View allAll Photos Tagged HandTool
Here is a tool that a fellow coworker let me borrow from his toolbox. This crate opener belonged to his father. He estimates that the tool is 60+ years old. He would like to find out more information about it. If anybody knows anything about this tool or the company, please contact me or leave a comment
Custom made box for my vintage neumann km84i, made from swetenia mahogoni, genuine old growth Brazilian mahogany, I used simple dovetails and polished the brass hinges and screws by hand.
Carving Axe. Robin Wood Edition.
Overall length: 365mm (14.3")
Blade length: 126mm (5")
Head height: 135mm (5.3")
Head weight: 500 grams (1.1 lbs)
Blade hardness: HRC 59.
Bohler K460 steel for the edge.
Elm handle. Cow hide leather sheath.
Title / Titre :
A worker uses a hammer to shape a ship's propeller at William Kennedy Foundries, Winnipeg, Manitoba /
À la fonderie William Kennedy de Winnipeg (Manitoba), un ouvrier façonne une hélice de navire avec un marteau
Creator(s) / Créateur(s) : Unknown / Inconnu
Date(s) : 1943
Reference No. / Numéro de référence : ITEM 3196885, 3626074
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3196...
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3626...
Location / Lieu : Winnipeg, Manitoba, Canada
Credit / Mention de source :
National Film Board. Still Photography Division. Library and Archives Canada, e000761672 /
Office national du film du Canada. Service de la photographie. Bibliothèque et Archives Canada, e000761672
Nothing on reverse.
A splendid photograph of men from Kgl. Sächs. Reserve-Infanterie-Regiment Nr. 102, the majority in fatigues, with m1909 pick-hatchets (Beilpicke), 1898 spades and a variety of other handtools.
The presence of so many tools initially caused me to believe that the men may have been from a pioneer battalion.
Keep Wales Tidy Received funding from Postcode Local Trust to help 2 schools to improve their school grounds for Biodiversity and for educational purposes. These pictures are about the part with Maendy Primary School in Cwmbran, Torfaen. This was planned and delivered by Chris Partridge and Thom Board.
The school were interested in having an orchard, some more wildflowers and they wanted access to their overgrown made safe by replacing the rotted fence. They were interested in building a SuDS platform which was based around their 0 and x's board we made the previous year, but they wanted to have a chessboard and this could be in a dark and very wet unused area of their school grounds near to the forest schools area and pond. We only do these types of activities with schools if the children are fully behind the planning and building of these so they have maximum ownership of everything.
We started with the pond fence, removal was too much for the children, so staff organised a parent's day. This was lovely seeing so many parents join in with their children and grandchildren to take down the fence, stack it carefully and then put in the new one. The old one was made of good sized wood but the ground is so wet that it had rotten away in around 10-12 years. The new fence is guaranteed for 20 years and expected to last 30-45.
Thom then planted some bluebells, snowdrops and wood anemone in and around the log circle area, while a start was made on the frame for the chessboard. The children had to measure the area of the plastic paving and see if the sleepers could fit around it. They then had to measure 2 of the sleepers, which were cut in half. These were then all placed in a square and the children screwed all of the frames together using a variety of cordless handtools. Over a few Thursdays, the children then filled up the insides of the frame with a sub-base by hand using wheelbarrows they assembled themselves. This was then leveled off. A group them marked on the sleepers the edge boundaries of the inner plastic chessboard, so that the chessboard would be in the center of the frame. A thin layer of stone was added to the sub-base and raked flat. The frame was then added onto the stones in the right place. Over 2 sessions, white and black stones were carefully added to each grid alternatively to give the chessboard effect. This was compacted down and on the last session all of the giant chess pieces were filled with stone, sealed and placed on the board for the final group of 8 pupil's had the privilege of the School's first game of chess. Lunchtime came and it ended in a draw. It was really lovely on the final session for the whole class to come out and see what they had all contributed to. It was very easy to see how proud everyone was of this achievement. It could have been done in 2-3 days with contractors and machines, but where's the fun and ownership in that? Mr. Morgan promised that when the weather improves, he'll teach them all how to play chess.
The School's Eco-Committee were given a list of fruit trees from us via the local Garden Centre and they selected 12 of them. These were purchased and delivered and on one Thursday, Thom and some of the pupils planted the orchard at the far end of the school with some peat free compost and nutrients to help them to grow.
The rain just didn't seem to lessen and we delayed and delayed the wildflower seed sowing. We decided that it would be best for Thom to do this part himself to limit the amount of damage to the adjacent grass which which be made by a load of children (see pond fence pics).
The school have a whole load of exciting books and equipment which will help them to explore, monitor and look after all the biodiversity improvements. All of this is thanks to the Postcode Local Trust and players of the Postcode Lottery.
3 models of our Scandi Brother Damascus knives in Damascus steel version with 3.9", 5" and 6.3" blade length. Lapland curly birch handle. Cow hide leather sheath.
Carving Axe. Robin Wood Edition.
Overall length: 365mm (14.3")
Blade length: 126mm (5")
Head height: 135mm (5.3")
Head weight: 500 grams (1.1 lbs)
Blade hardness: HRC 59.
Bohler K460 steel for the edge.
Elm handle. Cow hide leather sheath.
It has become increasingly difficult for me to pick up good, solid metal hand planes. They seem to have vanished from the face of the earth.
So I was happy when this one appeared. It is a Type 19 Stanley no 4. Not the hottest plane on the planet but made during times when Stanley was still trying to put some effort into handtools. It is well made with even castings, the rosewood handles have survived without scars and the japanning is still about 90 percent. And although the cutter has been sharpened a few times there's still plenty of meat in it.
The British Broadcasting Corporation (BBC) asked the Boat School to build three traditionally-built Whitehalls as replicas of the boats used by John Wesley Powell and his group of explorers during their first-ever descent of the Colorado River in 1869. The BBC will film a reenactment of the voyage later in 2013.
Students at the School are building one 16-foot Whitehall, the "Scout Boat", and two 21-foot Whitehalls. Though Powell launched four Whitehalls onto the river in 1869, one, the 21-foot "No Name", was lost to the river shortly after the descent began.
The white oak from which the boats are constructed was supplied by Newport Nautical Timbers www.newportnauticaltimbers.com/ . The 16-foot boat will be planked in larch from eastern Washington, which is as close as it is possible to come to the original white pine planking used on that boat.
Whitehalls are the iconic American pulling boat.
They emerged in New York City and, possibly, shortly thereafter in Boston in the 1830's. It is thought the name derives from Whitehall Street in New York City, though no one is sure. By the mid-19th century, they could be found anywhere there was a sizeable body of water - the East Coast, the Great Lakes, and the Pacific Coast at San Francisco all boasted boatbuilders turning out Whitehalls.
The boats were usually used under oars and occasionally sail as fast harbor ferries and the boat used to take harbor pilots out to meet inbound sailing ships. They have a fine reputation as fast, easy-rowing vessels that are capable of carrying a great deal of weight.
Nearly all Whitehalls were carvel-built with white cedar planking on an oak backbone with oak frames. (Carvel planking means that the planks butted up against each other, edge to edge, which results in a smooth hull). The finer boats were highlighted with a bright sheer plank (the top plank) varnished to catch one's eye.
There is surprisingly little known about the boats used by the 1869 Powell Expedition, the first to descend the Grand Canyon of the Colorado River. We do know that the Powell Expedition boats were built in Chicago IL to Powell's specifications.
It's known that the EMMA DEAN, or the "Scout Boat" as Powell called it was 16 feet long and planked in white pine, that the other boats (MAID OF THE CANON, KITTY CLYDE's SISTER and NO NAME) were 21 feet long and planked in white oak with twice the number of frames and doubled stems and stern posts. (NO NAME was lost to the river shortly after Powell began the descent, though her crew survived).
There are no complete descriptions of the boats themselves, no pictures, and only a few scattered references made to the boats in the surviving journals and records of the Expedition.
The three boats we are building for the BBC are being constructed to the best information available, using the general scantlings provided by John Gardner's historical work, extent plans, our significant experience in building Whitehalls over our 32 years, and the historical data available to us.
The boats will be completed by mid-July, 2013.
The Northwest School of Wooden Boatbuilding is located in Port Hadlock WA and is an accredited, non-profit vocational school. You can find us on the web at www.nwboatschool.org .
Our mission is to teach and preserve the fine art of wooden boatbuilding and traditional maritime crafts.
We build both commissioned and speculative boats for sale while teaching students boatbuilding the skills they need to work in the marine trades. If you're interested in our building a boat for you, please feel free to give us a call.
You can reach us via e-mail at info@nwboatschool.org or by calling us at 360-385-4948.
The business of yacht building
In the beginning the Fairlie yard was very simply laid out. Construction work took place out in the open close to the shoreline with only a blacksmiths forge nearby. Later, two small sheds were added to the layout with one used for storage and carpentry whilst the other probably contained the yard’s steam box. The steam box was an important piece of equipment in the boatbuilding yard and was used to steam wooden planks so they could be bent into the correct shape.
Most of the work was carried out with handtools such as adzes, axes, planes, saws and augers, and if one of the tools failed to do a job then the men simply used their skills to make a tool that would!
Expansion of the yard progressed slowly as more buildings were added, but most changes occurred under the guidance of William Fife (III) who introduced mechanised tools into the yard.
Image courtesy of “Fairlie Past and Present”
updated Feb 2025
Top one is a Iver Johnson 5 1/2 in. Made in U.S.A. They made bicycles from 1900 to 1940. They made motorcycles from 1907 to 1915. Next one is a Instant Grip,7 1/4 in. made in Western Germany.
Carving Axe. Robin Wood Edition.
Overall length: 365mm (14.3")
Blade length: 126mm (5")
Head height: 135mm (5.3")
Head weight: 500 grams (1.1 lbs)
Blade hardness: HRC 59.
Bohler K460 steel for the edge.
Elm handle. Cow hide leather sheath.
the pins are in position, now I am just waiting for more purpleheart to arrive for the cross pin and wedge. for more detailed info and updates follow me on instagram at www.instagram.com/tyremanwoodworks/
Best known for his innovative, award-winning 2005 short Uso Justo, Coleman Miller has been making films and videos for over 25 years utilizing a variety of techniques including found footage, collage, and various mash-up experimentation based on whatever tools he’s had at his disposal. We are happy to present this long-overdue overview of Miller’s work.
“It always starts with Play. Especially working with found footage – it’s like being a five year old in a brand new sandbox. Or playing with blocks. You start mixing and matching things… just to see. Then maybe a leaf blows into the sandbox and you incorporate that. Soon you have a foundation and it all flows from there. The hardest part is getting up from the sandbox and saying ‘Done’. But really, any sandbox will do.” – Coleman Miller
“Coleman Miller is destined for admiration and great poverty.” - Isabella Rossellini
Program runtime is approximately 68 minutes – Surprise unannounced works possible
Step Off A Ten-Foot Platform With Your Clothes On, by Coleman Miller
USA, 1990, 7 minutes, 16 mm
While working as a printer in a film lab in San Francisco Miller, was able to use equipment most filmmakers didn’t even know existed. Obtaining special use of a continuous contact printer, which he used every day, was particularly inspiring. By manipulating found footage he was able to create a body of work that turned the medium of film back around on itself. Miller was able to invent many new printing techniques, which he continues to incorporate today. During these years, the film lab became a ten-year festival of experimentation and from it came the most consistent additions to his body of work.
In Step Off A Ten Foot Platform With Your Clothes On, Miller expounds his foray into found and experimental film by compiling which had been, until Uso Justo, his most successful and critically acclaimed work. Produced while Miller was still working for a San Francisco based film printer, once again we see Miller playing with materials directly available to him. During this time time, he was turning film around on itself in a purely visual way – showing the sprocketholes, edge numbers, dirt and frame lines, etc. Again we’ll see the use of contrapuntal sound in order to punctuate dramatic and often playful images. Miller also takes the time to examine what lies in between or, more appropriately, just hidden aspects of film. Long stretches of dirty black or white leader touched with color, usually an annoyance to the traditional viewer, display an entertaining dance of schmutz that is allowed to take the focus. Platform briefly introduces it’s visual styles and slowly allows them to progress into a spirited visual mash-up of his techniques. Ordinary images sifted thru Miller’s mental machine, like the little dog in the film, yanked to unreasonable visual extremes.Platform would go on to win numerous festival awards, be screened at the 1991 Sundance Film Festival, and become culled material for commercial exhibitions such as the 1992 MTV Music Video Awards and the opening title sequences for MTV’s 1991 television show The Big Picture.
Fixated Whereabouts by Coleman Miller
USA, 1983, 5 minutes, 16 mm
Deeply inspired by Bruce Conner’s Take The 5:10 To Dreamland, Miller’s initial dabbling into filmmaking shows natural mastery of his available tools. Shot simply with a super 8 camera, Miller’s exercises began to define the directions of his current work. What, upon first glance, appears to be the tired student project that pervade the novice class of experimental film, a deeper inspection reveals Miller’s creation of a bizarre and surreal world just around the corner from your house. Contrapuntal sound reverses commonly seen images, and simple experimental devices distract the viewer into provocative thought. San Francisco’s skyline watched out a window appeals to a strange unfulfilled longing, so it shouldn’t surprise the reader that the scene is shot from a postcard found in Miller’s hotel, years before he ever took up residence there. Please note the first display of existential angst. Every ordinary event, every car-ride or ballgame take on an otherworldly effect. An escalator, found sound, a mirror… all objects often overlooked, suddenly presented turned on their own ear. Fixated Whereabouts means what it suggests as Miller’s universe stops at a place, records what it sees, interprets the material with a clash of the surreal, and then punctuates with moments of fright and wonder.
Motion Pictures by Coleman Miller
USA, 1996, 4 minutes, 16 mm
In Miller’s most abrupt work- Motion Pictures – he begins pursuit of new layering techniques with found and manipulated materials. Produced at Monaco Lab.
Minneapolis/St. Paul International Film Festival Trailer 1997
The Bony Orbit by Coleman Miller
digital projection, USA 2010, 2 minutes, digital projection
The dry narration of an educational film brings forth surprising results as a couple surrenders to love.
What Gives by Coleman Miller
USA, 1994, 2 minutes, digital projection
The larf of What Gives introduces Miller’s playfulness, foreshadowing a common theme throughout the future of Miller’s work. Surreal, experimental slapstick executed to perfection. Again produced at Monaco Lab, with materials and tools at his disposal.
Kirk, we hardly knew ya by Coleman Miller
USA, 1999, 12 minutes, 16 mm
Produced as an installation piece, ‘Kirk’ is the most basic of Miller’s work, never intended to be screened beyond that environment. But as we watch it today, the subject matter retains relevance. The pressures of business and technology barked out by the enigmatic Shatner, transposed with the inane pursuits of a culture that can’t understand why it should be bombed. Miller’s statement, though simple and cheaply produced, retains its’ humor in the light of such damning circumstance.
Take The L by Coleman Miller
USA, 2006, 3 minutes, digital projection
Using his 8 year-old, consumer level 1-chip digital video camera, Miller dials in the controls to capture a frighteningly sharp commuter train trip. Using a technique available to almost any beginner level FCP user, he transcends the viewer into a widely familiar but deeply disorienting and hypnotic landscape. In watching the center, the viewer can only imagine the thrilling moment when, as a child, they first held a kaleidoscope up to the light. But looking out toward the edges, Take The L will subtly reveal it’s common subject matter and remind the viewer of its’ reality. Once again Miller takes the most mundane of activities and develops it into an explosion of kaleidoscopic visual beauty and playfulness. Miller once again delivers stimulating execution of the most basic technique driven to its’ edges.
Heaven by Coleman Miller
USA, 2007, 3 minutes, digital video
Jon Nelson asked me to add some visuals to one of his audio mix cuts for a show in Minneapolis. I chose the one with Steve Martin talking about heaven. Of the two of those i really believe in Steve Martin.
Uso Justo by Coleman Miller
USA, 2005, 22 minutes, digital projection
Miller’s first narrative creation is like nothing you have seen before. Or since. Uso Justo (roughly translated: “Fair Use”) is restructured completely from an obscure 1959 Mexican film. Miller reaches deep into this black and white melodrama with both hands and turns it inside out. When an experimental filmmaker arrives to shoot his next film in the fictional town of Uso Justo, things start getting strange. The townsfolk are both thrilled and confused by the sudden arrival of this mysterious artist. As the invisible filmmaker pulls the strings, the unfolding story proves to be existential and hilarious, intelligent and stupid.
View Excerpt
”A laff a minute” -Bruce Conner
“Uso Justo is the most hilarious and mesmerizing film I have seen in years.” – Jonathan Caouette (Tarnation)
”Uso Justo is BRILLIANT!!! Fantastic! genius! Wonderful! marvelous! Fuckin’ Brilliant!!!” – Craig Baldwin (Sonic Outlaws, Tribulation 99)
Frank and Paula by Coleman Miller
USA, 2009, 4 minutes, digital projection
The 1950 film noir classic D.O.A. is apparently in the public domain. Somebody hand me my e-scissors.
Hands Motherloade by Coleman Miller
USA, 2002, 4 minutes, digital projection
I put this together when my computer was acting like shit and crashing frequently. Coincidentally this was right after i had gone to my grandfather’s house and picked up a bunch of old metal sections of heating pipes, elbow joints, washer’s, nut’s, bolts, handtools, etc. So when the computer would crash i would go out on the back porch to my buckets of metal and try twisting up some sculpture. And i began to realize how much I liked working with my hands again. It was such a breath of fresh air – much better i thought than staring at a monitor. At the same time i would be watching and rewatching old 16mm educational films and noticing how almost every one of these had a close shot of hands.
The human hand. What a great tool. And taken for granted.
Coleman Miller (Creator/Writer/Director/Producer/Editor) has been making films for over 20 years. His films have won numerous awards on the festival circuit and his film Step Off a Ten Foot Platform With Your Clothes On screened at Sundance in 1991. He received his bachelor’s degree in film production from Southern Illinois University in 1983. He was recently awarded the 2005 IFP-MSP/McKnight Artist Fellowship for Filmmakers, received a Jerome Media Grant in 2001 and a Film Arts Foundation Grant in 1990.
www.instagram.com/blackzeddie/
Model: Gabriella Wisdom @lil_bit_of_wisdom
Organizers: @portrait.shooters @mpbcom
$25 for all
skew chisel for the lathe
3/4" bench chisel
1/4" socket chisel
wing dividers
Ward's Master rabbet/fillister plane (with fence, but missing the depth stop)