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Japanese writer, blogger & good friend Yuji Kitajima channeling a certain adventurous archaeologist.... (The hat is mine ;-)
Leica M9 + Zeiss Planar 2/50mm ZM
(I picked up the Zeiss on my recent US trip -- very cool lens. More to come!)
♫♪ Chopin ballade 1 - Yuja Wang ♫♪
Diez años esperó que el árbol seco
floreciera de nuevo. Diez años
con el hacha aguzada y temblorosa,
pero el árbol
sólo exhibía sus desnudos brazos,
la percha de la urraca y de los cuervos.
Cortóle al fin, y, de repente,
vio su corazón verde, borbotón de savia;
un año más, y hubiera florecido.
José Jiménez Lozano
US Mobile Broadcasting Unit at the Weald & Downland Living History Festival near Chichester on 3/6/18.
Neil F.
O Quarto Desafio foi meio desastroso e tive que adiar ele um pouco para ver se recebia mais blends, acabei não recebendo... Enfim, continuando. O quinto desafio, ressurgente do dia 17 de fevereiro, ou, Dia Internacional do Bege e a semana recorrente nos fez lembrar de grandes clichês do flickr. Clichês? Exemplos, o tratamento roxo e amarelo do Tricky, quando ele lançou, aquilo estourou... As texturas do Hugo Yuji, os tratamentos beges que o Hugo Yuji sempre usa... Também, pngs clássicos como as ondinhas (criado por SeptdesNovembre) e até mesmo aqueles pngs de jornal que não tem escrito nada com nada... Para provar que nem sempre o clichê é feio, o jurado convidado desta semana, Pedro Inácio, e lógico, eu, viemos te desafiar a provar isso. O desafio desta semana consiste em usar essas coisas cliches de forma que fique bonito. Mas como o resultado nem sempre é satisfatório, há uma surpresa neste desafio. Os resultados menos satisfatórios (os últimos lugares) deverão refazer suas blends, sim, deverão refazer as mais horriveis do ranking para transformar elas em fabulosos clichês.
O ensaio é livre, podem escolher o ensaio que quiserem. Não é obrigatório usar todos os clichês, mas de preferencia, use e abuse de todos. Se vocês quiserem exemplos de clichês, usem como base as blends antigas do pessoal, até mesmo o banner do desafio.
Até a próxima semana e não flopem o desafio...
XXX0
Car: Volvo V90 1.9D S.
Year of manufacture: 2003.
Date of first registration in the UK: 31st March 2003.
Place of registration: Northampton.
Date of last MOT: 20th September 2021.
Mileage at last MOT: 179,391.
Date of last V5 issued: 8th May 2009.
Date taken: 9th June 2022.
Album: Carspotting 2022
Keukenhof 03-05-1980. Valley Motor Services YUJ 318T, Ford R1114 / Plaxton Supreme Express new in September 1978.
Cadillac (Fleetwood) Miller Meteor Ambulance (Ghostbusters Replica) (1961) Engine 7400cc V8
Registration Number 795 YUJ (Shrewesbury)
CADILLAC SET
www.flickr.com/photos/45676495@N05/sets/72157623638148297...
In the 1984 film Ghostbusters
Ecto-1 was the vehicle that the Ghostbusters used to travel throughout New York City busting ghosts and other entities.
The vehicle actually used in the film was a 1959 Cadillac professional chassis, built by the Miller-Meteor company. The ambulance/hearse combination was the end loader variety. 1959 Cadillac professional chassis, built by the Miller-Meteor company. The ambulance/hearse combination was the end loader variety. The film stars Bill Murray, Aykroyd, and Ramis as three eccentric parapsychologists who start a ghost-catching business in New York City. Sigourney Weaver and Rick Moranis co-star
This vehicle is also a Miller Meteor former ambulance, but a 1961 model of the Cadillac 86 Series restyled and re-engineered for 1961. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. And is fully equipped as Ecto-1 and a uniformed team of Ghostbusters, along with the films soundtrack by Ray Parker.
METEIOR MILLER
In 1954, Wayne Works of Richmond, Indiana, a builder of school buses, purchased Meteor Motor Car Co of PiquaOhio, in 1954, and in 1956 aquired another Ohio professional car builder, the A.J. Miller Company of Bellefontaine, Ohio. to form Miller-Meteor. From day one the new company exclusively on the Cadillac commercial chassis and the first Miller-Meteor coaches debuted in 1957.. In 1958 the company received an order for 40 coachbilt hearses and by 1962 had become the largest builder of hearses and ambulances in the USA.. By 1966 their range included 13 basic models, all of which could be customised to the clients requirements. By 1970, the model range was up to 34; that was also the last year for the Miller-Meteor flower car..
Miller-Meteor's most famous ambulance, the Criterion, was unveiled in 1973 and placed into regular production early in 1974. and became the companies flagship vehicle. But in 1976-77 Cadillac dropped their last full sized commercial chassis, and although the coachbuilder bringing of hearses production to a halt. The fate of the Ambulance had already been seled with the introduction of the 1973 EMS Systems Act virtually eliminated all passenger car-based ambulance production by 1977 and Miller-Meteor only built 21 ambulances during the year. Only four were built in 1978 and by 1979 Miller-Meteor was reduced to a single line of professional vehicles - hearses. With sales down and prospects dim, The company announced the end of operations on November 1, 1979. .
To call the film a sucess is an understatement the films budget was $30 million dollars and it took $295.2 dollars at the box office with DVD sales continueing today.
Many thanks for a fantabulous 31,648,500 views
Shot on 06.04.2015 at Weston Park, Weston-under-Lizzard, Shropshire Ref 103-038
by Markos
desenho by Yuji
Primeiro resultado do projeto do Markos com nosso amigo e padrinho de casamento Yuji! Foi um presente de aniversário pra um amigo em comum nosso, que adora paisagens com coqueiros - de vermelho é ele, e embaixo do coqueiro o Cotonete, gato dele hehehe
Descrição do Yuji: "Trabalhei com Photoshop sobre a fotografia de uma palmeira em Itacaré, Bahia. Foi um tanto complicado decidir o que fazer sobre a fotografia, pois ela ja era ótima sozinha mas tentei manter o clima tropical e usar tons semelhantes para não destoar. Tentei deixar a perspectiva de lado e trabalher com elementos mais bidimensionais. Espero poder fazer mais trabalhos como esse!"
Parabéns pros dois, ótimos artistas! E um beijão pro maridinho hihihi te amo mt... :*
*Praia de Itacarezinho, Itacaré, Bahia.
____________________________________________________________________
Visitem a galeria de desenhos do Yuji yujikunschmidt.deviantart.com/gallery/
Jaguar XK150 Fixed Head (1957-61) Engine 3442 S6 DOC Production 4101
Registration Number 253 YUJ (Shropshire)
AGUAR SET
www.flickr.com/photos/45676495@N05/sets/72157623671588245...
Marketed as a 2/4 seat Coupe, wider and more bulbous than the earlier XK140, with a single piece wind screen. The Special was available with wire wheels, disc brakes and twin fog lights
Although bearing a family resemblance to the XK120 and XK140, the XK150 was radically revised. A one-piece windscreen replaced the split screen, and the wing line no longer dropped so deeply at the doors. The widened bonnet opened down to the wings, and on the Roadster the windscreen frame was moved back 4 inches to make the bonnet longer The XK140's walnut dashboard was replaced by one trimmed in leather. On the early Drophead Coupés, the aluminium centre dash panel, which was discontinued after June 1958, had an X pattern engraving similar to the early 3.8 E-Type. Thinner doors gave more interior space.
The higher spec 3.4 litre XK150S joined the ranks in 1958, and uprated to 3.8 litre from 1959 on
A big Thenks for 20.8 Million Views
Shot at Gaydon Heritage Centre 19.05.2014 Ref. Number 98b-320
sắp đến sn yui yui rồi nè >:D< 3/10 óa nha
Minh khoa [Ro]: ngu chưa
* Yui Pearlie :*: chưa
* Yui Pearlie :*: khóc sao ngủ
Minh khoa [Ro]: may h moj ngu
Minh khoa [Ro]: sao
* Yui Pearlie :*: k pik
* Yui Pearlie :*: thý pùn
Minh khoa [Ro]: tai sao laj khoc
* Yui Pearlie :*: chã pik nói sao nữa
* Yui Pearlie :*: hix
* Yui Pearlie :*: yui thý yui ngốc quá ro
Minh khoa [Ro]: chjn cua thg hưng dug hok
* Yui Pearlie :*: uh
Minh khoa [Ro]: no laj lang nhang chu j
* Yui Pearlie :*: càg ngày càg nãn nó
* Yui Pearlie :*: lăg nhăg hay k yui k pik
* Yui Pearlie :*: mà thý nó chã coi yui là j hết
* Yui Pearlie :*: =.=
Minh khoa [Ro]: thj ro da noj roi
Minh khoa [Ro]: kon ng no ko wen aj dc dau
Minh khoa [Ro]: chảnh lắm
Minh khoa [Ro]: ma lang nhang nua
Minh khoa [Ro]: no ko that long vs aj ca
Minh khoa [Ro]: thuj yuj dung pun nua nha
* Yui Pearlie :*: uhm
* Yui Pearlie :*: cám ơn ro
Minh khoa [Ro]: ro pun thj ban be cung an uj
Minh khoa [Ro]: yuj cung nam trong so ban do
Minh khoa [Ro]: yuj pun thj cung v thuj
Minh khoa [Ro]: it ra thj cug chua co j ge gom
Minh khoa [Ro]: thuj yuj ct som dj
Minh khoa [Ro]: dung wen nua
Minh khoa [Ro]: nghe ro 1 lan dj
* Yui Pearlie :*: uhm
Minh khoa [Ro]: trong tuan sau giai quyet dj nhak
Minh khoa [Ro]: dut diem dj do
Minh khoa [Ro]: dung de rac roi nhu chjn cua ro
* Yui Pearlie :*: ság ro có đi đá banh k [đánh trống lãng]hihi
Minh khoa [Ro]: có
Minh khoa [Ro]: sáng thứ 2
Minh khoa [Ro]: 9h30 bat dau da roi
Minh khoa [Ro]: 8h30 co mat o do
* Yui Pearlie :*: uhm
Smith of Donnington Wood YUJ 706K, a 1972 Ford R192 with Duple 'Viceroy Express' C45F coachwork seen at Weston-super-Mare coach park 29/8/76
MG MGB (Mk.II) GTS Replica (1972) Engine 1798cc S4 OHV BMC B Series
Registration Number YUJ 20 K (Shropshire)
MG SET
www.flickr.com/photos/45676495@N05/sets/72157623797586658...
This car is a replica of the MGC GTS Racecars, created by the BMC Competitions Department to promote the new MGC by entering them in high profile GT races. Their target being the annual twelve hour endurance race at Sebring Florida. The MG would clearly have a power disadvantage, so the Competitions Department set about reducing the cars weight, Specially fabricated aluminum body panels were ordered for the MGC "GTS" or "Sebring" racecars. Most of these panels were made on regular production press dies by supplier Pressed Steel. Fenders were a conspicuous exception: they were hand-made and they featured aggressive fender flares to suit oversized tires. The following bolt-on panels were made from aluminum instead of steel: front valance, front fenders, doors skins, and GT hatches. (Aluminum bonnets were already standard equipment.) Aluminum rear fender flares were riveted onto modified steel quarter panels, and the rivets were hidden under body filler and paint. Aluminum roofs were also riveted and glued on. However, the underlying structure of the MGC GTS bodyshells remained essentially stock because these were unibody cars. Strength and stiffness were achieved by spreading stress through spotwelds into thin sheetmetal. Regular mass-produced steel parts were used for most of the cars' structural core: floorpans, transmission/driveshaft tunnels, crossmembers, rocker panels (inner and outer), firewalls, inner wings, rear wheel wells, the heelboards behind the seats, and of course the subframe sections that ran underneath the floorboards. Also the engine block and cylinder heads were specially cast to save weight compared to the iron blocks and heads used on production cars. The Comps team only used an aluminum MGC engine block once, and the results weren't good, but the aluminum heads worked out much better.
Enough panels were produced to fabricate six cars plus spares but only two were ever raced by the Comps Department.
The GTS racecar debuted with a four cylinder engine and a regular MGB bonnet because the upcoming MGC model was still a well-guarded secret. The occasion was the 1967 Targa Floria endurance race in Sicily. Sadly, it finished far enough behind the winner that its results weren't officially classified. Updated with a six-cylinder engine and MGC style bonnet, this same car was entered at Sebring in 1968 and 1969.
isappointing race results at Sebring in 1969 and in light of pending discontinuation of MGC production, an executive decision was made to liquidate inventory of GTS bodies and attendant spare parts held at Abingdon. By 1969 the official entrant was British Leyland Motor Corporation when the cars were entered for the Sebring Twelve Hour race. This was the last "works" race entry for the MG marque.
After the 1969 Sebring 12 Hour race, the Comps Department sold ADO52-1060 and ADO52-1059 in America at an advertised price of $4500 each (including spare engine, transmission, and rear axle) instead of shipping them back to England. The two cars remain intact and un-raced in private collections
Diolch am olygfa anhygoel, 62,259,101 oblogaeth y Lloegr honno dros y Mynyddoedd
Thanks for a stonking 62,259,101 views
Shot 30-07-2017 exiting the 2017 Silverstone Classic REF 129-513
I've not seen much worth photographing lately,so it was good to see this at the supermarket.I had a good chat with the owner (Dave),and learned that this was imported from California a couple of years ago,and is rust free and reliable transport.
Dave also owns the blue GMC pickup on my stream (pictured below),and alternates driving them.
How things have changed. Nowadays Park & Ride services are deemed to require state of the art buses which I suppose is reasonable if the industry is to endeer itself in any way to the car loving public. In the late 1980s however, things were a little different and it wasn't unusual to find elderly high floor coaches amongst other things in charge of services. Here as a case in point in the centre of Shrewsbury is a tidy but less than youthful Bedford YRQ belonging to Minsterley Motors taking it's turn operating the service to and from Harlescott.
To connect it to recent postings, YUJ 492K carries Duple's Viceroy Express coachwork which it will be recalled was developed to comply with the then government's 'New Bus Grant' specifications.
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49° Festival Pianistico Internazionale di Brescia e Bergamo
Domenica 6 Maggio
Teatro Grande, Brescia
Yuja Wang pianista
©Roberto Mora
"Inoltre, ho cercato di raccontare il senso di insoddisfazione diffuso oggi tra chi vive a Tōkyō. e che non so se i lettori italiani condividano con noi: una vaga Sensazione che ci sia qualcosa che non va senza sapere esattamente cos'è."
(banana yoshimoto)
“Karoshi” è un'espressione giapponese che sta a significare "morto per eccesso di lavoro" e, consultando il dizionario Oxford, si scopre che ormai è stata adottata anche dalla lingua inglese.
"Tutto il tempo che ho passato è stato sprecato". In una giornata di marzo del 1999, ancora prima che i germogli di ciliegio cominciassero a sbocciare, un ragazzo di 23 anni, Yuji Uendan, in preda a una forte depressione causata dall'eccesso di lavoro, si è tolto la vita. È stato trovato nel suo appartamento di Kumagaya, alla periferia di Tokyo, con quelle parole scribacchiate su una lavagnetta bianca che usava per l'elenco degli appuntamenti giornalieri.
Uendan aveva lavorato per quasi 16 mesi come ispettore di apparecchiature per la produzione di semiconduttori, in una stanza asettica con una luce soffusa giallastra nella fabbrica della Nikon a Kumagaya, vestito dalla testa ai piedi con una divisa bianca sterile.
Uendan faceva turni di giorno e di notte di 11 ore a rotazione, con straordinari e viaggi extra che gli facevano raggiungere le 250 ore al mese.
Nel suo ultimo periodo di lavoro all'interno della fabbrica era arrivato a 15 ore consecutive senza avere un giorno libero. Soffriva di mal di stomaco, insonnia, intorpidimento delle estremità. Il suo peso era sceso di 13 chili.
"Negli ultimi anni, sempre più lavoratori temporanei sono stati costretti a lavorare tanto quanto i dipendenti a tempo pieno ed è molto comune che le società appaltatrici forniscano illegalmente ai propri clienti dipendenti di fatto come se fossero interinali o temporanei", dice Koji Morioka, professore di economia e autore di The Age of Overwork. "Visto lo status quo, il caso di Uendan ha un'importanza particolare perché si è trattato in assoluto della prima richiesta di indennizzo per il suicidio di un lavoratore temporaneo a causa di straordinari ed eccesso di lavoro."
La questione del "karojisatsu", letteralmente "suicidio dovuto all'eccesso di lavoro" è un problema serio e profondo in Giappone. Il numero di suicidi è aumentato drasticamente, superando i 30 mila casi dal 1998, quando il tasso di disoccupazione raggiunse un record dai tempi del dopoguerra. Secondo gli ultimi dati dell'Organizzazione mondiale della Sanità, il numero di suicidi in Giappone è quasi il doppio di quello negli Stati Uniti.
L'ultimo studio dell'agenzia di Polizia nazionale giapponese evidenzia che nel 2006 si sono tolte la vita, in tutto il paese, 32.155 persone. Kawahito stima che più di cinquemila suicidi ogni anno sono il risultato della depressione causata da eccesso di lavoro.
Secondo le ultime stime dell'Organizzazione internazionale del Lavoro, ILO, il Giappone detiene il primato di dipendenti che superano le 50 ore a settimana (28,1 per cento), mentre nella maggior parte dei paesi dell'Unione Europea, la cifra non va oltre il 10 percento. The Age of Overwork riporta che la quota di ferie retribuite da parte dei dipendenti giapponesi è scesa al 47 percento nel 2004 dal 61 per cento del 1980.
"I troppi straordinari quasi impediscono ai lavoratori di godere di ferie retribuite e questo costituisce un problema" sostiene l’avvocato Kosuke Hori, che è il Direttore Generale dell'Associazione Giapponese degli Avvocati del Lavoro. Il Giappone non ha ratificato alcuna Convenzione dell'ILO sull'orario lavorativo, comprese la Convenzione 132 relativa alle ferie retribuite e la Convenzione 1 sulle ore di lavoro.
La legge nazionale non mette un tetto al lavoro straordinario per certe professioni e in certe condizioni. "Quando si tratta di ore lavorative - Marioka scrive nel suo libro - in Giappone non c'è alcun riferimento agli standard internazionali".
Se attualmente da noi le cifre di lavoratori che superano le 50 ore settimanali sono inferiori alla media europea, è importante ricordare che un tassello fondamentale della sicurezza e salute nel mondo lavorativo è proprio un’idonea e dignitosa organizzazione del lavoro.
Non a caso parliamo di dignità. Ne parla anche l’articolo 36 della Costituzione Italiana quando indica che il lavoro e la retribuzione ad esso collegata deve assicurare “un'esistenza libera e dignitosa”.
Le condizioni di lavoro, intese sia come quantità che come modalità, influenzano direttamente la qualità della vita individuale di ciascuno di noi.
E non è un caso che anche in Europa, di fronte alla frantumazione dei classici rapporti di lavoro e alla crescita di un lavoro precario spesso sottopagato e disorganizzato, il tema dei rischi psicosociali e dello stress assuma sempre maggior rilievo.
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.
49° Festival Pianistico Internazionale di Brescia e Bergamo
Domenica 6 Maggio
Teatro Grande, Brescia
Yuja Wang pianista
©Roberto Mora
This is was the first photograph taken with my new Zenith 11 35mm camera. I had bought it some minutes before in Tufton Camera's in the Tufton Centre in Ashford. I had travelled to Ashford as this firm was the only local one selling Zenith cameras. Zenith were (are?) a Russian firm, and this was the cheapest 35mm on the market, and also quite probably the heaviest. It lasted a few years, it died in 1989. Judging by the photograph, I had yet to work out the various foibles of a manual 35mm, let alone focusing. The back of the photo notes this was taken in Bank Street, but to me looks more like the ring road. I shall have to check this out, although the scene could have been swept away under the re-development of the town centre. Maybe this is now the scene of the "shared space" where pedestrians and motor traffic are supposed to exist in harmony, but in reality exist with the same impatient hatred as everywhere else.
London 06-06-1980. Dickinson YUJ 491K is a Bedford YRQ / Duple Viceroy Express that was new in 1972 to Vagg, Knockin Heath.
Chevrolet Suburban (1960-66) Engine *5700cc V8
Registration Number 631 YUJ
CHEVROLET SET
www.flickr.com/photos/45676495@N05/sets/72157623638181561...
The sixth generation Chevrolet Suburban was launched in 1960. Taking its styling cues from the C-K Pick Up with its large oval ports above the grille. Front independent suspension was new for 1960.
The cab featured a "wrap around" windshield. Both tailgate and panel doors rear openings were available. From 1962 onwards, the hood styling was more conservative, with hoods that eliminated the large ports.
This car appears to have a non original 350cu in engine
Many Thanks for a fan'dabi'dozi 29,214,600 views
Shot 17:08:2014 at Lupin Farm Classic Car Show, Orgreave, Staffordshire Ref 102-641b
C16 UNO (ex KU02 YUJ)
2002 Dennis Dart SLF/Alexander Pointer 2 B30D
Universitybus Ltd (Uno), Hatfield, Hertfordshire
Buckingham, 26 May 2021
New to Armchair, Brentford
Uno have operations within a reasonable distance of Buckingham at Northampton and Cranfield but don't operate any services through the town so the appearance of this training bus was a surprise, possibly training a driver from Cranfield. Confusingly the registration C16 UNO was transferred to this bus from another near-identical Dart, formerly SN51 TBV.