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2022, ADS, Brookline, Dave, Houses, Jeremiah, MABVI, blind, cooking, records, vinyl, visually impaired, volunteers
TAR SANDS HEALING WALK IN FORT McMURRAY
Walk Through Tar Sands Will Build Strength, Unity
On June 28th hundreds of First Nations people and non-native supporters from Canada and the US will be participating in the Healing Walk in Fort McMurray for the last time as they get ready for the next front in the battle to protect the land, air, water and climate and have their treaties honoured.
This will be the fifth and final walk through tar sands operations, once traditional hunting, fishing and gathering grounds, to offer healing prayers to the land and to build strength and unity among people impacted by tar sands development. In the years to follow the annual event will be held in communities dealing with the spread on in situ tar sands extraction – a less visually offensive but as equally harmful oil extraction technology.
Since, 2010 the Healing Walk has been a catalyst for bringing together First Nations grassroots and First Nations leaders in northern Alberta as well as across Canada and the US where First Nations communities are uniting because of their tar sands experiences.
Now, in 2014, more attention then ever is on the tar sands and the impact it is having on the land, air, water, and climate. First Nations are unifying in their efforts to have their treaties honoured and the depth and breadth of this opposition can be witnessed at the Healing Walk.
There was a time when this Prinzflex was sold alongside a visually similar Zenit model that cost about 25% more.
Those in the know would buy the Prinzflex and peel off the label to reveal that it was the exact same Zenit model underneath!
Canon EOS 350D
Carl Zeiss Jena Tessar 50mm F2.8 with extension tubes via M42 adapter.
Mayor Eric Adams tours the headquarters of the Lighthouse Guild to learn about their suite of services for people who are visually impaired. West 64th St, Manhattan. Tuesday, September 27, 2022. Credit: Ed Reed/Mayoral Photography Office.
The Drums of Africa is a visually expressed personal guidance system. Our ancestors have documented the lessons of life into profound proverbs that can be easily remembered and referred to in our approach to everyday life. The series
displays these proverbs as typographic compositions combined with tribal forms found in South Africa’s folk
arts and crafts. In fact, symbolic elements from the intricate beadwork of the Bantu-speaking tribes, the refined basketry of the Zulu, and the highly coloured, bold, geometric forms of the Ndebele, ordain the fragile hand-drawn Helvetica typeface.
The result is a combination of contemporary type,
decorated with traditional silhouettes. Upholding the lessons and motivations of African culture, the compositions serve as daily affirmations and motivations.
The original oil paintings are on display at Kozi’s : Meet ’n Eat, an African inspired restaurant in Athens, Greece. A limited edition of signed prints have been created to accompany the work and are also available online at www.dimitratzanos.com
Photo Title: Digital Literacy for visually impaired
Submitted by: Pampana Venkata Sunder Rao
Category: Professional
Country: India
Organisation: I am a professional freelance photographer
COVID-19 Photo: No
Photo Caption: Digital Literacy Lab for visually impaired is an initiative of \'EnAble india\', NGO (Non-governmental organization). It helps visually impaired people to get employability training and employment. Here, visually impaired students are trying to operate a laptop during a training session.
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Photo uploaded from the #HopeInSight Photo Competition on photocomp.iapb.org held for World Sight Day 2020.
Not as visually impressive as Stonehenge, Castlerigg Stone Circle is older by perhaps a couple hundred years. Like Stonehenge, its original purpose remains unknown. Speculation includes a trading post, a meeting place, or perhaps astronomy related.
Reaching the circle is relatively easy as it's a short distance away from the town of Keswick.
The elephant in the room
We often compare animal and human behaviour, but we tend to omit those examples which do not fit the hetero-norm. Did you know that elephants engage in same-sex relationships?
By presenting only a bull elephant, this display may imply that the male is central to the pack. However, elephants live in a matriarchal herd structure, which also does not fit the hetero-norm. Why has the museum chosen to show a male rather than a female? This animal was selected because of his sex. A male elephant is seen as a more impressive and dangerous trophy, fitting ideals of hyper-masculinity.
Why have we put a tutu on the elephant? In elephant hierarchy, the matriarch dominates and all males are subordinate to her. In an elephantine sense, the tutu empowers this specimen and raises its status amongst the herd. The tutu also visually contrasts our human inclination to assign gender to an object.
Kläderna gör mannen
Vi människor jämför ofta vårt beteende med djurens, men vi har också en benägenhet att utelämna det som inte passar den heterosexuella normen. Visste du till exempel att elefanter ofta lever i samkönade förhållanden?
Genom att museet bara visar en elefanttjur antyder det att hanar är de mest dominanta och betydelsefylla av elefanterna. I själva verket lever elefanter i matriarkala flockar, vilket inte heller överensstämmer med mänskliga normer. Varför har museet valt att visa en hane istället för en hona? Det här exemplaret valdes på grund av sitt kön, eftersom elefanttjurar av människor betraktas som farligare och mer imponerande byten. Detta i linje med ett hypermaskulint ideal.
Varför har vi satt en ballerinakjol på elefanten? Inom elefanters hierarki dominerar en matriark och alla hanarna är underordnade. Symboliskt sett skulle denna kjol ge mer makt åt en hane och öka hans status inom flocken. Kjolen visar också på hur vi människor har en tendens att dela ut genus åt objekt.
Pg 16
Draw Something over and over. by Soeun Yang
Visually Explain Something. left by: Emily Green, right side by: Raisa Kuddus
The central idea of my series was to visually represent certain symptoms and definitions of more uncommon mental illnesses.
My first photo represents schizophrenia. The greek roots of the word mean "split mind" and that's what I tried to represent by splitting the portrait into strips and then rotating them to also represent how reality becomes twisted when someone has the disorder.
My second photo represents dissociative amnesia. Generally, the disorder is characterized by someone completely forgetting their past, usually as a way to cope. I used the blurring of the left side of her face to represent the memory loss.
The third photo represents depersonalization which is a distorted perception of oneself and is like an out of body feeling. I represented the out of body feeling by making one of the portraits blurry and one in focus to show someone outside of themselves.
My fourth photo represents borderline personality disorder. BPD is characterized by polar, black and white moods that are usually extreme. I represented the moods by only lighting one side of the portrait and increasing the contrast to have one "white" side and one "black" side.
My last photo represents dissociative identity disorder, or more commonly, multiple personality disorder. I used four different portraits to put together into what looks similar to one face. It represents the different alters, or identities, that someone has with the disorder.
Photo: POH
Portraits of Hope's massive public art and civic project – involving more than 20,000 kids, adults and volunteers – that visually transformed Manhattan. By recruiting and utilizing more than 5,400 fully operational NYC taxis to participate in the unprecedented 4-month exhibition, the cabs and city streets of New York were transformed into a giant mobile canvas. The unprecedented event integrated two key characteristics that define the City: the saturation of the iconic taxis; and the vertical physicality of Manhattan. www.portraitsofhope.org
Garden in Transit -- A Portraits of Hope Project
Portraits of Hope's NYC Public Art and Civic Project -- NYC Taxis
Conceived and Developed by Ed Massey and Bernie Massey, Founders of Portraits of Hope
5,400+ New York City Taxis
23,000 Children and Adults
200+ Participating Schools, Hospitals, and NYC institutions
700,000 Sq. ft. of paintings
Youth and Program Sessions in NY, CA, NJ, OH, GA, PA
Project-based learning: interdisciplinary contemporary issues and civic education and leadership sessions for schools, grades 2 -12
Creative therapy sessions for hospitalized children and persons with disabilities; including cancer, orthopedic ailments, burn trauma, brain and neck injuries, and other serious conditions
10-month program and collaborative phase
4-month New York City public art exhibition
Youth sessions and exhibition in Brooklyn, Bronx, Manhattan, Queens, Staten Island
Portraits of Hope rings NASDAQ opening bell
Special thank you to Helen Bing and Peter Bing, Vornado Realty, Hotel Pennsylvania, MACtac, Empire Blue Cross/Blue Shield
Port Authority of New York and New Jersey
Cordelia Corporation, Veriflora, Wooster Paint Company, Jenner & Block, Purdy-Bessemer Holdings, FedEx, Hudson River Park Trust, Susan Kohlmann, Debbie and Hal Jacobs, Nazdar, Abbot & Abbot Box Corp. AAA Flag & Banner, Bruce and Nancy Newberg Family Fund, Pillsbury Sutro Shaw Pittman, Davidow Charitable Fund, Joleen and Mitch Julis, Armstrong Nickoll Family Foundation, Polo Ralph Lauren Foundation, Ore Hill Partners LLC, Time Warner, Building Maintenance Services LLC, PTG Event Services, FedEx, NASDAQ
Marilyn Rushton, a well-known Burnaby citizen, is awarded with the province’s newest honour, the Medal of Good Citizenship.
Rushton is honoured for her for inspirational life of service to the visually impaired community, her contributions to families with blind and visually impaired children, and her energetic support for the musical community.
Learn more: news.gov.bc.ca/releases/2016IGR0025-001407
Visually a bowl barrow, but potentially a bell barrow, with an infilled ditch. The main tumulus has the appearance of a 'U' due to historical interference including a 'dig' by Greville Chester in 1850. This is one of 10,000 surviving examples of bowl barrows - mostly in lowland Britain. Many more have been destroyed by farming (source: historicengland.org.uk).
Date: 4400-3500 ybp (Another paper cites barrows in this heaths as middle Bronze Age 3200-3000 BC).
15m apparent diameter.
20m diameter with expected hidden ditch.
1.4m high
2 types of pottery urn were found within, each with cremated remnants. A third broken urn was also found.
Mesolithic stone tools have been found on the general heathland. Neolithic stone tools and pieces of pottery have also been found at different times and on different sites. Many are now at the Norwich museum.
It started to snow a speckled ice during this photograph - nothing to see, but a sizzling pin-tap on the dry vegetation.
The Beau Brownie Camera. One of five,unfortunately not the rare ones. This series ran from 1930 to 1933.Visually, they had a different enameled two-tone front plate in a geometric Art Deco design, the work of American designer Walter Dorwin Teague.
This was the second homepage comp for a hosting company called Hostcube. Opposite of the first version, I wanted to create a lighter, and a bit more fun look with this design. This is a good comparison on how the information architecture can drive 2 completely different interface designs.
Once again, I've come up with a different logo concept here, and dissected it to visually represent some service-related information under the "What is a VPS?" section. I have also used the same design element to showcase 4 different types of hosting packages. You may see the example on their website by clicking here.
Website URL: www.hostcube.com
If you like what you see, and would like my help on your next project, contact me on Flickr or directly at: martin@lunchboxcollective.com
The Rooper memorial hall on Victoria Park road which is owned by the Bournemouth society for the visually impaired (BSVI), is a great little hall for hiring out, having a fitted kitchen & a stage.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of VA's six national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Remember our visually-impaired kittens Ziff & Zaff? Meet their mom, Tina! She was rounded up by the tireless @sassee_badass_tnr who got her spayed, vaccinated and tested. When she realized Tina was friendly we moved her into our bathroom for safekeeping. She enjoys the elegance of our scalloped cultured marble sink (ie resin plastic) but would love a full-featured home even better! She's about 1 year old, small and sweet and very appreciative of chin skritches! Let us know if you're interested in giving her a new life. Everything plus the kitchen sink! #sinkcat #catsofbrownsville #adoptthiscat #tabbycat #streetcatnomore via Instagram instagr.am/p/CH3C5LHJ2Dc/
A visually stunning decorative map of Asia dating to 1852, by French map publisher Victor Levasseur. Covers the entire continent of Asia as well as parts adjacent parts Europe and Africa. Shows the Chinese Empire including Tibet and Mongolia. In Southeast Asia the Kingdoms of Annam, Chochine, Tonkin, Siam, and Burma are noted. Singapore is identified. Afghanistan is divided into the Kingdom of Kaboul, the Kingdom of Heral, and the Confederation of Belouchistan. Several islands in the Russian Arctic, including Nova Zembla and the New Siberia Islands are mapped vaguely. Curiously, Levasseur identifies one of the Japanese Kuril Islands as the land of Compagnie, a semi-mythical island sought by many early explorers of this region including Behring and Cook. By far this map's most striking feature is its elaborate allegorical border work. Levasseur composed this map for publication in his magnificent Atlas Nacionale de la France Illustree , one of the most decorative and beautifully produced atlases to appear in the 19th century. This particular map is surrounded on all sides with elaborate allegorical border work. Surrounding the map are ten medallions intended to represent life in Asia - though most of the these seem to focus on India, at the time the most known of Asian lands. To the left of the map proper is an enthroned woman, a most likely representation of Hesione, the wife of Prometheus, who is commonly associated with Asia. Curiously the figure holds a main de justice , a kind of scepter with a hand of benediction on top, it her right hand. The main de justice was initially a symbol of royal French power and in this case is a possible reference to the French claims to Indochina. Right of the map Adam and Eve are drawn relaxing in Eden, with a benevolent God figure looking on. As with most Levasseur depictions of god, his halo is pyramidal, a possibly Masonic reference. Levassuer's choice to add Adam and Eve to this map is a reference to mediaeval beliefs that Eden lay in the seas beyond Asia. Various exotic animals including a bear, a buffalo, an rhino, a tiger, and an crocodile appear at the bottom of the map. Publised by V. Levasseur in the 1852 edition of his Atlas National de la France Illustree.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of VA's six national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
Item on display at the “Multisensory Exhibition for the Blind and Visually Impaired Persons” that shows how visually impaired persons experience artwork via tactile plates and audio guides.
Curated by art historian and art educator Nataša Jovičić and the Modern Gallery, Zagreb, Croatia, the exhibition also sensitizes others to how people living with limited vision experience the world.
The exhibition was held on the sidelines of the Assemblies of WIPO Member States, which met from September 24 to October 2, 2018. WIPO co-organized the event with the government of Croatia.
Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
Visually distilling what a family get-together can look like, for me.
Canon 5D Classic + Canon EF 50mm F1.8 v1
Perasmian Audio Descriptive Walk of George Town's Heritage For The Visually Impaired which happen on Aug 1, 2015. (PN Photo/JohnShenL)
This Pocket News Photograph is intended for editorial use only and is being made available only for News Publication, News Organizations and/or for Personal Use. For other uses, additional clearances may be required. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, and promotions. Visit our website at www.pocketnews.com.my/
On October 15, blind and visually impaired students took to the streets to raise awareness of pedestrian safety.
Master Butcher
Visually impaired people playing with sighted feel that accessibility kits can be clunky, alter the gameplay for everyone and highlight their impairment. Social interaction between players is different with a visually impaired person present, and the players can tell the difference.
In ‘Master Butcher’ concealment, not seeing and vocalisation of one’s actions is part of the fun, not an action catering only for the visually impaired. All aspects of the game are either tactile or sound, the latter created by the players themselves, conversing. This enables an organic gaming environment despite any visual impairment, pushing towards a middle-ground instead of a false sense of equality.
‘Master Butcher’ is a game of deception where players assume the role of a butcher in medieval Britain, trying to source and sell meat for maximum profit at the farmer’s market. However, good meat is scarce and to make ends meet one might have to resort to selling bad meat instead. Every turn one of the players assumes the role of a customer at the market, buying meat and waging whether the butchers are telling the truth or not. Is the meat in the sales bag actually what they say it is? The butchers have apprentices that can run errands for them and play trickery on other butchers, thus sabotaging their pursuit of success.
alani.yasir@gmail.com
The Pantheon Paris (Latin Pantheon, from Greek Pantheon, meaning "Every god") is a building in the Latin Quarter
of Paris, France. It was originally built as a church dedicated to St. Genevieve, but after many changes now
combines liturgical functions with its role as a famous burial place. It is an early example of Neoclassicism, with a
facade modelled after the Pantheon in Rome surmounted by a dome that owes some of its character to Bramante's "Tempietto".
Located in the 5th arrondissement on the Montagne Sainte-Geneviève, the Panthéon looks out over all of Paris. Its
architect, Jacques-Germain Soufflot, had the intention of combining the lightness and brightness of the gothic
cathedral with classical principles. Soufflot died before his work was achieved, and his plans were not entirely
followed. The transparency he had planned for his masterpiece was not attained. Nevertheless, it is one of the
most important architectural achievements of its time and the first great neoclassical monument.
As with most famed buildings, the Pantheon Paris has its unique story. The reason the it was was built was to
replace the damaged Sainte-Genevieve church under the orders of Louis XV who was putting this monument up as
a gratitude to God after his health had recovered. Soufflot was chosen for accomplishing the task. He wanted to
have the Gothic style combined with the classical structure. Because of financial problems, Soufflot could not finish
the building during his life; he died before seeing it completed and his pupil who finished it, did not exactly have the
same ideas of his master and made some changes. However there is little doubt that this building is one of the greatest neoclassical monuments and a true masterpiece.
Shortly after the Pantheon was built (which was called back then the Sainte-Genevieve Church), came the French
Revolution. It was then when the Revolutionist government changed the church into a mausoleum, a place to
burry exceptional Frenchmen who had sacrificed their lives for their country or who had done something great for
France. The Pantheon flipped back and forth to a church over the years but eventually assumed its lasting role as
a burial place for martyrs and brilliant French citizens for good.
The sight that this building offers is quite fantastic. You can see literally see almost all of Paris. The inside
architecture is visually amazing: it has the Gothic decorations combined with the mainly classical style of the
building, creating such an admirable neoclassical monument. The Pantheon is a must-see when you visit Paris,
both because of the imposing architecture it has and in respect to the people that made the world a better place.
Visually impaired and disabled Veterans from across the United States participate in the 21st National Disabled Veterans TEE Tournament
Visually impaired and disabled Veterans from across the United States participate in the 21st National Disabled Veterans TEE Tournament
CARICOM Secretary-General Ambassador Irwin LaRocque at the Belize National Library Service on Thursday, February 11th, 2016 to officially unveil software, donated by the CARICOM Secretariat, for the visually-impaired.
Perasmian Audio Descriptive Walk of George Town's Heritage For The Visually Impaired which happen on Aug 1, 2015. (PN Photo/JohnShenL)
This Pocket News Photograph is intended for editorial use only and is being made available only for News Publication, News Organizations and/or for Personal Use. For other uses, additional clearances may be required. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, and promotions. Visit our website at www.pocketnews.com.my/
Some background:
The Messerschmitt Me 410 Hornisse (Hornet) is a heavy fighter and Schnellbomber ("Fast Bomber" in English) designed and produced by the German aircraft manufacturer Messerschmitt. It was flown by the Luftwaffe during the latter half of the Second World War.
The Me 410’s origins are closely associated with the preceding Me 210. Development of this aircraft had been projected back in 1937 as a multi-purpose successor to the Bf 110, which had some identified shortcomings even prior to seeing combat service. Early on, confidence in the Me 210 had been high, to the extent that 1,000 aircraft were ordered off the drawing board; however, it would be a troubled program. Flight testing revealed poor longitudinal stability and despite modifications was considered unsatisfactory. While quantity production of the type proceeded, the Me 210 had a relatively high rate of accidents. This heavily contributed to production being halted on 14 April 1942; officials were keen to remedy the Me 210's problems and return it to production to minimize the economic loss incurred.
Various modifications to the design were explored, including the Me 310, a radical high-altitude derivative that incorporated a pressurized cockpit and more powerful engines.[9] This option was not favored by many officials, who sought a less ambitious remediation of the Me 210. It was this preference that led to the Me 410’s emergence, which was visually almost identical to the Me 210. The principal difference was the adoption of the larger (at 44.5 liters, 2,720 cu in displacement) and more powerful Daimler-Benz DB 603A engines. These engines each provided 1,750 metric horsepower (1,730 hp; 1,290 kW) compared to the 1,475 metric horsepower (1,455 hp; 1,085 kW) of the DB 605s used on the Me 210C. The extra power increased the Me 410's maximum speed to 625 kilometers per hour (388 mph), greatly improved rate of climb, service ceiling, and the cruising speed, the latter being raised to 579 km/h (360 mph).
The more powerful engines also improved payload capability to the point where the aircraft could lift a war-load greater than could fit into the bomb bay under the nose. Consequently, shackles were added under the wings for four 50-kilogram (110 lb) bombs. The changes added an extra 680 kg (1,500 lb) to the Me 210 design, but the extra engine power more than made up for the difference. As with the Me 210, the Me 410's rear gunner used the same pair of Ferngerichtete Drehringseitenlafette FDSL 131/1B turrets mounted on each side of the aircraft, each still armed with a 13 mm (.51 in) MG 131 machine gun, retaining the same pivoting handgun-style grip, trigger and gunsight to aim and fire the ordnance as the Me 210 did.
The new version included a lengthened fuselage and new, automatic leading edge slats. Both features had been tested on Me 210s and were found to dramatically improve handling. The slats had originally been featured on the earliest Me 210 models but had been removed on production models due to poor handling. When entering a steep turn, the slats tended to open due to the high angle of attack, analogous to the slats’ opening during the landing approach, which added to the difficulty in keeping the aircraft flying smoothly. However, when the problems with general lateral instability were addressed, this was no longer a real problem. While the Me 410 came to be regarded as a relatively stable aircraft, it had a poorer rate of turn than the Bf 110 it was intended to replace.
The wing panels of the earlier Me 210 had been designed with a planform geometry that placed the aerodynamic center farther back compared with the earlier Bf 110, giving the outer sections of the wing planform beyond each engine nacelle a slightly greater, 12.6° leading edge sweepback angle than the inner panels' 6.0° leading edge sweep angle. This resulted in unsuitable handling characteristics in flight for the original Me 210 design. The new Me 410 outer wing panels had their planform geometry revised to bring the aerodynamic center farther forward in comparison with the Me 210, thus making the leading-edge sweepback of the outer panels identical to the inner wing panels with both having identical 5.5° sweepback angles, which improved handling.
During late 1942, six Me 210As were taken off the assembly line for conversion to Me 410 standards. Near the end of that year, the Me 410 V1 prototype performed its maiden flight. Shortly thereafter, the Reichsluftfahrtministerium (RLM) was suitably convinced by its performance to place a sizable production order for the Me 410. Deliveries of the Me 410 began in January 1943, two years late and continued until September 1944, by which point a total of 1,160 of all versions had been produced by Messerschmitt's facility in Augsburg and Dornier plant in München. When the Me 410 arrived, it was typically appreciated by its crews, even though its improved performance was not enough to protect it from the waves of high-performance Allied fighters that it routinely confronted at this stage of the conflict. There were various models produced to serve in distinct roles, including a light bomber, an aerial reconnaissance platform, a bomber destroyer and night fighters.
Among these the late Me 410 B-4 was the first and only dedicated version – earlier might fighters had been converted from existing Me 410 A machines and retrofitted with radar and extra armament. In contrast to this, the Me 410 B-4 had been re-designed with the new FuG 240 ‘Berlin’ radar. This device was an airborne interception radar system operating at the "lowest end" of the SHF radio band (at about 3.3 GHz/9.1 cm wavelength) and the first German radar to be based on the cavity magnetron, which eliminated the need for the large multiple dipole-based antenna arrays seen on earlier radars. Instead, a disk-shaped reflector antenna was used, which could be covered under an aerodynamic plywood hood, thereby greatly increasing the performance of the night fighters. The power output of the radar was 15 kW and was effective against bomber-sized targets at distances of up to 9 kilometers, or down to 0.5 kilometer, which eliminated the need for a second short-range radar system. The FuG 240 was introduced by Telefunken in April 1945 and immediately rushed into production.
On the Me 410 B-4 the static radar dish had a diameter of 70 cm and was mounted in a thimble-shaped wooden radome that occupied the area in front of the cockpit. This reduced the pilot’s field of view markedly (all windows under the windscreen were deleted), but since the aircraft was to be guided by the radar operator and not involved in ground attacks, this loss was regarded as acceptable. To aid the pilot in target identification and aiming a Spanner IV device, a passive infrared-sight, was added – it was mounted into the windshield. This lowered the field of sight even further but allowed the pilot to detect hot engine and exhaust areas at a range of up to 1.000 m, while the device supported weapon aiming at a range of about 600 m.
The Me 410’s bomb bay was re-purposed to house four 20 mm MG 151/20 cannon as primary armament; the doors were deleted but a single ventral hardpoint for an external load of 1.000 kg was added – either for a large 500 l drop tank to extend range or for additional guns in a pod, e. g. the so-called ‘Magirus bomb’, or ‘WB 151A’ weapons pod with two 20 mm MG 151/20 cannons and 150 rpg.
The rest of the armament was tailored to the night fighter mission profile, too: the heavy defensive FDSL 131 barbettes were deleted, and instead a staggered pair of MK 108 30 mm cannon with 100 rpg were installed behind the cockpit, firing upwards (‘Schräge Musik’), close to the aircraft’s center of gravity. It was planned to link these weapons to a SG 116 device, which would automatically trigger these through a photocell, reacting to the shadow of the target aircraft or its silhouette against the sky or coulds. This device turned out to be highly unreliable, though. The second crew member was now a dedicated radar operator who sat in the former observer/rear gunner’s position, but the seat was ‘reversed’ and now faced forward. The WSO had, beyond the bulky FuG 240’s display, a sight for the oblique guns so that these could also be triggered manually when the aircraft passed underneath its target.
Another dedicated night fighter modification of the Me 410 B-4 was its propulsion system. While the aircraft was still powered by the standard Daimler Benz DB 603A that provided up to 1,850 PS/1,360 kW, the night fighter was outfitted with handed reversible four blade propellers. The idea was to counter torque issues due to both propellers originally turning into the same direction, and the four blades were introduced to improve acceleration and especially decelration when the aircraft approached its relatively slow target at high speed and had to get into an effective and stable aiming position as quickly as possible. This also required handed engines, so that the Me 410 B-4's powerplants were designated DB 603A-1l/r to differentiate their working direction. Additionally, flame dampers were mounted as another standard night fighter measure to protect the crew from engine flares and hide the aircraft in the dark sky.
General characteristics:
Crew: two
Length: 12.75 m (41 ft 9 in)
Wingspan: 16.3513 m (53 ft 7.75 in)
Height: 4.280 m (14 ft 0.5 in)
Wing area: 36.2031 m2 (389.687 sq ft)
Airfoil: root: NACA 23018-636.5; tip: NACA 23010-636.5
Empty weight: 7,518 kg (16,574 lb)
Gross weight: 9,651 kg (21,276 lb)
Fuel capacity: 550 imp gal (660 US gal; 2,500 L) in four wing tanks
Powerplant:
2× Daimler-Benz DB 603A-1l/r V-12 inverted liquid-cooled piston engines, each providing:
- 1,290 kW (1,750 hp) for take-off
- 1,360 kW (1,850 PS) at 2,100 m (6,890 ft)
- 1,195 kW (1,625 PS) at 5,700 m (18,700 ft)
Driving handed 4-bladed VDM constant-speed propeller
Performance:
Maximum speed: 507 km/h (315 mph, 274 kn) at sea level,
624 km/h (388 mph; 337 kn) at 6,700 m (21,980 ft)
Cruise speed: 587 km/h (365 mph, 317 kn)
Range: 1,200 km (750 mi, 650 nmi) at maximum continuous cruise speed,
1,690 km (1,050 mi) at economical cruise speed
Ferry range: 2,300 km (1,400 mi, 1,200 nmi)
Service ceiling: 10,000 m (33,000 ft)
Time to altitude: 6,000 m (20,000 ft) in ten minutes and 42 seconds
Armament:
4× 20 mm (0.79 in) MG 151/20 cannon with 300 rpg in the lower fuselage, firing forward
2× 30 mm (0.79 in) MK 108 cannon with 100 rpg behind the cockpit (“Schräge Musik”),
oriented 65° above horizontal
Up to 1,000 kg (2,200 lb) of disposable external stores, including:
- 2x 300l + 1x 500l drop tanks
- 2x 250 kg or 4x 100kg or 4x 50 kg bombs
- 4× 21 cm (8.3 in) Werfer-Granate 21 rockets
The kit and its assembly:
Well, my Me 410 night fighter is certainly not the first one of its kind, but a personal interpretation of the subject with as much late-WWII hardware on board as possible, for a purposeful look and feel.
The basis of this build became the Italeri Me 410, mostly because it comes with “plugs” for the fuselage flanks where the original Me 410 carried its defensive gun barbettes – IMHO useless on a night fighter. The plugs are, however, quite useless, because they still have to be PSRed into the flanks so that they could be easily omitted anyway...
Another typical ingredient was a Quickboost FuG 240 thimble radome for the system's static dish antenna, originally intended for a Ju 88 G-6 night fighter but in this case mounted to the aircraft’s nose and PSRed into shape, too. The radome’s “flat” underside was also a plausible detail for an open field of fire for ventral guns in the former bomb bay – a conversion that had been done to many Me 410 heavy fighters with field modifications and cannon Rüstsätze.
The cockpit was insofar modified that the former gunner on the back seat now faced forward, and the workstation received some scratched devices like a radar screen and a tilted gun sight. The pilot received an IR sight, mounted through a hole that was drilled into the windscreen, and a separate bulletproof glass panel behind the windscreen. Since I did not want to open the already complex/fiddly three-part canopy I added two crew members.
The former machine gun barbettes were faired over, and instead two hollow steel needles were mounted behind the cockpit on sockets/bulges, plus a clear “sensor some” (all made from sprue material). Hollow steel needles were also used to simulate protruding gun barrels in the ventral cannon compartment and on the back. Under the wings a pair of OOB 300l drop tanks were added, a plausible payload, and to beef up the armament I scratched a Magirus-Bombe gun pod and mounted it on a central hardpoint from a Fw 190.
As an individual detail I lowered the aircraft's flaps, which was quite easy to do. The wing segments were simply cut out and semi-circular styrene profile used to create the hinges.
To make the Me 410 night fighter look a bit more purposeful I furthermore used flame dampers on the exhaust stubs; these were taken from an Italeri Me 110 night fighter, and this worked better then expected. I just had to modify one of the exhaust pipes due to the different position of the carburettor intakes on the Me 410. Furthermore I replaced the original three blade props with four blade alternatives (which had been tested on Me 410 V15 IIRC, but had not been adopted) from a FROG D.H. Hornet. Not a perfect match, because the spinners were slightly too big in diameter (could be trimmed down, though) and the props are handed, but that's only obvious at second glance.
Painting and markings:
I kept the livery conservative, and wanted to keep the aircraft relatively light overall, like a typical German late war night fighter. Therefore, the machine initially received an overall coat with RLM 76 (Humbrol 247), only with a few blurry fields and speckles with RLM 75 (Humbrol 246) on the wings’ upper surfaces and on the spine. Additionally, some mottling with mixed shades of RLM 76 and 75 were added, primarily to the fuselage, engine and fin flanks.
I initially considered additional mottles with lighter RLM 77 (RAL 7035, almost white) on the flanks and the upper surfaces, but when the two basic tones were applied I thought that this was already enough, so I kept the livery rather simple.
An unusual detail is a single black wing underside, though. This is/was not a camouflage measure, rather an identification marking for anti-aircraft artillery on the ground to avoid friendly fire. This was, just as in real life, done with water-soluble paint (acrylic tar black, Revell 06), so that the original light blue-grey paint would shine through here and there and the black paint would easily wear or flake off.
To achieve this effects and to blur the mottling the whole model received, after it had been painted, an overall treatment with fine wet sand paper. A similar method was used to simulate flaked paint on the wooden radome. After a light black ink washing some post-panel-shading was done, too.
The cockpit interior became very dark grey (RAL 7021, I used Revell 09 Anthracite) while the landing gear and its respective wells were painted in RLM 02 (Tamiya XF-22).
The decals were puzzled together from various sources. The code G9+F(red)N is plausible for an aircraft of the Nachtjagdgeschwader 1's 5th squadron. The unit emblem is fictional, though, the gauntlet motif came from an RAF Tornado. The black iron crosses were reduced to a minimum - except for the underwing markings, which were kept more complex even during the final war stages, and in the case of the black wing these markings also offer more contrast for a secure identification from below.
After some soot stains done with graphite around the exhausts and the gun muzzles the model was finally sealed with matt acrylic varnish and the wire antenna made from heated black sprue material was added.
The National Disabled Veterans TEE Tournament is the brainchild of several employees of the Iowa City VA Medical Center, along with two visually impaired Iowa Veterans. These visionaries created the TEE Tournament, an acronym standing for TRAINING, EXPOSURE and EXPERIENCE. In 2008, it became one of VA's six national rehabilitation programs for Veterans. The event expanded to include not only blind Veterans, but amputees, wheelchairbound Veterans, and those with other life changing disabilities. It takes place each year in Iowa City.
The visually-impaired protest group spokesman, Sandy Taylor, addressing the electorate outside the council offices at Southbank Marina, Kirkintilloch.
Visually impaired and other disabled Veterans roll for 300 during bowling events at the 2014 TEE Tournament.
PACIFIC OCEAN (Jan. 23, 2017) Damage Controlman 2nd class Sean Yoo visually inspects a fuel sample aboard Arleigh Burke-class guided-missile destroyer USS Wayne E. Meyer (DDG 108) during a replenishment-at-sea with fleet replenishment oiler USNS Guadalupe (T-AO 200). Wayne E. Meyer is on a regularly scheduled Western Pacific deployment with the Carl Vinson Carrier Strike Group as part of the U.S. Pacific Fleet-led initiative to extend the command and control functions of U.S. 3rd Fleet into the Indo-Asia-Pacific region. U.S. Navy aircraft carrier strike groups have patrolled the Indo-Asia-Pacific regularly and routinely for more than 70 years. (U.S. Navy photo by Mass Communication Specialist 3rd Class Kelsey L. Adams/Released)
The Drums of Africa is a visually expressed personal guidance system. Our ancestors have documented the lessons of life into profound proverbs that can be easily remembered and referred to in our approach to everyday life. The series
displays these proverbs as typographic compositions combined with tribal forms found in South Africa’s folk
arts and crafts. In fact, symbolic elements from the intricate beadwork of the Bantu-speaking tribes, the refined basketry of the Zulu, and the highly coloured, bold, geometric forms of the Ndebele, ordain the fragile hand-drawn Helvetica typeface.
The result is a combination of contemporary type,
decorated with traditional silhouettes. Upholding the lessons and motivations of African culture, the compositions serve as daily affirmations and motivations.
The original oil paintings are on display at Kozi’s : Meet ’n Eat, an African inspired restaurant in Athens, Greece. A limited edition of signed prints have been created to accompany the work and are also available online at www.dimitratzanos.com
There's nothing particularly visually interesting about this hotel in Philadelphia. However, I had a interesting stay here over a bitterly cold Presidents Day weekend in 1996.
A few months earlier I had great stay at a boutique hotel in San Francisco. It was the first time I had stayed at a boutique hotel so I made a reservation at this place, which I think was called the Walnut Street Hotel, because it advertised itself as a "boutique" hotel.
An indifferent college student checked me in at the front desk and I headed to my room. I dropped my luggage off and went out for dinner. When I came back I noticed that it was kind of chilly in the room. At the time I had a little thermometer zipper pull on my suitcase and it was not only kind of chilly it was all of 54 degrees.
I went downstairs to complain to the indifferent college student. He remained indifferent, saying the heat was not working and wouldn't be fixed until the next day.
He did give me an extra blanket though. The extra blanket was the most threadbare blanket I'd ever seen. I put it on my bed, along with all the towels and my parka and, wearing my clothes, I managed to sleep most of the night.
I spent the next day working at the convention center. When I got back to my room that evening it was no longer 54 degrees. Quite the opposite as it was 94 degrees! Opening a window made the room livable and I didn't dare complain for fear that they would turn the heat off.
In addition to the heat and cold problem there was the bathroom, specifically the toilet. The toilet was set off from the shower in this little alcove. The alcove was narrow and wedge-shaped. It was so narrow that my shoulders touched the walls when I sat down and to sit down I literally had to take my pants off beforehand and back into the space. TMI!
To end this story on a good note the hotel television had a Drexel University cable channel that was showing some pretty obscure stuff. One movie was "My New Advisor" by a guy named Jim Bihari, who was an Ohio State University student at the time. It is a feature length movie made for a few thousand dollars about a graduate student and his new advisor going to a conference, mainly by driving back and forth on rural central Ohio roads. It was really funny and had a great soundtrack. I haven't seen it since that stay but I just noticed the whole thing is on YouTube.
Long distance traveling can sometimes be boring...
All you need to do is point the camera at the side of the road & the magic happens...
This is a long exposure motion blurred on purpose photograph that creates the feeling of movement within a still image.
The photo tries to represent the experience of motion itself.
It 'stretches the moment' both literally (in the camera shutter is held open) and visually (as the details of the subject blur out horizontally).
(This is a long exposure photo of the side of the railroad while traveling at speed. ;-) )
"The visually exposed Empire house from 1818 includes older structures, the stone cellars are probably medieval.
A terraced one-storey house with a basement in a corner position stands on the main square in the centre of the historic centre of the city. It has a rectangular ground plan, a mansard roof with small dormers, two roof ridges run perpendicular to the facade – a hipped roof adjoins the neighbouring house. The roofs are covered with eternit on the outside, and with burnt grooved tiles on the inside. The southern facade to TG Masaryk Square has 5 window axes on the first floor, on the ground floor on the left a window, a glazed entrance to the pharmacy, a window, a passage gate and a glazed display window with an entrance to the shop. The entrance to the passage is vaulted with a compressed arch, flanked by a profiled cornice with a vault and emphasised by half-columns carrying straight entablatures. The other openings on the ground floor are rectangular, flanked by cornices. The ground floor is divided by a bossage, separated from the first floor by a cordon cornice. The floor is divided by fluted pilasters with volute capitals between each window. Under the crown cornice with dentil is a strip with plastic decor, around the windows there are profiled chambranes with ears, window and window sill cornices and plastic decor in the parapet fillings and suprafenestras (festoons, floral curtains, ribbons). The side facade to Pernštýnské Square is designed similarly to the front facade with a bossage on the ground floor and pilasters on the floor, 3 windows on the left side of the facade have a semicircular raised window cornice, 4 windows on the right are distinguished by pilasters on each side of the window (i.e. there are two pilasters between the windows). On the ground floor there is a window on the left and a rectangular entrance to the house, from it to the right there are 4 window axes, windows without chambranes. The narrow courtyard facade is smooth, on the ground floor there is a passage opening vaulted with a compressed arch and a window, on the first floor there are 2 semicircular arched windows. The passage is vaulted with Czech flats into the waists. There are vaults in both shops - mainly barrel vaults, then barrel vaults with sectors, barrel segmental vaults, barrel vaults into traverses and a Prussian vault. A straight staircase vaulted with a compressed barrel vault leads from the passage to the first floor. On the first floor there are flat-ceilinged rooms, some with fabions, the layout has been subsequently modified. The cellars are dissected, barrel vaulted, made of stone, others of brick masonry. The roof is traditional wooden, with hambálky and a standing stool, under the wooden floor of the attic there is a mezzanine that used to be used for storage.
The visually exposed Empire house from 1818 includes older structures, the stone cellars are probably medieval. Apart from the cellars, the most valuable parts are the facade and the vaults on the ground floor." - info from the National Heritage Institute.
"Prostějov (Czech pronunciation: [ˈproscɛjof]; German: Proßnitz, Yiddish: פראסטיץ Prostitz) is a city in the Olomouc Region of the Czech Republic. It has about 44,000 inhabitants. Today the city is known for its fashion industry and AČR special forces unit 601. skss based there. The centre of the town is historically significant and is protected by law as urban monument zone.
The first historical mention of the village Prostějovice is from 1141. By the middle of the 13th century, it had developed into an important market village. At that time, German settlers were invited here, who established a new settlement on the site of today's TG Masaryk Square, to which the rights of the original settlement were transferred. On March 27, 1390, Prostějov was granted the right of the annual market thanks to the lords of Kravaře, which in fact became a town. In the Hussite period, the promising development slowed down as the city suffered delays on both sides; the insufficiently fortified Prostějov became easy prey for the troops of Margrave Albrecht and was burned down in 1431. The prosperity of the city was brought about by the establishment of the Jewish city and especially after a year 1490 more than a century-old government of the Pernštejn families, whose property became the town. In 1495, the city began the construction of stone walls with four gates with bastions. Between 1521 and 1538, the townspeople built a Renaissance town hall.
At the end of the 16th century, the city became the property of the Liechtensteins, which resulted in the stagnation of the city's development. In Prostejov the year 1527 printer Kaspar Aorga printed the first book on Moravia. During the Thirty Years' War, the town was devastated and in 1697 a fire broke out, killing the town hall, the school and the church. Then the city began to acquire a Baroque character. Around the middle of the 17th century, mainly thanks to local Jews, the food, textile and clothing industries developed rapidly, and in 1858 the first Czech ready-to-wear clothing industry was founded in Prostějov - the factory of the Mandla brothers, which attracted new inhabitants. In the 1960s, Prostějov was connected by rail with Brno and Olomouc. The 19th and 20th centuries changed the face of the city in the style of historicism and Art Nouveau. Since the 20s and especially 30s, dominating the construction becoming in Prostejov functionalism.
Moravia (Czech: Morava [ˈmorava]; German: Mähren) is a historical region in the east of the Czech Republic and one of three historical Czech lands, with Bohemia and Czech Silesia.
The medieval and early modern Margraviate of Moravia was a crown land of the Lands of the Bohemian Crown from 1348 to 1918, an imperial state of the Holy Roman Empire from 1004 to 1806, a crown land of the Austrian Empire from 1804 to 1867, and a part of Austria-Hungary from 1867 to 1918. Moravia was one of the five lands of Czechoslovakia founded in 1918. In 1928 it was merged with Czech Silesia, and then dissolved in 1948 during the abolition of the land system following the communist coup d'état.
Its area of 22,623.41 km2 is home to about 3.2 million of the Czech Republic's 10.8 million inhabitants. The people are historically named Moravians, a subgroup of Czechs, the other group being called Bohemians. The land takes its name from the Morava river, which runs from its north to south, being its principal watercourse. Moravia's largest city and historical capital is Brno. Before being sacked by the Swedish army during the Thirty Years' War, Olomouc served as the Moravian capital, and it is still the seat of the Archdiocese of Olomouc. Until the expulsions after 1945, significant parts of Moravia were German speaking." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Visually impaired riders race with their guiding drivers in front of the Soldier Field facade along Museum Campus Drive in Chicago during the 2017 Department of Dense Warrior Games July 6, 2017. The DoD Warrior Games are an annual event allowing wounded, ill and injured service members and veterans to compete in Paralympic-style sports. DoD Photo by EJ Hersom