View allAll Photos Tagged switchboard
Taken in 1982 - meets no modern safety legislation. The rail was to stop people walking into the live swichboard. Note the rubber mat that you stood on when operating the switches.
The switchboard was installed in 1934 and decomissioned some time in the late 80's
Manning the switchboards for Fire! at Kongsberg 2016.
Neopan 400 @ 400 ISO, D-76 @ 1+3 for 15:00. Leica MP + Noctilux.
Not a great photo, but a good illustration of the larger part of my day.
Having run some cables through from the cabin to the house, today I decided to have a go at cabling up the telephone line.
It look longer than it should as the wall plate I was using turned out to be the wrong type. Although they all use the same socket they come in different flavours to do with inline capacitors. This meant a degree of fault finding, but it's working now.
Equipment like this Panasonic 16 port analogue PBX will start becoming rarer and rarer as time goes on. I hesitate to call it obselete, as it does its job sublimely well, and more modern technology doesn't do it any better.
The reality however is that VOIP technology means that you can run a 16 port switchboard like this from a £25 Raspberry Pi the size of a box of matches. And people do.
So why haven't I? Well...a couple of reasons.
Firstly, this kit is working very well and I'm minded not to change it until it dies.
Secondly, handsets are getting a lot cheaper, but sixteen handsets is still a big investment.
Thirdly, there's a weak link in the VOIP chain, and that's interfacing to the PSTN - the good old phone line.
Arguably, you don't need to. You can sign up with a VOIP provider and route all your phone traffic through your internet connection, leaving the PSTN interfacing as their headache. That's not always a good choice though. At a corporate level it makes loads of sense, and it's what we do very successfully in work. At home though, we're mostly running through ADSL which requires a phone line. These can often come with some fantastic inclusive call packages. That, as well as the resiliency of the phone line, means that you often want your domestic traffic routing through your good old phone line.
Now in theory it should be a piece of cake to interface the computer running the switchboard to a phone line. In practice it's often a bloody nightmare. A thirty second internet search on "VOIP echo" will cast a dim light on the murky world of trying to get it all to work. Problems with low volume and unacceptable echo are frequent and often very, very difficult to resolve.
For now then, the Panasonic keeps on living. :) With the dodgy plate swapped out the wiring was a piece of cake thanks entirely to the very, very neat and ordered work that Dave did when he first installed it. Cheers bud!
The Clinical Center equipped a 24-hour service to handle calls from around the USA. The switchboard was opened on January 30, 1953.
This is the pattern for the section switch board on my 1/76 scale tram layout.
The track diagram is more or less correctly proportioned and thus gives a reasonable representation of the whole layout, which is on two boards.
The controls will be situated over the loops and 'depot' area in the lower right. A backscene board runs centrally along the length of the layout giving 'one and a half' scenic areas.
Collection Name: RG005 SOS Publications Vanishing Missouri Collection. Click here to view the entire collection on Missouri Digital Heritage.
Description: Elizabeth Harris works the telephone switchboard in Bunceton. The phone exchange was set up by Henry Harrison Simpson and was the first in central Missouri.
Photographer/Studio: unknown; submitted by Julia Hays (Neosho, MO)
Coverage: United States – Missouri – Cooper County – Bunceton
Date: c1910
Rights: Permission granted
Credit: Courtesy of Missouri State Archives
Image Number: RG005_Pubs_VanMOII_16_10.tif
Institution: Missouri State Archives
Part of an old backup telephone switchboard, to be used in case of massive communications breakdown due to nuclear war.
I volunteered to help out the people of Alarmfase 026 (Stichting NCO Arnhem & Nationaal Noodnet) moving in some new historical artifacts for display and some spare parts salvaged from other bunkers. I couldn't resist taking some pictures as well.
The museum is located in the former PTT (PTT, Nederlands) NCO Arnhem communications atomic bunker, built under the "De Leuke Linde" playground during the Cold War (Koude Oorlog). After the Cold War ended, it was used as a high-secure relay station for the Nationaal Noodnet emergency communications network.
U.S. 301 and 25
In Midtown Statesboro - Air Conditioning - Hot Water Heat - Carpeted Rooms - Phones - TV - Music - Radio - Tile Combination Bath - 24 Hour Switchboard - Swimming Pool
R.E. Drew
Dexter Press
20552-C
CAPA-020469
Back in the Olden Days, making a simple phone call involved large mechanical devices and the assistance of one or more switchboard operators. The operators physically connected the wire from your phone to the wire of the phone of the person you were calling. They also made the callee's phone ring, notifying them that someone wanted to talk. Those thrilling days of yesteryear are depicted in this scene in Spaceship Earth.
In the slightly less Olden Days, people were entertained by radio, which at that time was like television without picture (or, to use a modern reference, it's like when the show you're streaming to your phone goes all wonky and you get sound but no picture). A popular show was called Fibber McGee and Molly, and whenever someone needed to make a phone call, it quickly turned into a friendly chat with the town's telephone operator. The conversation usually went something like this:
"Hello, give me the police. This is an emergen... Oh, is that you, Myrt? How's every little thing?"
It was a simpler time.
Stepper motors in the distributing center for dialing the telephone numbers. At that time, the connecting of numbers caused ticking and rattling noises. This switchboard was in operation until 1985. Then, the new telephone exchange with HICOM screen phones were taken in operation. Military fortress «Furggels» above Pfäfers, St. Margrethenberg, Switzerland, July 24, 2011.
Creator: Unidentified.
Location: Brisbane, Queensland.
Description: 5000 A. C. voltage regulator and switchboard from City Electric Light Company, William Street, Brisbane. (Description supplied with photograph)
View the original image at the State Library of Queensland: hdl.handle.net/10462/deriv/85696
Information about State Library of Queensland’s collection: www.slq.qld.gov.au/resources/picture-queensland
You are free to use this image without permission. Please attribute State Library of Queensland.
Local Accession Number: 06_11_004329
Title: Automatic telephone switchboard
Genre: Stereographs; Photomechanical prints
Date issued: 1893-1920 (inferred)
Physical description: 1 photomechanical print on stereo card : stereograph, halftone ; 9 x 18 cm.
General notes: Title from printed caption on verso.; No. 15.; Part of series: Sears, Roebuck & Co., Chicago, Ill.
Date notes: Date range supplied by cataloger based on the founding date of Sears, Roebuck & Company.
Subjects: Mail-order businesses; Telephone switchboards; Sears, Roebuck and Company
Collection: Harper Stereograph Collection
Location: Boston Public Library, Print Department
Shelf locator: Sears Roebuck
Rights: Rights status not evaluated
Collection Name: RG005 SOS Publications Vanishing Missouri Collection. Click here to view the entire collection on Missouri Digital Heritage.
Description: Lola Lash and daughter Helen pose inside the Agency Telephone Office. This was the last switchboard operated in town.
Photographer/Studio: unknown; submitted by Howard and Clara Lash (St. Joseph, MO)
Coverage: United States – Missouri – Buchanan County – Agency
Date: c1946-1949
Rights: Permission granted
Credit: Courtesy of Missouri State Archives
Image Number: RG005_Pubs_VanMOI_11_04B.tif
Institution: Missouri State Archives
Title: The telephone switchboard at the new St. Thomas-Elgin General Hospital went into action in May 1954. Present to mark the event were, front to rear: Miss Helen Elliott, of London, Ontario, PBX service advisor of the Bell Telephone Company; Miss Geneva Axford, St. Thomas operator; and Middleton Reed, manager of the Bell Telephone Company office in St. Thomas. The new hospital's telephone number was 5500
Creator(s): St. Thomas Times-Journal
Bygone Days Publication Date: May 18, 2010
Original Publication Date: May 18, 1954
Reference No.: C8 Sh5 B2 F15
Credit: Elgin County Archives, St. Thomas Times-Journal fonds
The Palais Theatre, on the corner of the Lower Esplanade and Cavell Street in the seaside Melbourne suburb of St Kilda, was constructed in 1927 as the Palais Pictures, a picture theatre, to a design by prominent Sydney based theatre and cinema architect, Henry E. White. It was built on leased Crown land for the American entrepreneurs, Herman, Harold and Leon Phillips, who had previously established Luna Park in 1912 and the St Kilda Palais de Danse in 1913.
The Palais Pictures building replaced an earlier Palais Pictures designed by American architect Walter Burley Griffin (1876 – 1937) which was commenced in 1920 and destroyed by fire in 1926, just before its opening. It was designed to seat up to 3000 patrons and incorporated generous backstage facilities and a broad proscenium. Like its predecessor, the form of the new Palais Pictures conformed to that of the adjacent Palais de Danse, with the adoption of a curved, aircraft hangar-type structure.
The Palais Theatre is a free-standing, rendered, concrete encased steel frame building, with brick infill walls. The roof is a two level, shallow-curved corrugated iron roof, supported on steel trusses. Extensive use was made of steel framing, with the dress circle cantilevered from a steel frame, to minimise the number of columns required in the auditorium.
The design of the Palais Theatre is highly eclectic in style, and reflects a wide range of influences, some relating to the local St Kilda context, others to broad developments in architectural thinking of the day, and still others that are specific to cinema and theatre design. The highly visible side and rear facades of the free-standing building have minimal decoration, placing emphasis on the front facade. Conceived as a signboard, the central section of this main facade incorporates a large descriptive sign on a curved, rendered parapet. Domed towers flank the facade in a similar manner to the Luna Park entrance and the Palais de Danse facade.
Wanting to convey a sense of modernity, Henry White stated that he adopted no particular style in the design of the Palais Pictures building. He used Baroque, Modern Gothic and Neoclassical elements to heighten the perceived emotional effect of the cinema interior on an audience. Henry White’s interest in Modern Gothic design was combined with a striking Spanish-Baroque influence in the detailing, leaving the interior described at times as Spanish, French and Oriental. The Palais Theatre has a large, double-height entrance foyer with giant order columns, and two sweeping staircases to the dress circle foyer above. Walls are decorated with a disc-like surface pattern and columns have a scagliola finish. Two open wells in the upper foyer, a rectangular one over the lower foyer and an elliptical one over the back stalls, are an important aspect of the design.
The Palais Theatre is one of the few theatres with a foyer in the true sense of the word. The Paris Opera House was the first theatre to include fireplaces on its landings. The French word for fire is “feu”, and it was this that led for the landings to be subsequently known as foyers. The Palais Theatre has two Rococo style fireplaces located on the first level foyer. They have imitation plaster logs that were fired by gas to create an atmosphere of cosy warmth for patrons. The internal early or original decorative scheme of the Palais Theatre, designed mainly by Melbourne firm A. E. Higgins, is still substantially intact. The interior of the Palais Theatre is adorned by a variety of lighting, including candelabras, wall lamps and illuminated glazed panels. The lighting is either part of the A. E. Higgins decorative scheme or is part of a suite of light fittings manufactured especially for the Palais Theatre by Victoria's pre-eminent manufacturer of lighting and hardware, William Bedford Pty Ltd. Some of the William Bedford light fittings are now located off-site. A switchboard located in the dome originally controlled the lighting in the theatre. In addition to the light fittings, the building retains many other carefully resolved original or early design features including: illuminated glass directional signs to the ladies and gentlemen's cloakrooms; illuminated exit signs; tip-up theatre seating, associated foot warmers and attendant piping; arm chair style seating and carved timber benches; wall-mounted usher's seating; stage curtains and wall and door drapes; and moulded spotlight housings. The Palais Theatre also contains an array of original and early service equipment and some remnants of orchestra pit balustrading that contributes to an understanding of how the theatre originally operated. The carved benches located on the first floor foyer, made especially by a Melbourne furniture manufacturer, were created for the original Walter Burley Griffin building of 1920, which was far more Art Deco in style.
After World War II some alterations were made to the building to enable large live performances. The Palais Theatre subsequently became home to the Elizabethan Theatre Trust's ballet and opera seasons, and home to the Melbourne Film Festival from 1962 to 1981. In 1973 the outdoor promenade to the upper foyer was infilled across the front facade, significantly altering the building's external appearance. Affected by the opening of the Arts Centre theatres in the 1980s, the use of the Palais Theatre became sporadic, and it has been used largely as a live music venue since this time.
The Palais Theatre is of historical significance for its association with the development of St Kilda as an important seaside resort and as an integral part of the St Kilda foreshore entertainment complex. Its vast scale and solid construction reflect the confidence in the location and the medium of film, by the 1920s. The Palais Theatre is of historical significance for its continuous association with a major form of popular entertainment in the twentieth century. This includes its original association with American entrepreneurs, the Phillips brothers, and its continued operation through the 1960s-1980s when many other amusements in the vicinity were closed, demolished or burnt down.
10th Infantry Regiment, 5th Infantry Division.
Photographer: Pfc. Jerome P. Masae, 166th Signal Photo Co.
Photographer: Bacon. 19 June, 1944.
Photo Source: U.S. National Archives. Digitized by Signal Corps Archive.
There is a wonderful family up in Canada and the youngest of them keeps herself busy, busy, busy. She would make a fine switchboard operator.
If she looks familiar to you (oh, that russet hair, drooooool), perhaps that is because she is the baby sister of the most beautiful birdwatcher in all of Canada.
DOWN THE LINE – Communication in Gawler
An exhibition at the Heritage Gallery, Gawler Civic Centre.
Exploring the importance of long-distance communication, postal service, telegraph and telephone which were vital in keeping Gawler connected to the world.
Manual Telephone Exchange
This is a subscriber telephone exchange switchboard CB type which was in service from 1950s – 1980.
Donated to the Gawler Branch of National Trust of South Australia from the Mallala Museum.
In 1884 Dr F W H Popham began lobbying to have Gawler and Adelaide connected by telephone. The Postmaster-General, Sir Charles Todd, asked for some financial guarantees from the town.
An income of £125 was guaranteed to the PMG Department: cables erected and a switchboard installed in a corner of the post office.
With three subscribers and a public telephone connected, the Gawler Telephone Exchange opened 19 February 1889.
The first subscribers were the flour millers Hilfers & Co, Harris’s general store and James Martin’s foundry. They each paid £25 per annum which included the cost of all calls.
The public could use the telephone in the post office for 1/- per 5 minutes.
American and German vehicular- and field radio equipment, radio receivers, beacons, portable communications units, field telephone- and other wire-related switchboards, remote control sets and a range of accessories.
On display are for example the „workhorses“ of the infantry such as the legendary U.S. „handie talkie“ SCR 536 and BC-1000/SCR-300 radios complete with all their accessories, as well as the famous German “Feld.fu b and c” „Tornisterfunkgerät“ or „Bertha-Gerät“ “Conrad Gerät” sets in their brown bakelite housing, the “Tornister-Empfänger b” and “Tornister Funkgerät Fu d2” (“Dora-Gerät). All radios are fairly complete with spare batteries, aerials, special antennas, earphones, microphones, throat microphones, Morse keys, spare valves and other accessories.
On the German side are also a selection of field phones or either standard issue, WWI recycled vintage, as well as from captured and modified stocks of Czech, Polish, French and other origins. A broad selection of all kind of wire equipment accessories: cable dispensers, harnesses, climbing equipment, power-phone sets, lineman tools, ...... and so on, completes the exhibit.
The „highlights“ are certainly a German „bunker“ phone, German teletypewriter of 1942 issue, German light signaling radio equipment, as well as on the U.S. side the personal „handie talkie“ donated to the museum by H.R.H. Grand Duke Jean of Luxembourg, which H.R.H. used as an officer of the „Irish Guards“ during the liberation of Luxembourg by U.S. forces in mid-September 1944, a 4-unit “easy to transport and conceal” RR-6 radio, as used by special agents of the OSS in 1944/45 in Europe
For 52 Weeks Of Feeling Fit: Giving up red meat (trust me. Read on, McDuff.....)
[An attempt at the style of the late great Walter Matthu, 1920 - 2000, the master at dealing with life's quirks]
On phone, walking around cramped office, brewing coffee and pacing
WM: Hello, HELLO? Yes, with whom am I speaking please?
Janelle? My privilege, ma'am. Now, as I said to the person who passed me on to you after the girl on the switchboard passed me on to him, my name is Matthau. Walter Matthau. I'm the creative director and treasurer of the Monty2diva Advertising Agency.
Thank you, nice to meet you as well. Yes the weather is lovely here, and - by the way - my gastritis is not acting up. But my gastritis has nothing to do with the purpose of this call.
Janelle, I'm hoping you can put me in touch with the person who is in charge of the Give Up Red Meat For Life program.
Yes, the program that is making news on TV. Yes the program that caused the heads of McDonald's, Burger King and Wendy's to cry and break into a group hug on Larry King.
YES, I'll hold (for the 20th time). [Quickly interjects] LOVE YOUR HOLD MUSIC BY THE WAY.
[Pours a cup of coffee, realizes it is far too bitter. Liberally POURS in the sugar, Then removes a hip flask and adds three fingers of bourbon. Sips again. Nods with approval.]
Yes, YES [nearly spills coffee on his wrinkled suit] I'm still here. With whom am I speaking please?
Poppy????? Poppy Samson. Lovely name you have there Ms. Samson. Okay, Poppy. Very soothing - almost opiate like.
Anyway Ms. - um, I mean Poppy - I'm Walter Matthau from Monty2diva. I'm calling in regards to payment for the print advertising we submitted for your no red meat campaign.
Inadequate? No ma'am. Not insufficient, either. it's MISSING. As in we never received it. What's that? You aide just brought you the file? Splendid. Now I'm sure we can clear up this oversight.....
.....I beg your pardon? No payment because of creative differences? Poppy, how much clearer could our message be? If you reduce or eliminate red meat from your diet, and find alternative means of supplying your body with the nutrients red meat might supply, you'll notice improvements in maintaining weight, a reduction in your risks of contracting SIX different types of cancers, and help combating both arthritis and hypertension.
I'm proud to report that Monty, the owner of this agency is in his second week of eliminating red meat from his diet.
Thank you, that's very kind of you. I'll be sure to convey your best wishes to him.
SO WHERE'S OUR PAYMENT and what do you mean creative differences?
Our pictures of a can have nothing to do with red meat? Poppy, the pictures are of an empty can of RED BULL. Red!! Get it? Bull - beef? Get it?
WHAT??!!! You're kidding me with this, right? You were expecting CATTLE in the copy?
Sweetheart, let me explain something. Our agency's studios are in the MIDST of the CITY of Washington, DC. What's that? Yes ma'am, the place with all the monuments and where the President lives.
Do you know the logistics involved in putting a 3,000-lb longhorn steer on a subway commuter train, transferring it to a city transit bus and then getting into and UP the elevator to our office?
TAXIS??!!!! Poppy, what kind of vehicle do YOU drive that leads you to believe even a small calf could fit into a yellow cab? And here in the city, they have rates for carrying luggage - but NOT WHILE IT IS STILL ALIVE!!!
We couldn't buy a pound of ground round because we'd be too tempted to cook it - and couldn't give it away if we wanted - too many people looking out for weirdos these days.
So we did the next best thing. Have you no sense of taste for art? No appreciation for metaphor and image and word play? What's that? That's great. You took an English course online and got a C.
I'm VERY happy for you. Look sweetheart, back on the point, did you notice in the second frame that the can was crushed? Did you know your body could probably rid itself of that crushed can much more easily than that large quantity of undigested red meat in your system?
Oh, you get it now?
WONDERFUL.
So about payment for our services. .. WHAT? You'll take it under advisement because you're feeling guilty because you like Red Bull shooters when you go to the bar? And it's lunch time at the office.
Catered bar-b-que.
Well, God forbid I get between your colon and those beef rib tips. Yes, PLEASE keep me posted as to your final decision.
What's that?
Yes, good health to you, too, Poppy. It's been enlightening talking to you. Yes ma'am. You do the same..
[Slams down the phone. Plops into his chair behind the desk. Spills the cup of bourbon-ized coffee onto his lap. Swears. Stars at the phone]
PUTZ!!! I hope you choke on a bone.
[Scene fades]
Monty Note: Two weeks and only one red meat stumble. Don't know how long it takes to reap noticeable benefits. But I'm hoping I'll feel something soon.
"Operator!"
Inside the Wheaton & Hollis Hotel in Bodie State Historic Park, California.
Taken during one of our 10 Bodie workshops in 2012 and 2013. We have 8 more scheduled so far in 2014. Some are for sunset and night photography, others are for sunrise and interior access.
I'll be leading a photowalk in Bodie on May 3.
An early image of a police telephone switchboard.
From the collection of the Greater Manchester Police Museum.
To find out more about Greater Manchester Police please visit.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
Lothian Gay Switchboard Ceilidh - Assembly Rooms, Edinburgh
The Assembly Rooms are in central Edinburgh. Originally solely a meeting place for social gatherings, it is now also used as an arts venue and for public events, including the Edinburgh Festival Fringe and the Hogmanay celebrations. There are four rooms that are used year-round and are available for private functions: Music Hall, Ballroom, Supper Room and Edinburgh Suite. The building is protected as a category A listed building as "an outstanding example of the late 18th century public building, continuing its original use"
The Assembly Rooms opened on 11 January 1787 for the Caledonian Hunt Ball. The building was funded by public subscription, costing over £6,000. The prominent site at the centre of George Street, in the centre of the recently established New Town, was donated by the town council. The Assembly Rooms was designed by John Henderson, a local architect, who died young shortly after the building was completed.
The building was extended several times during the 19th century. In 1818 a portico was added by William Burn. Burn and his partner David Bryce designed the Music Hall in 1843. Finally, in 1907, new side wings were completed to designs by Robert Rowand Anderson and Balfour Paul. [Wikipedia]
Left to Right:
Mary Pymm, Dorothy Park, Hilda Kenyon, Barbara Mary Hall, Nellie Maudsley, Nellie Bennison, Margery Peake, Mary Coates, Edna Lamb, Margery Austin, Margaret Kirby, Kitty Reid, Miss Holland (Supervisor), Mr. Sunley (Head Postmaster), Miss Bacon (Chief Supervisor), Mr. Good (Assistant Telephone Manager)