Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

1)

 

Mike Woods at the Running Room (2011)

 

============================================

2)

 

Article in the Ottawa Citizen newspaper, August 28, 2013

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(photo by Julie Oliver, Ottawa Citizen) Ottawa's Mike Woods will ride for the Garneau-Quebecor team in the inaugural Tour of Alberta

 

Title of Article: Ottawa’s Mike Woods’ Journey from Runner to Racing in the Tour of Alberta / Elite rider brings his ability to suffer to the sport.

  

By Gord Holder, Ottawa Citizen

 

OTTAWA — Mike Woods still wants to go to the Olympics. On two wheels, though, not two feet.

 

Put the Tour de France on his amended list of career goals, too.

 

The 26-year-old Ottawa athlete was once one of Canada’s top middle-distance runners. In the span of a month in 2005, he set national junior records for the mile (3:57.48) and 3,000 metres (7:58.04) and won the 1,500 metres of the Pan American junior championships. He was in the top 50 in the world.

 

“I thought, and I imagine anybody else that was following my career thought, that running was what I was going to be doing for the next 10 years at least,” Woods says.

Not even close, as it turned out. Woods was overtraining, racing too much and practicing sloppy diet habits — “just not doing everything that an athlete at that level should be doing, and things really started to fall apart.”

Falling apart translated into three stress fractures of the navicular bone in his left foot. Surgery in 2008 and 2010 didn’t solve the problem. “It was awful,” he says.

 

A 2008 graduate from the University of Michigan, which had granted him a full track scholarship, Woods started looking for jobs and entertaining the idea he would no longer be an elite athlete.

 

About that time, however, he began borrowing — stealing, really — his father Barry’s recreational bike for cross-training. Friends with cycling backgrounds were impressed enough to encourage him to enter Ottawa-area races.

 

Now, still super-competitive and confident in his ability as an endurance athlete, he continues to want to see how far he can go in cycling. The bar is set high.

 

“I’d be lying if I didn’t have these high expectations right off the bat,” Woods says. “I did want to see if I could get on a team that competed at the Tour de France or make it at the Olympic level.”

 

“Those two goals are goals of mine now, and they’re way more realistic than they were when I started, but they’re still lofty goals and it’s still going to be a really tough process in terms of achieving them.”

 

Woods rode last year for Stevens Racing, based at The Cyclery bike shop in Old Ottawa South, and strong results led to a spot on the national team for the 2012 Tour de Beauce. His performance there, in turn, led to this year’s gig with Quebec-based Garneau-Quebecor, which has named Woods and Kanata’s Alex Cataford to its entry for the inaugural Tour of Alberta, a six-day, 800-kilometre event starting next Tuesday at Edmonton.

 

A week after the Sept. 8 finale in Calgary, Woods will compete for the Canadian National Team in WorldTour races at Montreal and Quebec City.

 

Between them, Woods will be face-to-face and wheel-to-wheel with some big-name cyclists. Also riding in Alberta are 2011 Tour de France winner Cadel Evans of Australia, Slovakia’s Peter Sagan and 2012 Giro d’Italia champion Ryder Hesjedal of Victoria. Spain’s Alberto Contador, who won the 2007 Tour de France and 2012 Vuelta a España, but lost 2010 Tour and 2011 Giro titles because of doping, will ride in Quebec.

 

“Based off the way my training has been going and based off my abilities, I’m more excited as opposed to scared,” Woods says. “Obviously it’s going to be the hardest bike race I’ve ever done, but it’s also going to be a good measuring stick and a good opportunity to showcase my ability against some of the best guys in the world.”

 

At 26, though, Woods is an “old” cycling prospect, and he needs more experience racing on two wheels. In a technical sense, he knows he must develop and maintain a smoother pedal stroke and enhance the leg strength that is key to time trials, admittedly the weakest aspect of his riding.

 

On the plus side, he has previously displayed what it takes to succeed in track and cross-country.

 

“The one advantage that I do have is that there are a lot of running and cycling, and I did run at a professional level, I did run at an elite level,” Woods says. “And, despite the fact that cycling is so new from the tactics perspective and a couple of other aspects, the same principles apply: You still have to suffer a tonne.

 

“That’s one of my skill sets. There’s no hiding in a 1,500-metre race, a cross-country race. You have to know how to suffer, and I think that’s one of my strongest assets as a cyclist. When things get really tough in a bike race, I’m often still around.”

 

Besides Woods and Cataford, the Canadian under-23 time trial champion who turns 20 on Sept. 1, the Tour of Alberta also includes Gatineau’s Jean-Sébastien Perron, 27, and Derrick St. John, 36. Stevens Racing members, they will compete for the national team.

 

For inspiration, Woods can also think about Svein Tuft. The 36-year-old from Langley, B.C., this year became the oldest Tour de France rookie of the modern era.

 

Tuft received the symbolic “Lanterne Rouge” as the last racer to complete the tour, but he still crossed the finish line in Paris. A year ago, Tuft was Woods’ teammate in the Tour de Beauce.

 

“I was really lucky to be on that team with him,” Woods says. “He’s a really interesting guy, and he has kind of proven that you can kind of get into the sport late in the game and still have success.”

 

gholder@ottawacitizen.com

 

Twitter.com/HolderGord+

 

============================================

3) Article in the Ottawa Citizen by Martin Cleary, December 1, 2015

 

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title: Gatineau cyclist, Michael Woods, pushes the limits

 

Canadian cyclist Ryder Hesjedal, the 2012 Giro d’Italia champion, owned the record as the fastest man up the mountain. But after Woods, who has used his track training to become an accomplished cycling climber, survived the adventure, he had bested Hesjedal’s standard by 40 seconds.

 

When Woods finished, he received accolades from Jonathan Vaughters, the manager of the Cannondale-Garmin pro cycling team on the elite 17-team WorldTour. Vaughters also was a noted climber with the former U.S. Postal Service team and once held the Haleakala climb record in 1993 at 2:38.

 

“When I broke the time, that put me in a special place in his (Vaughters’) heart. He followed my progress from then,” said Woods, who again met Vaughters in February, after placing 12th overall in his 2015 season-opening Volta ao Algarve em Bicicleta race in Portugal. That result was highlighted by a fifth-place showing in the fourth of five stages.

 

After Woods had a standout performance in August at the Tour of Utah — winning the fifth stage to earn the leader’s yellow jersey, finishing second in the sixth stage and standing on the medal podium as second overall — he was presented a contract by Vaughters to join the Cannondale Pro Cycling Team in 2016.

 

“After my running career finished (2011), for the longest time I was afraid what would define me was what I did at age 18,” said Woods, who officially joins the Cannondale team on Jan. 1. He remains a member of Optum presented by Kelly Benefit Strategies team until the end of the year.

 

“That would have been devastating. I always wanted to be a pro athlete.”

 

He was hoping to be a pro athlete in middle distance running, but numerous foot injuries between 2007-11 quashed that dream. Since cycling was part of his cross training for track, he decided to venture into the world of cycling.

 

“I had a big aerobic engine. I was really explosive. I made a fast progression. I knew what it took to be a player. But I definitely was lacking in bike handing skills and tactical work. I had a lot of crashes (and broken bones),” he confessed. “I could stay with the best in the world, but I had now business being there.”

 

But during the past three years, while riding with Team Garneau (2013), Amore & Vita-Selle SMP and 5-Hour Energy (both 2014) and Optum (2015), he has developed into a quality cyclist and has earned a spot with one of the 17 best teams in the world, who will compete on the International Cycling Union’s WorldTour.

 

He signed a one-year contract with the rebuilding Cannondale team, but he’s not able to talk about his contract details. The minimum salary is 36,000 Euros or about $50,000 Cdn.

 

“I’m making very good money and I’m happy with the contract. It’s not (NHL) hockey player money, but it’s way more than I would have made in track,” Woods said.

 

He met the other 29 cyclists on the Cannondale team at a fall bonding session in Aspen, Colorado. Primarily a climber, his main duties will be to support the team’s sprinters. While that will be “a great learning experience,” he has been told he also will be given some higher responsibilities, allowing him to battle for top of the result-sheet placings.

 

The Cannondale riders will be spread throughout the world during the nine-month, 27-event season. Woods doesn’t expect to be part of this year’s top group, which will participate in events like the Tour de France. He will make his WorldTour debut in the opener in the Tour Down Under competition Jan. 19-24 in Adelaide, Australia.

 

One of the main goals for Woods this season is to make the Canadian team for the 2016 Summer Olympic Games in Rio de Janeiro.

 

“I will follow the (Cannondale) team schedule and there’s a good chance to go to the Olympics,” he said. “The Canadian criteria is subjective and is based on results.”

 

Woods added the 256.4-kilometre Olympic men’s road racing course along the Atlantic Ocean suits him perfectly as there will be 14 hill climbs. “That’s sweet for a climber.”

 

“This year, I want to establish myself as a guy going to the Olympics,” he said.

 

Martin Cleary’s High Achievers column appears bi-weekly on Wednesdays in the Citizen. If you know an athlete, coach, team or builder you consider a high achiever, contact Martin at martincleary51@gmail.com.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them but just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

The House

Restoration House as we see it today is the amalgamation of two medieval buildings which were combined in the late 16th or early 17th century to create a mansion house just outside the south east corner of the city wall of Rochester. It was neither a town house nor a country seat but shared features of both, not least being the political seat of its creator and first owner Henry Clerke. Henry Clerke and his son Francis, both ambitious lawyers, were both elected several times as Royalist members of Parliament for Rochester.

 

The Civil War during the 1640’s led to this property, which was central to their political effectiveness, being sequestered and occupied by Colonel Gibbon, Cromwell’s commander in the South East. However with the death of Cromwell in 1658 and the weakness of his son, Royalist forces began plotting to restore the deposed King’s son, Charles Stuart, exiled in France and Holland, back onto the throne.

 

From early 1660 plans were advancing and Rochester being the only crossing of the Medway on the road from Dover to London was a strategic consideration, more so with a large part of the nation’s fleet, much expanded under Cromwell, being moored at Chatham Dockyard nearby.

 

The mansion in the ownership of Royalist Francis Clerke and presumably with the cooperation of Colonel Gibbon, was fitted up to receive the young Charles and to act as his overnight base in Rochester, an important stage on his progress to London. With Charles were his two younger brothers the Dukes of York and Gloucester.

 

Over the past ten years the present owners of Restoration House have uncovered various parts of the decorative scheme which they believe were “run up” for the occasion. These provide fascinating examples of fashionable mid-17th century Continental taste seen through provincial eyes at a time when such innovations had been quashed by Cromwell. Thus the use of ‘French Grey’ paint, of paint effect ‘marbling’ and ‘japanning’, of the opening up of rooms through ‘French doors’ cut into earlier partitions were not only introduced for Charles’ reception but have miraculously survived under later layers to be now once more revealed.

www.restorationhouse.co.uk/the-house/

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Alexander Sergeyevich Pushkin was a Russian poet, playwright, and novelist of the Romantic era. He is considered by many to be the greatest Russian poet, as well as the founder of modern Russian literature.

 

Pushkin was born into the Russian nobility in Moscow. His father, Sergey Lvovich Pushkin, belonged to an old noble family. His maternal great-grandfather was Major-General Abram Petrovich Gannibal, a nobleman of African origin who was kidnapped from his homeland by Ottomans, then freed by the Russian Emperor and raised in the Emperor's court household as his godson.

 

He published his first poem at the age of 15, and was widely recognized by the literary establishment by the time of his graduation from the Tsarskoye Selo Lyceum. Upon graduation from the Lycée, Pushkin recited his controversial poem "Ode to Liberty", one of several that led to his exile by Emperor Alexander I. While under strict surveillance by the Emperor's political police and unable to publish, Pushkin wrote his most famous play, Boris Godunov. His novel in verse Eugene Onegin was serialized between 1825 and 1832. Pushkin was fatally wounded in a duel with his wife's alleged lover and her sister's husband, Georges-Charles de Heeckeren d'Anthès, also known as Dantes-Gekkern, a French officer serving with the Chevalier Guard Regiment.

 

Ancestry

Pushkin's father, Sergei Lvovich Pushkin (1767–1848), was descended from a distinguished family of the Russian nobility that traced its ancestry back to the 12th century.[10] Pushkin's mother, Nadezhda (Nadya) Ossipovna Gannibal (1775–1836), was descended through her paternal grandmother from German and Scandinavian nobility. She was the daughter of Ossip Abramovich Gannibal (1744–1807) and his wife, Maria Alekseyevna Pushkina (1745–1818).

 

Ossip Abramovich Gannibal's father, Pushkin's great-grandfather, was Abram Petrovich Gannibal (1696–1781), an Eritrean page kidnapped and taken to Constantinople as a gift for the Ottoman Sultan and later transferred to Russia as a gift for Peter the Great. Abram wrote in a letter to Empress Elizabeth, Peter the Great's daughter, that Gannibal was from the town of "Lagon". Largely on the basis of a mythical biography by Gannibal's son-in-law Rotkirkh, some historians concluded from this that Gannibal was born in a village called Geza-Lamza near Dubarwa in the Seraye province of Mdre Bahri kingdom in today's Eritrea.

 

Vladimir Nabokov, when researching Eugene Onegin, cast serious doubt on this origin theory. Later research by the scholars Dieudonné Gnammankou and Hugh Barnes eventually conclusively established that Gannibal was instead born in Central Africa, in an area bordering Lake Chad in modern-day Cameroon. After education in France as a military engineer, Gannibal became governor of Reval and eventually Général en Chief (the third most senior army rank) in charge of the building of sea forts and canals in Russia.

 

Early life

Born in Moscow, Pushkin was entrusted to nursemaids and French tutors, and spoke mostly French until the age of ten. He became acquainted with the Russian language through communication with household serfs and his nanny, Arina Rodionovna, whom he loved dearly and to whom he was more attached than to his own mother.

 

He published his first poem at the age of 15. When he finished school, as part of the first graduating class of the prestigious Imperial Lyceum in Tsarskoye Selo, near Saint Petersburg, his talent was already widely recognized on the Russian literary scene. At the Lyceum, he was a student of David Mara, known in Russia as David de Boudry, a younger brother of French revolutionary Jean-Paul Marat. After school, Pushkin plunged into the vibrant and raucous intellectual youth culture of St. Petersburg, which was then the capital of the Russian Empire. In 1820, he published his first long poem, Ruslan and Ludmila, with much controversy about its subject and style.

 

Social activism

While at the Lyceum, Pushkin was heavily influenced by the Kantian liberal individualist teachings of Alexander Kunitsyn, whom Pushkin would later commemorate in his poem 19 October. Pushkin also immersed himself in the thought of the French Enlightenment, to which he would remain permanently indebted throughout his life, especially Voltaire, whom he described as "the first to follow the new road, and to bring the lamp of philosophy into the dark archives of history".

 

Pushkin gradually became committed to social reform, and emerged as a spokesman for literary radicals. That angered the government and led to his transfer from the capital in May 1820. He went to the Caucasus and to Crimea and then to Kamianka and Chișinău in Bessarabia, where he became a Freemason.

 

He joined the Filiki Eteria, a secret organization whose purpose was to overthrow Ottoman rule in Greece and establish an independent Greek state. He was inspired by the Greek Revolution and when the war against the Ottoman Empire broke out, he kept a diary recording the events of the national uprising.

 

Rise

He stayed in Chișinău until 1823 and wrote two Romantic poems which brought him acclaim: The Captive of the Caucasus and The Fountain of Bakhchisaray. In 1823, Pushkin moved to Odessa, where he again clashed with the government, which sent him into exile on his mother's rural estate of Mikhailovskoye, near Pskov, from 1824 to 1826.

 

In Mikhaylovskoye, Pushkin wrote nostalgic love poems which he dedicated to Elizaveta Vorontsova, wife of Malorossia's General-Governor. Then Pushkin worked on his verse-novel Eugene Onegin.

 

In Mikhaylovskoye, in 1825, Pushkin wrote the poem To***. It is generally believed that he dedicated this poem to Anna Kern, but there are other opinions. Poet Mikhail Dudin believed that the poem was dedicated to the serf Olga Kalashnikova. Pushkinist Kira Victorova believed that the poem was dedicated to the Empress Elizaveta Alekseyevna. Vadim Nikolayev argued that the idea about the Empress was marginal and refused to discuss it, while trying to prove that poem had been dedicated to Tatyana Larina, the heroine of Eugene Onegin.

 

Authorities summoned Pushkin to Moscow after his poem Ode to Liberty was found among the belongings of the rebels from the Decembrist Uprising (1825). After his exile in 1820 Pushkin's friends and family continually petitioned for his release, sending letters and meeting Emperor Alexander I and then Emperor Nicholas I on the heels of the Decembrist Uprising. Upon meeting Emperor Nicholas I Pushkin obtained his release from exile and began to work as the emperor's Titular Counsel of the National Archives. However, because insurgents in the Decembrist Uprising (1825) in Saint Petersburg had kept some of Pushkin's earlier political poems, the emperor retained strict control of everything Pushkin published and he was banned from travelling at will.

 

During that same year (1825) Pushkin also wrote what would become his most famous play, the drama Boris Godunov, while at his mother's estate. He could not, however, gain permission to publish it until five years later. The original and uncensored version of the drama was not staged until 2007.

 

Around 1825–1829 he met and befriended the Polish poet Adam Mickiewicz, during exile in central Russia. In 1829 he travelled through the Caucasus to Erzurum to visit friends fighting in the Russian army during the Russo-Turkish War. At the end of 1829 Pushkin wanted to set off on a journey abroad, the desire reflected in his poem Let's go, I'm ready. He applied for permission for the journey but received negative response from Nicholas I on 17 January 1830.

 

Around 1828 Pushkin met Natalia Goncharova, then 16 years old and one of the most talked-about beauties of Moscow. After much hesitation Natalia accepted a proposal of marriage from Pushkin in April 1830, but not before she received assurances that the Tsarist government had no intention of persecuting the libertarian poet. Later Pushkin and his wife became regulars of court society. They officially became engaged on 6 May 1830 and sent out wedding invitations. Owing to an outbreak of cholera and other circumstances, the wedding was delayed for a year. The ceremony took place on 18 February 1831 (Old Style) in the Great Ascension Church on Bolshaya Nikitskaya Street in Moscow.

 

When the Emperor gave Pushkin the lowest court title, Gentleman of the Chamber, the poet became enraged, feeling that the Emperor intended to humiliate him by implying that he was being admitted to court not on his own merits but solely so that his wife, who had many admirers including the Emperor himself, could properly attend court balls.[citation needed] Pushkin's marriage to Goncharova was largely a happy one, but his wife’s characteristic flirtatiousness and frivolity would lead to his fatal duel seven years later, for Pushkin had a highly jealous temperament.

 

In 1831, during the period of Pushkin's growing literary influence, he met one of Russia's other great early writers, Nikolai Gogol. After reading Gogol's 1831–1832 volume of short stories Evenings on a Farm Near Dikanka, Pushkin supported him and would feature some of Gogol's most famous short stories in the magazine The Contemporary, which he founded in 1836.

 

Death

By the autumn of 1836, Pushkin was falling into greater and greater debt and faced scandalous rumours that his wife was having a love affair. On 4 November, he sent a challenge to a duel to Georges d'Anthès, also known as Dantes-Gekkern. Jacob van Heeckeren, d'Anthès' adoptive father, asked that the duel be delayed by two weeks. With efforts by the poet's friends, the duel was cancelled.

 

On 17 November, d'Anthès proposed to Natalia Goncharova's sister, Ekaterina. The marriage did not resolve the conflict. D'Anthès continued to pursue Natalia Goncharova in public and rumours that d'Anthès had married Natalia's sister just to save her reputation circulated.

 

On 26 January (7 February in the Gregorian calendar) 1837 Pushkin sent a "highly insulting letter" to Gekkern. The only answer to that letter could be a challenge to a duel, as Pushkin knew. Pushkin received the formal challenge to a duel through his sister-in-law, Ekaterina Gekkerna, approved by d'Anthès, on the same day through the attaché of the French Embassy, Viscount d'Archiac.

 

Pushkin asked Arthur Magenis, then attaché to the British Consulate-General in Saint Petersburg, to be his second. Magenis did not formally accept but on 26 January (7 February) approached Viscount d'Archiac to attempt a reconciliation; however d'Archiac refused to speak with him as he was not yet officially Pushkin's second. Magenis, unable to find Pushkin in the evening, sent him a letter through a messenger at 2 o'clock in the morning, declining to be his second as the possibility of a peaceful settlement had already been quashed, and the traditional first task of the second was to try to bring about a reconciliation.

 

The pistol duel with d'Anthès took place on 27 January (8 February) at the Black River, without the presence of a second for Pushkin. The duel they fought was of a kind known as a barrier duel. The rules of this type dictated that the duellists began at an agreed distance. After the signal to begin they walked towards each other, closing the distance. They could fire at any time they wished, but the duellist that shot first was required to stand still and wait for the other to shoot back at his leisure.

 

D'Anthès fired first, critically wounding Pushkin; the bullet entered at his hip and penetrated his abdomen. D'Anthès was only lightly wounded in the right arm by Pushkin's shot. Two days later, at 2.45 pm on 29 January (10 February), Pushkin died of peritonitis.

 

At Pushkin's wife's request he was put in the coffin in evening dress, not in chamber-cadet uniform, the uniform provided by the emperor. The funeral service was initially assigned to St Isaac's Cathedral but was moved to Konyushennaya church. Many people attended. After the funeral the coffin was lowered into the basement, where it stayed until 3 February, when it was removed to Pskov province. Pushkin was buried in the grounds of Svyatogorsky monastery in present-day Pushkinskiye Gory, near Pskov, beside his mother. His last home is now a museum.

 

Pushkin's ancestry

Descendants

Pushkin had four children from his marriage to Natalia: Maria (b. 1832), Alexander (b. 1833), Grigory (b. 1835) and Natalia (b. 1836), the last of whom married morganatically Prince Nikolaus Wilhelm of Nassau of the House of Nassau-Weilburg and was granted the title of Countess of Merenberg. Her daughter Sophie married Grand Duke Michael Mikhailovich of Russia, a grandson of Emperor Nicholas I.

 

Only the lines of Alexander and Natalia still remain. Natalia's granddaughter, Nadejda, married into the extended British royal family, her husband being the uncle of Prince Philip, Duke of Edinburgh, and is the grandmother of the present Marquess of Milford Haven. Descendants of the poet now live around the globe in the United Kingdom, Czechia, Germany, Belgium, Luxembourg and the United States.

 

Legacy

On 6 June 2009, Google celebrated Alexander Pushkin's Birthday with a doodle.

 

Literary

Critics consider many of his works masterpieces, such as the poem The Bronze Horseman and the drama The Stone Guest, a tale of the fall of Don Juan. His poetic short drama Mozart and Salieri (like The Stone Guest, one of the so-called four Little Tragedies, a collective characterization by Pushkin himself in 1830 letter to Pyotr Pletnyov) was the inspiration for Peter Shaffer's Amadeus as well as providing the libretto (almost verbatim) to Rimsky-Korsakov's opera Mozart and Salieri.

 

Pushkin is also known for his short stories. In particular his cycle The Tales of the Late Ivan Petrovich Belkin, including The Shot, were well received. According to the literary theorist Kornelije Kvas,

 

"the narrative logic and the plausibility of that which is narrated, together with the precision, conciseness – economy of the presentation of reality – all of the above is achieved in Tales of Belkin, especially, and most of all in the story The Stationmaster. Pushkin is the progenitor of the long and fruitful development of Russian realist literature, for he manages to attain the realist ideal of a concise presentation of reality".

 

Pushkin himself preferred his verse novel Eugene Onegin, which he wrote over the course of his life and which, starting a tradition of great Russian novels, follows a few central characters but varies widely in tone and focus.

 

Onegin is a work of such complexity that, though it is only about a hundred pages long, translator Vladimir Nabokov needed two full volumes of material to fully render its meaning into English. Because of this difficulty in translation, Pushkin's verse remains largely unknown to English readers. Even so Pushkin has profoundly influenced western writers such as Henry James. Pushkin wrote The Queen of Spades, a short story frequently anthologized in English translation.

 

Musical

Pushkin's works also provided fertile ground for Russian composers. Glinka's Ruslan and Lyudmila is the earliest important Pushkin-inspired opera, and a landmark in the tradition of Russian music. Tchaikovsky's operas Eugene Onegin (1879) and The Queen of Spades (Pikovaya Dama, 1890) became perhaps better known outside of Russia than Pushkin's own works of the same name.

 

Mussorgsky's monumental Boris Godunov (two versions, 1868–9 and 1871–2) ranks as one of the very finest and most original of Russian operas. Other Russian operas based on Pushkin include Dargomyzhsky's Rusalka and The Stone Guest; Rimsky-Korsakov's Mozart and Salieri, Tale of Tsar Saltan, and The Golden Cockerel; Cui's Prisoner of the Caucasus, Feast in Time of Plague, and The Captain's Daughter; Tchaikovsky's Mazeppa; Rachmaninoff's one-act operas Aleko (based on The Gypsies) and The Miserly Knight; Stravinsky's Mavra, and Nápravník's Dubrovsky.

 

Additionally, ballets and cantatas, as well as innumerable songs, have been set to Pushkin's verse (including even his French-language poems, in Isabelle Aboulker's song cycle "Caprice étrange"). Suppé, Leoncavallo and Malipiero have also based operas on his works. Composers Yudif Grigorevna Rozhavskaya, Galina Konstantinovna Smirnova, Yevgania Yosifovna Yakhina, Maria Semyonovna Zavalishina, Zinaida Petrovna Ziberova composed folk songs using Pushkin's text.

 

The Desire of Glory, which has been dedicated to Elizaveta Vorontsova, was set to music by David Tukhmanov (Vitold Petrovsky – The Desire of Glory on YouTube), as well as Keep Me, Mine Talisman – by Alexander Barykin (Alexander Barykin – Keep Me, Mine Talisman on YouTube) and later by Tukhmanov.

 

Romanticism

Pushkin is considered by many to be the central representative of Romanticism in Russian literature although he was not unequivocally known as a Romantic. Russian critics have traditionally argued that his works represent a path from Neoclassicism through Romanticism to Realism. An alternative assessment suggests that "he had an ability to entertain contrarities which may seem Romantic in origin, but are ultimately subversive of all fixed points of view, all single outlooks, including the Romantic" and that "he is simultaneously Romantic and not Romantic".

 

Russian literature

Pushkin is usually credited with developing Russian literature. He is seen as having originated the highly nuanced level of language which characterizes Russian literature after him, and he is also credited with substantially augmenting the Russian lexicon. Whenever he found gaps in the Russian vocabulary, he devised calques. His rich vocabulary and highly-sensitive style are the foundation for modern Russian literature. His accomplishments set new records for development of the Russian language and culture. He became the father of Russian literature in the 19th century, marking the highest achievements of the 18th century and the beginning of literary process of the 19th century. He introduced Russia to all the European literary genres as well as a great number of West European writers. He brought natural speech and foreign influences to create modern poetic Russian. Though his life was brief, he left examples of nearly every literary genre of his day: lyric poetry, narrative poetry, the novel, the short story, the drama, the critical essay and even the personal letter.

 

According to Vladimir Nabokov,

 

Pushkin's idiom combined all the contemporaneous elements of Russian with all he had learned from Derzhavin, Zhukovsky, Batyushkov, Karamzin and Krylov:

 

The poetical and metaphysical strain that still lived in Church Slavonic forms and locutions

Abundant and natural gallicisms

Everyday colloquialisms of his set

Stylized popular speech by combining the famous three styles (low, medium elevation, high) dear to the pseudoclassical archaists and adding the ingredients of Russian romanticists with a pinch of parody.

His work as a critic and as a journalist marked the birth of Russian magazine culture which included him devising and contributing heavily to one of the most influential literary magazines of the 19th century, the Sovremennik (The Contemporary, or Современник). Pushkin inspired the folk tales and genre pieces of other authors: Leskov, Yesenin and Gorky. His use of Russian formed the basis of the style of novelists Ivan Turgenev, Ivan Goncharov and Leo Tolstoy, as well as that of subsequent lyric poets such as Mikhail Lermontov. Pushkin was analysed by Nikolai Gogol, his successor and pupil, and the great Russian critic Vissarion Belinsky, who produced the fullest and deepest critical study of Pushkin's work, which still retains much of its relevance.

 

Soviet centennial celebrations

The centennial year of Pushkin's death, 1937, was one of the most significant Soviet-era literary centennials in Stalinist Russia, rivaled only by the 1928 centennial commemorating Leo Tolstoy's birth. Despite the public display of visage on ever present billboards and candy wrappers, Pushkin's "image" conflicted with that of the ideal Soviet (he was reputed as a libertine with unrepentant aristocratic tendencies) and was subject to a repressive revisionism, similar to the Stalinist state's clean up of Tolstoy's Christian anarchism.

 

Honours

Shortly after Pushkin's death, contemporary Russian romantic poet Mikhail Lermontov wrote "Death of the Poet". The poem, which ended with a passage blaming the aristocracy being (as oppressors of freedom) the true culprits in Pushkin's death, was not published (nor could have been) but was informally circulated in St. Petersburg. Lermontov was arrested and exiled to a regiment in the Caucasus.

Montenegrin poet and ruler Petar II Petrović-Njegoš included in his 1846 poetry collection Ogledalo srpsko (The Serbian Mirror) a poetic ode to Pushkin, titled Sjeni Aleksandra Puškina.

In 1929, Soviet writer, Leonid Grossman, published a novel, The d'Archiac Papers, telling the story of Pushkin's death from the perspective of a French diplomat, being a participant and a witness of the fatal duel. The book describes him as a liberal and a victim of the Tsarist regime. In Poland the book was published under the title Death of the Poet.

In 1937, the town of Tsarskoye Selo was renamed Pushkin in his honour.

There are several museums in Russia dedicated to Pushkin, including two in Moscow, one in Saint Petersburg, and a large complex in Mikhaylovskoye.

Pushkin's death was portrayed in the 2006 biographical film Pushkin: The Last Duel. The film was directed by Natalya Bondarchuk. Pushkin was portrayed on screen by Sergei Bezrukov.

His life was dramatised in the 1951 Australian radio play The Golden Cockerel

In 2000, the Statue of Alexander Pushkin (Washington, D.C.) was erected as part of a cultural exchange between the cities of Moscow and Washington. In return, a statue of the American poet Walt Whitman was erected in Moscow.

The Pushkin Trust was established in 1987 by the Duchess of Abercorn to commemorate the creative legacy and spirit of her ancestor and to release the creativity and imagination of the children of Ireland by providing them with opportunities to communicate their thoughts, feelings and experiences.

A minor planet, 2208 Pushkin, discovered in 1977 by Soviet astronomer Nikolai Chernykh, is named after him. A crater on Mercury is also named in his honour.

 

1999 Russian 1 rouble coin commemorating the 200th anniversary of Pushkin's birth

MS Aleksandr Pushkin, second ship of the Russian Ivan Franko class (also referred to as "poet" or "writer" class).

A station of Tashkent metro was named in his honour.

The Pushkin Hills and Pushkin Lake were named in his honour in Ben Nevis Township, Cochrane District, in Ontario, Canada.

UN Russian Language Day, established by the United Nations in 2010 and celebrated each year on 6 June, was scheduled to coincide with Pushkin's birthday.

A statue of Pushkin was unveiled inside the Mehan Garden in Manila, Philippines to commemorate the Philippines–Russia relations in 2010.

The Alexander Pushkin diamond, the second largest found in Russia and the former territory of the USSR, was named after him.

On 28 November 2009, a Pushkin Monument was erected in Asmara, capital of Eritrea.

In 2005 a monument to Pushkin and his grandmother Maria Hannibal was commissioned by an enthusiast of Russian culture Just Rugel in Zakharovo, Russia. Sculptor V. Kozinin

In 2019, Moscow's Sheremetyevo International Airport was named after Pushkin in accordance to the Great Names of Russia contest.

Following the 2022 Russian invasion of Ukraine monuments dedicated to Pushkin in Ukraine were demolished and Pushkin streets were renamed.

In December 2022, a monument to the poet Alexander Sergeevich Pushkin was unveiled on the territory of Gymnasium No. 1 in Sevastopol. The bust of the poet was created by the sculptor Denis Stritovich.[citation needed]

Gallery

 

Narrative poems

1820 – Ruslan i Ludmila (Руслан и Людмила); English translation: Ruslan and Ludmila

1820–21 – Kavkazskiy plennik (Кавказский пленник); English translation: The Prisoner of the Caucasus

1821 – Gavriiliada (Гавриилиада); English translation: The Gabrieliad

1821–22 – Bratia razboyniki (Братья разбойники); English translation: The Robber Brothers

1823 – Bakhchisarayskiy fontan (Бахчисарайский фонтан); English translation: The Fountain of Bakhchisaray

1824 – Tsygany (Цыганы); English translation: The Gypsies

1825 – Graf Nulin (Граф Нулин); English translation: Count Nulin

1829 – Poltava (Полтава)

1830 – Domik v Kolomne (Домик в Коломне); English translation: The Little House in Kolomna

1833 – Andzhelo (Анджело); English translation: Angelo

1833 – Medny vsadnik (Медный всадник); English translation: The Bronze Horseman

1825–1832 (1833) – Evgeniy Onegin (Евгений Онегин); English translation: Eugene Onegin

Drama

1825 – Boris Godunov (Борис Годунов); English translation by Alfred Hayes: Boris Godunov

1830 – Malenkie tragedii (Маленькие трагедии); English translation: Little Tragedies [ru]

Kamenny gost (Каменный гость); English translation: The Stone Guest

Motsart i Salieri (Моцарт и Сальери); English translation: Mozart and Salieri

Skupoy rytsar (Скупой рыцарь); English translations: The Miserly Knight, or The Covetous Knight

Pir vo vremya chumy (Пир во время чумы); English translation: A Feast in Time of Plague

Prose

Short stories

1831 – Povesti pokoynogo Ivana Petrovicha Belkina (Повести покойного Ивана Петровича Белкина); English translation: The Tales of the Late Ivan Petrovich Belkin

Vystrel (Выстрел); English translation: The Shot, short story

Metel (Метель); English translation: The Blizzard, short story

Grobovschik (Гробовщик); English translation: The Undertaker, short story

Stantsionny smotritel (Станционный смотритель); English translation: The Stationmaster, short story

Baryshnya-krestianka (Барышня-крестьянка); English translation: The Squire's Daughter, short story

1834 – Pikovaya dama (Пиковая дама); English translation: The Queen of Spades, short story

1834 – Kirjali (Кирджали); English translation: Kirdzhali, short story

1837 – Istoria sela Goryuhina (История села Горюхина); English translation: The Story of the Village of Goryukhino, unfinished short story

1837 – Egypetskie nochi (Египетские ночи); English translation: The Egyptian Nights

Novels

1828 – Arap Petra Velikogo (Арап Петра Великого); English translation: The Moor of Peter the Great, unfinished novel

1829 – Roman v pis'makh (Роман в письмах); English translation: A Novel in Letters, unfinished novel

1836 – Kapitanskaya dochka (Капитанская дочка); English translation: The Captain's Daughter, novel

1836 – Roslavlyov (Рославлев); English translation: Roslavlev, unfinished novel

1841 – Dubrovsky (Дубровский); English translation: Dubrovsky, unfinished novel[citation needed]

Non-fiction

1834 – Istoria Pugachyova (История Пугачева); English translation: A History of Pugachev, study of the Pugachev's Rebellion

1836 – Puteshestvie v Arzrum (Путешествие в Арзрум); English translation: A Journey to Arzrum, travel sketches

Fairy tales in verse

1822 – Царь Никита и сорок его дочерей; English translation: Tsar Nikita and His Forty Daughters

1825 – Жених; English translation: The Bridegroom

1830 – Сказка о попе и о работнике его Балде; English translation: The Tale of the Priest and of His Workman Balda

1830 – Сказка о медведихе; English translation: The Tale of the Female Bear, or The Tale of the Bear (was not finished)

1831 – Сказка о царе Салтане; English translation: The Tale of Tsar Saltan

1833 – Сказка о рыбаке и рыбке; English translation: The Tale of the Fisherman and the Fish

1833 – Сказка о мертвой царевне; English translation: The Tale of the Dead Princess

1834 – Сказка о золотом петушке; English translation: The Tale of the Golden Cockerel

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Alexander Sergeyevich Pushkin was a Russian poet, playwright, and novelist of the Romantic era. He is considered by many to be the greatest Russian poet, as well as the founder of modern Russian literature.

 

Pushkin was born into the Russian nobility in Moscow. His father, Sergey Lvovich Pushkin, belonged to an old noble family. His maternal great-grandfather was Major-General Abram Petrovich Gannibal, a nobleman of African origin who was kidnapped from his homeland by Ottomans, then freed by the Russian Emperor and raised in the Emperor's court household as his godson.

 

He published his first poem at the age of 15, and was widely recognized by the literary establishment by the time of his graduation from the Tsarskoye Selo Lyceum. Upon graduation from the Lycée, Pushkin recited his controversial poem "Ode to Liberty", one of several that led to his exile by Emperor Alexander I. While under strict surveillance by the Emperor's political police and unable to publish, Pushkin wrote his most famous play, Boris Godunov. His novel in verse Eugene Onegin was serialized between 1825 and 1832. Pushkin was fatally wounded in a duel with his wife's alleged lover and her sister's husband, Georges-Charles de Heeckeren d'Anthès, also known as Dantes-Gekkern, a French officer serving with the Chevalier Guard Regiment.

 

Ancestry

Pushkin's father, Sergei Lvovich Pushkin (1767–1848), was descended from a distinguished family of the Russian nobility that traced its ancestry back to the 12th century.[10] Pushkin's mother, Nadezhda (Nadya) Ossipovna Gannibal (1775–1836), was descended through her paternal grandmother from German and Scandinavian nobility. She was the daughter of Ossip Abramovich Gannibal (1744–1807) and his wife, Maria Alekseyevna Pushkina (1745–1818).

 

Ossip Abramovich Gannibal's father, Pushkin's great-grandfather, was Abram Petrovich Gannibal (1696–1781), an Eritrean page kidnapped and taken to Constantinople as a gift for the Ottoman Sultan and later transferred to Russia as a gift for Peter the Great. Abram wrote in a letter to Empress Elizabeth, Peter the Great's daughter, that Gannibal was from the town of "Lagon". Largely on the basis of a mythical biography by Gannibal's son-in-law Rotkirkh, some historians concluded from this that Gannibal was born in a village called Geza-Lamza near Dubarwa in the Seraye province of Mdre Bahri kingdom in today's Eritrea.

 

Vladimir Nabokov, when researching Eugene Onegin, cast serious doubt on this origin theory. Later research by the scholars Dieudonné Gnammankou and Hugh Barnes eventually conclusively established that Gannibal was instead born in Central Africa, in an area bordering Lake Chad in modern-day Cameroon. After education in France as a military engineer, Gannibal became governor of Reval and eventually Général en Chief (the third most senior army rank) in charge of the building of sea forts and canals in Russia.

 

Early life

Born in Moscow, Pushkin was entrusted to nursemaids and French tutors, and spoke mostly French until the age of ten. He became acquainted with the Russian language through communication with household serfs and his nanny, Arina Rodionovna, whom he loved dearly and to whom he was more attached than to his own mother.

 

He published his first poem at the age of 15. When he finished school, as part of the first graduating class of the prestigious Imperial Lyceum in Tsarskoye Selo, near Saint Petersburg, his talent was already widely recognized on the Russian literary scene. At the Lyceum, he was a student of David Mara, known in Russia as David de Boudry, a younger brother of French revolutionary Jean-Paul Marat. After school, Pushkin plunged into the vibrant and raucous intellectual youth culture of St. Petersburg, which was then the capital of the Russian Empire. In 1820, he published his first long poem, Ruslan and Ludmila, with much controversy about its subject and style.

 

Social activism

While at the Lyceum, Pushkin was heavily influenced by the Kantian liberal individualist teachings of Alexander Kunitsyn, whom Pushkin would later commemorate in his poem 19 October. Pushkin also immersed himself in the thought of the French Enlightenment, to which he would remain permanently indebted throughout his life, especially Voltaire, whom he described as "the first to follow the new road, and to bring the lamp of philosophy into the dark archives of history".

 

Pushkin gradually became committed to social reform, and emerged as a spokesman for literary radicals. That angered the government and led to his transfer from the capital in May 1820. He went to the Caucasus and to Crimea and then to Kamianka and Chișinău in Bessarabia, where he became a Freemason.

 

He joined the Filiki Eteria, a secret organization whose purpose was to overthrow Ottoman rule in Greece and establish an independent Greek state. He was inspired by the Greek Revolution and when the war against the Ottoman Empire broke out, he kept a diary recording the events of the national uprising.

 

Rise

He stayed in Chișinău until 1823 and wrote two Romantic poems which brought him acclaim: The Captive of the Caucasus and The Fountain of Bakhchisaray. In 1823, Pushkin moved to Odessa, where he again clashed with the government, which sent him into exile on his mother's rural estate of Mikhailovskoye, near Pskov, from 1824 to 1826.

 

In Mikhaylovskoye, Pushkin wrote nostalgic love poems which he dedicated to Elizaveta Vorontsova, wife of Malorossia's General-Governor. Then Pushkin worked on his verse-novel Eugene Onegin.

 

In Mikhaylovskoye, in 1825, Pushkin wrote the poem To***. It is generally believed that he dedicated this poem to Anna Kern, but there are other opinions. Poet Mikhail Dudin believed that the poem was dedicated to the serf Olga Kalashnikova. Pushkinist Kira Victorova believed that the poem was dedicated to the Empress Elizaveta Alekseyevna. Vadim Nikolayev argued that the idea about the Empress was marginal and refused to discuss it, while trying to prove that poem had been dedicated to Tatyana Larina, the heroine of Eugene Onegin.

 

Authorities summoned Pushkin to Moscow after his poem Ode to Liberty was found among the belongings of the rebels from the Decembrist Uprising (1825). After his exile in 1820 Pushkin's friends and family continually petitioned for his release, sending letters and meeting Emperor Alexander I and then Emperor Nicholas I on the heels of the Decembrist Uprising. Upon meeting Emperor Nicholas I Pushkin obtained his release from exile and began to work as the emperor's Titular Counsel of the National Archives. However, because insurgents in the Decembrist Uprising (1825) in Saint Petersburg had kept some of Pushkin's earlier political poems, the emperor retained strict control of everything Pushkin published and he was banned from travelling at will.

 

During that same year (1825) Pushkin also wrote what would become his most famous play, the drama Boris Godunov, while at his mother's estate. He could not, however, gain permission to publish it until five years later. The original and uncensored version of the drama was not staged until 2007.

 

Around 1825–1829 he met and befriended the Polish poet Adam Mickiewicz, during exile in central Russia. In 1829 he travelled through the Caucasus to Erzurum to visit friends fighting in the Russian army during the Russo-Turkish War. At the end of 1829 Pushkin wanted to set off on a journey abroad, the desire reflected in his poem Let's go, I'm ready. He applied for permission for the journey but received negative response from Nicholas I on 17 January 1830.

 

Around 1828 Pushkin met Natalia Goncharova, then 16 years old and one of the most talked-about beauties of Moscow. After much hesitation Natalia accepted a proposal of marriage from Pushkin in April 1830, but not before she received assurances that the Tsarist government had no intention of persecuting the libertarian poet. Later Pushkin and his wife became regulars of court society. They officially became engaged on 6 May 1830 and sent out wedding invitations. Owing to an outbreak of cholera and other circumstances, the wedding was delayed for a year. The ceremony took place on 18 February 1831 (Old Style) in the Great Ascension Church on Bolshaya Nikitskaya Street in Moscow.

 

When the Emperor gave Pushkin the lowest court title, Gentleman of the Chamber, the poet became enraged, feeling that the Emperor intended to humiliate him by implying that he was being admitted to court not on his own merits but solely so that his wife, who had many admirers including the Emperor himself, could properly attend court balls.[citation needed] Pushkin's marriage to Goncharova was largely a happy one, but his wife’s characteristic flirtatiousness and frivolity would lead to his fatal duel seven years later, for Pushkin had a highly jealous temperament.

 

In 1831, during the period of Pushkin's growing literary influence, he met one of Russia's other great early writers, Nikolai Gogol. After reading Gogol's 1831–1832 volume of short stories Evenings on a Farm Near Dikanka, Pushkin supported him and would feature some of Gogol's most famous short stories in the magazine The Contemporary, which he founded in 1836.

 

Death

By the autumn of 1836, Pushkin was falling into greater and greater debt and faced scandalous rumours that his wife was having a love affair. On 4 November, he sent a challenge to a duel to Georges d'Anthès, also known as Dantes-Gekkern. Jacob van Heeckeren, d'Anthès' adoptive father, asked that the duel be delayed by two weeks. With efforts by the poet's friends, the duel was cancelled.

 

On 17 November, d'Anthès proposed to Natalia Goncharova's sister, Ekaterina. The marriage did not resolve the conflict. D'Anthès continued to pursue Natalia Goncharova in public and rumours that d'Anthès had married Natalia's sister just to save her reputation circulated.

 

On 26 January (7 February in the Gregorian calendar) 1837 Pushkin sent a "highly insulting letter" to Gekkern. The only answer to that letter could be a challenge to a duel, as Pushkin knew. Pushkin received the formal challenge to a duel through his sister-in-law, Ekaterina Gekkerna, approved by d'Anthès, on the same day through the attaché of the French Embassy, Viscount d'Archiac.

 

Pushkin asked Arthur Magenis, then attaché to the British Consulate-General in Saint Petersburg, to be his second. Magenis did not formally accept but on 26 January (7 February) approached Viscount d'Archiac to attempt a reconciliation; however d'Archiac refused to speak with him as he was not yet officially Pushkin's second. Magenis, unable to find Pushkin in the evening, sent him a letter through a messenger at 2 o'clock in the morning, declining to be his second as the possibility of a peaceful settlement had already been quashed, and the traditional first task of the second was to try to bring about a reconciliation.

 

The pistol duel with d'Anthès took place on 27 January (8 February) at the Black River, without the presence of a second for Pushkin. The duel they fought was of a kind known as a barrier duel. The rules of this type dictated that the duellists began at an agreed distance. After the signal to begin they walked towards each other, closing the distance. They could fire at any time they wished, but the duellist that shot first was required to stand still and wait for the other to shoot back at his leisure.

 

D'Anthès fired first, critically wounding Pushkin; the bullet entered at his hip and penetrated his abdomen. D'Anthès was only lightly wounded in the right arm by Pushkin's shot. Two days later, at 2.45 pm on 29 January (10 February), Pushkin died of peritonitis.

 

At Pushkin's wife's request he was put in the coffin in evening dress, not in chamber-cadet uniform, the uniform provided by the emperor. The funeral service was initially assigned to St Isaac's Cathedral but was moved to Konyushennaya church. Many people attended. After the funeral the coffin was lowered into the basement, where it stayed until 3 February, when it was removed to Pskov province. Pushkin was buried in the grounds of Svyatogorsky monastery in present-day Pushkinskiye Gory, near Pskov, beside his mother. His last home is now a museum.

 

Pushkin's ancestry

Descendants

Pushkin had four children from his marriage to Natalia: Maria (b. 1832), Alexander (b. 1833), Grigory (b. 1835) and Natalia (b. 1836), the last of whom married morganatically Prince Nikolaus Wilhelm of Nassau of the House of Nassau-Weilburg and was granted the title of Countess of Merenberg. Her daughter Sophie married Grand Duke Michael Mikhailovich of Russia, a grandson of Emperor Nicholas I.

 

Only the lines of Alexander and Natalia still remain. Natalia's granddaughter, Nadejda, married into the extended British royal family, her husband being the uncle of Prince Philip, Duke of Edinburgh, and is the grandmother of the present Marquess of Milford Haven. Descendants of the poet now live around the globe in the United Kingdom, Czechia, Germany, Belgium, Luxembourg and the United States.

 

Legacy

On 6 June 2009, Google celebrated Alexander Pushkin's Birthday with a doodle.

 

Literary

Critics consider many of his works masterpieces, such as the poem The Bronze Horseman and the drama The Stone Guest, a tale of the fall of Don Juan. His poetic short drama Mozart and Salieri (like The Stone Guest, one of the so-called four Little Tragedies, a collective characterization by Pushkin himself in 1830 letter to Pyotr Pletnyov) was the inspiration for Peter Shaffer's Amadeus as well as providing the libretto (almost verbatim) to Rimsky-Korsakov's opera Mozart and Salieri.

 

Pushkin is also known for his short stories. In particular his cycle The Tales of the Late Ivan Petrovich Belkin, including The Shot, were well received. According to the literary theorist Kornelije Kvas,

 

"the narrative logic and the plausibility of that which is narrated, together with the precision, conciseness – economy of the presentation of reality – all of the above is achieved in Tales of Belkin, especially, and most of all in the story The Stationmaster. Pushkin is the progenitor of the long and fruitful development of Russian realist literature, for he manages to attain the realist ideal of a concise presentation of reality".

 

Pushkin himself preferred his verse novel Eugene Onegin, which he wrote over the course of his life and which, starting a tradition of great Russian novels, follows a few central characters but varies widely in tone and focus.

 

Onegin is a work of such complexity that, though it is only about a hundred pages long, translator Vladimir Nabokov needed two full volumes of material to fully render its meaning into English. Because of this difficulty in translation, Pushkin's verse remains largely unknown to English readers. Even so Pushkin has profoundly influenced western writers such as Henry James. Pushkin wrote The Queen of Spades, a short story frequently anthologized in English translation.

 

Musical

Pushkin's works also provided fertile ground for Russian composers. Glinka's Ruslan and Lyudmila is the earliest important Pushkin-inspired opera, and a landmark in the tradition of Russian music. Tchaikovsky's operas Eugene Onegin (1879) and The Queen of Spades (Pikovaya Dama, 1890) became perhaps better known outside of Russia than Pushkin's own works of the same name.

 

Mussorgsky's monumental Boris Godunov (two versions, 1868–9 and 1871–2) ranks as one of the very finest and most original of Russian operas. Other Russian operas based on Pushkin include Dargomyzhsky's Rusalka and The Stone Guest; Rimsky-Korsakov's Mozart and Salieri, Tale of Tsar Saltan, and The Golden Cockerel; Cui's Prisoner of the Caucasus, Feast in Time of Plague, and The Captain's Daughter; Tchaikovsky's Mazeppa; Rachmaninoff's one-act operas Aleko (based on The Gypsies) and The Miserly Knight; Stravinsky's Mavra, and Nápravník's Dubrovsky.

 

Additionally, ballets and cantatas, as well as innumerable songs, have been set to Pushkin's verse (including even his French-language poems, in Isabelle Aboulker's song cycle "Caprice étrange"). Suppé, Leoncavallo and Malipiero have also based operas on his works. Composers Yudif Grigorevna Rozhavskaya, Galina Konstantinovna Smirnova, Yevgania Yosifovna Yakhina, Maria Semyonovna Zavalishina, Zinaida Petrovna Ziberova composed folk songs using Pushkin's text.

 

The Desire of Glory, which has been dedicated to Elizaveta Vorontsova, was set to music by David Tukhmanov (Vitold Petrovsky – The Desire of Glory on YouTube), as well as Keep Me, Mine Talisman – by Alexander Barykin (Alexander Barykin – Keep Me, Mine Talisman on YouTube) and later by Tukhmanov.

 

Romanticism

Pushkin is considered by many to be the central representative of Romanticism in Russian literature although he was not unequivocally known as a Romantic. Russian critics have traditionally argued that his works represent a path from Neoclassicism through Romanticism to Realism. An alternative assessment suggests that "he had an ability to entertain contrarities which may seem Romantic in origin, but are ultimately subversive of all fixed points of view, all single outlooks, including the Romantic" and that "he is simultaneously Romantic and not Romantic".

 

Russian literature

Pushkin is usually credited with developing Russian literature. He is seen as having originated the highly nuanced level of language which characterizes Russian literature after him, and he is also credited with substantially augmenting the Russian lexicon. Whenever he found gaps in the Russian vocabulary, he devised calques. His rich vocabulary and highly-sensitive style are the foundation for modern Russian literature. His accomplishments set new records for development of the Russian language and culture. He became the father of Russian literature in the 19th century, marking the highest achievements of the 18th century and the beginning of literary process of the 19th century. He introduced Russia to all the European literary genres as well as a great number of West European writers. He brought natural speech and foreign influences to create modern poetic Russian. Though his life was brief, he left examples of nearly every literary genre of his day: lyric poetry, narrative poetry, the novel, the short story, the drama, the critical essay and even the personal letter.

 

According to Vladimir Nabokov,

 

Pushkin's idiom combined all the contemporaneous elements of Russian with all he had learned from Derzhavin, Zhukovsky, Batyushkov, Karamzin and Krylov:

 

The poetical and metaphysical strain that still lived in Church Slavonic forms and locutions

Abundant and natural gallicisms

Everyday colloquialisms of his set

Stylized popular speech by combining the famous three styles (low, medium elevation, high) dear to the pseudoclassical archaists and adding the ingredients of Russian romanticists with a pinch of parody.

His work as a critic and as a journalist marked the birth of Russian magazine culture which included him devising and contributing heavily to one of the most influential literary magazines of the 19th century, the Sovremennik (The Contemporary, or Современник). Pushkin inspired the folk tales and genre pieces of other authors: Leskov, Yesenin and Gorky. His use of Russian formed the basis of the style of novelists Ivan Turgenev, Ivan Goncharov and Leo Tolstoy, as well as that of subsequent lyric poets such as Mikhail Lermontov. Pushkin was analysed by Nikolai Gogol, his successor and pupil, and the great Russian critic Vissarion Belinsky, who produced the fullest and deepest critical study of Pushkin's work, which still retains much of its relevance.

 

Soviet centennial celebrations

The centennial year of Pushkin's death, 1937, was one of the most significant Soviet-era literary centennials in Stalinist Russia, rivaled only by the 1928 centennial commemorating Leo Tolstoy's birth. Despite the public display of visage on ever present billboards and candy wrappers, Pushkin's "image" conflicted with that of the ideal Soviet (he was reputed as a libertine with unrepentant aristocratic tendencies) and was subject to a repressive revisionism, similar to the Stalinist state's clean up of Tolstoy's Christian anarchism.

 

Honours

Shortly after Pushkin's death, contemporary Russian romantic poet Mikhail Lermontov wrote "Death of the Poet". The poem, which ended with a passage blaming the aristocracy being (as oppressors of freedom) the true culprits in Pushkin's death, was not published (nor could have been) but was informally circulated in St. Petersburg. Lermontov was arrested and exiled to a regiment in the Caucasus.

Montenegrin poet and ruler Petar II Petrović-Njegoš included in his 1846 poetry collection Ogledalo srpsko (The Serbian Mirror) a poetic ode to Pushkin, titled Sjeni Aleksandra Puškina.

In 1929, Soviet writer, Leonid Grossman, published a novel, The d'Archiac Papers, telling the story of Pushkin's death from the perspective of a French diplomat, being a participant and a witness of the fatal duel. The book describes him as a liberal and a victim of the Tsarist regime. In Poland the book was published under the title Death of the Poet.

In 1937, the town of Tsarskoye Selo was renamed Pushkin in his honour.

There are several museums in Russia dedicated to Pushkin, including two in Moscow, one in Saint Petersburg, and a large complex in Mikhaylovskoye.

Pushkin's death was portrayed in the 2006 biographical film Pushkin: The Last Duel. The film was directed by Natalya Bondarchuk. Pushkin was portrayed on screen by Sergei Bezrukov.

His life was dramatised in the 1951 Australian radio play The Golden Cockerel

In 2000, the Statue of Alexander Pushkin (Washington, D.C.) was erected as part of a cultural exchange between the cities of Moscow and Washington. In return, a statue of the American poet Walt Whitman was erected in Moscow.

The Pushkin Trust was established in 1987 by the Duchess of Abercorn to commemorate the creative legacy and spirit of her ancestor and to release the creativity and imagination of the children of Ireland by providing them with opportunities to communicate their thoughts, feelings and experiences.

A minor planet, 2208 Pushkin, discovered in 1977 by Soviet astronomer Nikolai Chernykh, is named after him. A crater on Mercury is also named in his honour.

 

1999 Russian 1 rouble coin commemorating the 200th anniversary of Pushkin's birth

MS Aleksandr Pushkin, second ship of the Russian Ivan Franko class (also referred to as "poet" or "writer" class).

A station of Tashkent metro was named in his honour.

The Pushkin Hills and Pushkin Lake were named in his honour in Ben Nevis Township, Cochrane District, in Ontario, Canada.

UN Russian Language Day, established by the United Nations in 2010 and celebrated each year on 6 June, was scheduled to coincide with Pushkin's birthday.

A statue of Pushkin was unveiled inside the Mehan Garden in Manila, Philippines to commemorate the Philippines–Russia relations in 2010.

The Alexander Pushkin diamond, the second largest found in Russia and the former territory of the USSR, was named after him.

On 28 November 2009, a Pushkin Monument was erected in Asmara, capital of Eritrea.

In 2005 a monument to Pushkin and his grandmother Maria Hannibal was commissioned by an enthusiast of Russian culture Just Rugel in Zakharovo, Russia. Sculptor V. Kozinin

In 2019, Moscow's Sheremetyevo International Airport was named after Pushkin in accordance to the Great Names of Russia contest.

Following the 2022 Russian invasion of Ukraine monuments dedicated to Pushkin in Ukraine were demolished and Pushkin streets were renamed.

In December 2022, a monument to the poet Alexander Sergeevich Pushkin was unveiled on the territory of Gymnasium No. 1 in Sevastopol. The bust of the poet was created by the sculptor Denis Stritovich.[citation needed]

Gallery

 

Narrative poems

1820 – Ruslan i Ludmila (Руслан и Людмила); English translation: Ruslan and Ludmila

1820–21 – Kavkazskiy plennik (Кавказский пленник); English translation: The Prisoner of the Caucasus

1821 – Gavriiliada (Гавриилиада); English translation: The Gabrieliad

1821–22 – Bratia razboyniki (Братья разбойники); English translation: The Robber Brothers

1823 – Bakhchisarayskiy fontan (Бахчисарайский фонтан); English translation: The Fountain of Bakhchisaray

1824 – Tsygany (Цыганы); English translation: The Gypsies

1825 – Graf Nulin (Граф Нулин); English translation: Count Nulin

1829 – Poltava (Полтава)

1830 – Domik v Kolomne (Домик в Коломне); English translation: The Little House in Kolomna

1833 – Andzhelo (Анджело); English translation: Angelo

1833 – Medny vsadnik (Медный всадник); English translation: The Bronze Horseman

1825–1832 (1833) – Evgeniy Onegin (Евгений Онегин); English translation: Eugene Onegin

Drama

1825 – Boris Godunov (Борис Годунов); English translation by Alfred Hayes: Boris Godunov

1830 – Malenkie tragedii (Маленькие трагедии); English translation: Little Tragedies [ru]

Kamenny gost (Каменный гость); English translation: The Stone Guest

Motsart i Salieri (Моцарт и Сальери); English translation: Mozart and Salieri

Skupoy rytsar (Скупой рыцарь); English translations: The Miserly Knight, or The Covetous Knight

Pir vo vremya chumy (Пир во время чумы); English translation: A Feast in Time of Plague

Prose

Short stories

1831 – Povesti pokoynogo Ivana Petrovicha Belkina (Повести покойного Ивана Петровича Белкина); English translation: The Tales of the Late Ivan Petrovich Belkin

Vystrel (Выстрел); English translation: The Shot, short story

Metel (Метель); English translation: The Blizzard, short story

Grobovschik (Гробовщик); English translation: The Undertaker, short story

Stantsionny smotritel (Станционный смотритель); English translation: The Stationmaster, short story

Baryshnya-krestianka (Барышня-крестьянка); English translation: The Squire's Daughter, short story

1834 – Pikovaya dama (Пиковая дама); English translation: The Queen of Spades, short story

1834 – Kirjali (Кирджали); English translation: Kirdzhali, short story

1837 – Istoria sela Goryuhina (История села Горюхина); English translation: The Story of the Village of Goryukhino, unfinished short story

1837 – Egypetskie nochi (Египетские ночи); English translation: The Egyptian Nights

Novels

1828 – Arap Petra Velikogo (Арап Петра Великого); English translation: The Moor of Peter the Great, unfinished novel

1829 – Roman v pis'makh (Роман в письмах); English translation: A Novel in Letters, unfinished novel

1836 – Kapitanskaya dochka (Капитанская дочка); English translation: The Captain's Daughter, novel

1836 – Roslavlyov (Рославлев); English translation: Roslavlev, unfinished novel

1841 – Dubrovsky (Дубровский); English translation: Dubrovsky, unfinished novel[citation needed]

Non-fiction

1834 – Istoria Pugachyova (История Пугачева); English translation: A History of Pugachev, study of the Pugachev's Rebellion

1836 – Puteshestvie v Arzrum (Путешествие в Арзрум); English translation: A Journey to Arzrum, travel sketches

Fairy tales in verse

1822 – Царь Никита и сорок его дочерей; English translation: Tsar Nikita and His Forty Daughters

1825 – Жених; English translation: The Bridegroom

1830 – Сказка о попе и о работнике его Балде; English translation: The Tale of the Priest and of His Workman Balda

1830 – Сказка о медведихе; English translation: The Tale of the Female Bear, or The Tale of the Bear (was not finished)

1831 – Сказка о царе Салтане; English translation: The Tale of Tsar Saltan

1833 – Сказка о рыбаке и рыбке; English translation: The Tale of the Fisherman and the Fish

1833 – Сказка о мертвой царевне; English translation: The Tale of the Dead Princess

1834 – Сказка о золотом петушке; English translation: The Tale of the Golden Cockerel

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

I woke at six after a fairly good night's sleep. Had a shower, got dressed and went down for breakfast, hoping to meet more old colleagues.

 

There are at least three and a half thousand current and former RAF Armourers, so the chance of meeting more I knew during the day seemed high.

 

As it was, there was just one other person in the semi-dark restaurant. And although there was food, it was limp and barely warm. Still, it was included in the cost of the room, so I filled by boots with fruit, yogurt, sausage and bacon, and a croissant with one of the four cups of coffee I had.

 

We were due to meet at half twelve, meaning I had maybe three hours to fill.

 

With churches.

 

The Church Conservation Trust is a great organisation, and their churches, although redundant, are open ten to four daily.

 

There was one less than ten miles away, so it was there I drove first. Out of Burton, going against the heavy traffic which tailed back some two miles over the series of roundabouts and traffic lights.

 

Back into the country, and down another dead end lane to Streeton-en-le-Field.

 

A heavy dew lay on the ground, and parkland stretched back towards Burton. Trees stood still against the blue sky, again their foliage, though mostly green, was turning golden brown at the edges of their leaves.

 

I walk through the churchyard, into the porch and pushed the door. It opened though I was twenty minutes early, but that was because the door had been forced and the lock broken.

 

Sigh.

 

Though no damage had been done, at least to my eyes, it is a shame that people treat our historic buildings thus.

 

I take my shots of the building. It must have been quite ruinous at some point recently, as windows had been blocked up, and the chancel arch rebuilt too using the same simple stones.

 

Functional, but not pretty.

 

Once done, I went back to the car and programmed the National Memorial Arboretum, 12 miles away, and set off.

 

At least I was lead across country. Maybe, I thought, I might pass a church or two on the way.

 

The road wiggled through the countryside, but came in time to a leafy village called Lullington. The handsome church overlooked the village green, the phone box now a library of sorts.

 

I parked and went to try the church door. It was locked, but on the board there was a named keyholder, so I called and Mrs Cooper said I could have the key, she lived in the long white building opposite.

 

It was almost a mansion, and her handyman was tending her flower beds. I went to knock, but he asked me what I wanted, and when I explained he went inside to pick up the key and hand it to me.

 

The church, although handsome, held no great treasures, though is obviously loved, with knitted flowers woven into garlands over the lychgate arch and the arch of the porch. It was only when close could I see the flowers were knitted.

 

When I returned the key, the bloke asked what I did (with the photos).

 

I explained, and then told me in a broad Midlands accent two double barrelled named churches nearby that were good. I didn't catch their real name, but a third sounded easy enough: Haw Cross.

 

But it wasn't Haw Cross or Hawcross.

 

Nor was it Haugh Cross.

 

It was Hoar Cross.

 

I found that on the sat nav and set off back in the general direction of Burton. Which was perfect.

 

I was lead across the Wolds, along at one point a narrow lane that went straight as an arrow for five miles, over a series of blind summits, through woods until it came to a junction, just shy of Hoar Cross.

 

Into Hoar Cross, past the pub on the crossroads with the finest pre-warboys finger post I have ever seen, though I didn't stop for shots as I was in a hurry: it was five past eleven and I hadn't found the church.

 

I went north, east and west out of the village and saw no sign of a church or a church lane.

 

And then, on the hill overlooking the village, I saw a tower. Modern, well, 20th century perhaps, but a church, and just a hundred yards beyond where I had turned round.

 

Holy Angels sits beside what counts as the main road in those parts, what little traffic there is motors past. But beyond a Boston Ivy overed wall and brick lychgate, the church rises, impressive in the autumn sunshine.

 

Inside it is stunning. Grade I listed, beloved by Betjeman and the highest of high Anglican churches.

 

I only had a matter of minutes, but this is a seriously impressive church: full of light, he smell of incense lingering, stations of the cross on all outside walls, and as a whole church, is nearly as impressive as Cheadle.

 

Nearly.

 

I hated to leave, but I had twenty minutes before I was due to be at the Arboretum.

 

Down the main street, onto an A road, doubling back towards Burton, then picking up signs directing the way, over a main road and railway, across some marshes and there it was.

 

Packed.

 

The parking ticket I bought had said sternly not to arrive before your allotted time. Many knew better and ignored this, so the main car park was full, so had to use the overflow beside the landfill site, then walk back.

 

Inside the main building a table had been set up for those attending. I signed in, and received a program and small token. I looked around.

 

No one I knew.

 

Still.

 

I bought a drink, sat outside and dozens of people around me and more arriving had our trade tie on, or the waistcoat. Some in uniform too, still serving.

 

But no one I knew.

 

I ambled down to the site of the ceremony, more folks milling around. Still no one I knew.

 

I took shots and enjoyed the moment.

 

I spied one person I know, another Ian, so I went and we shook hands. He also knew few folks. We chatted and caught up on a decade and a half's news since we last met in Lincoln.

 

Mark arrived.

 

He was nervous, as he was the play The Last Post (Taps) prior to the two minute's silence, so he went off to practice quietly, if quiet is a thing you do to a bugle.

 

One more person I know, though many others knew dozens of other attendees.

 

A serving Sergeant saw my camera and asked if I would supply him with shots for BFBS, so I did my best. But there were so many people getting a clear view was impossible.

 

At one, half an hour late, the ceremony began, with a former CO of mine doing the introductions before an Air Commodore, ex-Armourer, read the dedication covering a history of the trade and how family-like our trade is:

 

"Ladies and gentlemen, distinguished guests, colleagues, and friends, It’s a real privilege to speak to you today about a group of professionals whose contribution to the Royal Air Force has been, AND REMAINS, vital and that is the Royal Air Force Armourer. Versatile, ingenious and relentlessly loyal, the Armourer is a strange creature! From the forward edge of the battle line disposing of bombs and munitions, to the comfortable warmth of the armoury and bay, through the enduring domination of the line hut amongst the lesser trades to the demands of the bomb dump, we are unique and ferociously proud bunch.

 

From the earliest days of the RAF in 1918, through two world wars, the Cold War, and across every conflict through to the 21st century, Armourers have stood at the sharp end of conflict —enabling decisive and battle winning Air Power and combat effect when called upon.

 

That history is marked around us today, in this most important and impressive National Memorial Arboretum. And it is against this backdrop that I felt it worth taking a moment to

reflect on our history, highlight our evolution, and celebrate the critical role armourers continues to play in the modern RAF.

 

The story of the RAF Armourer begins even before the Royal Air Force itself. In the First World War, the Royal Flying Corps and Royal Naval Air Service employed men trained to handle and maintain machine guns, bombs, and ammunition fitted to fragile biplanes.

 

When the RAF was founded in April 1918, as the world’s first independent air force, the need for dedicated tradesmen to manage weapons was clear. Early aircraft such as the Sopwith Camel carried Lewis or Vickers guns, with bombs literally dropped by hand in some cases. Armourers were the ones who kept those weapons firing, safe, and effective. More importantly it was the crafty and ingenious armourer who created new and novel ways to win the fight.

They weren’t just technicians; they were pioneers in a new form of warfare.

 

They had to innovate, often under fire, solving problems that had never been faced before in aviation history.

By the time of the Second World War, the role of Armourers had grown enormously. The RAF’s bomber fleets—Wellingtons, Lancasters, Halifax’s—and its fighters—Spitfires, Hurricanes, and later Tempests and Typhoons—all relied on Armourers.

 

It was the Armourers who loaded the .303 Browning machine guns on the Battle of Britain’s fighters, often working under pressure, at night, and in all weather. It was the Armourers who fitted the bombs, sometimes Grand Slam and Blockbuster bombs into the belly of the heavy bombers before raids over occupied Europe. And it was Armourers who adapted quickly to new technology, such as rockets and early guided weapons.

 

Perhaps what is most striking from this era is the relentless pace. A returning Lancaster would land, the aircrew would debrief, and the Armourers would already be preparing it for the next mission. They worked under blackout conditions, often with little rest, knowing that the success of the next sortie depended on their skill and dedication.

 

After 1945, as Britain entered the nuclear age, the Armourer’s trade evolved again. The RAF was now responsible for weapons of unprecedented destructive power. Armourers were trained to handle and prepare nuclear bombs such as Blue Danube and WE.177, as well as conventional ordnance.

 

The Cold War also saw the introduction of jet aircraft like the Vulcan, Lightning, and later the Tornado. With these came new weapons—air-to-air missiles, precision-guided bombs, and

electronic countermeasures. Armourers had to adapt constantly, mastering advanced technologies while never losing sight of the basics: safety, reliability, and effectiveness.

 

This period also saw the RAF Armourer community establish a reputation for professionalism around the world. Whether on Quick Reaction Alert at home, deployed in Germany, or stationed further afield, Armourers were essential to Britain’s ability to project power and deter threats.

 

And let us not forget the Falklands War, whether embarked on HMS Hermes and Invincible with the Harrier Force, preparing the Black Buck raids for their critical and strategic attack on Stanley or on the ground in the most austere and extremely dangerous conditions clearing air delivered munitions, the RAF Armourer once again demonstrated their professionalism and utility.

 

The end of the Cold War did not mean the end of conflict. From the Gulf War in 1991 through to operations in the Balkans, Iraq, Afghanistan, Libya, and more recently in the Middle East, RAF Armourers have remained on the front line. Many of you here today served and fought in those campaigns.

 

The armourer of today handles weapons which are far more sophisticated than their predecessors: precision-guided bombs, next generation missiles, cruise missiles, and more.

But the essence of the job remains the same, ensuring that when aircrew press the button, the weapon performs as intended.

 

On operations, Armourers are the bridge between engineering and combat. They work long hours in heat, dust, or freezing conditions to prepare aircraft at short notice. They are also problem solvers—often improvising solutions to keep aircraft mission-ready in austere conditions. Not to mention often establishing the first bar in Theatre!

 

So, what does an Armourer do today? In the modern RAF, they are trained across a wide spectrum. Like those who came before them, they handle conventional bombs and missiles,

aircraft gun systems, countermeasures like flares and chaff, and ejection seats.

 

On the ground, they serve in expeditionary support roles, providing the capability to deploy weapons and aircraft anywhere in the world. On operations, they are part of integrated teams that keep the RAF’s fast jets, helicopters, and transport aircraft ready for action. At the heart of

modern Agile Combat Employment. And just to quash the rumour, we may even still have some Airfield EOD cutting about, perhaps one for a chat for over a beer…..

 

Today’s Armourers are not just weapons technicians—they are ambassadors of RAF professionalism. They deploy alongside allies, often sharing their expertise and learning from

others. They bring a blend of tradition and modern skill, embodying both the heritage of the trade and its future. And much like those early armourers behind the WW1 trenches in Europe, they are also at the heart of prototype warfare, ensuring we can continue to destroy our

adversaries wherever they may be in new and innovative ways.

 

If there’s one thing that connects the Armourers of 1918 with those serving today, it is a sense of responsibility. Handling live ordnance demands absolute precision, discipline, and integrity.

 

There is no room for error.

 

But there’s also a deep camaraderie within the trade. Anyone who has worked alongside Armourers will tell you about their humour, resilience, and pride. They may joke about being the

“last to let you down”— a nod to their role with ejection seats — but behind that humour lies a serious commitment to keeping aircrew safe and the mission successful.

 

Our history is full of untold stories: people working tirelessly behind the scenes, ensuring that the RAF can deliver air power when it matters most.

 

The RAF Armourer’s trade has evolved over more than a century, from fitting Lewis guns to biplanes, to loading smart weapons onto the Typhoon and F-35 Lightning. Through every era of RAF history, they have adapted, innovated, and excelled.

 

They are a vital link in the chain of air power—a chain that connects the engineer on the line, the pilot in the cockpit, and the strategic effect delivered on operations.

 

As we look to the future—with the growth of uncrewed systems, directed energy weapons, and ever more complex technology—one thing is certain: the RAF will continue to rely on the professionalism and expertise of its Armourers.

 

So today, let us not only recognise their history, but also celebrate their ongoing role in defending our nation.

In closing, I would also like to take a moment to thank Squadron Leader Mick Haygarth and the team, alongside all of those that contributed to bring this memorial to life, as a symbol of commemoration and also as a celebration of everything this proud trade continues to deliver for

the RAF and Defence.

 

As many of you know, the father of the Royal Air Force, Air Chief Marshal Lord Trenchard, held the trade in exceptionally high regard, exemplifying his vision of a highly trained technical workforce, who could keep pace with rapidly evolving technology. And perhaps it was this that

led him to famously state that “Without Armament, there is no need for an Air Force” or perhaps words to that effect……

 

Ladies and Gentleman, when my grandfather and armourer, Chief Technician Bill Michie, inspired me to join the Royal Air Force as an Armourer, I was privileged to become part of a

wider family which revelled in its history, accomplishments and kinship. While my career has moved on, I will always remain an Armourer and it is with that in mind that I am hugely moved

and proud to join with you here today to unveil this memorial and celebration of our family, our kin and our future, The Royal Air Force Armourer.

 

Thank you."

 

No Thank you, Air Commodore Jamie Thompson.

 

Mark sounded the bugle, the standards were lowered, and a silence fell on the place. We stood to remember those we have lost over the years.

 

One final prayer, then the Lord's Prayer, and it was over.

 

I looked around, still just three people I knew. Should I stay for the evening's get together in the local 'Spoons, or go home early and be home this evening?

 

I worked out the route and timings, and thought I would miss rush hour's in the local area, get past Cambridge by about half four and be on the M25 by half five, and be home by half six-ish.

 

So I drive to the hotel, checked out, grabbed my stuff from the room and threw it in the back of the car.

 

I programmed the sat nav for home, and it guided me south out of town until I joined the M6 Toll, then south on the M6 before turning off on the A14 again.

 

A glorious day for driving, and the road was fairly clear until about ten miles shy of the A1 junction, but beyond that it was three lane roads and driving at the speed limit as I pressed on to Cambridge then down the M11.

 

No hold ups, no jams certainly, even turning onto the M25 wasn't the stressful event it usually is. I made it to Dartford by five, the sun now low in the west, it was in golden light as I reached the midway point of the bridge and entered The Garden of England again.

 

I stopped off at Burger King in town for supper. I had their Wagyu burger, the most expensive take away burger in UK history, as I had seen a few folks on Facebook try it.

 

I got Jools a spicy chicken burger, as well as onion rings, cheesy chilli bites, and BBQ chicken fingers.

 

No fries.

 

Back home to eat and catch up.

 

How was the £11 burger?

 

It was OK.

 

Just OK.

 

I had unpacking to do, and then sort my pictures out and begin to write all about it. Whilst listening to football.

 

But I was back home.

 

----------------------------------------------------------------------------------------

 

It was built by the pious Anglo-Catholic, Emily Charlotte Meynell Ingram (sister of Charles Wood, 2nd Viscount Halifax) in memory of Hugo Francis Meynell Ingram who died in May 1871. The architects were George Frederick Bodley and Thomas Garner. Work started in 1872 and the church dedication took place on 22 April 1876.[1] Further extension and additions took place until the church achieved its present form in 1906.

 

John Betjeman described the church as "the masterpiece of its late Victorian architect G.F. Bodley" and "great architecture; original, well massed, well sited, well detailed; very English"

 

From 2008, the Church received alternative episcopal oversight from the Bishop of Ebbsfleet, as the parish does not accept the ordination of women to the priesthood or episcopate. This oversight was transferred in 2023 to the Bishop of Oswestry.

 

en.wikipedia.org/wiki/Church_of_the_Holy_Angels,_Hoar_Cross

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them but just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Youngest son of Don Beltrán Yañez de Oñez y Loyola and Marina Saenz de Lieona y Balda (the name López de Recalde, though accepted by the Bollandist Father Pien, is a copyist's blunder).

 

Born in 1491 at the castle of Loyola above Azpeitia in Guipuscoa; died at Rome, 31 July, 1556. The family arms are: per pale, or, seven bends gules (?vert) for Oñez; argent, pot and chain sable between two grey wolves rampant, for Loyola. The saint was baptized Iñigo, after St. Enecus (Innicus), Abbot of Oña: the name Ignatius was assumed in later years, while he was residing in Rome. For the saint's genealogy, see Pérez (op. cit. below, 131); Michel (op. cit. below, II, 383); Polanco (Chronicon, I, 51646). For the date of birth cfr. Astráin, I, 3 S.

 

Conversion (1491-1521)

 

At an early age he was made a cleric. We do not know when, or why he was released from clerical obligations. He was brought up in the household of Juan Velásquez de Cuellar, contador mayor to Ferdinand and Isabella, and in his suite probably attended the court from time to time, though not in the royal service. This was perhaps the time of his greatest dissipation and laxity. He was affected and extravagant about his hair and dress, consumed with the desire of winning glory, and would seem to have been sometimes involved in those darker intrigues, for which handsome young courtiers too often think themselves licensed. How far he went on the downward course is still unproved. The balance of evidence tends to show that his own subsequent humble confessions of having been a great sinner should not be treated as pious exaggerations. But we have no details, not even definite charges. In 1517 a change for the better seems to have taken place; Velásquez died and Ignatius took service in the army. The turning-point of his life came in 1521. While the French were besieging the citadel of Pampeluna, a cannon ball, passing between Ignatius' legs, tore open the left calf and broke the right shin (Whit-Tuesday, 20 May, 1521). With his fall the garrison lost heart and surrendered, but he was well treated by the French and carried on a litter to Loyola, where his leg had to be rebroken and reset, and afterwards a protruding end of the bone was sawn off, and the limb, having been shortened by clumsy setting, was stretched out by weights. All these pains were undergone voluntarily, without uttering a cry or submitting to be bound. But the pain and weakness which followed were so great that the patient began to fail and sink. On the eve of Sts. Peter and Paul, however, a turn for the better took place, and he threw off his fever.

So far Ignatius had shown none but the ordinary virtues of the Spanish officer. His dangers and sufferings has doubtless done much to purge his soul, but there was no idea yet of remodelling his life on any higher ideals. Then, in order to divert the weary hours of convalescence, he asked for the romances of chivalry, his favourite reading, but there were none in the castle, and instead they brought him the lives of Christ and of the saints, and he read them in the same quasi-competitive spirit with which he read the achievements of knights and warriors. "Suppose I were to rival this saint in fasting, that one in endurance, that other in pilgrimages." He would then wander off into thoughts of chivalry, and service to fair ladies, especially to one of high rank, whose name is unknown. Then all of a sudden, he became conscious that the after-effect of these dreams was to make him dry and dissatisfied, while the ideas of falling into rank among the saints braced and strengthened him, and left him full of joy and peace. Next it dawned on him that the former ideas were of the world, the latter God-sent; finally, worldly thoughts began to lose their hold, while heavenly ones grew clearer and dearer. One night as he lay awake, pondering these new lights, "he saw clearly", so says his autobiography, "the image of Our Lady with the Holy Child Jesus", at whose sight for a notable time he felt a reassuring sweetness, which eventually left him with such a loathing of his past sins, and especially for those of the flesh, that every unclean imagination seemed blotted out from his soul, and never again was there the least consent to any carnal thought. His conversion was now complete. Everyone noticed that he would speak of nothing but spiritual things, and his elder brother begged him not to take any rash or extreme resolution, which might compromise the honour of their family.

 

Spiritual formation (1522-24)

 

When Ignatius left Loyola he had no definite plans for the future, except that he wished to rival all the saints had done in the way of penance. His first care was to make a general confession at the famous sanctuary of Montserrat, where, after three days of self-examination, and carefully noting his sins, he confessed, gave to the poor the rich clothes in which he had come, and put on garment of sack-cloth reaching to his feet. His sword and dagger he suspended at Our Lady's altar, and passed the night watching before them. Next morning, the feast of the Annunciation, 1522, after Communion, he left the sanctuary, not knowing whither he went. But he soon fell in with a kind woman, Iñes Pascual, who showed him a cavern near the neighbouring town of Manresa, where he might retire for prayer, austerities, and contemplation, while he lived on alms. But here, instead of obtaining greater peace, he was consumed with the most troublesome scruples. Had he confessed this sin? Had he omitted that circumstance? At one time he was violently tempted to end his miseries by suicide, on which he resolved neither to eat nor to drink (unless his life was in danger), until God granted him the peace which he desired, and so he continued until his confessor stopped him at the end of the week. At last, however, he triumphed over all obstacles, and then abounded in wonderful graces and visions.

 

It was at this time, too, that he began to make notes of his spiritual experiences, notes which grew into the little book of "The Spiritual Exercises". God also afflicted him with severe sicknesses, when he was looked after by friends in the public hospital; for many felt drawn towards him, and he requited their many kind offices by teaching them how to pray and instructing them in spiritual matters. Having recovered health, and acquired sufficient experience to guide him in his new life, he commenced his long-meditated migration to the Holy Land. From the first he had looked forward to it as leading to a life of heroic penance; now he also regarded it as a school in which he might learn how to realize clearly and to conform himself perfectly to Christ's life. The voyage was fully as painful as he had conceived. Poverty, sickness, exposure, fatigue, starvation, dangers of shipwreck and capture, prisons, blows, contradictions, these were his daily lot; and on his arrival the Franciscans, who had charge of the holy places, commanded him to return under pain of sin. Ignatius demanded what right they had thus to interfere with a pilgrim like himself, and the friars explained that, to prevent many troubles which had occurred in finding ransoms for Christian prisoners, the pope had given them the power and they offered to show him their Bulls. Ignatius at once submitted, though it meant altering his whole plan of life, refused to look at the proferred Bulls, and was back at Barcelona about March, 1524.

 

Studies and companions (1521-39)

 

Ignatius left Jerusalem in the dark as to his future and "asking himself as he went, quid agendum" (Autobiography, 50). Eventually he resolved to study, in order to be of greater help to others. To studies he therefore gave eleven years, more than a third of his remaining life. Later he studied among school-boys at Barcelona, and early in 1526 he knew enough to proceed to his philosophy at the University of Alcalá. But here he met with many troubles to be described later, and at the end of 1527 he entered the University of Salamanca, whence, his trials continuing, he betook himself to Paris (June, 1528), and there with great method repeated his course of arts, taking his M.A. on 14 March, 1535. Meanwhile theology had been begun, and he had taken the licentiate in 1534; the doctorate he never took, as his health compelled him to leave Paris in March, 1535. Though Ignatius, despite his pains, acquired no great erudition, he gained many practical advantages from his course of education. To say nothing of knowledge sufficient to find such information as he needed afterwards to hold his own in the company of the learned, and to control others more erudite than himself, he also became thoroughly versed in the science of education, and learned by experience how the life of prayer and penance might be combined with that of teaching and study, an invaluable acquirement to the future founder of the Society of Jesus. The labours of Ignatius for others involved him in trials without number. At Barcelona, he was beaten senseless, and his companion killed, at the instigation of some worldlings vexed at being refused entrance into a convent which he had reformed. At Alcalá, a meddlesome inquisitor, Figueroa, harassed him constantly, and once automatically imprisoned him for two months. This drove him to Salamanca, where, worse still, he was thrown into the common prison, fettered by the foot to his companion Calisto, which indignity only drew from Ignatius the characteristic words, "There are not so many handcuffs and chains in Salamanca, but that I desire even more for the love of God."

 

In Paris his trials were very varied — from poverty, plague, works of charity, and college discipline, on which account he was once sentenced to a public flogging by Dr. Govea, the rector of Collège Ste-Barbe, but on his explaining his conduct, the rector as publicly begged his pardon. There was but one delation to the inquisitors, and, on Ignatius requesting a prompt settlement, the Inquisitor Ori told him proceedings were therewith quashed.

We notice a certain progression in Ignatius' dealing with accusations against him. The first time he allowed them to cease without any pronouncement being given in his favour. The second time he demurred at Figueroa wanting to end in this fashion. The third time, after sentence had been passed, he appealed to the Archbishop of Toledo against some of its clauses. Finally he does not await sentence, but goes at once to the judge to urge an inquiry, and eventually he made it his practice to demand sentence, whenever reflection was cast upon his orthodoxy. (Records of Ignatius' legal proceedings at Azpeitia, in 1515; at Alcal´ in 1526, 1527; at Venice, 1537; at Rome in 1538, will be found in "Scripta de S. Ignatio", pp. 580-620.) Ignatius had now for the third time gathered companions around him. His first followers in Spain had persevered for a time, even amid the severe trials of imprisonment, but instead of following Ignatius to Paris, as they had agreed to do, they gave him up. In Paris too the first to follow did not persevere long, but of the third band not one deserted him. They were (St.) Peter Faber, a Genevan Savoyard; (St.) Francis Xavier, of Navarre; James Laynez, Alonso Salmerón, and Nicolás Bobadilla, Spaniards; Simón Rodríguez, a Portuguese. Three others joined soon after — Claude Le Jay, a Genevan Savoyard; Jean Codure and Paschase Broët, French. Progress is to be noted in the way Ignatius trained his companions. The first were exercised in the same severe exterior mortifications, begging, fasting, going barefoot, etc., which the saint was himself practising. But though this discipline had prospered in a quiet country place like Manresa, it had attracted an objectionable amount of criticism at the University of Alcalá. At Paris dress and habits were adapted to the life in great towns; fasting, etc., was reduced; studies and spiritual exercises were multiplied, and alms funded.

 

The only bond between Ignatius' followers so far was devotion to himself, and his great ideal of leading in the Holy Land a life as like as possible to Christ's. On 15 August, 1534, they took the vows of poverty and chastity at Montmartre (probably near the modern Chapelle de St-Denys, Rue Antoinette), and a third vow to go to the Holy Land after two years, when their studies were finished. Six months later Ignatius was compelled by bad health to return to his native country, and on recovery made his way slowly to Bologna, where, unable through ill health to study, he devoted himself to active works of charity till his companions came from Paris to Venice (6 January, 1537) on the way to the Holy Land. Finding further progress barred by the war with the Turks, they now agreed to await for a year the opportunity of fulfilling their vow, after which they would put themselves at the pope's disposal. Faber and some others, going to Rome in Lent, got leave for all to be ordained. They were eventually made priests on St. John Baptist's day. But Ignatius took eighteen months to prepare for his first Mass.

 

Foundation of the society

 

By the winter of 1537, the year of waiting being over, it was time to offer their services to the pope. The others being sent in pairs to neighboring university towns, Ignatius with Faber and Laynez started for Rome. At La Storta, a few miles before reaching the city, Ignatius had a noteworthy vision. He seemed to see the Eternal Father associating him with His Son, who spoke the words: Ego vobis Romae propitius ero. Many have thought this promise simply referred to the subsequent success of the order there. Ignatius' own interpretation was characteristic: "I do not know whether we shall be crucified in Rome; but Jesus will be propitious." Just before or just after this, Ignatius had suggested for the title of their brotherhood "The Company of Jesus". Company was taken in its military sense, and in those days a company was generally known by its captain's name. In the Latin Bull of foundation, however, they were called "Societas Jesu". We first hear of the term Jesuit in 1544, applied as a term of reproach by adversaries. It had been used in the fifteenth century to describe in scorn someone who cantingly interlarded his speech with repetitions of the Holy Name. In 1522 it was still regarded as a mark of scorn, but before very long the friends of the society saw that they could take it in a good sense, and, though never used by Ignatius, it was readily adopted (Pollen, "The Month", June, 1909). Paul III having received the fathers favourably, all were summoned to Rome to work under the pope's eyes. At this critical moment an active campaign of slander was opened by one Fra Matteo Mainardi (who eventually died in open heresy), and a certain Michael who had been refused admission to the order. It was not till 18 November, 1538, that Ignatius obtained from the governor of Rome an honourable sentence, still extent, in his favour. The thoughts of the fathers were naturally occupied with a formula of their intended mode of life to submit to the pope; and in March, 1539, they began to meet in the evenings to settle the matter.

Hitherto without superior, rule or tradition, they had prospered most remarkably. Why not continue as they had begun? The obvious answer was that without some sort of union, some houses for training postulants, they were practically doomed to die out with the existing members, for the pope already desired to send them about as missioners from place to place. This point was soon agreed to, but when the question arose whether they should, by adding a vow of obedience to their existing vows, form themselves into a compact religious order, or remain, as they were, a congregation of secular priests, opinions differed much and seriously. Not only had they done so well without strict rules, but (to mention only one obstacle, which was in fact not overcome afterwards without great difficulty), there was the danger, if they decided for an order, that the pope might force them to adopt some ancient rule, which would mean the end of all their new ideas. The debate on this point continued for several weeks, but the conclusion in favour of a life under obedience was eventually reached unanimously. After this, progress was faster, and by 24 June some sixteen resolutions had been decided on, covering the main points of the proposed institute. Thence Ignatius drew up in five sections the first "Formula Instituti", which was submitted to the pope, who gave a viva voce approbation 3 September, 1539, but Cardinal Guidiccioni, the head of the commission appointed to report on the "Formula", was of the view that a new order should not be admitted, and with that the chances of approbation seemed to be at an end. Ignatius and his companions, undismayed, agreed to offer up 4000 Masses to obtain the object desired, and after some time the cardinal unexpectedly changed his mind, approved the "Formula" and the Bull "Regimini militantis Ecclesiae" (27 September, 1540), which embodies and sanctions it, was issued, but the members were not to exceed sixty (this clause was abrogated after two years). In April, 1541, Ignatius was, in spite of his reluctance, elected the first general, and on 22 April he and his companions made their profession in St. Paul Outside the Walls. The society was now fully constituted.

 

The book of the spiritual exercises

 

This work originated in Ignatius' experiences, while he was at Loyola in 1521, and the chief meditations were probably reduced to their present shapes during his life at Manresa in 1522, at the end of which period he had begun to teach them to others. In the process of 1527 at Salamanca, they are spoken of for the first time as the "Book of Exercises". The earliest extant text is of the year 1541. At the request of St. Francis Borgia. The book was examined by papal censors and a solemn approbation given by Paul III in the Brief "Pastoralis Officii" of 1548. "The Spiritual Exercises" are written very concisely, in the form of a handbook for the priest who is to explain them, and it is practically impossible to describe them without making them, just as it might be impossible to explain Nelson's "Sailing Orders" to a man who knew nothing of ships or the sea. The idea of the work is to help the exercitant to find out what the will of God is in regard to his future, and to give him energy and courage to follow that will. The exercitant (under ideal circumstances) is guided through four weeks of meditations: the first week on sin and its consequences, the second on Christ's life on earth, the third on his passion, the fourth on His risen life; and a certain number of instructions (called "rules", "additions", "notes") are added to teach him how to pray, how to avoid scruples, how to elect a vocation in life without being swayed by the love of self or of the world. In their fullness they should, according to Ignatius' idea, ordinarily be made once or twice only; but in part (from three to four days) they may be most profitably made annually, and are now commonly called "retreats", from the seclusion or retreat from the world in which the exercitant lives. More popular selections are preached to the people in church and are called "missions". The stores of spiritual wisdom contained in the "Book of Exercises" are truly astonishing, and their author is believed to have been inspired while drawing them up. (See also next section.) Sommervogel enumerates 292 writers among the Jesuits alone, who have commented on the whole book, to say nothing of commentators on parts (e.g. the meditations), who are far more numerous still. But the best testimony to the work is the frequency with which the exercises are made. In England (for which alone statistics are before the writer) the educated people who make retreats number annually about 22,000, while the number who attend popular expositions of the Exercises in "missions" is approximately 27,000, out of a total Catholic population of 2,000,000.

 

The constitutions of the society

 

Ignatius was commissioned in 1541 to draw them up, but he did not begin to do so until 1547, having occupied the mean space with introducing customs tentatively, which were destined in time to become laws. In 1547 Father Polanco became his secretary, and with his intelligent aid the first draft of the constitutions was made between 1547 and 1550, and simultaneously pontifical approbation was asked for a new edition of the "Formula". Julius III conceded this by the Bull "Exposcit debitum", 21 July, 1550. At the same time a large number of the older fathers assembled to peruse the first draft of the constitutions, and though none of them made any serious objections, Ignatius' next recension (1552) shows a fair amount of changes. This revised version was then published and put into force throughout the society, a few explanations being added here and there to meet difficulties as they arose. These final touches were being added by the saint up till the time of his death, after which the first general congregation of the society ordered them to be printed, and they have never been touched since. The true way of appreciating the constitutions of the society is to study them as they are carried into practice by the Jesuits themselves, and for this, reference may be made to the articles on the SOCIETY OF JESUS. A few points, however, in which Ignatius' institute differed from the older orders may be mentioned here. They are:

 

the vow not to accept ecclesiastical dignities;

increased probations. The novitiate is prolonged from one year to two, with a third year, which usually falls after the priesthood. Candidates are moreover at first admitted to simple vows only, solemn vows coming much later on;

the Society does not keep choir;

it does not have a distinctive religious habit;

it does not accept the direction of convents;

it is not governed by a regular triennial chapter;

it is also said to have been the first order to undertake officially and by virtue of its constitutions active works such as the following:

foreign missions, at the pope's bidding;

the education of youth of all classes;

the instruction of the ignorant and the poor;

ministering to the sick, to prisoners, etc.

The above points give no conception of the originality with which Ignatius has handled all parts of his subject, even those common to all orders. It is obvious that he must have acquired some knowledge of other religious constitutions, especially during the years of inquiry (1541-1547), when he was on terms of intimacy with religious of every class. But witnesses, who attended him, tell us that he wrote without any books before him except the Missal. Though his constitutions of course embody technical terms to be found in other rules, and also a few stock phrases like "the old man's staff", and "the corpse carried to any place", the thought is entirely original, and would seem to have been God-guided throughout. By a happy accident we still possess his journal of prayers for forty days, during which he was deliberating the single point of poverty in churches. It shows that in making up his mind he was marvelously aided by heavenly lights, intelligence, and visions. If, as we may surely infer, the whole work was equally assisted by grace, its heavenly inspiration will not be doubtful. The same conclusion is probable true of "The Spiritual".

 

Later life and death

 

The later years of Ignatius were spent in partial retirement, the correspondence inevitable in governing the Society leaving no time for those works of active ministry which in themselves he much preferred. His health too began to fail. In 1551, when he had gathered the elder fathers to revise the constitutions, he laid his resignation of the generalate in their hands, but they refused to accept it then or later, when the saint renewed his prayer. In 1554 Father Nadal was given the powers of vicar-general, but it was often necessary to send him abroad as commissary, and in the end Ignatius continued, with Polanco's aid, to direct everything. With most of his first companions he had to part soon. Rodríguez started on 5 March, 1540, for Lisbon, where he eventually founded the Portuguese province, of which he was made provincial on 10 October, 1546. St. Francis Xavier followed Rodríguez immediately, and became provincial of India in 1549. In September, 1541, Salmeron and Broet started for their perilous mission to Ireland, which they reached (via Scotland) next Lent. But Ireland, the prey to Henry VIII's barbarous violence, could not give the zealous missionaries a free field for the exercise of the ministries proper to their institute. All Lent they passed in Ulster, flying from persecutors, and doing in secret such good as they might. With difficulty they reached Scotland, and regained Rome, Dec., 1542. The beginnings of the Society in Germany are connected with St. Peter Faber, Blessed Peter Canisius, Le Jay, and Bobadilla in 1542. In 1546 Laynez and Salmeron were nominated papal theologians for the Council of Trent, where Canisius, Le Jay, and Covillon also found places. In 1553 came the picturesque, but not very successful mission of Nuñez Barretto as Patriarch of Abyssinia. For all these missions Ignatius wrote minute instructions, many of which are still extant. He encouraged and exhorted his envoys in their work by his letters, while the reports they wrote back to him form our chief source of information on the missionary triumphs achieved. Though living alone in Rome, it was he who in effect led, directed, and animated his subjects all the world over.

The two most painful crosses of this period were probably the suits with Isabel Roser and Simón Rodríguez. The former lady had been one of Ignatius' first and most esteemed patronesses during his beginnings in Spain. She came to Rome later on and persuaded Ignatius to receive a vow of obedience to him, and she was afterwards joined by two or three other ladies. But the saint found that the demands they made on his time were more than he could possibly allow them. "They caused me more trouble", he is reported to have said, "than the whole of the Society", and he obtained from the pope a relaxation of the vow he had accepted. A suit with Roser followed, which she lost, and Ignatius forbade his sons hereafter to become ex officio directors to convents of nuns (Scripta de S. Ignatio, pp. 652-5). Painful though this must have been to a man so loyal as Ignatius, the difference with Rodríguez, one of his first companions, must have been more bitter still. Rodríguez had founded the Province of Portugal, and brought it in a short time to a high state of efficiency. But his methods were not precisely those of Ignatius, and, when new men of Ignatius' own training came under him, differences soon made themselves felt. A struggle ensued in which Rodríguez unfortunately took sides against Ignatius' envoys. The results for the newly formed province were disastrous. Well-nigh half of its members had to be expelled before peace was established; but Ignatius did not hesitate. Rodriguez having been recalled to Rome, the new provincial being empowered to dismiss him if he refused, he demanded a formal trial, which Ignatius, foreseeing the results, endeavoured to ward off. But on Simón's insistence a full court of inquiry was granted, whose proceedings are now printed and it unanimously condemned Rodriguez to penance and banishment from the province (Scripta etc., pp. 666-707). Of all his external works, those nearest his heart, to judge by his correspondence, were the building and foundation of the Roman College (1551), and of the German College (1552). For their sake he begged, worked, and borrowed with splendid insistence until his death. The success of the first was ensured by the generosity of St. Francis Borgia, before he entered the Society. The latter was still in a struggling condition when Ignatius died, but his great ideas have proved the true and best foundation of both.

In the summer of 1556 the saint was attacked by Roman fever. His doctors did not foresee any serious consequences, but the saint did. On 30 July, 1556, he asked for the last sacraments and the papal blessing, but he was told that no immediate danger threatened. Next morning at daybreak, the infirmarian found him lying in peaceful prayer, so peaceful that he did not at once perceive that the saint was actually dying. When his condition was realized, the last blessing was given, but the end came before the holy oils could be fetched. Perhaps he had prayed that his death, like his life, might pass without any demonstration. He was beatified by Paul V on 27 July, 1609, and canonized by Gregory XV on 22 May, 1622. His body lies under the altar designed by Pozzi in the Gesù. Though he died in the sixteenth year from the foundation of the Society, that body already numbered about 1000 religious (of whom, however, only 35 were yet professed) with 100 religious houses, arranged in 10 provinces. (Sacchini, op. cit. infra., lib. 1, cc. i, nn. 1-20.) For his place in history see COUNTER-REFORMATION. It is impossible to sketch in brief Ignatius' grand and complex character: ardent yet restrained, fearless, resolute, simple, prudent, strong, and loving. The Protestant and Jansenistic conception of him as a restless, bustling pragmatist bears no correspondence at all with the peacefulness and perseverance which characterized the real man. That he was a strong disciplinarian is true. In a young and rapidly growing body that was inevitable; and the age loved strong virtues. But if he believed in discipline as an educative force, he despised any other motives for action except the love of God and man. It was by studying Ignatius as a ruler that Xavier learnt the principle, "the company of Jesus ought to be called the company of love and conformity of souls". (Ep., 12 Jan., 1519).

 

source

www.newadvent.org/cathen/07639c.htm

The Postcard

 

A postally unused Valentine's Series postcard that was printed in Great Britain. The card, which has a divided back, is a glossy real photograph.

 

Although the card was not posted, someone has written on the back:

 

"Imperial Hydro Hotel

Blackpool.

July 7th. 1930.

Having a very nice time.

We come home a week

today.

I will come up on the

Thursday evening".

 

Blackpool

 

Blackpool is a seaside resort in Lancashire on the northwest coast of England. The town is by the Irish Sea, between the Ribble and Wyre rivers, and is 27 miles (43 km) north of Liverpool and 40 miles (64 km) northwest of Manchester.

 

At the 2011 census, Blackpool had a population of 139,720, making it the most populous settlement in Lancashire. It is home to the Blackpool Tower, which when built in 1894 was the tallest building in the British Empire.

 

Throughout the Medieval and Early Modern period, Blackpool was a coastal hamlet in Lancashire's Amounderness Hundred, and remained as such until the mid-18th. century, when it became fashionable in England to travel to the coast in the summer to improve well-being.

 

In 1781, visitors attracted to Blackpool's 7-mile (11 km) sandy beach were able to use a new private road, built by Thomas Clifton and Sir Henry Hoghton.

 

Stagecoaches began running to Blackpool from Manchester in the same year, and from Halifax in 1782. In the early 19th. century, Henry Banks and his son-in-law John Cocker erected new buildings in Blackpool, which increased its population from less than 500 in 1801 to over 2,500 in 1851. St John's Church in Blackpool was consecrated in 1821.

 

Blackpool rose to prominence as a major centre of tourism in England when a railway was built in the 1840's connecting it to the industrialised regions of northern England. The railway made it much easier and cheaper for visitors to reach Blackpool, triggering an influx of settlers.

 

By 1881, Blackpool was a booming resort with a population of 14,000 and a promenade complete with piers, fortune-tellers, public houses, trams, donkey rides, fish and chip shops, and theatres.

 

By 1901, the population of Blackpool was 47,000, by which time its place was cemented as the archetypal British seaside resort. By 1951, the town had grown to 147,000 people.

 

Shifts in tastes, combined with opportunities for British people to travel overseas, affected Blackpool's status as a leading resort in the late 20th. century. However its urban fabric and economy both remain relatively undiversified and firmly rooted in the tourism sector, and the borough's seafront continues to attract millions of visitors every year.

 

Blackpool's major attractions and landmarks include the Blackpool Tower, Blackpool Illuminations, Pleasure Beach, Blackpool Zoo, Sandcastle Water Park, the Winter Gardens and Blackpool Tramway, which is the UK's only surviving first-generation tramway.

 

Sir Arthur Conan Doyle

 

So what else happened when the card was dated?

 

Well, Monday the 7th. July 1930 was not a good day for Sir Arthur Conan Doyle, because he died in Crowborough aged 71 on that day.

 

Arthur Ignatius Conan Doyle, who was born in Edinburgh on the 22nd. May 1859, was a writer and physician.

 

He created the character Sherlock Holmes in 1887 when he published 'A Study in Scarlet', the first of four novels and more than fifty short stories about Holmes and Dr. Watson. The Sherlock Holmes stories are generally considered milestones in the field of crime fiction.

 

Doyle was a prolific writer; other than Holmes stories, his works include fantasy and science fiction stories about Professor Challenger, and humorous stories about the Napoleonic soldier Brigadier Gerard, as well as plays, romances, poetry, non-fiction and historical novels.

 

One of Doyle's early short stories, 'J. Habakuk Jephson's Statement' (1884), helped to popularise the mystery of the Mary Celeste.

 

Conan Doyle's Name

 

Doyle is often referred to as 'Sir Arthur Conan Doyle', implying that 'Conan' is part of a compound surname rather than a middle name. His baptism entry in the register of St Mary's Cathedral, Edinburgh, gives 'Arthur Ignatius Conan' as his given names and 'Doyle' as his surname. It also names Michael Conan as his godfather. The catalogues of the British Library and the Library of Congress treat 'Doyle' alone as his surname.

 

Steven Doyle, editor of The Baker Street Journal, wrote:

 

'Conan was Arthur's middle name.

Shortly after he graduated from

high school, he began using Conan

as a sort of surname. But technically

his last name is simply 'Doyle'.'

 

When knighted, he was gazetted as Doyle, not under the compound Conan Doyle.

 

Conan Doyle - The Early Years

 

Doyle was born at 11 Picardy Place, Edinburgh. His father, Charles Altamont Doyle, was born in England, of Irish Catholic descent, and his mother, Mary (née Foley), was Irish Catholic.

 

In 1864 the family scattered because of Charles's growing alcoholism, and the children were temporarily housed across Edinburgh. Arthur lodged with Mary Burton, the aunt of a friend, at Liberton Bank House on Gilmerton Road, while studying at Newington Academy.

 

In 1867, the family came together again and lived in squalid tenement flats at 3 Sciennes Place. Doyle's father died in 1893 after many years of psychiatric illness. Beginning at an early age, throughout his life, Doyle wrote letters to his mother, and many of them were preserved.

 

Supported by wealthy uncles, Doyle was sent to England, at the Jesuit preparatory school Hodder Place, Stonyhurst in Lancashire at the age of nine (1868–70).

 

He then went on to Stonyhurst College, which he attended until 1875. While Doyle was not unhappy at Stonyhurst, he said he did not have any fond memories of it because the school was run on medieval principles: the only subjects covered were rudiments, rhetoric, Euclidean geometry, algebra and the classics.

 

Doyle commented later in his life that this academic system could only be excused:

 

"On the plea that any exercise, however

stupid in itself, forms a sort of mental

dumbbell by which one can improve

one's mind."

 

He also found the school harsh, noting that, instead of compassion and warmth, it favoured the threat of corporal punishment and ritual humiliation.

 

From 1875 to 1876, Doyle was educated at the Jesuit school Stella Matutina in Feldkirch, Austria. His family decided that he would spend a year there in order to perfect his German and to broaden his academic horizons.

 

He later rejected the Catholic faith and became an agnostic. One source attributed his drift away from religion to the time he spent in the less strict Austrian school. He also later became a spiritualist mystic.

 

Conan Doyle's Medical Career

 

From 1876 to 1881, Doyle studied medicine at the University of Edinburgh Medical School. Also during this period, he studied practical botany at the Royal Botanic Garden in Edinburgh.

 

While studying, Doyle began writing short stories. His earliest extant fiction, 'The Haunted Grange of Goresthorpe', was unsuccessfully submitted to Blackwood's Magazine.

 

His first published piece, 'The Mystery of Sasassa Valley', a story set in South Africa, was printed in Chambers's Edinburgh Journal on the 6th. September 1879.

 

On the 20th. September 1879, he published his first academic article, 'Gelsemium as a Poison' in the British Medical Journal, a study which The Daily Telegraph regarded as potentially useful in a 21st.-century murder investigation.

 

Doyle was the doctor on the Greenland whaler 'Hope of Peterhead' in 1880.

 

After graduating with Bachelor of Medicine and Master of Surgery (M.B. C.M.) degrees from the University of Edinburgh in 1881, he was ship's surgeon on the 'SS Mayumba' during a voyage to the West African coast. He completed his Doctor of Medicine (M.D.) degree (an advanced degree beyond the basic medical qualification in the UK) with a dissertation on tabes dorsalis in 1885.

 

In 1882, Doyle partnered with his former classmate George Turnavine Budd in a medical practice in Plymouth, but their relationship proved difficult, and Doyle soon left to set up an independent practice. Arriving in Portsmouth in June 1882, with less than £10 (£1000 today) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea. The practice was not successful. While waiting for patients, Doyle returned to writing fiction.

 

Doyle was a staunch supporter of compulsory vaccination, and wrote several articles advocating the practice and denouncing the views of anti-vaccinators.

 

In early 1891, Doyle embarked on the study of ophthalmology in Vienna. He had previously studied at the Portsmouth Eye Hospital in order to qualify to perform eye tests and prescribe glasses. Vienna had been suggested by his friend Vernon Morris as a place to spend six months and train to be an eye surgeon.

 

However Doyle found it difficult to understand the German medical terms being used in his classes in Vienna, and soon quit his studies there. For the rest of his two-month stay in Vienna, he pursued other activities, such as ice skating with his wife Louisa and drinking with Brinsley Richards of the London Times. He also wrote 'The Doings of Raffles Haw'.

 

After visiting Venice and Milan, he spent a few days in Paris observing Edmund Landolt, an expert on diseases of the eye. Within three months of his departure for Vienna, Doyle returned to London. He opened a small office and consulting room at 2 Upper Wimpole Street, or 2 Devonshire Place as it was then. (There is today a Westminster City Council commemorative plaque over the front door.) However he had no patients, according to his autobiography, and his efforts as an ophthalmologist were a failure.

 

Conan Doyle's Literary Career

 

Doyle struggled to find a publisher for his work. His first work featuring Sherlock Holmes and Dr. Watson, 'A Study in Scarlet', was written in 3 weeks when he was 27, and was accepted for publication by Ward Lock & Co. on the 20th. November 1886, which gave Doyle £25 (equivalent to £2,700 in 2019) in exchange for all rights to the story. The piece appeared a year later in the Beeton's Christmas Annual, and received good reviews in The Scotsman and the Glasgow Herald.

 

Holmes was partially modelled on his former university teacher Joseph Bell. In 1892, in a letter to Bell, Doyle wrote:

 

'It is most certainly to you that I owe

Sherlock Holmes ... round the centre

of deduction and inference and

observation which I have heard you

inculcate I have tried to build up a man'.

 

In his 1924 autobiography Doyle remarked:

 

'It is no wonder that after the study of

such a character [viz., Bell] I used and

amplified his methods when in later life

I tried to build up a scientific detective

who solved cases on his own merits

and not through the folly of the criminal.'

 

Robert Louis Stevenson was able, even in faraway Samoa, to recognise the strong similarity between Joseph Bell and Sherlock Holmes:

 

'My compliments on your very ingenious

and very interesting adventures of

Sherlock Holmes. ... can this be my old

friend Joe Bell?'

 

Other writers suggest additional influences—for instance, the famous Edgar Allan Poe character C. Auguste Dupin.

 

Dr. (John) Watson owes his surname, but not any other obvious characteristic, to a Portsmouth medical colleague of Doyle's, Dr. James Watson.

 

A sequel to 'A Study in Scarlet' was commissioned, and 'The Sign of the Four' appeared in Lippincott's Magazine in February 1890, under agreement with the Ward Lock company.

 

Doyle felt grievously exploited by Ward Lock as an author new to the publishing world, and so, after this, he left them. Short stories featuring Sherlock Holmes were published in the Strand Magazine.

 

Doyle's attitude towards his most famous creation was ambivalent. In November 1891 he wrote to his mother:

 

'I think of slaying Holmes, ... and winding

him up for good and all. He takes my mind

from better things.'

 

His mother responded:

 

'You won't! You can't! You mustn't!'

 

In an attempt to deflect publishers' demands for more Holmes stories, he raised his price to a level intended to discourage them, but found they were willing to pay even the large sums he asked. As a result, he became one of the best-paid authors of his time.

 

In December 1893, in order to dedicate more of his time to his historical novels, Doyle had Holmes and Professor Moriarty plunge to their deaths together down the Reichenbach Falls in the story 'The Final Problem'.

 

Public outcry, however, led him to feature Holmes in 1901 in the novel 'The Hound of the Baskervilles'. Holmes' fictional connection with the Reichenbach Falls is celebrated in the nearby town of Meiringen.

 

In 1903, Doyle published his first Holmes short story in ten years, 'The Adventure of the Empty House', in which it was explained that only Moriarty had fallen, but since Holmes had other dangerous enemies—especially Colonel Sebastian Moran—he had arranged to make it look like he too was dead.

 

Holmes was ultimately featured in a total of 56 short stories—the last published in 1927—and four novels by Doyle, and has since appeared in many novels and stories by other authors.

 

Conan Doyles' Other Works

 

Doyle's first novels were 'The Mystery of Cloomber', not published until 1888, and the unfinished 'Narrative of John Smith', published only posthumously, in 2011. He amassed a portfolio of short stories, including 'The Captain of the Pole-Star' and 'J. Habakuk Jephson's Statement', both inspired by Doyle's time at sea.

 

The latter popularised the mystery of the Mary Celeste and added fictional details such as that the ship was found in perfect condition (it had actually taken on water by the time it was discovered), and that its boats remained on board (the single boat was in fact missing).

 

These fictional details have come to dominate popular accounts of the incident, and Doyle's alternate spelling of the ship's name as the Marie Celeste has become more commonly used than the original spelling.

 

Between 1888 and 1906, Doyle wrote seven historical novels, which he and many critics regarded as his best work. He also authored nine other novels, and—later in his career (1912–29)— five narratives (two of novel length) featuring the irascible scientist Professor Challenger.

 

The Challenger stories include what is probably his best-known work after the Holmes oeuvre, 'The Lost World'. His historical novels include 'The White Company' and its prequel 'Sir Nigel', set in the Middle Ages. He was a prolific author of short stories, including two collections set in Napoleonic times and featuring the French character Brigadier Gerard.

 

Doyle's works for the stage include: 'Waterloo', which centres on the reminiscences of an English veteran of the Napoleonic Wars, and features a character, Gregory Brewster, that was written for Henry Irving; 'The House of Temperley', the plot of which reflects his abiding interest in boxing; 'The Speckled Band', adapted from his earlier short story 'The Adventure of the Speckled Band'; and an 1893 collaboration with J.M. Barrie on the libretto of 'Jane Annie'.

 

Conan Doyle's Sporting Career

 

While living in Southsea, Doyle played football as a goalkeeper for Portsmouth Association Football Club, an amateur side, under the pseudonym A. C. Smith.

 

Doyle was a keen cricketer, and between 1899 and 1907 he played 10 first-class matches for the Marylebone Cricket Club (MCC). He also played for the amateur cricket teams the Allahakbarries and the Authors' XI alongside fellow writers J. M. Barrie, P. G. Wodehouse and A. A. Milne. His highest score, in 1902 against London County, was 43. He was an occasional bowler who took just one first-class wicket, although one of the highest pedigree, as it was the wicket of W. G. Grace.

 

Doyle was also an amateur boxer. In 1909, he was invited to referee the James Jeffries - Jack Johnson heavyweight championship fight in Reno, Nevada. Doyle wrote:

 

'I was much inclined to accept...though

my friends pictured me as winding up

with a revolver at one ear and a razor

at the other. However, the distance and

my engagements presented a final bar.'

 

Also a keen golfer, Doyle was elected captain of the Crowborough Beacon Golf Club in Sussex for 1910. He had moved to Little Windlesham house in Crowborough with Jean Leckie, his second wife, and resided there with his family from 1907 until his death in July 1930.

 

Doyle also entered the English Amateur Billiards Championship in 1913.

 

Conan Doyle's Family Life

 

In 1885 Doyle married Louisa (sometimes called 'Touie') Hawkins (1857–1906). She was the youngest daughter of J. Hawkins, of Minsterworth, Gloucestershire, and the sister of one of Doyle's patients. Louisa suffered from tuberculosis.

 

In 1907, the year after Louisa's death, he married Jean Elizabeth Leckie (1874–1940). He had met and fallen in love with Jean in 1897, but had maintained a platonic relationship with her while his first wife was still alive, out of loyalty to her. Jean survived him by ten years, and died in London.

 

Doyle fathered five children. He had two with his first wife: Mary Louise (1889–1976) and Arthur Alleyne Kingsley (1892–1918).

 

He had an additional three with his second wife: Denis Percy Stewart (1909–1955), who became the second husband of Georgian Princess Nina Mdivani; Adrian Malcolm (1910–1970); and Jean Lena Annette (1912–1997). All of Doyle's five children died without issue, so he has no direct descendants.

 

Conan Doyle's Political Campaigning

 

Doyle served as a volunteer doctor in the Langman Field Hospital at Bloemfontein between March and June 1900, during the Second Boer War in South Africa.

 

Later that same year, he wrote a book on the war, 'The Great Boer War', as well as a short work titled 'The War in South Africa: Its Cause and Conduct', in which he responded to critics of the United Kingdom's role in that war, and argued that its role was justified.

 

The latter work was widely translated, and Doyle believed it was the reason he was knighted by King Edward VII in the 1902 Coronation Honours. He received the accolade from the King in person at Buckingham Palace on the 24 October 1902.

 

Doyle stood for Parliament twice as a Liberal Unionist: in 1900 in Edinburgh Central; and in 1906 in the Hawick Burghs. He received a respectable share of the vote, but was not elected.

 

He served as a Deputy-Lieutenant of Surrey beginning in 1902, and was appointed a Knight of Grace of the Order of the Hospital of Saint John of Jerusalem in 1903.

 

Doyle was a supporter of the campaign for the reform of the Congo Free State that was led by the journalist E. D. Morel and diplomat Roger Casement. In 1909 he wrote 'The Crime of the Congo', a long pamphlet in which he denounced the horrors of that colony.

 

He became friendly with Morel and Casement, and it is possible that, together with Bertram Fletcher Robinson, they inspired several characters that appear in his 1912 novel 'The Lost World'.

 

Later, after the Easter Rising, Casement was found guilty of treason against the Crown, and was sentenced to death. Doyle tried, unsuccessfully, to save him, arguing that Casement had been driven mad, and therefore should not be held responsible for his actions.

 

Conan Doyle as an Advocate for Justice

 

Doyle was also a fervent advocate of justice, and personally investigated two closed cases, which led to two men being exonerated of the crimes of which they were accused.

 

The first case, in 1906, involved a shy half-British, half-Indian lawyer named George Edalji who had allegedly penned threatening letters and mutilated animals in Great Wyrley.

 

Police were set on Edalji's conviction, even though the mutilations continued after their suspect was jailed. Apart from helping George Edalji, Doyle's work helped establish a way to correct other miscarriages of justice, as it was partially as a result of this case that the Court of Criminal Appeal was established in 1907.

 

The story of Doyle and Edalji was dramatised in an episode of the 1972 BBC television series, 'The Edwardians'. In Nicholas Meyer's pastiche 'The West End Horror' (1976), Holmes manages to help clear the name of a shy Parsi Indian character wronged by the English justice system. Edalji was of Parsi heritage on his father's side.

 

The story was fictionalised in Julian Barnes's 2005 novel 'Arthur and George', which was adapted into a three-part drama by ITV in 2015.

 

The second case, that of Oscar Slater - a Jew of German origin who operated a gambling den and was convicted of bludgeoning an 82-year-old woman in Glasgow in 1908 -excited Doyle's curiosity because of inconsistencies in the prosecution's case, and a general sense that Slater was not guilty. He ended up paying most of the costs for Slater's successful 1928 appeal.

 

Conan Doyle's Spiritualism and Freemasonry

 

Doyle had a longstanding interest in mystical subjects, and remained fascinated by the idea of paranormal phenomena, even though the strength of his belief in their reality waxed and waned periodically over the years.

 

In 1887, in Southsea, influenced by Major-General Alfred Wilks Drayson, a member of the Portsmouth Literary and Philosophical Society, Doyle began a series of investigations into the possibility of psychic phenomena, and attended about 20 seances, experiments in telepathy, and sittings with mediums.

 

Writing to Spiritualist journal 'Light' that year, he declared himself to be a Spiritualist, describing one particular event that had convinced him that psychic phenomena were real.

 

Also in 1887, he was initiated as a Freemason at the Phoenix Lodge No. 257 in Southsea. He resigned from the Lodge in 1889, returned to it in 1902, and resigned again in 1911.

 

In 1889, he became a founding member of the Hampshire Society for Psychical Research; in 1893, he joined the London-based Society for Psychical Research; and in 1894, he collaborated with Sir Sidney Scott and Frank Podmore in a search for poltergeists in Devon.

 

In 1916, during the height of World War I, Doyle's belief in psychic phenomena was strengthened by what he took to be the psychic abilities of his children's nanny, Lily Loder Symonds. This, and the constant drumbeat of wartime deaths, inspired him with the idea that Spiritualism was what he called a 'New Revelation' sent by God to bring solace to the bereaved.

 

He wrote a piece in 'Light' magazine about his faith, and began lecturing frequently on Spiritualism. In 1918, he published his first Spiritualist work, 'The New Revelation'.

 

Some have mistakenly assumed that Doyle's turn to Spiritualism was prompted by the death of his son Kingsley, but Doyle began presenting himself publicly as a Spiritualist in 1916, and Kingsley died on the 28th. October 1918 (of pneumonia contracted during his convalescence after being seriously wounded in the 1916 Battle of the Somme).

 

Nevertheless, the war-related deaths of many people who were close to him appears to have even further strengthened Doyle's long-held belief in life after death and spirit communication.

 

Doyle's brother Brigadier-General Innes Doyle died, also from pneumonia, in February 1919. His two brothers-in-law (one of whom was E. W. Hornung, creator of the literary character Raffles), as well as his two nephews, also died shortly after the war. His second book on Spiritualism, 'The Vital Message', appeared in 1919.

 

Doyle found solace in supporting Spiritualism's ideas and the attempts of Spiritualists to find proof of an existence beyond the grave. In particular he favoured Christian Spiritualism and encouraged the Spiritualists' National Union to accept an eighth precept – that of following the teachings and example of Jesus of Nazareth. He was a member of the renowned supernaturalist organisation 'The Ghost Club'.

 

In 1919, the magician P. T. Selbit staged a séance at his flat in Bloomsbury, which Doyle attended. Although some later claimed that Doyle had endorsed the apparent instances of clairvoyance at that séance as genuine, a contemporaneous report by the Sunday Express quoted Doyle as saying:

 

'I should have to see it again

before passing a definite

opinion on it. I have my doubts

about the whole thing'.

 

In 1920, Doyle and the noted sceptic Joseph McCabe held a public debate at Queen's Hall in London, with Doyle taking the position that the claims of Spiritualism were true. After the debate, McCabe published a booklet, entitled 'Is Spiritualism Based on Fraud?', in which he laid out evidence refuting Doyle's arguments, and claimed that Doyle had been duped into believing in Spiritualism through deliberate mediumship trickery.

 

Doyle also debated with the psychiatrist Harold Dearden, who vehemently disagreed with Doyle's belief that many cases of diagnosed mental illness were the result of spirit possession.

 

In 1920, Doyle travelled to Australia and New Zealand on Spiritualist missionary work, and over the next several years, until his death, he continued his mission, giving talks about his Spiritualist conviction in Britain, Europe, and the United States.

 

Doyle wrote a novel centred on Spiritualist themes, 'The Land of Mist', featuring the character Professor Challenger. He also wrote many non-fiction Spiritualist works.

 

Perhaps his most famous of these was 'The Coming of the Fairies' (1922), in which Doyle described his beliefs about the nature and existence of fairies and spirits, reproduced the five Cottingley Fairies photographs, asserted that those who suspected they were faked were wrong, and expressed his conviction that they were authentic. Decades later, the photos were definitively shown to have been faked, and their creators admitted to the fakery.

 

Conan Doyle and Harry Houdini

 

Doyle was friends for a time with the American magician Harry Houdini. Even though Houdini explained that his feats were based on illusion and trickery, Doyle was convinced that Houdini had supernatural powers, and said as much in his work, 'The Edge of the Unknown'.

 

Houdini's friend Bernard M. L. Ernst, recounted a time when Houdini had performed an impressive trick at his home in Doyle's presence. Houdini had assured Doyle that the trick was pure illusion, and had expressed the hope that this demonstration would persuade Doyle not to go around 'endorsing phenomena' simply because he could think of no explanation for what he had seen other than supernatural power. But, according to Ernst, Doyle simply refused to believe it had been a trick.

 

Houdini became a prominent opponent of the Spiritualist movement in the 1920's, after the death of his beloved mother. He insisted that Spiritualist mediums employed trickery, and consistently exposed them as frauds. These differences between Houdini and Doyle eventually led to a bitter, public falling-out between them.

 

Conan Doyle and William Hope

 

In 1922, the psychical researcher Harry Price accused the 'spirit photographer' William Hope of fraud. Doyle defended Hope, but further evidence of trickery was obtained from other researchers.

 

Doyle threatened to have Price evicted from the National Laboratory of Psychical Research and predicted that, if he persisted in writing what he called 'sewage' about Spiritualists, he would meet the same fate as Harry Houdini.

 

Price wrote:

 

'Arthur Conan Doyle and his friends

abused me for years for exposing

Hope.'

 

In response to the exposure of frauds that had been perpetrated by Hope and other Spiritualists, Doyle led eighty-four members of the Society for Psychical Research to resign in protest from the society on the grounds that they believed it was opposed to Spiritualism.

 

Conan Doyle and the Zancigs

 

In another instance, Doyle and the Spiritualist William Thomas Stead were led to believe that Julius and Agnes Zancig had genuine psychic powers, and they claimed publicly that the Zancigs used telepathy.

 

However, in 1924, the Zancigs confessed that their mind reading act had been a trick; they published the secret code and all other details of the trick method they had used under the title 'Our Secrets!!' in a London newspaper. Doyle also praised the psychic phenomena and spirit materialisations that he believed had been produced by Eusapia Palladino and Mina Crandon, both of whom were also later exposed as frauds.

 

Doyle's two-volume book, The History of Spiritualism was published in 1926. W. Leslie Curnow, a Spiritualist, contributed much research to the book. Later that year, Robert John Tillyard wrote a predominantly supportive review of it in the journal Nature.

 

This review provoked controversy: several other critics, notably A. A. Campbell Swinton, pointed out the evidence of fraud in mediumship as well as Doyle's non-scientific approach to the subject.

 

In 1927, Doyle gave a filmed interview, in which he spoke about Sherlock Holmes and Spiritualism.

 

Conan Doyle and The Piltdown Man

 

Richard Milner, an American historian of science, has presented a case that Doyle may have been the perpetrator of the Piltdown Man hoax of 1912, creating the counterfeit hominid fossil that fooled the scientific world for over 40 years.

 

Milner noted that Doyle had a plausible motive - namely, revenge on the scientific establishment for debunking one of his favourite psychics - and said that 'The Lost World' appeared to contain several clues referring cryptically to his having been involved in the hoax.

 

Samuel Rosenberg's 1974 book 'Naked is the Best Disguise' purports to explain how, throughout his writings, Doyle had provided overt clues to otherwise hidden or suppressed aspects of his way of thinking that seemed to support the idea Doyle would be involved in such a hoax.

 

However, more recent research suggests that Doyle was not involved. In 2016, researchers at the Natural History Museum and Liverpool John Moores University analysed DNA evidence showing that responsibility for the hoax lay with the amateur archaeologist Charles Dawson, who had originally 'found' the remains.

 

Dawson had initially not been considered the likely perpetrator, because the hoax was seen as being too elaborate for him to have devised. However, DNA evidence showed that a supposedly ancient tooth he had 'discovered' in 1915 (at a different site) came from the same jaw as that of the Piltdown Man, suggesting he had planted them both. That tooth, too, was later proven to have been planted as part of a hoax.

 

Dr Chris Stringer, an anthropologist from the Natural History Museum, was quoted as saying:

 

"Conan Doyle was known to play golf at the

Piltdown site, and had even given Dawson a

lift in his car to the area, but he was a public

man, and very busy, and it is very unlikely

that he would have had the time [to create

the hoax].

So there are some coincidences, but I think

they are just coincidences. When you look

at the fossil evidence you can only associate

Dawson with all the finds, and Dawson was

known to be personally ambitious.

He wanted professional recognition. He

wanted to be a member of the Royal Society,

and he was after an MBE. He wanted people

to stop seeing him as an amateur'.

 

Conan Doyle and Architecture

 

Another of Doyle's longstanding interests was architectural design. In 1895, when he commissioned an architect friend of his, Joseph Henry Ball, to build him a home, he played an active part in the design process.

 

The home in which he lived from October 1897 to September 1907, known as Undershaw (near Hindhead, in Surrey), was used as a hotel and restaurant from 1924 until 2004, when it was bought by a developer and then stood empty while conservationists and Doyle fans fought to preserve it.

 

In 2012, the High Court in London ruled in favour of those seeking to preserve the historic building, ordering that the redevelopment permission be quashed on the ground that it had not been obtained through proper procedures. The building was later approved to become part of Stepping Stones, a school for children with disabilities and special needs.

 

Doyle made his most ambitious foray into architecture in March 1912, while he was staying at the Lyndhurst Grand Hotel: he sketched the original designs for a third storey extension and for an alteration of the front façade of the building.

 

Work began later that year, and when it was finished, the building was nearly an exact manifestation of the plans Doyle had sketched. Superficial alterations have been subsequently made, but the essential structure is still clearly Doyle's.

 

In 1914, on a family trip to the Jasper National Park in Canada, he designed a golf course and ancillary buildings for a hotel. The plans were realised in full, but neither the golf course nor the buildings have survived.

 

In 1926, Doyle laid the foundation stone for a Spiritualist temple in Camden, London. Of the building's total £600 construction costs, he provided £500.

 

The Death of Sir Arthur Conan Doyle

 

Doyle was found clutching his chest in the hall of Windlesham Manor, his house in Crowborough, East Sussex, on the 7th. July 1930. He died of a heart attack at the age of 71.

 

His last words were directed toward his wife:

 

"You are wonderful."

 

At the time of Sir Arthur's death, there was some controversy concerning his burial place, as he was avowedly not a Christian, considering himself a Spiritualist. He was first buried on the 11th. July 1930 in the rose garden at Windlesham.

 

He was later re-interred together with his wife in Minstead churchyard in the New Forest, Hampshire. Carved wooden tablets to his memory and to the memory of his wife, originally from the church at Minstead, are on display as part of a Sherlock Holmes exhibition at Portsmouth Museum.

 

The epitaph on his gravestone in the churchyard reads, in part:

 

'Steel True/Blade Straight/Arthur Conan Doyle

/Knight/Patriot, Physician and Man of Letters'.

 

A statue honours Doyle at Crowborough Cross in Crowborough, where he lived for 23 years. There is a statue of Sherlock Holmes in Picardy Place, Edinburgh, close to the house where Doyle was born.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.