The many levels of catwalks make for a place where you can look from the ground floor to the roof, about 4 stories up.
This was the exterior wall of the roundhouse; engines would have entered on the other side and machinery would line this side, hence the big windows for natural light.
After crushing, these machines would float lighter material to the surface of the water, where it would be skimmed and discarded. Gold and silver laden stone would sink to the bottom, where it was collected for the next stage of processing. Leica/Summilux 35/Ektar 100
Far away, you can see the red lights on the steam plant smokestack. To the extreme right is the beginning of the Minneapolis skyline. Paint (where this was taken) and Assembly (where the blue light is) were connected with a long skyway that carried completed trucks to be painted. I assume the device in the foreground burned volatiles from the painting process.
The final ball mill in the Chain O’ Mines concentrator. Behind it was a bucket of steel balls.
A super-shallow depth of field shot on the Leica Summilux.
On the upper floors where the sunlight is yellow–the color of flour dust, once exposed to the elements.
This is the crane that would be used to lower extra-heavy bits of copper ore into the fire of the furnace.
Looking across a skyway at the dust-collecting funnels, one of the few pieces of equipment that haven’t been completely decimated by time and the elements.