new icn messageflickr-free-ic3d pan white
View allAll Photos Tagged Change Management

After being back to Singapore , I noticed that the downtown skyline had changed a bit with new tall buildings erected in the past year or so. The rapid economic growth in Asia has somewhat slowed down but I would expect that it'll pick up soon. Singapore always have a masterplan of what the city/country will look like several years, decades in fact, in advance. And having seen what the country/city may look like I thought I would upload my old photos quickly before they become irrelevant.

Unnamed Falls

Pounder Branch

Cane Creek Wildlife Area



5 Image HDR


You know, half the fun of hiking to Van Hook Falls really is the hike. Usually for me it's mostly about the payoff, but the section of the Sheltowee Tracel National Trail as it passes through the Cane Creek Wildlife Management Area from Kentucky 192 to Van Hook is one of the prettiest in Kentucky! When you start out on the trail you have no clue about what's ahead. It's drab and boring, but after you descend into the watershed things change quickly and you find yourself among a second growth hemlock forest as the trail follows and crosses, several times I might add, a tributary of Pounder Branch. You pass two falls along the tributary, both fairly small, but when it meets the main branch things change quickly as the creek begins to drop and drop and drop. Small creeks flow across the trail and then descend into Pounder Branch as the creek is now 100 ft. below to your right. Below you hear falling water. We counted at least 11 waterfalls along the trail. My good friend Chris Morris had been here before and spotted a place he had ascended from the gorge to the trail so down we went. For me it was a little dicey, I'm not a fan of heights but I pushed on anyway and made the scramble down to creek level. Goodness, what a payoff as this was the waterfall at the bottom. Although I'm sure there have been some, it was nice to know I was visiting a waterfall many had never been to and to make it even better with this much water on it. It was so peaceful there, with the sound of rushing water all around, towering hemlocks high above my head, and rhododendrons dancing across the high water, it was truly paradise.


Check out my website for more photos!

in Boston in 1974! The Back Bay Train Station is 2 short blocks from the hotel and about 10 not so long blocks to where I went to school way back when--The Katharine Gibbs School at 21 Marlborough Street. First job after graduation was at 5 Walnut Street on Beacon Hill; second job was here and then it was on to California. Hotel has changed management several times and changed a bit in the lobby but not much.

Change of scene for the next series, to the Pajares pass line in northern Spain. It was originally planned to have been bypassed in 2012 by a base tunnel, but financial and geological difficulties mean that everything for the time being still has to be hauled over the 1270 metres high pass. Here, a southbound train loaded with rails is descending towards La Robla (and possibly onwards) behind ADIF 319 243, ADIF being the company charged with the management of most of Spain's railway infrastructure. Golpejar de la Tercia, 05-08-2014.

I just finished reading this book on change management. The learning is formatted into a fable of penguins and an iceberg.


Don't use this image on websites, blogs or other media without explicit permission.

:copyright: All rights reserved

The lighting here changes simulation with Nik


The coming death of Nikon 11

Nikon FX D-SLR vs Sony FF MILC. Should Nikon keep the venerable F mount for their future serious mirrorless system(even with a lot of technical restrictions)?

First of all, there are a few very erratic but interesting Nikon related rumors we've heard at CP+ show and at Kyobashi Tokyo camera museum, which I sometimes call Nikon graveyard.

But I think it is just a bit too early for us to write about these rumors here or anywhere else now.

We have to analyze these rumors a bit deeper to see which ones might become close to the real things or all are a bit too far-fetched stupid typical internet lies, and at this point, I think all Nikon related rumors we see at NR and many Japanese camera forums are all fakes.....or exaggerated version of the real ones.. or some Nikon fanatic's dreams or requests sent to Nikon via Internet forums.

Mr.Hogan recently said there were a few new Nikon FX rumors floating around internet and one of which actually stimulated his interest was: that the D810 update would not come at the last CP+ show and probably until the next CP+ show in 2018 because instead that camera would be replaced by a mirrorless model. That way Nikon would have a Sony A7R2 competitor instantly.

Well this one was spread across almost all Japanese camera forums and I think some Western guy or girl Google translated the Japanese original rumor erroneously and some very important info was lost in Google translation.....

Anyway, the original Japanese rumor in which Thom seems to have got interested said Nikon would come out with a similarly specified FX mirrorless body to the Sony A7R2 but with a new 46.4mp or 54.7mp sensor sensor designed by Nikon and fabricated by a new sensor manufacturing fab that Nikon, Olympus and Pentax have been trying to set up with some serious help from Tower Jazz and Panasonic. And this new FX mirrorless comes in F mount and a new mount and Nikon would evaluate which version would be selling better for them(like they did with the D800 and the E version of it).

I think this rumor might be true since we dealers always hear this kind of things every where, from third-party lens manufacture guys, from third-party LCD cover sells guys, some third-party speedlite sells guys,etc.

Well this rumor may be true, but the real problem here in this rumor is that Nikon seems to be choosing the F mount for their future mirrorless system and there is no benefit for them with that technically very restricted mount.

Thom commented below on this issue.

"Well, they already have a considerable A7r2 competitor: the D810. I own and shoot both, and I consider the D810 the better choice most of the time. I’d expect a D810 replacement to retain that distinction. So exactly what would we gain with a switch to mirrorless? I’m not sure we'd gain anything that excites me, especially if this means yet another new lens mount".

Well what can I say? I'm not sure if Mr.Hogan is really serious or just joking here? but I think there is no way Nikon will choose the F mount for their upcoming SERIOUS mirrorless system and succeed with it. True the D810 is a good camera already and it may compete well with the A7R2, especially considering its bargain price compared to the Sony.

But I guess Mr.Hogan is not a big fan of EVF and therefore he does not see many advantages of the Sony over the Nikon unlike us who love the EVF and video features of the Sony.

As a pure stills camera the Nikon is still a great body, but it cannot be as versatile hybrid camera as the Sony A7R2, in fact even the cheap Fuji X-T2 beats the Nikon hands down for video and any sort of hybrid use.

Here are some of main advantages of the Sony over the Nikon and Nikon should seriously study about these.

1 incredible video ability for a cheap stills camera.

2 incredibly smooth LV and fast LV AF.

3 effective live exposure compensation.

4 IBIS and effective electronic IS in video mode(although I am not a fan of IBIS thing, I can see it is very useful for handheld lowlight work).

5 I think the Sony system provides better event shooting experience for many of us(who were growing up with digital not film) due to the better LV implementation with the better more accurate tilty LCD screen compared to the D810 based kit with very low resolution fixed LCD.

In addition to all the above Sony or mirrorless specific benefits, Sony already has the more complete newer design better lens line up, especially the manual focus prime selection for the Sony system is a huge advantage of the Sony system over Nikon or Canon. IMHO, the Sony system has the best lens line up for most of normal shooters who are mostly in the range of 10-200 mm FF equivalent focal range, and this is because Sony has got all newly designed digital-optimized Zeiss Loxia, Batis, Voiklander CV-E line primes and Sony's own GM series zooms. IMHO, Nikon has nothing really as strong as the Sony GM line zooms in performance in their current lens line up to compete with Sony E mount system. I mean too many Nikon lenses are already too old and very restricted in use and not really compatible to most of the latest Nikon bodies.....and the latest E series lenses are only compatible to the latest and greatest line of Nikon D series bodies and these E series lenses are all more expensive than Sony and Canon where is never changing F mount lens compatibility that always Nikon fanatics brag about ?

Just a couple of years ago, Sony E mount haters always made fun of the E mount system for its(then) very poor lens lineup. But now ironically enough, with some serious help from Coshina, Zeiss, Samyang, Tokina, etc, Sony seems to have got one of the very best lens line in the FF class in just a matter of a year or so and I think we have to give some serious credit to Sony for keeping it an open mount system unlike Canon and Nikon trying hard to shut out all the third-parties out of their respective FF system. Nikon has sued Sigma for a several times already and they have lost a lot of money and customers over that stupid lawsuits.

Sony E mount has the widest range of digital-optimized MF(manual focus) lenses and many people who find precise MF-ability more important to them than super fast C-AF will always choose the Sony FE system. I mean it is almost impossible to really precisely MF on your Nikon with their poor soft LV image peaking,etc. The Canon D-SLRs at least have very good LV and LV exposure simulation mode, but the Nikons including the latest D5600, the D500, the D5 do not have that. The LV speed of the latest Nikon is basically the same as the 7year old D7000, in fact, Nikon has made no progress in this area since the D600.

It is really pity and the Nikon D-SLRs-even the best ones are not comparable to any of the Sony A7X series cameras in this regard.

In last week, I just tried the CV40mm f1.2 in Osaka, and I must say it is incredible, extremely sharp and extremely compact,I think this new Coshina Voiktlander E mount prime series is instantly becoming really an indispensable prime line to many E mount shooters.......

The CV-E 40mm f1.2 is incredible, the CV 12mm f5.6 and 10mm f5.6 are both indispensable and I am sure the upcoming 65mm f2 APO-Lanther will be incredible too, but it is a bit too bulky for me and I might not buy it but still it is a great lens for sure.. And most importantly they are only really practical on a EVF camera with focus peaking.

I do really appreciate the new Voiklander primes and Zeiss Loxia series, and they are one of the main reasons I have been using the A7R and A7R2 for most of things now....


Anyway Mr.Hogan wrote below:

"But let’s assume for a moment that the Mirrorless D810 update rumor is true and Nikon will not update the D810 but put out a high megapixel full frame mirrorless camera instead. What would that say about Nikon’s product line management?

To me, such a switcheroo would be just another sign of Nikon product panic.

Let's see, the F3, F4, D1h/D1x, D3/D3x all worked, and the D5 seems to be working while the F6 worked for the few remaining film-shooting pros. Great products that the pros and high end enthusiasts loved. The F5, D2h/D2x, and D4 didn't quite rise to the same level, but I know plenty of pros that (mostly) love those cameras, too. What I can't understand is why establish the h/s combo and then abandon it? Until the D4 came out we all had h/s twins in our gear closets. Now our gear closet is a bit of a mess. A mirrorless replacement for the D810 would just increase that mess."

I do not know he is actually honest or just writing the above because he has hugely invested into the Nikon eco-system and writing the books on the D series Nikon bodies, after all Nikon is his client and probably the most important one, so he can not be brutally honest about it, maybe? I mean no Nikon cameras even come close to the A7R2 or the A7M2 in terms of LV and video shooting experience or in terms of sheer IQ..........even the ancient A7R ORIGINAL was already a bit better than the D810 with respect to the base ISO noise, color accuracy and most importantly resolving power...and more importantly these high resolution bodies are usually used on a tripod and so they do not need any kind of extra shock generating mecha like the mirror-box or completely mechanical shutter...Almost all the Sony E mount cameras now shoot without shutter mirror slap and therefore they can better utilize the high resolution sensor with the latest high-grade lens combo.....I have compared a couple of the D810 bodies with a couple of the A7R(not the 2) many times and the A7R produces better sharper images most of times as long as it is set on a solid if the D810 cannot get as sharp as the A7R most of times, then how can it compete with the even better almost mechanical internal shock-free A7R2 body? On top of that, the D810 has less durable shutter unit than the one used in the A7MK2 and any Sony released after that. The A7R2 has about 3 times longer rated shutter life with much more quiet electronic shutter.

And why he still wants to have a so-called pro body with a super high resolution sensor is beyond me. He seems to want a D5 with the D810 or A7R2 sensor, but is that really needed in the current Nikon line up? I mean all these high resolution cameras are normally used on a tripod or in a studio or like that, so the ultimate speed of pro body is not that important for that kind of camera market. In fact, I think most of people who buy or consider high resolution FF prefer a mirroless over a D-SLR body.

MR.Hogan also said below:

"The D500 is one of Nikon's big successes recently—told you so, Nikon—despite the rushed and slightly unfinished feel. There really should be a D500s soon to polish it up, but we don't hear rumors about that, do we? Meanwhile, the D7200 has been a workhorse for everyone that bought it. It'll give a D500 a run for the money in terms of image quality, though not in build or a few critical performance aspects. "

Well this is a common forum myth or almost an urban legend.....the D500 is not selling well in real world, it was actually a bit too late since most of Nikon shooters that really needed that kind of sports body already dumped their once beloved Nikon kit for the Canon 7DMK2 kit.

We have had many customers complaining about how slow Nikon was and if they had known it coming, then they would have kept their Nikon lenses altogether, but too late.......

Yeah in this sense Hogan is right, Nikon should have talked to the most important user base of theirs about the D500 coming way before ahead.

And how much is the Canon 7DMK2 these days , how much is the Sony A77MK2 or A6500?

Well they are all much cheaper than the D500, and one thing I agree with Mr.Hogan is the D7200 is the biggest enemy of the D500.......the D7200 is cheaper, produces sharper file, with a bit more DR and color range to play with in Capture One pro 10 or DXO Pro 11.

Yeah I agree it is the best Nikon body for our bucks. It is really cheap and really reliable, probably one of these most cost effective camera body solutions. The D7200 and the D750 are really hard to beat for the modest price they carry.

Well, as Thom rightly said, the D500 might have a bit tougher body, but would you really feel it in real life use? I think no. I've abused my puny dinky A7R for almost 4 years but it does not even develop a line of scratch on it, it may be a cheap plastic body but it will definitely take any kind of abuse, even a few drops on to a concrete sidewalk. And still it will work well without any issue. My cheap dinky NEX5n is even more durable, I really abuse it and I do not even care if or when it breaks , so I always use it in the worst possible conditions I can conceive of, but it never breaks. My Nikon D7200 is the same-it is really cheap and easy to replace when it breaks so I use it in the worst possible condition I can conceive of, but it too never breaks.

So the so-called pro build quality is really overrated.......I mean hey try to drop your D5 or D4s or 1DX2 onto a sidewalk, they'd immediately die, I am sure about it but if you drop a Panasonic G85, a Sony A6300, or a Canon EOS-M5, they all would survive. These plastic cameras are more durable than these heavy pro metal bodies and if you doubt it try to drop your so-called pro D-SLRs from some rocky slope onto rocky ground to see how weak fragile they actually are.

Why do we have to worship the usual the more metal contain the better body religion? Why do they all think metal is so much better than plastic ? And why do they all seem to love the loud Nikon shutter so much? Do they never shoot any concert? or piano recital, etc? I am a big fan of Mozart so I do really need silent shutter.........


Hogan also said:

"Many of you think that horse should be FX mirrorless. But I don't see how that helps Nikon at all. Note what I wrote about the FX DSLR line above: those are all good cameras, and it's a strong lineup. Probably the strongest part of Nikon's current camera lineup. Do you really think they're going to risk that? I don't. Moreover, it doesn't solve Nikon's biggest problem: negative growth."

Yeah exactly, this is what these annoying Nikon fanatics or forum denizens cannot get, they chant FF, FX, FF and belittle everything else...........but in real life the so-called FF sales makes up for only about 8 percent of the entire ILC market sales and it is not getting much better...

And even before that Nikon's financial crisis is nothing to do with their camera business but the bean counters from Mitsubishi bank stipulate them to stick forever with the silly money losing stepper business.....But even so,Nikon really needs to rectify their consumer camera business as soon as they can, too, since most of their income is now coming from that ever contracting camera business...and the majority of camera buyers never care about FX or DX, or they do not even understand the difference between these two formats. I think one thing Thom has got right-spot-on was Nikon needs more programmable camera (open mount system) and definitely needs to get the SnapBridge thing right. All cameras should have more thorough sophisticated connectivity. After all, the majority of consumers want to upload their images(mostly selfies) right up to their FaceBook pages instantly. Most of my normal friends have already ditched their serious cameras and got something more casual because they hated post-processing or RAW processing, they simply prefer to shoot everything Jpeg and up these directly to their facebook pages.

"By now, as everybody already knows,Nikon has two extremely weak sectors right now: (1) serious compact or One sensor camera; and (2) big sensor mirrorless product that effectively covers from below the D3400 space up to the D7200 range.."

Mr.Hogan continued:

"I've heard absolutely nothing about what happens after the DL fiasco. If Nikon is really not going to play in the 1" compact game, the only choice they really have now is to build Coolpix A replacements. But Nikon proved they didn't know how to market the Coolpix A. Great camera, bit of a price stretch, terrible name and marketing."

Do I agree? No, the Coolpix A was a terrible camera, needed to have some sort of real EVF and fast static AF, and at least a bit brighter lens than the lame 28mm f2.8 equivalent lens on it. Well the marketing campaign and the software part were really terrible too, but the camera itself was already a terrible camera to start from, so how could any amount of marketing help it moving?

Meanwhile, for DX mirrorless, I haven't heard a lot. I know Nikon has designed prototypes of such cameras and lenses, but I don't know what their target was or whether they decided to move forward with them. I think Nikon has produced a several prototypes already but they decided not to mass-produce these since they all designed to cover the Thom-called- a bit below D3400 market, and I guess they thought it would not be good enough to fight with the Fuji XT2 and similar products. In fact, there is a long lasting rumor that Nikon will join in the Fuji X system camp, but I do not think this rumor is correct since Nikon is not very close to Fuji any more they basically fought and decided to go against each other 7 years ago after Nikon stupidly tried to restrict Fuji to design a F mount body with Fuji's own sensor and electronics inside.

Realistically, I think the only two remaining options Nikon should and still can do now are:

1 to join the m43 or the E mount system, but I do not think Sony will allow Nikon to sell E mount body in the existing E mount eco-system. This means if Nikon wants to join in some already popular mirrorless mount system, that would have to be the m43 club.

2 to start new mirrorless that takes all the advantage(or disadvantage of)existing F mount eco-system. This means Nikon will have to use non optimized mount for FF and video, real electronic aperture control, etc. Or they simply design a new mount like Sony E or Canon M and take the F mount legacy lenses with a sophisticated fully compatible mount adapter like Canon did with their EOS-M mount.

But in this case Nikon can only use the P type and E type lenses for their new mirrorless systems since the older G and D series lenses are not fully compatible to fully electronic aperture control system. Too many Nikon lenses are already too old and very restricted in use and not really compatible to most of new Nikon bodies.....But if the only really fully compatible lenses to their new mirrorless system are the E and P series lenses, then there will be no advantage of choosing the optically very restricted venerable F mount. After all, how many E and P series lenses does the F mount have? I think 13? And is it enough to start a new system from scratch?

Thom and many of his followers seem to prefer Nikon to choose the F mount for their future serious FX mirrorless system, but do they think just having P and E series lenses in the catalogue for that is fine? I think Nikon initially needs at least two very different mount systems:

A: a big FF mirrorless with the F mount for event/ sports /wildlife kind of camera market, they need this type of silly but important F mount mirrorless to just shut up the old whiners in the forums that demand the F mount mirrorless forever...

B: a small FF or APS-C mirrorless system with short flange back design just like the A7 series but with a fully F mount compatible mount adapter(maybe it also needs a kind of focal reducer in case they make it with the DX sized sensor).

So I think it is not too late for Nikon since Sony is the only one player in the FF mirrorless market. But it must be great and fully compatible to the F mount lenses at least the E series lenses, hopefully also compatible to the G series(but I doubt it possible).

Many people in forums asking Nikon to keep the F mount, but in the long run keeping the F mount has no advantages over moving to a new mount system with a fully compatible F mount adapter.

1, the F mount makes camera unnecessarily thick and awkward to hold.

2, the F mount never allows Nikon or any third-party lens maker to develop a set of primes like the Voiklander CV-E series and Zeiss Loxia.......and also the F mount forces Nikon to use super long registration distance for every lens they will make.

3, there are a very few F mount lenses work well without the mirror. Actually only the E series and maybe the P too work well even without the mirror.

The G, the D, etc, never work well since they do not have electronically controlled aperture design.

4, The F mount really restricts Nikon to design a real hybrid camera like the GH5 or the A6500, if not the F mount makes it impossible. The terrible mechanically controlled aperture design really restricts smooth AF and aperture control in video mode and even in LV mode, we already experienced that in any of Nikon LV capable cameras if you ever tried shooting it LV. It is literally useless.

However Nikon should not discard the F mount system just yet since there are simply too many old men asking Nikon to keep using the venerable F mount for their future mirrorless system, and I think this is the biggest long term problem for Nikon.......

The F mount has become a big burden on Nikon's aged back and it will really really limit their camera design options in the future.

However, for a temporal very short time success, it may be better to just continue using the F mount for their action/sports bodies since using short mount registration distance design does not make FX zooms and long primes smaller or cheaper as Sony FE lenses have already shown it...

So they may just want to keep the F mount for their new FF mirrorless system designed for sports/PJ/wildlife market that mostly use a trio of the f2.8 zooms and long super tele primes.

A tiny body like the A7R2 does not hold the heavy lenses well, even the 24-70mm f2.8 feels too big on that body. So Sony will need a big body mirrorless in addition to the A7 line and it should come with the A mount not the puny E mount. I think the A99Mk3 will be that kind of camera covers the PJ/ Wildlife and sports market.

Now for the type B kind of a small bodied mirrorless system, Nikon needs a new mount design with short flange distance with a bit wider than the E mount mount design. If it is compact and actually fine-tuned for the FF sensor from the very start(unlike the E mount , which was originally designed for the APS-C system), I think it will be interesting, but they must have a full line of lenses from the very first day.

And Nikon needs better 21st century camera user interface and program-ability, I think the Leica SL has the best UI and it is definitely a very intuitive camera.

The A7R2 has no touch screen, no proper touch interface, not open to third-party App developers, so if Nikon or any one gets that all right in one body at the Sony price (not the Leica price) , I think they might have a serious chance.

For me touch screen and better more intuitive U.I is more than enough to try the new Nikon system, especially if it gets wider mount diameter than the E mount. Also Nikon(Sony too) must consider developing really effective sensor dust reduction system, for me the most important feature in any new mirrorless system is effective supersonic dust reduction system like the one in the Olympus EM1MK2 and the Panasonic GH5. The effective Dust Reduction system in any m43 body really eliminates the fear of changing lenses in the field. And it is a big plus for me.

Finally, if Nikon wants to really succeed it, then they must persuade Zeiss, Coshina, Sigma, Tamron, Samyang, etc, to enter into their new mount system.

But I doubt they will do it since Nikon always loves proprietary closed system , the Nikon-Sigma court case really shows us how close-mined Nikon is.

If Nikon stupidly closes their new MILC system and shuts out all the third-party lens makers , it will definitely kill the new system immediately. Also they need to persuade Phase One to make Capture One pro for Nikon for around 50 bucks just like Sony does for us.

So while it is not too late, I think, considering the all negative facts such as how they treat the third-parties, etc, it is really really difficult for them....but it is definitely not impossible.

PS. At the last CP+ show Nikon was rumored to have revealed they have already produced a small number of FX mirrorless prototypes a few times in the past, but decided not release these.

Actually, many of us who have closely followed Nikon Japan for at least 6 years or so all have heard about that Nikon has already developed a several or more FX mirrorless prototypes, and a very few of those people have actually tried some of these prototype cameras.

But for some very obscure reasons Nikon just dropped all of them off before the actual planned announcement dates.

I recalled the very first Nikon FX mirrorless prototype design rumor came out in 2015 just before the actual A7R2 announcement, and I think because of that camera, Nikon decided to drop it off. I guess Nikon was embarrassed of their very primitive /crude FX mirrorless camera compared to the already very sophisticated Sony camera at the time.

It was still a rumor but I actually believed it was the case.


UPDATE : now, Canon has just announced its new sensor development policy. Canon seems to have built a new sensor plant in Mie prefecture of Japan. It seems like Canon is going on new 65nm process rule and all upcoming Canon sensors will be produced at there.

I think the 1DX2 and the 80D sensors are processed at the new plant.

Sony is still leading the CMOS imaging industry, but giants like Samsung are in close pursuit. Also big players like Panasonic are forming joint ventures with the likes of TowerJazz to offer 12-inch wafer fabrication with state-of-the-art quantum efficiency and dark current performance at 65 nano meters, and additional 45nm digital technology, and added available capacity of approximately 800,000 8-inch wafers per year in three manufacturing plants in Japan, according to TowerJazz.


The stakes are huge. The CMOS image sensor market will reached the historic $10 billion milestone in 2015, according to Yale, and with new applications popping up in automotive, medical and surveillance, while smartphones begin adopting high-definition front facing cameras, the industry is likely to hit the $16 billion mark by 2020. So nobody is just sleeping and Sony has to consolidate its position ASAP, or probably Sony will lose it again just like its short-lived TV business.

Now Canon's main customer is Honda, who buys a billion of small high

ISO capable 4k sensors for their cars.


UPDATE2: I interviewed many NORMAL camera buyers in my area at our camera shop and asked them to tell us about what was the main reason they did not buy so-called mirrorless any more, and why they think the market share of these mirrorless decreasing at least in the Western world and the already developed part of Asia such as Japan, Taiwan, South Korea , Singapore and HK.

They answered to these questions carefully as we paid some $$ and I think we found out a few interesting things about the NORMAL camera buyers' perception/opinion about ILC cameras and the culture surrounding the camera business:


1 to them, if it requires a bag even a tiny one, it's really not important what kind of camera system it is; a mirrorless or a D-SLR, a m43 or a FF, it is just too big and simply too annoying to carry around. So they use their cellphone more even though many of them already have some sort of One cameras or cheap ILCs.

2 To most of NORMAL camera buying people here it really does not matter FF or m43 or APS-C or MF because they are all too difficult to operate and actually really not much different to each other in real life use(at least to them).

This means maybe the small sensor camera systems like the m43 and the Nikon One will all fail since there is no market for them. Not many average camera buyers are interested in ILC systems but fixed lens all around cameras with good one button wireless connection to their phones. And not many the fanatics get interested in these cause most of them are obsessed with the best IQ possible they can get out of a camera system. Thus Olympus, Nikon and Panasonic will definitely need a bigger sensor system to entice them.

3 they do not want a lens like Zeiss Otus or Sigma Art even if it is selling for $50 or less. In fact, any kind of lens interchangeability is not important to them, in fact it is really annoying, and if it is an all around just fixed lens camera like the Sony RX10MK3 , it is actually a better camera system than any type of ILC with a set of primes that most of camera forum denizens want. They should realize they are not the majority of camera buyers and making and selling exactly what they want does not actually help any of these camera makers........

To them a set of great dedicated APS-C primes may be an important part of a good camera system, but to most of NORMAL people it is just not an important or an alluring feature at all.

So as opposed to what Tony , Thom, and many other self-proclaimed experts in many camera forums think, a great set of APS-C dedicated primes will NOT help Nikon or Sony. In fact, outside of the forums most of people actually prefer ZOOMS.

4 To NORMAL people all interchangeable lens cameras are big and quite intimidating.

This means that the very common camera forum trend to get mirrorless for being less conspicuous in the public reason is a silly idea , no one actually cares about if it is a mirroless or a D-SLR, to them all interchangeable lens cameras are annoying and intimidating to most of if they really want to be less conspicuous they should try one of the One inch sensor fixed lens cameras.


So as I already pointed out, the camera makers should focus on developing fixed multi lenses multi sensored computational cameras with easy one-button wireless connectivity to the phones. The software must be intuitive and 21st century design rather than the current 1980 design, I think it should be user programmable and as Thom points out open the source code to the smart kids and then some of them will develop some good apps for them for free.

Remember why the 5DMK2 and the Panasonic GH2 became such huge hits? Because of the hacked firmwares, I think it is the key.


UPDATE3: Now Nikon rumors and the others are getting really paranoid about the new Sony sensor marketing strategy that Nikon rumors and IR widely reported as a kind of fact a few days back.

I know and I have read the original Japanese text and I know their translation is totally wrong. Sony has never said they won't sell the best sensors they have to Nikon or hold back every latest techs they have in house. But they said they will not sell the best FF sensor for hybrid use and the A7R2 sensor is one of that kind....This means if it is not hybrid or video (high speed read-out) sensors Sony will more than willing to sell it to Nikon, so the stills focused 36, 46, and 54 mp sensors are all available to Nikon and the APS-C or so-called MF sensors are also widely available to whoever want to buy one of these.

Remember Sony Semi is not a part of Sony corporation but an independent company and so is the imaging group of Sony...........this means Sony imaging is just one of many many customers of the Semiconductor company of Sony, and the 42.4mp chip was designed for the standards of Sony imaging corp.

Therefore, they will sell any ordinary sensors to Nikon , especially the stills focused ones and smaller than 35mm FF sensors.

However in the long run, it is a big problem for Nikon since Sony Semi's main business is selling automobile sensors, cellphone sensor units and industrial sensors, so Nikon may become a very unimportant customer to their future business plan....

I have heard that the A9 sensors are kept for in-house use only and Nikon will have no access to it.

For now it is not a very serious issue, but Nikon will have to find the real long term solution for their long term sensor plan.

I think they will have to start sensor fabricating themselves with help from Ricoh, Fuji, TowerJazz , and I know many actually think it has already started working in this direction.


UPDATE 4: now IR posted the corrected version of the Sony interview with some corroboration from the Sony officials from Sony corporation (not the people originally interviewed from Sony DI).


Now IR again proved itself a very sincere and respectable source of info, as opposed to Photorumors and other junk sites.

And this new IR article proved that I was correct on this one and the all PhotoRumors and Nikon Rumors are all wrong on this issue.


UPDATE5:Sony Semiconductor Solutions Corporation designs some sensors "on spec" for sale to all comers, like the ones listed at However it also collaborates with some large customers to design and produce sensors that are exclusive to that customer, either permanently or for a period of exclusivity. Nikon and Sony have partnered like this a number of times going back to the CCD era; more recently this has been done with Sony Imaging, Phase One, and Fujifilm (the last only customizing CFAs and micro-lenses, not the electronic part).

So all the paranoid rumors sites are wrong on this issue and they all proved that they've got no clue at all.


UPDATE6: Now the rumored A9 is announced and I was wrong on the name, I said it Alpha One, but everything else I predicted about it was right.

It was, after all, a very highspeed FF camera that designed to kill the D5 and 1DX2. It is incredibly fast and very good hybrid shooter and for 4500USD, it is a big bargain.

However, it was kind of a big disappointment to me since I do prefer the 42.4mp sensor or the 36.7 mp sensor and I am too used to it.........the 24.3mp resolution feels like old now, and being 24mp means it cannot be updated to shoot 8k when it finally gets available for consumer cameras.

So while it is an incredibly versatile FF camera, I prefer my A7R2 any day to this highend A9 camera even if it is cheaper than my 2 year old A7R2.

This remarkable structure in the Rijn Harbour in Rotterdam will become the showcase and centre of expertise for the National Water Centre that is currently in the process of formation. The floating pavilion is the reference centre for the innovative and inspiring approach to water management, climate change and energy issues


I noticed the plastic balls look quite interesting at dusk, so I went back there to take this picture.

Low tide, a forever changing sky, an upheaval of sand

mixes with surf, foam whipped to a frenzy washes

ashore, and a audacious spectator with his point and

shoot as Sandy advances upon Florida's coast. I stood

in watched and got a sense of proportion of the surf

against the size of this man daring to photograph.


"The earth is art, the photographer is only a witness"

..........Yann Arthus- Bertrand


More dramatic on L.


iso 100

focal length 200mm

aperture f/22

exposure 1sec.


b+w 6 stop

Nik silver efex pro2

Coastal Zones 2017 is a global platform to discuss and learn about Coastal, Marine and Maritime Engineering, Coastal Zone Management, Coastal Recreation, Coastal Resource Management, Coastal Ecosystem, Economic Development, Coastal Structures, Coastal Engineering Companies, Coastal Processes, Shelf and Estuarine processes, Disaster Mitigation, Tsunami, Storm surge, Climatic Changes, Strategic Planning and Management, Growth and Opportunities, Policy and Legislation, Coastal Recycling, Coastal Ecology, Coastal Biodiversity and future aspects of Coastal Zones, Coastal resource management, Coastline management, Coastal management journal, Resource management program, Coastline recovery, Coastline imaging, Seashore facts, Pacific coast lines, Coastal international, Coastal plates, Peruvian coast, Coastal office, Coast app, Coast of Alaska, Pacific coast lines, Coastal Protection and Restoration Authority.

To control Information Technology (IT) costs we think about and act within the enterprise as a whole, in part because we sell enterprise and mid-level solutions. We apply an Enterprise Architecture (EA) strategy which at the top level is comprised of infrastructure and communication considerations. This is not just about technical infrastructure, defined or designed by IT, because it is highly likely that such individual solutions (one offs) will not align to core business strategies (vertical needs verses horizontal needs spanning the whole company).


It is not really possible to do this, that is consider the entire company's needs, without significant participation by the business for which we use terms such as Solution Delivery or Product Management. Product and program managers from a solution delivery framework gather information, report back to the business, and return to apply the business strategies to align with short, medium, and especially long term business goals.


This business and implementation strategy focus is a change agent, to reduce siloed thinking, and achieve more horizontal capability across units. We reduce multiple applications, which take time to manage and maintain, and where it makes sense, fold them into one. Because we take security and privacy of our customers very seriously, any applications which may be at risk have been identified and are brought up into our standards. The process of combining risk management goals, application and data reduction streams saves money, although the process of so much change at once can be stressful at the unit, project, and personal levels.


We seek to empower self-service among our partners, customers and employees, for access to all kinds of information they need, and internally reduce redundant data stores, for example referring to customers by one identifier if possible. This is especially challenging in our partner relationships with multiple data stores that contain similar information about customers which are identified in completely different ways. This is the reason for serious data modeling and tight or loose coupling where needed – to retrieve and move information back to the partner systems. We leverage Microsoft software, and then buy, build, minimize or reuse existing systems.


In order to be more successful in our efforts to control IT costs we strive to increase flexibility among existing staff and provide rewards for strategic thinking – this strategic thinking aligns along company-wide goals. We need people with the right skills who work in efficient methods, only including the people who need to be included to make decisions or act. In fact we need to change confrontational and passive aggressive behaviors internally to collaborative personality styles – changing the organizations culture is doable but difficult. For more information I recommend reading "The Heart of Change" by Kotter and Cohen.


The technologies we invest in to help control IT costs are our own. We custom write stuff served up on Microsoft servers and plan to use SharePoint as the UI for our new change request tool. We are substantially reducing and eliminating the number of different applications (SQL stored procedures or XML Blobs mostly) we use and maintain on a daily basis. We are moving from C++ to C#/.NET (C Sharp and .Net technologies).


We use Microsoft software as our strategy to control IT costs - it is easy to manage, and has great support. Some team members keep an eye on relevant Open Source software as competitive analysis.


Our company is getting the maximum value from its data center investment because we have not invested to the level we need for our infrastructure. We expect to remediate this lack of investment after deploying skilled, thoughtful product managers with the right combination of education and practical experience to assist in this effort through the next couple of years.


What is our organization doing to maximize the value from its data center investment? In addition to the other things mentioned we outsource development and support to India, Israel, and developing countries, etc. We also are making use of tax advantaged locations for large savings in transactions.


We are adding metrics and measurements by which we evaluate not just personal progress but internal and external customer satisfaction with our IT initiatives on a project by project basis to self-improve.


The practices which enable us to maximize value from our IT investment are varied and multifaceted. To maximize ongoing investment we are adding solution delivery strategies, planning ahead, and aligning IT with company-wide goals. Of course in our space we have some unique issues, and as a public company even more so. One thing that may surprise you is some of our projects we do end to end locally because of how critical success is. We leverage our best, most successful local managers to produce projects and design larger scale solutions if we determine it is the best strategy – so in this way we are flexible – we don't just out source everything.


We are in the process of reducing the number of applications we need to maintain, and where it is appropriate fold one into another so long as the user interface or back ends do not become unmanageable. We are making over our change request platform from top to bottom which we feel will enable quicker turnarounds on change requests – it is both loosely and tightly coupled where it needs to be. For the presentation layer we choose Microsoft SharePoint.


Conversely, what factors are inhibiting our organization from reaping the maximum value from its data center investments? The factors inhibiting the maximum value include a lack of foresight in strategic planning for long term goals –


1. Putting temporary things together to just meet immediate needs.


2. Focusing on small details and not seeing the big picture.


3. Lack of metrics to evaluate progress, process, and client / customer / partner success.


4. Unwillingness of team members to change or promote change even when it is in their and the companies' best interest.


5. Having too many data centers, identifying customers in too many ways.


How important is productivity within the IT function in our efforts to control IT costs and maximize our data center investment? Functionality, capacity, and reliability far outstrip productivity, but that is only because we have already hit very high productivity goals and exceeded them. Here are some of the metrics we examine:




Percentage of project budgeted costs

Scope requirements

Total cost of ownership


Defects rate (sev1, sev2, sev3 bugs - zero tolerance for sev1)

Completed requirements

Customer satisfaction scores (cust sats)

Schedule slippage

Flexibility of management styles

End-to-end throughput time per client-side user request

System extensibility



Defects per thousand lines of code (KLOC or by function)

Support functionality and documentation availability, and completeness prior to launch

Rates of failure

Restoration (emergency)


Test effectiveness

Business acceptance

System acceptance (signoff)

Average turn around time for service and change requests

Number of security or privacy defects (last two should be zero tolerance in launch candidates)

Number of post freeze change requests

Among the mandatory metrics used are peer review effectiveness of code, and post mortems and overall customer satisfaction. In other words we do not consider just ontime delivery of products, enhancements, or new functionality.


What is our organization doing to improve productivity within its IT function?

Getting the right people – some people grew with us or came to us with deep knowledge from the school of hard knocks – work experience – we seek to capture the most knowledgeable and either increase their education or find those with both practical work experience and advanced degrees. Good thing this is Seattle with its heavily educated population. New programs at the university level such as Informatics and Information Management are producing the people we need – not just MBAs or Master of Comp Sci - because so much of our development work we outsource to India and developing countries, and IT is not traditionally closely aligned with marketing or sales. We do outsource much of the development work as is possible.


The undergrad Informatics and Master of Science in Information Management programs at the University of Washington are housed in Mary Gates' Hall, renovated and named in honor of Bill Gate's late mother, it's headed by Mike Crandall (Dublin Core, Microsoft, Boeing). So you can see this is the direction we are going regionally, because that is where the spend is. Another great information school is at the University of California at Berkeley, housed in one of the oldest and most architecturally beautiful collegiate buildings on the west coast, South Hall. On the physical level all Berkeley had to do is add wireless. Excellent academics such as the seminal thinker Dr Michael Buckland are there at Berkeley, and business leaders such as Mitch Kapor. Industry wide I think iSchools are having an effect, adding a more well rounded, even playful culture to high tech operations.


Improving and opening the culture is important. Having a shared lexicon is one of the benefits of educated people; those with MSIM (master of science in information management), Informatics, technical MBA degrees can comunicate effectively with highly technical people - this can produce enormous savings and long term cost benefits. Increased, clear, enthusiastic communication saves IT costs.


In strategy meetings, for example, we often include Enterprise Architects to assist in stack ranking program and project development, because this helps reduce redundant systems.


Our organization's ability to measure the return on investment (ROI) or success of its IT investments is “Fair but mixed,” we want ROI to be easily measureable and this means evaluating the correct things, asking the right questions in the first place, not following other organizations techniques, although we examine them as examples.


We are adding ways to evaluate our ROI – we do use business analysis methods. There is always an identifiable way to analyze and measure the relationship of what something costs even if it appears intangible such as Brand protection.


Considering the strategic and tactical stuff we are doing, at the core, creativity is what drives our success. Creativity is always a very difficult thing to measure. In fact it could be said that if you try, you are barking up the wrong tree. However creative thinking around practical goals has provided us success. This is where the ideas around flexibility and being very responsive come to play.


We have found very very high ROI around outsourced projects because they must be clearly defined within the Software Development Lifecycle (SDLC) and Sarbanes-Oxley Act of 2002 (SOX) compliance.


Those people who actually think out of the box are oftentimes not recognized by co-workers and management. Change is perceived as negative among full time staff. We seek to show support for both full time employees and consultants, and change this view and enhance their ability to communicate ideas. That is why our management keeps an open door policy. Unfortunately like any other policies the hazard is that individual managers must believe in our policies around openness and creativity; such self-selecting polices are impossible to enforce.


Our organization uses balanced scorecards, Six Sigma and other types of internally derived quantitative value measurement methods to measure the ROI or success of our IT investments.


The continued use of these methods we expect will substantially improve the management and measurement of our IT investments. Some of the metrics are at the discretion of the product or program manager, others are mandatory. In part we have some success- at issue is adopting metrics and measurement as well as Enterprise Architecture and engaging with open arms increased strategic thinking and planning.


Senior management must come together and present a unified strategy for the entire company – which is a top down management style but it must be embraced from the bottom up. This is within a framework of enforced change as we seek to achieve excellence in all of our business units, especially in core infrastructure – those units which either produce money, or cost money. Some of our key investments we know are lost leaders, but other research will more than make up for those. Enforced change in this context means business units receive minimum budget until they comply.


We are still feeling the effects of the changes the Web brings in enterprise directly and for our customers; we continue to learn from the effects of communities and communication via the Web. The opportunities for growth are so enormous that it is all the more important that we curb spending where it is not required and apply it as much as possible to grow in creative arenas which still have huge untapped profit potential. It is not just about money, among hard core technologists – those who really love it – money is secondary in many ways - it’s about the fun stuff technology can bring as well as the benefit to serve humanity that technology brings.


High tech, information technology, and software development have made some strides to maturity but we are still learning new things; it will be a learning industry, discovering and inventing stuff for a long time to come.



Enforced Change is a radically different challenge, and promises different ways of looking at human-to-human, individual-to-corporation, corporate-to-corporate, human-to- computer interactions, etc, which I plan to cover in future articles, so stay tuned!


Learn from Jeremy Francis the best people management practices used by organisations considered to be world class. Obtain powerful and practical knowledge,skills and processes to improve your capabilities and confidence in leadership, management, change management, performance management, sales and account management, communication skills and personal effectiveness.


2nd October. In the Ashurst centre on the edge of the New Forest. I used to work here a long time ago and one of my mates still does. It's a very odd place, full of converted buildings; a hotchpotch of NHS and management services. This lovely little church has been turned into meeting rooms. If you look through the proper leaded windows you see plasterboard walls. A shame.

Really sorry to post and run but off to see another of my oldest friends tonight and late already

Forest land management is providing environmental assessments, surveys and monitoring for fish and wildlife habitat, watersheds, vegetation, access and terrain, as well as environmental monitoring and change detection.

Properties built in a flood prone area in Popua Village. Popua Village is located on the outskirts of Nuku'alofa, Tonga. Tonga's small and open economy is vulnerable to external shocks and was hard hit by the global financial crisis. Development challenges include high levels of debt, limited employment opportunities, and low private sector investment levels.


Read more on:


Climate Change and Disaster Risk Management


A Red Alert has been declared in southern Chile after an eruption at Villarrica Volcano early on 3 March. Thousands of residents in the area have been evacuated for their safety and the International Charter Space & Major Disasters has been activated by Chile's risk management authority ONEMI.


Further to the operational support provided by the Charter, ESA and the DLR German Aerospace Center have teamed up to acquire and process Sentinel-1A imagery illustrating changes at the surface of the volcano. The image is a colour composite of the two Sentinel-1 scans from 20 February and 4 March; changes are visually enhanced by a Normalised Change Index (NCI) and some statistical computations.


This work was performed by DLR in the framework of the ASAPTERRA project originated by ESA.


Sentinel-1A is the first satellite for Europe’s Copernicus programme. With its radar vision, the Sentinel-1 mission provides an all-weather, day-and-night supply of imagery of Earth’s surface.


Although not yet in routine operations, Sentinel-1A currently provides a coverage every 12 days of relevant tectonic areas worldwide and is therefore very suitable to monitor events such as volcanic eruptions.


Credit: Copernicus data/ESA (2015), map produced by Team Remote Sensing Parameters Georisks of DLR

A black and white one for a change.


Danique Laken from Modelution Model Management


Special thanks to Transcontinenta for supplying Carl Zeiss Optics and Lastolite Reflectors I used a Zeiss Sonnar T* 135mm f/2 ZE for these images.


A management train makes their way towards Transload on Annacis Island, as they approach the Alex Fraser Bridge. Usually a night job switches Transload, but after Southern Railway of BC locked out their employees, the schedule has changed dramatically.

A change of pace...


The Wairarapa Line runs north-east out of New Zealand’s capitol through suburban Hutt Valley, under the Rimutaka mountain range via the 8 kilometre-long tunnel of the same name, and into the lush farming region of the Wairarapa. Passenger trains, consisting of carriages (or coaches) rebuilt from British Rail Mark II rolling stock, run between Wellington and the Wairarapa town of Masterton – a journey of approximately two hours.


On a recent sunny Wednesday afternoon, Mrs Lance joined me for the trip through the 8.5km tunnel beneath the Rimutaka mountain range and across the rich farming lands of the Wairarapa region to Masterton.


With a little over an hour to fill in before the return Journey, we just had time to walk into town for a quick Coffee before returning to the station for a "photo shoot"! Be assured however: the above photo was not taken from the middle of the tracks; I was sitting on the edge of the Platform, and right at the very end of it...! (I have a long arm...!!!).


For those interested in technical matters, the locomotive started out as a DF class Diesel-Electric built by General Motors Diesel of Canada between 1979 and 1981. Between 1992 and 1997, the Class was turbo-charged and re-classified as DFT, enabling the Class to generate 2400hp. In 2006, the Brightstar engine management system was installed in some of the locomotives, and they were duly reclassified “DFB”...


[ From ]


Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.


Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .


Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase



The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office


Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the

Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.


1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

Since 2009: Sabine Haag as general director


To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection


New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour



The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

For over a decade, CIAT has tested agronomic and soil management practices in Western Kenya. From minimum tillage to integrated soil fertility management, these trials are the most comprehensive picture of tropical soil health that we have in Kenya. They show-case changes in soil fertility and health, which take time to develop, hence the importance of these long-term trails. CIAT’s “Climate-smart soil protection and rehabilitation in Benin, Burkina Faso, Ethiopia, India and Kenya” project is implemented in collaboration with the Kenya Agriculture and Livestock Research Organization (KALRO); GOPA and implementing partners including PAFID, Welthungerhilfe and WOCAT - University of Bern. It is supported by the German Society for International Cooperation (GIZ) and the Federal Ministry for Economic Cooperation and Development (BMZ). For more information, visit: or contact g.smith (at) cgiar (dot) org. Please credit accordingly: Georgina Smith / CIAT.

Kenya, like the rest of the world, is experiencing climate change and variability and the associated adverse impacts. This photo series looks at the Olkiramatian area, a group ranch area in southern Kenya’s Kajiado district at the south of the Rift Valley. Olkiramatian implements a successful system of communal open rangeland management which is based on traditional Masai techniques but which divides the valley for three different uses: grazing, cultivation and conservation. Grazing accounts for around 75 per cent with each registered member raising their own herd of livestock. A second zone where fresh water flows down from the Nguruman hills behind, is dedicated to crops - each member is allocated five to ten hectares which they cultivate themselves or lease to others to grow maize, tomatoes or the leafy vegetable Sukuma wiki (kale). The third zone - one-eighth of the total area - is a shared resource designated as a conservation area for wildlife which brings in tourism and acts as a dry season grazing bank which, with group consensus, can be opened to livestock in times of severe feed shortage.


The photo series was taken during the areas dry season and shows the issues that are surfacing due to the gradual climate change of less rainfall, with failed rains becoming increasingly likely. The changes are gradual but are noticeable.

The level of the Ewaso Nyiro river, the areas lifeline, in some areas fell by 12ft. The crop-growing zone suffered very little water in all of the rivers and streams with generators being used to pump water from the Ewaso Nyiro river into the drying soil of the crops. In the grazing zones, the wildlife or livestock grass literally vanished leaving pastures of thick fine dust. Masai children are taken out of school in order to take care of the livestock that are now needing to travel greater distances from the homesteads to find any form of pasture. These greater distances mean the livestock return later to the boma or homestead, often after sunset.


Even an organized successful rangeland system such as this suffers loss of its wildlife and livestock with less rainfall. As pressure on resources increases, our need to implement protection and mitigation strategies becomes even greater.

Climate Change Ready Agro-Farm Project provides opportunities for remote indigenous students to learn sustainable land management, nutrition, and climate change adaptation measures, making education relevant to real-life issues they face.

Remote indigenous Fijian communities own the last unlogged upper mountain forests and water catchment systems – guardians of these natural resources for the rest of us! These communities have the lowest levels of education and least amount of infrastructure. Where the school is located, less than 5% of the community has completed high school. We are partnering to create project-based learning opportunities, threading the connection to their environment, livelihoods and education.

Business and management infographic & data visualisation


12 Recruiting Stats That Will Change the Way You Hire [Infographic], via @HubSp…






12 Recruiting Stats That Will Change the Way You Hire [Infographic], via @HubSpot #EmployerBrand #EmployerBranding


- #Management



Model: Paige @Direct Model Management

Hair/MUA: Liz Blaso


flickr sharpening can go die

Today I shot with Paige and it was the first time working with someone my own age that wasn't one of my friends. It was cool to hear about how much she's done in 17 short years.

We wandered around various parts of the park channeling Marc Jacobs.

She fell and skinned her left knee trying to balance on that log behind her :(


ps. notice a change in my exif data?!?!?! ;)

In today's rapidly evolving business environment, under-performing companies and their management teams often require expert advise on how to effectively manage unwanted change and turn the business around. A thorough situational and financial analysis is the key to cost effective and timely results.


Caston Corporate advisory provides restructuring advisory services to companies and its stakeholders that is lenders, investors, etc. in under performing companies and companies experiencing liquidity problems, in all sectors and in all markets. We support you in managing work-out or turn-around processes and in allocating capital and investment — evaluating your business plans objectively. Drawing on our deep insights, we devise strategies to address potential covenant breaches, negotiating with stakeholders and complying with insolvency and other requirements.


We can assist banks, financial institutions and investors in achieving accelerated and enhanced results through the rehabilitation or recovery of problem loans. We are very keen to work on sell side transactions involving One Time Settlements (OTS) , Financial Restructuring and Securitization of Loans.

We offer Portfolio and Single Credit services for impaired accounts:


Portfolio Services

oNPL Portfolio Valuation

oNPL Portfolio / Single Asset Buy and Sell Side Advisory

oPortfolio diagnosis

oLoan recovery strategies.

For more information – check or contact on Caston Corporate Advisory Services : 6 / 5, Didar House Building, DLF Industrial Area, Moti Nagar New Delhi-110015 (India) Ph.:+91-11-25161294




Users of the English version of Flickr may have got the botton " try our new experience Beta"


This is an incredible regression .....once again


No longer any white space underneath pictures for comments, description, invitations etc....


Everything is gathered in a tiny sidebar to the right of the photo in the Lightbox


All features that allow interaction and sharing have gone so groups might also disappear ......


You may take a look here


If you want to save the groups from a certain death, Please click this blue link and go to vote



We had got used (more or less) the first changes, but this time, it is a

total scuttling of Flickr and of its spirit of sharing :(

We can't see who faved our pictures


We can't see the groups the pictures appear in ( except only 8)


Awards images. are not shown


Invitations are not visible except for the last ones (only in "Recent Activity").They're lost.


For admins group management will become a work more and more difficult or even impossible


Groups might close......and groups add visibility to our pictures


Our descriptions including quotes or links to YouTube or other sites are hidden




*I specify for those who haven't seen the Beta page;that there is NO

white area under the pictures for descriptions / comments / invitations /

flickr Award Counter


Only a narrow sidebar to the right of the image ,showing ONLY the last 4 comments


White print on a black and depressive background, that hurts the eyes

Unfortunately everything we can do is absolutely useless ....

Unfortunately it is obvious that Yahoo wants to turn Flickr into another social network for teens and young using only tablets and smartphones and whose only interaction is Hi or Lol

Motivated photographers using computers and large screens are no longer interesting users.... ( nor groups since our invitations are only visible on our "Recent Activity "Page....The oldest are lost ....)


How many people know what represents the Beta Page ?? I wonder ?

Only some users of the English version of Flickr ..... but not all of them


All this is very discouraging


T H A N K Y O U !!!!!!!!!

You will never change your life until you change something you do daily. - Mike Murdock

LR-7427 - Got up late 05:00, plan A, was to start at Cowes and drive around the island following the leading boats, ops that went wrong then, was meant to be up at 04:00. Yep mad,crazy insane.

There are a few hundred floating around on my cloud storage, but I'll try not to bore you with a barrage of yachts of all shapes and sizes and the occasional wind surfer. PS Still got more scarecrows to :)


The annual J.P. Morgan Asset Management Round the Island Race, organised by the Island Sailing Club, is a one-day yacht race around the Isle of Wight, an island situated off the south coast of England. This 1,459 boats entered the race with around 16,000 sailors.


The year the race was won by Sir Ben Ainslie’s 45ft America’s Cup catamaran J.P. Morgan BAR stormed round the Island in 2 hours 52 minutes 15 seconds, carving more than 16 minutes off the record time set by Francis Joyon in 2001.


Taken at Fort Albert, Isle of Wight


Selected as picture of the week by our local on-line blog to 4th June 2013 many thanks everyone, trying to catch up with you all.


If you want to see the round the island complete set click Me or view the slide show


Climate Change Ready Agro-Farm Project provides opportunities for remote indigenous students to learn sustainable land management, nutrition, and climate change adaptation measures, making education relevant to real-life issues they face.

Remote indigenous Fijian communities own the last unlogged upper mountain forests and water catchment systems – guardians of these natural resources for the rest of us! These communities have the lowest levels of education and least amount of infrastructure. Where the school is located, less than 5% of the community has completed high school. We are partnering to create project-based learning opportunities, threading the connection to their environment, livelihoods and education.

APCC held the Workshop on Agricultural Water Management Against Climate Change with the Korea Rural Community Corporation (KRC).


This workshop was held to strengthen the ability of participants to develop projects that tackle climate change for their country-specific needs. In particular, this workshop focused on the official development assistance (ODA) fund of the Korean Government, which is intended to promote economic development and to improve quality of life in developing countries.

APCC held the Workshop on Agricultural Water Management Against Climate Change with the Korea Rural Community Corporation (KRC).


This workshop was held to strengthen the ability of participants to develop projects that tackle climate change for their country-specific needs. In particular, this workshop focused on the official development assistance (ODA) fund of the Korean Government, which is intended to promote economic development and to improve quality of life in developing countries.

If you are going away from your home for a long time and worried about your state of your home then we Hamptons Property Management Services will take care of you home whether it is climatic change or unexpected guests at your home.

Change of pace from all those flowers i've posted this week, here's another from last years 'Round the Island Race' on the Isle of Wight as captured on my early morning expedition around the West Wight.



©2013 Jason Swain, All Rights Reserved

This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.


my website


Links to facebook and twitter can be found on my flickr profile


No person likes being unemployed, especially when they go to a lot of interviews and learn they're not appropriate for the positions they made an effort to get. Landing an excellent job fails to must be so difficult. Making use of the tips in the following paragraphs, it will be possible to locate a new employer quicker.


If you're finding it challenging to get work, you might have to change your options for job hunting. It could be hard to find work, however you shouldn't let that stop you from searching. Make some time to visit other areas, however, make certain that it is actually some place you'd be ready to live in in case you have the job.


Dress to impress on an interview, even when it is somewhere that fails to require that you be-dressed daily. You may still impress the job interview should you dress to impress.


Never stop learning potentially profitable new skills. The technology in the office evolves on a regular basis, and also business practices. You should maintain the changes so that you can remain relevant with your industry. Take helpful classes and in many cases seminars provided you can. Staying current on potentially profitable new skills will make you an focal point in both your own and future employers.


Do not get too friendly with bosses or coworkers. Remaining professional is in the best interests. Personal relationships can get in the form of job performance in extreme ways. Avoid situations like these should you not would like to risk your task.


Avoid assigning a specific job title to yourself, because job skills can extend across different styles of job titles. Research online to find similar names for the task you are looking for. You will likely find many more opportunities to apply for.


Don't put all your effort into acquiring a single job. You won't hold the job until the contract is signed. Keep all avenues open until work is locked down. Should you apply to multiple places, you will be more inclined to acquire a job.


Now that you've come to the final of this article, you realize looking for work does not have to be daunting. You should really use the advice you've learned. Put it into practice to see how easy it is to get the work you always wanted.

Fort Drum Wildlife Management Area

Slightly off Main Trail, just before Hog Island


Check it out On Black


I have been wanting to make a trip back to the Fort Drum WMA since i made my first trip the other day. So today i called up Sarah and i told her that i was planning on heading out that way again and she said she would love to come. So i picked her up and we were on the road by four fifteen, we got to the park at roughly four fifty leaving us about a hour of nice light left.


On the drive into the Park we saw several Hawks and the colors to the sky seemed to be really opening up through the rain clouds we just had received. So we were very excited as the night had just begun and things were already looking up.


So we drove to the Horseshoe Lake parking lot where we were greeted by some Hunters, they said there was not much game activity that they saw besides one little hog but they said that there had been dozens of Hawks and Eagles up ahead on the trail, on the fence line. So we rushed that way but we didnt come across any birds sadly.


We continued forward on the trail and passed another trail continuing to head south. After several minutes of walking we passed by a small body of water with alot of Cypress Tree's and i decided to turn around and head back into there. So we walked through the mucky ground and decided to shoot this great spot, the bugs were not to bad yet but as we started shooting more the bugs became a nightmare but the light had a nice warm tone so i stayed happy. After shooting this spot we continued on our journey forward but decided to turn back about a half mile ahead as it was getting darker and there was a incredible amount of hog trails and little holes all over the place.


So almost back to the parking i said to Sarah who was hating life due to the incredible amount of Mosquito's that had finally came out that we should head a little west off this trail and shoot the Sunset, so she agreed because she basically realized she had no choice. Well right as we go around the fence i hear something moving along the taller grass to my right. My heart started to pound because i knew it was a hog and with my past experience with the guys i was not excited.


So i place my camera bag on the ground and picked up my spotlight, i shined it his way and he didnt seem to care, so i decided to give these cute little creatures a second chance and i walked his way. As i got closer i could see his tusks that were about a inch or so long, so he was still young i am assuming. Well i got roughly ten or so feet from him and he didnt seem to care one second that i was there shining this light on him, he just went on sniffing the ground for something to eat. So i turned around and we headed our different ways.


So now that Sarah has had it with me and me changing the plan slightly she is basically jumping up and down from all the Mosquito's that have decided to eat her so i told her lets just leave. So we head back to the car after another short walk and its about pitch black now. So i decide to go looking for Alligators with the spot light, i came across about three small little guys before i finally got in the car and blasted the ac to get the bugs out.


So we made one more quick stop for me to take a few twilight shots of Lake Cara and then we headed back into town.


Overall it was a great trip and i cant wait to head out there to spend a longer amount of time and hopefully get some shots of the Hawks i managed to miss today as well as the other Wildlife in the Area.


Information on the park can be found here :



Canon 50D






For over a decade, CIAT has tested agronomic and soil management practices in Western Kenya. From minimum tillage to integrated soil fertility management, these trials are the most comprehensive picture of tropical soil health that we have in Kenya. They show-case changes in soil fertility and health, which take time to develop, hence the importance of these long-term trails. CIAT’s “Climate-smart soil protection and rehabilitation in Benin, Burkina Faso, Ethiopia, India and Kenya” project is implemented in collaboration with the Kenya Agriculture and Livestock Research Organization (KALRO); GOPA and implementing partners including PAFID, Welthungerhilfe and WOCAT - University of Bern. It is supported by the German Society for International Cooperation (GIZ) and the Federal Ministry for Economic Cooperation and Development (BMZ). For more information, visit: or contact g.smith (at) cgiar (dot) org. Please credit accordingly: Georgina Smith / CIAT.

Not much changed here since the last time I photographed it a few years back. Now the entire building is surrounded by a fence, so you can no longer walk up to it.


The Red Apple Rest was a cafeteria-style restaurant on NY State Route 17, in the Southfields section of Tuxedo, NY. It was a noted way station for people travelling to the hotels of the Catskill Mountains of upstate New York.


Before the New York State Thruway was built, the travel time from New York City to the Catskill Mountains was often four or five hours, especially during weekends. The Red Apple Rest, located almost halfway, became a major roadside stopping place. The restaurant was opened in May 1931 by Reuben Freed.


The Red Apple Rest had much business during the 1940s and 1950s. It was open 365 days a year, 24 hours a day, and was patronized by so-called "Borscht Belt" comedians and professional athletes as well as families travelling to campgrounds and resorts. Although the Thruway (which was built beginning 1953) bypassed the restaurant, and vacationing in the Catskill Mountains became less popular after the 1960s, the restaurant remained very busy until the 1970s. In 1965 the Red Apple Rest served one million customers.


The Red Apple Rest went through several changes of management. It closed in September 2006 - purportedly for a "graduation and vacation," according to a sign posted on the door - and was condemned on January 23, 2007 because of roof damage.

Waste management awareness- Upasana Society- Feb 2017


Upasna Society NGO in association with Patkar college students ( Duheeta Joshi, Yash Chavan, Chaitali Pawar, Arya Vaidya, Hardik Rane, Trishant Bhatt and Vyanketesh Lutkurthi) is organising an awareness campaign on waste management in United English school at Malad Marve on 13th of Feb 2017 at 3pm . It is a school for under privileged children. Believing in the idea of, “What we sow, so shall we reap”, is the main motto of the campaign.

Students will be taught about waste management and its importance through audio visual aids.

Upasana Society volunteers would be demonstrating them what exactly is dry and wet waste.

"Best out of waste" competition will also be conducted for the kids.

Upasana Society volunteers will be installing two separate dustbins for the segregation of waste at the school so that the students can take this example to their own house.

At Upasana Society NGO, It is important to know how and what affects us and how we can bring out sustainable change. Thus this will be a small step towards bringing about a positive change in the society.

Those who wish to be a part of such events and campaigns can contact Saurabh- 9769727057 or Dipti- 7045127770.

UNDP Papua New Guinea - Adaptation Fund Coastal project


VPC Chairman, Gibson Puka, with his son Nelden (7). Gibson Puka works to protect the established mangrove habitat and to ensure that the mangrove management plan is followed.


Read more about Building Partnerships to Adapt to Climate Change in Papua New Guinea

Changing over from the old to the new

If the level of your guilt regarding managing conflicts with your kids is high, you might like to consider reading a book about it.


The book "Kid Friendly Way to Change Behavior – Fun conflict Management Tactics For Parents" will help you improve your conflict management skills. And feel much better.


The book is available at Amazon:

Bristol & West Country Bands - Music of the 60's


In the heady days of the early 1960’s, a time of massive change and innovation in the world of popular music. Fuelled by the excitement and electricity surrounding the new sounds of the time.


Merseybeat stars head down south - With the Merseyside inspired "Beat Boom" in full swing, the big stars in Bristol this week in 1963 had to be from up north.


Topping the bill at the Colston Hall were Billy J Kramer and the Dakotas who had just had a couple of massive hits with Do You Want to Know a Secret (No.2) - a Beatles' written ditty - and Bad to Me (No.1).


You certainly got your money's worth in those days. Also on the twice-nightly bill was Tommy Roe, an American who had shot up the charts with Sheila and the Folk Singer, plus a string of lesser acts. Tickets ranged from four shillings and sixpence to 10 shillings and sixpence (average wages were then about £10 a week).


The end of the month would see Freddie and the Dreamers, the Searchers and Brian Poole and the Tremeloes (who were riding high in the charts with Do You Love Me) invading the city. The Tremeloes had previously reached No.4 with that "oldie, but goodie" Twist and Shout - a raucous number recorded by the Beatles on their first album.


Topping the bill was Roy Orbison, who had just made the top 10 with In Dreams and Falling. His Blue Bayou would reach the No.3 spot on September 19. Top tickets, in the balcony, would set you back 12 shillings and sixpence.


In 1963, the smallish, local venues were still torn between promoting beat music or jazz. Local bands Johnny Slade and the Vikings plus Dean Prince and the Dukes were on stage at Clifton's Victoria Rooms, with the Chinese Jazz Club at the Corn Exchange booking the Alan Elsdon Jazz Band.


"Thomas Alstone", the man with his finger on the pulse, tells us that local instrumental band the Eagles (and stars of the Bristol-made film Some People) were about to try their hand at vocals as well.


The result, on the Pye label, was an updated version of the Helston floral dance called Come on Baby, to the Floral Dance. I don't think it made the charts. If you really wanted to know what was going on in the city in 1963 then the newly published Bristol Beat was the thing to read. Billed as "Young Bristol's entertainment paper", it cost six pence.


This magazine informed us that the best- selling single in the city was She Loves You by the Beatles. Runner-up was Billy J Kramer's Bad to Me. Other top sellers were Wishing by Buddy Holly and I'm Telling You Now by Freddie and the Dreamers.


If classical guitar was you thing then Julian Bream was playing at Stourhead gardens on the Sunday evening. The two guinea tickets included soup, cheese, French bread and a glass of wine.


Back in the city - the Centre to be precise - comedian Jimmy Edwards was getting astride a horse to promote his autumn spectacular at the Hippodrome. If none of this was your cup of tea then how about a trip to the movies to see some really big stars - a trio in fact.


At the ABC you could join the queue to see Marlon Brando, Trevor Howard and Richard Harris in Mutiny on the Bounty. And in September 1963, Bristol Zoo had its very own stars on show to the public - the only pair of white tigers in the world (outside India).


Bristolians were huge fans of Billy J Kramer and the Dakotas.


Recommended Link


Johnny Carr and the Cadillacs


The original Bristol Comets and special guest star Sandra McCann. Formed in 1958 and playing Hamburg’s Kaiser Keller Club alongside The Beatles, Johnny Carr and the Cadillacs are the authentic sound of the ’60s. It was said that The Cadillacs were performing Twist and Shout, You’ll Never Walk Alone and Shoutlong before they became hits for The Beatles, Gerry and the Pacemakers and Lulu.


Formed in 1958. Lineup: Vocalist; Lead guitar; Rythm Guitar; Bass guitar; Drums Dave Purslow. For many years considered by most to be the most popular 'pop group' in Bristol. Every teenager knew of them. A very polished group fronted by the stong vocals of Johny Carr (Con Sullivan), they had a solid style and had that certain charisma that got them noticed. This was what took them to Hamburg's Kaiser Club and playing alongside The Beatles, Johnny Carr and the Cadillacs became the authentic Bristol sound of the 60s.


The Cadillacs were performing songs like Twist and Shout, Youll Never Walk Alone and Shout before they became hits for The Beatles, Gerry and the Pacemakers and Lulu. In the early 1960s the drummer was Dave Purslow, a very large gentleman. John rennie writes: Downend had a very popular R & R club which was every Wednesday I think. Knowle had serious Saturday evening dances at the community centre featuring top local groups. Speedwell TA hall had some big dances, one easter I remember starring Johnny kidd and the Pirates with Johnny Carr and the Cadillacs supporting. There was a memmorable local group R & R concert at the old Cabot cinema (before it closed down) in Filton along the same lines as the ones at the Colston hall. What about the rag week mersey versus avon beat shows at the Vic rooms in the early 60,s I hope this stirs some memories. Regards John Rennie.


See photo link below


Chet And The Triumphs


This Bristol band once supported The Beatles at The Bath Pavilion in the early sixties. The drummer was Graham Nicholson, who lived in West Park Road, Downend. His practice sessions could often be heard when you passed by on the pavement outside. His father was an inspector on the buses, based at nearby Staple Hill Depot.


John Coldrick lived a few doors away, also in West Park Road. He often passed by when we children were playing in the street outside our house on the corner of West Park Road and North Street. He always had a cheery word for us and took it in good spirit when we called out cheeky things about teddy boys and suchlike. A thoroughly nice young man. Regards Fray Bentos


Email to the webmaster: Hi, just looked through your website,brilliant! i saw a picture of Johnny Coldrick, with his band The Triumphs. I knew john in the early 60s and would love to get in touch with him.can you help? Regards Paul Newman....would be good to hear from anyone with contact details.


Email to the webmaster: I have great memories of the Glen ballroom and the club next door called Cupids Bar. Also the bouncer at the door of the Glen being David Prouse (of Darth Vader fame)I often would have a quick dance with him which looked strange as I was barely five feet tall and he was probably at least six seven. I now live in Australia but have great memories of Bristol, which I return to on a regular basis. I was also married for nineteen years to a member of the rock band Chet & The Triumphs. Regards Pam and Gary O'keefe


See photo link below


Fred Wedlock


Once described as a 'West Country Billy Connolly, although he probably came first', Bristolian singer and raconteur Fred Wedlock has been performing in folk clubs and concerts since the late 1960s. He was born in Bristol, England, on 23rd May 1942 and had various jobs, including being a teacher, before turning professional in the early 1970s. He is related to 'Fatty Wedlock of Bristol City FC fame. Fred had various albums on small labels issued in the 1970s, and became widely known early in 1981 when his single The Oldest Swinger In Town hit the UK charts, rising to no. 6. Unfortunately he has never maintained that success, but the song is almost guaranteed to be played at family gatherings such as wedding receptions, as the middle-aged uncles and aunts take to the floor to gyrate after a few drinks.


Acker Bilk


The chances are that if you were asked to name a clarinet player, the first name that would spring to mind is Acker Bilk. Somerset-born Acker became world famous in May 1962 when he became the first British artist to top the US pop music charts, paving the way for other acts from the UK, such as a then still unknown band who were to have a fair amount of success on both sides of the pond a year or so after Acker's trailblazing hit - The Beatles!


Acker's US chart-topper Stranger On The Shore had topped the British chart some six months earlier, following its use as the theme tune of the eponymous BBC children's TV series. The record, which would nowadays be described as easy listening, perhaps seems an unlikely double number one on both sides of the Atlantic, but in those pre-Beatle days the charts contained a fairly eclectic mixture of ballads, rock 'n' roll and Dixieland-style 'trad' (short for traditional) jazz.


See photo link below


Pete Budd and the Rebels


Pete Budd and the Rebels Line up: Lead guitar/vocals, Rythym Guitar, Saxophone, Bass and Drums. Pete Budd, then apparently voted as the 'best guitarist in the West' (according to the local pop music magazine 'The Western Scene') succeeded Les Watts as the lead vocalist and guitarist. Ivor Newick played drums and there was also had a saxophinist.


'Somerset Born And Proud' Pete later replaced Reg Quantrill as the Wurzels' guitar and banjo player. One of the trio who continued after Adge Cutler's death, he was the only member of the 1970s Wurzels who actually comes from Somerset. His is the distinctive lead voice on all of their 1970s chart hits, including their number one smash Combine Harvester and the follow-up hits I Am A Cider Drinker, Farmer Bill's Cowman, etc. Pete is still with the band today, and therefore the second longest serving current Wurzel after Tommy Banner. Pete started out in the band Pete Budd and the Rebels and also made a few records in the 1960s in a band called The Rainbow People. Pete was running a pub/restaurant in the West Country for a while. A keen fisherman, Pete emigrated to Devon a while back. His voice has been heard in recent years singing on the TV commercials for Ambrosia Creamed Rice.


Adge Cutler


The original and indisputably the greatest Wurzel of all time, and the brains behind the whole concept. Born 1930 in Nailsea, north Somerset. Held a series of jobs before becoming a Wurzel, including working as road manager for famous clarinet player Acker Bilk (who is also from Zummerzet) and his Paramount Jazz Band, working in a cider mill (Coates of Nailsea), and working on building a power station in North Wales. Spent a year in Spain working as an agent looking for property. During his time there he grew to love the country and the Spanish way of life, as well as becoming fluent in Spanish. Formed the Wurzels in 1966 and continued to gig and record with the band until his career was sadly cut short by his untimely death in 1974, when he overturned his MGB sports car at a roundabout while driving himself home from a gig. Buried in Christchurch, Nailsea.


The Comets


One of Bristol's own first-generation rock 'n' roll bands the Comets they had supported such acts as Gene Vincent and Billy Fury. The Comets were almost certainly the first Bristol based band to make the enormous leap from Skiffle to amplified music, and thus paving the way for countless other local bands in the late fifties - early sixties.


A talent contest at the Glen Ballroom in 1958 in which the Sapphires, a vocal group, and the Comets were competing. Their sound blew everyone away that night. They not only sounded great, they looked great as well, dressed like quintessential rockers of that era.


In 1960 a unique show took place at The major concert venue in the city of Bristol, England....The Colston Hall. 2000 fans packed the place on December 16th to witness the best of the cities young Rock,n,roll bands & singers, even though not one of them had a recording contract, and some of the musicians were still in school ! Such was the popularity of local bands, when there was no such thing as a disco. let alone MTV, and when there was very little "pop music" on the then austere stiif upper lip Radio.


Andy Perrott (acoustic guitar and vocals) started out as half of the 'Antones' with Tony Sweet and has featured in several local rock'n'roll bands including the 'Echoes' and the legendary 'Bristol Comets'. Andy left the music business for a twenty year sabbatical but returned in 1984 as front man with the reformed 'Comets'.


Tony Dodd (electric guitar and vocals) started his career in music at about the same time, as guitarist for 'Mike Tobin and the Magnets'. Unlike Andy, Tony has been playing continually since those heady days with the Magnets, including a band in the USA where he lived for three years. Locally Tony held down a residency at the renowned 'Dug Out' club and his bands include 'Hugget' and 'Dodds Army', and he is now a member of the Bristol Comets'.


See photo link below


The Eagles


The Eagles were formed by Terry Clarke (lead guitar), Johnny Payne (rhythm guitar), Michael Brice (bass), and Rod Meacham (drums), all students at Connaught Road School in Bristol. Their name came from the youth organization, the Eagle House Youth Club, to which they all belonged. The quartet played local dances, parties, and bingo halls, performing during the intervals between the sessions at the latter, often for whatever was in the hat that was passed around.


The Eagles were a Bristol music quartet active from 1958 through the mid 1960s.


Led by guitarist Terry Clarke, who used a homebuilt custom instrument, the group included drummer Rod Meacham, bassist Michael Brice, and Johnny Payne on rhythm guitar. Playing primarily instrumental rock, they began their career in Bristol playing local venues such as dance halls.


They were launched into the world of professional music in 1962 upon being noticed by composer Ron Grainer, probably best remembered for his theme to Doctor Who. Grainer was interested in The Eagles for a film project he was working on, Some People, about a fictional Bristol band not unlike themselves. The Eagles contributed to the Some People soundtrack, and became Grainer's protegees, recording new versions of some of his film score work like the theme of the Maigret television series. The Some People soundtrack reached No.2 on the EP charts, and remained on the charts for a stay of 21 weeks.


The Eagles were awarded the Duke of Edinburgh Trophy for their work on the film, and soon after were signed to Pye Records, at the time among the top three labels in Britain. After releasing the singles 'Bristol Express' and 'Exodus', The Eagles embarked on a major tour of England along with more established acts Del Shannon, Stevie Wonder, Johnny Tillotson, and Dionne Warwick.


The tour world lasted much of 1963, during which their debut album, Smash Hits From The Eagles was released in the UK and the United States. The following year brought their most successful single and the one for which they are best remembered today, a vocal rendition of 'Wishin' And Hopin'' backed with 'Write Me A Letter'. Unfortunately, 1964 also brought a pair of tragedies which ultimately led to the end of the group: Grainer went blind, and Meachum suffered a nervous breakdown. Soon after, in late 1964, the band went their separate ways.


After The Eagles Clarke continued in the music business, with the band Pickettywitch and later as a session musician and solo artist, working with such artists as Michael Messer, Willie Nelson, Joe Ely, The Band, and Johnny Cash. He released nine solo albums between 1990 and 2006, on Transatlantic Records and various labels. Payne returned to Bristol and continued to play with local bands.


The Eagles' music is available on many compilations of the era, and in 1998 Sanctuary Records released a massive 61-track two-disc compilation set Smash Hits from The Eagles and The Kestrels, by far the most accessible overview of the Eagles' music today.


See photo link below


Teach the world to sing - Rogers Cook and Greenaway


Britain's best ever song-writers hail from Bristol, well Fishponds/Kingswood namely Rogers Cook and Greenaway. They used to be David and Jonathan in the sixties, wrote 'If you like alot of chocolate on your biscuit join our club' and Cookie formed Blue Mink. Later he went to Nashville where he become the only Briton ever to be inducted into the Country Hall of Fame.


Bristol’s Rolling Stones


Mick and Keith, Brian and Bill and, of course, Charlie were already world-famous as the Rolling Stones, pop music’s favourite rebels, by the autumn of 1965. They’d just celebrated their biggest hit of all, ‘(I Can’t Get No) Satisfaction’ when word came through that a Bristol band were claiming that they, not Jagger, Richards, Jones, Wyman and Watts, were the original Rolling Stones.


And it was all too true. Bristol’s Rolling Stones were the three Stone brothers who’d formed their own skiffle band at the height of the Lonnie Donegan era and played gigs like the Bristol Press Ball in 1957. Skiffle came from American blues music which often featured light travelling heroes described as rolling stones, so it was a good title.


The washboard group had changed their name to the Stone Brothers to avoid confusion when Mick, Keith and co. sprang to fame after taking their name from bluesman Muddy Waters’ classic ‘Rolling Stone’, but the matter still rankled. ‘We have no desire for the Jagger Stones to change their name. We only want to establish that the Bristol Stones are entitled to the name and were the first Rolling Stones,’ the group announced.


Top rock promoter/agent Tito Bums, then representing Mick, Keith and the rest chortled, ‘This would make a wonderful film.’ The Bristol Stones even consulted lawyers, but the matter ended quietly and amicably. . . and almost no one remembers the original Rolling Stones.


In the 1950s, Bill, his brother Ken and an unrelated Stone (Brian) formed a skiffle group. Their father was Moss Stone; not surprisingly, they called themselves The Rolling Stones. On the demise of the skiffle boom, they broadened their repertoire to include country and western . In 1965, there was a legal battle with the other 'Stones' which resulted in them being unable to continue with their name. A publicity leaflet for the Bristol Stones band at the time said 'Bill Stone plays a very fine banjo and can perform equally well Liszt's Liebestraum or Bye Bye Blues. Bill is a devotee of the great Eddie Peabody' (an American plectrum style player)


The Pigsty Hill Light Orchestra


The bands who put our city on the map THE Pigsty Hill Light Orchestra, so the story goes, first got together after Fred Wedlock's 1968 New Year party at Clifton's much lauded Troubadour Folk Club in Waterloo Street. The "Piggies" as they were affectionally known, derived their unusual name from a specific location up the Gloucester Road - the section that goes uphill from the old Bristol North swimming baths to the turning just before Horfield prison.


Composed of musicians from other local groups the band weren't in fact an orchestra at all but comparable to Viv Stanshall's Bonzo Dog Doo-Dah Band or the zany Temperance Seven. John Turner (yes, the radio presenter and newspaper columnist) came from the Downsiders, Barry Back and Andy Leggett from the Alligator Jug Thumpers and Dave Creech from the Elastic Band.


Their music, which has been described as 1920s jazz and blues, actually sounded more jug band. Unbelievable sounds emanated from a collection of hot water bottles, plumbing pipes and the like. With a good dose of comedy thrown in, it all seemed to go down well. A music paper even labelled the "Piggies" the band "most likely to succeed". Things were looking up. With the Plastic Dog agency handling their gigs, a well received album, PHLOP, was released in 1970 on the Village Thing label. This was the year that John Turner left to be replaced by bass player Wild Bill Cole.


The band's next album, Piggery Jokers, was recorded in Cornwall in 1973, had its distinctive cover put together by artist Rodney Matthews in a unique, self designed font. Now it was Barry Back's time to call it a day being replaced by Jon "Wash" Hays on washboard. Then Andy Leggett left, too. But the "Piggies" weren't ready to call it a day just yet. Dave Paskett, Richie Gould, Pat Small and Henry Davies, plus guitarists Chris Newman and Robert Greenfield came on board (plus, on occasion, a fine guitarist called Diz Disley who had tasted fame with folkie guitarist and singer Martin Carthy and legendary fiddler Dave Swarbrick).


All these musicians featured on the next album, imaginatively called The Pigsty Hill Light Orchestra, 1976. The music press were very kind. A Melody Maker hack wrote: "The Pigsty Hill Light Orchestra must be one of the most popular acts on the folk scene. Their spontaneous humour and good time songs have held many an audience anchored to the floor in wonder."


Three years later, despite a loyal following and much touring, the "Piggies" decided to throw in the towel. But still it wasn't the end. In 1988, the band reformed, by request, to play at Trowbridge's popular Village Pump Festival.


The gang were so well received and had so much fun that they decided to stay together, add Pat Small and singer Hannah Wedlock (Fred's daughter) to the line-up and go on tour again. Out of it came yet another album, Back On The Road Again. This was in 1991, the year Jim Reynolds and Dave Griffiths joined the band. The following year, Musical History, a compilation album consisting of a selection of tracks taken from 1968 to 1992, was released.


Barry Back, who had been the driving force behind the "Piggies" reunion, sadly died in 1992 and, shortly after, the band decided to pack up for good. Al Read, in his excellent book about the Granary Club, says that the band's first single on the Village Thing label, Shake That Thing/ Cut Across Shorty, can be bought for 47p.


The Retreads


One of the better bands was the Retreads, and were constantly booked to play most of the big venues, and played together with some of the bigger names of the time, Hollies, Searchers, Gene Vincent etc etc.


Jim Durcan, rythm guitar, Derek Martin lead guitar and Ron Chappell on bass guitar, John Watson on drums. The band was soon signed up for Germany and spent a couple of years working the clubs there and under the management of the Star Palast owner Manfred Woitala, but returning every so often to play the Bristol scene.


While in Germany Jim had an accident and left the band, returning to his hometown Dursley in Glos, in the lineup at that time was a brilliant German pianist Jerry B, (Barthold Dunker) who made a great hit with the fans when the band once more returned to Bristol and on a longer tour covering the whole of the south of England.


After years in Germany and a few gigs in Sweden the Retreads returned to Bristol where eventually the band broke up. ( late 1966 ) Ron and Derek stayed in England and John Watson decided to go back to Sweden.


The Corvettes by Dark Haloun


I joined the corvettes as lead guitarist after Dave Fahy and Ray Truscott left for richer rewards. Steve Thynne had taken over as singer and rhythm guitarist. Geoff Fothergill played bass and Dave " Bocker" Box was on drums. We played most of the halls round Bristol and the villages within a fifty mile radius. Didn't do much for my uni studies but it was fun.


Strictly a covers band, but weren't they all back then. Alan B Williams drove the van and acted as roadie. He was chronically late, and we always told him that we were starting an hour before we really were. Geoff tried to teach me to drive in his Morris Minor, though without much success. When Steve moved on we got Alan Dale in as singer and Mike Morley( I think, memory is not what it used to be) on rhythm guitar. We discovered that Alan could sing a strong falsetto and started to do three part harmonies: Beach boys, Four seasons. It was a point of difference given that there were so many bands doing the same stuff. I was transferred to London and left the band in the mid-sixties.


Kinda lost touch with the guys after that. In 1973 I moved to Perth in Western Australia with my Aussie wife. Played in several bands over the years. For the last four years I've played lead in a sequenced trio, still doing the old fifties and sixties stuff. At 75 years of age it gives me an interest and keeps me off the sreets. Sorry I have nether photos nor memorabilia of the band but the memories remain undiminished. Dark Haloun


Anyone out there name any more ?




Can you Help ?


Does anyone remember the Glen Ballroom, Locarno, Dug Out, The Granary Club, Town's Talk, Corn Exchange or any 1960s clubs or dance halls in Bristol?


The Glen


I've tried to find info & Pictures of it but no luck so far. We used to go ballroom dancing there back in the 60's. There was a club attached to it but you had to be 18 to get in, they played rock 'n'Roll their as apposed to the 'Proper' dancing in the ballroom.


Does anyone know if any of the Discs a gogo programmes were kept by the old TWW company.I would love to see us doing the Bristol Stomp again!


Anyone have any memories of the Mods & Rockers era and the coffee bars or the local West Coast Hells Angels in Bristol back to a time when British built motorcycles ruled the road ?


As a 51-year old Brisolian stuck in a 1960s timewarp, how many people recall the Monday night sessions between 1966 and 1968 at the then New Bristol Centre in the Locarno ballroom? (sadly now demolished) As I recall, this was THE place in Bristol at the time for 14-18-year-olds, with the entrance fee being 3s 6d for a session from 7pm to 10.30pm.


Records were provided via DJ (anyone recall names?) and there were two bars, The Bali Hai, where if you could stand tiptoe and lower your voice, you might get served with a half of cider by a waitress in a mock grass skirt!


Music was generally Top 30 stuff with a sprinkling of rarer Stax, Atlantic and Motown items which kept the Mods happy, and I am sure many a long-term relationship was started on the dance-floor.


Luckily, prior to demolition I was allowed in, and now am the proud owner of the Bali Hai mock Totem Poles which adorned the entrance to the bar, and also the sign from the Gents Stag Room - my partner thinks I'm crazy!


Chris Powell, Bradley Stoke


Danny Clarke and the Jaguars, Dean Prince and the Dukes, Jonny Slade and the Vikings, Mel Taylor and the Trek a beats, Dee Stars Predictions, A J and the others. The Road Runners.


The Quad. Mark Roman and the Javelins , Franklin big six, The Exiles, Mike Starr and the Citizens. The Blue Sound. The Lincolns, The Travellers The Concords The Ramrods. Dale Martin and the Mysteries. The Retreads The Strange Fruits The Burlington Berties. Venues the Vic rooms Carwadines Cool for cats (Yate) Bath pavilion the Corn Exchange the all nighter and all the church halls.


Mods and Rockers


Email from Chris Powell to me: I was a 17 year old Mod living in St George/ Hanham at the time (1968/9). Most of us rode Lambrettas or Vespas, and The Rockers (or Greasers as we called them) rode old Vincents or Triumphs.


Generally there wasn't any problems although it did kick off big time in the Summer of 1969 around the Centre- there were running battles for 2 or 3 nights and anyone on either a scooter or motorbike was considered "fair game"


A meeting was arranged on College Green between the Pascoe brothers (Willie and Angellino?) who were the "Ace Faces" in the Bristol Mod movement, and the leaders of the Rockers (names N/K)- there was the customary handshake and peace reigned thereafter. In all honesty, most of the "trouble" was built up by the media, as mainly Mods and Rockers were good friends. Indeed, I still have Lambrettas to this day and occaisionally meet Rockers of that era whilst out and about and chinwag over the good old days!


Main "Mod" places were- The Locarno; The Top Rank; The Never on a Sunday Cafe in Fairfax Street: Aunt Gemimas; Coke and Clobber; Beau Brummels on The Centre; The Weigh Inn (spelling) on College Green.


The Rockers used to hang out at The Starsreach Cafe in Staple Hill.

1 3 4 5 6 7 ••• 79 80