Bridging the Past: An Archival Look at Shrewsbury's English Bridge

 There’s a certain thrill in acquiring a random box of old 35mm slides—you never know what little piece of forgotten history you might uncover. Recently, this striking image of the English Bridge in Shrewsbury caught my eye. It's a beautifully composed shot, capturing the bridge's classic stonework and the distinctive spires of the town rising beyond the River Severn.

Let's dive into the history of this iconic landmark and see if we can use the photograph itself to determine when this particular moment was frozen in time.

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The History of the English Bridge

The English Bridge is a major gateway into the historic loop of Shrewsbury town centre, and its history is a long and winding one, mirroring the River Severn it crosses:

• A Crossing Since Medieval Times: A bridge has stood on this spot since at least the 12th century, likely wooden initially, before being replaced by a more substantial stone structure known as the Stone Bridge or Great Bridge.

• The Second Incarnation (1774): The current structure's direct predecessor was built between 1769 and 1774 by renowned architect John Gwynne. It was considered a magnificent example of Georgian engineering, featuring elegant stone balustrades.

• The Modern Bridge (1926): The bridge we see today is a widening and rebuilding of Gwynne's 18th-century structure. Due to increased traffic and narrowness, it was demolished and reconstructed between 1924 and 1926 by engineer Sir Thomas Peirson Frank and the Shrewsbury Borough Surveyor, A. W. Ward. The new design retained the look of the Georgian original but was significantly wider and structurally reinforced. It was formally opened by Queen Mary on October 20, 1926, and is the Grade II listed structure we admire today.

The spires visible in the background are another clue to the town’s rich past: the tall, Gothic-style spire to the left is likely St Mary's Church, while the one near the centre belongs to St Alkmund's Church.

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Dating the Slide: Clues from the Film and Foliage

While the bridge's architecture confirms it was taken after its 1926 reconstruction, we can narrow the date down significantly by looking at the photograph's characteristics:

1. The Colour Palette: The rich, slightly muted reds and browns in the foliage, the deep green of the grass, and the distinct blue of the sky suggest a colour slide film from the 1970s or early 1980s. The colour saturation and overall "look" are typical of slide film from that era, such as Kodachrome or Ektachrome.

2. The Foliage: Crucially, the trees on the far bank show sparse leaves and definite autumnal tones, while the grass in the foreground is still lush and green. This points clearly to a photograph taken in late autumn (October or November).

3. Modern Clutter: The lack of heavy, modern signage or overt 21st-century street furniture also reinforces an earlier date.

Conclusion on Date: Based on the film's distinct colour rendering and the seasonal state of the trees, this beautiful vista of Shrewsbury’s English Bridge was most likely captured during a clear, crisp day in Autumn between 1975 and 1985.

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The High Andes? A 35mm Mystery on the Mountain Slope

 This latest find from my collected box of 35mm slides is a breath taking one. It’s a truly dramatic shot, capturing a hiking or trekking group making their way up a steep, rocky, scrub-covered slope towards a towering, snow-capped mountain and a visible glacier. The sheer scale and rugged beauty immediately make it one of the most compelling photos in the collection.

The image is so rich in detail that I'm hoping we can use it to pinpoint its location and perhaps even the date it was taken. Let’s do some photographic detective work!

Clues to the Location: Where in the World?

The geography is the biggest clue here. This isn't just any mountain; it possesses specific characteristics:

1. High Altitude Environment: The presence of a large, accessible glacier and the rocky, barren terrain indicates a very high elevation, likely above the treeline.

2. Vegetation: The foreground is covered in tussock grasses and low, tough scrub. This type of vegetation is often characteristic of alpine tundra or páramo environments.

3. Mountain Structure: The peak itself is intensely craggy and heavily glaciated, suggesting a geologically young and very high mountain range. The style of glaciation (steep ice faces, deep crevasses) is notable.

4. Trekking Style: The people visible are carrying significant backpacks and seem to be on a well-established, though rocky, trail. This looks like a multi-day high-altitude trek.

Based on these factors, my strongest initial suspicion leans toward the South American Andes, specifically in areas known for dramatic glacial peaks and trekking, such as Peru (like the Cordillera Blanca) or Bolivia. The intense light, the nature of the rock, and the type of scrub feel very Andean.

Clues to the Date: A Vintage Vibe

Dating the slide requires looking at the gear and the photographic style:

• The Look of the Film: The image exhibits a high-contrast, slightly grainy quality with a distinctive colour palette—particularly the rich, almost overly saturated golden-browns and olive-greens in the foreground foliage. This is highly suggestive of Ektachrome or a similar film stock from the 1970s or early 1980s.

• The Gear: Take a close look at the trekkers' backpacks. They appear to be external frame or early internal frame packs, which were popular from the 1970s through the 1990s. The colours (greens, reds) and materials look "vintage" compared to modern synthetic, sleek packs.

• Clothing: The visible clothing is bulky and layered, but not necessarily modern technical wear. There's a look of heavy, possibly wool or thick canvas materials.

Combining the film characteristics and the gear suggests this photo was most likely taken sometime in the late 1970s or early 1980s.

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A Glimpse Back: Cowes in Days Gone By from My 35mm Slide Collection

There's something incredibly satisfying about diving into a box of old 35mm slides. Each transparency is a tiny window to the past, a frozen moment in time waiting to be rediscovered. Today, I pulled out this fantastic shot of Cowes, and it immediately sparked a wave of nostalgia and curiosity.

This image captures the quintessential charm of Cowes, a town synonymous with sailing and the Isle of Wight. Looking at the serene harbour, with its distinctive buildings lining the waterfront and the gentle bobbing of boats, you can almost hear the gulls and feel the sea breeze.

Let's take a closer look at what we can see. The architecture along the High Street is classic Cowes, a mix of historic buildings that have witnessed countless regattas and maritime events. The calm water reflects the clear blue sky, suggesting a beautiful, probably summer, day. The boats, from small dinghies to what look like larger yachts further out, reinforce the town's identity as a sailing hub.

Dating the Image: A Little Detective Work

One of the most fun parts of revisiting old slides is trying to pinpoint when they were taken. While I don't have an exact date noted for this particular slide, there are a few clues that can help us narrow it down.

Firstly, the overall feel of the photograph – the colours, the quality of the film, and the general appearance of the boats and buildings – strongly suggests a 1970s or early 1980s timeframe. The style of some of the smaller boats and the lack of overtly modern marina infrastructure point towards this era. There's a wonderful, unhurried quality to the scene that feels characteristic of those decades before widespread digital photography.

Specific details that might help include:

• The design of the pontoons and walkways.

• The types of cars (though none are clearly visible, their absence is also a clue!)

• Any particular signage on the buildings, though these aren't entirely clear in this view.

This photograph is more than just a picture of a place; it's a snapshot of an era. It reminds me of leisurely days spent exploring the British coast, a time when film cameras were the norm, and every click was a carefully considered moment. I'm so glad these slides have preserved such beautiful memories.

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Unwinding the Bend: Dating a Timeless View of the Wye Valley

This stunning 35mm slide, simply labelled "Wye Valley," captures the classic, tranquil beauty of the English and Welsh borderlands. The image is a broad, sweeping panorama of the River Wye winding through lush farmland, anchored by a cluster of charming, traditional houses in the foreground.

While the specific location along the 134-mile-long River Wye is a detective job, we can make some highly educated guesses about both the spot and the date based on the visual clues provided.

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Pinpointing the Location: The River's Embrace

The key feature here is the highly meandering bend of the river that almost creates an oxbow lake around a large field. This kind of pronounced meander is characteristic of the Wye as it flows through the flatter sections of its course, particularly as it heads south towards the Severn Estuary.

• Lookout Point: The photograph is clearly taken from an elevated position, looking down over the scene. This suggests it was taken from a hill, a high bank, or perhaps an upstairs window of a property along the river.

• The Village: The cluster of traditional houses in the foreground, with their steep roofs and classic British architecture, suggests the viewpoint is near a small village or hamlet. The white or cream-coloured houses are typical of many settlements in the area.

• Likely Area: Sections of the Wye near Symonds Yat (though this view seems flatter) or between Hereford and Ross-on-Wye are known for these magnificent, looping bends and wide, pastoral landscapes. A very strong candidate area is the beautiful scenery around Bodenham, north of Hereford, where the Wye performs dramatic loops through the low-lying agricultural land.

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Dating the Image: A Mid-Century Mystery

The best clue for dating this image lies, as often is the case, with the motor vehicle in the foreground.

• The Car: Just visible on the road is a small, two-tone classic car. Based on its rounded body shape, pronounced headlights, and compact size, this appears to be a Morris Minor, likely a late-model saloon.

  • The Morris Minor was produced until 1971 (though some variants earlier).

  • The styling suggests it's a model from the late 1950s or 1960s. Its presence on the road means the photo must be from the period when these cars were common, or shortly after production ceased.

• The Colour Palette: The rich, slightly saturated, and warm tones of the slide film are very typical of colour film stock used in the late 1960s or early 1970s (Kodak Ektachrome or similar). The deep greens and intense blue sky are characteristic of this era of slide photography.

• Absence of Modern Features: There is a notable lack of modern road signs, street furniture, or highly developed infrastructure. The scene feels distinctly unhurried.

Estimated Date: Combining the car's presence and the film's characteristics, I would confidently place this slide in the late 1960s, possibly 1968–1972. The car is still clearly in regular use, but the technology points away from the mid-70s.

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The Timeless Allure of the Wye Valley

This slide beautifully encapsulates why the Wye Valley is one of Britain's most cherished landscapes. It’s a scene of pastoral perfection:

• The Meander: The river acts as a gentle, guiding ribbon through the flat fields, defining the landscape.

• The Farmland: The open fields suggest a traditional agricultural use, reinforcing the peaceful, rural character.

• The Sky: The dramatic sky, featuring large, puffy cumulus clouds, adds depth and drama, a quintessential feature of the British weather and light that photographers love.

This photograph is a moment of pure, uninterrupted English countryside, preserved perfectly on a small piece of film. It is a true time capsule of the beauty that has endured along the banks of the River Wye for generations.

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Time Travel to 1974: A Peaceful Scene at Barrowford Locks

There's a gentle magic to slides that precisely transport you back to a specific moment. This 35mm slide from my collection, dated to 1974, offers a serene glimpse of the Barrowford Locks – a truly iconic section of the Leeds & Liverpool Canal in Lancashire.

The image immediately brings to mind sunny, unhurried days along England's historic waterways, a lifestyle that has continued to charm for centuries.

The Beauty of Barrowford Locks

Barrowford Locks are a well-known feature of the Leeds & Liverpool Canal, forming part of a flight of seven locks that raise the canal's level. This particular vantage point seems to be looking along one of the sections of the canal, with boats moored on both sides.

• The Canal Itself: The water is a deep, tranquil blue, reflecting the sky and the surrounding greenery. The towpath, a broad concrete path, runs alongside, inviting a leisurely stroll.

• The Boats: A variety of canal boats, likely narrowboats and pleasure cruisers of the era, are gently resting in the water. Their designs, with the simple cabins and classic lines, are very typical of the 1970s. Many appear to be private boats, enjoying a quiet mooring.

• The White Railings: The prominent white railings in the foreground add a clean, classic feel to the scene, guiding the eye along the canal and offering a barrier from the water.

• Rural Backdrop: The gentle, rolling hills in the background, covered in trees and fields, confirm the rural setting. This is classic Lancashire countryside, relatively untouched by dense urban development in this particular view.

A Snapshot of 1974

The date of 1974 adds a wonderful layer of context:

• Leisure in the 70s: The 1970s saw a growing interest in inland waterways holidays in Britain. While commercial traffic on canals had declined significantly by this point, leisure boating was on the rise, and people were rediscovering the charm of slow travel through the countryside.

• Fashion & Figures: The lone figure walking along the towpath, with a simple shirt and trousers, offers a subtle nod to 70s casual wear. Another person or perhaps gear is visible closer to the railing on the left, blending into the scene.

• Quiet Respite: The overall impression is one of peace and quiet. There are no crowds, just the gentle hum of nature and the lapping of water. It's a stark contrast to the busy world outside, highlighting the canal as a sanctuary.

This photograph isn't just a record of a place; it's a feeling. It evokes the simplicity and charm of a summer's day decades ago, a time when life might have moved at a slightly slower pace, particularly along these beautiful, historic waterways.

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Pillars of the Past: A 1960s/70s Glimpse of the Temple of Jupiter, Baalbek

One of the greatest joys of digitizing my 35mm slide collection is stumbling upon photographs of truly monumental places. This particular batch transported me far away from England to the magnificent ruins of Baalbek in Lebanon, capturing the awe-inspiring scale of the Temple of Jupiter.

These slides, taken sometime in the 1960s or 1970s, offer a wonderful, sepia-toned view of one of the greatest surviving examples of Roman imperial architecture.

The Scale of the Gods

What immediately captures the eye in these photographs is the immense scale. The Romans spared no expense in building the sanctuary at Heliopolis (the Roman name for Baalbek).

In the wide shot, we see the legendary remaining six columns of the Temple of Jupiter. Standing nearly 20 meters (65 feet) high, these Corinthian columns are a fraction of the original 54 that once surrounded the temple. The sheer size of the column shafts and the entablature they support is breath taking, especially against the backdrop of a vast, open sky. It’s a powerful reminder of the ambition and engineering prowess of the Roman Empire, which built this temple between the 1st and 3rd centuries AD.

Up Close with Ancient Detail

The closer, more dramatic photograph pulls us right into the details of the ruins. The focus is split between the distant, towering columns and the intricate stonework right at the photographer's feet.

Here, we see a stunning example of Roman sculptural relief: a lion's head carving. This lion protome would have been part of the decorative cornice, likely serving as a functional water spout (or gargoyle) to drain water from the roof. The detail is remarkable, the lion’s gaping mouth frozen in a silent roar over the tumbled stones of the lower wall. This close-up view perfectly illustrates the blend of monumental scale and meticulous artistic detail that defines Baalbek.

A Time Capsule of a Timeless Place

While the Temple of Jupiter itself is thousands of years old, the sepia tones and slightly grainy quality of the slides date the image to the 1960s or 1970s.

During this period, Lebanon, and sites like Baalbek, were popular destinations for travellers and historians before later conflicts made access more difficult. These pictures capture the ruins when they were likely enjoyed by smaller numbers of visitors, before modern mass tourism, giving the scene a more tranquil, almost solitary atmosphere.

It's humbling to realize that these pillars have stood for two millennia, witnessing countless generations. To see them captured on a decades-old slide adds a unique layer to their history—a memory of a memory. It’s a testament to the fact that even a tiny piece of film can hold an epic story.

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The Skyline Across the Water: Dating a View of Ottawa from My 35mm Slides

This latest slide from my collection takes us far across the Atlantic to North America, capturing a beautiful panoramic view of a city skyline across a wide body of water. The file name confirms our location: Ottawa, Canada.

This is clearly a view of the city's modern architecture, likely taken from across the Ottawa River or perhaps the Gatineau shore, looking back at the capital of Canada. The expansive, choppy water in the foreground, combined with the low, tree-covered shoreline that gives way to a dense cluster of high-rise buildings, sets a powerful scene.

The Challenge of Dating the Skyline

Dating a city skyline can be like solving a puzzle, as it relies on identifying the construction status of major buildings. Unlike cars or trains, these large structures take time to build, and their appearance marks specific periods.

Here's what we can deduce from the image's architecture:

• The High-Rises: The cluster of tall, brown/dark-coloured residential or commercial towers appears to be a well-established skyline. This mass development of high-rises along the Ottawa River, particularly on the Hull (Gatineau) side or the western edge of Ottawa (e.g., Tunney's Pasture area), gained significant momentum starting in the late 1960s and throughout the 1970s.

• Missing Modern Peaks: The overall profile feels a bit lower and less dense than Ottawa's skyline in the 1990s and 2000s. Crucially, the taller, glassier, and more architecturally complex buildings that would define the cityscape post-1980s and 1990s don't appear to be present in this shot.

• The Bridge: A large, multi-lane bridge is visible on the right, suggesting a major crossing of the Ottawa River. The presence and style of the bridge would be key to identifying the exact viewpoint.

Estimated Date: Given the style of the buildings—tall, boxy, and characteristic of development booms—and the apparent lack of super-modern, post-1980s structures, a strong estimate for this photograph is the late 1970s or early 1980s.

Possible Locations for the Shot

The shot is clearly taken from the north side of the Ottawa River looking south, or from a large section of the river/lake looking east/west, given the long, horizontal spread of the city.

1. Gatineau Side (Most Likely): If the photographer was standing on the Gatineau side of the Ottawa River, they would be looking directly at the core of Ottawa or an adjacent area. The river is wide enough here to create the vast water foreground.

2. A Lake or Wide Section of the River: The water in the foreground looks particularly wide and expansive, more like a lake than a narrow river section. This suggests the view might be from a section of the Ottawa River that widens out, such as Lac Deschênes or another broad area to the west of the main downtown core.

The long line of buildings and the bridge strongly suggest a panorama of the city's periphery, perhaps near the Parkway or the Queensway if looking east/west, or directly across the main channel if looking at the core.

This slide is a fascinating reminder of Ottawa's evolution. It captures the moment the capital transformed from its traditional, largely low-rise landscape dominated by Parliament Hill into the modern, high-rise urban centre we know today. What a great piece of Canadian history to find in the archive!

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Lost on an English Lane: A 1970s Snapshot from My Slide Collection

There’s something truly special about digging through old 35mm slides. Each one is a tiny window to a moment frozen in time, and recently, I found one that perfectly captures a quintessential piece of British history. This image, which I've now digitized, immediately caught my eye with its vibrant colours and classic elements.

When Was This Taken? The Clues Are in the Cars!

One of the most exciting parts of these old slides is playing detective with the details. In this shot, the two cars on the road give us some excellent clues:

• The Green Morris Minor Traveller: This iconic "Woody" estate car is a true British classic. What's even better is that we can clearly make out its registration plate: OCK 74J. In the UK, the single-letter suffix on number plates indicates the year of registration. The 'J' suffix was issued between August 1, 1970, and July 31, 1971. This dates our photo pretty precisely to the early 1970s!

• The Red Car: Further down the road, a smaller red car, likely a Mini or similar compact, follows. Its presence further solidifies the early 70s vibe.

So, we can confidently say this photo was snapped sometime between late 1970 and the mid-1970s.

Where in England?

While the exact spot remains a mystery, the elements in the picture strongly suggest a location:

• The Red Telephone Box: This is the famous K6 'Jubilee' kiosk, designed by Sir Giles Gilbert Scott. These boxes are synonymous with Britain and were a common sight in towns and rural areas.

• The Tree-Lined Road: It looks like a classic B-road or a quieter A-road, winding through what appears to be the English countryside, bordered by a traditional stone wall and lush greenery.

• The 'OCK' Registration: Interestingly, the "OCK" prefix on the Morris Minor's plate was issued in the Oxfordshire region. While cars travel, this provides a strong hint that the photo might have been taken in or around Oxfordshire, or a neighbouring county in the South or Central Midlands of England.

A Scene of Simple Beauty

What I love about this photograph is its everyday charm. It’s not a grand landscape or a momentous event, but a quiet, ordinary moment on a road that has undoubtedly seen countless journeys. The vivid red of the telephone box stands out against the greens of the trees and grass, a burst of colour that feels so distinctly British. The cars, now considered classics, were simply part of the flow of traffic then.

It reminds us of a time when these phone boxes were vital communication hubs, and when a journey down a country lane felt a little more timeless, a little less hurried.

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From Sepia to Style: Uncovering the 1970s Office Vibe

There's something incredibly evocative about scanning through old 35mm slides, especially when they feature people. This particular slide from my collection immediately caught my eye, capturing a moment that feels both familiar and distinctly from another era. What makes it even more interesting is that this image, originally a black and white photograph, has been colourised, bringing a whole new dimension of vibrancy and detail to the scene.

Let's dive into this fascinating snapshot and try to pinpoint when it might have been taken.

Dating the Image: A Mid-70s Mystery

Several elements in the photograph scream "1970s," helping us to narrow down the potential date:

• Fashion:

  • The Top: Her ribbed, long-sleeved top with cut-out or slashed details on the arms is very characteristic of mid-to-late 1970s fashion, specifically the disco era or more casual stylish wear.

  • The Skirt: While partially obscured, the patterned, slightly flared or A-line mini-skirt silhouette was popular in the 70s.

  • The Boots: Those boots! High, often chunky heels and a sleek, mid-calf or knee-high rise were incredibly fashionable throughout the 1970s. The light colour (thanks to the colourisation!) also aligns with trends of the time.

  • Hair: Her long, straight, parted hair is a classic 1970s style, often referred to as 'Farrah Fawcett' hair, though hers is a straighter, earlier version of that trend.

• Office Equipment:

  • The Typewriter: The electric typewriter, with its beige casing and sleek (for its time) design, looks like a model from the mid-to-late 1970s. Manual typewriters were still around, but electric models were becoming more common in modern offices.

  • The Telephone: The push-button telephone (rather than a rotary dial) with its distinctive shape also points to the 1970s or very early 80s.

  • The Desk and Chair: The metal-framed office chair with its relatively simple upholstery and the sturdy wooden desk are typical of office furniture from this period.

Putting it together, I'd estimate this image was originally taken around 1974-1978, with a strong lean towards the mid-1970s.

The Magic of Colourisation

What's truly remarkable about this slide is the transformation from its original black and white state. Colourisation, whether done by hand historically or through modern digital techniques, breathes new life into an image. It allows us to:

• See the Fashion: The creamy white of her top, the pattern of her skirt, and especially the light beige of her boots pop, giving us a much clearer sense of the style of the era.

• Appreciate the Office Environment: The muted browns of the desk, the darker tones of the office equipment, and the subtle variations in her blonde hair become apparent, adding depth and realism.

• Feel the Atmosphere: Colour adds a layer of warmth and immediacy that sepia or monochrome often can't convey, making the scene feel more present and less like a distant past. It’s almost as if you can walk right into that office.

The woman herself, with her focused yet gentle expression as she types, seems to embody the changing role of women in the workplace during the 1970s. She's stylish, professional, and engaged in her task.

This slide is more than just a picture; it's a window into a specific cultural and aesthetic moment, made all the more vivid by the wonderful addition of colour. It makes you wonder about her story, the office gossip, and what she was typing!

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My original 35mm slide, the one below is a version I colourised.

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