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Using Lego Dots in a 80 x 80 stud configuration (5x5 Lego Technic art bricks with frame) I have tried to make this skull design 'Pop' with a contrasting turquoise background. If you zoom in can you see Unicorns?
On the way of Al-Hasa. Dammam, KSA
© "All rights are reserved" worldwide by Mishu Jadu. Please do not use the picture without permission.
"Bone pointing" is a method of execution used by the Australian Aborigines. It is said to leave no trace, and never fails to kill its victim. The bone used in this curse is either made of either human, kangaroo, emu or even wood.
Before it can be used, the kundela (bone) is charged with a powerful psychic energy in a ritual that is kept secret from women and those who are not tribe members. To be effective, the ritual must be performed faultlessly. The bone is then given to the kurdaitcha, who are the tribe's ritual killers.
These killers then go and hunt (if the person has fled) the condemned. The name, kurdaitcha comes from the slippers they wear while on the hunt. The slippers are made of cockatoo (or emu) feathers and human hair - they virtually leave no footprints. Also, they wear kangaroo hair, which is stuck to their bodies after they coat themselves in human blood and they also don masks of emu feathers. They hunt in pairs or threes and will pursue their quarry for years if necessary, never giving up until the person has been cursed.
The condemned man may live for several days or even weeks. But, he believes so strongly in the curse that has been uttered, that he will surely die.
Truncated expanation courtesy of Wikipedia.
Obviously, a bone that still has a pulse isn't used.
The Letter P Theme
Handle with Care Challenge
This is Part 2 of an epic shoot I did with the lovely and leggy Jordan at a local park in early November 2022. She looked great and brought her high energy and beautiful natural beauty with her. Wow - I wish all shoots were this much fun. Jordan left me and my camera wanting more!
Using Picasa I inverted the colours in the previous photo to give this ghostly white and purple effect. HTT. I rather like the effect though its less misty than the real thing.
Slide purchased from Al Chione.
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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
Usei:
1 camada da base Nail Envy Original, OPI
2 camadas do Seta Vermelha, Colorama
1 camada do Gilded Glitter, Nyx
TC Impala
againstbadhairday.blogspot.com.br/2012/12/notd-flocos-dou...
Meninas, que papai noel seja bem generoso com todo mundo e feliz natal! hohoho rs...
Using the strobist technique, right of the camera small beauty dish on a METZ 48 AF1 1/16 potence, triggered by Yongnuo RF 603. Using Nikon D600 and lens 70-200 f/2.8.
Utilizando las técnicas strobist con un pequeñito beauty dish la derecha de la cámara Nikon D600, flash Metz 48 AF1 potencia 1/16, disparadores Yongnuo RF 603 y lente Nikon 70-200 f/2.8.
+++ 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:
The AH-1 Cobra was developed in the mid-1960s as an interim gunship for the U.S. Army for use during the Vietnam War. The Cobra shared the proven transmission, rotor system, and the T53 turboshaft engine of the UH-1 "Huey". By June 1967, the first AH-1G HueyCobras had been delivered. Bell built 1,116 AH-1Gs for the U.S. Army between 1967 and 1973, and the Cobras chalked up over a million operational hours in Vietnam.
The U.S. Marine Corps was very interested in the AH-1G Cobra, too, but it preferred a twin-engine version for improved safety in over-water operations, and also wanted a more potent turret-mounted weapon. At first, the Department of Defense had balked at providing the Marines with a twin-engine version of the Cobra, in the belief that commonality with Army AH-1Gs outweighed the advantages of a different engine fit. However, the Marines won out and awarded Bell a contract for 49 twin-engine AH-1J SeaCobras in May 1968. As an interim measure the U.S. Army passed on thirty-eight AH-1Gs to the Marines in 1969. The AH-1J also received a more powerful gun turret with a three-barrel 20 mm XM197 cannon based on the six-barrel M61 Vulcan cannon.
During the 1990s, the US forces gradually phased out its Cobra fleet. The withdrawn AH-1s were typically offered to other potential operators, usually NATO allies. Some were also given to the USDA's Forest Service for fire surveillance, and a handful AH-1s went into private hands, including the NASA. Among these airframes were some USMC AH-1Js, which had in part been mothballed in the Mojave Desert since their replacement through more powerful and modern AH-1 variants and the AH-64.
About twenty airframes were, after having been de-militarized, bought by the Kaman Corporation in 2003, in a bold move to quickly respond to more than 20 inquiries for the company’s K-1200 ‘K-Max’ crane synchropter since the type’s end of production in 2001 from firefighting, logging and industry transport requirements. While not such a dedicated medium lift helicopter as the K-1200, which had from the outset been optimized for external cargo load operations, the twin-engine AH-1J promised to be a very effective alternative and a powerful basis for a conversion into a crane helicopter.
The result of this conversion program was the Kaman K-1300, also known as the “K-Cobra” or “Crane Cobra”. While the basic airframe of the AH-1J was retained, extensive detail modifications were made. To reduce weight and compensate for the extensive hardware changes, the SeaCobra lost its armor, the chin turret, and the stub wings. Beyond that, many invisible changes were made; the internal structure between the engine mounts was beefed up with an additional cage structure and a cargo hook was installed under the fuselage in the helicopter’s center of lift.
To further optimize the K-Cobra’s performance, the dynamic components were modified and improved, too. While the engine remained the same, its oil cooler was enlarged and the original output limit to 1.500 shp was removed and the gearbox was strengthened to fully exploit the twin-engine’s available power of 1,800 shp (1,342 kW). The rotor system was also modified and optimized for the transport of underslung loads: the original UH-1 dual-blade rotors were replaced with new four-blade rotors. The new main rotor with rugged heavy-duty blades offered more lift at less rotor speed, and the blades’ lift sections were moved away from the hub so that downwash and turbulences directly under the helicopter’s CoG and man hook were reduced to keep the cargo load more stable. Due to the main rotor’s slightly bigger diameter the tail rotor was changed into a slightly smaller four-blade rotor, too. This new arrangement made the K-1300 more stable while hovering or during slow speed maneuvers and more responsive to steering input.
The Cobra’s crew of two was retained, but the cockpit was re-arranged and split into two compartments: the pilot retained the original rear position in the tandem cockpit under the original glazing, but the gunner’s station in front of him, together with the secondary dashboard, was omitted and replaced by a new, fully glazed cabin under the former gunner position. This cabin occupied the former gun station and its ammunition supply and contained a rearward-facing workstation for a second pilot with full controls. It was accessible via a separate door or a ladder from above, through a trap door in the former gunner’s station floor, where a simple foldable bench was available for a third person. This arrangement was chosen due to almost complete lack of oversight of the slung load from the normal cockpit position, despite a CCTV (closed circuit television) system with two cameras intended for observation of slung loads. The second pilot would control the helicopter during delicate load-handling maneuvers, while the primary pilot “above” would fly the helicopter during transfer flights, both sharing the workload.
To accommodate the cabin under the fuselage and improve ground handling, the AH-1J’s skids were replaced by a stalky, fixed four-wheel landing gear that considerably increased ground clearance (almost 7 feet), making the attachment of loads on the ground to the main ventral hook easier, as the K-1300 could be “rolled over” the cargo on the ground and did not have to hover above it to connect. However, an external ladder had to be added so that the pilot could reach his/her workstation almost 10 feet above the ground.
The bulky ventral cabin, the draggy landing gear and the new lift-optimized rotor system reduced the CraneCobra’s top speed by a third to just 124 mph (200 km/h), but the helicopter’s load-carrying capacity became 35% higher and the Cobra’s performance under “hot & high” conditions was markedly improved, too.
For transfer flights, a pair of external auxiliary tanks could be mounted to the lower fuselage flanks, which could also be replaced with cargo boxes of similar size and shape.
K-1300 buyers primarily came from the United States and Canada, but there were foreign operators, too. A major operator in Europe became Heliswiss, the oldest helicopter company in Switzerland. The company was founded as „Heliswiss Schweizerische Helikopter AG“, with headquarters in Berne-Belp on April 17, 1953, what also marked the beginning of commercial helicopter flying in Switzerland. During the following years Heliswiss expanded in Switzerland and formed a network with bases in Belp BE, Samedan GR, Domat Ems GR, Locarno TI, Erstfeld UR, Gampel VS, Gstaad BE and Gruyères FR. During the build-up of the rescue-company Schweizerische Rettungsflugwacht (REGA) as an independent network, Heliswiss carried out rescue missions on their behalf.
Heliswiss carried out operations all over the world, e. g. in Greenland, Suriname, North Africa and South America. The first helicopter was a Bell 47 G-1, registered as HB-XAG on September 23, 1953. From 1963 Heliswiss started to expand and began to operate with medium helicopters like the Agusta Bell 204B with a turbine power of 1050 HP and an external load of up to 1500 kg. From 1979 Heliswiss operated a Bell 214 (external load up to 2.8 t).
Since 1991 Heliswiss operated a Russian Kamov 32A12 (a civil crane version of the Ka-27 “Helix”), which was joined by two K-1300s in 2004. They were frequently used for construction of transmission towers for overhead power lines and pylons for railway catenary lines, for selective logging and also as fire bombers with underslung water bags, the latter managed by the German Helog company, operating out of Ainring and Küssnacht in Germany and Switzerland until 2008, when Helog changed its business focus into a helicopter flight training academy in Liberia with the support of Germany's Federal Ministry of Education and Research.
A second Kamov 32A12 joined the fleet in 2015, which replaced one of the K-1300s, and Heliswiss’ last K-1300 was retired in early 2022.
General characteristics:
Crew: 2, plus space for a passenger
Length: 54 ft 3 in (16,56 m) including rotors
44 ft 5 in (13.5 m) fuselage only
Main rotor diameter: 46 ft 2¾ in (14,11 m)
Main rotor area: 1,677.64 sq ft (156,37 m2)
Width (over landing gear): 12 ft 6 in (3.85 m)
Height: 17 ft 8¼ in (5,40 m)
Empty weight: 5,810 lb (2,635 kg)
Max. takeoff weight: 9,500 lb (4,309 kg) without slung load
13,515 lb (6,145 kg) with slung load
Powerplant:
1× P&W Canada T400-CP-400 (PT6T-3 Twin-Pac) turboshaft engine, 1,800 shp (1,342 kW)
Performance:
Maximum speed: 124 mph (200 km/h, 110 kn)
Cruise speed: 105 mph (169 km/h, 91 kn)
Range: 270 mi (430 km, 230 nmi) with internal fuel only,
360 mi (570 km 310 nmi) with external auxiliary tanks
Service ceiling: 15,000 ft (4,600 m)
Hovering ceiling out of ground effect: 3,000 m (9,840 ft)
Rate of climb: 2,500 ft/min (13 m/s) at Sea Level with flat-rated torque
External load capacity (at ISA +15 °C (59.0 °F):
6,000 lb (2,722 kg) at sea level
5,663 lb (2,569 kg) at 5,000 ft (1,524 m)
5,163 lb (2,342 kg) at 10,000 ft (3,048 m)
5,013 lb (2,274 kg) at 12,100 ft (3,688 m)
4,313 lb (1,956 kg) at 15,000 ft (4,600 m)
The kit and its assembly:
This is/was the second contribution to the late 2022 “Logistics” Group Build at whatifmodellers.com, a welcome occasion and motivation to tackle a what-if project that had been on my list for a long while. This crane helicopter conversion of a HueyCobra was inspired by the Mil Mi-10K helicopter – I had built a 1:100 VEB Plasticart kit MANY years ago and still remembered the helicopter’s unique ventral cabin under the nose with a rearward-facing second pilot. I always thought that the AH-1 might be a good crane helicopter, too, esp. the USMC’s twin-engine variant. And why not combine everything in a fictional model?
With this plan the basis became a Fujimi 1:72 AH-1J and lots of donor parts to modify the basic hull into “something else”. Things started with the removal of the chin turret and part of the lower front hull to make space for the ventral glass cabin. The openings for the stub wings were faired over and a different stabilizer (taken from a Revell EC 135, including the end plates) was implanted. The attachment points for the skids were filled and a styrene tube was inserted into the rotor mast opening to later hold the new four-blade rotor. Another styrene tube with bigger diameter was inserted into the lower fuselage as a display holder adapter for later flight scene pictures. Lead beads filled the nose section to make sure the CraneCobra would stand well on its new legs, with the nose down. The cockpit was basically taken OOB, just the front seat and the respective gunner dashboard was omitted.
One of the big challenges of this build followed next: the ventral cabin. Over the course of several months, I was not able to find a suitable donor, so I was forced to scratch the cabin from acrylic and styrene sheet. Size benchmark became the gunner’s seat from the Cobra kit, with one of the OOB pilots seated. Cabin width was less dictated through the fuselage, the rest of the cabin’s design became a rather simple, boxy thing – not pretty, but I think a real-life retrofitted cabin would not look much different? Some PSR was done to hide the edges of the rather thick all-clear walls and create a 3D frame - a delicate task. Attaching the completed thing with the second pilot and a dashboard under the roof to the Cobra’s lower hull and making it look more or less natural without major accidents was also a tricky and lengthy affair, because I ignored the Cobra’s narrowing nose above the former chin turret.
With the cabin defining the ground helicopter’s clearance, it was time for the next donors: the landing gear from an Airfix 1:72 Kamow Ka-25, which had to be modified further to achieve a proper stance. The long main struts were fixed to the hull, their supporting struts had to be scratched, in this case from steel wire. The front wheels were directly attached to the ventral cabin (which might contain in real life a rigid steel cage that not only protects the second crew member but could also take the front wheels’ loads?). Looks pretty stalky!
Under the hull, a massive hook and a fairing for the oil cooler were added. A PE brass ladder was mounted on the right side of the hull under the pilot’s cockpit, while a rear-view mirror was mounted for the ventral pilot on the left side.
The rotor system was created in parallel, I wanted “something different” from the UH-1 dual-blade rotors. The main rotor hub was taken from a Mistercraft 1:72 Westland Lynx (AFAIK a re-boxed ZTS Plastyk kit), which included the arms up to the blades. The hub was put onto a metal axis, with a spacer to make it sit well in the new styrene tube adapter inside of the hull, and some donor parts from the Revell EC 135. Deeper, tailored blades were glued to the Lynx hub, actually leftover parts from the aforementioned wrecked VEB Plasticart 1:100 Mi-10, even though their length had to be halved (what makes you aware how large a Mi-6/10 is compared with an AH-1!). The tail rotor was taken wholesale from the Lynx and stuck to the Cobra’s tail with a steel pin.
Painting and markings:
Another pushing factor for this build was the fact that I had a 1:72 Begemot aftermarket decal sheet for the Kamow Ka-27/32 in The Stash™, which features, among many military helicopters, (the) two civil Heliswiss machines – a perfect match!
Using the Swiss Helix’ as design benchmark I adapted their red-over-white paint scheme to the slender AH-1 and eventually ended up with a simple livery with a white belly (acrylic white from the rattle can, after extensive masking of the clear parts with Maskol/latex milk) and a red (Humbrol 19) upper section, with decorative counter-colored cheatlines along the medium waterline. A black anti-glare panel was added in front of the windscreen. The auxiliary tanks were painted white, too, but they were processed separately and mounted just before the final coat of varnish was applied. The PE ladder as well as the rotors were handled similarly.
The cockpit and rotor opening interior were painted in a very dark grey (tar black, Revell 06), while the interior of the air intakes was painted bright white (Revell 301). The rotor blades became light grey (Revell 75) with darker leading edges (Humbrol 140), dark grey (Humbrol 164) hubs and yellow tips.
For the “HELOG/Heliswiss” tagline the lower white section had to be raised to a medium position on the fuselage, so that they could be placed on the lower flanks under the cockpit. The white civil registration code could not be placed on the tail and ended up on the engine cowling, on red, but this does not look bad or wrong at all.
The cheatlines are also decals from the Ka-32 Begemot sheet, even though they had to be trimmed considerably to fit onto the Cobra’s fuselage – and unfortunately the turned out to be poorly printed and rather brittle, so that I had to improvise and correct the flaws with generic red and white decal lines from TL Modellbau. The white cross on the tail and most stencils came from the Begemot sheet, too. Black, engine soot-hiding areas on the Cobra’s tail were created with generic decal sheet material, too.
The rotor blades and the wheels received a black ink treatment to emphasize their details, but this was not done on the hull to avoid a dirty or worn look. After some final details like position lights the model was sealed with semi-matt acrylic varnish, while the rotors became matt.
A weird-looking what-if model, but somehow a crane-copter variant of the AH-1 looks quite natural – even more so in its attractive red-and-white civil livery. The stalky landing gear is odd, though, necessitated by the ventral cabin for the second pilot. I was skeptical, but scratching the latter was more successful than expected, and the cabin blend quite well into the AH-1 hull, despite its boxy shape.
Original Caption: First Experimental House Completed near Taos, New Mexico Using Empty Steel Beer and Soft Drink Cans. the House Was Built Using Curved Walls Because They Have More Strength, Resulting in Pie-Shaped Interior Rooms. There Is a Lawn on the Roof Below the Overhang at the Top of the Structure. Re-cycled Paper Pulp Is Used to Cover the Ceiling of the Interior. Later Homes Were Built Without Curved Walls after the Designer Found the Cans Would Support Much More Weight Than They Would Have to Bear. University Tests Later Substantiated His Finding.
U.S. National Archives’ Local Identifier: 412-DA-14171
Photographer: Hiser, David, 1937-
Subjects:
Taos (Taos county, New Mexico, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/556623
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Taken using : Nikon D700 + Nikon 16-35mm f4
I hope you're not using this image on any websites, blogs or any media without my permission. © All rights reserved
This picture is taken in only single shot. No HDR technique in this image.
Appreciate if you can show your support by clicking the 'Like' button on my facebook page.
This is my official website & twitter
i used to do this a lot. now--not so much. life has been pretty darn good, i've got to admit. except for a few pot holes in the road of happiness, i've been loving life. i'm going to TRY to get back to taking and posting photos other than my student art work. if you could all keep "on" me about this, that would be great. i tend to get lazy and before i know it, 4 months have gone by and i haven't shot a "real" photo. and i'm going to try really hard to keep up to date on my contact's streams. we'll see.... i used to love to see/comment on stuff, and now....i'm so outta the loop... :(
so anyway, a few updates:
-i have a new flippy-outty screen camera. it's the triplet camera to rhonda's and brian's. maybe i can do as good of a job as they do. maybe not. we'll see.
-i miss my old school flickr friends.
-i'm still busting my butt at work. 3 schools this year. 40 minute classes. the hardest year since i started teaching 15 years ago. but i have a job. so that's good.
-i'm also busting my butt on the Exposure.Detroit thing. sometimes i ask myself "why?"...especially when party poopers try to crush my spirits. but there are so many awesome people deserving of good stuff, so i suppose that's "why".....
-i still have the rusty ol' Explorer. it has 180k miles on it now. there's a lot "wrong" w/ it, but it's still driving. and it's paid for. and for that, i'm so grateful.
-things are going splendidly w/ jeff. i may copy nicole and start calling him "the mister" cuz i think that's pretty cute...we'll see. :)
-kaiser and sozay continue to be my entertainment, joy, burdens, companions.... they are quite hilarious. and great at keeping me warm at night too.
-i'm back in school at WSU, and trying hard to stay on task and finish my master's degree in art therapy. i have 6 classes to go after this one. yippee!!
-i'm going to try to get back on track and finish my 100 strangers, 100 possibilities (w/ the frame), and am starting a new project w/ my buddy chicagokristi. anyone remember her? i just saw her this weekend and we vowed to each other that we were going to start shooting/posting again. so stay tuned for that. :)
-yes, i have straight hair and makeup in this picture. those of you who know me know that this is rare. so i was fancy last week...and i have to show that off. it doesn't happen much you know.
that's all for now. peace out girl scouts.
***Please, feel free to use my Textures, Backgrounds, Stock, etc., in your Artwork.
If you do use them, I would love it if you would please post your work in my group, Ruby's Treasures.
...Please DO NOT redistribute as your own...
See all my Premade Backgrounds~ Here
© All my images are copyrighted.
If you intend to use any of my pictures, for any usage, you need written permission of the author first.
Image Details
Camera........: Canon 5D Mark III
Lens..............: Canon EF70-200mm f/2.8L IS II USM @ 100mm/f5.0
ISO Speed....: 3200
Exposure.....: 1/60s in Raw
Resolution....: 5675x3762
Technical details
Processed twice with Adobe Camera Raw and blended together.
High pass sharpening.
About
One of the domes of Saint-Peter's Basilica.
Jesus Christ preached lack of possessions and modesty, I'm afraid someone was seriously misunderstood.
Apart from the nice messages of peace and love and everything else it is very easy to prove that an all mighty God is a logical impossibility, the proof is one short sentence:
An all mighty God is unable to create something he can not destroy.
When we deny the proof above, there is another ethical stance : An all mighty, all knowing God is an accomplice to every single crime ever committed.
In any system of law based on ethics and not on religion such a 'person' would be jailed for life or better still get the death penalty.
The conclusion is that religion is the biggest irony of all, thy will know the truth and the truth will set you free, LOL, you die and you know nothing anymore.
Religion is the pinnacle of wishful thinking, the pinnacle of an empty promise.
If you need religion to be a good person, you're a sad person indeed.
Music
Pink Floyd - Comfortably Numb.
° My photoshop tutorial on Layers, Masks, Selections & Channels.
° Channel mixer tutorial to remove lens flare spots.
You
All tips, tricks & criticism and honest opinions are highly appreciated.
© All rights reserved.Use without permission is illegal.
2018 03 18
"Lady Nature"
This is one of my artwork about Tgirls that i called Paper Dolls!!! I love to make them!!! It's a so relax time!!!! I hope that you like it!!! Kisses!!! :) (subscribe my new Art Work Group on Flickr www.flickr.com/groups/2401176@N24/pool/ )
"Paper Dolls ... as I felt many times in front of the mirror, after i have finished go lipstick on my lips and i can attend again the miracle to become once again, but at the same time for a beat of a butterfly's wings reminding me that ... ... ... ... ... ... all this won't last very long unfortunately, like butterfly life ... like paper ... but despite this, who can say to remain absolutely indifferent to charm the flight of a butterfly .... ♥♥♥ so here I draw my paper Dolls! With Love!!!
XxX Gabry"
I used to make custom motorcycle speedometer faces, (Alien Faces) and this is one that I made for a customer. (These were high resolution printed inserts that was placed OVER your original speedometer face)
He had a WWII P-51 Mustang airplane theme and wanted something fit the theme.
We talked about it in e-mail and came up with this, he just had a vague idea as to what he wanted.
His motorcycle had a custom paint job on it that had bullet holes and some intentional paint wear, rust, damage, exhaust smudge etc. So, that is what he wanted to continue on this.
I know that those with a sharp eye will see that the two gauges have (digitally painted) glass over them. The inner face has broken (digitally painted) glass over it too, AND, not just that, but there was some REAL glass over these. :)
So, that part, while hokey, he loved it, and we both knew it was WAY over the top, but he wanted it that way, so...
Also, in real life if those bullet holes were from a German plane, the holes would be larger, so practically NONE of what you see is realistic. (These are .22 caliber size)
In my mind I designed this to be like an old plane that was in a plane boneyard and was rusting for years and he came along and saved it. That was how I looked at it, and realism is what I aimed for, although, nothing was realistic in 'real life'. :)
I learned how to do rust, and age things while making this.
This was all done in Photoshop after looking online at how planes (especially P-51's) gauges looked. Actually, I couldn't find one, so I looked at other plane gauges and just went with it.
He was ex-Air Force so he had to have the Air Force star, and he also wanted the small type in small print about, "War Bird", his bike. (See circular print in the inner ring)
He won some contests with his bike, I saw it in a magazine once.
I did several that were in magazines actually, I had a really good business while it lasted.
(Another guy saw this and wanted one for his bike and he had been a Tomcat pilot, so I made him one for that, I had several pilots actually)
Anyway, yeah, it's not realistic, but you just have to open your mind, or, have a shot of tequila, whichever. :)
Using the ladder crossing to access the Up Slow, Colas Rail Class 66 66846 was negotiating Farington Junction with the 12.58 Carlisle Yard to Chirk Kronospan logs (6J37) on March 31st 2021.
I used to feel the emptiness inside me
I was not supposed to feel that way
I had everything I needed
But nothing ever made me
What I longed to be
The wealth, the name
The lights, the fame
Were everything to me
And then one night
Out of the blue
I heard His name (Jesus)
And so I took that step of faith
And walked into His domain
I believe that's what He wants
Every heart to do
When hard may seem the task
One step is all He asks of you
Letting go to know the truth
Is not so hard to do
It's the heart that's got the will
To open up for Him to fill
And trusting and believing Him
Is all we've got to do
It's just the heart that's got to move
For Him to show His love that's been there
Even when we never cared
Take hold of His hand
Let go and you'll understand
Why be afraid
For God knows what you're feeling
But even He can't do a thing
If He sees the heart's not willing
And so we ask what's going on
We want what's right and still do wrong
When hard may seem the task
One step is all He asks of you
I guess by now you'd realize
You can't be on your own
And all your cares
And all your burdens
Should be cast upon His throne
Letting go, just let go, letting go
Let go and you'll understand
Just let go and you'll understand
(Letting Go by Gary Valenciano)
Falcon 'The Gallery' No. 3303
1000 pieces, used and complete
28.25x20in
72x51cm
TED: "This pussle's a pikchur of sum kids - they belonged to the painter's mate Mr Graham. The littl'un on the left is a boy! They used to dress lickle boys like that in the olden days... poor fings! It's a old pussle cuz there ain't no barcode on the box, that means it wuz probbly made before 1979, over 40 yeers ago - amazin' cuz it's all there, altho' sum of the edge peeces is a bit worn out. Me an' Mum did it togevver cuz Dad wussn't int'rested, 'e's jest started one of them 3D ones of a bildin' but it's fiddly so it'll take 'im a while..."
2021 piece count: 94615
Puzzle 107
randomly pieced using hand dyed cotton in 2007. I no longer make these because I don't love them. These days I make more traditional quilts using commercial fabrics. Read more on my blog stitchesinplay.typepad.com/stitches_in_play/
The Baltimore & Ohio created a lap siding at Cairo, Ohio, with the middle of siding being at Main Street. If you look carefully you will see the dwarf signal displays a clear indication. In the meantime, CSX steel train K596 is pulling out of the north end of the siding onto the main. A northbound behind the photographer is in the south end of the siding and will pull onto the main as the steel train meets it.
New Haven Railroad old 4400 series copper clad wooden coach W-162 used in Wire Train service is seen in a yard area, ca late 1950's. These 1905 era built wood car were rebuilt in earlier days with a steel underframe, plus they received copper sheathing. A good portion of these cars were once used in commuter service as standard coaches, but some also were used as smoker coaches.
The name of the photographer is unknown and it came from a photo that was on the Internet. This photo has been cropped and modified from the original to improve its appearance.
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