Download Battle of Britain by Mariusz Lukasik, Janusz Światloń, Arkadiusz Wrobel PDF

By Mariusz Lukasik, Janusz Światloń, Arkadiusz Wrobel

3 vast sticky label sheets with 1:72, 1:48 and 1:32 person markings for three Spitfire Mk Is, 6 storm Mk Is, 7 Bf 109 Es and three Bf 110s. every one portray scheme is depicted on superbly drawn color profiles and defined within the 36 web page guidebook with English and varnish textual content. the choice includes the next aircraft:
- Spitfire Mk I (X4382) coded LO-G of No 602 Sqn RAF, flown via P/O Osgood 'Pedro' Hanbury, Westhampnett, August 1940,
- Spitfire Mk I (N3249) coded QJ-P of No ninety two Sqn RAF, flown through Sgt Ralph „Titch” Havercroft, Pembrey, August 1940,
- Spitfire Mk I (X4474) coded QV-I of No 19 Sqn RAF, flown via Sgt B.J. Jennings, Fowlmere, August 1940,
- typhoon Mk I (V7607) coded DT-H of No 257 Sqn RAF; Coltinshall, November 1940,
- storm Mk I (P3143) coded NN-D of No 310 (Czech) Sqn RAF; Duxford, 7 September 1940,
- storm Mk I (P3144) coded GZ-B of No 32 Sqn RAF, flown by means of S/Ldr J. Worrall and F/Lt M. N. Crossley, Biggin Hill/Hawkinge, July 1940,
- typhoon Mk I (V7504) coded RF-G of No 303 Sqn RAF, flown through Sgt Stanisław Karubin, Leconfield, November 1940,
- storm Mk I (V6941) coded WX-W of No 302 Sqn RAF, Duxford, November 1940,
- typhoon Mk I (P2923) coded VY-R of No eighty five Sqn RAF, flown through F/O Albert G. Lewis, Croydon, August 1940,
- Bf 109 E-1; W.Nr. 3367, 'Red 14', flown through Uffz. Leo Zaunbrecher of 5./JG fifty two, Peuplingues, August 1940,
- Bf 109 E-3; W.Nr. 1155, 'Black 11', most likely flown through Uffz. Fritz Mias of 5./JG three, Brombos, early August 1940,
- Bf 109 E-3; 'Black 1', flown through Oblt. Horst Tietzen, Staffelkapitän of 5./JG fifty one, Marquise-West, sixteen August 1940,
- Bf 109 E-4; W.Nr. 5153, 'Yellow 5', flown by way of Oblt. Egon Troha, Staffelkapitän of 9./JG three, Shepherdswell, 29 October 1940,
- Bf 109 E-4; W.Nr. 1641, 'Black 6', flown through Hptm. Ernst Wiggers, Staffelkapitän of 2./JG fifty one, St. Inglevert, September 1940,
- Bf 109 E-4; W.Nr. 5159, 'White 9', flown through Oblt. Hermann Reifferscheidt, Staffelkapitän of 1./JG 2, Beaumont-le-Roger, October 1940,
- Bf 109 E-4; 'Black Chevron', flown via Lt. Erich Schmidt, Adjutant of III./JG fifty three, Etaples, November 1940,
- Bf one hundred ten C-2; W.Nr. 3560, coded L1+XB, workforce: pilot - Hptm. Horst Liensberger, Gruppenkommandeur of V.(Z)/LG 1; radio operator - Uffz. Albert Köpge, France, summer time 1940,
- Bf one hundred ten C-5; coded 5F+MM of 4.(F)/14, Cherbourg, summer time 1940,
- Bf one hundred ten D-0/B; W.Nr. 3371, coded S9+AH, flown through Hptm. Martin Lutz, Gruppenkommandeur of Erprobungsgruppe 210, Octeville, September 1940.

The sticky label sheet additionally includes familiar serial numbers for Bf 109s.

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One way of composing a picture is to use a frame within a frame. In order to emphasize the main subject of a picture you can show it surrounded and balanced by another element. Stonework surround The foreground stonework through which the distant landscape is viewed gives the scene an added feeling of space and distance. Framing a building By using an arch as a framing device, the image is simplified. Unwanted details are cut out to focus attention on the building. FRAMING THE IMAGE 55 Balancing shapes, left Careful composition within the viewfinder creates an evocative composition, with well-positioned silhouetted figures and the diagonal shape of the platform.

Touch of color, right Although only very small in the frame, the red of the Senegalese tribesman’s headdress contrasts with the blue both of his gown and of the sky, drawing immediate attention to a particular area of the image. 42 HOW TO SEE BETTER PICTURES WORKING WITH SHAPE One of the most powerful ways to emphasize shape in a photograph is to ensure that, at least in outline, it contrasts strongly with its surroundings in either tone or color. The shape of a subject with a lot of pattern or detail can be emphasized by photographing it against a plain, neutral background that will not compete for attention.

Here, the spiky leaves contrast with the rocks and the smooth lines of the building. 60 HOW TO SEE BETTER PICTURES DEPTH AND PERSPECTIVE Perspective is a way of using spatial elements to indicate depth and distance in a photograph, giving the impression that you are looking at a three-dimensional scene. There are several different methods of using perspective to create this illusion of depth. By placing one object behind another, known as overlapping forms, you can indicate that it is farther away from the camera.

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