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An oldie from China and a rare foray in colour! I took this inside the Forbidden City in Beijing, with its impressive red walls. I liked the group of men in front of it, one in a traditional Mao suit.

 

For the SF 49'ers' victory, an oldie from the archives that never made it to flickr. I also like Green Bay, but I'm generally indifferent to american football. Chinese temple in Sandakan, Sabah, Malaysia.

China 2011 - Brushing up some oldies from China in PS..

 

ragnarfredrik.com | blog | tumblr

Another oldie from 2009 :)) I was looking for an old sunset shot to process over the weekend and just within mins of searching, my eyes were tuned to this shot. I reckon this might have to be my favourite pagoda shot from Singapore. I have posted 2 previously about 4-5 yrs ago and I can see my taste for colours and processing have definitely changed throughout the years.. hopefully for the better! :D

 

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About

 

Sunset with the Pagoda in Chinese Garden, Singapore

 

The Shot

 

3 exposure shots (+2..0..-2 EV) in RAW with tripod

 

Camera :: Canon EOS Digital Rebel XTi

Lens :: Sigma 10-20mm F/4-5.6 EX DC HSM

 

Photomatix

 

- Tonemapped generated HDR using detail enhancer option

 

Photoshop

 

- Added 3 layer mask effect of 'curves' for selective contrast

- Added 1 layer mask effect of 'level' to brighten the dark areas of the pagoda

- Added 1 layer mask effect of 'saturation' (yellows) to slightly enhance the sunset

- Added 1 layer mask effect of 'photo filter' (red) to enhance the sky

- Applied slight noise reduction

 

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with Chinese New Year approaching thought id post this oldie

Q27#: If you could rename yourself, what would it be?

A27#: Nope, I would not rename myself (: I love my name.

 

Listening to Chinese oldies once a while feels good (:

School is starting next week. Honestly I don't think a week of holiday is enough ): Time really flies.

 

I'll upload the outtakes later! (:

Tosca, our gondolier along the canal of the hideously garish Venetian Hotel (read about my experiences there on this earlier image), was a welcome infusion of humanity into the hyperreality. The daughter of a Filipino and a Romanian gypsy, she works as a singer at the hotel, and serenaded us with jazz, opera and even a Chinese oldie as she rowed us along.

 

Macau, 2012.

 

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This is the village where my grandmother lives. With its backdrop of verdant hills, filled with the songs of tweeting birds and of elderly people singing Cantonese oldies as they stretch and exercise alongside playing children, it is far removed - in character, if not in distance - from the chaotic, skyscraping cosmopolis that is usually evoked when one thinks of Hong Kong. I have thought of it as a second home since I first remember visiting at the age of eleven and, as the sun begins to set on my twenties, it is both the setting for and the subject of many questions I now ask myself.

 

I am single, childless and without the defined career trajectory that most people either enjoy or endure. My childhood and teenage years were spent living in my own head: I played video games, I read books, I watched films, I drew pictures and wrote stories. Since I graduated from university, I tried to correct that and have lived a life of extravagance and hedonism: of sex and booze and raves and restaurants and parties and press nights. I've earned more money than I ever imagined I would when I was a student, and I've (mis)spent it all and more. I've seen more of the world than I ever imagined I would by now, known so many moments of incredible joy and felt so connected to so many extraordinary people, and yet found that it doesn't add up to anything like contentment: rather, that the further I pursue this escapism - if that is what it should be called - the greater my existential discontent.

 

It has been three days since I arrived here in the village where my grandmother lives. Each morning, I have risen early and gone for a run along the river. I have taken many photographs that please me, an occurrence much more unusual than many might think. I have read more and written more in a three-day period than I have for some time. I haven't had to fight against the urge to engage needlessly and constantly with my iPhone. I have been for walks without wearing headphones, listening instead to the world around me. When I have been able to forget about the stress that awaits me when I return to my home in Glasgow, I have felt more content in being alone than I have for a long time.

 

I have walked around with my shirt untucked. This is an act which sounds laughably trivial but which is profoundly significant. I felt liberated: not because it is more physically comfortable to leave one's shirt untucked, but because *I didn't care* that my shirt was untucked. In realising that I don't care what the people in this village think of me, that there is nobody here to compete with, I released myself - my SELF - from the shackles of my own self-image. It is a self-image which I have constructed in collaboration with others over the entirety of my adulthood. It is one which I have broadly accepted and even embraced, and is perhaps all the more burdensome and all the more pernicious for it.

 

It is strange how some of the most significant things that happen in life - like falling in love with someone, or realising who you really are - aren't things that happen at all. They are not events which take place in the outside world, but are nothing more than a change in thinking, a rearrangement of pathways in the mass of jelly located inside your skull.

 

My epiphany today has not taught me anything I did not know, but it has made me feel the truth of things I have known for some time. First among these is that Glasgow is a city too small for both me and my past. Every street I walk in Glasgow is heavy with the weight of memory.

 

I wonder what life would be like if I lived in this village, how much happier I might be. I must take care not to romanticise my experiences here; they are not representative of the day-to-day struggle of living.

 

But I am wondering. And that's a start.

 

Hong Kong, 2015.

 

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A real oldie from Beijing, for Chinese New Year!

 

This man, traditionally dressed, was trying to drum up customers for his restaurant, while frantically waving a fan.

......and finally the third option, a traditional western wedding. Cathedral of course.

This is why all Chinese women are Christians when it comes to weddings. they want the pretty dress. And if yo think this is incompatible with what I said about trad Chinese weddings, it isn't. They do it twice. I am not making this up.

Dress is another golden oldie, Gorecki by Casa del Shai

Beyond the Bridge/Shanghai.

Drying the plant that contains "ma", small black seeds that are used in cooking and on "bings". The entrance is on the other side. A lovely old couple live here, but we could not communicate very well as they do not speak "Putong hua" or Mandarin Chinese, only the Shanghai dialect.

Big news!

Tessa's Klein Apie is going to make an honest woman of her!

The big day soon

Now the question arises. What nuptial style should she adopt?

There are three options

The first is a traditional Chinese wedding

The second is a traditional Filipino wedding

The third is a straight(ish) white wedding

Your advice would be welcomed. Discretion please. It's unlucky for the bride to see the bride before the wedding

The first option, a traditional Chinese wedding all in red, is shown above

From the top, hair is Mirone Faye ebony. No, we're far from sure whether this is till available

Dress is a REAL oldie from Tang Empress from Nicky Ree. Does Nicky Ree even exist any more?

Venue is the China Club, Hong Kong of which this is the Long March Bar

While the dummies get served first...another oldie, from Shanghai.

Another oldie found.... (sorry planning out quite extensive new shoots so just bare with me)

 

Strobist Info:

Canon 5D MkII with Profoto 1000 light with large octagon softbox camera left high front, and large round white reflector camera right.

 

This and ALL images are COPYRIGHT 2012 by Jeff Boyle/Ikon Visuals and may not be used, altered, etc in any way shape, or form without expressed written permission by myself, to do so would be a breach of international intellectual property and copyright laws and will be prosecuted to the fullest extent of international law.

 

If you are viewing it, please says something about it, give a critique, leave a comment, and/or fave it, it's good karma, common courtesy and much appreciated!

  

Follow me on Twitter @jeffboyle1

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Another oldie found.... (sorry planning out quite extensive new shoots so just bare with me)

 

Strobist Info:

Canon 5D MkII with Profoto 1000 light with large octagon softbox camera left high front, and large round white reflector camera right.

 

This and ALL images are COPYRIGHT 2012 by Jeff Boyle/Ikon Visuals and may not be used, altered, etc in any way shape, or form without expressed written permission by myself, to do so would be a breach of international intellectual property and copyright laws and will be prosecuted to the fullest extent of international law.

 

If you are viewing it, please says something about it, give a critique, leave a comment, and/or fave it, it's good karma, common courtesy and much appreciated!

  

Follow me on Twitter @jeffboyle1

Facebook | 500px | RedBubble

Family that bonds together stays together...Family of Smiles.

Keep smiling flick friends, Have a happy Saturday.

 

Stay tune: Oldies but Goodies

Sister Sledge - We are Family

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

 

bristolrock.net/c.aspx

 

www.bristolarchiverecords.com/people/people_Tony_Dodd.html

 

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

 

www.flickr.com/photos/brizzlebornandbred/2050007986/

 

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

 

www.flickr.com/photos/brizzlebornandbred/2975315707/

 

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

 

www.flickr.com/photos/brizzlebornandbred/2080583036/in/se...

 

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

 

www.flickr.com/photos/brizzlebornandbred/2050007986/

 

The Eagles

 

The Eagles were formed by Terry Clarke www.terryclarke.com/ (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

 

www.flickr.com/photos/brizzlebornandbred/2094324558/

 

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 affectionately 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, rhythm 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 ?

 

Email bristolhistory@googlemail.com

 

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.

 

www.flickr.com/photos/brizzlebornandbred/5165126654/

 

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.

An oldie from Vancouver 2011 - and a character older Flickr Friends with good memories might remember.

 

After three years I thought he was interesting enough for another shot :)

An oldie from last year, taken while working as set photographer for the filming of the Gedda Headz music video.

 

Hong Kong, 2009.

 

Twitter Facebook

Chinatown Paris, France.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

Oldie but goodie. I tried shooting this last winter but it was too dark out. There is some sort of Chinese food operation behind the door but I don't know whether this is sanctioned or not. I do know I really like it.

Miss our ghetto corridor with the frenchyy :kiss::kiss::girl: @fanoushkaa #classy #flashback #london #nights #oldie #french #chinese #girls #chilling #trashbag #smoking

 

12 Likes on Instagram

 

3 Comments on Instagram:

 

fanoushkaa: LOOOVVVVEEEE

 

fanoushkaa: Wait for u To come in Paris !!!

 

shannonsees: @fanoushkaa helll yeaaaa ;)

  

A neat old neon sign for the Golden Chinese Restaurant in Fresno. It took a lot of skill to bend all those neon tubes like that, and that used to be the norm back when people used put their heart into things.

An oldie that I've temporarily bumped up to the top of my photostream:

 

Marble House was built between 1888 and 1892 for William K. Vanderbilt, grandson of Commodore Cornelius Vanderbilt. The house was a social and architectural landmark that set the pace for Newport's subsequent transformation from a quiet summer colony of wooden houses to the now legendary resort of opulent stone palaces. It was designed by architect Richard Morris Hunt and said to be inspired by the Petit Trianon at Versailles. The cost of the house was reported in contemporary press accounts to be $11 million, of which $7 million was spent on 500,000 cubic feet of marble. Upon its completion, Mr. Vanderbilt gave the house to his wife, Alva, as a 39th birthday present.

 

After the Vanderbilts divorced in 1895, Alva married Oliver Hazard Perry Belmont, moving down the street to Belcourt, Belmont's summer estate. After his death, she reopened Marble House and added a Chinese Tea House on its seaside cliffs, where she hosted rallies for women's suffrage. She sold the house to Frederick H. Prince in 1932. Prince's estate gave the house and its furnishings to the Preservation Society of Newport County in 1963.

 

In 1971 it was added to the National Register of Historic Places. Five years later the Department of the Interior designated it, and the Bellevue Avenue Historic District in which it is located, as National Historic Landmarks.

 

tickets.newportmansions.org/mansion.aspx?id=1004

  

An oldie but a goodie

 

For Macro Mondays - Games or Games Pieces

Forgive me for having been on a bit of a Rover binge lately, but for those who don't know on 15th April 2005, exactly 10 years ago, the Rover Group finally ran out of money and Britain's last volume car manufacturer disappeared forever. I remember well the BBC news reports showing workers being turned back at the gates of the Longbridge Plant in south Birmingham, their jobs finished and their cars ceased. In all, nearly 6,000 people in the Midlands were sacked upon the closure of Longbridge, and whilst Rover, a brand that had dated back to 1904 and had once been a symbol of pedigree British Motoring, finally died after a long and painful spell under British Leyland and ownership by BMW, MG was able to claw away from darkness thanks to Chinese investors, rescuing one of the most renowned and hallowed names in Motorsport history.

 

This however was truly the last great Rover, and one that was a succulent blend of style and substance. Reliable, well priced, smooth riding and sweet, the Rover 75 was the embodiment of everything that was to be found in the everyman's British motor car. But nowadays most people remember it as a prime example of how even though this car, as reliable, well performing and beautifully styled as it is, can be completely compromised by that all important part of the human psyche known as image...

 

The Rover 75 was unveiled in 1998 after 4 years of development, and was the first car to be launched by the company since the Rover 600 in 1993. In fact the car was built to replace both the Rover 600 and 800 to become the company's flagship motor. The car was the last to be styled by world renowned coachbuilder Vanden Plas, famous for its distinguished chrome nose and luxurious internal styling. I remember well the style and profile of this mighty car, filled to the brim with soft leather seats and sublime wooden trim, built to emulate the mighty Rover P5 of the 1960's, but with a fiery 4.6 Rover V8 under the hood for some extra grunt. It was perfect...

 

...trouble was nobody wanted it.

 

The main problem that killed the Rover 75 was its image. The car was designed to emulate grand old England, with that chrome and wooden trim making it look and feel very nostalgic. There's nothing wrong with nostalgia, in fact I very much enjoy a look into the heritage of Britain and the Rover 75 strikes a chord with me, it's very pretty, well styled and has a lovely feel to it, and many foreign buyers agree, with the 75 winning awards in Germany and France, as well as being dubbed the best car in the world by Italian stylists. The nostalgia of old England is something that foreigners love, they come to Britain in their droves to see old Castles and tour the quaint streets of our ancient cities. However, the only people who don't like the old British are in fact the British themselves. I consider myself a bit of an exception but on a grand scale a majority of British people don't like being referred to in some quaint old manner of plummy accents and established gentry, and would much rather like to be seen as modern and innovative like the Americans or the Germans.

 

Because of this, the Rover 75 was to the British nothing more than just some pathetic hankering for the past, and trying to firmly establish Britain as some kind of fatuous 'Ye oldie world' theme park instead of a 21st Century nation. For this crime the Rover 75 was punished with absolutely abysmal sales on the domestic market. Across the UK many of our airfields were littered with thousands and thousands of unsold 75's in storage because domestic sales were so poor. Rover was churning out cars that nobody wanted and losing an absolute mint.

 

BMW saw no enthusiasm in owning a car company that was failing miserably, so in 2000 the Rover Group was broken up into its most profitable parts. BMW retained Mini whilst Land Rover/Range Rover was sold to Ford. The remainder of Rover was sold to Phoenix Investments for the price of just £10, a clear sign of how little confidence there was in the ailing company. With little to no money to support the company no new cars could be developed, and Rover turned to the Indian firm TATA to build them their final product, the 2003 CityRover, an attempt to fill the gap left by the discontinued Metro that instead turned out to be the final nail in the coffin for the company. Bankruptcy came in 2005 and soon afterwards the Rover company went into liquidation. Although MG was able to escape death by way of Chinese investments, for the rest of the Rover company after nearly 100 years of operation, it was simply a case of TILT! Game over...

Forgive me for having been on a bit of a Rover binge lately, but for those who don't know on 15th April 2005, exactly 10 years ago, the Rover Group finally ran out of money and Britain's last volume car manufacturer disappeared forever. I remember well the BBC news reports showing workers being turned back at the gates of the Longbridge Plant in south Birmingham, their jobs finished and their cars ceased. In all, nearly 6,000 people in the Midlands were sacked upon the closure of Longbridge, and whilst Rover, a brand that had dated back to 1904 and had once been a symbol of pedigree British Motoring, finally died after a long and painful spell under British Leyland and ownership by BMW, MG was able to claw away from darkness thanks to Chinese investors, rescuing one of the most renowned and hallowed names in Motorsport history.

 

This however was truly the last great Rover, and one that was a succulent blend of style and substance. Reliable, well priced, smooth riding and sweet, the Rover 75 was the embodiment of everything that was to be found in the everyman's British motor car. But nowadays most people remember it as a prime example of how even though this car, as reliable, well performing and beautifully styled as it is, can be completely compromised by that all important part of the human psyche known as image...

 

The Rover 75 was unveiled in 1998 after 4 years of development, and was the first car to be launched by the company since the Rover 600 in 1993. In fact the car was built to replace both the Rover 600 and 800 to become the company's flagship motor. The car was the last to be styled by world renowned coachbuilder Vanden Plas, famous for its distinguished chrome nose and luxurious internal styling. I remember well the style and profile of this mighty car, filled to the brim with soft leather seats and sublime wooden trim, built to emulate the mighty Rover P5 of the 1960's, but with a fiery 4.6 Rover V8 under the hood for some extra grunt. It was perfect...

 

...trouble was nobody wanted it.

 

The main problem that killed the Rover 75 was its image. The car was designed to emulate grand old England, with that chrome and wooden trim making it look and feel very nostalgic. There's nothing wrong with nostalgia, in fact I very much enjoy a look into the heritage of Britain and the Rover 75 strikes a chord with me, it's very pretty, well styled and has a lovely feel to it, and many foreign buyers agree, with the 75 winning awards in Germany and France, as well as being dubbed the best car in the world by Italian stylists. The nostalgia of old England is something that foreigners love, they come to Britain in their droves to see old Castles and tour the quaint streets of our ancient cities. However, the only people who don't like the old British are in fact the British themselves. I consider myself a bit of an exception but on a grand scale a majority of British people don't like being referred to in some quaint old manner of plummy accents and established gentry, and would much rather like to be seen as modern and innovative like the Americans or the Germans.

 

Because of this, the Rover 75 was to the British nothing more than just some pathetic hankering for the past, and trying to firmly establish Britain as some kind of fatuous 'Ye oldie world' theme park instead of a 21st Century nation. For this crime the Rover 75 was punished with absolutely abysmal sales on the domestic market. Across the UK many of our airfields were littered with thousands and thousands of unsold 75's in storage because domestic sales were so poor. Rover was churning out cars that nobody wanted and losing an absolute mint.

 

BMW saw no enthusiasm in owning a car company that was failing miserably, so in 2000 the Rover Group was broken up into its most profitable parts. BMW retained Mini whilst Land Rover/Range Rover was sold to Ford. The remainder of Rover was sold to Phoenix Investments for the price of just £10, a clear sign of how little confidence there was in the ailing company. With little to no money to support the company no new cars could be developed, and Rover turned to the Indian firm TATA to build them their final product, the 2003 CityRover, an attempt to fill the gap left by the discontinued Metro that instead turned out to be the final nail in the coffin for the company. Bankruptcy came in 2005 and soon afterwards the Rover company went into liquidation. Although MG was able to escape death by way of Chinese investments, for the rest of the Rover company after nearly 100 years of operation, it was simply a case of TILT! Game over...

From Wikipedia:

 

Platycodon grandiflorus (from Greek "πλατυκώδων", meaning a broad bell) is a species of herbaceous flowering perennial plant of the family Campanulaceae, and the only member of its genus. It is native to East Asia (China, Korea, Japan and East Siberia). Depending upon the region, it is also referred to as the Korean bellflower, Chinese bellflower, Japanese bellflower, common balloon flower, or balloon flower (referring to the balloon-shaped flower buds).

Another one of my oldies. I'm slowly putting them up so that they can go to the back of my stream when I upload new stuff.

 

Why it might be good - nature. Its all nature. Doing its thing & looking spectacular.

 

The only thing I did was lazily point at it and shoot away. I didn't think about the sunlight falling onto the rose, or how it would translate into a photograph. I didn't think about it at all.

 

Why am I posting this if I don't particularly like it? Well .. I think it acts as a supplement, telling me what not to do while assuring me about how far (or not so far) I'm come.

Forgive me for having been on a bit of a Rover binge lately, but for those who don't know on 15th April 2005, exactly 10 years ago, the Rover Group finally ran out of money and Britain's last volume car manufacturer disappeared forever. I remember well the BBC news reports showing workers being turned back at the gates of the Longbridge Plant in south Birmingham, their jobs finished and their cars ceased. In all, nearly 6,000 people in the Midlands were sacked upon the closure of Longbridge, and whilst Rover, a brand that had dated back to 1904 and had once been a symbol of pedigree British Motoring, finally died after a long and painful spell under British Leyland and ownership by BMW, MG was able to claw away from darkness thanks to Chinese investors, rescuing one of the most renowned and hallowed names in Motorsport history.

 

This however was truly the last great Rover, and one that was a succulent blend of style and substance. Reliable, well priced, smooth riding and sweet, the Rover 75 was the embodiment of everything that was to be found in the everyman's British motor car. But nowadays most people remember it as a prime example of how even though this car, as reliable, well performing and beautifully styled as it is, can be completely compromised by that all important part of the human psyche known as image...

 

The Rover 75 was unveiled in 1998 after 4 years of development, and was the first car to be launched by the company since the Rover 600 in 1993. In fact the car was built to replace both the Rover 600 and 800 to become the company's flagship motor. The car was the last to be styled by world renowned coachbuilder Vanden Plas, famous for its distinguished chrome nose and luxurious internal styling. I remember well the style and profile of this mighty car, filled to the brim with soft leather seats and sublime wooden trim, built to emulate the mighty Rover P5 of the 1960's, but with a fiery 4.6 Rover V8 under the hood for some extra grunt. It was perfect...

 

...trouble was nobody wanted it.

 

The main problem that killed the Rover 75 was its image. The car was designed to emulate grand old England, with that chrome and wooden trim making it look and feel very nostalgic. There's nothing wrong with nostalgia, in fact I very much enjoy a look into the heritage of Britain and the Rover 75 strikes a chord with me, it's very pretty, well styled and has a lovely feel to it, and many foreign buyers agree, with the 75 winning awards in Germany and France, as well as being dubbed the best car in the world by Italian stylists. The nostalgia of old England is something that foreigners love, they come to Britain in their droves to see old Castles and tour the quaint streets of our ancient cities. However, the only people who don't like the old British are in fact the British themselves. I consider myself a bit of an exception but on a grand scale a majority of British people don't like being referred to in some quaint old manner of plummy accents and established gentry, and would much rather like to be seen as modern and innovative like the Americans or the Germans.

 

Because of this, the Rover 75 was to the British nothing more than just some pathetic hankering for the past, and trying to firmly establish Britain as some kind of fatuous 'Ye oldie world' theme park instead of a 21st Century nation. For this crime the Rover 75 was punished with absolutely abysmal sales on the domestic market. Across the UK many of our airfields were littered with thousands and thousands of unsold 75's in storage because domestic sales were so poor. Rover was churning out cars that nobody wanted and losing an absolute mint.

 

BMW saw no enthusiasm in owning a car company that was failing miserably, so in 2000 the Rover Group was broken up into its most profitable parts. BMW retained Mini whilst Land Rover/Range Rover was sold to Ford. The remainder of Rover was sold to Phoenix Investments for the price of just £10, a clear sign of how little confidence there was in the ailing company. With little to no money to support the company no new cars could be developed, and Rover turned to the Indian firm TATA to build them their final product, the 2003 CityRover, an attempt to fill the gap left by the discontinued Metro that instead turned out to be the final nail in the coffin for the company. Bankruptcy came in 2005 and soon afterwards the Rover company went into liquidation. Although MG was able to escape death by way of Chinese investments, for the rest of the Rover company after nearly 100 years of operation, it was simply a case of TILT! Game over...

Oldies and Goodies – Part II

A review by Daniel L. Berek

 

There are authors who research and write about aviation. Then there are those people whose passion for aircraft runs so deep that they actually live aviation. Stephen Piercey, the late young British aficionado of vintage airplanes, is one name that comes to mind. Another is Gerry Manning, a fellow Englishman who has traveled to dozens of countries on nearly every continent to photograph vintage aircraft, both those in museums and those that, decades after they were designed and built, still make a living for their owners, plying their trade in the skies.

 

Gerry Manning’s enthusiasm is contagious; this time around, he has served up a delicious compendium of beautiful photographs in two volumes from his extensive collection of slides he, himself, took. Although either volume could stand on its own, anyone purchasing one of these will end up hungering and hankering for the other.

 

The second volume of Gerry Manning’s two-part odyssey of propliner gems is divided into four sections, starting with water bombers, those vintage aircraft that still perform the most dangerous any aircraft can undertake in peacetime – fighting wild fires. This chapter opens with leviathan Martin Mars and ever-versatile Consolidated-Vultee PBY Catalina, before covering the Canadair CL-215, the first (and only Western) aircraft designed and built expressly for this purpose, along with its updated turboprop-powered offspring, the CL-415. Antother airplane, the Grumman S-2 Tracker, is also chronicled, along with an even older Doublas A-26 Invader and Consolidated Privateer. These planes are followed by converted airliners and military transports, the Douglas DC-4 and DC-6 (C-54 and C-118), along with the Lockheed P-2V Neptune (a Cold War antisubmarine aircraft), Convair CV440, and Lockheed C-130 Hercules and L-188 Elecra. The second part chronicles Soviet and Chinese-built aircraft, among them the Antonov An-2, Harbin &-10, Ilyushin Il-18, Antonov An-12 and An-28. “South American operations,” familiar among fans of Stephen Piercey’s work, showcases old airliners still earning a living on that rugged continent. The Douglas DC-3/C-47 predominates, but we also see the Douglas DC-6, Dornier Do.28 Skyservant, Convair 440, and Curtiss C-45 Commando, followed by now-classic turboprops in the form of the Fokker F-27 (and Fairchild F-227 equivalent), and Antonov An-32. Oh, and those wingless C-46s resting on old oil drums? Don’t worry – they are not dead; they are only awaiting a rebuild (often out in the open) and a new lease on life. The fourth and final section celebrates those piston-engine and turboprop-powered aircraft still hauling cargo worldwide; the selection is diverse: Short SC-7 Skyvan, Boeing 377 Super Guppy, Lockheed L-1888 Electra, De Havilland Canada DHC-4 Caribou, Curtiss C-46, Douglas DC-6, Fairchild C-119, and Lockheed L-100 (the civil variant of the military Hercules). And as for that Convair T-29 no longer flying? It still earns its keep as the Aero Dogs restaurant!

 

Gerry Manning introduces each section with a short-essay; each of the more than 170 glorious photographs is accompanied by a detailed description of the subject. The stories and pictures are sure to delight… not just love at first sight, but for years to come.

 

Entering the Chinese new year of the rabbit.

Celebrations in Paris Chinatown.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

Paris Chinatown, France.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

An ordinary rainy day......

Chinatown Paris, France.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

"Hello there Miss Umbrella!"

"Hi Mr Rain! I love to see you back."

Chinatown Paris, France.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

Paris Chinatown, France.

 

Every time I’m enjoying the parade preparations, it’s a pleasure for anyone found of shooting colorful portraits.

Within all costumes used to celebrate the new year, the red color is the main tone, then come pink and yellow.

This year I had on my D80 a nice oldies : a 1970s Nikkor 85mm f2 AI-S, that was lent to me by a friend to let me test it on my dslr.

Indeed these Ai-S lenses are operating fully manual on a D80, that means no AF, and most of all no light metering by the camera. So I just took 2 shots in situ to adjust my speed, aperture and ISO, thanks to digital era I could check immediately through the lcd and histogram which adjustments to make, and I was ready for 2 hours portraiture within the crowdy parade characters.

I must say beside the slower ability to shoot due to the time needed to adjust focus (the D80 rangefinder requires much more time to be sure to have focus than it used to be with a film camera or a professional dslr) that I really enjoy the 85mm (i.e. 127mm on my D80). Even at f2.8-4-5.6 it was sharp enough to my taste, with nice bokeh on the back to emphasize the portrait itself.

Several years ago Philip took me to visit the Chinese Gardens and I loved it... I was taking so many pictures that a good number of them got overlooked... I have been checking back thru the oldie moldies to pick up some that I had failed to process... I can't believe there are so many nice ones that I just forgot about...

Some oldies that have been waiting their turn very patiently

Help You Look

For Tune S

Make You Good

Luck Trust Me

 

Sitting next to this sign was an old teller

intense look in her eyes

I saw pass her antique glasses

that I could trust her

to make me good

help me look for my tunes

if only I was a musician

and spoke chinese

Taken with Nikon 105mm f/4.0 Micro (Ais), fantastic oldies lens for macro.

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