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 based in Kent 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.

 

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

 

The church dates from the 14th century. The spire, nicknamed Lullington Spud,[2] was rebuilt in 1776.

 

It was restored between 1861 and 1862 under the supervision of the architect John West Hugall and the contractor Elliott and Lilley. The main addition was a new south aisle. The gallery which blocked the tower was removed, and the tower arch opened up. The seating in the nave and choir stalls were renewed. The floor was laid with Minton tiles, with those in the sanctuary containing evangelistic symbols. A reredos was made from the alabaster slab which formed the old altar, and was inlaid with a centre cross of Rouge royal marble and Derbyshire Blue John, and four smaller Maltese crosses. The font was made of a bowl of Devonshire granite supported on five shafts of St Mary Church Torquay marble, raised on three steps of Mansfield stone. The restoration work cost £2,000 (equivalent to £235,735 in 2023)[3] and the church reopened on 23 September 1862.[4]

 

en.wikipedia.org/wiki/All_Saints%27_Church,_Lullington

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.

 

Just one of many decaying homes in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

The Postcard

 

A postally unused postcard published by the Photochrom Co. Ltd. It is an all-British production.

 

The card has a divided back.

 

The Photochrom Co. Ltd.

 

The Photochrom Co. Ltd. of London and Royal Tunbridge Wells originally produced Christmas cards before becoming a major publisher and printer of tourist albums, guide books, and postcards.

 

These mainly captured worldwide views as real photos, or were printed in black & white, monochrome, and color.

 

They also published many advertising, comic, silhouette, novelty, panoramic, and notable artist-signed cards in named series as well. The huge number of titles that Photochrom produced may well exceed 40,000.

 

In 1896 they took over Fussli’s London office established three years earlier, and began publishing similar photo-chromolithographic postcards after securing the exclusive English licence for the Swiss photochrom process.

 

This technique was used to produce a great number of view-cards of both England and Europe. While they captured the same fine details as the Swiss prints, their colours were much softer and reduced.

 

Apart from their better known photochroms, they produced their Celesque series of view-cards printed in tricolor.

 

One of the largest unnamed series that Photochrom produced was of view-cards printed in brown rotogravure. Many of these cards were simply hand coloured with a dominant red and blue, which gives these cards a distinct appearance. They are similar to cards produced in their Photogravure and Velvet Finish Series.

 

Photochrom postcard series include:

 

-- Night Series - Line block halftone over a blue tint depicting London.

-- Carbofoto Series - Black & white real photo cards.

-- Sepiatone Series - Sepia real photo cards.

-- Grano Series - View-cards printed in black & white.

-- Exclusive Photo-Color Series - View-cards printed in colour.

-- Duotype Process Series - View-cards printed in two tones.

 

Selfridges, Oxford Street

 

Selfridges is a Grade II* listed retail premises on Oxford Street in London. It was designed by Daniel Burnham for Harry Gordon Selfridge, and opened in 1909.

 

Still the headquarters of Selfridge & Co. department stores, with 540,000 square feet (50,000 m2) of selling space, the store is the second largest retail premises in the UK, half as big as the biggest department store in Europe, Harrods.

 

Selfridges was named the world's best department store in 2010, and again in 2012.

 

Background to The Store

 

In 1906, Harry Gordon Selfridge travelled to England on holiday with his wife, Rose. Unimpressed with the quality of existing British retailers, he noticed that the large stores in London had not adopted the latest selling ideas that were being used in the United States.

 

Selfridge decided to invest £400,000 in building his own department store in what was then the unfashionable western end of Oxford Street, by slowly buying up a series of Georgian buildings which were on the desired block defined by the surrounding four streets: Somerset, Wigmore, Orchard and Duke.

 

Design and Construction of Selfridges

 

The building was designed by American architect Daniel Burnham, who was respected for his department store designs. He created Marshall Field's, Chicago, Filene's in Boston, Wanamaker's in Philadelphia, and Gimbels and Wanamaker's in New York City.

 

The building was an early example in the UK of the use of a steel frame, five stories high with three basement levels and a roof terrace, originally laid out to accommodate 100 departments.

 

American-trained Swedish structural engineer Sven Bylander was engaged to design the steel frame structure. As the building was one of the early examples of steel frame in the UK, Bylander had to first agree appropriate building regulations with the London County Council, requiring amendments to the London Building Act 1844.

 

Using as a basis the regulations which covered the similarly-designed London docklands warehouses, Bylander then agreed changes which enabled greater spans within lesser beam dimensions due to the use of steel over stone.

 

Bylander designed the entire supporting structure which was approved by the LCC in 1907, with a steel frame based on blue brick pile foundations, supporting a steel frame which holds all of the internal walls and the concrete floors.

 

Bylander had to include additional supported internal walls, as the LCC would not approve store areas above 450,000 cubic feet (13,000 m3) due to the then-approved fire safety regulations, many of which were removed 20 years later in light of new legislation.

 

Bylander submitted a 13-page fully illustrated account of the design of the building to Concrete and Constructional Engineering, which was published in 1909. The work of Burnham and Bylander with the LCC led to the passing of the LCC (General Powers) Act 1909, also called the Steel Frame Act, which gave the council the power to regulate the construction of reinforced concrete structures.

 

American architect Francis Swales, who trained at the École Nationale Supérieure des Beaux-Arts in Paris, was briefed to design the frontispiece. Aided by British architects R. Frank Atkinson and Thomas Smith Tait, the final design was highly influenced by John Burnet's 1904 extension to the British Museum.

 

The steel supporting columns are hidden behind Ionic columns, to create a façade which presents a visually uniform, classical, Beaux-Arts appearance.

 

The distinctive polychrome sculpture above the Oxford Street entrance is the work of British sculptor Gilbert Bayes.

 

The final frontage, through the use of cast iron window frames to a maximum size of 19 feet 4 inches (5.89 m) by 12 feet 0 inches (3.66 m), means that both the Oxford Street and Duke Street frontages are made up of more glass than stone or iron.

 

Construction of Selfridges

 

Opening on the 15th. March 1909, the store was built in phases. The first phase consisted of the nine-and-a-half bays closest to the Duke Street corner, a site of 250 feet (76 m) wide on Oxford Street by 175 feet (53 m) along Duke Street. The floor heights averaged 15 feet (4.6 m), and the initial structure contained nine passenger lifts, two service lifts and six staircases.

 

The main entrance and all of the bays to its left were added some 18 years after the store first opened, using a modified construction system. The complete building opened fully in 1928, and through the use of supporting spandrel steel panels, the scale of the glass panes within the main entrance could be greatly enlarged.

 

A scheme to erect a massive tower above the store post-World War I was never carried out. Harry Selfridge also proposed a subway link to Bond Street station, and renaming it "Selfridges"; however, contemporary opposition quashed the idea.

 

The final design of the building was completed in 1928, and although classical in visible style and frontage, it is modern in its steel frame construction.

 

In part due to new schools of architectural thought emerging apart from the classical schools, and in part due to the close proximity of World War I, the building is seen as the last of the great classical buildings undertaken within the UK.

 

Although the UK was late in adopting modern architecture only from the 1930's onwards, by the mid-20th. century many architects looked at Selfridges as if it were pre-historic in design, accepted just because Harry Gordon Selfridge wanted to advertise his business with a confident display of classicism in stone.

 

Selfridges in Operation

 

When it opened the new store employed 1,400 staff, thereby setting new standards for the retailing business.

 

At that time, women were beginning to enjoy the fruits of emancipation by wandering unescorted around London. A canny marketer, Selfridge promoted the radical notion of shopping for pleasure rather than necessity.

 

The store was extensively promoted through paid advertising. The shop floors were structured so that goods could be made more accessible to customers. There were elegant restaurants with modest prices, a library, reading and writing rooms, special reception rooms for French, German, American and "Colonial" customers, a First Aid Room, and a Silence Room, with soft lights, deep chairs, and double-glazing, all intended to keep customers in the store as long as possible.

 

Staff members were taught to be on hand to assist customers, but not too aggressively, and to sell the merchandise. Oliver Lyttleton observed that, when one called on Selfridge, he would have nothing on his desk except one's letter, smoothed and ironed.

 

Selfridge also managed to obtain from the GPO the privilege of having the number "1" as its own phone number, so anybody had to just dial 1 to be connected to Selfridge's operators.

 

The roof terrace hosted terraced gardens, cafes, a mini golf course and an all-girl gun club. The roof, with its views across London, was a common place for strolling after a shopping trip and was often used for fashion shows.

 

The Basements at Selfridges

 

There are two levels of basement beneath the lower-ground shop floor: the ‘sub’ and the ‘sub-sub’. Combined, these descend 60 metres (200 ft) below street level. These two areas are then split into two more areas: the dry sub and sub-sub, and their "wet" equivalents. The wet area is beneath the original nine-and-a-half bays closest to the Duke Street corner of the 1909 building. The "dry" is under the rear of the building, known as the SWOD after the surrounding four streets – Somerset, Wigmore, Orchard and Duke – that once enclosed it.

 

Selfridges in WWII

 

During World War II after the entry of the United States into the conflict, from 1942 the dry sub-sub SWOD was used by the United States Army. The building had one of the only secure telex lines, was safe from bombing, and was close to the US Embassy on Grosvenor Square.

 

Initially used by U.S. General Dwight D. Eisenhower, the commander of SHAEF, it later housed 50 soldiers from the 805th. Signal Service Company of the US Army Signal Corps, who installed a SIGSALY code-scrambling device connected to a similar terminal in the Pentagon building.

 

The first conference took place on the 15th. July 1943. Initial visitors included Prime Minister Winston Churchill, to enable secure communications with the President of the United States, although later extensions were installed to both 10 Downing Street and the Cabinet War Rooms.

 

Rumours persist of a tunnel built from Selfridges to the embassy so that personnel could move between the two in safety, with interrogation cells for prisoners hewn from the resultant uneven space available.

 

As with much of central London during World War II, Selfridges suffered serious damage on a number of occasions during the 57 nights of the London Blitz from the 7th. September 1940, and in 1941 and 1944. After the heavy bombing of the west end on the 17th./18th. September 1940 by a combined force of 268 Heinkel 111 and Dornier Do 17 bombers – after which the store's Art Deco lifts were out of service until post-WW2, and the signature window was shattered – Harry had the ground floor windows bricked-up.

 

The bomb on 17 April 1941 destroyed only the Palm Court Restaurant, venue for the rich and famous. However, at 11 pm on 6 December 1944, a V-2 rocket hit the Red Lion pub on the corner of Duke Street and Barrett Street. A canteen in the SWOD basement area (see above) was massively damaged, with eight American servicemen killed and 32 injured, as well as ten civilian deaths and seven injuries. In the main building, ruptured water mains threatened SIGSALY, and while the Food Hall was the only department that did not need cleaning, Selfridges’ shop-front Christmas tree displays were blown into Oxford Street.

 

By 2010, only three of the four major pre–World War II Oxford Street retailers—Selfridges, House of Fraser and John Lewis—survive in retail, while Bourne & Hollingsworth and Peter Robinson (acquired in 1946 by Burton's), are no longer trading. Selfridges is the only retailer still trading in the same building, which still bears the scars of war damage, while John Lewis has moved. Bourne & Hollingsworth was located in the now closed Plaza Shopping Centre at No 120, while Peter Robinson is now Niketown at No 200-236.

 

A Milne-Shaw seismograph was set up on the third floor in 1932, attached to one of the building's main stanchions, unaffected by traffic or shoppers. It recorded the Belgian earthquake of 11 June 1938 which was also felt in London. At the outbreak of war, the seismograph was moved from its original site near the Post Office to another part of the store. In 1947, the seismograph was given to the British Museum.

 

Bombing by the IRA

 

Parts of Selfridges were damaged in the Oxford Street bombing in 1974 committed by the Provisional Irish Republican Army. The IRA planted other bombs too - on 21 February 1976 inside the store, injuring five people; just outside the store on Oxford Street on 28 August 1975, injuring seven; and inside the store on 29 January 1977, setting the building ablaze and causing an injury.

 

The 2002 Restoration of Selfridges

 

While restoration work was carried out in 2002, the scaffold surround was used to carry the largest photographic artwork ever produced, 60 feet (18 m) tall by 900 feet (270 m) long and weighing two tons. Created by Sam Taylor-Wood, it showed a gathering of well-known pop and cultural figures of the time, including Sir Elton John.

 

In 2002, Selfridges was awarded the London Tourism Award for visitors' favourite London store. Selfridges was named world's best department store in 2010, and again in 2012. It claims to contain the UK's largest beauty department, and Europe's busiest doorway which siphons 250,000 people a week past the Louis Vuitton concession on to Oxford Street.

 

The Roof Terrace

 

The roof terrace reopened in July 2011, for a promotional event staged by Truvia as part of their UK launch.

 

In Summer 2012, Bompas & Parr designed an art installation themed as "The Big British Tea Party", which included a cake-themed 9-hole crazy golf course, accompanied by a Daylesford Organic sponsored tea house.

 

Selfridges' Windows

 

Selfridges' 27 Oxford Street windows have become synonymous with the brand, and to a certain degree have become as famous as the store and the Oxford Street location itself. The windows consistently attract tourists, designers and fashionistas alike to marvel at the current designs and styling and fashion trends.

 

Selfridges has a history of bold art initiatives when it comes to the window designs. When the building opened, Harry Selfridge initiated a "signature" window which was signed by all of the stars and famous people who came to shop at the store. This was cracked in the first bombing during the blitz, and was never restored.

 

Today, the visual merchandising team calculate that 20% of business-winning trade is from the windows. When Alannah Weston became Creative Director after the purchase by her family in 2003, she approached artist Alison Jackson to put her trademark Tony Blair and David Beckham lookalikes in the windows.

 

The resultant display brought traffic to a standstill, with the Metropolitan Police finally insisting they stop the project because it was clogging up Oxford Street.

 

Since 2002, the windows have been photographed by London photographer Andrew Meredith and published in magazines such as Vogue, Dwell, Icon, Frame Magazine, Creative Review, Hungarian Stylus Magazine, Design Week, Harper's Bazaar, New York Times, WGSN and much more including worldwide press, journals, blogs and published books all over the world.

 

Ownership of Selfridges

 

In 1951 the store was acquired by the Liverpool-based Lewis's chain of department stores, which was in turn taken over in 1965 by the Sears Group owned by Charles Clore. Expanded under the Sears group to include branches in Oxford, Manchester and Birmingham, in 2003 the chain was acquired by Canada's Galen Weston for £598 million.

 

Expansion of Selfridges

 

In 2011, the Weston family bought 388–396 Oxford Street, which is located immediately to the east of the Selfridges building across Duke Street, on which fashion chain French Connection has a lease until 2025.

 

In early 2012, Selfridges commissioned Italian architect Renzo Piano (responsible for London's The Shard skyscraper), to work on an extension to the 1909 department store. The project could feature a hotel as well as office space, or additional retail space.

 

In December 2012, Selfridges acquired the 100,000 square feet (9,300 m2) Nations House office building from Hermes, which is located immediately behind its Oxford Street store in Wigmore Street, for around £130m.

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.

     

This school is no longer used (to my knowledge) but isn't it beautiful!? I just love this place! Want to know the history? Check the comments section.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

Finally! A beautifully restored depot used now as a private residence. More people should see the potential in these places.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot). In the days to come you'll be seeing two more sets of Ingomar photos--because it has alot to offer for a photographer :)

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

The Karl-Marx-Allee is a monumental socialist boulevard built by the GDR between 1952 and 1960 in Berlin Friedrichshain and Mitte. Today the boulevard is named after Karl Marx.

 

The boulevard was named Stalinallee between 1949 and 1961 (previously Große Frankfurter Straße), and was a flagship building project of East Germany's reconstruction programme after World War II. It was designed by the architects Hermann Henselmann, Hartmann, Hopp, Leucht, Paulick and Souradny to contain spacious and luxurious apartments for plain workers, as well as shops, restaurants, cafés, a tourist hotel and an enormous cinema (the International).

 

The avenue, which is 89 m wide and nearly 2 km long, is lined with monumental eight-storey buildings designed in the wedding-cake style, the socialist classicism of the Soviet Union. At each end are dual towers at Frankfurter Tor and Strausberger Platz designed by Hermann Henselmann. The buildings differ in the revetments of the facades which contain often equally, traditional Berlin motifs by Karl Friedrich Schinkel. Most of the buildings are covered by architectural ceramics.

 

On June 17, 1953 the Stalinallee became the focus of a worker uprising which endangered the young state's existence. Builders and construction workers demonstrated against the communist government, leading to a national uprising. The rebellion was quashed with Soviet tanks and troops, resulting in the loss of at least 125 lives.

 

Later the street was used for East Germany's annual May Day parade, featuring thousands of soldiers along with tanks and other military vehicles to showcase the power and the glory of the communist government.

 

De-Stalinization led to the renaming of the street, after the founder of Marxism, in late 1961. Since the collapse of Eastern European communism in 1989/1990, renaming the street back to its prewar name Große Frankfurter Straße has periodically been discussed, so far without conclusive results.

 

The boulevard later found favour with postmodernists, with Philip Johnson describing it as 'true city planning on the grand scale', while Aldo Rossi called it 'Europe's last great street.' Since German reunification most of the buildings, including the two towers, have been restored.

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.

     

Just one of many decaying homes in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

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.

 

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

 

The church dates from the 14th century. The spire, nicknamed Lullington Spud,[2] was rebuilt in 1776.

 

It was restored between 1861 and 1862 under the supervision of the architect John West Hugall and the contractor Elliott and Lilley. The main addition was a new south aisle. The gallery which blocked the tower was removed, and the tower arch opened up. The seating in the nave and choir stalls were renewed. The floor was laid with Minton tiles, with those in the sanctuary containing evangelistic symbols. A reredos was made from the alabaster slab which formed the old altar, and was inlaid with a centre cross of Rouge royal marble and Derbyshire Blue John, and four smaller Maltese crosses. The font was made of a bowl of Devonshire granite supported on five shafts of St Mary Church Torquay marble, raised on three steps of Mansfield stone. The restoration work cost £2,000 (equivalent to £235,735 in 2023)[3] and the church reopened on 23 September 1862.[4]

 

en.wikipedia.org/wiki/All_Saints%27_Church,_Lullington

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.

 

An old boxcar in the center of Ingomar is starting to crumple...

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

Just one of many decaying homes in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

lots of people, signs, and peaceful marching in the evenings; residual signs during the day too.

 

Elected-official, militarized narratives of power and domination and quashing protests are exactly the problem, y'all.

Just found a cool new site for Serials, if your as hooked on the cliffhangers as much as I am. This site may be worth looking at. It’s called Creepy Classics, here’s a link to the serial. They have lots more things to look at on the home page. Enjoy !

The Green Hornet 1940

www.creepyclassics.com/product.sc?productId=4275&cate...

The Green Hornet Strikes Again 1941

www.creepyclassics.com/product.sc?productId=4274&cate...

 

THE GREEN HORNET STRIKES AGAIN. Directed by Ford Beebe and John Rawlins. Warren Hull is handsome and stalwart as The Green Hornet (newspaper owner Britt Reid) in this second chapter-play based on the exploits of the radio crime fighter [who later had his own comic book adventures as well as a TV series]. As in the first serial, The Hornet and his partner Kato (Keye Luke) are busy quashing the anti-social activities of a ruthless syndicate, such as a phony lottery that exploits the poor. Other characters include the lovably gruff Irish reporter Michael Axford (Wade Botelier) and his teasing associate Lowry (Eddie Acuff), Reid's pretty and admiring secretary Lenore (Anne Nagel), and Grogan (Pierre Watkins), who is the low-key but slithery leader of the racketeers. At one point the gangsters hit upon the idea of forcing a wealthy woman to sign checks over to them while a female crony awaits a call from the bank. There's an interesting segment in which ownership of some oil wells depends upon the date of a contract which has been doctored. The Hornet still drives his souped-up sedan and uses his gas gun to put adversaries to sleep. One sequence shows a helpless worker in a plant with terrible safety conditions falling to his death in a smelter; Hull doesn't have much of an emotional reaction to this but one could say that the Hornet was inured to violent death, even of innocents. One of the best cliffhangers shows a car with the struggling Hornet inside rushing onto a bridge that is rapidly rising high up into the air. Using Flight of the Bumblebee as the theme music is one thing, but the serial is also full of snatches of semi-classical music that are inappropriate and only distract from the action. Foranti, the head of a crooked association, is essayed by Jay Michael, an actor who has a colorful and unusual style of playing. Not top-notch, perhaps, but all in all a credible and entertaining serial.

Working to capitalize on their huge success with the Green Hornet serial of 1940, Universal Studios put into production this follow-up serial continuing the masked crusade of wealthy newspaper publisher, crime vigilante Britt Reid/The Green Hornet and his Filipino valet, Kato. Warren Hull took the reigns as the Hornet in this 15 episode chapter play and Keye Luke returns as Kato. The story of the Green Hornet debuted on radio in 1936 and continued until 1952. Other than radio and the two serials released in 1940 and 1941, there were comic books and a television series in the 1960s as well as a feature film version made just last year based on the character!

Created by Fran Striker, who also brought the Lone Ranger to life, the Green Hornet was first heard over Detroit's WXYZ radio station on January 31, 1936, and became an instant sensation. By day Britt Reid, crusading publisher of the Daily Sentinel and great-nephew of the Lone Ranger himself; by night the Green Hornet and his aide Kato fought gangsters and racketeers, all the while pursued by the police who mistakenly thought the Hornet to be as great a menace as the criminals he battled. The Hornet first appeared on movie screens in 1940, with this follow-up produced quickly thereafter. Starring Warren Hull as the Verdant Avenger and Keye Luke as his black-clad assistant, this serial is a fast-paced gem, as the Hornet and Kato battle racket after racket, leading up to a climactic encounter with archcrook Crogan (Pierre Watkins).

Warren Hull’s only non-Columbia serial was The Green Hornet Strikes Again (Universal, 1940). Gordon Jones had starred in the first Green Hornet serial the preceding year, but Hull’s popularity as the dual-identity hero of The Spider’s Web apparently made Universal anxious to enlist him for the similar Green Hornet role. Like the Spider, the Green Hornet was a lone-wolf crimefighter hunted by the police, and, again like the Spider, was secretly a well-respected member of society–Britt Reid, editor of the Daily Sentinel. In the serial, Hull as Reid tackled a city-wide crime syndicate in print (as Sentinel editor) and in person (as the Green Hornet) with the help of his Oriental valet Kato (Keye Luke). The Green Hornet Strikes Again was a good sequel to a good original, and Hull stepped into the Green Hornet part with ease, talking in two differing voices to distinguish between Reid and the Hornet. His slickness was well-suited to sequences that featured Reid quizzing evasive syndicate front men, and he became believably tough and menacing when intimidating gangster in his Green Hornet guise.

 

Weird, or weird? I just heard he was handed a second life sentence for murder.

And here he is all smiley faced and everything.

French prisons must be rather cushy for international terrorists these days.

 

By the way, if you want to visit him, here's his address:

22 Rue de l'Abbaye Clairvaux,

10310 Ville-sous-la-Ferté,

France

 

***

News story from The Guardian

Carlos the Jackal receives second life sentence

 

French court sentenced the Venezuelan-born terrorist after finding him guilty of organising terrorist attacks in the 80s

by Kim Willsher, in Paris

The Guardian, Thursday 15 December 2011

 

A French court gave a second sentence of life imprisonment late on Thursday night to the Venezuelan-born terrorist Ilich Ramírez Sánchez, better known as Carlos the Jackal, after finding him guilty of organising terrorist attacks in France.

 

Just before midnight on December 16, the specially convened panel of judges at the Palais de Justice declared that the 62-year-old, was the mastermind behind four 1980s bombings in France that killed 11 people and wounded more than 100.

 

Right to the end of the six-week trial, Ramírez – a familiar figure at the height of his notoriety in the 1970s with his trademark black sunglasses – remained defiant and appeared to mock the court.

 

Asked if he had one last thing to say in his defence on Thursday afternoon, he proceeded to talk for more than five hours. He described himself as a "living martyr" and defended his innocence.

 

Ramírez's rambling diatribes covered an eclectic range of subjects, including fallen comrades, the Zionist state, Soviet passports, French judges, hashish and the death penalty. During the trial, he frequently gave the raised-fist salute – the international revolutionary gesture – to members of the audience or waved and blew kisses.

 

He praised the former Romanian dictator Nicolae Ceausescu for "wiping out his country's debt", read a tearful tribute to Muammar Gaddafi, and described Osama bin Laden as a "great man".

 

Once the world's most wanted men, Ramírez, who had dubbed himself an "elite gunman", has been in prison in France since 1994 after French secret agents snatched him from Sudan. He was given his first sentence of life imprisonment in December 1997 after being found guilty of the 1975 murder of two French policemen and an informant.

 

This latest trial was an anachronism, taking the courtroom at Paris' Palais de Justice back to the days when Carlos and his band of Marxist revolutionary brothers waged war on "capitalist imperialism".

 

Ramírez was standing trial for a bomb attack on a Paris-Toulouse train in March 1982 that killed five people and wounded 77 more. The following month a car bomb exploded in front of the offices of the El Watan al Arabi newspaper, killing one person and wounding 63. A total of 145 people were injured in the attacks. In December 1983 he was found guilty in his absence.

 

Before the judges retired to consider their verdict in the latest trial, Ramírez fired one last shot.

 

"You are independent and the decision you're about to take, you will be, each one of you, personally responsible for it," he said, reading from a spiral notebook. "I am a living archive. Most of the people of my level are dead … Excuse me, I am taking my time, it's a small recapitulation … I am talkative. Revolutionaries tend to be."

 

In interviews given from his cell just before appearing in court, Ramírez boasted of killing up to 2,000 people. He described his victims as people who had "found themselves in the wrong place at the wrong time".

 

However, in the hearing he staunchly refused to admit any part in any terrorist attack in the 1970s and 80s, but said he had been a "cold-blooded" fighter.

 

"I am emotional, but in a battle I have an unimaginable sangfroid. That's my nature," he told the court.

 

At one point, the court was read a letter from Hugo Chávez addressed to "citizen Ilich Ramírez Sánchez" and described as a missive of support.

 

The court heard that Ramírez arrived in London in 1971, after taking part in Black September in Jordan, when King Hussein ordered the army to quash Palestinian groups in the country. This led to the death of thousands and the expulsion of the Palestine Liberation Organisation to Lebanon.

 

Talking about his "comrades" who died in the conflict, the elderly revolutionary abandoned his arrogant mocking and unexpectedly burst into tears.

 

"Most of my comrades are dead and I am partly to blame," he muttered. "All those people dead, killed like dogs … there were civilians … and my comrades, sacrificed for the cause."

 

Although responsible for operations in the British Isles and Ireland as a commander in the Front Populaire de Libération de la Palestine, he claimed: "We didn't do anything [in the UK], we didn't have the means", before contradicting himself and saying he had carried out "a hundred operations" between 1971 and 1976, when he resigned from the FPLP. He refused to give details of these operations.

 

In 1976, Ramírez created the Organisation of International Revolutionaries, whose objective was "to mobilise revolutionaries at a world level for the liberation of Palestine and against the imperialist, Zionist forces wherever they were".

 

Asked why it did not appear to have carried out a single military operation, Carlos admitted members "would meet in the Sorbonne café to talk and smoke hash".

 

One of the lawyers representing him was Isabelle Coutant-Peyre, the woman he "married" in an unofficial Islamic ceremony in prison in 2001.

 

Three others defendants were tried in absentia. The court convicted two of Ramírez's accomplices, Palestinian Kamal al-Issawi and German Johannes Weinrich, giving them life sentences, and acquitted a third, Christa-Margot Fröhlich.

 

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.

     

SPECIAL COURT FOR SIERRA LEONE

TRIAL CHAMBER II

Before: Justice Richard Lussick, Presiding Judge

Justice Teresa Doherty

Justice Julia Sebutinde

Justice El Hadji Malick Sow, Alternate Judge

Registrar:

Binta Mansaray

Case No.: SCSL-03-1-T

Date: 26 April 2011

PROSECUTOR

v.

Charles Ghankay TAYLOR

JUDGEMENT SUMMARY

Office of the Prosecutor: Defence Counsel for Charles G. Taylor:

Brenda J. Hollis

Nicholas Koumjian

Mohamed Bangura

Kathryn Howarth

Leigh Lawrie

Ruth Mary Hackler

Ula Nathai-Lutchman

Nathan Quick

Maja Dimitrova

James Pace

Courtenay Griffiths, Q.C.

Terry Munyard

Morris Anyah

Silas Chekera

James Supuwood

Logan Hambrick

2

SUMMARY JUDGEMENT

PROSECUTOR V. CHARLES GHANKAY TAYLOR

1. Trial Chamber II, composed of Justice Richard Lussick, presiding, Justice Teresa

Doherty, Justice Julia Sebutinde, with alternate judge Justice El Hadji Malick Sow, today

delivers its Judgement in the case of the Prosecutor v. Charles Ghankay Taylor. For the

purposes of this hearing, the Chamber will briefly summarise its findings. This is a

summary only. The written Judgement, which is the only authoritative version, will be

made available subsequently.

Introduction

2. Charles Ghankay Taylor was elected President of Liberia and took office on 2

August 1997. On 4 June 2003, his Indictment by the Special Court and Warrant of Arrest

were unsealed, and on 11 August 2003 he stepped down from the Presidency and went

into exile in Nigeria. In 2003, the Accused applied to the Special Court to quash his

Indictment and set aside the warrant for his arrest on the grounds that he was immune

from any exercise of the jurisdiction of this Court by virtue of the fact that at the time the

Indictment and Warrant of Arrest were issued he was a sitting Head of State. This

application was denied by the Trial Chamber, and its decision was upheld by the Appeals

Chamber on 31 May 2004, on the ground that the sovereign equality of states does not

prevent a Head of State from being prosecuted before an international criminal tribunal or

court. Accordingly, the Appeals Chamber held that the official position of Charles Taylor

as an incumbent Head of State at the time when these criminal proceedings were initiated

against him was not a bar to his prosecution by this Court. On 29 March 2006, the

Accused was arrested in Nigeria by Nigerian authorities, following a request by Liberian

President Johnson-Sirleaf that he be surrendered to the Special Court pursuant to the

Warrant of Arrest. Shortly thereafter he was transferred into the custody of the Special

Court in Freetown, Sierra Leone, and was formally arraigned on 3 April 2006, when he

pleaded not guilty to all counts in the Indictment. Because of security concerns, the

Accused was transferred to The Hague on 20 June 2006.

3

3. The armed conflict in Sierra Leone started in March 1991 when armed fighters

known as the Revolutionary United Front (RUF), led by Foday Sankoh, attacked Sierra

Leone from Liberia. The RUF continued their insurgency against the Government despite

the Abidjan Peace Accord in November 1996. In a coup on 25 May 1997, members of the

Sierra Leone Army overthrew the democratically elected Government of Ahmad Tejan

Kabbah and invited the RUF to join its Junta Government, called the Armed Forces

Revolutionary Council (AFRC).

4. As leader of the NPFL (National Patriotic Front of Liberia) and later as President

of Liberia, the Accused is alleged to have acted in concert with members of the RUF

(Revolutionary United Front), AFRC (Armed Forces Revolutionary Council),

AFRC/RUF Junta or alliance and/or Liberian fighters, including members and exmembers

of the NPFL (Liberian fighters). Specifically, in that capacity, the Accused is

alleged to have assisted, encouraged, directed and/or controlled the above mentioned

warring factions in conducting armed attacks in the territory of Sierra Leone from 30

November 1996 to 18 January 2002 (the Indictment period). The attacks included

terrorizing the civilian population including burning of civilian homes, murder, sexual

violence, physical violence, illegal recruitment of child soldiers, abduction and forced

labour, and looting.

Procedural Background

5. The Prosecution case commenced on 4 June 2007 and closed on 27 February

2009. During the Defence case, the Prosecution was granted leave to re-open its case to

call three additional witnesses who testified on 5, 9 and 10 August 2010. In sum, 94

witnesses testified for the Prosecution, including three expert witnesses. A total of 782

Prosecution exhibits were admitted into evidence including five expert reports.

6. The Defence opened its case on 13 July 2009 and closed on 12 November 2010,

having called 21 witnesses, including the Accused, who testified for seven months, from

14 July 2009 until 18 February 2010. A total of 740 Defence exhibits were admitted into

evidence.

4

7. Prosecution closing arguments were heard on 8 and 9 February 2011. Defence

closing arguments were heard on 9 and 10 March 2011. Oral responses by both parties

were heard on 11 March 2011.

8. After 420 trial days over the course of three years and ten months, the case was

formally closed on 11 March 2011. A total of 115 witnesses testified, 1,522 exhibits

were admitted into evidence, 49,622 pages of trial records were transcribed and 281

written interlocutory decisions were issued by the Trial Chamber.

Summary of the Charges

9. The Accused is charged with 11 Counts under the Indictment. Five of these

counts charge the Accused with crimes against humanity punishable under Article 2 of

the Statute, in particular: murder (Count 2), rape (Count 4), sexual slavery (Count 5),

other inhumane acts (Count 8) and enslavement (Count 10). Five additional counts

charge the Accused with violations of Article 3 Common to the Geneva Conventions and

of Additional Protocol II, punishable under Article 3 of the Statute, in particular: acts of

terrorism (Count 1), violence to life, health and physical or mental well-being of persons,

in particular murder (Count 3); outrages upon personal dignity (Count 6); violence to life,

health and physical or mental well-being of persons, in particular cruel treatment (Count

7); and pillage (Count 11). The remaining count charges the Accused with conscripting or

enlisting children under the age of 15 years into armed forces or groups, or using them to

participate actively in hostilities (Count 9), a serious violation of international

humanitarian law punishable under Article 4 of the Statute.

10. The Indictment charges that the Accused is individually criminally responsible,

under Article 6(1) and 6(3) of the Statute, for the crimes referred to above.

11. The Accused pleaded not guilty to each of the counts charged in the Indictment.

Summary of the Defence Case

12. The Defence accepts that crimes against humanity and war crimes were

committed during the Indictment period in the course of the armed conflict in Sierra

5

Leone, but denies that the Accused is responsible. The Defence submits that the burden

of proof is upon the Prosecution to prove beyond reasonable doubt (i) that the crimes

were actually committed; (ii) that the crimes fulfil all the legal elements of Articles 2, 3

and 4 of the Statute; and (iii) that there is a nexus between the alleged crimes and the

Accused.

13. As part of its case, the Defence maintained that the Accused, through his

diplomatic efforts, played a substantial role in fostering peace and security in Sierra

Leone, that his contribution to the peace process was significant, and that his prosecution

has from the outset been “selective and vindictive in nature…on the basis of political

motives and interests.” The Defence also challenged the credibility of the Prosecution

evidence. The Trial Chamber has considered a number of preliminary issues in its

written Judgement, including the issue of selective prosecution and a number of fair trial

issues raised by the Defence. With regard to the issue of selective prosecution, the Trial

Chamber finds that the Accused was not singled out for selective prosecution.

Summary of Findings on Crimes Committed

14. The Trial Chamber finds that the Chapeau Requirements in respect of the crimes

against humanity, violations of article 3 common to the Geneva Conventions and of

Additional Protocol II and other serious violations of international humanitarian law

charged in the Indictment, have been proved by the Prosecution beyond reasonable doubt.

15. The Trial Chamber has examined the evidence presented in relation to the crimes

that members of the RUF, AFRC, the AFRC/RUF Junta or alliance, and/or Liberian

fighters allegedly committed in Sierra Leone between 30 November 1996 and about 18

January 2002. The Trial Chamber finds that the crimes charged in Counts 1 to 11 were

committed. The findings on each of these crimes will be summarized in turn.

6

MURDER, a Crime Against Humanity, punishable under Article 2.a. of the Statute.

(Count 2) and/or

VIOLENCE to Life, Health and Physical or Mental Well-Being of Persons, in

particular MURDER, a Violation of Article 3 Common to the Geneva Conventions and

of Additional Protocol II , punishable under Article 3.a. of the Statute (Count 3)

16. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance, and/or Liberian fighters,

murdered civilians in various locations in the following districts of Sierra Leone:

17. In Kenema District between about 25 May 1997 and about 31 March 1998.

18. In Kono District between about 1 February 1998 and about 31 January 2000.

19. In Freetown and the Western Area between about 21 December 1998 and 28

February 1999.

20. In Kailahun District between about 1 February 1998 and about 30 June 1998.

RAPE, a Crime Against Humanity, punishable under Article 2.g. of the Statute

(Count 4)

21. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance, and Liberian fighters

committed widespread acts of rape against women and girls in various locations in the

following districts of Sierra Leone:

22. In Kono District between about 1 February and about 31 December 1998.

23. In Freetown and the Western Area between about 21 December 1998 and about28 February 1999.

6

24. In Kailahun District in 1998 and 1999 women and girls were raped in various

locations which were not charged in the Indictment. The Trial Chamber makes no finding

of guilt for these crimes for reasons fully set out in the written judgement.

SEXUAL SLAVERY, a Crime Against Humanity, punishable under Article 2.g. of the

Statute (Count 5)

25. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that between about 30 November 1996 and about 18 January 2002, members of the RUF,

AFRC, AFRC/RUF Junta or alliance and Liberian fighters committed widespread acts of

sexual slavery against civilian women and girls in Sierra Leone in various locations in the

following districts of Sierra Leone:

26. In Kono District between about 1 February 1998 and about 31 December 1998.

27. In Kailahun District in 1998 and 1999.

28. In Freetown and the Western Area between about 21 December 1998 and about

28 February 1999.

OUTRAGES UPON PERSONAL DIGNITY, a Violation of Article 3 Common to the

Geneva Conventions and of Additional Protocol II, punishable under Article 3.e. of the

Statute (Count 6).

29. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance and Liberian fighters

committed widespread acts of outrages upon the personal dignity of civilian women and

girls by acts such as forcing them to undress in public and by raping them and

committing other acts of sexual abuse sometimes in full view of the public, and in full

view of family members, in various locations in the following districts of Sierra Leone:

8

30. In Kono District between about 1 February 1998 and about 31 December 1998;

31. In Freetown and the Western Area between about 21 December 1998 and about

28 February 1999;

32. In Kailahun District in 1998 and 1999 outrages upon personal dignity were

committed against women and girls in various locations not charged in the Indictment.

The Trial Chamber makes no finding of guilt for these crimes for reasons fully set out in

the written judgement.

VIOLENCE to life, health and physical or mental well-being of persons, in particular

CRUEL TREATMENT, a Violation of Article 3 Common to the Geneva Conventions

and of Additional Protocol II, punishable under Article 3.a. of the Statute (Count 7);

and/or

OTHER INHUMANE ACTS, a Crime Against Humanity, punishable under Article

2.i. of the Statute (Count 8)

33. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance, and Liberian fighters

committed widespread acts of physical violence against civilians in various locations in

the following districts of Sierra Leone:

34. In Kono District between about 1 February 1998 and about 31 December 1998,

civilians were forced to endure cruel treatment including having words carved into their

bodies, and amputations of limbs.

35. In Kailahun District, crimes of physical violence were committed not charged in

the Indictment. The Trial Chamber makes no findings of guilt for these crimes for

reasons fully set out in the written judgement.

36. In Freetown and the Western Area between about 21 December 1998 and about

28 February 1999 civilians were subjected to cruel treatment, including the amputations

of limbs.

9

CONSCRIPTING OR ENLISTING CHILD SOLDIERS INTO THE ARMED

FORCES OR USING THEM IN HOSTILITIES, and Other Serious Violations of

International Humanitarian Law, punishable under Article 4.c. of the Statute (Count

9)

37. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that between about 30 November 1996 and about 18 January 2002, members of the RUF,

AFRC, AFRC/RUF Junta or alliance and Liberian fighters conscripted and enlisted

children under the age of 15 into their armed groups and used them to participate actively

in the hostilities in the following districts of Sierra Leone:

38. In Tonkolili District, children under the age of 15 were abducted and conscripted

into the RUF at Kangari Hills from early 1996 until May 1997. Between 500 and 1000

children had “RUF” carved into their forehead or back to prevent escape.

39. In Kailahun District, children under the age of 15 were conscripted into the RUF

throughout 1998 and 1999, and underwent military training at Bunumbu training base,

also known as “Camp Lion”, and at Buedu Field.

40. In Kono District during the Indictment period, children under the age of 15 were

conscripted into the RUF and AFRC at various locations and were used to participate

actively in hostilities and to amputate limbs, guard diamond mines, go on food-finding

missions, as bodyguards, to man checkpoints and in armed combat.

41. In Bombali District, children under the age of 15 were conscripted into the RUF

and AFRC between 1998 and 2000, underwent military training at various locations and

participated actively in hostilities.

42. In Port Loko District between January 1999 and April/May 1999, a child under

the age of 15 was abducted, conscripted into the AFRC and used for active participation

in hostilities in Masiaka.

43. In Kenema District during the Junta period, children under the age of 15 were

used as armed guards for mining sites.

10

44. In Koinadugu District between March and May 1998, children under the age of 15

were used to participate actively in hostilities and at least one child under the age of 15

was used to fight against the Kamajors.

45. In Freetown and the Western Area, children under the age of 15 were used to

participate actively in hostilities in Benguema from the end of January until March 1999

and during the Freetown attack in January 1999.

ENSLAVEMENT, a Crime Against Humanity, punishable under Article 2.c. of the

Statute (Count 10)

46. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that between 30 November 1996 and about 18 January 2002, members of the RUF,

AFRC, AFRC/RUF Junta or alliance and Liberian fighters intentionally exercised powers

of ownership over civilians by depriving them of their freedom and forcing them to work,

thus committing the crime of enslavement in various locations in the following districts

of Sierra Leone:

47. In Kenema District between about 1 July 1997 and about 28 February 1998,

civilians were abducted and forced to mine for diamonds.

48. In Kono District throughout 1998 and 1999, civilians were abducted and used as

forced labour to carry loads, perform domestic chores, go on food-finding missions,

undergo military training, and work in diamond mines.

49. In Kailahun District between 30 November 1996 and July 2000 civilians were

abducted and used as forced labour to carry loads, collect arms and ammunition,

construct the Buedu airstrip, undergo military training, farm, fish, perform domestic

chores and go on food-finding missions.

50. In Freetown and the Western Area between about 21 December 1998 and about

28 February 1999, civilians were abducted and used as forced labour to carry loads,

perform domestic chores and destroy a bridge.

11

PILLAGE, a Violation of Article 3 Common to the Geneva Conventions and of

Additional Protocol II, punishable under Article 3.f. of the Statute (Count 11)

51. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance, and Liberian fighters,

engaged in widespread and unlawful taking of civilian property in various locations in the

following districts of Sierra Leone:

52. In Kono District, between about 1 February 1998 and about 31 December 1998,

civilian goods were looted, money and diamonds were looted from a bank and, as part of

‘Operation Pay Yourself’, civilian homes and shops were looted.

53. In Bombali District, numerous instances of looting of civilian property occurred

between 1 February 1998 and 30 April 1998. Money from a bank was also looted.

54. In Port Loko District between 1 February 1998 and 30 April 1998 there were

numerous instances of looting of civilian property as part of Operation Pay Yourself.

55. In Freetown and the Western Area between about 21 December 1998 and about

28 February 1999, widespread looting of civilian property from residences and businesses

occurred.

ACTS OF TERRORISM, a Violation of Article 3 Common to the Geneva

Conventions and of Additional Protocol II, punishable under Article 3.d. of the Statute

( Count 1)

56. The Trial Chamber finds that the Prosecution has proved beyond reasonable doubt

that members of the RUF, AFRC, AFRC/RUF Junta or alliance, and Liberian fighters

committed acts of terrorism by committing the crimes described in counts 2 to 8 as part

of a campaign to terrorize the civilian population of Sierra Leone.

57. There was evidence in the crimes described in counts 2 to 8 of public executions

and amputations; people were beheaded and their heads displayed at checkpoints; during

12

“Operation No Living Thing,” during the Junta Period in Kenema Town, a civilian was

killed in full public view and then his body was disembowelled and his intestines

stretched across the road to make a “checkpoint”; women and girls were raped in public;

people were burned alive in their homes. The Trial Chamber finds beyond reasonable

doubt that the purpose of these atrocities charged in counts 2 to 8 was to instil terror in

the civilian population.

58. However, some acts of violence, even when committed in a campaign whose

primary purpose was to terrorise the civilian population, may not have been committed in

furtherance of such a campaign. The Trial Chamber finds that this is the case with the

acts of violence underlying the crimes of Child Soldiers (Count 9), Enslavement (Count

10), and Pillage (Count 11). The Trial Chamber therefore finds that the crime of acts of

terrorism has not been established for these counts.

59. The Trial Chamber also finds that the Prosecution has proved beyond reasonable

doubt that acts of terrorism were committed by the widespread burning of civilian

property with the primary purpose of terrorizing the civilian population in various

locations in Kono District between about 1 February 1998 and about 31 December 1998,

and in various locations in Freetown and Western Area between about 21 December 1998

and February 1999.

Summary of Findings on the Role of the Accused

60. The Trial Chamber will now summarize its factual findings on the role of the

Accused.

The Role of the Accused before 1996.

61. The Trial Chamber has considered evidence prior to the Indictment period only

for the purposes of clarifying the context, or establishing by inference the elements of

criminal conduct that occurred during the material period, or demonstrating a consistent

pattern of conduct.

13

62. Evidence before the Trial Chamber establishes the following. At the end of the

1980s, a number of West African revolutionaries were trained in Libya, including Charles

Taylor from Liberia, Ali Kabbah and Foday Sankoh from Sierra Leone and Kukoi Samba

Sanyang (a.k.a. Dr. Manneh) from the Gambia. The Accused met Sankoh in Libya,

although the exact circumstances of their meeting are not known. Contrary to the

Prosecution’s submissions, the evidence did not establish that prior to 1996, Taylor,

Sankoh and Dr. Manneh participated in any common plan involving the crimes alleged in

the Indictment, nor in fact, that the three men even met together. Furthermore, the

evidence was that during the pre-indictment period Sankoh operated independently of the

Accused, and that while he relied at times on Taylor’s guidance and support, Sankoh did

not take orders from the Accused.

63. During the pre-Indictment period the Accused provided the RUF with a training

camp in Liberia, instructors, recruits and material support, including food and other

supplies. However, again contrary to the Prosecution’s submissions, the evidence did not

establish that the RUF were under the superior authority of the Accused or the NPFL

chain of command, or that they were instructed in NPFL terror tactics.

64. The Accused supported the invasion of Sierra Leone in March 1991. NPFL troops

actively participated in the invasion, but the Prosecution failed to prove that the Accused

participated in the planning of the invasion. The Prosecution also failed to prove that the

support of the Accused for the invasion of Sierra Leone was undertaken pursuant to a

common purpose to terrorize the civilian population of Sierra Leone. Rather, the evidence

shows that the Accused and Sankoh had a common interest in fighting common enemies,

namely ULIMO, a Liberian insurgency group in Sierra Leone, and the Sierra Leonean

Government forces, which supported ULIMO.

65. The Accused withdrew his NPFL troops from Sierra Leone after the fallout

between NPFL and RUF troops in 1992, culminating in Operations Top 20, Top 40, and

Top Final. While the Defence maintains that the Accused had no further contact or

cooperation with Sankoh, the leader of the RUF, after 1992 following Top Final, the Trial

Chamber finds otherwise. Although the Liberia-Sierra Leone border was ‘closed’ by

14

ULIMO and the Sierra Leone government forces, it remained porous, enabling the flow

of arms, ammunition and other supplies from Liberia into Sierra Leone during the

remainder of the pre-Indictment period. For example, there was evidence that the

Accused provided arms and ammunition to Sankoh for an attack on Kono in November

1992, and he advised Sankoh prior to and following the attack on Sierra Rutile. The

Accused also asked Sankoh to send troops in 1993 to help him fight ULIMO.

The Role of the Accused during the Indictment Period

Military Operations

66. In February 1998, ECOMOG forces intervened in Sierra Leone and expelled the

RUF/AFRC Junta from Freetown, reinstating Tejan Kabbah’s SLPP Government to

power in March 1998. Although ECOMOG initially forced RUF and AFRC forces to

withdraw from Kono, under the orders of AFRC leader Johnny Paul Koroma, these

forces managed to recapture Koidu Town in late February-early March 1998. A few

weeks later, ECOMOG forces regained control of Koidu Town. In mid-June 1998, forces

under the ultimate direction of Sam Bockarie, who had by then assumed leadership of the

renegade RUF/AFRC Junta forces, made another attempt to re-take Koidu Town, codenamed

Operation Fitti-Fatta. The Fitti-Fatta attack was unsuccessful, and in late

November-early December 1998, after a trip by Bockarie to Liberia where he met with

the Accused, a meeting was held at Waterworks in which Bockarie ordered RUF/AFRC

troops under his command to carry out a two pronged attack on Kono and Kenema, with

Freetown as the ultimate target. The attacks on Kenema and Kono were launched in mid-

December 1998. While the former was unsuccessful, the latter attack succeeded, and the

RUF/AFRC troops continued towards Freetown. On 6 January 1999, a group of

predominantly AFRC troops led by Alex Tamba Brima (a.k.a. Gullit) launched an assault

on Freetown.

67. The Trial Chamber will now summarize its findings on the assistance provided by

the Accused in these military operations.

68. From the time of the ECOMOG Intervention, the Accused and his subordinates

communicated to the AFRC/RUF forces the imperative to maintain control over Kono, a

15

diamondiferous area. When the AFRC/RUF forces were pulling out of Kono during the

Intervention, the radio station of Benjamin Yeaten, Director of the Accused’s Special

Security Service, intercepted a radio transmission between AFRC/RUF radio stations

about the withdrawal and intervened to ask why the forces were withdrawing. Then, in

several satellite phone conversations with Johnny Paul Koroma, who was trying to make

arrangements to get to Liberia by helicopter, the Accused told Koroma to capture Kono.

After a first failed attempt, the Accused gave instructions for a second attack, which led

to the ultimate recapture of Koidu Town in Kono District in late February-early March

1998. Once Kono had been recaptured, the Accused told Bockarie to be sure to maintain

control of Kono for the purpose of trading diamonds with him for arms and ammunition.

69. The Accused advised Bockarie to recapture Kono following its loss to

ECOMOG, again so that the diamonds there could be used to purchase arms and

ammunition. Such advice was transmitted to RUF commanders both through Bockarie

and Liberian emissaries Daniel Tamba (a.k.a Jungle) and/or Ibrahim Bah and resulted in

the Fitti-Fatta attack in mid-June 1998.

70. In addition to urging the RUF and AFRC to capture and hold Kono, the

Accused supplied arms and ammunition for the operations in the Kono District in early

1998 and for Operation Fitti-Fatta.

71. In November/December 1998, when Bockarie met with the Accused in

Monrovia, the Accused jointly designed with Bockarie the two-pronged attack on Kono,

Kenema and Freetown outlined by Bockarie to his commanders in a meeting at

Waterworks on his return to Sierra Leone. Although the idea to advance towards

Freetown was already in discussion when Bockarie went to Monrovia, the Accused

emphasised to Bockarie the need to first attack Kono District and told Bockarie to make

the operation “fearful” in order to pressure the Government of Sierra Leone into

negotiations on the release of Foday Sankoh from prison, as well as to use “all means” to

get to Freetown. Subsequently, Bockarie named the operation “Operation No Living

Thing,” implying that anything that stood in their way should be eliminated.

-----

(please, continue...)

This house fascinated me. I don't know weather it was the flowers in front or the vines all over the place.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

It's another outhouse--you know I'll find any one there is to be found! I love how overgrown this one is.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

The Birmingham Six were six Irish men who had been living in Birmingham since the 1960’s and were arbitrarily arrested in connection with the bombing of two pubs in Birmingham on the 21st November 1974, in which 21 people were killed and up to 200 injured.

 

While in custody, the six men ( Hugh Callaghan, Gerard Hunter, Richard McIlkenny, William Power, John Walker & Patrick Joseph Hill) were subjected to brutal interrogation and torture, from which false confessions were extracted. Unreliable testing for explosives (Griess test for nitrite ions in solution) was also used as evidence in court after which the six men were found guilty and imprisoned in May 1975. The first appeal took place during 1976 and in January 1988, the convictions were upheld which prompted an intense Free the Birmingham Six public campaign. Finally, after a third appeal at the Old Bailey courthouse, the Birmingham Six were freed and their convictions quashed on the 14th March 1991. No official responsibility was claimed for the Birmingham bombings but it was widely suspected that the Provisional IRA were involved.

 

.

References:

 

www.irishhistorian.com/People/PaddyHill.html

 

en.wikipedia.org/wiki/Birmingham_Six

 

.

Enamels: 4 (black, green, flesh-tone & gold).

Finish: Gilt & clear acrylic.

Material: Brass.

Fixer: Pin.

Size: 1” diameter (26mm).

Process: Die stamped.

Imprint: No maker’s name or mark.

 

.

Sold on 'adverts.ie' 3rd Oct 2017 for €13.00 + p&p

   

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.

     

Just one of many decaying homes in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.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.

 

SEPTEMBER 29, 2008, 4:56 P.M. ET

 

Bailout Bill Fails in House Vote Amid Defections in Both Parties

By GREG HITTArticle

 

WASHINGTON -- The House of Representatives delivered a stunning defeat to legislation designed to rescue the nation's troubled financial system, sweeping aside a call from President Bush to "send a strong signal" of confidence to markets at home and abroad.

View Slideshow

 

Associated Press

House Minority Whip Roy Blunt (R., Mo.) spoke to reporters after the House voted to defeat the financial bailout package.

The 228-205 vote Monday exposed deep unease among rank-and-file lawmakers in both parties with what would be an unprecedented intervention in the private sector. The vote came as turmoil in financial markets widened, prompting the Federal Reserve to inject new capital into credit markets and forcing the government-arranged sale of Wachovia Corp. to Citigroup.

Monday, the Dow Jones Industrial Average plummeted 777.68 points, its biggest one-day drop in history. It ended down 7% at 10365.45, down 9.3% since crisis erupted a few weeks ago on Wall Street following the meltdown of Lehman Brothers Holdings. All 30 of the blue-chip indicator's components fell Monday.

The Bush-backed package now faces an uncertain future, though party leaders on both sides of the aisle are sure to consider revising the initiative, which Mr. Bush said Monday is needed to "keep the crisis in our financial system from spreading throughout our economy."

After the vote, House Minority Leader John Boehner (R., Ohio) said there would be an effort to bring back another bill, with further changes. "We've got to find a true middle ground," he said. "We need everybody to calm down and relax and get back to work."

Lawmakers on both sides of the aisle suggested the legislation is not dead. House Speaker Nancy Pelosi (D., Calif.) said at a press conference that the "lines of communication" remain open between policymakers and that Congress needs to take another "bite at the apple" on the market rescue plan legislation.

"It is difficult for me to imagine we would leave the market to its own devices and fears until Friday," said Rep. Adam Putnam (R., Fla.), the third-highest ranking Republican in the House. "We're encouraging members to understand the consequences to doing nothing, but I think members have strong convictions about this bill."

Ahead of the vote, Republican and Democratic leaders closed ranks around the White House, in a display of bipartisanship that further underscored the challenges facing the nation.

Mr. Boehner -- who last week quash an agreement between other congressional leaders -- urged lawmakers in advance of the roll call to set aside "what's in the best interest of our party," to instead consider the interest of the nation. "These are the votes that separate the men from the boys, and the girls from the women," said Mr. Boehner, who choked up as he spoke. Mr. Boehner also made clear the vote was going to be close, saying it "is in serious doubt."

A Failed Bailout Vote

Vote Appears to Catch Bush by Surprise | Vote breakdownWash Wire: House Republicans Blame Pelosi's SpeechUndecided: For an Ohio Voter, Failure of Bailout Compounds UncertaintyVote: Should the House have approved the bailout plan? Vote: YES | NODeal Journal: Wall Street Works the Phones as Dow DropsEarlier: U.S. Seals Deal for Financial BailoutFull Text of the Draft Bill | SummaryAhead of the vote, Mr. Bush and Vice President Richard Cheney, along with Treasury Secretary Henry Paulson, joined in lobbying for the bill, telephoning wavering rank-and file Republicans. A wide range of business groups, including the National Federation of Independent Businesses and the Business Roundtable, also pressed lawmakers in an effort to shore up support.

The measure would give Treasury a $700 billion line of credit and wide authority to buy the toxic mortgages, securities and financial assets that are undermining market confidence and threatening to tilt the U.S. into recession.

Under the bill, the money would be released in installments, with $250 billion being made available to Treasury immediately, followed shortly by another $100 billion. The final installment would be released after the president submits a plan detailing use of the funds, and lawmakers are given 15 days to consider a resolution of disapproval. Alongside the basic bailout, the bill would require Treasury to establish an insurance-based program to buy up bad assets, under which participating institutions would be charged a premium and given access to a fund that would also be used to help finance bailout.

The Bush administration is hoping financial markets will stabilize, as bad assets are pulled under the government's wing. Under the legislation, troubled banks and investment firms would qualify for government assistance, as would pension plans, local governments, and small banks.

The measure was brought to the House floor after several days of sometimes testy negotiations, and a marathon series of talks over the weekend. The effort was spurred by Mr. Bush's surprise declaration more than 10 days ago that the financial architectural of the country was faltering, and in need of immediate repair.

For rank and file lawmakers, the vote forced upon them produced anger and soul-searching about the economic and political costs of the bailout, and a difficult choice: whether to safely vote no on an issue unpopular with voters or swing behind a measure the nation's top economic leaders insist is needed to avoid a recession.

And across the Capitol, there was an overwhelming sense that decisions made on the plan would be career defining. There is no extra courage to go around," said Rep. Jim Cooper (D., Tenn.).

Many lawmakers said they weren't willing to go out on a limb. Rep. Lynn Woolsey (D., Calif.) said there still were "major questions unanswered" about the need for bailout. She said Wall Street isn't being asked to pony up enough to fund the rescue, and voiced doubts about whether the Bush administration—which engineered a series of earlier market interventions, including the takeover of Fannie Mae and Freddie Mac – should be trusted this go-around.

"President Bush and Secretary Paulson have been wrong from the start about just about everything," she said.

Concern about the package was deepest among House Republicans, especially conservatives troubled with the cost and scope of the powers that would be granted Treasury. Negotiators tried to accommodate those concerns, adding in the insurance proposal, as a way to bring a more free-market patina to the bill.

But many Republicans still found the measure difficult to support. Rep. Jeb Hensarling (R., Texas) said he understands the "grave situation that every American will face should our credit markets freeze," but warned the bailout would fundamentally change the role of government in the economy. "I cannot in good conscience support this legislation," he said.

Write to Greg Hitt at greg.hitt@wsj.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.

 

The fateful night of 29th March 1943 was one of heavy rain, low cloud and icing. March 29th was on a Monday, as it is this year. The target was again Berlin. Tom Wingham who was in the crew of one of the other nine aircraft setting off for Berlin that night takes up the story:

 

Crew

Above: Five of the crew of Halifax 'G-George' which crashed into the West Green on 29th March 1943. From left to right: Sgt. Myles Squiers, Air Gunner; Flying Officer Douglas Harper, Navigator; Flight Sgt. Bill Comrie, Pilot; Sgt. Frank Dorrington, Wireless Operator; Pilot Officer William Jenkins, Bomb Aimer.

"We had visited Berlin two nights before and the word was that Butch Harris wanted one more crack at it before the lighter evenings made it too difficult. The weather forecast was appalling and unofficially our two Met Officers at Pocklington were backing a'scrub'. At the original time of take-off, I think about 7.00pm, a postponement came through since there was an occlusion running North to South right through the Yorkshire and Lincolnshire bases. At the time it was pouring with rain with cloud up to 16,000 feet. The occlusion was moving more slowly than forecast and a further postponement was made as the new take-off time drew near, which is why we were taking off so late for a trip to Berlin. Having hung about the messes for nearly three hours await-ing a decision no one really believed that we were going to face this weather and a great deal of

 

GeorgeHolden

Wing commander George Holden, DFC

 

He had been the 102 Squadren Commander since October 1942. It was he who flew the 'G-George' to Berlin two nights before it crashed into the West Green on it's way to the same target.

 

incredulity was expressed when we finally found ourselves committed. One of the few nights I can remember when Butch Harris's parentage was in doubt!"

10 aircraft finally took off from Pocklington after the two postponements. The first took off at 9.45pm and the last at 10.06pm. They were to take a northern route across the Baltic. Tom Wingham's aircraft 'Q-Queenie' piloted by Sgt. Hewlett took off at 9.47pm and from the moment they took off they were in cloud. Sgt Hewlett was unable to gain sufficient height and speed and by the time they reached the Hensburg area the perspex in the windscreen and turrets was iced up. They jettisoned their bombs and turned back, returning to Pocklington at 3.09am. After landing they found that one engine was leaking oil and another glycol. Two other aircraft had to turn back that night. The first of the early returners was Pilot Officer Barker who jettisoned his bombs at 10.32 and landed back at Pocklington at 12.11. Their aircraft appears to have had similar problems to that of "Q-Queenie" in failing to gain speed. An hour later Flight Sgt McKinley landed back at Pocklington having jettisoned his bombs after the failure of his Constant Speed Unit. The aircraft of Wing Commander Coventry (who became the Squadron Commander a fortnight later) had to land away at Hardwicke after being attacked by a German fighter on the way back to Pocklington. The last of the five aircraft which did make the journey to Berlin and back to base, landed in Pocklington at 6.04 in the morning.

 

'G-George' took off at 9.58pm but one minute later it was to crash into the West Green. Exactly what happened in that minute we will never know as all seven crew members were killed instantly. Crashes such as this were so frequent that extensive enquiries were not held. However, from eye witness accounts a fairly clear picture emerges. There was certainly no shortage of ability in the crew. As we have seen, the Pilot, Bill Comrie, favourably impressed the Conversion Flight Commander. Dismissing a common cause of such crashes in the early designs of Halifax 'swig on take off - Wally Lashbrook says: "not with a Pilot of Comrie's ability". The Navigator, Flying Officer Douglas Harper, had been the top cadet on his navigator's course in Edmonton, Canada

.

Why was it then that an aircraft with a pilot and navigator who had shown such outstand-ing attainments in training and had survived the flak of the Ruhr Valley earlier in the month, flying in an aircraft only a month old and which had flown to Berlin successfully two nights before should crash so soon?

RAF records only state: "attempting to avoid another aircraft stalled and crashed soon after take-off.

 

From eye witness accounts including some with expert knowledge of Halifaxes and flying control procedures we can elaborate on this. Stan Jeffrey, who happened to come from the same village as Douglas Harper, was working on 'E-East' at its dispersal point. He watched the aircraft circle the aerodrome and then crash.

 

The circling of the drome is explained by Jack Merrick who worked as an R/T Op in Flying Control, as the 'aircraft setting course' when the aircraft circled round before all were airborne and could set off together. At that time the circuits of Pocklington intersected with those of Melbourne andElvington, but this was subsequently changed. An aircraft from one of these other two airfields got under the main-plane of 'G-George' and the other aircraft's slipstream caused it to turn over.

HalifaxBomber

 

A Halifax bomber on pocklington airfield in 1943

 

Tom Thackray who was serving in 10 Sqn at that time and is now the Editor of the 10 Sqn Newsletter was at Melbourne on that night and said that the story at the time was that 'G-George' "broke cloud and there was another aircraft very close which made them take rapid evasive action and the aircraft stalled or some such action occurred and they had not suffi-cient altitude to recover."

Jack Merrick was walking back from an evening in Pocklington with his friend, Peter Tranmere, who also worked as an R/T Op in Flying Control. They were to be on duty for the return from Berlin. As they watched the air-craft circling they saw the navigation lights of one of them turn over. His comment was "B......... Hell! A Halifax can't do that."

 

The phenomenon of the lights turning over was also witnessed by New Zealander Eric (Ned) Kelly, the Pilot of an aircraft which had taken part in the previous night's raid on St Nazaire. He was walking back in the drizzle to the airfield with the Roman Catholic padre after an evening at the Oak House Cinema (now Penny Arcadia). In wartime, pictures were shown early. They saw the aircraft navi-gation b'ghts going overhead. Then - "With one I suddenly realised that something was very wrong. The port red light had turned to green which meant that the plane had turned right over."

 

The next thing that Jack Merrick and Peter Tranmere noticed was that the aircraft appeared to be heading in their direction, the navigation lights getting wider and wider and they dived into a ditch, just as the aircraft went onto the field opposite. The aircraft was, in the words of Wilf Bell, seen to "side slip" into the West Green.

 

It seems that not only had Bill Comrie managed to avoid hitting the other aircraft, but had also avoided hitting the town itself. Arthur Brown saw that the aircraft was heading directly for the town and then swerved to avoid it. Arthur believes that it was the skill of the Pilot which saved the town from massive devastation.

This view is endorsed by Peter Tranmere who said: "I can confirm that the pilot Sgt Bill Comrie appeared to be making every effort to miss the town. When we saw the navigation lights rum over the aircraft was over the town side of the railway crossing and I thought he was going to hit the town. Then he appeared to be coming right on to us, so he must have managed to get partial control to avoid the town."

 

The aircraft crash landed in an open field opposite Pocklington School. The explosion was heard not only all over Pocklington, but Tom Thackray remembers hearing it from as far away as Melbourne. With its load of high explosives and incendiary bombs as well as about 2000 gallons of high octane petrol in its wings 'G-George' was soon ablaze. The fire brigade was on the scene within five minutes and fought the blaze for 32 minutes. The road was blocked. Pocklington's leading fireman at that time, Raymond Slaughter, recalled: "It was a very sad night. The seven were laid up dead and the atmosphere was heavy with the smell of aircraft fuel. The inferno and roaring noise could be seen and heard all over Pock-lington and we had to work quickly because it was well after blackout time and there was the danger of attracting enemy 'planes." ('Pocklington Post' 29.3.90)

The late Raymond Slaughter, the chief firefighter in 1943, holds the fire service report relating to the Halifax crash. The report reveals that the aircraft was fully loaded with high explosives, phorphorus bombs, and incendiary devices.

 

One of these bombs was discovered buried in West Green by workmen constructing the Fairclough Homes housing development in 1991.

 

The MOD quashed rumours that the device was a chemical weapon.

RaymondSlaughter

The Aftermath

 

Families of 102 Sqn aircrew killed in Britain had the choice of having the burial here or at their home town. Bill Comrie, Douglas Harper and Myles Squires are buried at Barmby Moor. The funerals of the other four took place in the week following March 29 1943 in their home areas - Birmingham, Brighton, London and Glasgow.

 

Members of other crews spent little time contemplating the fate of their comrades who had - in the euphemism of the day - 'bought it'. With the task they had to face it was no good thinking of such risks. Also they tended to stick together as a crew and did not generally get to know members of other crews very well. One exception to this was Flight Engineer of 'G-George', JockMcGrath. Tom Thackray who was serving with 10 Squadron remembers him.

"Jock McGrath was short in stature but full of fun and devilment as was his pal another Flight Engineer Geordie Kent, who was also short in stature and of the same type.

 

"I don't know which Squadron Geordie was flying with. However I met him in a canteen in York a couple of months after Jock was killed. He was sitting all alone and looking very de-pressed and low spirited. Which was unusual for Geordie. Apparently Jock's death had affected him greatly

.

Two of the crew were married. Freda, the wife of Bomb Aimer William Jenkins, lived in Birmingham. The Pilot, Bill Comrie, had got married a few weeks before the crash. His navigator Douglas Harper had been his best man. He married an English girl, Grace Bal-shaw, who lived near West Kirby, Cheshire, where Bill had been based at a transit camp. Bill had told Grace that if anything happened to him she should go to his parents in the USA. This she did. She is described by her sister-in-law as a "brilliant girl" and soon found work in the USA. She later remarried to become Mrs Frank Aston. She had two daughters and has returned on holiday to England two or three times. She is now believed to be living in the Seattle area.

 

Myles Squiers was engaged but did not get the chance of even a few snatched weeks of married happiness. Had he and his fiancee, Stella Thomas of Ulverston, survived the war they would have gone to South Africa together. Stella has remained single and lives with her sister Monica in Ulverston. John King the Mid Upper Gunner had four brothers, one of them only six years old at the time. Douglas Harper had a younger brother who received the news of his brother's death on the very day that he himself joined the RAF. He was given a week's compassionate leave. Frank Dorrington the Wireless Opera- Ji tor had only one sister.

 

As well as the tragedy of bereavements, the waste of human potential is also evident in this story. Throughout the war selection tests for aircrew were most stringent. Those who passed all the tests were an elite. We have already seen some of the achievements of Douglas Harper. Mrs Gwen Fairclough of Sheffield had known Douglas very well and kept in touch with his mother until 1950 when she married and moved away from Leicester-shire. She received a last letter from him dated 25th March, only four days before the crash. She said: "Although he was only 21 years old when he died he had achieved much and I am sure that he would have gone on to be a great leader." Another friend of the family, Philip Austin, had seen him before returning to Pocklington on his last leave a few days before the crash. He wrote "I must say that Douglas was a fine boy and a gentle-man and cannot speak too highly of him." Douglas's younger brother Stephen became the Chief Foreign Correspondent of the' Daily Express', a BBC broadcaster and author of several books. Even he says that he was always trying to match his elder brother's achievements.

 

In March 1943 Europe, from Norway down to Greece, was in the grip of one of the most evil tyrannies the world has known. The loss of 'G-George' was part of the dreadful price paid for the freedom and comparative peace which we have enjoyed in the 48 years since the end of the war. 102 Sqn lost 140 Halifaxes during the war and before them 405 Sqn lost 26 Halifaxes and 20 Wellingtons. Hundreds, perhaps over 1000, brave young men went through the main gates of RAF Pocklington on the York Road never to return.. We should remember them perhaps so that in the words of Bill Comrie's fellow countryman, Abra-ham Lincoln, 80 years earlier "from these honoured dead we take increased devotion to that cause for which they gave the last full measure of devotion".

Just found a cool new site for Serials, if your as hooked on the cliffhangers as much as I am. This site may be worth looking at. It’s called Creepy Classics, here’s a link to the serial. They have lots more things to look at on the home page. Enjoy !

The Green Hornet 1940

www.creepyclassics.com/product.sc?productId=4275&cate...

The Green Hornet Strikes Again 1941

www.creepyclassics.com/product.sc?productId=4274&cate...

 

THE GREEN HORNET STRIKES AGAIN. Directed by Ford Beebe and John Rawlins. Warren Hull is handsome and stalwart as The Green Hornet (newspaper owner Britt Reid) in this second chapter-play based on the exploits of the radio crime fighter [who later had his own comic book adventures as well as a TV series]. As in the first serial, The Hornet and his partner Kato (Keye Luke) are busy quashing the anti-social activities of a ruthless syndicate, such as a phony lottery that exploits the poor. Other characters include the lovably gruff Irish reporter Michael Axford (Wade Botelier) and his teasing associate Lowry (Eddie Acuff), Reid's pretty and admiring secretary Lenore (Anne Nagel), and Grogan (Pierre Watkins), who is the low-key but slithery leader of the racketeers. At one point the gangsters hit upon the idea of forcing a wealthy woman to sign checks over to them while a female crony awaits a call from the bank. There's an interesting segment in which ownership of some oil wells depends upon the date of a contract which has been doctored. The Hornet still drives his souped-up sedan and uses his gas gun to put adversaries to sleep. One sequence shows a helpless worker in a plant with terrible safety conditions falling to his death in a smelter; Hull doesn't have much of an emotional reaction to this but one could say that the Hornet was inured to violent death, even of innocents. One of the best cliffhangers shows a car with the struggling Hornet inside rushing onto a bridge that is rapidly rising high up into the air. Using Flight of the Bumblebee as the theme music is one thing, but the serial is also full of snatches of semi-classical music that are inappropriate and only distract from the action. Foranti, the head of a crooked association, is essayed by Jay Michael, an actor who has a colorful and unusual style of playing. Not top-notch, perhaps, but all in all a credible and entertaining serial.

Working to capitalize on their huge success with the Green Hornet serial of 1940, Universal Studios put into production this follow-up serial continuing the masked crusade of wealthy newspaper publisher, crime vigilante Britt Reid/The Green Hornet and his Filipino valet, Kato. Warren Hull took the reigns as the Hornet in this 15 episode chapter play and Keye Luke returns as Kato. The story of the Green Hornet debuted on radio in 1936 and continued until 1952. Other than radio and the two serials released in 1940 and 1941, there were comic books and a television series in the 1960s as well as a feature film version made just last year based on the character!

Created by Fran Striker, who also brought the Lone Ranger to life, the Green Hornet was first heard over Detroit's WXYZ radio station on January 31, 1936, and became an instant sensation. By day Britt Reid, crusading publisher of the Daily Sentinel and great-nephew of the Lone Ranger himself; by night the Green Hornet and his aide Kato fought gangsters and racketeers, all the while pursued by the police who mistakenly thought the Hornet to be as great a menace as the criminals he battled. The Hornet first appeared on movie screens in 1940, with this follow-up produced quickly thereafter. Starring Warren Hull as the Verdant Avenger and Keye Luke as his black-clad assistant, this serial is a fast-paced gem, as the Hornet and Kato battle racket after racket, leading up to a climactic encounter with archcrook Crogan (Pierre Watkins).

Warren Hull’s only non-Columbia serial was The Green Hornet Strikes Again (Universal, 1940). Gordon Jones had starred in the first Green Hornet serial the preceding year, but Hull’s popularity as the dual-identity hero of The Spider’s Web apparently made Universal anxious to enlist him for the similar Green Hornet role. Like the Spider, the Green Hornet was a lone-wolf crimefighter hunted by the police, and, again like the Spider, was secretly a well-respected member of society–Britt Reid, editor of the Daily Sentinel. In the serial, Hull as Reid tackled a city-wide crime syndicate in print (as Sentinel editor) and in person (as the Green Hornet) with the help of his Oriental valet Kato (Keye Luke). The Green Hornet Strikes Again was a good sequel to a good original, and Hull stepped into the Green Hornet part with ease, talking in two differing voices to distinguish between Reid and the Hornet. His slickness was well-suited to sequences that featured Reid quizzing evasive syndicate front men, and he became believably tough and menacing when intimidating gangster in his Green Hornet guise.

 

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.

     

So? Does anyone have a guess on which it is?

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot). In the days to come you'll be seeing two more sets of Ingomar photos--because it has alot to offer for a photographer :)

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

“the quawmash is now in blume

and from the colour of its bloom at

a short distance it resembles lakes

of fine clear water, so complete is

this deseption that on first sight I

could have swoarn it was water.”

 

So said Captain Meriwether Lewis on June 12, 1806. He also noted that "Musquetoes our old companions have become very troublesome."

 

Well, on June 13, 2009 (missed the anniversary by a day) the camas bloom was just beginning. The vast majority of the flowers are still buds. I expect peak bloom will be in 5-8 days. However, the mosquitos are now, as then and always, quite troublesome.

 

L&C journal entries for June 12, 1806

 

libxml1a.unl.edu/lewisandclark/read/?_xmlsrc=1806-06-12&a...

 

© Katie LaSalle-Lowery

www.bigskycountry.net

 

framed & unframed prints, stretched canvas prints & greeting cards available:

katie-lasallelowery.artistwebsites.com/

 

ONCE UPON A TIME - "A Tale of Two Sisters" - A scared and confused Elsa finds herself in Storybrooke and, fearful of the intentions of its residents, creates a powerful snow monster for protection. With Robin Hood's wife, Marian, back in the picture, Regina wonders if her "happily ever after" with the former thief has been completely quashed; while on their honeymoon, Mr. Gold finds an intriguing object that makes him question whether or not he should officially give Belle control over the dagger that makes him The Dark One, and Hook is dismayed to discover that Emma seems to be avoiding him while she tries to help comfort Regina after being the one responsible for bringing Marian back from the past and into Storybrooke. Meanwhile, in Arendelle of the past, as Elsa's sister Anna's wedding to Kristoff nears, Anna discovers that their parents - who died on-ship during a violent storm - were heading to a mysterious destination in a quest that may have held the secret to containing Elsa's out of control Ice powers. And against Elsa's wishes, Anna wants to finish their journey to find out what they were looking for, on "Once Upon a Time," SUNDAY, SEPTEMBER 28 (8:00-9:00 p.m., ET) on the ABC Television Network. (ABC/Katie Yu)

ELIZABETH LAIL, GEORGINA HAIG

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.

 

Just one of many decaying buildings in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

The white lion is a rare colour mutation of the lion, specifically the Southern African lion. White lions in the area of Timbavati are thought to have been indigenous to the Timbavati region of South Africa for centuries, although the earliest recorded sighting in this region was in 1938. White lions first became known to the English-speaking world in 1977 through the book The White Lions of Timbavati.

 

Description

White lions are not albinos. Their white color is called leucism, and is caused by an allele that is found at the same genetics as the allele that causes albinism. It is thought, but not proven, that the allele is inherited in an autosomal recessive fashion. They vary from blonde to near-white. This coloration does not appear to pose a disadvantage to their survival. White lions were considered to have been technically extinct in the wild between 1992 and 2004, when the Global White Lion Protection Trust achieved the first successful reintroduction of white lions to their natural habitat. These prides have continued to hunt and breed successfully in the wild, whilst other occurrences of white lion births have been reported in the greater Kruger region since then.

 

Breeding and genetics

Inbreeding can cause severe problems reproductively, even causing Arnold-Chiari malformation. This causes problems in the brain/skull and the spinal cord, more commonly in humans and dogs. However, ethical reintroduction programs such as The Global White Lion Protection Trust have sought to release captive white lions in to the wild.

 

White lions in captivity

A white lion breeding program has been established at Inkwenkwezi Private Game Reserve in South Africa's Eastern Cape province.

In the 1990s, four white lion cubs were born at the Papanack Park Zoo outside Ottawa. In 2016, a white lion named "Zeus" escaped from captivity, and was shot by zoo officials, due to the threat he posed to the public.

In March 2017, an attempt to smuggle white lions from Afghanistan to Pakistan was quashed. The origin of the lions was unclear at first, before Border Police Commander-General Ne'matullah Haidari said that they were African. In April 2017, four of the lions were taken to Kabul Zoo, with the other two lions remaining in Kandahar Province.

 

Lory Park Zoo is currently in possession of two adult white lions (Daniel and Heidi), who have produced eight cubs. A litter of three cubs was born in 2012 and all three were hand-reared. A second litter of five cubs was born in 2013; three were removed for their own well-being while the remaining two (a male, Gabriel, and a female, Gazelle) were left with the parents. Both cubs are still with the parents and have not been handled by humans. A male cub was traded for other animals in August 2013 and now lives at the Hodonin Zoo in the Czech Republic.

 

Kruger and Umfolozi

In 1979, three litters containing white lions were recorded in Kruger National Park. In March, a female lion with three white cubs was observed near Tshokwane. In September, three white cubs (from two different lionesses) were seen. Another litter of white female cubs was captured from Kruger National Park and treated for sarcoptic mange. A white lion was observed in the Hluhluwe-Umfolozi Game Reserve in Zululand.

 

Rustenburg Wildlife Rehabilitation Center

In 2018, Mufasa, a three-year-old, was in the process of being sold in South Africa after he was taken from an owner illegally keeping him as a pet. An anonymous buyer wanted both Mufasa and a female lion named Soraya, intending to protect both. Over 280,000 signed a petition asking that Mufasa not be auctioned, fearing a buyer might just want the lion for hunting.

 

Eurasia

The European Association of Zoos and Aquaria opposes the deliberate breeding of white lions.

 

West Midland Safari Park

In 2004, four white lions arrived at West Midland Safari Park, the only white lions in the United Kingdom. Mubuto, the male, and three lionesses (Marin, Natasha, and JoAnn; spellings undocumented) settled into the Kingdom of the White Lion exhibit at the park very well.

 

Newspapers and bloggers reported that the four cubs born at West Midland Safari Park, in 2008 had been sold to perform in a Japanese circus. It is alleged that the lions were given to British businessman Jim Clubb, who runs Amazing Animals, which also goes by the name Heythrop Zoological Gardens, in Chipping Norton, Oxfordshire. The animal rights organization Lion Aid, Ltd., quoted Mr. Clubb as saying, first, "No comment," then, "I've no idea if the West Midland Safari Park knew they were going to the circus, that's a matter for them." Bob Lawrence, the Head Keeper of West Midland Safari Park, who appears often in the YouTube videos raising the cubs, told the Worcester News, a local newspaper, that he "would never have supplied the four white lion cubs if he had known they would have ended up performing in a Japanese circus."

 

Wildheart Animal Sanctuary

There are 2 white lions at the sanctuary on the Isle of Wight: a male called Casper and a female called Frosty. The 2 lions were brought to the sanctuary from the West Midlands Safari Park, to live out the rest of their lives. They are not a breeding pair.

 

Jurques Zoo

In May 2007 four white lion cubs were born at Jurques Zoo in France. The cubs consisted of one male and three females. However, they needed to be hand fed because their mother was not taking proper care of them, and they died a few weeks after their birth.

 

Magan Zoo, Abony

A private zoo in Abony, Hungary recently acquired two white lion cubs, one male and one female lion.

 

Belgrade Zoo in Serbia has 12 white lions. In 2010 four were born by two female lions, each weighing about 1.5 kg (3.3 pounds). Four additional white lions were born in April 2011. One more cub was born in October 2013, but died soon after.

 

Pafos Zoo, an Animal and Bird wildlife park in Cyprus, received two seven-month-old white lion cubs, Zeus and Hera, in 2011. Eight years later, a white lion cub, Simba, was born to the pair.

 

Tbilisi Zoo

In December 2013, four white lion cubs were born at Tbilisi Zoo in Georgia. Cubs needed to be hand fed because their mother wasn't taking proper care of them. Another three cubs were born in May 2014.

 

Karachi Zoo

In 2012, the Karachi Zoo, Pakistan, purchased a juvenile male and juvenile female white lion. They have had 2 cubs.[citation needed] The male died in 2021.

 

Bukit Gambang Safari Park, Malaysia

The first white lions introduced into Malaysia was in March 2013 when the Safari Park in Bukit Gambang Resort City (Pahang) opened its door to the public. With 2 males and 3 females, the first white lion was born in May 2014 and was named King.

 

Wildlife Park of Sunway Lagoon, Malaysia

A couple of white lions named Zola and Zuri reside in the Sunway Lagoon's Wildlife Park since April 2015.

 

Singapore Night Safari, A subsidiary of Wildlife Reserves Singapore, recently[when?] acquired two white lions, a male and a female.

 

Taman Safari Indonesia

Taman Safari acquired six white lions from Canada in 2018.

 

Crimea Lion Park

A couple of white lions named Milady and Rocky were born at Taigan Lion Park in Crimea in March 2019

 

Performers Siegfried & Roy with their white lion in 2011

A couple of white lions in a playful mood; Otumba, Mexico

Toronto Zoo

In 2012, Toronto Zoo in Canada received three white lions to their African zone and replacing the single white lioness the zoo had since 1996. In September 2015, four white lion cubs were born at the zoo.

 

Cincinnati Zoo

In 1998, Cincinnati Zoo in Ohio received two white lions from Siegfried & Roy's White Lion exhibit. Prosperity died on January 6, 2020, at the age of 22. Her female cub Gracious died at age 21 on March 3, 2022.

 

Reino Animal

Mexican zoo Reino Animal, located in Otumba, State of Mexico, also has a couple of white lions which can be seen at the "Safari Leones" (Lions' Safari).

 

The Wild Animal Sanctuary

The Wild Animal Sanctuary, located in Keenesburg, Colorado, has at times had white lions rescued from various for-profit zoos or other exploitative situations. All animals at the sanctuary live out the remainder of their lives in large open-air enclosures free from further exploitation.

 

Genetics

Genetically, the white lion is the same subspecies as the tawny South African lion (Panthera leo melanochaita), which is found in some wildlife reserves in South Africa, and in zoological parks around the world. White lions are not albinos, but leucistic. They have pigment visible in the eyes (which may be the normal hazel or golden color, blue-gray, or green-gray), paw pads and lips. Blue-eyed white lions exist and may be selectively bred. The leucistic trait is due to a recessive mutation in the gene for Tyrosinase (TYR), an enzyme responsible for the production of melanins. More severe mutations in the same gene have been found to cause albinism in many species, while another less severe mutation in the same gene is responsible for the Chinchilla coloring trait seen in several mammals. Reduced pigment production decreases the deposition of pigment along the hair shaft, restricting it to the tips. The less pigment there is along the hair shaft, the paler the lion. As a result, "white" lions range from blonde to near-white. The males have pale manes and tail tips instead of the usual dark tawny or black. In 2013, the specific genetic marker that determines the unique coloration of white lions was identified, after a 7-year study led by the Global White Lion Protection Trust and partnering several different countries.

 

From the 1970s onwards, prized for their rarity, the white lions and many 'normal' coloured (tawny) lions carrying the white lion gene were removed from the wild and put into captive breeding and hunting programs and sent to zoos and circuses around the globe. No adult white lion had been seen in their natural habitat after 1992. The Global White Lion Protection Trust (WLT) therefore initiated a world-first re-establishment of white lions within their natural habitat in 2004, based on successful reintroduction techniques. The wild born offspring of rehabilitated white lions were integrated with resident wild tawny lions, and released through a soft release process. Three prides of white lions of high genetic integrity integrated with tawny lions have been successfully established, and are hunting self-sufficiently in their natural habitat, at a predation rate comparable to the wild tawny lions in the same habitat. The genetic marker determining the white colouration was identified in a collaborative study with 5 other countries in October 2013, and is being used to ensure genetic integrity and ultimately to determine the frequency of occurrence of the gene in the wild population.

 

The primary aim of the Global White Lion Protection Trust (WLT) is to harness the cultural importance of white lions to local indigenous communities, to help protect the Kruger to Canyon (K2C) Biosphere and the greater lion population in this region. This approach is based on the international precedent of the Kermode Bear (Ursus americanus kermodei) in British Columbia, whereby this rare, white variant of the American black bear (Ursus americanus) has been declared a critically endangered subspecies due to its conservation and cultural value, such that the Kermode Bear is being used as a flagship species for protecting a 4000 000 ha wilderness area. As with the Kermode Bear, by protecting the white lions, their entire population within their endemic area would be protected.

 

Subsequently, white cubs were born in the Timbavati Private Nature Reserve in 2006, 2008, 2009, 2011, 2012 and 2013, and in the Nwanetsi Area of Kruger National Park in 2014 and 2015, confirming that white lions are a natural occurrence and the recessive gene is still present in the wild population.

 

In light of the recent decision by South Africa's Department of Environmental Affairs (DEA) at CITES 2016, to continue to allow the hunting of captive bred lions ("canned hunting"), and the trade in lion bones from captive bred lions, the Global White Lion Protection Trust (WLT) asserts that the survival of lions in the Greater Kruger Park Region is likely to come under threat, and the white lion is the ideal capstone animal to help better protect all lions in the Greater Kruger Park Region.

 

As the proposed policy stands for the management of lions in South Africa, the WLT asserts that the legalization of the lion bone trade will increase the supply and therefore demand of wild lion trophies and especially lion bones, increasing poaching and illegal hunting and threatening the future of wild lion populations in South Africa.

Just one of many decaying homes in Ingomar--I think there are more abandoned buildings/homes than anything else.

 

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot).

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.com

For the past few years I have heard about a funny little near ghost town in the middle of nowhere rugged Montana. It's called Ingomar and it has quite a past--it's a very interesting place! To get there you have to drive some pretty desolate roads. You hardly see another car and all you have to accompany you is wind and dust. It's worth the trip!

Ingomar is a town in decline. It has some very notable buildings, but they are falling into disrepair (save for the newly remodeled depot). In the days to come you'll be seeing two more sets of Ingomar photos--because it has alot to offer for a photographer :)

 

Here's the history (it's very worth reading!):

"Upon completion of the Milwaukee Railroad in 1910, Ingomar became the hub of commerce in an area bounded by the Missouri River to the north, the Musselshell River to the west and the Yellowstone River to the south and east. Ingomar was an ideal location for a railhead and shipping center for the thousands of acres between the Yellowstone and the Missouri Rivers. The town site was platted in 1910 by the railroad and named by railroad officials. The depot was completed in 1911.

 

Contributing to the growth of the area north to the Missouri and south to the Yellowstone was the Homestead Act of 1862, later amended to give settlers 320 acres of land which, if proved up in 5 years, became their own. The railroad advertised the area as "Freeland" and was responsible for bringing settlers into the area.

 

Ingomar was also the sheep shearing center to the migratory sheep men using the free spring, summer and fall grass. Ingomar became the site of the world’s largest sheep shearing and wool shipping point. Two million pounds of wool a year were shipped from Ingomar during the peak years. Shearing pens in Perth, Australia, were designed using the Ingomar pens as a model. Wool was stored in the wool warehouse located adjacent to the shearing pens, and shipped out by rail through 1975, when the wool warehouse was sold to William Magelssen. Rail service was discontinued in 1980.

 

Since potable water could not be found at the town site, water was supplied by the Milwaukee Railroad using a water tender. The water tender was left in Ingomar as a gift by the Milwaukee Railroad when services were discontinued. In late 1984, a water system was installed for the few remaining Ingomar residents.

 

Between 1911 and 1917, there were an average of 2,500 homestead filings per year in this area. The post office was established in 1910, with Si Sigman as the postmaster. Ingomar soon became a bustling town of 46 businesses, including a bank, 2 elevators, 2 general stores, 2 hotels (of which, one remains), 2 lumber yards, rooming houses, saloons, cafes, drug store, blacksmith shop, claims office, doctor, dentist, maternity home and various other essential services. To the northeast of the town site is what remains of Trout Lake, a body of water impounded by the embankment of the railroad, which provided boating and swimming in summer, skating in winter, and a source of ice that was cut, harvested and stored in 3 ice houses to provide summer refrigeration. Fires, drought and depression have wreaked havoc on this community over the years. The dreams of homesteaders vanished as rain failed to come in quantities to assure a crop with sufficient frequency to enable them to make a living. A reluctance to abandon the town has kept it alive through the devastating fire of 1921, which destroyed a large portion of it. Some businesses rebuilt, but others moved on.

 

The Ingomar Hotel located at the corner of Main Street and Railway Avenue was built in 1922 and connected to an older dining room which was managed by Mrs. H. J. Broom, and by Stena Austin after Mrs. Broom’s death. The mortgagor, Emil Lura, took over ownership and management of the property, after twice foiling Stena’s efforts to torch the hotel. At that time rates were 50 cents per night and no women allowed; after World War II rates were raised to $1 per night. The building was purchased by Bill Seward in 1966 and is no longer operated as a hotel. The present day Jersey Lilly had its beginning as a bank in 1914, known as Wiley, Clark and Greening, Bankers. On Jan. 1, 1918, the bank was reorganized from a probate bank to Ingomar State Bank; it received a federal charter, and operated as the First National Bank of Ingomar from January until July 21, 1921, when it closed. On October 13, 1921, the bank went into receivership. In June, 1924, William T. Craig was charged in Federal Court in Billings with misapplying certain funds of the bank. Craig was found guilty and sentenced to 16 months and fined $1,000. In April, 1925, the Circuit Court of Appeals in San Francisco reversed the Montana decision and the indictment was ordered quashed. Craig was dismissed. The money lost by the bank customers was never repaid.

 

In 1933, Clyde Easterday established the Oasis bar in the bank building; Bob Seward took over the bar in 1948 and named it the Jersey Lilly after Judge Roy Bean’s bar of the same name in Langtry, Texas. Bob’s son, Bill, purchased the building in 1958, and the Jersey Lilly continued under his ownership, serving as the local watering hole, cafe and general gathering place for area residents until August, 1995, when it was purchased by Jerry J. Brown. The Jersey Lilly is internationally known for its beans and steaks. The cherry wood, back bar of the Jersey Lilly is one of two which were transported from St. Louis by boat up the Missouri and Yellowstone rivers and installed at Forsyth in the early 1900s. This bar was stored at Forsyth during Prohibition, sold to Bob Seward, and installed here in 1933; the other back bar was destroyed in 1912, when the American Hotel burned in Forsyth.

 

The original frame school building, the Jersey Lilly and Bookman Store were all placed on the National Registry of Historic places in September, 1994. Both the original frame school building and the Milwaukee Depot are now privately owned.

 

Ingomar retains its post office and one rural route with mail delivered every Friday in spite of snow, rain, heat or gloom of night.

 

Area residents banded together to construct a rodeo arena, which has become the home of one of the best NRA rodeos. Rodeos are held throughout the summer and early fall.

 

Across the street from the Jersey Lilly, the local 4-H club has constructed a park with horseshoe pits and picnic tables for public use.

 

A campground with hookups is open throughout the year. If you are planning a stay in Ingomar, call the Jersey Lilly at 358-2278 for information.

 

From the grazing of buffalo to Texas cattle to early sheep men and through the homestead era, this land has completed a cycle, bringing it back to its primary use, production of natural grasses. Ingomar survives today because of the social needs of the people of this vast and sparsely populated area." -ultimatemontana.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.