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A Boeing weld technician inspects a recent weld on the Gore Weld Tool at NASA's Michoud Assembly Facility in New Orleans. The Gore Weld Tool is used to perform vertical conventional friction-stir welds in the production of gore assemblies for NASA's Space Launch System core stage hydrogen fuel tank -- currently under construction at Michoud. All of the hardware necessary for building the tank that will be used on the first flight of SLS has been delivered to the facility and is awaiting assembly. SLS will be the most powerful rocket ever built for deep space missions, including to an asteroid and ultimately to Mars. The core stage, towering more than 200 feet, will store cryogenic liquid hydrogen and liquid oxygen that will feed the vehicle’s RS-25 engines. Boeing is the prime contractor for the SLS core stage, including avionics.
Image Credit: Boeing
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Elsecar Heritage Railway, near Barnsley, UK. Long Welding track joints on the new extension near Tingle Bridge Crossing. This is track circuit work to make the level crossing work.
This is a fuel tank being welded due to the immense heat and the non corrosive zinc plating on the metal plate it creates quite a cool smoke affect
North American Prototype Modelers is replacing a section of worn-out 90-pound rail near Independence with 115-pound continuous welded rail. Union Pacific Extra 4921 East is on the River Line with a load of rail for the project. The work train is powered by a pair of SD70Ms is carrying quarter-mile-long lengths of continuous welded rail on flatcars with specialized racks — the racks have rollers which will be used to unload the rail once it arrives at the work site. The welded rail is quite flexible and easily negotiates the curves encountered by the train.
The rail train belongs to NAPM member Scot Cerka. The train was detailed by ProtoLoads of Mount Pleasant, North Carolina. The locomotives are Athearn Genesis SD70M units with Tsunami sound. The flatcars are Tangent Scale Models with rail racks added by ProtoLoads. For safety, the Union Pacific uses hopper cars as buffers at each end of the train; the two buffer cars on each end of the model are Bethlehem four-bay hoppers from Tangent Scale Models and weathered by ProtoLoads. The couplers are Sergent Engineering scale couplers. The Sergent couplers reduce the unprototypical slack and produce more reliable coupling. Finally, a 10K ohm resistor was added to the trailing truck of each car to comply with NAPM's car standards to activate the club's signal system.
At the center of the train is a tie-down car. On the prototype this car locks the rail in place; on the model it is functional and serves the same purpose. At each end of the train is a tunnel car which the rail passes through. As the train negotiates curves the rail slides in an out of the tunnel cars, allowing the train to remain flexible. Between the tie-down and each tunnel car are 10 flatcars — 20 total — which support the rail on racks with rollers. The model functions just as the prototype, allowing the rail to move through the train. Each rail is a seventeen foot (a scale quarter-mile long) piece continuously modeled from gray plastic. The rail was weathered using Rust-Oleum Painters Touch Satin Espresso, Flat Red Primer and completed with Krylon Matte Finish.
Photo by NAPM member Mark Mathu.
Visit the HO scale club on-line at www.napmltd.com.
Visit ProtoLoads at www.protoloads.com.
The process of electric arc welding is as it says ... you are basically melting the steel by running a massive electric arc through the metal, melting it and joining the material together. This is a great shot, lucky actually, as I timed it so you can see the heat through the metal with the welder on the other side.
iP5s with native camera. Then touched with Snapseed, Noiseware and Aviary.
Used a piece of grade 10 (about 13 stops) welding glas for this photo. Manual white balance using a white card. I know proper ND filters are better, but for €6 per two it's worth a try.
RJ Corman is busy installing brand new CWR on the east end of the former Pan Am. A wheeled excavator, which is utilized to position the rail exactly in place on the ties behind the puller machines, sits just ahead of the rail welding truck.
This is Jason welding, attaching duals to his combine to give it more flotation in the mud. Looks to me like he's getting burnt.
*Reupload*
A loaded welded rail train goes down the 3% grade on main 3 during this beautiful sunset on the Cajon Pass.
Soooo I got FIVE welding guy minifigures from Series 11, and this is the first use I've been able to find for even one of them :(
I can't remember where I saw the backpack design that my design is loosely based on. May appear in my next Animation Challenge entry.
American Arcade card.
Tuesday Weld (1943) began acting as a child and progressed to mature roles in the late 1950s. She won a Golden Globe Award for Most Promising Female Newcomer in 1960. Over the following decades, she played reckless, sexually acting-out women in such films as Play It as It Lays (1972), Looking for Mr. Goodbar (1977), The Winter of Our Discontent (1983), and Once Upon a Time in America (1984). Since the late 1980s, her acting appearances have been infrequent, but her most successful film was Falling Down (1993)
Susan Ker Weld was born in 1943, in New York City. When her father, Lathrop Motley Weld, died three years later at the age of 49, the young girl, whose name by was transmogrified into "Tuesday", an extension of her childhood nickname, "Tu-Tu", so named by her young cousin, Mary Ker, who could not pronounce "Susan". She officially adopted her name in October 1959. Tuesday took over the role of the family breadwinner, which included her mother Yosene Balfour Ker. She became a successful child model, posing for advertisements and mail-order catalogs. Her work and the burden of responsibility estranged her from her mother Yosene, her two elder siblings, and forced the preteen girl into adulthood. At nine years of age, she suffered a nervous breakdown; at ten, she started heavy drinking; one year later, older men started exploiting her, all of which led to a suicide attempt at age twelve. Weld made her acting debut on television at the age of 12, and her feature film debut that year in a bit role in the Alfred Hitchcock crime drama The Wrong Man (1956) starring Henry Fonda. That year, the 13-years-old played the lead role in the low-budget exploitation film Rock Rock Rock! (Will Price, 1956), an early jukebox musical featuring performances by established rock and roll singers of the era, including Chuck Berry, LaVern Baker, and Connie Francis who dubbed in as Tuesday's character's singing voice. Famed disc jockey Alan Freed also made an appearance as himself. Tuesday decided to become an actress. After numerous TV appearances in New York she went to Hollywood in 1958 and was cast in a supporting role in the Paul Newman comedy Rally 'Round the Flag, Boys! (Leo McCarey, 1958). It was a breakthrough for her. At Columbia, Weld was in The Five Pennies (Melville Shavelson, 1959), playing the daughter of Danny Kaye.
Over the next few years, Tuesday Weld became Hollywood's queen of teen. In the television series The Many Loves of Dobie Gillis, she played Thalia Menninger, the love interest of Dobie Gillis (played by Dwayne Hickman), whose rivals for Thalia's affection included Milton Armitage (played by Warren Beatty). Although Weld was a cast member for only one season, the show created considerable national publicity for her, and she was named a co-winner of a "Most Promising Newcomer" award at the Golden Globe Awards. In the cinema she played precocious sex kittens in such films as Because They're Young (Paul Wendkos, 1960), starring Dick Clark, the comedy Sex Kittens Go to College (Albert Zugsmith, 1960), with Mamie van Doren and Mijanou Bardot - Brigitte's sister, and the Spectacolor comedy The Private Lives of Adam and Eve (Albert Zugsmith, 1960) starring Mickey Rooney. Weld had a supporting role in the sequel Return to Peyton Place (José Ferrer, 1961), in the part played by Hope Lange in the original. Her portrayal of an incest victim was well received, but the film was less successful than its predecessor. She supported Elvis Presley in Wild in the Country (Philip Dunne, 1962), along with Hope Lange. Weld had an off-screen romance with Presley. Tuesday's wild private life added to the entertainment of her fans. Critics acknowledged her talent, directors approved of her professionalism, and in the late 1960s she even managed to grow out of her child/woman image and find more demanding roles - she had been "sweet little 16" for about 16 years. However, Tuesday Weld didn't achieve first-magnitude stardom. Maybe she was just unlucky with her selection of jobs; she turned down Lolita (1962), Bonnie and Clyde (1967), and Bob & Carol & Ted & Alice (1969). She was Stanley Kubrick's first choice to play the role of Lolita in his film, but she turned the offer down, saying: "I didn't have to play it. I was Lolita". In 1965, Weld appeared in The Cincinnati Kid (Norman Jewison, 1965), opposite Steve McQueen. There was some controversy when she refused to meet the local governor at a fund-raiser for hurricane victims, jumping out of a car in view of 70,000 people. The film was a big hit. Weld got a star role in Lord Love a Duck (George Axelrod, 1966), with Roddy McDowall, Ruth Gordon, and Harvey Korman. She received excellent reviews, but the film was a box office disappointment. Christoph Heuke at IMDb: "Maybe her independence-loving mind made her instinctively shrink back from the restraints of superstardom. In any case, she kept on performing well in films that had either not much flair or not much success."
Tuesday Weld did play in such films as the Neo Noir I Walk the Line (John Frankenheimer, 1970), opposite Gregory Peck, A Safe Place (Henry Jaglom, 1971), co-starring Jack Nicholson and Orson Welles, and Play It as It Lays (Frank Perry, 1972), again with Perkins, for which she was nominated for a Golden Globe Award. Previously, they had starred together in the film Pretty Poison (Noel Black, 1968). From the mid-1970s on she focused more and more on made-for-TV movies as her film career had petered out. Weld attracted attention as the favoured, out-of-control Katherine in Looking for Mr. Goodbar (Richard Brooks, 1977) – packing into her short screen time an orgy, a divorce, a lot of alcohol, and two abortions – and was nominated for an Oscar for Best Supporting Actress. Later she appeared in the war drama Who'll Stop the Rain (Karel Reisz, 1978) opposite Nick Nolte; and the comedy Serial (Bill Persky, 1980). Weld had a good supporting role in Michael Mann's acclaimed Thief (1981), opposite James Caan. She played Al Pacino's wife in the comedy-drama Author! Author! (Arthur Hiller, 1982) and co-starred with Donald Sutherland in the TV film The Winter of Our Discontent (Waris Hussein, 1983). This performance earned her an Emmy nomination. Then the excellent gangster epic Once Upon a Time in America (Sergio Leone, 1984) with Robert De Niro and James Woods, came her way. One of her most successful films would be Falling Down (Joel Schumacher, 1993), starring Michael Douglas. She later had small supporting roles in independent films like Feeling Minnesota (Steven Baigelman, 1996) starring Keanu Reeves, Investigating Sex (Alan Rudolph, 2001), and Chelsea Walls (Ethan Hawke, 2001). Tuesday Weld was married three times, but all ended in a divorce. Her husbands were screenwriter Claude Harz (1965-1971), actor Dudley Moore (1975-1980), and Israeli concert violinist and conductor Pinchas Zukerman (1985-1998). She has two children, daughter Natasha (1966) with Harz, and son Patrick (1975) with Moore.
Sources: Christoph Heuke (IMDb), Wikipedia, and IMDb.
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Polaroid Spectra photo taken circa late 1980's. Sorry for the lack of definition. Polaroids tended to appear that way often.
Two 1-Ton Ford trucks of possibly the same model year are fitted with engine-driven welding generators for arc welding in the field. They are backed up to the former rail car entrance to the maintenance shops building. When the rail tracks were removed, the weld shop expanded their work space into that area. The rigs remain outside off the building to keep exhaust fumes outside.
The welding generators are driven by their own engines, not off of the vehicle's engine. The one on the left appears to have its welding generator mounted axially to the truck body whereas the one on the black truck appears to be mounted transversely. The former layout is more common.
The staircase to the roof of the building also serves as a mounting rack to store ladders.
The welding glass fitted perfectly on to my 24mm f/1.8 Carl Zeiss Sonnar Lens. 6 seconds and little PS.
A Seaview Mechanic does some welding on a flatcar while the Seaview's veteran EMD waits in the distance.