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View to the 22" stamps engine house.
For more photographs of Okel Tor Mine, please click here: www.jhluxton.com/Industrial-Archaeology/Mines-of-Devon-Co...
The earliest records of mining at Okel Tor date from the 1840s when the Okel Tor Silver, Lead & Copper Mine Co. was formed. At its peak 200 people worked here including women and children, though it was only the older boys that went underground.
The fortunes of the mine ebbed and flowed and when the price of tin and copper fell it was arsenic that became the most valuable product. Closure eventually came in the late 1880s and the mine was abandoned. It was some years before the machinery was removed and then a slow, steady decline as nature reclaimed the site.
In 1999 English Heritage (now Historic England) scheduled Okel Tor Mine as an Ancient Monument and, a few years later, UNESCO designated it as a World Heritage Site.
Since then some of the more important structures have been repaired to prevent further decay and an ongoing management plan will help preserve it for future generations.
The mine smithy and count house have been restored as holiday lets.
I do this work from time to time for seniors who want their valuable photos digitized and restored for postairity.
See how yellowed the background is on the bird fabric on the upper left? And see how vastly improved the bottom one is? Even the other colors are brighter! I soaked it overnight in a solution of Retro Clean. I'm so in love with this product!
Nice combination of old and newer equipment on the Scot. Note the cut-down crossed flags head badge and Campagnolo Mk.II Super Record rear derailleur.
Nineteen Seventy Five Restored - 3 (of 22) - Epson V500 - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.es on Vancouver Island, where he works as a writer.
She looks way better then yesterday. I have tons of these purple dresses, but none of them have the sparkly skirt thing, or the head band. So naturally being me, who thinks she needs them(lol) made her temporary ones until I find some:) which will be hard because they aren't the easiest things to come across. But these will do for now:) this jasmine doll is really doing it for me:) she's very pretty, and she stands out from the rest. It's her eyes I'm sure. I think she's a first release, but not completely sure. But all the evidence is pointing to that:) and if she is, she's my first 1st release jasmine doll!lol
Roger emailed me these photos of my brunette pt 3. He rerooted her and touched up her paint just a bit. Her bangs are original. Looking forward to having her home and back on a body.
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.
Under Willys auspices, Jeep’s first Civvy Street venture, but not a sales success at the time. A very collectible car today.
a year ago, this edge of the marsh at Fairfield Osborn Reserve was choked with himalayan blackberry, an invasive species -- then a bunch of our students attacked it & cleared it out, and now, native marsh grasses have taken back over...
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 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
Base price of this model new was $915....one of 12 models offered by Studebaker that year. Safety glass was standard in all Studebakers that year, and it featured very long doors which made access to the rear seat easier. A 117-inch wheelbase, and an 80 hp 230 cubic inch, in-line 6 cylinder flathead engine completed the package. The drop-dead gorgeous styling was standard. AACA Museum in Hershey, PA.