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00:01Here at The Repair Shop,
00:03countless treasures have been brought back to life.
00:07Cha-ching.
00:08That reveal so much about who we are
00:11and where we're from.
00:14It's like it's brand new.
00:15But there's so much more out there
00:18that's not yet made it to the barn.
00:20This is amazing.
00:22So the team are hitting the road.
00:24I just love getting up close and personal with the objects.
00:27And we're going to get a glimpse into some amazing heritage crafts.
00:31I cannot wait.
00:34On a unique adventure.
00:36Oh, yes.
00:37This is terrifying.
00:39To join forces with expert craftspeople.
00:43Whoa!
00:44If we don't point these joints, moisture's going to penetrate.
00:47On their most ambitious restorations yet.
00:50To think every day you come up, this is your office.
00:52Wow! It's big.
00:54Keeping heritage crafts alive.
00:56Keep going.
00:57Keep going.
00:58It's getting hot in there.
01:00On precious restorations around the country.
01:03I can't even imagine what it looks like.
01:06There's a legacy here that needs to be protected.
01:16Today, Will's in search of the Loch Ness Monster.
01:20Do you know, I've got a feeling I might find this here today.
01:22Absolutely.
01:23And it's a good day for it.
01:25A broken ornament has left its owner shattered.
01:29It just had so many connections with both of us.
01:34And Will's metalwork skills are on fire.
01:37I love all the staff.
01:39Yeah, it's right.
01:44Will and Dom are on the road in Scotland.
01:47It's great to be up in the Highlands again.
01:49Where are we going?
01:50We're off to drum the drukkett.
01:51What's that?
01:52Well, it's where the Loch Ness Monster is.
01:54You're going to Loch Ness?
01:55Yes.
01:56No way.
01:56Nessie.
01:57I hope you've got your binoculars.
01:58I've basically been invited to pick up something that has been lost under the water for many years.
02:03It's a camera, a special camera, that has been made to capture pictures of Nessie.
02:09No.
02:10Yes.
02:11Will is stopping off at a small village on the shores of Loch Ness.
02:16Drum the Droch.
02:18Legends of a mysterious creature spotted here date back to medieval times, although not everyone can agree on exactly what
02:27they've seen.
02:29Oh, very like a swan, long neck, small head and one big hump about 30 feet long.
02:35Just had one big hump and a dog, a head, something like a dog.
02:39And that's what you actually thought?
02:41Yes.
02:42Good grief.
02:46What a setting.
02:47It is.
02:48It's wonderful, isn't it?
02:50Adrian Shine has been investigating the phenomenon since 1973.
02:56Now, this looks very interesting.
02:59Is this the camera?
03:01This is the camera which had been placed 55 years before and lost.
03:07Right.
03:08It's been sitting on the bottom of Loch Ness over 180 metres deep.
03:11This little camera was found by Boatey Mac Boatface.
03:18That's the affectionate name of the remotely operated submersible on the UK's newest polar research ship.
03:25And Boatey Mac Boatface was doing trials just here and snagged a rope, which was the remains of a mooring
03:37of this camera.
03:40It was a million to one chance, probably more than a million to one, actually.
03:45What exactly does this camera do?
03:47It is the first attempt to photograph the Loch Ness monster underwater.
03:54Really?
03:55When you opened it up, did you have a look at the film and see if there's anything on there?
03:59Yes, there were pictures.
04:01Nothing on them.
04:02OK.
04:05While there were underwater photographs, none of them captured Nessie.
04:12The rediscovered camera and its waterproof housing were donated to the local Loch Ness Centre.
04:20Professor Roy McCall of the University of Chicago built six of these.
04:26In the autumn of that year, 1970, there was a gale and three of them were lost.
04:34And so this is one of the three.
04:39Professor McCall was the chief scientist of the Loch Ness Phenomena Investigation Bureau.
04:48But taking photographs nearly 600 feet underwater presented a challenge for the investigators.
04:55They were triggered by baited lines.
04:59So this is the bait line for this one.
05:02Right.
05:03Now, the way it worked was that if the bait was taken, this magnet would either make or break a
05:10circuit inside and pull clear of the lens and a photo would be taken.
05:18However, the surging waters kept prematurely triggering the cameras as they were lured to the bed of the Loch.
05:27And so they disabled the trigger line with one of these.
05:33With the mint?
05:34With the mint.
05:36Stuck under the magnet, the mint took 15 minutes to dissolve, giving a crucial window to get the cameras in
05:44place.
05:45Improvisation.
05:46Wow, that's amazing.
05:47So once that had settled on the bottom and the mints had dissolved, then it was really primed.
05:53Then it was primed.
05:54Waiting for Nessie.
05:55Absolutely.
05:59Decades underwater have taken a toll on the camera inside.
06:03But the inventive triggering mechanism, if repaired, could have a future in a new exhibit.
06:11We'd like to do a demonstration in the Loch Ness Center of the way the camera was triggered, the way
06:19it fired.
06:20When that magnet was lifted, the switch would have been in there.
06:25So we want to look at that.
06:27And then...
06:30That battery's seen better today, isn't it?
06:32Just about.
06:34Oh, my word.
06:36I absolutely love this.
06:38It's a fascinating piece of history.
06:40Whilst I'm here, is there any chance you could take me out onto the Loch?
06:43Absolutely.
06:44And it's a good day for it.
06:45Do you know, I've got a feeling I might find Nessie today.
06:49This is it.
06:50This is it.
06:51The ideal boat.
06:52Follow me.
06:53We're off to the spot where the camera was retrieved, which is just off Arquette Bay here.
07:02Loch Ness contains more water than all the lakes in England and Wales combined.
07:10For decades, scientific researchers have been drawn to the loch, curious to discover what secrets might lurk in its depths.
07:19This water looks really dark.
07:22Yes, it is.
07:23That is the basic problem that you have with underwater photography in Loch Ness.
07:29I mean, fresh water tends to be pretty murky.
07:33Yeah.
07:33And Loch Ness, as you may notice, has got this red cinch to it.
07:39Adrian has brought a Secchi disc, used to measure underwater visibility,
07:44to demonstrate just what Professor Macau's cameras were up against.
07:49So, we'll lower it in.
07:54You can play this game as well.
07:57Wow.
07:58So, keep looking at it.
07:59Yeah.
07:59And we want it to go down until you just lose sight of it.
08:02So, down with it.
08:04So, we're at three metres.
08:07Three metres.
08:08At water level.
08:09It's not good, is it?
08:11No.
08:12Well, that's the problem.
08:14Three metres is, like, such a small distance compared to the depth of the loch.
08:20Absolutely.
08:21Now, this is a really simple bit of kit, but it really shows how murky the water is and how
08:26important it was to have those cameras.
08:27And that's why he pointed them upwards, to try and get the light underside of any unusual creature,
08:34because it's a universal principle in nature, counter-shading.
08:37Dark on top, light underneath.
08:39So, you're safer from predators.
08:41If a predator or prey is looking down at you, you're lost against the darkness of the depths.
08:48The cameras were designed to take advantage of this common form of camouflage.
08:53By bouncing light off Nessie's presumably paler underbelly.
08:59That's why that camera's so important.
09:01Picture tells us a thousand words.
09:05As Will is heading back to the barn with the broken camera,
09:10Dom is at a studio in Glasgow to pick up something else in need of repair.
09:16From Linda.
09:20I brought you a replica of Stained Glass Window, which is in the abbey on the island of Iona.
09:28Okay.
09:28And it depicts St Columba.
09:32Iona, a tiny island off the west coast of Scotland, meant a lot to Linda and her husband, Bill.
09:40It's where St Columba established Christianity within Scotland.
09:44But before he went to Iona, he landed at the Mull of Kintyre, which is where I live.
09:50Okay.
09:50And we have a place there called Columbus Footprints.
09:54And that was where my husband and I got married.
09:59We just clicked right from the word go.
10:01You just knew?
10:03Yeah.
10:03Our families had grown up and we could use the time that we had together to have fun.
10:13We made every moment count.
10:16Where does this fit into the story, then?
10:18This was bought on the island of Iona when we visited it on our 15th wedding anniversary.
10:24There's a church there or a chapel?
10:25Yes, it's a huge big abbey.
10:27And Bill saw the huge big stained glass window and just said, that is beautiful.
10:33The sun was coming through.
10:34It was just perfect.
10:35And as we were leaving, they saw this and quietly bought it.
10:41And he just absolutely loved it.
10:43And then it was hung up in our window of our lounge for quite a number of years until one
10:51day Bill decided to open the window and it fell off and broke.
10:56And he was really, really upset about it.
10:59So I said to him, look, it's okay, darling.
11:01We'll get another one.
11:03We had planned to go to Iona for our silver wedding anniversary.
11:07Okay.
11:09Unfortunately, Bill died one year before our wedding anniversary.
11:13Bill got cancer.
11:16And we got the diagnosis on Christmas Eve.
11:19Oh, no.
11:20He died three months later.
11:22Three months later.
11:24Yeah.
11:25It must be hard seeing it in this condition.
11:28It's very hard.
11:30So what are you hoping that we're able to do to it?
11:33There's one shard here that still has the painting on it.
11:38And, I mean, it doesn't matter if some of the cracks in it show.
11:44If it's just fit to be hung up again.
11:46Back together.
11:47So that I can have it back in the window where Bill put it.
11:50This is a celebration.
11:53It is.
11:54Bill was a person and that fantastic time that you both had together.
11:57I want you to be able to look at this and smile.
12:00Me too.
12:01Leave it with me and we'll do the best we can.
12:04Dom's calling on Emma Lindsay, a local stained glass specialist with more than 20 years of experience.
12:11Emma, hi.
12:12Hi.
12:13I have got Linda's precious little window.
12:16Okay.
12:17I know it's not looking its best.
12:18Oh, yes.
12:19But I'm hoping you can help.
12:20Yes.
12:21Take it off my hands, please.
12:22There's a couple of loose shards on the front and on the back.
12:24I'll be very careful.
12:27We'll just lay it down in the light box and have a look.
12:30I cannot explain how this is so precious to Linda.
12:34So many happy memories with her husband.
12:37No pressure.
12:37Yeah, I know.
12:38I know, I know.
12:39So the first thing I'm doing is just to look and see how this has been made.
12:43It's not stained glass, is it?
12:45It's not leaded?
12:47No.
12:47Well, you've got a piece of lead round the outside here just as a border.
12:51Yeah.
12:51Because it's such a small piece, it'd be impossible to lead a piece of that.
12:56It's been painted on one piece of clear glass and then it's been sandwiched with a second
13:04piece of clear glass to seal the design in the middle.
13:07Even with that one shard that Linda's managed to keep, you are still missing a big old chunk.
13:12And the hand, yeah.
13:13It's a little tiny bit of a finger, haven't you, but the rest of it's gone.
13:15So would you be able to repaint that?
13:17They're so fine and detailed.
13:18Mm-hmm.
13:18Yeah?
13:19That's amazing.
13:20While Emma is starting on the delicate glass repair,
13:26the underwater photography system from Loch Ness has made its way to the barn,
13:32where a team of experts hope to get it firing once again.
13:37First to take a look is analogue camera specialist Piero Pozzella.
13:43I've never seen anything quite like this before.
13:46They've designed this whole thing just to trigger that camera.
13:50It looks like there's a lot going on in there.
13:51I can't wait to have a look inside.
13:55I can already see there's water's definitely got in.
13:58You can see a lot of the corrosion on the base.
14:03Battery's completely gone.
14:05I can see that the camera sits here.
14:08Looks like this moves as a trigger.
14:12I think that would have been a magnet,
14:14as there's a little switch there that the magnet would have interacted with.
14:18And then when that moves, the wires down here, go to this device, power up the capacitor,
14:25and then fire this big pin upwards, which would in turn move this bit of metal to hit the shutter
14:33button.
14:33But from what I can see, this bit's floating around.
14:35It's definitely got something missing.
14:39First things first, I need to get this old corroded battery out so that we can replace the damaged wires
14:44and get some new power in there.
14:46But before I do that, I'll put a glove on just in case of the battery acid.
14:59There's fragments of the battery that have gone everywhere, so it's definitely going to need a bit of a clean
15:03-up after that.
15:18It's going really well.
15:19I've replaced the damaged cables to the battery, and I've also added a battery connector just to make it easier
15:25to add the new battery in.
15:26The reason why I've gone for a modern battery is so that the centre can recharge it.
15:31That'll sit nicely in there, and then when it's in place, just simply connect it up, and it's ready to
15:38go.
15:40The mechanism has a new power source, but there's another problem.
15:45The trigger's just non-responsive.
15:48The way the magnet works, the lever is pulled up, the magnet is released, and it triggers the camera to
15:56take a picture.
15:57So I'm going to remove the magnet. It's only epoxied in, so I should be able to push it out
16:01with all that rust.
16:04There you go.
16:05And I'm going to use a very strong neodymium magnet.
16:10The magnet needs to be this strong, because it needs to be able to pass through this thick acrylic to
16:16trigger this very thin little metal switch underneath.
16:19I'm going to place the magnet where the old one was, and you can already hear it's triggering the switch.
16:25That tiny little click, really.
16:33Piero is using a two-part epoxy adhesive to glue the magnet into position.
16:40Whilst that's curing, I'm just going to pop the battery in and test it out.
16:49Just pop this in.
16:53So when I lift this lever, it should jump or twitch.
17:00Yeah, there we go.
17:03I'm really relieved that's working.
17:05Now that's all ready to go.
17:06I can give the camera a once-over.
17:17Back in Glasgow, Emma is removing the lead border that holds the two panes of glass together.
17:26Try and gently peel it back.
17:29I don't want to bend it too much so I can hopefully just put it back on afterwards.
17:34As the middle section has several breaks and losses, Emma's going to replace it with a single new piece of
17:42glass.
17:45So what I'm going to do is just cut a section that's going to take up this whole break.
17:52I'm going to paint the whole break, and then I'm going to just cut it down to size.
17:57Just cut it about there.
18:00There.
18:10And what I've got here is just a little print out of the actual window in Iona Abbey.
18:15I'm going to use that just to replicate the section here that's missing in Linda's piece.
18:21Okay, so.
18:23I've got some glass paint here.
18:27So I'm just going to try and start replicating some of these black lines.
18:34Just try and get the same density and same weight as Linda's piece.
18:43Once I've completed the black paint work, it will be a case of adding the colour in each section.
18:51And then hopefully this replica piece will just slot right back into the original piece.
18:58While Emma is repainting the missing design.
19:04In the barn, Piero is turning his attention to the vintage camera.
19:12I've taken the front off the camera just to take a closer look inside.
19:16The rust has fused the shutter blade completely to the body.
19:20I can't even move it.
19:22There's no chance of fixing this, so I've sourced a replacement.
19:27It's identical to the original.
19:30It will be historically accurate.
19:32And it will fit straight into place inside the contraption without any issues.
19:37The only part that does look salvageable is the flash.
19:41Because it's made of plastic, you can actually see it's all still intact.
19:46And the magnesium inside the bulbs looks in good condition.
19:50The reason they use magnesium inside the bulbs is because it burns really bright really quick.
19:55And it's not too hot.
19:56And you can see, once it's used, you can't use it again.
20:02This flash cube has only used one flash so far.
20:05So the nice thing is, is that we can still use the three remaining shots.
20:16Now we're ready to test it out.
20:20It sounded good, but it didn't quite get there.
20:24The mechanism was triggered, but it's not triggering the camera.
20:27Try it again.
20:30There's really not enough force to push that shutter button.
20:34It looks like there used to be a bolt holding the arm in.
20:38And that appears to be missing completely.
20:41I think I might need Dom's help for this one.
20:46Hey Dom, I wonder if you could give us a hand.
20:48Okay.
20:49What have you got?
20:50Really interesting contraption, built for taking pictures underwater.
20:54Wait till you see this.
20:56Oh, wow.
20:57But you'll see the main problem.
20:59If you lift this arm up...
21:04Oh, that is flapping around, which is not going to help.
21:07No.
21:07That needs to be a fixed point.
21:09The hole there makes me think that there was something holding it on there.
21:12Definitely.
21:12Hitting point.
21:13Yeah, yeah.
21:14It's almost like you get that first kick and it moves.
21:17After that, it's not got enough beams to actually...
21:20Charging quick enough.
21:20Yeah.
21:24As Dom sets about making a new bolt to stabilise the loose arm that activates the shutter release,
21:33Wilm is back on the road, heading to Nil.
21:37I'm on my way to meet Gary to learn about the craft of bike frame-making.
21:43Now, I'm always up for learning something new, so I'm hoping today Gary can teach me a bit of metalwork.
21:48Maybe I could take it back to the barn and show Dom a thing or two.
21:54He's meeting postman Gary McKenzie, who's turned a 20-year welding hobby into a successful side business,
22:02supplying custom-made bikes.
22:08Now, I know you make bike frames, but that doesn't look much of a bike at the moment.
22:14No, there's a few more tubes to go, yeah.
22:16So, what stage are you at now?
22:18I'm just starting to cut some other tubes here.
22:23Gary's working on the front triangle of a new frame.
22:27Like a tailor-made suit, he takes his customer's exact measurements,
22:32from inside leg to handlebar reach,
22:35and puts his bespoke design down on paper.
22:39This is the whole bike here.
22:41This looks like it's almost to scale.
22:44Yeah, this is a complete one-to-one scale of the bike that we build.
22:48It just simplifies things, because we can just take our measurements directly from the paper.
22:52But turning a 2D drawing into a 3D bike is a tricky process.
22:59So, before we cut this, I'll explain every tube we use one of these, which is called a tube block.
23:06Yeah.
23:06So, now we can obviously, we've got flat sides for our tube, so we can stick it in a vise
23:11nicely in.
23:11That's really clever.
23:12And when we do the cut, we have to rotate it, because your cuts are different angles,
23:19and you have to, what you call, phase the tube.
23:21When you've got flat, like that, rather than the round, you know, it's much easier.
23:26There's a lot of thought that goes into this.
23:30Gary miters each section of frame, cutting them at precise angles to ensure a close fit.
23:38Just one millimetre or degree out would affect the strength of the final frame.
23:46So, that's our first miter down there.
23:51As quick as that?
23:52That's it.
23:52You can have a go at this, if you want.
23:54Yeah?
23:55Yeah, like that?
23:56In there, yeah.
23:57So far, so good?
23:58Mm-hmm.
23:59Right, we're ready to wind this one towards you.
24:01So, this one makes it come towards me.
24:03Yeah.
24:04Yeah?
24:05Yeah.
24:05Okay.
24:06I got this now.
24:07Yeah, you do.
24:07I do need your hand to help me unclamp it.
24:10So, let me go.
24:12Just make sure it's flat.
24:13Yeah, that's flat against the back.
24:15I'm getting this position thing.
24:17Okay.
24:22Green for go?
24:23Yeah.
24:25Yeah, yeah.
24:28In the 20th century, there were traditional bike frame builders in every town in the UK.
24:35I love all the farms.
24:36Yeah, it's all right.
24:38Ha-ha.
24:39But the increase in mass production and cheap imports meant that by the early 1990s, the craft
24:46had almost disappeared.
24:48All right, you can stop there and we'll have a look.
24:50Yeah?
24:51Yeah.
24:54Hey!
24:56It's quite a change from Will's usual woodwork.
25:00So, does it fit?
25:04Oh!
25:06There we go.
25:08Perfect.
25:08Yeah?
25:09Yeah?
25:10Pretty good.
25:10Yeah, thank you.
25:13Well, I enjoyed that.
25:14To get the fit even tighter before it's welded to the frame, the edges need to be filed.
25:21We're just taking these, see these burrs?
25:23Yeah.
25:23We're just looking to get all that.
25:25Like that?
25:27Quite gently, because if you take up too much...
25:29No, you can go hard.
25:30Can you?
25:30Yeah.
25:32What kind of brought you into this world then?
25:34I've always been into TIG welding as a hobby.
25:38And then I've always been at cycling.
25:40Right.
25:40And finally they've come together.
25:43Come together.
25:43It's quite rewarding, you know?
25:46Because recently I built one for somebody who's had back pain for 20 years.
25:50Yeah.
25:51And he can never find a bike to fit on.
25:52It's either too big or it's too small.
25:54So it took some measurements from him, like made it so that the front end was purposefully high, which got
26:00him comfy.
26:01And then he's just been to France in it the other week there, saying no back pain at all.
26:07First time in 20 years, so that's like changed his life.
26:09That's amazing.
26:11Gary is one of only around 30 professional bike frame makers in the UK.
26:17Why do you think it's so important to keep this skill alive?
26:20Sometimes you need a custom frame to get what you really need.
26:24Because the mass produced stuff is all aimed at being most aerodynamic and fastest.
26:30But in the real world, that's not what you actually need, you know?
26:33I think you've been doing this for too long that you don't realise how cool this is.
26:37Seriously, it really is.
26:39Well, I feel like I've taken off a lot of those bird edges.
26:42Let's get welding.
26:44So we're just going to hack this at this stage.
26:48It's just a tiny little, well, just enough to hold it at the moment.
26:53On a frame like this, you kind of want to get maybe four on each end.
26:59And then we take it out to weld it fully.
27:02Okay.
27:03So that will just hold it and stop it moving about.
27:05Yeah.
27:06Okay, let's go.
27:16Was that it?
27:18That was it, yeah.
27:18That was quick.
27:19Tiny little tack.
27:20Yes.
27:21I'm itching to get a big pay.
27:22Well, I think you should have a go.
27:23Yeah?
27:23Yeah.
27:24Okay, right.
27:25So remember, this is my first time and I'm trying my best.
27:28Yeah.
27:28Okay.
27:33Not that you carry on.
27:37We'll just take out the jig.
27:43Looks more like a bike than it did earlier on, right?
27:46That's pretty good.
27:48And thank you so much for the opportunity.
27:50Will has to get back to the barn, leaving Gary building a wheel for his latest commission.
27:57So we've got the rim, our spokes.
28:00First thing is we've got to load the hump.
28:04And we've just got to start raising the rim.
28:12And then we just thread it in here.
28:15Building a wheel is one of the things that's, like, seen as the block art.
28:22You've got to go up to a wheel on lace.
28:26No tension in it yet, but that's all the spokes.
28:29Place.
28:30Little by little, you go, tension slowly and consistently.
28:34Then you get even tension throughout the whole wheel.
28:37Nice, strong wheel.
28:39There's no weak spots there.
28:41After riding a tyre, the wheel is ready.
28:45Because you're building it by hand, you can take it to that extra degree.
28:51Straightness and strength.
28:52I mean, that's the good thing about having a home-built, bespoke bike like this.
28:57You can ride it and then come back to me.
28:59I mean, just things change, but we can change the bike as time we're on to suit whatever you want.
29:05You don't just have to go buy another bike.
29:11Back in the barn, the team are facing another problem with the camera trigger.
29:17Dom's drafting in Mark Stuckey for his electrical expertise.
29:23Not very good at the moment, is it?
29:25All right, Mark, I'm trying.
29:28You're not trying hard enough.
29:30Clearly, well, that's not trying hard enough.
29:31That's the problem.
29:32The solenoid, the one which gives it the oomph to hit the trigger, it's just weak, isn't it?
29:37You've got a capacitor here, which is actually used to store the charge,
29:41and then when you press the button, that releases it.
29:44Because power to the solenoid, it's like all of us, we get a bit tired with age.
29:48So we need to do something about it.
29:49Do you want to see it again?
29:51Ready?
29:52Go on, go.
29:53Pathetic.
29:54It's barely moving.
29:55Yes.
29:56What I'm going to do now is add an additional capacitor.
30:00Thank you very much for holding it for me.
30:01Glamorous assistant.
30:02There we go.
30:03You're welcome.
30:04So what I'm going to do is to piggyback this capacitor, the old one,
30:09because I'll keep the original one in there if I can,
30:11because it gives physical stability.
30:14That's crazy.
30:15So you just think by sticking that on top, it's now going to work wildly different?
30:18It will be a lot better.
30:19Really?
30:19In theory, it should work.
30:21Well, there's only one way to find out, isn't there?
30:23It is.
30:23Yes.
30:24Ready?
30:24Yep.
30:27That was quite powerful.
30:27That was a lot better.
30:28I felt that.
30:29Yes.
30:30That's got more kick, hasn't it?
30:32That's exactly what it's meant to do.
30:33Well, I'm starting to understand what's happening.
30:35If I trigger it, it has the full travel of movement.
30:39Yeah.
30:40But it doesn't return.
30:41No.
30:42I think it needs a spring.
30:43I agree with you.
30:44To push that back up again.
30:46Exactly.
30:46If we can get a return spring somewhere on this mechanism.
30:49Yes.
30:50This is a royal way.
30:52Yeah.
30:53Yeah.
30:54You're not leaving me with this.
30:56I'm pretty confident we can get this working.
30:59Yeah.
30:59Okay.
31:00That sounds pretty good.
31:02While Dom and Mark spring into action, Emma is in her Glasgow studio.
31:09Having painstakingly repainted the replacement section of Linda's glass window, she's almost
31:16ready to glue it into place.
31:18But first, she needs to prime the broken edges of the original sections.
31:25So what I'm going to do now is just have a little gentle grind just along the edge here.
31:32Just want to smooth that off just a tiny bit so that the new piece that I've made slots
31:38in and hopefully has a nice bond with the glue.
31:57So that looks great.
32:01So this is the very broken piece in the middle that I've taken out and replaced with this
32:05just so that we can have as little cracks as possible because there's quite a few breaks
32:11in here.
32:12So hopefully this will be a lot simpler and a lot more strong when it's glued.
32:23When I cut this, obviously I only have one shot, and if I mess it up, I'm going to have
32:28to make another one.
32:31Emma deliberately made the replacement section slightly bigger, but now must cut it precisely
32:38to size.
32:40I'm just hesitant to cut it until I feel confident that it's leaned up as best I can.
32:46I can possibly line it up.
32:49The reason I love working the glass, it's just so varied.
32:53There's a craft element, there's an art element, it just encompasses such a wide variety of techniques.
33:03Here, so let's mark this.
33:11And go in for the cut.
33:21All right, so this is the moment of truth.
33:23We're going to break this and hope that it fits in perfectly.
33:33Okie dokie.
33:38Next, the meticulous job of attaching the new piece while minimising the joins.
33:45I just want to apply it to the crack and just let it naturally sink in and fill the gap.
33:58So, that's the glue finished.
34:01So, now this is going to sit for 72 hours to dry.
34:05After that, we'll be able to sandwich it together with the back plate and pop the lead around
34:10it and it'll be all finished.
34:12While Emma's glue slowly cures, back at the barn, Dom and Mark are revealing their progress
34:19to Piero.
34:21How's it going?
34:22Have a go.
34:23You sure?
34:24Yeah, just see what happens and we'll have a go from there.
34:27Just lift it.
34:28Yeah.
34:30No.
34:32You're joking.
34:33There you go.
34:34It needs to recharge.
34:35Yeah, it needs to recharge.
34:36You've done it?
34:37Yeah.
34:37It's done.
34:38It's hitting the actual shutter button on the camera.
34:40There's also a return spring in there so it returns back to where it should.
34:44With anything homemade like this, a one-off, bespoke kind of thing, it's always tricky.
34:49It's always a problem.
34:49Very pleased to say that you can take this off my bench.
34:52Thank you so much.
34:54No worries, mate.
34:54Mind, there you go.
34:57It's taken a team of three, but the complicated trigger mechanism is now good to go.
35:04That's all ready to go back up to Loch Ness.
35:06The centre are going to have such great fun demonstrating this for the visitors.
35:11But first, Dom is checking in on another fix.
35:16I'm back in Glasgow to head to Emma's studio to see how she's got on repairing Linda's stained glass panel.
35:24It's such a special thing to Linda.
35:26I know how much it means to her, and I know that she's so excited.
35:31There's so many emotions at play here because Bill and I had a fantastic life together.
35:39We lived life to the full.
35:41We had so much fun.
35:42I'm really looking forward to seeing it.
35:47Linda, welcome back.
35:50How are you feeling?
35:52Excited.
35:53A bit nervous.
35:55Nervous?
35:56Just, oh, the anticipation of how it's going to affect me, because I know it will.
36:02How long has it been broken for?
36:04Oh, about eight years.
36:06Eight years.
36:07Yeah.
36:08You must have missed it for that time.
36:09I have.
36:11You ready to take a look?
36:12Oh, yes.
36:14Very much so, yeah.
36:16Yeah.
36:16OK.
36:20Oh.
36:22It's beautiful.
36:26Oh, Emma.
36:29Oh, that looks lovely.
36:31Can I take some...
36:32Please do.
36:32Please do.
36:36Oh, that's lovely.
36:37And when you get the light shining through it as well.
36:42Thank you so much.
36:44That's going to go back in the window.
36:46That'd be looked after very carefully.
36:48Back where it belongs.
36:50Yeah.
36:51How's it feel seeing it now?
36:53I know Bill would have been so proud of me doing this, because he would know just how much this
36:59means to me.
37:02Oh, yes.
37:05I'm glad you're happy.
37:06And I just can't thank you enough for doing this.
37:09You're so welcome.
37:10You're welcome.
37:11Really.
37:12Thank you, all of you.
37:14Today's been such a big day, because it was something that we were supposed to do together.
37:21We were supposed to go back to Iona, and we were supposed to buy another one.
37:27It's the one I've got.
37:28It's the one I gave Bill.
37:29And it's whole again.
37:31And it's there with all the wonderful memories I have of our lovely times together.
37:43Far the north, Will is heading back to drum the drochet.
37:51Well, I'm on my way to the Loch Ness Centre, and I have some incredibly precious cargo in the back.
37:57Piero has given me strict instructions on how to work the camera.
38:01I'm just hoping that it's all going to go well.
38:04I'm excited to show this to Adrian and the community, I'll tell you that.
38:09And here we are.
38:11But before the underwater camera system is returned, Adrian has one last job for him.
38:21Hi, Adrian.
38:23Hello, Will.
38:24This is great in here, isn't it?
38:26We're going to demonstrate the principle of counter-shading, whereby aquatic creatures are generally dark on top, but light underneath.
38:36So what are we going to do with these?
38:37So we're going to put them up.
38:40Okay, okay.
38:41So up you go.
38:42Well, I'm going up, am I?
38:44Well, I'm not.
38:46Right, if you hold the ladder.
38:47I will.
38:48I'll pop these up.
38:49The cutout should show how the original system was designed to take photos of a passing creature's pale underbelly in
38:58the murky water, after it had taken the bait and triggered the mechanism.
39:03This is a great visual representation for all the visitors, and I actually feel like I'm undersea here.
39:09Good, good.
39:11Actually, Adrian, you look a bit like Poseidon with that beard.
39:15You know that?
39:16You just need a trident.
39:19Well, that's one up.
39:20Shall we do the rest?
39:21That's one up.
39:21Well, if you're going for it.
39:23Yes, come on.
39:25While Will continues setting up, excited locals and friends of the centre had already arrived.
39:34Gordon was with the team when the underwater camera system was discovered.
39:41We located it with the equipment that was on my boat.
39:44It was just total amazement.
39:46At that time, nobody knew what the camera was.
39:50It's quite amazing that over 50 years ago, this was lost at the bottom of Loch Ness and has managed
39:55to survive.
39:57It's a really special moment for not only the people here, but I think for the people of the world
40:01who love Nessie.
40:02I would like to see the camera used as a way of demonstrating to people that some of the men
40:09involved in this actually had heads on their shoulders, not just heads in the clouds.
40:16Inside, everything's ready for the underwater camera system to take centre stage.
40:21Hello.
40:22There we are.
40:23Hi.
40:23Come in, come in.
40:27You're excited?
40:28Yes.
40:28Totally.
40:29Fascinated.
40:30Now, this is more than just the camera.
40:32There is so much history behind this and there's that sort of spirit of the loch and what it's all
40:38about.
40:38But it's also about community and that's all what sort of brings you all here tonight.
40:43This was fixed by Piero, but he had to lean on Dom and Mark as well.
40:48So he had three people scratching their heads over there.
40:51All right.
40:52Are you ready to see it?
40:53Yes.
40:55Okay, here we go.
40:59Yay!
40:59Wow.
41:01Unbelievable.
41:04Look at that for the kids.
41:06Now, there will be a bait line here with bait on the ends and with a cheeky little nibble that
41:11will then lift the lever here, huge bright light and it'll take a picture.
41:17I'm going to lift up the mechanism.
41:19It'll be an incredibly bright light and then you'll be able to see a big flash.
41:23Do not look into the light, please.
41:25As tempting as it sounds.
41:26Ready?
41:27Three, two, five, four, three, two, one.
41:39I've spent so much time down in that piece of water, but thankfully I've been able to bring it back
41:45to you in some kind of working order and I've been able to give a demonstration of how this would
41:50have originally worked.
41:51Thank you very much.
41:52Are you intending to put this back into the water?
41:55No.
41:56Good, because you'll have three people very upset.
42:01Who wants to take a look?
42:03Oh, yeah, definitely.
42:03All right, come on in.
42:05Oh, whoa.
42:06Pretty cool, isn't it?
42:08Oh, amazing, amazing, amazing.
42:10It shows the ingenuity at the time of these people that constructed this.
42:14I really like the idea of the polar mints. That's really clever.
42:17Unbelievable.
42:19Piero, Dom and Mark's hard work has paid off.
42:23The camera was lost 55 years ago, so to have it back, it's absolutely spectacular.
42:29It is going to bring something brand new to the area, something that's never been seen before, which is quite
42:36hard with Loch Ness.
42:36I think it's wonderful now we can use it as a vehicle to explain to people how the men of
42:44those days actually set about trying to do something virtually impossible in the dark water of Loch Ness.
42:51The camera encapsulates that kind of dream and determination of wanting to give something a go and making it work.
42:58And I'm hoping, now that it's back in the museum, it can inspire another generation of people.
43:04If you'd like to see more fantastic fixes and restorations, search BBC iPlayer for The Repair Shop on the road.
43:14The Repair Shop on the road.
43:42The Repair Shop on the road.
43:42The Repair Shop on the road.
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