View allAll Photos Tagged fusebox
HDR multi-row stitched panorama image captured inside a control room on an abandoned coal loading jetty at Catherine Hill Bay on the Central Coast of NSW, Australia.
WW2 switchgear - Metalclad fusebox and rotary switch plate in armament depot on Orkney.
Shot on Agfa APX 25 with a Mamiya 645
The Rover 800 Series is an executive car range manufactured by the Austin Rover Group subsidiary of British Leyland, and its successor the Rover Group from 1986 to 1999. It was also marketed as the Sterling in the United States. Co-developed with Honda, it was a close relative to the Honda Legend and the successor to the Rover SD1.
Partnership with Honda
The first product of the BL-Honda alliance was the Triumph Acclaim - and shortly after its launch the two companies mapped out a advisable strategy for future collaborative projects. Plans for a midsize car were investigated, but were dropped because BL already had the Austin Maestro and Austin Montego in the final stages of development. However both BL and Honda had a pressing need for a full-size executive car in their lineups. BL had to start planning for a successor to the Rover SD1, whilst Honda was keen to expand its presence in the lucrative North American market - something which it couldn't fully do unless it had a full-size luxury saloon (at that time the Honda Accord was its biggest model) which would compete with similar large Japanese imports from Toyota and Datsun. Joint development of the car began in 1981 under the "XX" codename; the corresponding Honda version was known as the Honda Legend, and was codenamed as "HX". The development work was carried out at Rover's Cowley plant and Honda's Tochigi development centre. Both cars shared the same core structure and floorpan, but they each had their own unique exterior bodywork and interior. Under the agreement, Honda would supply the V6 petrol engine, both automatic and manual transmissions and the chassis design, whilst BL would provide the 4-cylinder petrol engine and much of the electrical systems, including defective fusebox and heater.
Honda and Austin Rover agreed that Legends would also be built in the Cowley plant for the British market. The US-market (Acura) Legends were built in Japan.
It was finally launched on 10 July 1986, taking the place of the decade-old Rover SD1.
Coupé
A two-door three-box coupé version was launched in early 1992, having debuted at the 1991 Motor Show. This specification had originally been developed with the American market in mind but was never sold there, with Rover having pulled out of the US market before the Coupé's launch. It was, however, sold to other export markets. Eighty percent of the interior and exterior of the 800 Coupé was finished by hand. The original Rover 800 had also formed the basis for the coupe version of the Honda Legend after its 1986 launch, but at the time Rover had decided against launching a coupe version of the 800 Series.
From February 1992 until 1996, the Rover 800 Coupe came exclusively with the 2.7 Honda V6 engine and 16" Rover 'Prestige' alloys. A four-speed automatic transmission came as standard, and the car was capable of well over 130 mph.
[Text abbreviated from Wikipedia]
The Royal Gunpowder Mills in Waltham Abbey, Essex. A unique site covering 175 acres and 150 years of history.
More likely, abandoned when they discovered that the floor as well as ceiling are completely rotten through and a quite radical rebuild would be required to restore this back to a liveable condition...
What fascinates me is, that all three of the stone-walled buildings here had more than one storey (one even had three) - though there's quite a lot of space available around (that is, they've been built tall instead of long/wide).
And this very thing (namely decomposing of the wooden beams, supporting upper floors) seem to be the main reason for their downfall. If the houses had concrete floors, or - much simpler - sported only ground level and a limestone-shingled roof, like most houses in littoral region some 50 kilometres away (where heavy northern bora-wind often blows), they could last practically forever.
___
Three hand-held exposures [ISO 160, 560, 2200]
The aborted Mk.3 prototype, designed and built by Reliant in Tamworth to supersede the Vitesse-based Mk.2, and to eliminate the Standard-Triumph steel inner body structure. It was never competed, although the body was taken out of production moulds. In this photo, we can see that the heater and the hydraulic master cylinders have been fitted to the grp bulkhead, along with some parts of the wiring harness and the fusebox
In my local town there is an area which is going under redevelopment. The factory unit has been boarded up for a good couple of years but lately it has been opened to the elements. It's being knocked down soon so i thought i'd go and play with a derelict environment. As it's one of my fav HDR style. This what made me fall in love with HDR. very much the style of HDR master Jens Hartmann.
The treatment of this HDR is more powerful then i usual do. But i do believe it suits images with a derelict narrative. I had a heads on this style of processing by flickr pal
He stated if i blended two images from the hdr using exposure blending in photomatix and then tonemapped the final process, then i could create this look. after i played around with it i think i good it. cheers dude. :-)
Built between 1898 and 1930 as a sanatorium for lung diseases, Beelitz-Heilstätten was one of the largest hospitals in and around Berlin. It served as a field hospital in the two world wars and was later the Soviets' major military hospital in East Germany. Abandoned in 1994 with the Russian withdrawal, most buildings have slowly fallen into ruins since. What a shame. We found this scene (probably staged by other photographers) in one of the kitchen buildings.
HDR from 5 exposures, tonemapped with Photomatix.
The colours, the voices, the songs, the images he remembered are fading away, now transforming into meaningless remnants of a once immutable paradigm. Where the collective unconscious once weaved strands of reason catching all but the terminally irredeemable in its sweeping dragnet, now reigned a cacophony of infantile egotistical hysterics, incipient barbarism, and self deprecating treason. The lights are being turned off, he thought. He knew, deep in his bones, that the creeping darkness would only be dissipated by flashes of searing heat and shockwaves of destruction. He waved the waiter over for a tray and paid his due.
㊚ ♊ ♋ ✞
The Viceregal Lodge, Obervatory Hill, Shimla, India, by Henry Irwin. Completed 1888; tower height increased later by Lord Curzon. Local grey sandstone and light blue limestone, with iron girders, beams, and trusses.
Built on a high 331-acre site, levelled for the purpose, this mock-Tudor or baronial-style building is visible from far down the hillside, and was intended as a proud symbol of Empire. Over the portico at the main entrance is a coat of arms with inscriptions above it naming the architect (Irwin), the executive and assistant engineers (F. B. Hebbert and others) and the Earl of Dufferin as the current Viceroy. Dufferin was the first to occupy the new Lodge. The columned arches along the façade are echoed in the arches of alternating widths supporting the verandas. Just visible to the left of the main entrance, on the first floor, is one of the unobtrusive external iron spiral staircases provided for the lowliest menial staff, the bathroom sweepers.
Inside, the main hall is panelled in teak. The unicorn originally carved over the impressive main fireplace has since been replaced by the Indian wheel of progress. The double-galleried corridor off to the left is lit by mullioned windows and a glass ceiling, and leads to the ballroom, now the library of the Institute of Advanced Studies. On the ground floor were also the dining hall, lounge and drawing room. On the upper floors were the Viceroy's office and rooms. To the right of the main hall is a splendid three-storey high teak staircase, the kind of feature, no doubt, that earned Irwin his eulogy in the Madras Mail, to the effect that his genius was displayed in his interiors. In the morning room and visitors' lounge on this side, finishing touches like a walnut ceiling with a Kashmiri design, lavish wall-coverings (some of which remain more or less intact), an original chandelier and so on, can still be seen. Maple & Co, London, were the western suppliers. A large picture of one of the Vicereines, Lady Elgin, hangs over the fireplace of the visitors' lounge.
For its day, the Lodge had state-of-the-art technology. It had its own steam generator, and was the first building in Shimla to employ electric lighting. Indeed, Lady Dufferin, the first Vicereine in residence, is said to have first used an electric light switch here. The original light panel is still in place (with an added fusebox). The Lodge also had running hot and cold water, together with a sophisticated system for collecting and storing bath and rainwater, including two tanks under the front lawn.
Outside in the landscaped grounds stands a tall tulip tree, a rarity in an area dominated by pines and deodars. It was planted during the stay of the Marquis of Lansdowne, the Viceroy who replaced Dufferin in 1888.
"The Virgin" by Stefanie Distefano, part of Fusebox's Pay Phone Revival Project last year. Last time I popped by that convenience store, she was still there and unaltered, so I hope she sticks around for years to come.
East 1st Grocery, November 2012
East Austin, Texas
Nikon D700 | Sigma 50mm f/1.4 HSM DG EX | 1/250th sec | f/1.4 | ISO-6400
Photo by Kacey Jordan
Editing by Cary Jordan
Find us on Facebook: www.facebook.com/TheJordanCollectivePhotography
___________________________________________________________________________
© The Jordan Collective Photography, under the Creative Commons (Attribution-NonCommercial-NoDerivs 3.0 Unported) License.
You are free to share - to copy, distribute and transmit the work, under the following conditions:
Attribution — You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that we (The Jordan Collective) endorse you or your use of the work).
Noncommercial — You may not use this work for commercial purposes.
No Derivative Works — You may not alter, transform, or build upon this work.
Waiver — Any of the above conditions can be waived if you get permission from The Jordan Collective Photography. You must contact us BEFORE the image is used in any way that conflicts with the current license. We often grant waivers, but you must contact us FIRST.
Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
Other Rights — In no way are any of the following rights affected by the license:
•Your fair dealing or fair use rights, or other applicable copyright exceptions and limitations;
•The author's moral rights;
•Rights other persons may have either in the work itself or in how the work is used, such as publicity or privacy rights.
Notice — For any reuse or distribution, you must make clear to others the license terms of this work. We recommend you either link back to this page, or to our website (www.TheJordanCollective.com)
My friend went to switch off the lights near our tents in the campsite and got a shock when he opened the fuse box!
Notice the gecko hiding out of the cold nearby.
Kingston We're Going on a Bear Hunt 29 March - 7 June 2024
Spectrum
Created by: Christine Jopling
Location: Kingston Bridge (originally at Fusebox and moved after being damaged)
TZ70_4_P1000551
Intrigued by the Butterfieldian "streaky bacon" look of the spire, I turned off the main road. The resources of Pevsner are unavailable to me at the moment, but according to its website St Andrew, Great Finborough, Suffolk, is an ancient foundation, though the present building is eminently Victorian. Not, as I'd hoped, by Butterfield, but R M Phipson ...a new name to me. Some may, reasonably enough, think fuse boxes, channelling, trip switches and unconcealed wiring an unwelcome addition to the fixtures of a church but, to me, they do not intrude but represent continuity. The eternal accomodates itself to the temporal ...or do I mean the other way around? Something like that, anyway.
A difficult shot from an exposure point-of-view. I normally keep "post-processing", in my hopelessly out-of-date version of Photoshop Elements, to the bare minimum of necessity ...not much more than removing dust specks and lightly tweaking exposure. I think my scanner takes correct exposure as a kind of average of what it "reads" from the image, producing a grotty result from a contrasty scene such as this. Here I have applied "auto contrast" selectively to the left, middle and right of the picture. Is this cheating? I think not: it merely restores what the eye and the camera saw.
The lights go off and I bolt behind an autopsy table. The sound of Dionaea's breathing made me physically sick. I haven't even eaten anything, either. Then out of nowhere he growls and charges at something. Suddenly the entire building shakes. He went after Jackie. Stupid move. Still, No way I'm leaving him alone with that monster. I jump up from the table, but before I can even find him in the dark. everything goes quiet and all I hearing Jackie saying "oh no" like someone who just dropped wine on a carpet or something.
"C-can someone get the lights?"
"What's wrong?"
"I--uh--I overdid it..."
Overdid it? overdid what? I start feeling around the walls for a fusebox to mess with. Then I felt stupid because I remembered having a flashlight. Before I could reach it though the lights went on anyway. Across the room Tim already found the fusebox. In the middle of the room though was a sight that honestly, I'm used to by now. There was a hole in the floor and hunks of concrete jutting out around it, all from Jackie who was standing next to it with a really nervous look on his face.
"Whoa...."
"I---it was dark, I thought he was really close, but he wasn't, and I just---oh no...what a mess...."
"You threw it down a hole?"
"A really deep one. Like I said, I overdid it..."
"How deep?"
"Well, we're up like 3 floors, but that's probably down to the sewers it there's any below this building...."
"Holy..."
"I'm sorry...oh no, I might've killed him!...."
"Eh, it's survived worse."
"Still, we gotta check on him. We gotta go down there."
"Oh joy...."