-top SST tube.
Customization is supported.
To know more about Serum Separation Tubes, click "What is a yellow-top serum separation tube".
How do you separate serum from SST tube?
When using a serum separator tube, collect the specimen using standard venipuncture technique. Gently invert the tube five times to mix the clot activator with the blood. Allow the tube to clot for 20-30 minutes in a vertical position. Centrifuge the tube for 10-15 minutes at about 1300-1800 xg. The centrifuge RPMs will differ depending on the centrifuge and rotor used. The gel barrier will develop, keeping the serum and clot apart.
Why are serum separator tubes used?
The Serum Separator tube is used when they want to test the serum of the blood. For tests like (NA, K, CL, CO2, LD, HDL) any type of chemistry. It is also used for tests like neonatal bilirubin or an AFP non maternal. There is special gel that separates blood cells from serum, as well as particles to cause blood to clot quickly. The blood sample may then be centrifuged, allowing the clear serum to be removed for testing.
This minivan owned by the Sheriff's Department of Pearl River County passed us on its way back to Picayune, possibly hauling somebody off to jail. The Pearl River Sheriff likes to make statements about how it feels about certain amendments in the Bill of Rights, expressing the Sheriff's right to free speech while ignoring the bit about the separation of church and state. I guess it works with money, though, so who in Mississippi is going to complain about a sheriff's minivan? Richard Dawkins doesn't live here.
I once had a sheriff's prisoner transport minivan run up on my ass as I was passing a semi-truck on I-65 near Crown Point, Indiana. It's a minivan, though, and through the mirror I couldn't tell it had any relation to law enforcement. All I could see is that the guy was getting ready to pull into my tail pipe, and that tends to make me mad. My response to being tailgated is always to slow way, way down. If I'm in a situation like I was on 65 where I'm passing somebody, I slow down enough to match the speed of the guy I'm passing, blocking him for a while and letting him stew. But sheriff minivans don't like to stew, so the guy flipped on his sheriff lights, informing me of his law enforcement connection. I said a naughty word, then slowed down even more to let the semi pass so I could pull over. It turns out, the sheriff didn't want me to pull over, though. He just wanted me to get out of the way. Which would have happened faster if he hadn't ridden my ass in the first place.
Painted on an iPhone with SketchbookMobile, Camera
The photo is from the fantastic Muybridge show at SFMOMA going on now, the Magritte-like ball was actually from a pic that I took in Union Square.
Modify, paint, rinse, repeat. Just noticed that the horizon line is crooked. DOH!
Derek’s amazing rocket shot to 121,000 ft. at 2181 MPH and returned safely just 16,000 ft. from the launch pad.
The trick to such a close recovery is use a smaller chute and plan for a rough landing (she peaked at 613 MPH on the return to Earth).
In this case, the only complication was a tight coupler that got a bit wedged at an angle. Nothing the Suburban can’t handle… =)
for the utata project: picture this #3
in what concerns you much, do not think that you have companions: know that you are alone in the world.
Henry David Thoreau
Separation of food coloring compounds by thin layer chromatography. A link to the video: www.youtube.com/watch?v=jQznU58iytE