Facelift: February–June 2012 in Entre-deux-Eaux

To download a printable PDF version click on this link
E2E2012_issue_2-A.pdf (six A4 pages)
And some links giving more photos than are in the text:
A lot of crépi – day-by-day progress
Restaurant meal photos

A siege mentality sets in as the horizons shrink, with the hills blotted out by low rain clouds like a Japanese painting, and doorways and windows sealed off with sticky tape and polythene. No, we are not being immured due to a bubonic plague outbreak; at the moment we can still get out down the ramp and into the wet field, or out of the back barn door if we are prepared to squeeze round grubby scaffolding poles. The crépi men have arrived! So a good time to retreat to the attic and send an update on the past months here. 

Over the years we have been trying to turn parts of our fields into a peaceful garden and (more ambitiously) an arboretum, whilst the farmers continued to carve deep ruts across the middle of it all with increasingly heavy farm machinery rather than using the little tractors of twenty years ago. With the help of the area conciliator (a gentle legal functionary), a sensible solution has now been reached: to create a new track at each end of our fields to give access to their lower fields and to replace the one close to the house. We phoned de Freitas, who did all the earlier building work here. He was rumoured to be living sullenly in retirement, having argued with his sons, and even (gestures of hand to mouth) drinking heavily. His wife was a little guarded on the phone, but when he came round to see us, he was all smiles and affability and perfectly prepared to use his mechanical digger on a morning’s work for old clients. So his son ordered two 6 metre long pipes to create bridges over the ditch at the bottom of our fields and onto the bottom fields and he duly shifted earth to make a good slope and track to the “bridges”. At one point the digger fell silent and we could see de Freitas standing by the ditch looking gingerly at an object he’d unearthed.

Was this a WWI grenade?

Was this a WWI grenade?

Was the elongated rusty object a grenade from the first world war (after all, soldiers had died in these fields) or was it a bottle-shaped container or bit of agricultural machinery? We did the correct thing for suspect grenades and consulted the mayor, who, unruffled, took it away and wasn’t seen for a few days. No more was said, so we assume it just went in his dustbin!

Anyway (and this is increasingly a shaggy dog story to while away a damp day), we took the opportunity to consult de Freitas about two projects that had been on our mind for a while. Not surprisingly, he has a colleague who would happily tarmac our car parking areas and the narrow strip between the road and house (which got very muddy this winter), and another who renders the outsides of houses, old or new. It would seem that business cannot be discussed without the correct introductions. So one morning he brought over his friend and neighbour, M. Meltz, who could do the re-rendering (crépi) and introduced him. But it would have been impolite to get down to the nitty gritty so soon after introductions. So M. Meltz promised to ring and arrange an appointment to survey the house and discuss the project. That done, an estimate prepared and accepted, M. Meltz was prepared to start work in September, when the weather would be cooler, and expected work to take up to four weeks, depending on the weather.

After this rather leisurely start to the project, we were peacefully showering one morning at the end of May (admittedly at the rather late hour of 10 a.m.) when the doorbell rang. Expecting it to be a delivery (John is always ordering bits and pieces off the internet), I wrapped a towel round me and went down, to be greeted by a rather embarrassed M. Meltz wondering if they could do the crépi work in June rather than September. Had another contract been postponed, we wondered, or was it that the wet, cool forecast favoured June working? Five days later the scaffolding arrived, followed by two days of noisy pneumatic hammers as the old rendering was chipped off and the old stones revealed. 

John has always suspected that the old farmhouse, like most of the other old local buildings, would have originally had a front door onto the road, next to the big barn entrance.

Bricked up farmhouse door

Bricked up farmhouse door

And sure enough, a bricked up doorway was uncovered, next to the present downstairs bathroom window (where the shower now is). Interestingly the stones in that section are pinker, and it looks as if they formed the original building comprising barn and probably a front and back room with the traditional large Vosgian chimney in the middle (above and behind the farmhouse fridge). The stones on the upper storey are larger and more regular than the lower courses, so it may originally only have been a single storey building. Later a grander entrance and rooms were added to the east and a extra barn for animals and a hayloft to the west. We’d been told that our predecessor, M. Fresse had added the third barn for vehicles (and presumably the workshop for his electrical repair business). We of course have extended above his third barn and created a garage between that and his workshop. It has been fascinating to see the sequence in the stones, bricks and breeze blocks. I only wish we could keep the attractive stonework, despite all its blemishes, but the “mortar” holding the stones together is more like dried, crumbling mud at the barn end and definitely needs strengthening and weatherproofing with enduit, a mix of cement and chalk.

They have now applied the undercoat of enduit on the north wall along the road and the east wall by the later front door and are currently working on the south wall, with the west section (third barn, garage and workshop) still to be done. It is a three- (and sometimes four-) man job. The apprentice (who managed to injure his finger with the drill on the first day and needed a large white bandage) stands by the mixer feeding in the bags of powder and water, the foreman wields the nozzle of the long flexible tube, spraying the mix between and over the old stones to a rough finish, which clings remarkably well, and his number one smooths it expertly to a good finish. Everything not being sprayed is being covered in polythene sheeting and orange tape. It’s fascinating to watch, – we stood for ages on the first day, dripping in the rain, to gawk, before clambering back indoors for a coffee. Later (in fine weather) a colour coat will be applied. Over in Alsace you can see lurid raspberry, mauve, turquoise and lemon shades, but we’ve gone for a traditional peasant ochre with a mud grey strip at the bottom to deal with the mud of passing cars, tractors and milk lorries.

Speaking of milk lorries, during the conciliation process (above) we met a delightful old man who used to collect the milk from our little farm in the old days, along with that from the neighbouring farms. He would sell it on to thirty-seven small shops in St Dié, he said, and later to the laiterie until it closed. Now it is collected by a tanker, which has to slow down to get past our scaffolding at present.

But ours aren’t the only major works in the village. New houses continue to be built despite the recession (and lack of reliable water sources). The latest is Farmer Duhaut’s. Since his retirement from active farming (partly due to an accident or two with a bull) he no longer needs his barns and hangers, so most have been pulled down this winter and two new single buildings are spreading out. His mother, Giselle, still lives on the ground floor of the old farmhouse while he and his wife live above, but it sounds as if the stairs were getting a bit much. Work is still not complete on Ludo’s car-repair garage between his house and Granny and Grandpa Laine’s house, but there is no shortage of cars outside awaiting ordered spare parts. Apparently in spring he also had about fifty motor mowers awaiting parts. The Vozelles (the farm where the dogs, hens, geese, chicks and cats spread out over the road as their farmyard) have had the front of their house painted cream and grey. And the house on the road into the village which used to be a small metal factory and which Duhaut’s former farming partner, Olivier, turned into a family house, is now surrounded by a new wall and occupied by a man with a fish delivery business. According to the Vozelles that house was burgled in broad daylight one morning. I wonder if the thieves made off with the usual items or if it was a fish heist.

Mention of fish leads my thoughts to restaurants. Some of you have hinted that we spend most of our days in restaurants, but really, dining out remains an occasional treat for us (it’s just that we tend to harp on about it). We enjoyed seeing Raymond Blanc’s progress through France on TV, especially in Alsace, where he cooked in a restaurant in Riquewihr that we knew. We were rather sad when our favourite chef moved from the Blanche Neige (which is still empty up on its hillside) to a restaurant close to the Rhine, and even sadder when he later moved even further east across the Rhine into Germany. He and his wife now run the Heckenrose Hotel and its restaurant, close to Europa-Park (so rather a different family-based clientèle much of the time). However we made the long trek across the Rhine one Sunday lunchtime in April and had a wonderful five-course meal (no mid-week lunchtime opening as the Germans don’t have the two-hour lunch break so sacred to the French). We made a day of it, stopping at what we thought was just a wine fair en route, but which was an interesting (and unique?) combination of graphic illustrators/publishers and wine producers. And on the way back we took the car ferry across the Rhine. We had asked if their sous-chef was still with them; but, being a Ukrainian his temporary work permit meant he had to stay in France unless he wanted to restart the whole procedure again, so he was now at a restaurant in Ribeauvillé. So, of course, we had to try that too. I was expecting the Restaurant Parc Carola to be very elegant, but it turned out to look like an Edwardian tea house in the small park next to the Carola bottled water factory. But the food was quite enjoyable. The chef had previously had a Michelin star for many years at a restaurant in Colmar but was now starting out on her own. For elegant we had to wait for a trip to a somewhat larger park, the Jardin de l’Orangerie, in Strasbourg (close to the European Parliament) and the Michelin-starred le Buerehiesel restaurant. The son has simplified the restaurant (and reduced prices) since his father’s day, but if you want classic cooking and silent flunkeys attending to your every whim, this is still the place. There were busy tables outside, but we were ushered to an attractive first-floor room with huge glass windows reflecting the trees of the park.

A street of storks in Strasbourg

A street of storks in Strasbourg

We’d been dive-bombed by a stork on our way across the park, but it wasn’t till we were returning to the avenue where Bluto was parked that we noticed that every pollarded tree along the avenue had a stork family in comically detached splendour similar to the detached villas behind.

But the highlight was my birthday meal in a little restaurant on the Rue des Juifs just inside the old walls of Riquewihr. I had been thinking of going back to the Table du Gourmet where Raymond Blanc had cooked until John found the reviews for au Trotthus. This sounded like somewhere that would appeal to all six of us (Leila and a friend, Emma, were over with us for the week and Roger and Dorinda were staying in their Anould house). The Breton chef had worked for twenty years in Japan, Australia and the Caribbean, before deciding to poser ses marmites in Alsace, bringing with him the flavours of the world. Ignoring the chalked plateau gourmand menu of the day we tried different dishes from the more elaborate menus and were all full of praise. The perfect birthday meal! In fact it must be time for a return trip.

Leila planned a busy programme to show Emma the best of both sides of the Vosges, and for once the weather was good for most of her stay. We drove north on their first day to Lunéville for an upmarket vide grenier which included antiques stalls. We had a great time browsing, with everyone finding something of interest. Leila was the first to spot a low table with blue tiles which would look good in her little garden. Despite bargaining, it was a bit pricey. Later she found a slab of more attractive blue tiles (which would once have formed a base for a wood-burning stove) and she got both that and some attractive Moroccan-tiled shelves (for trailing pot plants) for a lower price. Meanwhile Emma rummaged and we haggled for an attractive tablecloth, John noticed an “Alice” (Wonderland and Looking Glass) in French, beautifully illustrated by Dušan Kállay from Bratislava, and I bought a paperback version of Ogden Nash poems produced for the American soldiers in the last war (and presumably left behind during the Liberation). We wandered down to the Lunéville château which is still partially shrouded in scaffolding, though it the fire-damaged section has been rebuilt, and back through the formal gardens, finishing our visit with sausage and chips at the flea market. We had equally enjoyable days in the Alsace villages of Kaysersberg and Riquewihr looking at all the local crafts like earthenware casseroles and embroidered linen and more exotic ones like “vegetable ivory” jewellery; we ate hearty Alsace food at the Auberge Saint Alexis up in the forest as well as more delicate food of au Trotthus. The girls spent a day at the concentration camp at le Struthof, and we had a local tour (the only damp, grey day of their stay) of the tiny Plainfaing antique shop (where Emma bought an enamel jug) and the Confiserie des hautes Vosges where pine, menthol and herbal flavoured boiled sweets are made; Lac de Longemer looked cold and uninviting so we moved on to one of the many linen shops around Gérardmer, lingering over pretty heart-embroidered window panels. After English Sunday lunch (French style) we drove them back to the airport, stopping at a last vide grenier. This was definitely less picturesque than Lunéville’s, but John found an old Photax bakelite camera at a sensible price, I got a new grey sun-hat, and the master stroke was spotting some wrought iron legs for the Leila’s tiled table-top. (We won’t have as much room in the car for wine on our next trip back to the UK!) As we were leaving, John fished an attractive ceramic plate out of a rubbish bin and it now hangs on a previously bare bit of garden wall.

By now you must be asking what about the usual DIY sagas without which no newsletter would be complete. John finally got round to converting a sofa he’d made in the early seventies into an armchair to match the one that he’d made at the same time. We’d bought some foam cushion pads back in Nottingham on our last visit and I made some covers for them. The first set were off-white covers, similar to the original ones. But, after Toby had pointed out a patterned fabric in the Conran exhibition at the Design Museum, which he remembered us having in his youth, I fished out the faded remains of the fabric from one of our many boxes, and had just enough good material to cover the foam for both chairs. So now they’re more practical, but still attractive, russet shades that match our current sofas. The day after Leila and Emma left, I boxed up some of our books and ornaments so we could move their shelves from the wall for the next projects, which were to be accomplished with the help of Alistair, whose annual working visit has become absolutely invaluable. Number one task was to put up the new roller shutters outside above the windows (we didn’t then know how soon M. Meltz’s gang would be taking them down again). Their second task was to create channels behind the plasterboard walls for the electrical wiring to the shutters and then drill through the walls to attach the wires. White plasterboard dust everywhere and much frustration, but eventually it was all done and the roller blinds (when not dismantled) glide smoothly up and down, operated by remote control from inside. Alistair and John also laid more drainage channels across the front of the house, so, when the sloping strip from the road to the house is tarmaced, the surface water will flow to the drains. Across the back of the house and under the drive they sunk another pipe for a trickle-watering system (to be finished later) for the vegetable garden and finished the concrete tiling on the slope and water tank next to the terrace. An instantly attractive effect was gained when Alistair laid a new stretch of curving brick path from the end of the terrace (which they paved last summer) to the previous path through the small flower garden. (Will next year’s projects include a link from the other end of the path to the foot of the ramp? Having got one incorrect batch, we must remember that the correct bricks are apparently called “zebras”) We were sad to wave Alistair off at the end of ten days of hard labour as we missed his cheerful presence, ingenious ideas, flamboyant fungi-related flea market purchases and hard work (not to mention those early mornings and evenings of model helicopter flying).

Treecreepers and trumpets

Treecreepers and trumpets

The local wild life will also miss Alistair. He was fascinated to observe treecreepers scuttling up and down the wall above the flowerbed and new path to a tiny hole and he would break off work at intervals to allow the treecreepers to approach their nest. Other birds will also miss the house walls for nesting as all the crevices are filled with enduit. The redstarts have been perching, puzzled on the scaffolding. We shan’t regret the wasps moving out of the crumbling mortar, and hope the new coating will defeat the tunnelling rodents. The very top of the walls under the eaves have not yet been completely sealed to prevent any further stone martens, though John’s initial chicken wire has so far done the trick. The local roe deer are picturesque, though one gave Leila quite a fright as it leapt across the road right in front of Snowy (car) as she was driving. Sadly we haven’t been able to prevent them from damaging the succulent young trees in the arboretum.

And while all this everyday trivia has been going on, there have also been the far more important elections here. Before the first round of presidential voting, the only election propaganda we received was from Marine Le Pen and its lucid, reasonable employment and welfare proposals might well have convinced many locals that this was no racist, far right agenda (though it did lack any indication of how it would all be funded). At the pensioners’ barbecue we went to last week, the main concern seemed to be the unmarried status of their new President’s first lady who wouldn’t be allowed to stay with the Queen, though François Hollande was otherwise seen as a Good Thing. In fact our fellow diners seemed far more interested in our Queen’s Jubilee celebrations than the republic’s elections. An impassioned appeal then arrived in our letter box to support our current UMP Deputé, Gérard Cherpion, in the elections for the National Assembly (in which we can’t vote, either); we were urged not to be seduced by an outsider, – a champagne socialist with no Vosgian heritage, Vosgian experience or concern for the Vosges (though the name of Jack Lang was not specifically mentioned, or his Ministerial experience – or the fact that he was in fact born in the department of the Vosges). The leaflet obviously worked as Jack Lang won only 49.1% of the vote.

So with France in the hands of Hollande, the Vosges continuing to be represented by Cherpion, and the outside of our house in the hands of the crépi men, we’ll sign off with the latest photo of a far more significant young man. (It seems a long time since we were over for his first birthday in March).  

Stella, Toby and Jacob 17 June 2012

Stella, Toby and Jacob 17 June 2012

A bientot!

 

 

 

 

 

 

Scanning the past – fifth update

I’ve continued scanning my slides over the summer but ran into problems with the Epson V700 slide carrier after I’d scanned 3-4000.

The carrier has little spring tabs which hold the mounted transparencies in place. Unfortunately they proved to be rather fragile, especially with slide mounts from the 1960s and 1970s which were a lot thicker than the slide mounts in later years. Slowly the tabs started to break and I finally had one or both sides of four of the twelve slide carrier holes damaged. They could still be used for old, heavy, rigid plastic slide mounts, but the thin paper and plastic mounts tended to be lifted on one side and the slides could move.

After much searching, I eventually found a supplier for replacement carrier who sold them at a reasonable price and could deliver to France (one well-known scanner supplier wanted 20€ for the carrier and the same again for delivery from Germany). As I still had an estimated 5000 or more slides to scan, I bought two carriers for 6€ each (and 15€ delivery; again from Germany) as I knew it was always possible I’d damage another carrier before I’d finished all my scanning.

The second barn renovation is finished

The work was finally finished in mid-October. We’ve had a good sort through all the stuff that used to be in it and done a lot of rationalisation. The freezers are now back, the washing machine and tumble drier which were sitting unconnected are now connected, and we’ve bought shelving to provide more sensible storage.

I’ve been photographing some of the progress and there are a series of panoramas here: https://www.blackmores-online.info/Second_barn/index.html The last panorama shows the second barn as it was on 13 November.

Scanning the past – fourth update

Having scanned all the negatives in the main cardboard boxes where our print photo folders are stored (although I’m sure there are still some others), I had a break from scanning, partly because of the hot weather and partly to concentrate on the building work.

I recently restarted scanning, this time on the transparencies. Initially they were more difficult with the higher contrast and the different film types. The VueScan program has some in-built correction for different colour negative films but only distinguishes between Kodachrome and other colour slide films (Kodachrome uses very different dyes from other films and was purposely biased for projection with a tungsten light). However, having now scanned twenty boxes (so about 700 slides) I think I’ve resolved many of the difficulties (or at least am getting results which I think are satisfactory).

However the scanning seemed to be taking a lot longer at 10-13 minutes for each slide. I was also saving 48-bit TIFF files as well as JPEG files since the images were much more variable and differing in contrast and I thought I might do more editing on them. So it was taking about 2-2½ hours per slide carrier which contains 12 slides. Realistically that means I could leave the scanner to scan one batch of 12 slides between breakfast and lunch, another batch after lunch and early evening (or afternoon tea if I come in),  another two in the early and late evening, and a batch overnight – so often not even two boxes of 36-39 slides a day.

However I decided, as with the negatives, I could always rescan the slides which were of particular interest so have switched to saving 24-bit TIFF and JPEG files (as they are the quality required for prints) which has reduced the time per slide to about 7 minutes.

Scanning the past – third update

I finished the 150th colour negative film yesterday and the 4650th image.

Although I’ve not finished all the negatives, it seemed time to look back and, as a result, I’ve decided to rescan the first fifteen to twenty films as the quality isn’t as good as the later scans. The main problem was the way the film strip was placed in the holder. I started with the negatives in the conventional way, emulsion-side up, as a scan would give an image the correct way round. However there was a problem. The negative strips all have a slight longitudinal curl. Putting the negatives in the holder emulsion-side up meant the centre of the film was lower in the holder due to the curl. The scanner lamps (the scanner has two, a conventional white lamp for the main scan and an infra-red lamp which is used in the image processing to remove effects of dust) generate quite lot of heat as they are on and off for an hour for set of negative strips. This heat seems to have the effect of softening the film slightly and, as a result the film droops a bit more and pulls slightly at the sides out of the film holder. So quite a few of the earlier scans have a strip of the film edge showing on one or both sides. This also has the result the scanner colour and exposure value software calculation was incorrect due to a white or black side strip or perforations showing and the image quality was degraded.

After those first batches of films, I tried a film with the emulsion side down so the film curved upwards and used a setting in the scanner program to mirror the image automatically when it was processed. That setting was a lot better. Any softening of the film only meant the curve became less pronounced and the film strips all remained well-framed in the holder.

The holder has a height adjustment and I originally tried to compensate for the possible different focus between the lower centre and higher edges of the image by raising the holder. With the film the other way round this was no longer necessary.

I have found some of the strips of film are not cut accurately between the images. The processors must have made the original prints from a continuous film and them cut them to fit in the envelopes/folders, clipping the edge of some images. For important images it should be possible to recover the full image by “stitching” two images together and a little editing. Hopefully there won’t be many.

Scanning the past – second update

I scanned the 4000th negative this morning.

Unlike digital camera images, the scanned images do not have any rotation data to allow viewing programs to turn them to the correct landscape or portrait orientation. All the photos in landscape mode on the 35mm negatives need rotating through 90°. Because of the way the film has been cut into strips and the need for a small blank inter-image strip at one end to go under a clip so the whole of the first image is scanned, the negatives might be loaded either way round into the holding frame adding to the possible need to rotate portrait images through 180°. Although Picasa can be used to rotate images in the viewer it does not store the image rotation information so if the image is opened in another program it appears un-rotated (even re-saving in Picasa does not seem to work unless you also edit the individual images in some way). Having looked at several programs which can rotate an image without loss or change to the JPG file, I have chosen a program called EXIFPro. It allows images to be displayed in a wide range of sizes which can be useful when trying to decide which way an image needs to be rotated. It is easy to rotate multiple images at the same time and has several other useful functions.

I also need to add various information to each of the individual JPG files to aid identification of the photo in the future (how I wish all the photos I’ve inherited or even our photos had something written on the back!) and to allow searching of all the photos e.g. for those containing particular individual or of a place. Again, I could have used Picasa to add a “caption” and tags but it does not use a comprehensive set of fields for the data and the fields it uses are not completely compatible with some other programs. So I have opted to use a program called iTag which allows me to add information (title, description, date, author, copyright, and an unlimited number of text tags) to the IPTC section of the JPG file. iTag has a tag manager so allows better control of the tags and it should be possible to label the images in a more standardised manner than is possible with other programs. At present I’m mainly adding text tags (including date, if I know it); again these can be added to multiple images at the same time using iTag.

Scanning the past – first update

It took several days to get used to the new Epson V700 scanner, to sort out the best settings for the scanner, and to decide how the scans would be named and saved. I ended up abandoning both the Epson and SilverFast SE software which came with the scanner as they both seemed inflexible and the SilverFast has one of the worst user interfaces I’ve seen. Instead I bought a copy of the well-respected VueScan; something I’d anticipated I’d probably have to do after all my readings of reviews.

I decided to start by scanning the colour negatives. Helen had previously done a good job of labelling many of the envelopes and sorting many into year bundles so identification will be easier than many of the boxes of slides.

One problem I have found is with the plastic tape used by the processors to join the individual films before they pass through the processing machine. In some cases, after many years, the adhesive on the tape has “bled” and, when the film strips were stored together rather than in individual strip wallets, stuck to the next negative strip. I’ve usually managed to unstick the strips and to remove traces of the adhesive with very gentle rubbing but in some cases it is firmly stuck to the image side of the negative strip and I suspect I’d damage the image trying to remove it. I’m now cutting off the plastic strip off all films before the negatives go back into storage.

Another problem has been dust! It seems to appear all the time. I bought several microfibre cloths to wipe the negative strips and the glass plate of the scanner but, even so, there is usually a sprinkling of dust on the glass plate after scanning a set of negatives. I’m not sure whether lint-free gloves would also help. I’ve also dug out my old Zeepa “electronic static eliminator” which I originally bought to eliminate dust-attracting static on LPs.

The scans are being made at 3200dpi which, for a 35mm negative, gives an image of 4473×2960 pixels with the settings I’m using; I’m saving them as JPG files at 96% quality giving a file of 3.5-5.8Mb (equivalent to about a 12Mb digital camera). I have the option of saving as 16-bit TIFF but those files are over 80Mb; As the majority of the photographs are snapshots I decided I could just rescan and save those images with more merit as TIFF files at a later date.

After a month I’ve now scanned over 3400 images (115 films), so I’ve probably done at least a third of our colour negatives. There have been more 36 exposure films than I thought (I’d originally remembered using 20 or 24 exposure films) but there seem to be fewer films per year. Where the original photographs were very sharp, the scans are also very good and show fine detail; it seems the scanner settings I’ve got are working well (click on the images to see larger, but not full scan-size, versions).

For backups I’ve bought a ReadyNAS Duo network storage device with two 1.5Tb disks configured as mirrored RAID disks. The disks are synchronised and store exactly the same data. If one disk fails the other will continue to allow backups; when the failed disk is replaced it will be synchronised automatically with the good disk. I’ll make further backups from the ReadyNAS to external USB disks and keep one in the safe and one elsewhere. Had we had a fast broadband connection I would probably have opted for one of the online storage systems as they seem very cost-effective. I tried one, Diino (because it allowed you to back up multiple computers to the same account without incurring additional per workstation charges), but our internet upload speed is so slow (68kB/s = 0.68Mb/s) it would have taken about six months just to backup all our current data!

I’ve also added a gigabit (1000 Mbit/s) network switch to speed up the Ethernet connections between computers and to improve backup speed. It connects at 100 Mb/s to the broadband router (wired/wireless routers only run at 100 Mbit/s). Without the switch our network ran at 100 Mbits/s as all data went through the router. Now all our local network traffic goes through the gigabit switch and only the internet traffic goes through the router.

It was interesting to look back at how much data I created in the past when I reorganised the backups. I bought my first PC in 1990 and have kept backups ever since. The snapshot for 1990-Sept 2003 period (pre-digital camera) shows my total data backup was about 300Mb. My current backup archive, which is updated daily, is now about 300Gb (excluding program files); the scans are adding 300-500Mb/day.

Scanning the past

I bought my first 35mm camera when I was about sixteen (a Werra 1C) and used B&W film developed both as negatives and as positives. Colour film was rather a luxury but I did use some slide film at university and for holidays. I switched completely to slide film from B&W in the late 1960s. And I started using 35mm colour negative film for the majority of my general snapshot photography rather than colour slide film in the late 1970s although I continued to use slide film for major trips, e.g. to southern Africa, Peru and India.

We don’t really look at the old prints, except those in albums, as they aren’t really accessible, being stored in boxes with only rudimentary labelling. And the slide projector doesn’t come out very often!

A couple of weeks ago, after experiments a few years ago with my Canoscan 3200F scanner to check the feasibility and after reading many reviews, I finally opted to buy a high-resolution Epson V700 flatbed scanner to scan all our negatives and transparencies (and any prints we have where the negatives no longer exist).

Scan of the 6 x 4 faded print from July 1980

Scan of a 6″ x 4″ faded colour print from July 1980

I’ve no definite idea how many images there are to scan. However,  even if I used only one colour negative film a month between 1980 and 2004 (when I got my first digital camera) there could be about three hundred 24 or 36 exposure films equating to 6000-10,000 negatives. I estimate there are possibly over 8000 transparencies. And then there are also my B&W negatives and positives from the early 1960s onwards together with some colour negatives from our parents (we also seem to have the 110 and 35mm negatives from some films taken by Toby and Leila). So I guess the total could be near to 20,000.

Unfortunately, many of the colour negative prints from the time Toby and Leila were born now have more of an appearance of orange-sepia prints than colour prints. This must be due to poor processing by one particular processor; prints made by other film processors have negligible fading. But fortunately none of the negatives I have looked at have faded or show significant loss of colour.

Epson V700 3200dpi scan from negative

Low resolution Epson V700 scan from the negative

The Epson film holders take four strips of negatives or twelve slides so, since it takes about 4 minutes for each high definition image scan (at 3200dpi – approximately equivalent to a 12MP digital camera image – although some of the earlier colour print film is rather grainy so the quality isn’t really that good), I can just load a set of images and leave it to process for an hour or so.

As it is not very easy to identify which are good or bad images from the negatives it is not really feasible to be selective in the images to scan. So I have decided to scan them all. And, since disk space is cheap I’ll probably scan all the slides as well, even though the quality is more easy to recognise, and then keep all the scanned images since all the images will only use around 100Gb disk space (I’ll also have multiple backups both here and elsewhere). Using other software it will also be possible to label/index the individual images either in bulk or individually to allow searches.

Hopefully we’ll then have a good digital archive. We, the children, and others will be able to relive their past through full sets of images rather than just the few prints that are stuck in albums.

But scanning could take a while ….. given the winter weather there is little incentive to venture outside so I’m currently managing about 80-100 image scans a day.

Time out from Entre-deux-Eaux: Hungarian Interlude

To download a printable Adobe Acrobat version click on this link E2EYr9Weeks18-22.pdf (seven A4 pages)

Clicking on the underlined links in the text will take you to a selection of photographs. There is a comprehensive list of photographs and 360° panoramas

There is also an approximate map of our route around Hungary

Although it was a fairly impulsive decision to spend some of September seeing Romanesque churches and art nouveau architecture in Hungary, we were better prepared for this car journey than on our earlier trip to Portugal. We had enough time to update our European road maps (discovering in the process, the Michelin Europe didn’t include most of Hungary), get a more detailed folding map of Hungary, and rent a month’s Hungarian download for Gladys, the sat-navigator. Following old habits, we also stocked up on Lonely Planet guides to Hungary and Germany (more recent editions than the relevant Rough Guides), though during the journey we began to wonder if we’d reached the sad age of no longer being Lonely Planet people, as we wanted better information on art, architecture and parking (rather than tips on best bars and breast-feeding).

September can bring rain or glorious sunshine, and we got a mixture. We were fortunate to have some lovely sunny days, for also we got our share of rain and saw maize crops devastated by a summer of the heavy rain which probably also played a part in the current disaster of overflowing toxic red sludge at Ajka.

Lebeny

Lebeny

We spent a day and a half driving through Germany (wet) and across Austria (sunny). When we reached Hungary we had a rough itinerary, which included the eleven Romanesque churches which looked the most interesting on the internet, – especially those with fresco fragments. Many sounded as if they were in small villages or had formed part of remote hillside monasteries, and only three were mentioned in the Lonely Planet. So we wondered how easy it would be to locate and communicate with the keyholders. The Lonely Planet’s “conversation and essentials” section equipped us to state in Hungarian “I’m allergic to contraceptives” or “I need disposable nappies” but not to ask how we could see inside the beautiful church. However we soon found that the keyholders were the most delightful people, keen to communicate with the most oafish non-Hungarian speakers, and others helped through mime or a few shared words of German. These are three samples of our Romanesque quest:

Picture a small former mining (gold, copper, sulphur, and iron) village, Nagybörzsöny, in the north, hard against the border with Slovakia, on a wet third day. We spot the walled church at the entrance to the village, and pull in under a dripping tree. Despite the rain, we can see plenty of people with baskets, packages and bicycles further down the road. The locked gate is festooned with sodden red and white flowers, ivy and ribbons. There is a notice with a phone number, but we fail to get through on our mobiles. As we peer through the metal bars, a row of stone heads round the apse grins back at us. This is too good to miss. We walk towards the centre of the village to ask about keys. However, two buses have come and gone while we were trying to phone, and now the street is deserted. Some of the smallest thatched cottages are also empty, or just being used for storage. We pause as John spots a huge snail on a gatepost, and a man who has just got out of a car (but is unfortunately not from the village) engages in a rather surreal conversation in German about snails, the size at which they should be eaten, and how all Hungary’s get sent to France. We try doorbells, but nobody answers. We spot a lady pushing her bike up a hill and catch up with her. She does not appear to understand our questions and points to her bicycle basket. She has been out collecting walnut windfalls.

Nagybörzsöny

Nagybörzsöny

Suddenly she smiles triumphantly, opens her large handbag and flourishes a heavy key. It is hard to believe that the only person that we meet on the streets (apart from the snail-fancying outsider) just happens to have the church key in her handbag! She cycles ahead of us to open up. The church is tiny, with a single apse, white walls, simple wooden benches, a small gallery at the back and spotless white cloths on the altar and tables. There is no hint of damp and it feels loved and used. To the left of the altar is an imposing bust of St Stephen of Hungary, and to the right a replica of his crown and a Hungarian flag, for this is St Stephen’s Church and it was he who established Christianity in Hungary and ordered the building of a church in one of every ten villages. As John wanders round taking photos, the lady chats in Hungarian to me, not minding that I don’t understand much. She says that they celebrated a wedding recently (hence the flowers), and as we leave, she points at the sculpted heads outside. “Tartars”, she says. The rain still falls.

Ócsa frescoes

Ócsa frescoes

By afternoon, it feels as if we are in another land as we approach Ócsa, south of Budapest. The sun is shining, the sky is blue and ladies in hot pants and spangled bras stand by the road, unbuttoning their blouses provocatively at passing cars and lorries. The church here is much loftier, with three aisles and two towers, and was built as a Premonstrian monastery on a sand-dune in the marshes, using stone brought down the river from Buda. Outside, the stone glows lemon-gold in the afternoon light, and inside faint reds and yellows on the choir walls take the shape of mediaeval figures – Jesus crowning Mary, the disciples, fragment of the last judgement, St Ladislaus I of Hungary on his white horse, St Nicholas and St. George (look, no dragon). When the Turks occupied the area, they whitewashed over the murals and used the church without destroying it (apart from sharpening their weapons on the stone by the doorway). Unlike this morning, the telephone number on the door worked and Judit is a mine of information, which she is anxious to communicate. She has clearly looked up all the technical and architectural terms in English, but finds the verbs and joining words harder. As John takes photographs, she confides that the church has become very important to her, although she is not a Catholic or Reformed (which the church became after the Turks left and new people repopulated the area) but a Baptist (with an uncle who is a Baptist in the USA and knows Billy Graham). The church has a congregation of 300, 100 of whom are young people, and the choir has produced a CD. We continue to feel a world away from St Stephen’s this morning, as we thank Judit profusely for our informative guided tour.

Tákos

Tákos

Two days later we realise that the easiest time to see the lovely old churches is at the weekend, where local guides are on hand to instruct coachloads of Hungarians with a half hour lecture before they are allowed to look round. It is Saturday, and sunny and we have reached the Bereg region in the north east corner of Hungary (close to the borders with Ukraine and with Romania), where the Lonely Planet promises village life “steeped in folk culture, replete with dirt roads, horse-drawn carts and little old churches … where some women still eke out a living embroidering pillowcases in age-old patterns and men work the land.” This sounds to us like the scenes we glimpsed from the train as we travelled north in Romania, and we are looking forward to staying in the area, and exploring in a leisurely fashion. We stop first at Tákos to see the small white wattle and daub Reformed church, dating from 1766, and find that it is not only open but its pews are crammed with visitors listening to an old lady in a black headscarf holding forth authoritatively and at length. As we wait outside we are amused to see the embroiderers rush out as soon as coaches are heard to drape themselves and their cross-stitch embroideries picturesquely over plastic garden benches. After the second coach-load has left, we have a few minutes in which to revel in the painted wooden ceilings, pews, gallery, pulpit and huge high-backed seat and the red, white and blue embroidered cloths. It reminiscent in its painted simplicity of some of the old wooden Swedish churches. The old lady, takes one look at us, decides her words will be of no use, and waits patiently for proper visitors. When we go outside the embroideries and plastic chairs have disappeared.

Csaroda

Csaroda

At the next village of Csaroda we are back to Romanesque, this time in a beautifully tended garden. Here too, the church doors are open and another shrill, but more elegant church guide is holding forth. The inside is lovely, with its fourteenth century frescoes uncovered from beneath flamboyant seventeenth century red tulips and leaf patterns. St Peter and St Paul smile on the north wall below the tulips, together with Job, two Byzantine “doctor holies” (as the useful English printed summary describes them) and a “woman holy.” At the front are the 12 disciples and the suffering Christ, and on each side of the window recess a crowned figure. Together with the embroidered cloth and the rugs, the effect is colourful and exotic.

And meanwhile, how were we getting on with finding accommodation? On our first night we’d realised that the Lonely Planet’s selection of hotels and pensions in pretty mediaeval towns didn’t work for us if the area is pedestrianised and all parking occupied (besides, we hadn’t worked out meters or parking permits) and we followed a sign to a more conventional business type hotel. Our second night was in a huge room in a family hotel near the Slovak border. On our third night, after the glories of Nagybörzsöny and Ócsa churches, we headed east towards the mountains and chose the Panorama Pension and a room with a wonderful view. It is also an activity centre complete with a summer bob-sleigh-on-tracks run. The staff spoke no English or German, but were determined to be helpful. It transpired that we were their only guests. Yes, we could have dinner, but the chef finishes at 6pm. We drove down a winding road to the small town for dinner (deer casserole served by a caricature waiter, – fat, boozy and cross-eyed). We felt very solitary as we returned to our dark mountain retreat as the rain set in. By morning the view had disappeared completely under low cloud, which was a shame. As we approached Tokai on our fourth night, it was obvious that the main tourist season was over and we were a rarity. A sign outside a neat house offered rooms, and though Angie and her husband were in Germany, her daughter made us welcome us and laid on a wonderful breakfast in the family kitchen (by contrast we dined and sampled Tokai wine in an elegantly gloomy four star hotel). So all relatively simple and varied so far. But unfortunately, after the wonderful churches (and embroideries!) of rural Csaroda we run into problems, as the only lodging house, opposite the church, is closed. We find a rather sleazy hotel in a nearby village, but there is something unsavoury about the unshaven young man who emerges from the bar, and it can provide neither evening or morning meals. And in the nearest town, there is a big fair and all hotels are fully booked. We drive south, as the light fades and the rain starts to pour down. For miles we find no signs for rooms, let alone pensions or hotels. By now we are out of the pretty “peasant” area and on the edge of a town, with hotels with flashing night club signs. My memories of the Hubertus will be of a chain-smoking, but very kind, manageress (who fits my stereotype of a brothel madame as she leads the way up the dark panelled staircase with its worn red carpet), a bathroom with a peach suite and a turquoise shower curtain plus red velvet curtain to draw in front of the loo, and the most disgusting deep-fried wiener schnitzel and chips (Little-Chef style). So much for the LP’s “The pleasures of far, far north-eastern Hungary are simple and rural ones.”

Gyula cake shop

Gyula cake shop

However, the LP is very good on highlighting two things, – art nouveau buildings and good cake shops. When we reach the south, we intend to focus on the towns of Kecskemét, Szeged and Pécs with their art nouveau palaces, cinemas and synagogues. And en route John is keen to experience the Great Plains. Having abandoned the embroideries and horse-drawn carts of the north-east a bit earlier than planned, we throw in a couple of extras in the south-east: the “burial” mounds at Vésztö and the town of Gyula, home to Hungary’s second oldest cake shop. Vésztö is pretty deserted in the rain apart from us, one other couple and the birds from the nature reserve. The layers of archaeology from Neolithic to bronze age to Romanesque monastery are amazingly intact but a little confusing. Afterwards, the cakes and the elegance of the Biedermier furniture and mirrors in the Gyula teashop turn the wet Sunday afternoon into an agreeable detour.

Kecskemét Ornamental Palace

Kecskemét Ornamental Palace

The road from Gyula to Kecskemét is lined with water-melon stalls, which look as if they’ve fared much better in gardens than the fields of maize and blackened sunflowers. After reaching Kecskemét, we are seduced into staying a second day by the returning sunshine, pavement cafés, fountains, museums, good food and abundance of art nouveau (or Austro-Hungarian secessionist style) architecture. We also relish our pension with its verdant courtyard garden, great breakfast, friendly owner and immaculate rooms (pink and tiny in our case, as the larger garden rooms are taken – it feels a bit like sleeping in a Barbie house). So after simply strolling round on the first afternoon and having a splendid dinner (in an art-nouveau brasserie style setting, of course) we are more earnest on our second day. We visit the big morning market (colourful flowers and vegetables outside, and meat, cheese and pickled vegetables inside), then the ornate Council Chamber. We admire the art nouveau architecture (despite the strange roof ornaments which have a distinctly Disneyland look), 20th century paintings, old photographs and gold grave goods in the Ornamental Palace. After a pause for the best-ever Sachertorte and coffee at Vincent’s, we proceed to the museums of naïve art and of Hungarian crafts. Dinner in the evening is at a more traditional restaurant/bar, very filling and jolly too with men are playing (for money) with huge cards with Roman numerals.

Next we head for the university town and home of paprika, Szeged. On the way we stop at a large memorial/heritage park. The part that interests us most contains re-constructed houses from the area, which from the outside look like the houses we have driven past, so it is fun to see inside. Not only are “inhabitants” on hand to chat about their lifestyle (the miller’s wife is also busy whitewashing the big mill), but the gardens are full of typical produce, there are pigs in the sties, chickens pecking around, peppers strung up to dry, and the loos outside the school are much as I remember from junior school.

Szeged Old Synagogue

Szeged Old Synagogue

The first place we head for in Szeged is the old synagogue. The synagogues in Tokai and Kecskemét had seemed large, but this domed, yellow brick edifice in gloomy overgrown shrubbery is even larger (and would look at home on the Cromwell Road). Inside the walls and dome are an opulent cream and blue starred with gold, and the windows are colourful but the atmosphere is dusty and sad. The long, long lists of those who perished in the last war are engraved round the entrance hall, – a thriving community martyred. John replaces his borrowed yarmulke (it suited him) in the box, and we continue past an unexpected Indian/Pakistan restaurant to look at the art nouveau architecture (especially the flamboyant mauve irises over the walls of the Reök Palace) and the river Tisza. The streets and squares are very busy, with trikes, scooters, hoppers and stilts being packed away in one square as children leave with balloons, people queuing with large containers at one of the fountains, and trams and cyclists everywhere.

Szeged Reök Palace

Szeged Reök Palace

Later in the evening the traffic comes to a standstill as a whistling and shouting procession of cyclists with torches encircles one of the squares. Students? But there are children and older people too. Two policemen say they don’t know what it is about. Later still, in the cathedral there is a concert of modern, haunting music. And as we stand under the Heroes’ gateway in the dark, trying to make out its murals, the car headlights flash past. We don’t get to the salami and paprika museum, but we have our most memorable meal here, no not Ind/Pak curry, but chicken stuffed with asparagus with a pesto sauce and parmesan or chicken with roasted vegetables and cheese and leek sauce, followed by a chestnut soufflé. The chef has just been lured to Szeged from Budapest.

Pécs - Zsolnay Porcelain Museum

Pécs – Zsolnay Porcelain Museum

Pécs, the last of our southern cities, is equally enjoyable. We reach it via small scraggy vineyards, fields of scarlet pimentos being harvested, and a single track forest railway line which seems to have packed up for the year. Pécs is in the middle of a music and dance festival, so most small accommodation is full and we don’t like the big communist era chain hotel (no wonder it still has a room) that grudgingly offers a single night. So we cram as much as possible into our curtailed stay. The highlights for us are the six fourth century Christian burial sites linked by modern tunnels and galleries beneath the cathedral precincts, the resplendent Zsolnay Porcelain Museum (including its art nouveau and art deco designs and with very informative text), the Turkish mosque (built with the stones of a Gothic church, and once more a Catholic church with a semi-circular add-on with dramatic murals) and a solitary Scot extracting the most beautiful music we’ve ever heard from a bagpipe outside Murphy’s Bar. Instead of a second night in a grotty Pécs hotel, we turn north-west to Kaposvar and an agreeable art nouveau hotel. Here we make the most of the last sunny evening, enjoying the statues, fountains, pedestrian street and art nouveau café.

And then, after driving round one end of Lake Balaton (where we might have stayed, but for the approaching rain), we are back, almost full circle, to Romanesque churches near the western border with Austria and the problems of finding the keyholder. So here are three last scenes.

The buildings round the gloomy looking church at Türje must once have been monastic but have the sad air of a former residence for delinquent boys or lunatics. However the shabby young man loafing outside is most keen to help us and does a vivid mime of an ageing keyholder who has gone home for his lunch but will return on his motorcycle (noisy revs) soon after two o’clock. As we wait, John takes photos of Bluto ignoring the old Trabant outside and of the crumbling farm buildings, and then we hear the approaching motorcycle and get a thumbs up from our helper. Inside the church is equally gloomy, with baroque flourishes, but a wonderful fragment of mediaeval mural on the south wall showing St Ladislaus on horseback in battle (in a scene reminiscent of the Bayeux tapestry), has survived the Turks and rebuilding. The mural is lovely and it’s sad the church feels neglected.

Nagycenk Railway Museum and Kastély-Fertöboz narrow-gauge railway

Nagycenk Railway Museum and Kastély-Fertöboz narrow-gauge railway

Next day, on our last afternoon in Hungary, we indulge in a ride on a narrow gauge train, followed by and a search for another keyholder. A train is just about to leave as we reach the tiny station (staffed by older children) next to the outdoor locomotive museum at Nagycenk, so we hastily buy tickets. The two wooden-seated carriages, drawn today by a small diesel engine (steam on some weekends), lurch off along the track through fields and over level crossings till the we reach the “big” (main line) station and more old rolling stock. The return journey involves a flag-waving guard leaning out of our carriage door, as the engine is now at the rear and the driver doesn’t have a clear view. This nostalgia for the old farm and forest railways has been rather fun.

Hidegség parochial church

Hidegség parochial church

Getting into the Romanesque church two km away at Hidegség proves more complicated as the key holder, Jozsef, is not at home, though his little dog makes a lot of noise. Finally the bar owner gives us his mobile number. It sounds as if he and his wife are picking apples somewhere, but in a quarter of an hour he arrives, as promised, and opens up the eastern section of the church. At first we are just stunned by the frescoes round the east window, and only later start to piece together the history of this church, built on the site of a circular Roman watchtower. Inside the church is a rotunda, but it has strong, square outside walls around it. A later baroque altar has been taken down and the more recent extensions have been separated off by a wall. With its low stone altar and old font (still in use for baptisms), it must look closer to its original shape than most churches we’ve seen so far. Jozsef lights the candles as John takes photographs of the thirteenth century central figure of Christ in majesty surrounded by the symbols of the evangelists and below them nine disciples (sadly three vanished when an enclosing wall was removed at some stage). There are also some sixteenth century disciples, in a more flowing style, round the main dome. The Turks removed the features from the faces and the Protestants whitewashed the lot. Now the church is Catholic again, and the preservation work has been thorough. As Jozsef returns to his apples, we stop for a long, warming coffee in the bar that helped us, and the rain starts again.

Sadly we have reached the end of our two-week journey round Hungary. All that remains is to spend our last Hungarian forints on a bed, dinner, some apricot and cherry brandy and a few bottles of wine, before crossing back into euro-land and returning to Entre-deux-Eaux via Lake Constance and the Black Forest. It has been a good holiday.