Cool Only Your Test images

A few nice only your test images I found:

current palettes
only your test
Image by Julie Paradise1
why so many colours? well, they accumulated over times, a holiday here, some money there, a sale and a gift and the neverending search for the perfect colour.

now I would say that no one needs so many colours, but to make the best out of it and to use them all it seemed best to sort them all in palettes, in thought over and well balanced palettes that are usable as they are.

what does it bring? rotating and rethinking the palettes every once in a while has taught me mixing and getting to certain colours from various starting points. it can be amazing how differently you can achieve shadows or greens or moods with about everything you see here. (I am still no friend of pre-packed palettes as there are some colours I will never like and there just not use.)

I have sworn that once some of them will be empty I will not refill them or stock up again as time will show which colours I really and alway like to use for various purposes. no one needs THAT MANY colours 😉

warum soviele farben? hmnja, es sammelt sich eben soviel an mit der zeit, rabatte, gutscheine, unverhoffter geldsegen hier, ein geschenk da … aber letztlich braucht eigentlich doch niemand soviele farben, das gebe ich hiermit offiziell zu.

was nun aber tun damit, denn herumliegen lassen wäre bei aquarellfarben zwar grundsätzlich möglich aber doch zu schade. ich habe mich vor einer weile dazu entschlossen, aus allen farben sets zu erstellen, für verschiedene zwecke und gelegenheiten, alle paletten sollten in sich selbst halbwegs vollstandig sein, "coloristisch sinnvoll" (so heißt es immer im schmincke-katalog).

was bringt mir das? ich wechsle die paletten alle paar tage bzw. nutze manche eher für unterwegs oder meine skizzen und andere für "richtig ernsthafte" bilder. die jeweils verschiedene auswahl an farben bringt / zwingt mich dazu, aus unterschiedlichen ausgangsfarben ähnliche ergebnisse zu ermischen, einige paletten enthalten zum beispiel kein grün (rechts unten), andere beinahe alle meiner lieblingsfarben, manche keine davon und sie "funktionieren" trotzdem. durch das rotieren lerne ich nach und nach alle farben kennen und manche sogar noch lieben, die ich eigentlich bereits abgeschrieben hatte. das erreicht man natürlich nicht, wenn man die farben gar nicht zur verfügung hat. mir hat es also sehr geholfen — und wahnsinnig viel spaß gemacht in diesen farbmassen zu schwelgen — dennoch habe ich mir vorgenommen, einige der paletten nicht aufzufüllen wenn sie leer sind bzw. manche der farben nicht nachzukaufen. mit der zeit wird sich zeigen, was ich wirklich benutze. soviele farben braucht also kein mensch, aber schön ist es trotzdem mit ihnen. 😉

Brooklyn Home Office, Minimized, At Night
only your test
Image by mkosut
I’ve spent the past few months figuring out how to scale down many of the things i don’t need and keeping my home office very minimal. That included ditching the large 30" apple cinema display (it blocked my view out the windows!) and going back to a simple laptop with two headless servers (on old G5 osx server pictured, and one ubuntu dual core 2.8ghz hp proliant server hidden behind the desk)

I’ve hidden my speakers behind the desk and stream via an airport express station to minimize cord plugins. The two cables visible below the desk have been hidden (ethernet for the osx server and some other cable) didn’t see them in the photo til it was too late.

I’ve purchased an all-in-one scanner/printer that fits comfortably in the sliding glass door cabinet for easy access.

My old and faithful aeron chair finally made it’s return home from vermont. Thank you for the gift adam, it’s lasted me years!

For white board drawings, i use dry erase markers on the glass windows. I make sure i don’t write any sensitive data on them as they’re clearly visible from the street 🙂

This provides maximum desk space to work with while not being distracted. i work from home occasionally (i’m a senior linux systems engineer for mtv networks/viacom) so i wanted someplace enjoyable to work without losing focus on my tasks.

I didn’t have any stones to put in the vase for the flower, so i ended up using all the silver change i could find. This works great because it looks interesting, but also makes it easy to ditch extra pocket change into it conveniently. No pennies allowed!


Bristol Cinema Then & Now – The Kings, Old Market
only your test
Image by brizzle born and bred
The King’s Cinema in Old Market, Bristol BS2, once one of the city’s stalwart picture houses which after 70 years, made way for yet another office block? – in its declining years it was home to sleazy sex films and horror movies and dirty old men in rain coats just like The Tattler round the corner.

image top left: British Electric Theatres owned this small cinema, which was originally called King’s Hall. It was built on the site of a cemetery, between Old Market Street and Redcross Street, and when it was demolished, bones from the cemetery were discovered and removed. It was British Electric Theatres who put a test case for Sunday opening in 1910. The inspector went to another cinema, saw some nudity and a scene in which a vicar kissed a woman and promptly objected. The case was refused.

After the First World War, Ralph Bromhead, who was later a leading light in the Gaumont empire, took over the King’s and changed it beyond recognition. He purchased the shop next door and gave the building a new frontage, with a wide foyer and low canopy outside. Inside, the balcony area was decorated with ornate brasswork. In order to obtain planning permission, Bromhead had to employ fifty demobilised men as labourers. The work took less than a year and cost £15,000.

The King’s reopened in 1921 and became a landmark in Old Market Street.

The cinema suffered a fire in 1926 but soon reopened with new owners, Enrico Carreras and his son James. They had their own orchestra, the King’s Symphony Orchestra, consisting of twelve musicians. The orchestra played twice a day every day and were paid £68 per week between them, which was better than most musicians were paid at that time.

The King’s cinema’s biggest competitor was the Regent in nearby Castle Street. A gimmick was needed to put the King’s in front, so they took a gamble and tried the talkies. They were the first in Bristol to do this and changed the face of Bristol cinema for ever. In March 1929, they opened with the film The Singing Fool, starring Al Jolson.

The queues went all the way up Old Market Street and they packed in four performances a day for five weeks. They counted 50,000 admissions in the first two weeks, figures unheard of before. It was the end for silent films.

By the end of the 1930s, the ABC Group, under John Maxwell, had taken over the cinema and it continued to be popular. It survived the Second World War but the surrounding area and, following the redevelopment of the area and the building of the new road system, the cinema became isolated. It closed on 4 December 1976 with a double bill of Hot Dreams and Man Hungry.

image top right: c1968 The construction of the roundabout and pedestrian walkway system, in the 1960s. The Stag and Hounds is now the first building on the right. Note left of photograph: The King’s Cinema.

image bottom left: The cinema stood empty for a while, and was demolished in December 1981 for an office block named King’s House to be built on the site, located on the corner of Old Market Street and Bond Street at Old Market Roundabout.

image bottom right: "Yet another office block, just what Bristol needs?"

The Sad Decline of Bristol Cinema

The years after 1945 were hard for Britain. The country was in debt after the strain of war, and there was a severe housing shortage. Both of these factors affected cinema business.

The Entertainment Tax, which was added to the price of a cinema ticket, was raised. It was nearly 47% on the price of an expensive seat. At this rate people could not afford to keep up the twice-a-week habit of pre-war years. Smaller audiences meant that owners had to keep putting up the prices to make any profit.

Building materials, money and labour were channelled into house-building. This meant that very little was available for building new cinemas or even repairing old ones. No new cinemas were built in Britain until 1954. Old ones became increasingly scruffy.

Slum clearance and rebuilding programmes left many inner-city cinemas without a local audience.

From August 1947 to March 1948 US film distributors boycotted Britain because the government proposed putting a high import duty on imported films. Robbed of Hollywood films, British cinemas had to fall back on old copies and poor quality films. Cinema audiences never recovered.

There were only 15,000 television sets in Britain in 1945, but by 1955, when commercial television started, there were 5 million. By 1961 there were 11 million sets and cinema admissions had fallen by 75%.

All these factors together meant that cinemas were not able to compete very well with television. Who would want to go out to a cold, draughty cinema, with decor that had not been painted or repaired since the 1930’s, and pay prices that had risen much faster than inflation, when television could entertain you more cheaply in the warmth of your own fireside every night?

Filmmakers tried to fight back by taking on techniques that could not be copied on TV. 3-D films appeared, requiring the use of special projectors, screens and expensive glasses. It was a short-lasting gimmick. Cinemascope brought wide-screen ‘epics’ that only big cinemas could manage to show effectively. Some new cinemas were built, usually on the same lines as 1930’s cinemas. Some older houses tried to catch a paying audience by showing soft porn films which could not be shown on TV.

Cinema owners were sometimes slow to see that times had changed. The chain system, in which all the cinemas in a particular company would show the same film in the same week might have saved some money in distribution costs. However, the result was that the new car-owning public, perhaps wanting a change from TV and willing to drive across town to see a film, were faced with less choice than there could have been. Only later did owners think of splitting large cinemas up into two, or even three separate, smaller cinemas, thereby offering more choice and cutting running costs.

The rise of video hire in the 1980’s was a further blow to the cinema. At the lowest point, about 1985, there were less than 1,000 cinemas open in Britain.

What happened to the cinemas?

The two most common fates of old cinemas were demolition or bingo. The bingo craze started in 1961 and turning cinemas into bingo halls at least kept them more or less intact. The other fates of old cinemas are too many to list. They have become shops, carpet warehouses, chapels, bowling alleys, temples, even car showrooms.

Then & Now

Two photographs depicting the same view, one taken a period of time after the other, give us an instantaneous impression of ‘ then ‘ and ‘now ‘. Some comparisons show old views that are instantly recognisable, where the natural passage of time and technology has made only slight changes.

Other views illustrate major change and it can be difficult to comprehend that an area has altered so much. Unless you have lived through a change and can remember what was there before, there is often no reason to question what building was replaced or how the area functioned in the past.

Coffee mug taste test with red marker

A few nice tests for you images I found:

Coffee mug taste test with red marker
tests for you
Image by yourbestdigs

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Waiting On The Rain; Texas Motor Speedway
tests for you
Image by John R Rogers
Since you are here, please, make a comment. 🙂 even a little one… Also, If you like my photography, check out my website/blog at: for more information.

This afternoon I was fortunate to have a "HOT" pass to the NASCAR race at the Texas Motor Speedway. I have to confess I have never watched a NASCAR race and know virtually nothing about the sport. None the less, It was way cool! With that credential you can pretty much go anywhere. I watched in the garage as the cars were measured & tested. It turns out the garage was a great place to be because it rained all day long. And for some reason, the drivers don’t race in the rain. Pretty understandable actually; I don’t suppose I would really want to drive 200mph on wet roads on tires as slick as dancing shoes. The only car on the track today was the pace car. Waiting patiently for the rain to pass.

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If you derive any income from your website through sales of products or services or receive revenue from advertising placed on your site then you do not qualify to use my images under my creative commons license. If your are a not for profit corporation or political campaign, you also do not qualify under my Non Commercial license. I do license my images to commercial enterprises for a very reasonable fee. Please feel free to contact me if you have any questions.
If you are truly a non-commercial site and would like a copy of this image without my watermark, feel free to contact me with the details of your intended use.

SINGER 4423 Heavy Duty Model Sewing Machine

SINGER 4423 Heavy Duty Model Sewing Machine

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Cool All Your Testing images

Some cool all your testing images:

Car Show Strobing with a Paul C Buff Einstein Strobe
all your testing
Image by Kᵉⁿ Lᵃⁿᵉ
For a higher resolution & COMPLETE video, check out this video on my YouTube page:

Equipment: DSLR, tripod, strobe, battery pack for strobe, strobe trigger, light modifier, boom arm, wireless camera trigger. Setup: I put my camera on a tripod. My camera has a strobe trigger in the hot shoe and a wireless camera receiver/trigger on the side of the camera. I’m using a single Einstein 640WS strobe which is attached to the end of my boom arm, this helps me to position the light over the vehicle and gives me the ability to stand away from the car as far as possible. I have a wireless camera trigger in my hand and away I shoot.
So most car shows that I have been to are during the worst part of the day…NOON, bright sunlight and usually no cloud coverage. But no problem ! I find a vehicle I really like, setup the tripod, secure my DLSR on the tripod and frame up my shot. I focus on something near the front of the vehicle, or close to the camera, when I nail the focus, then I switch autofocus to manual. The camera doesn’t need to re-focus for every shot, it’s already set one time. Camera settings are usually shutter ~1/250 sec (max flash sync speed, although I have gotten away with 1/320 without the shutter lag/black stripe in my image) the faster the shutter speed, the darker the ambient lighting, right ? So the background darkness is your preference. Aperture setting has to be quite lower then I want, and I set it at f/4 minimum. I haven’t tried f/8 or higher yet, so I’ll probably try some new things this weekend, i got a couple of car shows I’m going to here locally. It’s all about trying new things and learning what works and what doesn’t. Getting back to the shutter speed, we both know that 1/250 sec will not get the ambient dark enough (maybe that works for you ?), but to make things even darker I typically use a 3-stop ND filter to block even more light (I guess this give the appearance of shooting at night, things get really dark). You can screw in your 3-stop ND filter and still use auto focus on bright sunny days. I have even filter stacked a 2-stop ND filter on top of my 3-stop ND filter, but lately I just stick to the 3-stop since it gives me favorable results, but you can try it out on your own and see if it’s something you like. Your couple of shots will be "test shots" and you’ll have to adjust flash power your your aperture from blowing the highlights out. You are going to take quite a few shots of the car, because your light modifier will not cover large areas, I usually have the strobe anywhere from 4 to 6 feet away on average, but I’m still new at this and getting a better "feel" of where things need to be in my setup/process. The more images you take, then the better your post-processing will be as you will have more choices in lighting to blend. It’s funny, my car strobing started with strobing flowers and statues, but I was curious one day about strobing a car and how it would turn out, unfortunately I used my off camera flash and softbox and found out that it was not enough flash power and that the softbox diffuser had actually reduce my light power by 1-stop. It’s all trial and error. Practice, practice, practice ! Learn and try new things.

Other thoughts and additional remarks (things I’m learning along the way):
My first few shots are actually without the flash on. I shoot 2 frames at 1/250s & 1/320s. One of these frames will serve as the "base image" or bottom layer in Photoshop. Just make sure that no person is standing in the background, if you can help it. It should be a clean shot with nothing moving in the background, but sometimes you can’t help it. This image will help set the tone for the ambient lighting level.
It’s sometimes OK if people are walking around the car, just as long as they don’t get between the camera and the area of the car you’re lighting. I always expect people and have had people walk right in front of my camera as I’m shooting. They have no idea what I’m doing and if there’s no one behind the camera, then they think you’re not taking pictures. Just expect that to happen, after all, it’s a car show with lots of people.
In addition to lighting the car, I find it adds more appeal to the image if you light up the asphalt or grass around the car and especially at the corners of the vehicle. I’m finding out that you can have a better image where the car naturally blends into the ground surface, otherwise you’ll end up with an image that looks badly vignetted.
You have to light up the interior of the vehicle, this really makes the image pop ! Just place your light right up to the window and fire away, and take several shots at different angles into the car. Shoot the interior of the car from both sides of the vehicle. It’s OK if you’re standing right at the window, just make sure your body doesn’t get between the camera and the interior.
It really helps to have an assistant help you out. By them standing at the tripod/camera, then most people will avoid walking into your shots, and they always have questions as to what I’m doing. Your assistant can show your portfolio to them to see the final images you’re trying to create. It absolutely baffles non-photographers of what images you can create it bright sunlight and using a strobe. Plus your assistant can help you carry equipment to the next car.
I found out that using the diffusion sock over my beauty dish was reducing my flash output, so I don’t use it.
Shoot the same spot of the vehicle but from different angles. This is because sometime you’ll find out that the light source shows up as a bright reflection of the surface of the car. You can use Photoshop "magic" to sometimes "erase" these unwanted reflections, but I’m still learning about how to eliminate or reduce this in the field.
The color of the car makes a big difference to flash output ! White cars tend to blow out easier, so lower the flash output. Black is impossible to show up at all, so I usually will think about doing a B&W image of it, especially if it has alot of chrome, Shows up good as a B&W image. You will find this out on your own.
Going back to the people and objects moving in the background…I found out recently with an image where there were people sitting behind the car and when I tried to bring in the lighted portion that I had ghosting come through, but I could fix it by making my brush size smaller with a higher hardness on the brush. Avoiding this situation all together is your call. I’m sure you’ll run into this problem at some point.
From Lightroom you’ll bring in all the images you want to stack in Photoshop by using the "edit in…edit images as layers in photoshop" selection. Once in Photoshop, all your images should be in one file, and then you should align the images by using edit…auto-align images.
Be aware of the sun ducking in and out of the clouds if the situation arises. Your light levels obviously won’t match from exposure to exposure. But I don’t think it’s a show stopper, you can adjust for that in post.
I haven’t tried shooting with a polarizer, not sure what it will do, but will try to see if it has any effect. Maybe it could eliminate or reduce the light from reflecting off the surface of the car ?

Here’s what I use:
1.) Nikon D800
2.) Nikkor 24-70 f/2.8 lens
2.) Really Right Stuff tripod
3.) Wireless camera trigger […]
4.) 3-stop B&W ND filter []
5.) Elinchrom Boom Arm []
6.) Einstein 640WS strobe
7.) CST-2 CyberSync Trigger
8.) Vagabond Mini Lithium battery pack (I actually have 4 of them now)
9.) 22" beauty dish (Paul C. Buff)
10.) Photoshop (any version)

Of course the real magic happens in Photoshop by bringing all the exposures together, but I’d have to show you or you might be able to check out some videos on YouTube on how to blend exposures together. I’ve posted some video links in my earlier images online.

Give it try and ask me anything along the way. I think it would be cool to help someone and actually see their automotive photography go to the "next level", for me photography is just a hobby so I don’t mind passing along information, so I don’t mind help a fellow photographer (and automotive photographer at that !) how I shoot and process my photos. It’s all about learning.

These videos may help:

Cool All Your Testing images

Some cool all your testing images:

J-2X Rocket Engine Last Test of 2011 (NASA, J-2X, 12/14/11)
all your testing
Image by NASA’s Marshall Space Flight Center
On Dec. 14, NASA engineers conducted their final J-2X engine test for 2011 — the 10th in a series — at the A-2 test stand at the Stennis Space Center. The upper stage engine is a key component of the Space Launch System, a new heavy-lift launch vehicle capable of missions beyond low-Earth orbit.

Read the NASA press release:

Image credit: NASA/SSC

More about the J-2X Engine Development:

There’s a Flickr photoset about the J-2X egnine development, if you’d like to know more:

These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights please visit:…

Mt. Spokane Pano
all your testing
Image by Philerooski
Sorry I haven’t been around to comment anyone’s stream much. I just haven’t been digging Flickr lately.

A couple days ago I turned 16. Woohoo! Now I just have to convince my parents that I need to take my driving test ASAP… For my birthday I got a new keyboard. It’s got a whole 88 keys and it’s a beast. If you turn it all the way up and play loudly on it, it blows your mind. Like it literally blows your mind and you have to take a 5 minute break just to recover from its awesomeness.

So this weekend I headed up to the cabin again. No snow, and the lake is in mid-melt. So there’s not much to do. I went to see the USA Cross Country Championships yesterday and that was very cool. A lot of Olympic runners were there and I got to see them dominate all the college kids. It was good stuff.

Grrr… Another controversial stitching job.

?? Do You Have a Herniated Disk: 3 Quick Tests You Can Try.

Are you wondering if you have a herniated disk? Famous Physical therapist’s Bob Schrupp and Brad Heineck show you three quick tests you can try. Other names for a herniated disk: slipped disk,
prolapsed disk, disk protrusion, collapsed disk, extruded disk, ruptured disk, sequestered disk, disk protrusion.

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Their book “Three Simple Steps To Treat Back Pain” is available on Kindle
Video Rating: / 5

Up Your Score: SAT, 2018-2019 Edition: The Underground Guide to Outsmarting “The Test”

Up Your Score: SAT, 2018-2019 Edition: The Underground Guide to Outsmarting “The Test”

Up Your Score: SAT, 2018-2019 Edition: The Underground Guide to Outsmarting

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A Psychic Figure

Check out these test yours images:

A Psychic Figure
test yours
Image by Tyne & Wear Archives & Museums
This mysterious collection of images have been discovered within the photographic collections of Tyne & Wear Archives & Museums.

Reference: TWCMS -H13098-73-7

The lantern slides are from a series titled ‘Psychic Photography From A New Angle’ and feature eerie images of the supposedly paranormal and unknown forces caught on camera.

Very little is known of the origins of this collection. The slides were designed to accompany a lecture by a Mr C.P. MacCarthy of 15 Wilkinson Street, Sheffield.

Mr MacCarthy produced the images under test conditions in 1934 in front of an invited committee at 76 Clarkehouse Road, Sheffield. He states the intention was to ‘demonstrate under test conditions Fake Psychic Photography’ to this committee.

Mr MacCarthy states his three reasons for this demonstration.

1.To prove the possibility of Fake under test conditions.
2.To show you cannot be too critical of such phenomena.
3.To indicate the increasing scope for fraud with the probability of genuine spirit photography.

Mr MacCarthy further guarantees ‘in the sum of five pounds, payable to any charitable institution, that no collusion exists, or has existed between myself and any other party in connection with this demonstration.’

Little is currently known of the Psychic demonstration. Who sat on the invited committee? Who was Mr MacCarthy? Why was he investigating Psychic Photography?

Can you help us with this information?

(Copyright) We’re happy for you to share these digital images within the spirit of The Commons. Please cite ‘Tyne & Wear Archives & Museums’ when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you’re unsure please email

Ares I-X at the Launch Pad (NASA, 10/27/09)
test yours
Image by NASA’s Marshall Space Flight Center
NASA’s Ares I-X rocket is seen on Launch Pad 39B at the Kennedy Space Center in Cape Canaveral, Fla., Monday, Oct. 26, 2009. The flight test of Ares I-X, scheduled for today, Oct. 27, 2009, will provide NASA with an early opportunity to test and prove flight characteristics, hardware, facilities and ground operations associated with the Ares I.

Image credit: NASA

More about Ares I-X:

p.s. You can see all of the Ares photos in the Ares Group in Flickr at: We’d love to have you as a member!

Study Tips 2016! How to Ace Your Tests/Midterms! | itsMariee

Study Tips 2016! How to Ace Your Tests/Midterms! | itsMariee

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Hey guys! 😀 it’s just about midterm season for me! My first one is in two days and I’m seriously not ready and I can already smell my failiures LOL. But anyway, today I’m showing you guys how I study for tests and some tips on aceing your tests!
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If you’re reading this, comment when your midterms start!
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RoboMonkey is a new generation testing device. It allows to automate all manual user interface testing for mobile devices (smartphones, tablets and wearables like smartwatch).

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– Multi-touch gestures: pinch, swipe, rotate and more
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– Performance comparison testing
– Image recognition

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J-2X Engine Test/Nozzle Extension Goes the Distance (NASA, J-2X, SLS, 07/13/12)

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J-2X Engine Test/Nozzle Extension Goes the Distance (NASA, J-2X, SLS, 07/13/12)
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Image by NASA’s Marshall Space Flight Center
NASA engineers conducted a 550-second test of the new J-2X rocket engine at Stennis Space Center in Mississippi on July 13. The J-2X engine will power the upper-stage of a planned two-stage Space Launch System, or SLS. The SLS will launch NASA’s Orion spacecraft and other payloads, and provide an entirely new capability for human exploration beyond low Earth orbit. Designed to be safe, affordable and flexible for crew and cargo missions, the SLS will continue America’s journey of discovery and exploration to destinations including nearby asteroids, Lagrange points, the moon and ultimately, Mars.

The test, conducted on the A-2 Test Stand, continued a series of firings to gather critical data for engine development. This was the first flight-duration test of the engine’s nozzle extension, a bell shaped device to increase engine performance.

Operators collected data about the nozzle extension’s performance in conditions that simulated heights up to 50,000 feet. Additionally, operators introduced different propellant pressures at startup to test how the engine reacted. The J-2X is being developed by Pratt & Whitney Rocketdyne for NASA’s Marshall Space Flight Center in Huntsville, Ala. It is the first liquid oxygen and liquid hydrogen rocket engine rated to carry humans into space to be developed in 40 years.

Credit: NASA/SSC

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More about the J-2X Engine Development:

There’s a Flickr photoset about the J-2X egnine development, if you’d like to know more:

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