HOW TO CLEAN MARBLE TILES. HOW TO CLEAN

How To Clean Marble Tiles. Cleaning Supplies

How To Clean Marble Tiles


how to clean marble tiles
    marble tiles
  • (Marble tile) Marble cut into tiles 12" x 12" or less - usually 1/2" to 1/4" thick. Available in various finishes, including polished, honed and split faced.
    how to
  • A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
  • Practical advice on a particular subject; that gives advice or instruction on a particular topic
  • (How To’s) Multi-Speed Animations
  • Providing detailed and practical advice
    clean
  • Remove the innards of (fish or poultry) prior to cooking
  • free from dirt or impurities; or having clean habits; "children with clean shining faces"; "clean white shirts"; "clean dishes"; "a spotlessly clean house"; "cats are clean animals"
  • Make (something or someone) free of dirt, marks, or mess, esp. by washing, wiping, or brushing
  • clean and jerk: a weightlift in which the barbell is lifted to shoulder height and then jerked overhead
  • make clean by removing dirt, filth, or unwanted substances from; "Clean the stove!"; "The dentist cleaned my teeth"
how to clean marble tiles - DuPont StoneTech
DuPont StoneTech Professional Stone and Tile Cleaner, 24-Ounce Spray
DuPont StoneTech Professional Stone and Tile Cleaner, 24-Ounce Spray
Features + BenefitsCleans everyday messes Neutral, gentle formula Great for stone & ceramic tile floors Where to UseNatural stone such as marble, granite, limestone, travertine, slate, terrazzo & sandstone. Ceramic tile, porcelain tile & grout. DirectionsNote: Directions may vary depending on size.Spray directly on soiled area. Wipe clean with a dry towel, lint-free cloth or sponge. No need to rinse. Repeat for heavily soiled areas.Available Sizes (and Coverage)24 oz. Spray Wipes: 35 Wipes, 7" x 9" Quart Concentrate: 4,000-7,500 sq. ft. per gallon. One quart makes 16 gallons Gallon Concentrate: 15,000-30,000 sq. ft. per gallon. One gallon makes 64 gallons**Please note that Air shipping will not be availabe with this item.

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Temple of Light
Temple of Light
Note: This image is one of the toned, web-sharpened versions I created. All prints were done with the print-sharpened, B+W. Image Thoughts: Calatrava-designed, this “crystal cathedral of commerce” is Toronto’s most distinctive galleria. 85 feet high, 45 feet wide and 380 feet long, it has always fascinated me with its transparent, jewel-like roof and soaring support columns. Standing in the atrium I often succumbed to flights of fancy, imagining it as an ancient heathen temple. Standing in the middle, sunlight striking your face, you can see yourself soar. With this in mind, I’ve named this photograph “Temple of Light”. As a black and white photograph it’s hard to appreciate the conditions of the original capture. The light was already fading when I tripped the shutter and I underexposed radically to preserve baseline sharpness. This is a double-edged sword; what I gained in sharpness I sacrificed in noise during shadow recovery. I chose a square crop to accentuate the distinctive support column as it soared to the jeweled skylight. This column called for plenty of elbow grease to channel light from the top to the bottom left - a slash of luminosity on a grey, grey day… Processing Thoughts: From the beginning I’ve been conscious of this photograph’s purpose as a technical test-bed, an image that I’d use to assemble a high-ISO, B+W, capture-to-print workflow. It hasn’t been entirely successful. I arrived at this photograph after four disjoint post-processing passes. Two involved end-to-end NEF to JPEG workflows; the remaining focused on output sharpening. Having a dedicated photo printer, while expensive, delivers immediate feedback and accelerated my learning process. After one weekend I need more photo grey cartridges and racks to stack photo paper and my completed prints… I said that I hadn’t been entirely successful. Why? Sharpening and noise reduction (or handling) run counter to each other. The more you sharpen a high ISO photo, the grittier the result; I’ve referred to previous work as “crunchy” or “gritty” and a laissez-faire approach to sharpening gets you there. This works for some images – staged crime-scene work, violent sport imagery (think boxing), combat photography – and invokes a primeval, darker feel. But it doesn’t fit here. On the other hand, indiscriminate noise-reduction gives worse results, especially for B+W. Details are muddied, acutance suffers and the entire photograph has a smeared look that’s ugly. Very ugly. Even now I’ve sacrificed some acutance to avoid objectionable sharpening halos. The test prints are ok, but I haven’t found the magic workflow :) It still feels very “digital” and I can’t pinpoint why. I’ve always suspected that subject matter plays a crucial role; most B+W work is people-oriented and feels more organic than the clean angles of architectural work. The B+W precisionist film work I’ve seen is…different. Is it low ISO use? Precision? High contrast? Fewer light greys? Greater dynamic range? I don’t know! The noise isn’t objectionable here. The mottling that’s observed in the bottom right of the photograph is partially the tiling pattern – I think it’s marble. In the color version it’s easy to distinguish between the pink-grey splotches on the tiles and the noise from the sensor. It’s still annoying though, although I prefer the higher frequency stippling to the smeared or mottled look I’ve seen on other cameras. Still doesn’t feel like film grain and again, I’m unsure why. I just feel there’s a lot I could do to improve technique, to improve my sensitivity to the final output. At least it’s better than my first attempt :) Printing: I’ve tried the following papers: 1. Ilford Galerie Smooth Heavyweight Matte (double-sided) 2. Ilford Galerie Classic Pearl 3. HP Premium Plus Photo High-Gloss 4. HP Premium Plus Photo Soft-Gloss #1 is instant-dry. #2, #3 and #4 are swellable, archival papers and have very poor water resistance. Ilford Galerie Smooth Heavyweight Matte: I really dislike #1. It’s medium weight and has a thick, almost resume-paper-like surface. Prints from the 8450 look like total ass. This is the second-whitest paper and may have a slight – very slight – reddish tint. Strangely, B+W photos take on an overwhelming sickly green tint when printed! The Ilford profiles neutralize this by boosting the magenta component but lose scads of the detail in the process. If you print using the supplied profile…umm…you know what – just don’t. Don’t unless you want magenta-tinted whites and washed out greys. Detail just isn’t held well either. Test prints using this image resulted in splotchy, runny grain in the lower-right corner and ill-defined edges on the support column. I made a bad choice with this paper and wouldn’t even use it for proofing - the results are so unappealing on the 8450. Ilford Galerie Classic Pearl:
Child's Restaurant in Coney Island
Child's Restaurant in Coney Island
from the new york times..... A Piece of Coney Island's Past Wins Landmark Status By DIANE CARDWELL The former crown jewel of the Childs restaurant chain in Coney Island is festooned with terra cotta ornamentation. City officials hope landmark designation for the building will generate further redevelopment of the boardwalk. On the ground floor, shelves of books fill the space. One flight up, the guts of a candy manufacturing business lie about. But once, the ornate building on the Coney Island Boardwalk was a crown jewel in the Childs restaurant chain, a haven for the throngs of working men and women relaxing in what was then known as the world's largest playground. Yesterday, the Landmarks Preservation Commission deemed all that, along with the structure and its terra cotta ornamentation, a heritage worth saving. "It's a very special place," said Robert B. Tierney, chairman of the commission. "It's different in February, but it's still quite striking as it sits there majestically evoking the past, looking out to the sea." Mr. Tierney, 59, like many New Yorkers of a certain age, remembers the clean white-tiled Childs restaurants from trips to the city as a boy, although he did not visit the Coney Island branch. But Arlene Simon, who grew up in a three-room apartment in Brighton Beach, used to walk along Coney Island's Boardwalk with her friends from Lincoln High School every Friday afternoon. "Other people go to the Hamptons; we would walk the Boardwalk," Ms. Simon, president of Landmark West!, an Upper West Side preservation group, said, chuckling. "We would stop at the library and go to Nathan's and get hot dogs, and then we would also go to Childs." Ms. Simon said she loved Childs. "There just was something about the building, there was something special about the aura of the place." Although few people near the deserted Boardwalk yesterday seemed to know much about the building ("It looks more like a bathhouse," one community advocate said), it has a storied history. It was built around 1923 by Dennison & Hirons in what the landmark designation report calls a fanciful resort style combining elements of Spanish Colonial Revival, rare in New York, "with numerous maritime allusions that refer to its seaside location." The building is festooned with elaborate, colorful terra cotta nautical motifs, including Neptune rising from the sea draped in seaweed, European ships and intricate crustaceans and other sea creatures. The terra cotta was manufactured by the Atlantic Terra Cotta Company from models by a prominent sculptor, Max Keck, an approach that signified the importance of the project to the Childs chain and the manufacturer, said Susan Tunick, president of Friends of Terra Cotta, a national preservation group that focuses on saving ceramic surfaces. "There are at least six or seven colors in the glazing of the details," said Ms. Tunick, a leader of the effort to gain landmark status for the building. Although Childs had several restaurant buildings with similar terra cotta ornaments, like dolphins and seahorses, in the city, they are almost unrecognizable, she said. One is now a McDonald's in the flower district, with its ornaments obscured and painted brown. So, Ms. Tunick said, the Childs on Coney Island, about a block west of the Cyclones' minor-league baseball stadium, is "a unique example" because it remains intact. But in designating it a landmark, the commissioners recognized more than the vivid blues, greens, yellows and other colors that pop from the tan stucco facade, now chipped to show the brick beneath. They also recognized, with evident emotion, the social history the building evokes. Childs, which started in Lower Manhattan, grew to become one of the largest restaurant chains in the country and pioneered the self-service cafeteria. The restaurants were outfitted with white-tiled walls and floors and white marble countertops, and the employees dressed in starched white uniforms to convey a sense of cleanliness, the designation report said. A Childs menu from 1900 featured wheat cakes with maple syrup for 10 cents, creamed oyster on toast for 15 cents and roast beef hash with mashed potatoes for 20 cents. The chain ran into some financial trouble in 1927 when William Childs began serving only vegetarian meals, but the meatless policy was eventually reversed. A kind of early take on fast-food restaurants, they became icons of elegance and quality at reasonable prices, and Childs was awarded the food service contract for the 1939 World's Fair (more than 16 million hot dogs sold). Childs found its way into popular culture, with allusions in the Richard Rodgers and Lorenz Hart song "Manhattan" and the Moss Hart and George S. Kaufman play "You Can't Take It With You." But some New Yorkers found it less than welcoming. Some blacks say that they were refused serv

how to clean marble tiles
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