View allAll Photos Tagged Rewinder
Leica M-E / Carl Zeiss Tele-Tessar ZM 4/85 mm
Robot II (1939-1951) with Schneider-Kreuznach Xenon 1:1,9/40 mm, Schneider-Kreuznach Xenar 1:2,8/37,5 mm, Schneider-Kreuznach Tele - Xenar 1:3,8/75 mm, Robot daylight rewinder and W&E Actino ligth meter.
More information about this camera in my museum:
Model name cast into a one of a set of Neumade film rewinds (similar to the set pictured at this link, but taller and configured for larger-capacity 35mm reels).
X-3 sounds more like a code name for a 1950s-60s rocket or supersonic aircraft, not a model number for a piece of film equipment made of cast iron.
DUNDU
www.tobias-husemann.de/dundu.htm
Mit Dundu ist es dem Puppenspieler Tobias Husemann, seinem Partner Stefan Charisius und ihrem Team gelungen eine mechanische Gliederpuppe zu gestalten, die Größe und imposante Erscheinung mit natürlicher Anmut und Grazie vereint.
Diese Großfigur ist nicht nur wegen ihrer unglaublichen Höhe von fünf Metern etwas ganz besonderes, auch die innovative Bauweise einen transparenten Körper aus einzelnen Fasersträngen zu fertigen ist etwas Einzigartiges. Diese besondere Technik und Gestaltung verleihen der Großpuppe Dundu nicht nur eine besondere Ästhetik und beispiellose Spielbarkeit, sie stellt auch ein Novum im Puppenbau dar und ist technisch eine absolute Meisterleistung.
A 35mm snipe on nitrate film. (The complete snipe, intended to be placed between trailers, announces, "And We Will Also Present On The Same Program...a SECOND HIT PICTURE to Complete a Grand Double Bill...")
Nitrate film, though more translucent than safety film and prized for its crisp, sparkling look, easily burst into flame when ignited and generated its own oxygen in the process of combustion, aiding the spread of flames and making a nitrate fire all but impossible to extinguish; fumes from burning nitrate was also very toxic. Because of the hazard of ignition in the event of a film break or jam, projectors were built with reel magazines, fire trap rollers, enclosed film paths, automatic fire shutters; film reels were stored individually in special cabinets; film was rewound in enclosed rewinders; and projection booths were bunker-like rooms with emergency fire shutters over port windows. Projectionists were highly trained back in the day and knew to immediately shut everything down, release the emergency shutters, and leave the projection booth in the event of a fire, closing the door behind them.
Slow-burning safety film on cellulose triacetate replaced dangerous nitrate in the 1950s, helping pave the way for open long-play film transports which, along with xenon-arc lamps and automation, was a crucial element in the 1970s rise of the multiplex theatre.
A select few institutions — such as the George Eastman Museum in the USA — have the capability to safely screen archival 35mm nitrate prints of pre-1950s movies, following strict protocols to minimize risk. As long as nitrate prints are still in projectable condition, entire film festivals can still be built around this volatile medium.
One last thing: 16mm film, originally considered an amateur format, has always been made of safety stock from day one.
This six-second snipe, nine feet (2.7m) in length, is the only scrap of nitrate film in my possession. It will not be run through a projector.
-[ V is for Viewer ]-
Craig by Kalart 16mm Projecto-Editor film viewer for editing use. This unit appears to be from the late 1950s or early 1960s. The 16mm version was introduced sometime during the 1950s and remained on the market until at least the mid-1970s with only minor changes. Viewers like these were often sold as part of a editing package, including a set of rewinders and a film splicer; 8mm and Super-8 versions of the viewer and editing package were also available.
Yes, this unit is from the same company better known for their 16mm projectors. Viewers produced during the 1970s were badged Craig by Kalart-Victor.
This unit hasn't been used in decades. I cleaned most of the interior and exterior dust off prior to the photoshoot. Unfortunately, some of the front-surface mirrors inside the unit had blemishes that couldn't be cleaned off, hence the splotchiness.
Note: I had to resort to some Photoshop masking trickery with another shot, taken without strobes, to show the screen unaffected by the use of strobes. The mirror alignment inside the viewer is not perfect, resulting in the slightly cockeyed image. Also, the haze behind the unit is light spilling out from ventilation louvers.
Warnor's Theater, Fresno, Ca.
After a reel of the movie has been projected, it must be rewound for the next showing. This is the machine for accomplishing that.
Film rewinder in the projector room of a movie theater located in Embreeville mental asylum.
Night, near full moon, 111 second exposure, protomachines flashlight set to gold, green and a shot of white in a completely dark interior.
Click on the image because its best viewed BIG ON BLACK!!!
Some 'splaining might be in order here: The shot of the camera was taken with my Minolta SRT 201. The shot of the sunrise was taken with my Canon AE-1 PROGRAM. Same roll of film through two different cameras.
Here's how it happened (if you care): I'd finished shooting the roll in the Minolta. While rewinding to the beginning of the roll, the leader hung up on the take up spool and it wouldn't rewind into the film canister. I wasn't really paying attention while I was rewinding...until it hung up, causing the rewinder lever to stop turning. After trying to figure out what was wrong without opening the film door—for fear of ruining the roll—I eventually opened the back and that's what I found.
For some reason, I immediately jumped to the conclusion that I had loaded the film incorrectly and it wasn't advancing the whole time I thought I was taking pictures. Frustrated, I took the roll out of the Minolta, put it into my Canon and shot through the roll with that camera...double exposing all the images I'd successfully taken when the roll was in my Minolta. I'm an idiot!
This shot has been lightly Photoshopped in that I took out the background completely. The camera was not shot on a white seamless background; it was shot on a white bed sheet that really took away from the impact of the double exposed image, so I removed the bed sheet background and faked in the shadows along the bottom of the camera and lens cap.
I'm pretty sure the camera pictured here was the one my late father carried with him in Vietnam. This camera was introduced in the early 60's to compete with the very popular Leica rangefinder cameras that were the standard for many photojournalists of the era. When it was introduced, the Canon 7 offered more features than Leica's top-of-the-line rangefinder and it accepts LTM (Leica Thread Mount) lenses.
STROBIST: (Camera image) Strobe camera right through 40" umbrella softbox. Fired with sync cord.
Google Translation
KODAK DUO 620 manufactured between 1933 and 1937. A total of 81,000 units were manufactured. The model shown here is from the Series I, top and bottom featuring the 'pinstripe' pattern and hanger type film rewinder. Also called Art Deco model. I passed this camera on to a collector friend of mine who then restored it appropriately. See here. www.engel-art.ch/kodak-duo-620/
German
KODAK DUO 620, hergestellt in den Jahren 1933 bis 1937. Insgesamt wurden 81'000 Einheiten hergestellt. Das hier gezeigte Modell ist aus der Serie I, Ober- und Unterteil mit dem 'Nadelstreifenmuster' und dem Bügel-Filmrückspuler versehen. Auch Art déco Modell genannt. Diese Kamera wurde von mir an einen Befreundeten Sammler weiter gegeben der hat sie dann angemessen Restauriert. Zu sehen hier. www.engel-art.ch/kodak-duo-620/
Poor Medi and Sali, their faces were hidden in the picture
Honestly this project has gone out of control. I didn't expect to build more than six, maybe ten Dolls at all, and then move into another theme like, the third generation of Eruei's family or going for random characters. And now here I am with almost forty Dolls on my shelf...
Wait, L.A., don't you mean 20? Well.... The title may be a bit incorrect. You see, the ones in the picture are the Dollies I POST here during 2016. But I had A LOT of them started, half-built, or even finished at the end of 2016! And more to do during this year, since I have a lot of designs and builds planned. Let's see how many I manage to actually get =P
Here you have the updated list for this month! =D
- Finished and posted: Basher, Sitter, Creeper, Shrinker, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper.
- Finished: Defender, Nullifier, Extinguisher, Crosser.
- Almost done: Tamer, Saucer.
- Half-way: Racer, Granter, Revealer, Ruler, Detecter, Multiplier, Locker.
- Started: Manufacturer, Rewinder.
- Only designed: Roller, Heater & Cooler, Sleeper, Cooker, Grabber, Painter, Hunter, Player, Ranger, Speaker, Pâtissier, ???.
It will take me a few Bricklink orders to complete most of them, so the next pictures may be a bit delayed. Dx Hope it will be worth the wait, dears!
Okey this one really take long to make. I have been accumulating parts I needed for months until I couldn't advance more in my builds, so I practically ended in an emergency situation that forced me to make an order for once. ^^" I have to avoid that again in the future...
So most of the parts from these two orders are specialized parts that I needed to either advance or complete some Dolls that have been around for a while, but I took the chance to replenish the stock of useful parts like 1x2 curved slopes or clips.
I haven't used them all yet, so the current list of Dolls just goes as this:
- Finished and posted: Basher, Sitter, Creeper, Shrinker, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper, Nullifier.
- Finished: Defender*, Extinguisher, Crosser, Multiplier, Tamer.
- Almost done: Saucer, Locker, Detecter**.
- Half-way: Racer, Granter, Revealer, Ruler, Manufacturer, Rewinder.
- Started: ---
- Only designed: Roller, Heater & Cooler, Sleeper, Cooker, Grabber, Painter, Hunter, Player, Ranger, Speaker, Pâtissier, ???.
*now with way better hair!
**still searching for a better name.
A view looking north at MP 160 on New England Central Railroad's Palmer Sub at the signals protecting the interlocking at the south end of the 10,366 ft Claremont Jct. Historically this was the Boston and Maine Railroad's Conn River Mainline which was shared jointly with the Central Vermont Railway between White River Junction, VT and East Northfield, MA.
Still standing guard for now are the vintage GRS searchlight signals which date from around 1961 when the B&M replaced the semaphores on this line and then in 1964 installed CTC north from Bellows Falls. Alas these classics are nearing the end of their days and the bases and wiring already in place belie that their modern Safetrans successors are soon to be installed and another rewinder of railroading's past will disappear from the scene forever.
Claremont, New Hampshire
Saturday September 28, 2024
The clock was a late minute addition, honestly. It came with the Joker's Balloon Escape set and I thought it would be a nice addition as one of those giant clock pendant some artists wear around.
Marshalls and Blockbuster shared a plaza in Fitchburg, Massachusetts, making this one of the uglier, mish-mashed eras which bleed its 70's agedness, not only through Marshalls labelscar. I wonder how many VHS rewinders are piled in that "reel tower"?
Clearline Concepts Turbowinder Model F40 SF-18 Red Ferrari VHS Rewinder
The coolest VHS Tape Rewinders are cars !
Definitely an antique now.
I remember when VHS Tapes got started .
It was a great time !
Before that, we were limited to what was on TV. And had no control of the schedule of anything we watched.
If someone was lucky their family had Cable TV.
Which gave us a lot more variety. But we were still bound to
the scheduling of the program times to be able to watch them.
But VHS Tapes gave us the ability to rent and then eventually own copies of movies and series to watch when ever we wanted to !
A vast improvement at the time.
Of course later generations of people don't understand that. With the just about everything on demand streaming platforms 24/7 availability.
So why would we need a VHS Tape Rewinder when we can just rewind the tape with the Video Cassette Recorder or VCR ? Well because rewinding the VHS tapes are the hardest work for the VCR motor. So if one wants their VCR motor to last as long as possible. They need to only play the VHS tapes in the VCR. And rewind them with a separate Rewinder .
And no I am not watching tons of movies on VHS tapes.
But I still rewind them on a rewinder. Because all my VCRs are
also used antiques from then as well. I don't know how much life is left in the VCR motors .
Thanks to port port for help
Mr knock-les is running around the rooftops of advent city.
“Oh, this new suit is sick” Mr knock-les proclaimed.
“I have narrowed down the amount of people who could possibly be helping this Scar man to one person, ‘Frenchie’.” Carl Explained.
“Like the guy from Paris who Midnite Specter fought?”
“Yes, Sir” Carl replied.
“Anyway, Carl call Midnite Specter”
*On Phone*
“Hey Its me and we need to talk to your foe ‘Frenchie’...” Mr knock-les said.
Cutting of Mr knock-les, Midnite Specter said “What has he done now?”
“Well, he seems to be acquainted with one of my foes named Scar.”
“Oh…well he escaped recently so we will have to find him so just come to Spyral City, ill message you were to meet.”
*Off Phone*
Midnite Specter Messages Mr knock-les the street to meet him on and at what time and so Mr knock-les goes to meet him there.
5 mins later.
Midnite Specter jumps down, “So, we will need to find ‘Frenchie’ then…”
“Or I could just have Carl find him by hacking into some satellites and stuff.” Mr knock-les Proclaims.
Midnite Specter questioned “Why do you need me then?”
“Well I need your help to capture him and question him.”
“Ok”
“Anyway, Carl I need you to hack into the satellites up there, yeah, and find erhm ‘Frenchie’.” Mr knock-les asked
“Ok, Sir “Carl replied “He is at…”
5 mins later, Mr knock-les and Midnite Specter jump down to speak with ‘Frenchie’.
“Oh no…” ‘Frenchie’ said.
“What do you know about Scar?” Tom questioned.
“I don’t know…” ‘Frenchie’ said.
Mr knock-les punched ‘Frenchie’ in the face.
“Ok… he is in ‘the tower’…in Advent city!” ‘Frenchie’ said.
Mr knock-les dropped ‘Frenchie’, “Yo, Midnite Specter can you make sure he gets into prison?”
“Yes” Midnite Specter replied.
Mr knock-les and started to go to Advent city.
2 hours later, Mr knock-les is walking on his way to Scar’s base.
“Should I do this?” He thought.
Time out tapped on his shoulder and said “Yes, I’ll help.”
They both walked in and walked through the corridors.
“No Guards?” Mr knock-les questioned while opening the door, “Oh no!” He said seeing the man who had ruined his life.
“Hello.” Scar said turning around with a gun pointed at Mr knock-les, “Goodbye Tom!” He pulled the trigger!
“If anyone is going to kill him I will!” Time-out said doing time had gestures rewinding time in front of his very eyes stopping behind Scar. Time-out’s movement almost looked like he just teleported from place to place to a non time-rewinder. He proceeded to hit Scar over his head knocking him out.
“Wow!” Mr knock-les excitedly said not knowing the true intent of Time-out’s plan.
The concept for Widi comes from the Saiki Kusuo no Psi-nan, whose main character, Saiki, has several psychic abilities, inluding one of restoration of an object to the state it had a day before. I found it quite interesting, so I decided to apply it to a Doll. The reel-based hair was instantly chosen then - easily made with some duck tape.
I went for a 70s' like design (or 80s, I barely know about this, but some disco feeling was in my mind) , with the platform boots, the big sweater and the earrings. I thought of using 8 sandclocks for the skirt, but they were expensive so instead I used the one I had for the ribbon. I cheated a bit to connect it, though, it's attached by strings. Couldn't find a way to put it in the back, sorry! ^^"
You can see here how she is supposed to look. <3
An unique Doll with the ability of revert time itself, Rewinder was designed so any broken object could be restored to avoid Aigara's sadness or damage during her earliest ages.
The Doll was found after Eruei's disappearance in a subterranean, muddy cave near a small town. Trying to avoid being swallowed by the mud, Rewinder would turn back the time continuously, without realize her effect would affect the near town and its citizens.
MOC nº: 029.
Creation order: ???.
Title: Doll Rewinder.
Nickname: "Widi" (by Aigara).
Color trait: Trans-Dark Pink.
Functionality: Assistance.
Abilities: Time revert.
Current state: Operative.
IN ENGLISH BELOW THE LINE
Ah, quina il·lusió fa tenir finalment una autentica reliquia fotogràfica de la Segona Guerra Mundial. I en perfecte estat operacional!!
Es tracta de la versió militaritzada de la Graflex Anniversary Speed Graphic de 4x5'. Era propietat de la USAAF, que la denominava Camera, Ground, Type C-3. De fet pràcticament no té cap diferencia amb els models civils del moment, exceptuant una placa a la tapa on s'indica la seva identitat i propietat. Aquestes càmeres C-3 de la USAAF sovint també portaven un tampó d'acceptació al servei, així com tres punts vermells al visor, però no és el cas d'aquesta. Molt tipic de les Graflex produides durant la guerra mundial, tant civils com militars, és l'acabat negre mat sense cap concesió al luxe com els cromats. Això de fet no era una mesura de "camuflatge" com a vegades he sentit, sino de raccionament economic en temps de guerra.
Com tota Speed Graphic, compta amb dos obturadors, un de central al objectiu, el el gran de pla focal, que permet velocitats de fins a 1/1000. És una joia de sentir com funciona encara perfectament. Tot i que el nº de serie militar indica 1944, sembla que fou fabricada el 1943, segons m'han comentat.
L'objectiu és un Kodak Ektar f4,7 de 127mm, fabricat just a inicis del 1941. El seu obturador és un Nº2 Kodak Supermatic en negre. Potser no és l'original d'aquesta càmera.
Mai podré saber amb certesa quin paper va jugar durant la guerra, el més probable es que servís amb alguna unitat de la força aeria entre 1944 i 1945, al Pacific o més probablement a Europa. En tot cas no era una càmera per emprar dalt dels avions, ja hi havia models més especifics i resistents, com la K-20 o K-24. Probablement fotografià enlairaments i aterratges de caces i bombardes, així com retrats de l'activitat entorn les bases aeries.
Ah, però amb una càmera pràcticament identica Joe Rosenthal va fer una de les fotos més famoses de la historia, els marines aixecant la bandera a Iwo Jima!
==============================================
I finally have an authentic photo relic of the Second World War in my collection. And in perfect operational state!
This is the militarized version of the Graflex Anniversary Speed Graphic in 4x5 size. It was property of the USAAF, which called it "Camera, Ground, Type C-3". In fact, it has virtually no difference with the wartime civil models, except for a register plate indicating its serial number and ownership. These USAAF C-3 cameras often also had an acceptance stamp, as well as three red dots in the viewfinder, but this is not the case. Very typical of the wartime Graflex, both civil and military, is the all black finish without any concession to luxury as chromed parts. This in fact was not a measure of "camouflage" as I have sometimes heard, but rather of economic raring in times of war.
Like all Speed Graphic, it has two shutters, one leaf shutter arround the lens, and the larger focal plane shutter, which allows speeds of up to 1/1000. It's a joy to feel how it works perfectly after 80 years. Although the military serial number indicates 1944, it has been reported to me that it was manufactured in 1943 (it has another serial number quite difficult to spot inside the box.
The objective is a Kodak Ektar f4.7 of 127mm, manufactured right at the beginning of 1941. Its shutter is a Kodak Supermatic No. 2 in black. Maybe it's not the original of this camera.
I would never know for sure what role he played during the war, it would most likely be served with some air force unit between 1944 and 1945, in the Pacific or more likely in Europe. In any case, it was not a camera to use in flight, there were already more specific and sturdier models, such as the K-20 or K-24. It probably photographed take-offs and landings of fighters and bombers, as well as portraits of the activity around the aerial bases.
But with an almost identical camera, Joe Rosenthal took one of the most famous pictures in history: the Marines raising the flag in Iwo Jima.
graflex.coffsbiz.com/milhistory.html
yankreenactment.nl/equipment/speed-graphic-camera/
gosebru.ch/graflex-speed-graphic-ground-camera-type-c-3.html
While cleaning my fridge, I found a few rolls of expired film dated 2004. They became my motivation to pick up my old film cameras. Unfortunately, I donated the Yashica T4 that my sister-in-law had given me. So that left me a Canon AE-1 SLR and a Pentax PC35AF point and shoot sitting in my closet. I pulled out the Pentax but its auto film rewinder has mold in the battery compartment where I couldn't even pulled out the old batteries. So I threw that away and put a couple of new batteries into the camera body. I figured I could still manually wind the film. The flash doesn't work but metering works. I think I am ready to shoot tomorrow. So there you have it .....my roll of expired film and Pentax point and shoot sitting on my kitchen counter.
Lens: Carl Zeiss C-Sonnar T* 50mm F1.5 ZM
This time in a different format of the usual because I maid all of these orders with my friend Elnida, who needed some various pieces too. I'm pretty sure you prefer this way, but I enjoy more having the Chibis playing with the boxes... And you don't knowing all the parts I got =P
These pictures are just from my part of the orders, they are mostly specialized parts for completing my WIPs and various spares in case clips or joints break. And I say WIPs because there are a few MOCs that are not Dolls! Just 2-3 though. =P
To complete this post, here you have the final update on Dollies! At least for a long time.
- Finished and posted: Basher, Sitter, Creeper, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper, Nullifier, Crosser, Multiplier, Extinguisher, Tamer, Defender, Propeller, Tower, Rewinder.
- Finished: Saucer, Ruler, Locker, Revealer, Hunter, Grabber, Charger, Troffer, Stranger, Warper, Slender, Racer, Rider, Roller, Sleeper, Patissier, Enhancer, Inverter.
- Almost done: Granter.*
- Half-way: ---
- Started: Manufacturer, Picker, Reporter, Spider.
- Only designed: Heater & Cooler, Cooker, Painter, Busker, Ranger, Speaker, Sharer, Shower (?), ???.
*Would have been finished but I didn't like the final product too much so I will rework it.
Front.
After accidentaly breaking a borrowed item, Eruei came with the idea of giving Aigara's assistant the ability to restore items. Instead of knowing how to repair every kind of damage, he went for a more unique approach based on the legendary Mask of Time and "rewind" the time around itself. While it not a bad idea, it took Eruei too long to complete it, so that feature was discarded not only because of the enormous power and memory it requires, but because at that time Eruei supposed his girl should be mature enough to accept loss of items and the responsability of damaging them. A clock-shaped pendant was given to her so it wouldn't fall into a time-loop, since Widi itself is not protected from her own ability.
Produced: 1971-1973.
Producer: BeLomo.
Frame size: 18x24.
Lens: Industar-69 2.8/28.
Shutter: 1/30s, 1/60s, 1/125s, 1/250s.
Another view of the beat Pentax K1000 SE that I bought for $10. This camera has Brentwood High School P-1 etched on the back. Aparently a student or several students dropped it during its career, but I was able to get the bent UV filter off and was able to get the film compartment open using a paper clip. In search of a Spotmatic or K1000 rewinder knob.
Shot for a splash page for Stuck On VHS Magazine #1.
"STUCK ON VHS, the critically acclaimed book from Josh Schafer and Jacky Lawrence is now a supplemental magazine! Packed with all-new visions of video store stickers and expanded coverage including memories of Family Video, Odyssey Video, and Video Revue Movie Center, along with an exclusive and in-depth interview with Dave Sharkey: The proprietor of Home Cinema, a pioneering home video delivery service that revolutionized how people watched movies in Southern New Jersey!
The preservation and celebration of video store ephemera and culture continue, Tapeheads!"
Moja - One
MOJA – ONE
“Meditation” opens up the album with deeply Spritual levels. Nicodrum’s Niyabinghi pulse opens the organic riddim flecked with flute and skanking instrumentation.
With a delivery akin to Dezarie, Mamatya’s powerful delivery grabs the listeners’ attention from the first note.
Crisp atmosphere with Dubby overtones. Boom!!
The title track is a continuation of Royal excellence.
Gorgeous riddimatic power anchored by Herve’s lilting bass and Simon’s taut drums. This Empress has serious vocal presence; exalting the essence of unity in totality.
The vibrant horn section elevates this instant rewinder.
Moja crafts message music with sense of purpose and the arrangements are top ranking.
Beautiful music!
This image appears as a section splash page in my new book Stuck On VHS, a rewind-radical art book exploring the vibrant and vast world of vintage video store stickers of every persuasion.
Stuck On VHS is published by Birth.Movies.Death. and available online from Mondo, and in-store at select Alamo Drafthouse Cinema locations nationwide on January 20th, 2020.
- - - -
I chose this because kids now-in-days will never know that we as kids had to rewind these right after watching and you were cool if your family had an automatic rewinder.
5? I'm sure I have done more Doll updates but it seems they got mixed with the Bricklink hauls posts...
Anyways, I have been working on these while I was back home on these years' vacations. I couldn't get too many new ones, but I'm already past half hundred! *O*
Manufacturer will be the 50º, so maybe the Doll Armada will go into an hiatus since I can't still get her f@#$"ç* skirt right e__e
- Finished and posted: Basher, Sitter, Creeper, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper, Nullifier, Crosser, Multiplier, Extinguisher, Tamer, Defender, Propeller, Tower, Rewinder, Ruler, Enhancer, Stranger, Slender, Locker, Revealer, Warper, Troffer, Racer, Hunter, Grabber, Saucer, Rider, Charger.
- Finished: Sleeper, Pâtissier, Inverter, Spider, Cuber, Burger, Sharer, Reporter, Adapter, Roller, Granter, Disposer, Picker, Commuter.
- Almost done: Stacker.
- Half-way: Manufacturer.
- Started: Antler, "Dimensioner", Chatter, Holder, Washer.
- Only designed: Heater & Cooler, Cooker, Painter, Busker, Ranger, Speaker, Container, Devourer, Reader, Gambler, Sinner, Monster.
- *NEW* Upgraded: Enhancer, Troffer, Grabber, Rider, Inverter, Granter.
Hope you like what you can get from the preview because at this pace you'll have to wait another year to see some of them! 8D
The Hot Jazz Rewinders
...
35 MB
4K video
Eröffnung um 9.30 Uhr
die Band wurde erst ab 11.00 Uhr bestellt, da waren wir wieder auf dem Heimweg.
Leider.
Description:
Because I'm me, and I have extra film camera bodies just laying around, I like to experiment. Here's the fruit of an experiment I did today.
In the past, I've successfully modified camera's so only half of the frame gets exposed, and then the film can be run through the camera a second time with a four perforation offset and fill in the unexposed gaps, giving the user twice as many frames per roll, albeit half-size frames.
I unsuccessfully tried to divide each frame into three. But, in theory it's completely possible.
This time I went about achieving a smaller format in a different manner. Here's the idea:
Take a camera and remove the film advance spool, or rather decouple it from the winder. This makes the film advance lever do nothing except re-arm the shutter.
Load the film in the camera and spool it all the way on to the take up spool.
Shoot and rewind the film with the rewinder back into the canister a bit every frame. How much is a bit? Glad you asked. A sixth of a complete rotation in this case. I put markers on the winder to keep track.
The film gate is masked of course so that only a little bit of the film is exposed. One one end of the roll, you get six exposures per normal 8-perf frame. On the other end, it's closer to four. This is because turning the rewind lever is spooling film back on to roll with an increasing roll diameter inside the can.
Next, the film is scanned at high resolution. Each scan creates an image 5172 pixels by 3445 pixels containing four to six small frames. Each scan takes around five minutes on my scanner.
Each frame is cropped and saved separately, and then animated. The frames are very wide—over four times as wide as high (the camera is turned on its side so as not to make tall thin frames).
I decided to crop further and replicate a 2.35:1 ratio—one of the widescreen aspect ratio standards. I did it by eye, so it's probably off. It was awkwardly wide before.
Since the video is only a few seconds long, it's been looped a few times. And, I chose to run it at 18 frames per second (like traditional super 8mm) to make it last a little bit longer.
Conclusion:
I'm doubting I'll ever go to the trouble of using this system again, but it was a fun (and tedious) process and experiment... unless someone pays me to do it.
Enjoy.
An order I have been delaying quite a long, honestly. For the last one I had left a few parts I needed for complete more Dollies, but I decided to way a bit to get them so the past order wouldn't get too expensive. Maybe a mistake: the last sets I've got were more because I liked them and I didn't have plans for their parts, so most of the MOCs I working on need parts I didn't get through sets. Thus now I need to make another order soon, so at least I can complete the MOCs I have almost done!
A funny story is that the store I relied on this time went for an old Star Wars set box for recycling, but then used bags for every single lot (even if it was just composed of two studs or one plate!), so the effort went to waste in that sense xDD The seller was pretty quick and efficient, though, so kudos for him!
For the ones interested in what I got, most of the parts are white parts I use a lot on my MOCs, like 1x2 plates with handles, some tiles and several curved bricks; a few replacements from BIONICLE sets I took parts from, and some specific parts I needed to complete some Dollies. Oh, and a few parts for my lovely Elnida that he was been missing for a while now =P
If you still care about how the progress on my Dollies go ('cause, you know, it seems that there will be always enough Dolls to post so...), here you have the current situation:
- Finished and posted: Basher, Sitter, Creeper, Shrinker, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper, Nullifier, Crosser, Multipier, Extinguisher, Tamer.
- Finished: Defender, Locker, Rewinder, Transmitter*.
- Almost done: Saucer, Ruler.
- Half-way: Racer, Granter, Revealer, Ruler, Manufacturer.
- Started: Pâtissier, Grabber.
- Only designed: Roller, Heater & Cooler, Sleeper, Cooker, Painter, Hunter, Busker, Ranger, Speaker, Sharer, ???.
*aka Detecter. I'm working on her abilities so probably the name will change again. Also, I may give her build a few more touches.
Well isn't it getting quite crowded in here.
In fact I'm practically out of room for my Dollies! I was expecting the shelf to support at least 50, but the recent ones have quite a large base (Manufacturer, Roller, Racer, etc), so I got short at barely 40 Dx For now I decided to take out Manufacturer and Picker, since they are still long far to be finished (for Picker I just came up with the head). To answer an unspoken question, Manufacturer has barely advanced since I designed her, and I don't plan her to be finished soon. I have very big plans for her skirt, but I haven't come up with a design for it that would have the proper size and good look on LEGO so she will take a loooong time. This said, I want her to be the 50th Doll, so I'll make it sure to have finished her eventually. =P
So you can see I'm not planning to give up the Dollies soon, in fact probably you'll have to deal with another year of them. This is what you can expect during such period!
- Finished and posted: Basher, Sitter, Creeper, Builder, Messenger, Gunner, Slayer, Poisoner, Summoner, Soarer, Hacker, Faker, Engineer, Sailer, Gardener, Keeper, Healer, Boulder, Hyper, Nullifier, Crosser, Multiplier, Extinguisher, Tamer, Defender, Propeller.
- Finished: Saucer, Rewinder, Ruler, Tower*, Locker, Revealer, Hunter, Grabber, Charger, Troffer**, Stranger.
- Almost done: Racer, Rider, Roller, Sleeper, Warper.
- Half-way: Granter, Patissier.
- Started: Manufacturer, Picker, Reporter.
- Only designed: Heater & Cooler, Cooker, Painter, Busker, Ranger, Speaker, Sharer, Enhancer, Shower (?), ???.
*the old and troublesome Detecter (it's the tall one next to Mari)
**it's a light-based Doll, I accept better suggestions.
Eastern Daily Press 4th July 1940
REPORTED MISSING
PTE.A.B.PRESTON, of the Royal Norfolk Regiment, eldest son of Mr.and Mrs. Preston of 85, Mousehold Avenue, Norwich. He had had 21 years’ service and was colonial rifle champion in 1937
PRESTON, ARTHUR BENJAMIN
Rank:………………………….....Private
Service No:……………………5764130
Date of Death:
Between 27/05/1940 and 01/06/1940
Age:……………………………....38
Regiment:……………………...Royal Norfolk Regiment
……………………………….........2nd Bn.
Grave Reference:…………2. E. 11.
Cemetery:
LE PARADIS WAR CEMETERY, LESTREM
Additional Information:
Son of Benjamin and Alice Preston, of Norwich.
CWGC: www.cwgc.org/find-war-dead/casualty/2279637/PRESTON,%20AR...
The Army Roll of Honour 1939-1945 unfortunately records his surname as “Freston” .
Private 5764130 Arthur B Freston of the Royal Norfolk Regiment who died in June 1940 in the French and Belgium campaign, was recorded as born and resident Norwich.
There is no obvious Soldiers Will or Civil Probate for this man.
Birth and family
The birth of an Arthur Benjamin Preston was recorded in the July to September quarter, (Q3) of 1903 in the Norwich District.
On the 1911 census the 7 year old “Authur” Preston, born Norwich was recorded at 35 Fishergate, Norwich. This was the household of his parents, Benjamin, (aged 43 and a Carter from Norwich) and Alice, (aged 39 and from Norwich). The couple have been married 18 years and have had 10 children, of which 8 were still.
Alice Emily…….aged 18………..born Norwich
Nellie…………..aged 16…………born Norwich…Rewinder in a Silk Factory
Louisa………….aged 12…………born Norwich
Lilian………….aged 10………….born Norwich
Herbert………..aged 6……………born Norwich
Alfred…………aged 4……………born Norwich
Fredrick……….aged 2……………born Norwich.
They also have a 5 year old boarder staying with them.
The most likely marriage of his parents was that of a Benjamin Preston to an Alice Morris in the October to December quarter, (Q4), of 1892.
Post August 1911 it became compulsory when registering a birth in England and Wales to also record the mothers maiden name. A search of the General Registrars Office Index of Births for England and Wales 1911 – 2006 produces many matches for children registered with the surname Preston, mothers maiden name Morris, but three in particular stand out – all recorded in the Norwich District and so possibly siblings of Arthur.
Donald……..July to September 1911
Rose………..January to March 1913
Irene……….April to June 1916
Other family baptisms
At St Clement with St Edmund, Norwich.
Alice Emily Preston, born 24th February 1893, was baptised 2nd November 1895. Parents were Benjamin, a Labourer, and Anna. The family lived at Thompsons Yard.
freereg2.freereg.org.uk/search_records/5510a27ae93790ccb6...
Nellie Maud Preston, born 9th July 1895, baptised 2nd November 1895. Parents were Benjamin, a Labourer, and Anna. The family lived at Thompsons Yard.
freereg2.freereg.org.uk/search_records/5510a27ae93790ccb6...
Herbert Preston, no date of birth recorded, baptised 1st July 1897. Parents were Benjamin, a Labourer, and Anna. The family lived at Thompsons Yard.
freereg2.freereg.org.uk/search_records/5510a27be93790ccb6...
(I suspect this Herbert died and the family re-used the name as the age doesn’t tie up with the 1911 census details. The same census also notes that they have lost two of their children.)
Louisa Preston, no date of birth recorded, privately baptised 28th March 1899. Parents were Benjamin, a Labourer, and Anna. The family lived at 32 Fishergate.
freereg2.freereg.org.uk/search_records/5510a27ce93790ccb6...
Military Unit
The 2nd Norfolks were stationed in Gibraltar for 1936 – 1939 at the time that Arthur was “Colonial Rifle Champion”, while the 1st Battalion was in India for much of the 1930’s until 1940. He could have served with either Battalion.
With the outbreak of war the 2nd Battalion were already back in England and were immediately dispatched to France as part of the 2nd Division. They remained there through the winter of 1939 and spring of 1940 during the so-called “Phoney War”, although one of the Battalions Officers received a Military Cross as a result of a clash with a German patrol on the border in January. With the German attack on the 10th May 1940, the British initially moved forward to prepared positions, but soon found themselves in danger of being surrounded. Then began a series of retreats behind hurriedly prepared defensive lines, usually based on the canal and river network. While holding a line on the River Escaut, south of Tournai, on the 21st May 1940, Company Sergeant-Major Gristock won a Victoria Cross.
ww2today.com/21st-may-1940-the-british-counter-attack-at-...
On the 23rd they were pulled back to the canal line from Aire to La Bassee.
Selected extracts from “Dunkirk:Fight to the Last Man” by Hugh Sebag-Montefiore
When the Royal Norfolks arrived at Locon, the officers believed that they were going to have a rest during what was expected to be a period in reserve. However, while Major Lisle Ryder, their thirty-seven year old acting commanding officer, was reconnoitring, his car and the following vehicle were fired at on both sides of the canal. It was no surprise, therefore, when, in the course of the meeting convened at their temporary Locon headquarters during the night of 24-5 May, Ryder told the company commanders that they must abandon any thought of having a good sleep: instead they must prepare for action.
4 Brigade was to be the central unit within 2 Division’s sector on the canal line, with 6 Brigade on its right, and 5 Brigade on its left. The Royal Norfolks ended up in the centre of 4 Brigade’s position. The battalion’s companies were to move up to the canal line immediately, in the dark, flushing out any Germans they found in their path, and were to establish foxhole positions on the northern and eastern canal banks between Avelette and the Bois de Paqueaut. It would have been a difficult assignment for a full-strength well rested battalion, but it was immeasurably harder for an understrength unit whose men were suffering from varying degrees of sleep deprivation. At this point, the battalion consisted of just 450 officers and other ranks.
Ryder’s original plan required the battalion’s headquarters to be moved at the same time as the companies to a village enticingly named Le Paradis (Paradise). However, while moving in the dark, without lights, signposts or large-scale maps, Hastings, who had been given the task of selecting the site for the new HQ, lost his way, and ended up with the headquarters personnel near Le Cornet Malo. It was only during the next night, 25-6 May, that the fateful decision was made to move the headquarters again to Le Paradis. Little did the officers who made the decision realize that life there was going to be anything but paradise.
Although several attacks were put in on the Royal Norfolks’ section of the canal line on 25 May, and small bridgeheads were established on the north-east bank, officers at the battalion headquarters believed that the companies, after suffering their first casualties, were still holding their own. That was thought to be the case notwithstanding the fact that during the previous night two of the front-line companies, which had also got lost in the dark, ended up mistakenly digging in alongside a tributary of the canal rather than on the canal line itself. Like the battalion’s headquarters personnel, the “lost” companies reached their correct positions on the night of 25-6 May, and it was only the next morning that Ryder ordered that steps should be taken to form a true picture of his front line. One of these involved sending Hastings forwards to the crossroads at Le Cornet Malo to find out what had happened to A Company, on the Royal Norfolks’ right.
“At the cross roads I was surprised to see [2nd Lieutenant] Slater, who was now commanding A Company [after Captain Yallop’s death on 25 May], and a group of six or seven men standing helplessly around him,” wrote Hastings. “Slater told me his position up by the canal had been overrun by tanks, and the company had been ‘minced up’. All that remained, he said, were the few men standing about outside, and some others who were wounded, that he had got inside a building on the…corner of the cross roads. I went…and looked at the wounded.
Before I left, [Lieutenant] Edgeworth, commanding B Company [the company now holding the front on A Company’s left], came running up….His Company too was much reduced in numbers…He had only 19 men. He had a position along the line of a hedge 200 or 300 yards in front of the cross roads. There were no tanks about at the moment, but he thought there were Germans in a village just beyond his position.”
Hastings drove back to Le Paradis to tell Ryder what he had done, only to discover that
“he did not agree to Slater’s recall, and was angry that I had done it. ‘Go back,’ he said. ‘Put the two companies together, and command them yourself.’ The cross roads, he told me, were to be held at all costs – to the last man, and the last round. He concluded his orders by saying: ‘Keep them back with your own pistol if necessary.’
On the day
Because so few men from the front-line companies survived, it has been impossible to describe all the nail-biting incidents that doubtless took place as these men stood their ground against the much stronger enemy troops and armour. However, the account written by Captain Hallett, whom Hastings had left in charge of the men he had been directing, at least gives some idea of what they must all have to endure.
Unlike Hastings, Hallett appears to have been relatively fresh, which enabled him to take a much more proactive approach to his command. Shortly after Hastings had departed during the morning of 269 May, Hallett led a patrol forward to the southern side of Le Cornet Malo and fired at Germans he saw approaching from the direction of the canal. “It was a pity we had no mortars, or we could have bombed them beautifully”, he reported enthusiastically.
Nevertheless Hallet’s group’s rifle and Bren-gun fire must have stopped the Germans in their tracks. As his account records, when he ordered his men to advance again, they did so without opposition, and captured a wounded German soldier, who was in a ditch, plus some others who also surrendered without a fight. “After all the frightful things the troops had threatened, it was amusing to see how well they treated the [wounded] prisoner,” Hallett noted. “They gave him cigarettes and chocolate, and ….[when] I started to question him……..he was quite ready to talk. He said that there was about a division against us across the canal, as I’d expected, instead of the odd hundred or so that I’d been told.”
The Germans attacked again as it became dark, driving back Hallett’s forward posts. Then, according to Hallett, “they started digging hard just beyond the village where we could hear them all night, [and] just before midnight I heard unmistakable sounds of tanks”. This prompted Hallett to take the initiative once again, and after sending out a small patrol, whose report enabled him to work out exactly where the Germans were digging, he gave orders for the mortars that had become available to be fired at them. “From the shouts and shrieks, there must have been some direct hits,” Hallett observed.
But, as Hallett’s account confirms, that was the last time he was able to impose his will on the battle:
“As it began to get light, [at] about 5 a.m. [on 27 May], the tanks arrived, huge fellows, and about a dozen. I phoned Battalion HQ….Then they cut the line. This was the last message I go to the Battalion. The forward section came in, leaving their guns, and worse, their AT [anti-tank] rifles. And for a bit there was…..chaos…..Eventually we had a brainwave, and ran out below the tanks’ angle of fire, and put Mills grenades in the tracks. It did not do the tanks much harm, but [it] frightened the drivers, and they ditched them. We got the LMG [light machine-gun] back in position, and the AT rifles mounted.
Luckily the German infantry were a long way behind their tanks, so when they came, we were ready for them. And come they did, in masses. I never believed I’d see troops advancing shoulder to shoulder across the open, but these men did, and suffered accordingly. The Brens fired till they were red-hot, and also the riflemen. But we [also] suffered heavily, and in the end, I was left in a big farm with an attic, with an AT Rifle, and a rifle for myself, and one rifleman to help.”
After some further exchanges of fire, even Hallett’s last remaining helper was killed, and he himself was captured while trying to escape.
Back at Duriez Farm, the state of the front-line battalions was monitored from messages received in the ‘signal office’ in the cellar under the farmhouse kitchen. A similar pattern of signals emanated from each company. First, messages came through to say they were holding. Then a more desperate voice, which could barely be heard above the firing in the background, informed the commanding officer that they were involved in hand-to-hand fighting. Sometimes the signalman at the other end of the wire had a personal chat with his mate in the battalion signal office. When B Company was about to be overrun, their signalman Alf Blake confided to Bob Brown, the nineteen-year-old telegraphist: “I’m afraid we’re for it. Don’t forget me. We’ve had some good times together. I don’t know whether I’ll ever be seeing you again.”
It was the last message from B Company, and the last time Bob Brown ever heard Alf Blake speak. He must have been killed shortly afterwards, among the many who did not survive long enough to surrender. There was no time for Brown to be sentimental: as soon as the line went dead, he shouted up the stairs to the officers in the kitchen, “The line to B Company’s been cut.”
Before the lines to the companies were cut, it was discovered that the Germans were attacking in two main lines: between the Royal Norfolks’ left and 5 Brigade, and in the area held by Hallett and his men. After overrunning the front-line companies, the German troops were free to concentrate on Battalion Headquarters, which they did with a vengeance approaching Duriez Farm from the north, the east and the west in spite of the fire put down by the men in the courtyard. “We engaged the enemy furiously,” Long reported.
“[Then] suddenly the enemy on the right stopped advancing, and…ran back towards the wood. We had one moment of exultation. We felt the counter-attack had been successful somewhere, and the German line was falling back. But our exultation in one moment turned to consternation.
A sudden flurry of noise and rattle of shots was heard in front of the Battalion HQ [i.e. to the south]. A section of German motorcyclists had rushed up the road to Bn HQ. They were dealt with effectively, and fell back on the RAP [Regimental Aid Post] buildings [a short distance to the east, across the road from the farmhouse], leaving 2 dead in the road. From the RAP they filled the air with shots, and it seemed impossible to get at them….It was a very awkward moment which was saved by RSM [Regimental Sergeant-Major] Cockaday. He seized a Bren, and rushed forward into the open. Taking up a position, he opened fire with a gun. In the course of this, he was wounded”
Thanks to Cockaday, who was backed up by Ryder and Long, the Germans were eventually driven away from the south side of the farm, and an escape route, in theory at least, was kept open. Long attempted to secure it by ordering some of the men to hold a couple of neighbouring houses as outposts. However, the difficulties Long experienced in going to and from these houses must have convinced him that salvation might well be impossible. According to Long, the “piece of open country [between the battalion and the houses]….was whipped with fire. The route [I took] was the only one possible, and I’m damned if I liked it. This was the only time I felt frightened. However we got there, and lost no men.”
Holding these outposts became even more problematic when the brigade’s artillery, probably reacting to a telephone call from Long telling the brigadier where the Germans were attacking, began to shell them. It was a frightening moment. After holding off the enemy so courageously, it seemed as if they were about to be annihilated by British guns. The barrage was only stopped when Long dashed back through another hail of bullets to telephone through an urgent request to the brigade to put an end to their unwelcome ‘support’.
No sooner had the guns been silenced then another problem emerged. “The men seemed to lose heart without anyone to command them,” Long wrote later. “So once more, I dodged back again, and got the men in position and cheered up.” However, the situation in the outposts was only stabilized after he had placed an NCO in each of the two houses he had ordered his men to hld. Long was then free to return to the farm.
Hastings has described what he witnessed there:-
“At one moment I am watching the movements of the enemy through glasses through a hole in the roof. Another moment I am firing a rifle. Now I am firing a Bren gun which stops…A party of Germans try to get past at short range. Everyone that can get a rifle gets some shooting. Richardson has a German Tommy gun taken from the dead motorcyclist in the road…Now the outlook is good. Now again it is bad…Now I am putting the Battalion papers and war diary in a sack and weighting it with stones, and tying it up ready to sink it in the farm pond. Now I am looking down from an upper window on the dead German motorcyclist who still lies in the road with his arm outstretched. A stream of blood has run from his head to the gutter. As I look, I see a soldier steal out at the peril of his life, and remove the wrist watch from the dead man’s hand. He slips back as quickly and quietly as he slipped out…
Charles Long is a great success with the men. He is telling awful lies, but he talks as if he himself believes what he says….The men love him…He set a fine example by his disregard of personal danger, and certainly did more than any other officer to keep morale at a high level. He has a breezy manner, was always cheerful, and full of unbounded optimism…All this he managed to convey to the troops….
Something that looks like a tank approaches. Where is the anti-tank rifle? It is lying out in the road. I go to get it. A private soldier comes after me. “Let me get it Sir” he says. I don’t let him, but I am touched at his offering. It has a hole in the side of the barrel, but it can still be fired. The tank stops behind a hillock. Its top can just be seen….It’s an armoured troop carrier….
The CO is ringing up Brigade. He says: “I shall not ring you up again. We are doing very well.”….I think he [Ryder] is about to crack. He says to me: “When I think of the magnificent battalion I took over only a few days ago”….He is unable to go on. I wonder why he does not abandon our position. I think we could still get some men away safely. We both know now there is no hope of holding on much longer. However, he says [that] others are depending on us. I think he knows more than I do. I glance at the Battalion papers in the sack. He nods his head, and I pitch the sack into the farm pond. It doesn’t sink. I throw a bicycle on top of it. Now it sinks.
Now I am going round counting up rounds of ammunition. I see Richardson. He is quiet and very grim. He is watching the development of the enemy’s attack from the side of the troop carrier. I am getting ammunition collected from the rifles and pouches of the wounded. Bren gun magazines must be broken up and the rounds distributed. We are very short of ammunition, but everyone has a few rounds.”
(End of preview extract)
From “Dunkirk:Fight to the Last Man” by Hugh Sebag-Montefiore
books.google.co.uk/books?id=V7r-F7FxtrYC&pg=PR183&...
On the night of 26-27 May 1940, the German force which included the 1st Battalion, 2nd SS 'Totenkopf' Regiment, moved up the south bank of the La Bassee Canal. It attacked across the canal in a northerly direction with Bailleul as its objective. In the area immediately north of the canal they were held by the Norfolk Battalion in much depleted strength because of the previous fighting and the physical exhaustion of the men. The Battalion and the Royal Scots were holding the villages of Riez du Vinage, Le Cornet Malo and Le Paradis. The Battalion Headquarters was in Le Paradis.
During the night, the 2nd SS Infantry Regiment crossed the canal using the ruins of the bridge Pont Supplie. They met heavy British resistance and advanced very slowly and at high cost. They eventually occupied Riez du Vinage and spent the night in the Bois de Paqueaut.
At dawn on 27 May 1940, the German forces emerged from the wood and began attacking Le Cornet Malo. No. 3 Company was in the centre, with No. 2 on the right and No. 1 on the left in semi-reserve. The British troops defended very stubbornly. According to a German account four officers and one hundred and fifty men were killed and eighteen officers and four hundred and eighty men wounded of this and another action. Fritz Knoechlein's company suffered the greatest casualties. With the village of Le Cornet Malo burning and its fields dotted with dead, the Germans attacked Le Paradis.
The British Battalion's last contact with Brigade took place at 11.30am. They were then told that they were isolated and must fend for themselves. They had fallen back upon the Battalion Headquarters situated in a farm on the Rue du Paradis. This road formed the boundary between the Norfolks and the Royal Scots who had been fighting on the right of the Norfolks. The location of the Battalion Headquarters on the the boundary between these two forces, accounts for the curious events that followed the surrender, for although the Norfolks were attacked by one SS Battalion, most of their survivors were captured by the SS Company which up to that moment had been fighting the Royal Scots. This other SS Battalion took a number of prisoners, among them Captain C. Long, MC, who was the Battalion Adjutant. The treatment they received was good, and gave little cause for complaint. Had all the Battalion fallen into their hands the events of the Le Paradis massacre would not have happened.
When the Battalion surrendered about one hundred men were collected and paraded on a minor road off the Rue du Paradis. There they were given many evidences of the mounting temper of German troops. Their equipment was taken and they were marched into a paddock of a farm and shot.
The German Battalion Commander had gone forward after the surrender, which took place in the early hours of the afternoon. While the men were waiting on the road two machine-guns of No. 4 Machine-gun Company were brought forward and set up in the paddock. Fritz Knoechlein was No. 3 Company Commander of the Battalion and also the Deputy Battalion Commander. He was directly responsible for the crime and it was on his orders to fire that the killing of the prisoners occurred. After the shooting of the British soldiers Knoechlein had gone around the locality looking for British prisoners or wounded. He found some French civilians and threatened them. These civilians saw a wounded soldier shot with a rifle after the mass shooting.
www.stephen-stratford.co.uk/pooleys_revenge.htm
On May 27th, their ammunition expended, and completely cut off from their Battalion and Brigade Headquarters, 97 officers and men of the 2/Royal Norfolks surrendered to No. 4 Company of the 1st Battalion of the 2nd S.S. Totenkopf (Deathshead) Regiment. They were disarmed, marched into a field, mowed down by machine-guns, finished off by revolver shots and bayonet thrusts and left for dead. By a miracle two of them escaped death, and were hidden and succoured for a short time by the people of Le Paradis. Later they became prisoners of war, and ultimately returned home to set in motion the wheels of justice which, on January 28th 1949, brought to the gallows the German officer who gave the command for this massacre.
A day or two after the atrocity the local people, under orders from the Germans, buried the dead where they lay. In 1942, however, the bodies were exhumed and moved into the part of Le Paradis churchyard which is now the war cemetery. Other casualties were brought from scattered graves in the area.
www.cwgc.org/find-a-cemetery/cemetery/2027400/LE%20PARADI...
The Mayor of Bethune reported details of the Le Paradis massacre to the allied authorities, in October 1944. In the report he states that 97 soldiers - temporarily buried at the massacre site until 1942 when they were re-interred at Le Paradis war cemetery. He gives a list of 45 identified bodies - 4 named but uncertain as to veracity and 48 unidentified bodies.
One of those identified bodies was Private 5764130 A.B.Preston, Royal Norfolk Regiment.
ww2talk.com/forums/topic/3219-le-paradis-massacre-confirm...