Operational History
The F28-1000 prototype, registered PH-JHG, first flew on May 9, 1967 (exactly one month later than the famous Boeing 737). German certification was achieved on February 24, 1969. The first order was from German airline LTU, but the first revenue-earning flight was by Braathens on March 28, 1969 who operated five F28s.
The F28 with an extended fuselage was named F28-2000 and could seat up to 79 passengers instead of the 65 seats on the F28-1000. The prototype for this model was a converted F28-1000 prototype, and first flew on April 28, 1971. The models F28-6000 and F28-5000 were modified F28-2000 and F28-1000 respectively, with slats, greater wingspan, and more powerful and quieter engines as the main features. The F28-6000 and F28-5000 were not a commercial success; only two F28-6000 and no F28-5000 were built. After being used by Fokker for a time, the F28-6000 were sold to Air Mauritanie, but not before they were converted to F28-2000s.
The most successful F28 was the F28-4000, which debuted on October 20, 1976 with one of the world's largest Fokker operators, Linjeflyg. This version was powered by quieter Spey 555-15H engines, and had an increased seating capacity (up to 85 passengers), a larger wingspan with reinforced wings, a new cockpit and a new "wide-look" interior featuring enclosed overhead lockers and a less 'tubular' look. The F28-3000, the successor to the F28-1000, featured the same improvements as the F28-4000.
F28s of Ansett Transport Industries' Western Australian intrastate airline, MacRobertson Miller Airlines of Western Australia, flew the longest non-stop F28 route in the world, from Perth to Kununurra, in Western Australia - a distance of about 2,240 km (1,392 mi). MMA'a F28s also had the highest utilisation rates at the time, flying over 8 hours per day.
By the time production ended in 1987, 241 airframes had been built.
Read more about this topic: Fokker F28 Fellowship
Famous quotes containing the word history:
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)