Greetings all;

Lets talk briefly about lighting on colour schemes and other concerns that cause us to have conflicts about WWI aircraft. Firstly you have a time era that is dominated by black and white photgraphy. There were two types of film in use at the time Orthocromatic and Pancromatic. The first was the most prevelant type used in WWI.

But even today we can see that lighting plays the greatest part in representing images. First lets take a familar scheme and not some differences. Most of you will remember my build of Ltn Bertrab's Early Alb. D.III from last year. Images posted here under "The Day of the Comet."

Our good man and fellow wingnut Grumpyoldman (Dave) has posted some images of Modsquito con 2008 on the main page under Features. The following was found there.


Pretty normal. Now lets kick up hte flash - lighting.



Comments anyone?

Okay Stephen, I'll bite.
I think the photos from the show point directly at the heart of what has to be the ultimate quandary of this area of historical aviation research. On any given day the same machine can be photographed from multiple angles and at different times of the day with different types of film and in different weather conditions to reveal what could be many different color schemes, even though its the same machine. The only constant may be the actual borders where different colors meet, and depending on the above conditions mentioned, they may not be discernable either! This is where the hard work of research into flight logs and personal papers and observing the surviving relics of this era of aviation may give clues as to the actual colors used. My hat is off to all the historians who endeavor to find the answers to the mysteries these objects of our fascination present to us. I'm afraid though that this area of research will NEVER be and exact science and that it will lead many to frustration and finally confrontation with those of opposing points of view. This will always be the lot of the historian though. There will always be pieces of the historical puzzle that are elusive and beyond knowing.
The good news is that regardless of the exact colors used, the surviving photos reveal a dizzying array of color schemes worn by these machines and they present the modeler and artist with an almost infinite variety of ways to decorate these objects that fascinate us so. Call it sublime ignorance or artistic license but within reason, we can push the envelope if so desired, to explore and satisfy our curiosity. Being right or wrong has nothing to do with it. Its all about how we enjoy the time we each can devote to our mutual fascination.
Dwayne