View allAll Photos Tagged RESTORING
BAe Jetstream 31 G BLKP at the South Wales Air Museum St Athan (EGDX) south Wales, reconstructed by the SWAM volunteers after arriving by road in 2019, built in 1984 at Prestwick and briefly in service with Netherlines also a trainer at Macclesfield College.
The restored 'Red Rattler' 4 car F1 (C3426, T4527, C3218, C7396) set passing through Rosehill this morning... The Carlingford Line has 1 in 37 gradient between Dundas and Carlingford, and 1 in 39 from Rydalmere to Dundas, so its was well worth testing the new traction motors on this line!
Rumour has it, 9th June, there will be a tour up and over the Harbour Bridge!!
The 1904 C&O railroad depot, restored by the National Park Service in 1995 and used as a seasonal visitor center, is the first part of Thurmond seen when crossing the New River into town; the road from Glen Jean, Fayette County Road 2512, passes to the left of the CSX railroad spur, outside the overhead superstructure of the bridge on the right. Thurmond's commercial district (preceding photo) and site of the former engine house and coaling station are out of sight to the righthand side of this photo (left turn coming off the bridge). The depot replaced the original 1891 depot, which burned in 1899, and the 1915 bridge replaced the 1889 bridge, which was washed away by the 1908 flood.
Thurmond is an old railroad town at the bottom of the gorge. It was a boom town a century ago, when West Virginia coal was in great demand and coal fueled the trains that hauled the coal out of the mines. Thurmond is now part of the New River Gorge National River. The National Park Service (NPS) renovated the old train depot in 1995 for use as a seasonal visitor center, and in 2003 it began efforts to stabilize and preserve remaining buildings of the commercial district, pending eventual restoration or renovation. Declining use of Eastern coal, railroads' move to diesel from steam, and the Great Depression all contributed to Thurmond's decline.
According to an NPS leaflet on Thurmond, "During the first two decades of the 1900s, Thurmond was a classic boomtown. With the huge amounts of coal brought in from area mines, it had the largest revenue on the Chesapeake & Ohio Railway . . . [and] Thurmond's banks were the richest in the state. Fifteen passenger trains a day came through town -- its depot serving as many as 95,000 passengers a year. . . . With the advent of diesel locomotives, and less coal coming in from local mines, the town began a steady decline. The many businesses closed down, and most residents moved on. Today, the town of Thurmond remains surprisingly untouched by modern development. It is a link to our past, and a town with many stories to tell."
Other information on Thurmond found on line shows that its population was about 500 in 1930, while the 2010 census shows just 5 residents (down from 7 in 2000). For many years, the only way into Thurmond was by train, as the road to the town was not completed until 1921. The town of Thurmond is a National Register of Historic Places historic district, added to the register in 1984 (#84003520). A fire destroyed one of the town's two hotels in 1930, and in 1931 the National Bank of Thurmond failed. A more complete chronology of Thurmond's rise and decline, also from NPS, includes a map of the town and identification of several buildings.
Ruth Ann and I visited there Monday evening with friend Randall Sanger. Along with Mill Creek Falls (two photos back), Thurmond is another of the New River Gorge sites that we saw on Monday, for the first time, thanks to Randy. Unhappily, part of the Thurmond name on the depot is blocked by the semaphore tower because I positioned myself so that the car parked at end of the depot was screened by the fence.
Craft School, The Hague - Scheveningen, NL, designed by J. Duiker in 1930-1931. Restored in 1998 to a multi-company building with 22 units.
Technical school, formerly the Third Craft School, consisting of rectangular staggered building masses of three storey's, partly basement, under flat roofs. The ideas of the Nieuwe Zakelijkheid or Modernism, break the concept of the closed façade wall and create a completely new architecture with large glass surfaces where inner and outer space penetrate each other. The wall surfaces to be completed are closed where necessary to heights that are functionally determined in relation to the activities behind the façade.
The carrying frame is made of reinforced concrete. The façades consist of, among other things, cavity walls. The outer leaf is poured concrete on the spot and the inner leaf is made of floating stone. The skeleton and inner and outer walls have been plastered; the different materials, textures and seams, are this stucco layer is made into a continuous skin. The plinth around the building is dark and changes in height. Clarity and practical room layout determine the interior with centrally located stairwell and continuous corridors with on either side at right angles or parallel to them classrooms. The toilets are projected with each classroom. The wardrobe and the bicycle parking are central and can be checked from the porter's lodge.
The building has 21 classrooms; the local dimensions form the basis for the measurement method (a column distance of 8 x 8 meters) of the design. The dimensions are of three types: 8x8, 8x13 and 8x16 meters. The concrete skeleton allows the placement of large glass surfaces. The classrooms and other rooms receive their light via steel windows with horizontal rod distribution with narrow profiles and steel façades with glass on the corridor sides. The arrival of light in the hall is achieved through large areas of glass building blocks.
The school building was very much in line with the modern ideas of upbringing and well-being from that time, which were strongly oriented towards health and hygiene. An open floor plan with large glass surfaces where light and air can penetrate to a large extent translate these ideals into architecture. Cultural-historical significance as a school building that expresses in its design the modern views on upbringing and well-being in the thirties. Architecturally important as a representative and rare example of a school building in the style of the Nieuwe Zakelijkheid or Modernism.
From the original photo "August 1976 - camera club 3" © Suzanne R, JWFotos 1976, 2023.
Suzanne and Johnny have kindly allowed me to apply some restoration to several of their brilliant photos from the 1970s and since. I thought this would be an interesting example of what can be done using simple (non-AI) tools in PhotoShop to bring out more detail than can be seen in the original.
Having spent some time studying digital signal processing I know that no passive filter can increase the information in an image but it is quite possible to make detail information more visible using the right process, in this case the sharpening filter called "unsharp mask", or more correctly "partial negative unsharp mask" which is based on the Fourier spectrum of spatial frequency, a precise measure of detail. With this the detail amplified is everything smaller than the pixel-size chosen. This is based on the finest detail that is adequately visible in the original. But this mainly enhances detail about half that size, which may still look obviously unsharp. So you can repeat the process choosing half that size, and again until you get down to around 1 pixel – and at each stage more and more detail becomes clear. Unfortunately grain, dust and scratches are also "enhanced" so this limits how strong you set the filter each time, and you usually have to do some "cleaning up" afterwards. The process is actually pretty quick but it takes a bit of trial and error to get the settings right and you often have to back-track if you find it producing negative fringes around hard edges or too much grain pattern.
PS, if anyone would like to find out more, from later this summer I am starting to arrange residential courses on apects of photo taking and processing in SW England and the Charente region of France.
The building was probably constructed during the 5th century. It was burned during the fire of Fustat during the reign of Marwan II around 750. It was then restored during the 8th century, and has been rebuilt and restored constantly since medieval times
Taken @Cairo, Egypt
The restored Pears Mill (circa 1857), photographed here on a bright April morning, is a source of community pride and a contributing property in the Downtown Buchanan Historic District.
These two nice FG's are seen here at Shore Road, Birkenhead, while on display at the Wirral Bus & Tram Show, on 06/10/2019. Nearest the camera is FMD988B, a Morris FG, first registered in 02/1964 while on the right is AAO253A, an Austin FGK40, first registered in 11/1963. The latter was bought from auction in 2018. © Peter Steel 2019.
Since fully restored!
This very rotten wreck is a genuine, all-original 1965 Austin Mini Cooper S 1275 W/ standard fuel tank, black plate Yorkshire registration “DPY 160C”, in an original shade of corroded “Surf Blue” W/ white roof. I took this picture in-person back in October 2018, and was present in December that year at a very well-attended auction at the famous Mathewson’s classic car auctions at Thornton-Le-Dale, Ryedale, North Yorkshire, U.K. My friend bought a 1962 Anglia 105E Deluxe at auction that day. The Mini was initially expected to fetch around £3K-£5K, at least under £10K, but sold for a staggering £18,000 at auction, the winning bidder being Mr. Peter Watchman - a classic Mini enthusiast from Sunderland. The car is a genuine “Barn Find”, as it was parked stashed with old glass bottles and junk inside a moldy 1930s garage in the nearby North Yorkshire town of Stokesley for over 40 years. The Mini was featured on the popular series “Bangers And Cash” and caused quite a stir among MK1 Mini enthusiasts online.
This vehicle was in an extremely rough shape of disrepair. As evidenced by this picture, and shots from the show. There were lots and lots of seriously rusted patches of sheet metal and even worse deep rot on practically every angle of the car. Despite this, the new owner and his team of talented restorers decided to salvage as many rebuildable pieces as possible and even managed to bravely save the original bodyshell, rather than source a replacement. As many original parts as possible were restored and reused.
The Mini was in such a dreadful state to begin with, in fact it - seeing the car up-close in person while taking this picture made me think that anyone willing to buy it would probably only either use it as an original spares donor (mostly for the dashboard, glass, stainless trim pieces and reference points), or maybe even just display it in its given condition as some sort of macabre museum display piece. However, the result of over at least three years of hard work and considerable expense all put into this car resulted in an immaculate, spectacular, and gorgeous complete painstaking restoration. In fact, this is one of the very best restorations I have seen, given the “before” and “after” comparisons. Massive credit and respect for Mr. Watchman and his team of dedicated restorers and family! Peter not only has successfully and faithfully preserved a rare and interesting classic, but also regularly drives the car to shows and classic Mini meets, giving people the opportunity to see this incredible rebuild up-close! The logbook was reissued in January 2023, so the car might belong to someone else now. I’d love to know how much it sold for!
This car, considering just how rough it was, as seen in this photo and others, when compared to the perfect, complete brave restoration it received, proves that even the roughest cars can still be restored, albeit with considerable hours of hard labour and expense. Arguably, nothing isn’t “completely unsalvageable”.
Official video here, featuring in-progress stages of the restoration: www.youtube.com/watch?v=Nd52UGNwRFg
The buildings and headstocks at Pleasley Pit are being restored.
This is the top of the North Headstock, repaired, painted and revealed to the public. The other headstock and buildings are still sheeted over in their shame.
I took the shot from the same level on the spoil heap.
Areas of Sherwood Forest are visible in the distance to the East
Pleasley Pit was a coal mine, sunk in 1871, and closed in 1983
The mine shaft is vertically down, about half a mile and had man-rider and coal cages suspended on steel ropes over the wheels in the photo. The shaft is now capped with concrete.
Inside the buildings is a huge steam engine to wind the cages up and down.
The steam engine has been undergoing restoration by enthusiasts for over 10 years now.
For 20 years, I lived in the weigh-bridge cottage which was built in 1879 to serve customers taking coal by horse and cart. Later a rail service was introduced, the cottage was used by the groundsman for the sports facilities before becoming privately owned in the 1970's.
The railway line is now a nature trail and the spoil heap and surrounding areas is a country park, with a 7 acre pond, plus other small ponds for dragonflies. About 75,000 native trees have been planted on site to develop wildlife.
You will understand that I am close to this place :-)
Many of my nature photos have been taken on the site
This link takes you to the Pleasley Pit website
Restored by Historic helicopters. Duxford Battle of Britain display 2021. Pentax K-S2, HD Pentax DA 55-300 4.5- 6.3 PLM WR RE.
Janis Joplin's original 1965 356 Cabriolet Porsche with restored psychedelic paint. Photographed in 2010, Marin County, Ca. More
The wonderful sign on Euclid Avenue in Anaheim has been repainted !!
Anaheim, California, USA
Photograph by Jeffrey Bass -- All Rights Reserved
image made up of thin pieces of cardboard layered in different heights, reminiscent of a pop-up book.
a recent piece i made for an upcoming show
contact www.carmichaelgallery.com for details
Detail of the upper half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
A substantial amount however still remained until it was unfortunately 'restored' in 1860 by Chance Bros of Smethwick, whose approach was to substitute all the surviving glass in the upper half of the window with a carefully created replica. It is clear that the design is a faithful copy of what was there originally, but none of the surviving material was reused, parts of it being secretly kept by the studio and probably sold (some elements have resurfaced much more recently).
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Former N&W caboose wearing a fresh coat of paint displayed outside Norfolk Southern's training facility in McDonough, GA.
Taken at Retrospective Scooters www.retrospectivescooters.com January 2012
a whole A5 (15x21cm) format sheet with vinil stickers in different kinds, also a huge set of miniapples, everything in an alcool resistent finished print (it won't fade away).
*now with VAG ROUNDED font
(this is not an original apple® inc. product and I'm not affiliated with apple® inc. in any way, it's just a friendly merchandise to restore your "apple key")
a whole A5 (15x21cm) format sheet with vinil stickers in different kinds, also a huge set of miniapples, everything in an alcool resistent finished print (it won't fade away).
*now with VAG ROUNDED font
(this is not an original apple® inc. product and I'm not affiliated with apple® inc. in any way, it's just a friendly merchandise to restore your "apple key")
Beautifully restored Oval window Volkswagen Beetle.
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Website | www.ericarnoldphotography.com
Snapped at the open day held at Swindon Works on Saturday 13th September 1975, Class 42 "Warship" diesel-hydraulic no. D818 GLORY had been repainted especially for the event. Somewhere just off camera was its close relative, D1062 WESTERN COURIER. "Courier" went on to be preserved ...not that I necessarily think this a happy outcome... but I believe I read somewhere on Flickr that D818 was cut up.
I liked the Warships. It was all in the "droopy" windscreens and the subtle contouring of the "nose". There was a definite convexity, yet, if you look at the left-hand front edge it is almost a straight line ...but not quite. The antecedents of the class are plain to anyone familiar with contemporary German locomotives. Of course, when they were a common sight throughout the Western Region I took no notice of them. My heart was with steam in those days ...still is really... and I regarded diesels as contemptible. Yet the Western Region diesel-hydraulics stood out as thoroughbreds among the carthorses of lesser BR regions. Once again, as with steam locomotives, I sat up and took notice just as they vanished. I last saw one working on Thursday 16th March 1972.
Detail of the upper half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
A substantial amount however still remained until it was unfortunately 'restored' in 1860 by Chance Bros of Smethwick, whose approach was to substitute all the surviving glass in the upper half of the window with a carefully created replica. It is clear that the design is a faithful copy of what was there originally, but none of the surviving material was reused, parts of it being secretly kept by the studio and probably sold (some elements have resurfaced much more recently).
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.