The Salvage Archive: Uncovering the Standing Stones of Orkney in 1971

 There is a profound stillness that captured on a 35mm slide, a quietness that feels deeper than any modern digital image can convey. Today, I am pulling two extraordinary pieces from my personal collection: a pair of views of the standing stones in Orkney, captured during a journey in 1971.

Orkney is a place where the veil between the present and the prehistoric is famously thin. To see these monuments as they stood over fifty years ago is to witness a landscape that remains eternally defiant against the passage of time.

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A Mystery in Stone: Ring of Brodgar or Stones of Stenness?

When looking at these vintage slides, the first question that arises is: which stones are we looking at? Orkney’s "Heart of Neolithic Orkney" World Heritage site is home to two primary henges that could be the subjects of these photographs.

The Ring of Brodgar

In the first image, we see three distinct monoliths set against a backdrop of rolling hills and the shimmering Loch of Harray. This composition strongly suggests the Ring of Brodgar. Originally consisting of 60 stones, only about 27 remain standing today. In 1971, the site was much less "managed" than it is now—there were no paved paths or heavy cordons, just the heather, the wind, and the ancient grit.

The Stones of Stenness

The second image shows two massive, silhouetted stones overlooking the sea, with the dramatic cliffs of Hoy visible in the distance. This profile, particularly the height and the "thin" nature of the stones, points toward the Stones of Stenness. These are some of the oldest upright stones in the British Isles, dating back to approximately 3100 BC.

Note from the Collection: While I cannot be 100% certain if these are the same group of stones in both shots, the geography of Orkney often allows you to see one site from the other. The 1971 perspective captures the sheer scale of the landscape they occupy.

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The 1971 Aesthetic: The Power of the 35mm Slide

Photography in the early 1970s was an exercise in patience and intentionality. These images were captured on 35mm film, likely a slide film like Kodachrome, which was the gold standard for travel photography at the time.

Why 35mm Matters for History

• Colour Rendition: Notice the deep, earthy reds of the heather and the moody, atmospheric blues of the Orkney sky. Modern digital cameras often "correct" these hues, but the 1971 slide preserves the actual atmosphere of that day.

• Grain and Texture: The slight organic grain adds a layer of "truth" to the image. It reflects the ruggedness of the Neolithic sandstone.

• A Moment Frozen: In 1971, tourism to the Northern Isles was a fraction of what it is today. These slides capture the monuments in a state of solitude that is nearly impossible to find now.

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The Landscape of Orkney: A Living Museum

Orkney’s standing stones weren't just decorative; they were part of a massive, interconnected ceremonial landscape. Looking at the distance between the stones and the water in these slides, you can see why the Neolithic people chose this "thin" strip of land between the lochs.

The cliffs seen in the background of the second slide are likely the Old Man of Hoy region. The way the stones frame the sea suggests they were built to be seen from the water, or perhaps to act as a gateway between the land of the living and the vast unknown of the Atlantic.

Changes Since 1971

While the stones themselves haven't changed much in 5,000 years, the experience of visiting them certainly has.

1. Erosion Control: Many areas around the stones are now protected by specific turfing to prevent "footfall erosion."

2. Scientific Discovery: Since these photos were taken, massive excavations at the nearby Ness of Brodgar have revealed that these stones were part of a much larger complex of buildings and temples.

3. Global Recognition: In 1999, these sites were designated as UNESCO World Heritage sites, bringing a level of preservation (and visitor numbers) that would have been unimaginable to the photographer in 1971.

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Preserving the Past

Sharing these vintage 35mm slides is a way of honouring the longevity of these monuments. In 1971, these stones had already stood for five millennia. Fifty years is a mere heartbeat in their history, yet through these photographs, we can see a specific moment in our own cultural history—a time of simpler travel and raw discovery.

The standing stones of Orkney continue to baffle and inspire. Whether they were used as lunar observatories, meeting places for tribes, or portals for the dead, they remain the most striking feature of the Orcadian skyline.

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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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