The Salvage Archive: A September Afternoon at Fountains Abbey, 1975

There is a unique magic to holding a 35mm slide up to the light. It’s a tiny, suspended square of time—a moment captured in silver halides that hasn't been seen, perhaps, for decades.

As a collector of vintage photography, I often stumble upon these little windows into the past. Recently, I acquired a small set labelled simply: "Fountains Abbey, September 1975."

Today, Fountains Abbey in North Yorkshire is a slick, well-oiled machine of heritage tourism. It is a UNESCO World Heritage site, managed by the National Trust and English Heritage. But what did it look like half a century ago, before the visitor centres and the designated World Heritage status?

Let’s load the carousel and take a trip back to the autumn of 1975.

The Gothic Giants

The first slide captures the sheer scale of the Cistercian engineering. This view, likely of the Chapel of the Nine Altars, shows the towering lancet windows reaching up to a sky that looks distinctly 1970s blue.

What strikes me most about this image is the light. Slide film from this era had a specific way of rendering contrast—deep, crushing shadows and vibrant, almost painterly greens.

Historically, 1975 is an interesting year for the Abbey. While the State had purchased the Abbey ruins in 1966, the surrounding Studley Royal estate wasn't acquired by the National Trust until 1983. In 1975, this site was managed by the Department of the Environment. You get a sense here of a site that is maintained, yet quiet. There are no crowds in the frame, just the silent, hulking skeletons of the monastic past.

A Wilder Ruin

This second slide offers a fascinating detail that you might not see today. Look closely at the top of the jagged masonry. You can see tufts of grass and vegetation clinging to the high stones.

In modern conservation, this is often known as "soft capping," but back in the 70s, ruins were often allowed to be a little more "romantic" and wild. Today, stonemasons and conservationists work tirelessly to keep invasive roots out of the mortar to prevent the structure from toppling.

This image captures the texture of the dissolution. When Henry VIII ordered the dissolution of the monasteries in the 1530s, the lead was stripped from the roofs and the stone was quarried for other buildings. What we see here is the slow, centuries-long battle between the stone and the reclaiming nature of the Skell Valley.

Framing the Past

The unknown photographer who took these slides in 1975 had a keen eye for composition. This is my favourite of the set. By using the dark, heavy masonry of a doorway in the foreground, they have framed the sunlit tower in the distance perfectly.

It creates a sense of depth and mystery. It reminds us that Fountains Abbey isn't just one building, but a sprawling complex of dormitories, refectories, and cellariums.

The 1975 Context

When these photos were taken in September 1975:

• Pink Floyd had just released Wish You Were Here.

• The UK was experiencing a warm end to the summer.

• Fountains Abbey was still 11 years away from becoming a UNESCO World Heritage site.

Viewing these places through the medium of 35mm slides adds a layer of nostalgia that digital photography simply cannot replicate. There is a grain, a texture, and a colour palette that roots these images firmly in their time.

These slides might have sat in a box in someone’s attic for forty years, but projected here on the screen, the sun shines on the Yorkshire stone just as brightly as it did on that September afternoon.

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The Salvage Archive: The Timeless Allure of the River Usk at Llanellen

 There is a unique magic to a 35mm slide. When you hold it up to the light or hear the mechanical thunk of a carousel projector, you aren’t just looking at a photo; you are looking at a physical window into a specific second in time. This particular frame from my collection, a scan of the River Usk from Llanellen, captures that quintessentially Welsh blend of rugged natural beauty and quiet, pastoral life.

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The Subject: The Mighty River Usk

The River Usk (Welsh: Afon Wysg) is one of the most storied waterways in Wales. Rising at an altitude of 500 meters on Mynydd Ddu (the Black Mountain), it meanders over 120 kilometres through the heart of the Usk Valley before reaching the sea at the Severn Estuary. By the time it reaches the village of Llanellen, just south of Abergavenny, it has transformed from an upland stream into a wide, powerful lowland river.

This stretch of the river is particularly significant. The entire length of the Usk is designated as a Site of Special Scientific Interest (SSSI) and a Special Area of Conservation (SAC). Looking at this slide, it’s easy to see why. The water flows over a bed of Old Red Sandstone, which lends the riverbanks a characteristic deep, earthy hue. The lush, riparian vegetation—thick with alder and willow—acts as a natural frame for the sparkling water.

The Setting: Llanellen and its Historic Bridge

Llanellen itself is a village built on the intersection of travel and nature. It sits at a historic crossing point where the Llanellen Bridge—a listed stone structure on the A4042—spans the river. This bridge is a landmark of the area, providing a gateway between the market town of Abergavenny and the rural stretches of Monmouthshire.

In this slide, the view captures the river corridor’s open pastoral setting. The village is nestled against a dramatic backdrop: the steep rural slopes of the Blorenge hillside. Part of the Brecon Beacons National Park, these heights act as a permanent, stoic guardian over the valley floor. The contrast between the flat, patchwork fields of the floodplain and the craggy, open hills is what gives this landscape its high scenic value.

A Haven for Wildlife

While the slide captures the stillness of the landscape, the River Usk is a hive of biological activity. It is famous for its game fish, serving as a vital migration route for Atlantic salmon and brown trout. If you were to sit by these banks at dawn or dusk, you might even spot the elusive otter, a species that has made a triumphant return to these waters.

The river also supports rare species like the twaite shad, river lampreys, and even the white-clawed crayfish. For the keen birdwatcher, the eroding earth cliffs along the Usk provide nesting sites for kingfishers and sand martins, while grey wagtails are a common sight skipping along the shingle banks.

The 35mm Aesthetic: Why Film Still Matters

Looking at this image through the lens of a 35mm slide adds a layer of nostalgia that digital photography often lacks. Slide film (or reversal film) produces a positive image on a transparent base, known for its rich, accurate colours and fine grain.

When this was shot, the photographer would have carefully considered the exposure, knowing they had only 36 frames to capture the essence of the valley. The result is an image with incredible depth. The reds of the sandstone, the deep greens of the Welsh hills, and the silvery reflections on the Usk are rendered with a "glow" that feels tactile. Digitizing these slides at 6000 x 4000 pixels allows us to preserve these details—every leaf on the bank, every ripple in the water—ensuring that the heritage of the Usk Valley is not lost to time or the natural degradation of film.

Heritage and History

Beyond its natural beauty, the area around Llanellen is steeped in history. The Usk Valley has been a strategic corridor since the Iron Age, marked by hillforts and medieval castles like those in nearby Abergavenny and Usk. Historically, the river even served as the old border between England and Wales.

Walking along the river today, you are following in the footsteps of centuries of travellers. Whether it was the Romans who established the settlement of Burrium (Usk) or the Victorians who engineered the nearby Monmouthshire and Brecon Canal, the river has remained the constant pulse of the region.

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Final Thoughts

This slide of the River Usk at Llanellen is more than just a landscape; it is a testament to the enduring character of the Welsh countryside. It captures a river that is both a wild ecosystem and a cultural cornerstone. As the water flows endlessly over its red sandstone slabs, it reminds us of the importance of preserving these places—both in the real world and through the archival magic of 35mm photography.

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The Salvage Archive: Narrow-Gauge Magic at Aigle

 There is a specific ritual to viewing 35mm slides that digital photography will never quite replicate. It’s the mechanical thwack of the carousel, the smell of a warm projector lamp, and that momentary darkness before a world of vibrant, saturated colour washes over the room.

Today, I’m pulling a particularly sharp frame from my collection: Aigle-Ollon-Monthey-Champéry (AOMC) Unit 591, captured in the crisp Alpine light of Aigle, Switzerland. This image represents more than just a piece of rolling stock; it captures a pivotal era in Swiss mountain railroading where heritage charm met modern efficiency.

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The Subject: AOMC BDeh 4/4 591

The train in the slide is a two-car electric multiple unit (EMU), specifically a BDeh 4/4. For those unfamiliar with Swiss railway designations, the "h" is the crucial bit—it stands for Heubele (rack), indicating that this train is equipped with cogwheels to tackle the punishingly steep gradients on the climb to Champéry.

When I took this shot, Unit 591 was the face of the line. Dressed in its distinctive red and white livery with the stylized mountain peaks along the roofline, it looked every bit the modern mountain climber. These units were built by ACM (Ateliers de constructions mécaniques de Vevey) with electrical components by ABB.

What strikes me most looking at this slide today is the cleanliness of the design. The large, wraparound windscreens and the bold "591" numbering give it a friendly yet industrial aesthetic. It was designed to provide tourists with panoramic views of the Valais Alps while serving as a reliable lifeline for the locals living in the villages scattered along the mountainside.

The Setting: Aigle Station

The location is the forecourt of Aigle station. For a rail enthusiast, Aigle is a sort of "grand central" for narrow-gauge lines. While the Swiss Federal Railways (SBB) main line thunders through on the valley floor, Aigle serves as the terminus for three distinct narrow-gauge adventures:

1. The AL (Aigle-Leysin)

2. The ASD (Aigle-Sépey-Diablerets)

3. The AOMC (Aigle-Ollon-Monthey-Champéry)

In the slide, you can see the unique "street running" aspect of the AOMC. Unlike the heavy rail lines tucked away behind fences, these trains often share the asphalt with cars and pedestrians for the first few kilometres. There’s something inherently romantic about a high-tech mountain train waiting patiently next to a sidewalk, its pantograph reaching up into a web of overhead wires that crisscross the blue Swiss sky.

The 35mm Aesthetic

Let’s talk about the medium. This was shot on high-quality 35mm slide film, and the scan reveals why many of us still cling to our "analog" archives. Look at the way the red paint pops against the white bodywork—there is a depth and "glow" to the colours that digital sensors often struggle to interpret without heavy post-processing.

The shadows are deep but retain detail, and the highlights on the chrome and glass don't "clip" harshly. Even the subtle textures of the cobblestones in the foreground and the architectural details of the Swiss building in the background are rendered with a tactile quality. Looking at this scan, you can almost feel the dry, cool mountain air.

Why This Unit Matters

Unit 591 and its siblings represented a transition for the TPC (Transports Publics du Chablais). Before these units arrived in the late 80s and early 90s, the line relied on much older, wooden-framed or early steel carriages that, while charming, couldn't handle the increasing demands of ski tourism.

The 591 brought air suspension, better heating, and significantly faster climb times. It bridged the gap between the "vintage" era of rail travel and the ultra-modern, low-floor Stadler trains that dominate the region today. In many ways, this slide captures the AOMC in its "Golden Age" of modernization.

Memories of the Line

If you ever have the chance to ride the AOMC, take it. Leaving Aigle, the train winds through vineyards that produce some of Switzerland’s finest white wines. It then crosses the Rhône river before beginning its dramatic ascent.

The "rack" section is where the magic happens. You hear the mechanical clatter as the cogwheels engage the center rail, and suddenly, the train is tilted at an angle that feels impossible. Looking out those big windows, you see the valley floor drop away, and the jagged peaks of the Dents du Midi come into view. Unit 591 was the perfect vessel for that experience.

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Final Thoughts

This slide is a prized part of my collection because it isn't just a photo of a train; it’s a timestamp of Swiss precision and Alpine beauty. Every time I scan another slide from this trip, I’m reminded of why the 35mm format remains the gold standard for many of us. It preserves a moment in a way that feels permanent.

The AOMC has changed since this photo was taken—liveries have been updated, and newer stock has been introduced—but in this 2x2 inch piece of film, Unit 591 is still shiny, new, and ready to climb.

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The Salvage Archive: A Glimpse Back, Cowes in Days Gone By

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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