The Art of the Slow Reveal: Introducing Postcard-Postscripts

 In a world of instant uploads and disappearing stories, we’ve lost the "thud" on the doormat. We’ve traded the tactile, weathered corners of a postcard for the sterile glow of a smartphone screen.

That’s why I’m thrilled to introduce a blog: www.postcard-postscripts.uk

This isn’t just a gallery of vintage images. It is an invitation to pause, flip the card over, and eavesdrop on a century of human connection. It’s about the "postscript"—that extra bit of life written in the margins.

Why Postcards?

As a photographer, I’ve always been fascinated by how we choose to frame our lives. A postcard is a curated reality. On the front, you have the grand "official" view: the soaring towers of Coughton Court or the sunset over The Bridge in Newquay. But on the back? That’s where the real grit and grace of life reside.

Caption: The West Front of Coughton Court. A grand facade that hides the quiet, everyday moments of the visitors who walked its grounds.

A Century of "Wish You Were Here"

When you explore the Postcard-Postscripts gallery, you aren’t just looking at architecture; you’re looking at personal history.

Take, for instance, a card from Boscombe Chine Gardens. On the front, a hand-tinted Edwardian dream of coastal hotels and lush valleys. It looks peaceful, almost frozen. But flip it over, and you find a message from February 1904. The writer mentions arriving home at "3:30 the other evening with a most lovely puncture in the front tyre."

It’s a perfect human moment. Over 120 years ago, someone was annoyed by a flat tyre, yet they still took the time to write home to Corfe Castle about enjoying the "contents of that bottle."

Caption: Architecture meets anecdote. The 1904 Boscombe card reminds us that even a century ago, travel had its hiccups.

From Regency Grandeur to 80s Sunsets

The collection spans the breadth of British history and photography styles. We move from the classical, painterly lithographs of Hyde Park Corner—capturing the "rough nature of the road surface" in 1829—to the saturated, warm glows of the 1980s.

There is something incredibly grounding about reading a card from Jennifer, John, Simon, and Matthew sent from Newquay. Written with a felt-tip pen and bearing a 13p stamp, it captures a universal truth of the British summer: "The boys like it here—it’s ideal for them with lots to do." It’s a snapshot of a family growing up, pinned to a moment where the tide was rising and the world felt at peace.

Caption: A 1980s sunset in Cornwall. The "Postscript" here is the simplicity of a family holiday well spent.

Take a Moment to View

I’ve designed this series to be viewed slowly. In the Postcard-Postscripts gallery, each entry features high-resolution scans of both sides. I encourage you to:

1. Study the Image: Look at the composition. Notice the grain of the print and the way the light was captured (or painted) at the time.

2. Read the Script: Observe the handwriting. From the elegant, flowing cursives of the early 1900s to the hurried block letters of the modern era, the penmanship is a photograph in itself.

3. Imagine the Journey: Think about the postmen, the sorting offices, and the hands this piece of card passed through before landing in this digital archive.

Join the Conversation

Photography is about more than just the "shot"; it’s about the story that survives the click of the shutter. Postcard-Postscripts is my way of honouring those small, fleeting stories.

I’ll be updating the gallery weekly with new finds from my collection. I invite you to take five minutes today—put the kettle on, move away from the "scroll"—and step into a different era.

The full stories behind these postcards featured and many more can be seen only on postcard-postscripts.uk.

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Keep the art of connection alive—visit www.postcard-postscripts.uk for more.

Great Scots, Part II: Revolutionaries, Innovators, and Artists

Welcome back to the world of the 1933 Mitchell's Cigarettes series, "Great Scots." Our first instalment introduced literary giants and historical figures. This second set of ten cards delves deeper into the figures who truly shaped Scotland's identity—from the heroes of independence to the inventors of the Industrial Revolution and the masterminds of the Jacobite cause.

The variety of careers and eras featured on these small cards is a stunning reminder of the rich tapestry of Scottish history.

The Fight for Independence

Two of the most legendary figures in Scottish history, whose very names evoke the struggle for freedom, anchor this set.

Sir William Wallace: The card features the heroic leader of the Wars of Scottish Independence in what looks like a negotiation or appeal to two robed figures. Wallace's story of resistance against English rule remains a powerful symbol of Scottish patriotism and courage.

Robert the Bruce: Pictured in a scene of counsel or political negotiation, Bruce, the King of Scots, successfully secured Scotland's de facto independence at the Battle of Bannockburn in 1314. He is one of the most revered figures in the nation's history.

Innovation and Intellect

Scotland's contributions to the Enlightenment and the Industrial Revolution are represented by two world-changing innovators.

James Watt: The card shows Watt, the renowned inventor, in a workshop setting with a steam-powered mechanism. His improvements to the steam engine were fundamental to the Industrial Revolution, making him a cornerstone of modern technological history.

Sir William Hamilton: A prominent Scottish philosopher and metaphysician, Hamilton is pictured examining a paper at a desk. His work was influential in the 19th-century intellectual landscape, particularly in logic and academic philosophy.

Rebellion and Intrigue

Several figures on these cards were central to the conflicts and power struggles that defined the nation.

Cardinal Beaton (David Beaton): A powerful and controversial figure in the Scottish Church and a strong opponent of the Reformation, Beaton's card depicts a dramatic scene that might allude to his violent assassination in 1546, a pivotal event in the religious struggles of the era.

Lord Melville (Henry as, 1st Viscount Melville): A politician of immense power and influence, Dundas was a dominant figure in late 18th and early 19th-century British politics, often referred to as "the Uncrowned King of Scotland." The card shows him in what appears to be a court or parliamentary setting, reflecting his political career.

Lady Anne Mackintosh: A truly remarkable figure, Lady Anne raised the Clan Mackintosh for the Jacobite cause during the '45 Rising, earning the nickname "Colonel Anne." Her card, showing her in a position of authority among kinsmen, celebrates her fierce loyalty and military aptitude.

The Arts and Education

From portraiture to literature and academic governance, these figures show Scotland's cultural depth.

Sir Henry Raeburn: One of Scotland’s greatest portrait painters, Raeburn is shown with a sitter and an easel. His work captured the leading figures of the Scottish Enlightenment and remains highly celebrated for its directness and warmth.

George Buchanan: A towering figure of the Scottish Renaissance, Buchanan was a humanist scholar, poet, and tutor to the young James VI (James I of England). The illustration on the card may refer to an anecdote about his strict tutoring methods.

Andrew Lang: A prolific Scottish man of letters, Lang was a poet, novelist, literary critic, and folklorist, famous for his collection of Fairy Books. His card shows him at a desk, with a hint of sport (a cricket bat) and perhaps a scene of play or legend in the background, hinting at his diverse interests.

This set is more than just a roll call of famous names; it's a commentary on what 1933 Britain deemed essential Scottish history. The prominence of both the legendary freedom fighters and the architects of the Industrial Age illustrates a national identity proud of both its ancient rebellious spirit and its modern intellectual output.

Stay tuned for the next block of ten cards as we continue this journey through Scotland's unforgettable past! Clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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A Night at the Gas Works Bridge: Sowerby Bridge's Industrial Past

Sowerby Bridge, a town steeped in industrial history, offers a unique blend of rugged Pennine landscape and a rich heritage shaped by its canals and rivers. As the sun sets and the streetlights cast a warm, golden glow, places like the Gas Works Bridge come to life, telling a story of a bygone era.

Standing on this unassuming pedestrian bridge over the River Calder, you're not just looking at a waterway; you're looking at the lifeblood of an industrial revolution. The River Calder, flowing beneath the bridge, was a key artery for trade, powering the textile mills and feeding the Calder and Hebble Navigation and the Rochdale Canal, which meet just a stone's throw away. This confluence of waterways made Sowerby Bridge a vital trans-shipment hub, connecting the industrial heartland of Yorkshire to the ports of Hull and Liverpool.

But the Gas Works Bridge has its own fascinating history, one that's closely tied to the very name it bears. Built in 1816, this bridge is a significant piece of engineering. Made of cast iron by Aydon and Elwell of Shelf Ironworks in Bradford, it's one of the earliest surviving cast-iron bridges in the Calderdale area. Originally a road bridge, it was widened in the mid-19th century with a steel overlay, and today it serves as a footpath, a quiet walkway for those looking to connect with the town's past.

The bridge's name, however, isn't just a label—it's a historical marker. It was built for Thomas Fearnside & Son of Mearclough Bottom Mill, but it’s the nearby gas works that gave it its enduring name. The former gas works site, located near the bridge, was a crucial part of the town's infrastructure, supplying power for streetlights, factories, and homes. In fact, a gas-making plant was installed in Sowerby Bridge as early as 1805, a remarkably early example of commercial gas production. Though the gas works closed in 1954, the bridge remains as a testament to this important part of Sowerby Bridge's industrial legacy.

As you stand on the bridge at night, the lights of the town and the distant beacon of Wainhouse Tower on the hill create a striking contrast against the dark sky and the reflective surface of the river. The photos capture this atmosphere perfectly—the warmth of the lamplight, the cool blue of the distant town, and the haunting silhouette of bare winter trees. It's a scene that bridges the past and present, a quiet moment of reflection in a place that once thrummed with the energy of industry and innovation. The Gas Works Bridge is more than just a crossing; it's a silent guardian of Sowerby Bridge's history, a place where you can feel the echoes of its industrious past in the calm of the night.

I took these pictures on the 29th December 2018 with a Nikon d3300, clicking any of them should open a link in another window to my Colin Green Photography store on Zazzle.

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All the pictures remain the copyright of Colin Green.

The Salvage Archive: 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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