MEN'S FILE PHOTO SHOOT, PARIS

It seemed an excellent opportunity: the confluence of the Men's File crew, a sunny day in Paris, and a million dollars' worth of Brough Superiors.  Nick Clements had brought two models (Spirit of Britain's Simon Delaney and friend) along for atmosphere at the Ralph Lauren/Men's File party the night prior, so we had gents in period dress, motorcycles, and a picturesque spot on the Seine, on the quai under Pont Sully, relatively free of perambulators and bicyclists, and nearly devoid of modern vehicles, having in one direction only the river, the 1800s buildings of Paris, and a series of river barges which a few hardy souls call home.

Along for the ride were some of the RL crew, dressed in their daily Double RL gear, which happened to fit perfectly with the theme of the intended layout for Men's File.  Nick Clements had only planned for a few shots at 9am, but with near perfect conditions and a sudden swell of available men willing to be photographed, it took until noon to begin pushing Broughs into vans, and visiting bikers to roar away.

The revelry from the previous night didn't show on the assembled crew, but your intrepid scribe was certainly feeling the 3am curtain drop, and missed his 9am call to arms...by a couple of hours.  Thankfully the demands of Web-intended 300kb photography are few, and my cheap/trusty/amazing little Sony camera did the job with alacrity.

The bikes assembled included 'Basil' Brough (about whom more later), a JTOR-engined machine built in the 1980s as a sidecar racer (hence the 18" wheels and fat tires), the 'Pendine' SS101J, the TE Lawrence replica, and a 1926 SS100 built around an original engine, which Mark Upham has recently re-purchased from a genial Belgian...it seems Mark has attachment issues with 'Hundreds'.  Well, who wouldn't?

And, as occasional 'test rider' for Brough Superior (an unpaid position, but certainly well compensated), it was an excellent time to test the 'Pendine' over cobblestones and through the assembled throng, between dog walkers and old gents with canes.  Nobody seemed bothered, the police didn't show, and it was good to stretch the legs of the mighty animal.  She handles fine over cobbles, but will work much better on the open stretches and vertiginous banking of a proper 1920s racetrack.  How I would love to pull that throttle lever all the way to the 'bar, and keep it there, and really stretch the legs of this incredibly beautiful beast.  Stay tuned.

MEN'S FILE PHOTO SHOOT, PARIS

It seemed an excellent opportunity: the confluence of the Men's File crew, a sunny day in Paris, and a million dollars' worth of Brough Superiors.  Nick Clements had brought two models (Spirit of Britain's Simon Delaney and friend) along for atmosphere at the Ralph Lauren/Men's File party the night prior, so we had gents in period dress, motorcycles, and a picturesque spot on the Seine, on the quai under Pont Sully, relatively free of perambulators and bicyclists, and nearly devoid of modern vehicles, having in one direction only the river, the 1800s buildings of Paris, and a series of river barges which a few hardy souls call home.

Along for the ride were some of the RL crew, dressed in their daily Double RL gear, which happened to fit perfectly with the theme of the intended layout for Men's File.  Nick Clements had only planned for a few shots at 9am, but with near perfect conditions and a sudden swell of available men willing to be photographed, it took until noon to begin pushing Broughs into vans, and visiting bikers to roar away.

The revelry from the previous night didn't show on the assembled crew, but your intrepid scribe was certainly feeling the 3am curtain drop, and missed his 9am call to arms...by a couple of hours.  Thankfully the demands of Web-intended 300kb photography are few, and my cheap/trusty/amazing little Sony camera did the job with alacrity.

The bikes assembled included 'Basil' Brough (about whom more later), a JTOR-engined machine built in the 1980s as a sidecar racer (hence the 18" wheels and fat tires), the 'Pendine' SS101J, the TE Lawrence replica, and a 1926 SS100 built around an original engine, which Mark Upham has recently re-purchased from a genial Belgian...it seems Mark has attachment issues with 'Hundreds'.  Well, who wouldn't?

And, as occasional 'test rider' for Brough Superior (an unpaid position, but certainly well compensated), it was an excellent time to test the 'Pendine' over cobblestones and through the assembled throng, between dog walkers and old gents with canes.  Nobody seemed bothered, the police didn't show, and it was good to stretch the legs of the mighty animal.  She handles fine over cobbles, but will work much better on the open stretches and vertiginous banking of a proper 1920s racetrack.  How I would love to pull that throttle lever all the way to the 'bar, and keep it there, and really stretch the legs of this incredibly beautiful beast.  Stay tuned.

FACTORY PRESS PHOTOS

I love coming across photographs which tell a hidden story about the motorcycle industry. I found these two photos at the Netley Marsh Autojumble a few years ago, and they tell a tale of pre-digital factory press photography and catalog production.

You might have seen this prototype B.S.A. 500cc OHC twin in Roy Bacon's 'Illustrated History of BSA Motorcycles' (1995, Ramboro)... but this photo is much better, as every published shot shows the 'after' image. This is the 'before' shot, and the hands you see on the left are using the old photographer's trick of gently shaking the large sheet behind the bike. This creates an indistinct white background, which greatly aided the re-toucher's job of making all the space surrounding the motorcycle completely white, for a catalog or for the press. As they had to paint all shadows, supports, benches, and people out of the photo, the big white backdrop saved a lot of time, especially around the spokes!

The BSA is an intriguing prototype from 1938, and was reputedly capable of 100mph, just like their Gold Star. The design is very clean, especially on the cylinder head, and reminds me of the post-war Jawa 500cc ohc twin. A pity they didn't make it, and the same goes for it's grandchild, the BSA Fury, a 350cc dohc twin from 1970. All the best designs from the big companies never made it past the 'teaser' stage (I'm thinking 4-cyl ohc Norton, Velocette model O, etc).

Second photo is a bit more brutal, but it shows the conditions and environment in which motorcycles were made or repaired in England in the 1920's. The bike looks like a Levis 246cc two-stroke ca 1923 (perhaps a Model K), and is set up for some sort of publicity shot. The poor lad (lass?) holding the machine will no doubt be painted out of existence, but look at the dismal back cobblestone alley! Two tea-rooms, a curious shopkeeper, and several workshops are visible, as is the gloomy fog descending in the background (which makes very even light for photographs, by the way - no shadows). The Levis has been upgraded with what looks like a Cowie speedometer, very unusual for a lightweight machine, but Levis made a good product - they won the Lighweight TT in 1922, with a machine very similar to this one. It used a typical dummy-rim rear brake, useless stirrup brake up front, but a very nice 3-speed Sturmey-Archer gearbox, which would have placed this little machine on the expensive end of the market.

You can stand up now, lad, my back is killing me!

FACTORY PRESS PHOTOS

I love coming across photographs which tell a hidden story about the motorcycle industry. I found these two photos at the Netley Marsh Autojumble a few years ago, and they tell a tale of pre-digital factory press photography and catalog production.

You might have seen this prototype B.S.A. 500cc OHC twin in Roy Bacon's 'Illustrated History of BSA Motorcycles' (1995, Ramboro)... but this photo is much better, as every published shot shows the 'after' image. This is the 'before' shot, and the hands you see on the left are using the old photographer's trick of gently shaking the large sheet behind the bike. This creates an indistinct white background, which greatly aided the re-toucher's job of making all the space surrounding the motorcycle completely white, for a catalog or for the press. As they had to paint all shadows, supports, benches, and people out of the photo, the big white backdrop saved a lot of time, especially around the spokes!

The BSA is an intriguing prototype from 1938, and was reputedly capable of 100mph, just like their Gold Star. The design is very clean, especially on the cylinder head, and reminds me of the post-war Jawa 500cc ohc twin. A pity they didn't make it, and the same goes for it's grandchild, the BSA Fury, a 350cc dohc twin from 1970. All the best designs from the big companies never made it past the 'teaser' stage (I'm thinking 4-cyl ohc Norton, Velocette model O, etc).

Second photo is a bit more brutal, but it shows the conditions and environment in which motorcycles were made or repaired in England in the 1920's. The bike looks like a Levis 246cc two-stroke ca 1923 (perhaps a Model K), and is set up for some sort of publicity shot. The poor lad (lass?) holding the machine will no doubt be painted out of existence, but look at the dismal back cobblestone alley! Two tea-rooms, a curious shopkeeper, and several workshops are visible, as is the gloomy fog descending in the background (which makes very even light for photographs, by the way - no shadows). The Levis has been upgraded with what looks like a Cowie speedometer, very unusual for a lightweight machine, but Levis made a good product - they won the Lighweight TT in 1922, with a machine very similar to this one. It used a typical dummy-rim rear brake, useless stirrup brake up front, but a very nice 3-speed Sturmey-Archer gearbox, which would have placed this little machine on the expensive end of the market.

You can stand up now, lad, my back is killing me!

'GARAGE' MAGAZINE PHOTO SHOOT

In total contrast to my previous post on a photo shoot, Garage magazine shot a feature spread on 'motorcycling gear through the decades', using the San Francisco Motorcycle Club as their backdrop (the SFMC is the second-oldest m/c in the US, and the oldest continuously operating). This was an expensive studio shoot, with stylists, makeup/hair artists, hired models, a photographer and assistants, lots of lights and camera eqp't, and several vintage bikes as props. It hurt to be relegated to 'prop' status, but I'm always happy to help encourage the old bike scene.

Top pic is my 1926 Norton Model 25 racer, looking spooky in the dark with some up- and back-lighting on wall of the SFMC. This was 'Jimmy's bike' - it belonged to Jimmy Shaw (a 'works' rider for Norton in the 'teens thru '30's), and was a factory race machine. It was restored about 15 years ago by Ken Blake in England, then my friend Ken Boulter purchased it to settle the unpaid restoration bill(!), and he sold it to me about 8 years ago (after much needling, I assure you). It's a bit of a bear currently, as I need to rebuild the carb and replace the magneto (very hard to start), and the soldered-up gas tank is a little leaky. Still, the bike is fast, having been timed at 94mph, and handles beautifully.

The interior of the SFMC is packed full of photos, memorabilia, and trophies on the walls, with two bikes hanging from the ceiling - an Aermacchi/Harley Davidson CR flat-tracker with a custom chrome-plated frame, and 1904 Curtis v-twin in original condition. Plus, there are pool and foosball tables, and a full bar. Pretty much ideal, really. The second photo shows one of the models (Nicole) being done up beneath the Aermacchi. Third pic shows Anoush having her hair done against the backdrop of vintage racing photos - mostly of former SFMC members through the decades.



Fourth pic shows 'Slim' Jim Hoogerhyde, SFMC member and vintage racer, who's modeling a pair of odd German goggles I found on ebay. Slim let everyone into the building and hung around all day during the shoot...which might be seen as tough duty, but there were 3 beautiful women changing clothes there all day. He doesn't look bothered at all.

Next pic shows Stephanie sitting on Stewart Ingram's little Morini racer (don't know the model, but I think it's a 175cc Settebello, with cool little Fontana brakes), amongst all the light boxes and light stands, etc. The Curtis and Aermacchi can clearly be seen hanging from the ceiling. The stylist was fussing constantly over the girls, getting hair and clothing just so, as lights were adjusted and the photographer crouched all over the place taking photos. Third pic of Stephanie shows everything in place and ready; what you can't see are all the clips and clothespins which are keeping her leathers tight against her hips, and her blouse pulled back to reveal her racy curves. 'Pay no attention to the man behind the curtain!'







Next pic shows Anoush all dressed up in 40's hottie gear, and straddling 'Red' Fred Johansen's totally time-warp '47 Indian Chief . I ran out of memory on my camera... which I should explain was my cell phone! I didn't have my camera with me, but I did my best with no flash, courtesy of my Palm phone; I think it gives the whole series a moody look - sorry about the low-resolution.















Next pic shows the photographer, Ed Fox, setting up some of the lights to shoot John Goldman's '47 Bianchi, which is a totally original machine, except for the seat cover. Anoush sits before the bike in the finished shot, backlit against the wall of photographs. She's actually wearing a new Belstaff waxed cotton jacket, cut very Brando-style ('whaddya got?'). There was
another Belstaff in white cotton, which was very chic but looked pretty useless for a bike, as it wasn't waxed cotton or particularly waterproof.

I've owned Belstaff rain gear before - once it's been ridden in the rain for a few weeks, you don't want it anywhere near nice clothing, as it will leave dirty streaks! It also tends to collect cold water in the crotch after about an hour in a steady downpour... I have bitter memories of a ride through the Tatra mountains in Czechoslovakia, after leaving communist Poland (1987), being completely soaked through despite my waxed cotton gear... even the MZ I was riding (which breathed through its frame backbone!) was gasping for air and choking on the waves of muddy water thrown over us by trucks passing the other way. Luckily, I was young, and arrived safely in Vienna after 12 hours, whereupon I KISSED THE GROUND. No kidding. Then I had a beer at a MacDonalds (and I hate Mickey D - that's how bad the food was in the 80's Eastern Bloc). Sorry for the digression!








The last
set of photos involves Nicole (don't ask for her phone number, as I don't have it!) with my Norton. Top photo shows the setup with Nicole silhoutted against the dome light. Dan Stoner, editor of Garage, stands to the left. Second pic shows Nicole wearing a leather helmet and my Avionix goggles (contemporary, from France), and a sort of Art Deco blouse. The bottom pic shows her outfit better; jodhpurs, Deco blouse, leather helmet, tall boots - a nice look... motorcycles do look better with a beautiful woman next to them!

'GARAGE' MAGAZINE PHOTO SHOOT

In total contrast to my previous post on a photo shoot, Garage magazine shot a feature spread on 'motorcycling gear through the decades', using the San Francisco Motorcycle Club as their backdrop (the SFMC is the second-oldest m/c in the US, and the oldest continuously operating). This was an expensive studio shoot, with stylists, makeup/hair artists, hired models, a photographer and assistants, lots of lights and camera eqp't, and several vintage bikes as props. It hurt to be relegated to 'prop' status, but I'm always happy to help encourage the old bike scene.

Top pic is my 1926 Norton Model 25 racer, looking spooky in the dark with some up- and back-lighting on wall of the SFMC. This was 'Jimmy's bike' - it belonged to Jimmy Shaw (a 'works' rider for Norton in the 'teens thru '30's), and was a factory race machine. It was restored about 15 years ago by Ken Blake in England, then my friend Ken Boulter purchased it to settle the unpaid restoration bill(!), and he sold it to me about 8 years ago (after much needling, I assure you). It's a bit of a bear currently, as I need to rebuild the carb and replace the magneto (very hard to start), and the soldered-up gas tank is a little leaky. Still, the bike is fast, having been timed at 94mph, and handles beautifully.

The interior of the SFMC is packed full of photos, memorabilia, and trophies on the walls, with two bikes hanging from the ceiling - an Aermacchi/Harley Davidson CR flat-tracker with a custom chrome-plated frame, and 1904 Curtis v-twin in original condition. Plus, there are pool and foosball tables, and a full bar. Pretty much ideal, really. The second photo shows one of the models (Nicole) being done up beneath the Aermacchi. Third pic shows Anoush having her hair done against the backdrop of vintage racing photos - mostly of former SFMC members through the decades.



Fourth pic shows 'Slim' Jim Hoogerhyde, SFMC member and vintage racer, who's modeling a pair of odd German goggles I found on ebay. Slim let everyone into the building and hung around all day during the shoot...which might be seen as tough duty, but there were 3 beautiful women changing clothes there all day. He doesn't look bothered at all.

Next pic shows Stephanie sitting on Stewart Ingram's little Morini racer (don't know the model, but I think it's a 175cc Settebello, with cool little Fontana brakes), amongst all the light boxes and light stands, etc. The Curtis and Aermacchi can clearly be seen hanging from the ceiling. The stylist was fussing constantly over the girls, getting hair and clothing just so, as lights were adjusted and the photographer crouched all over the place taking photos. Third pic of Stephanie shows everything in place and ready; what you can't see are all the clips and clothespins which are keeping her leathers tight against her hips, and her blouse pulled back to reveal her racy curves. 'Pay no attention to the man behind the curtain!'







Next pic shows Anoush all dressed up in 40's hottie gear, and straddling 'Red' Fred Johansen's totally time-warp '47 Indian Chief . I ran out of memory on my camera... which I should explain was my cell phone! I didn't have my camera with me, but I did my best with no flash, courtesy of my Palm phone; I think it gives the whole series a moody look - sorry about the low-resolution.















Next pic shows the photographer, Ed Fox, setting up some of the lights to shoot John Goldman's '47 Bianchi, which is a totally original machine, except for the seat cover. Anoush sits before the bike in the finished shot, backlit against the wall of photographs. She's actually wearing a new Belstaff waxed cotton jacket, cut very Brando-style ('whaddya got?'). There was
another Belstaff in white cotton, which was very chic but looked pretty useless for a bike, as it wasn't waxed cotton or particularly waterproof.

I've owned Belstaff rain gear before - once it's been ridden in the rain for a few weeks, you don't want it anywhere near nice clothing, as it will leave dirty streaks! It also tends to collect cold water in the crotch after about an hour in a steady downpour... I have bitter memories of a ride through the Tatra mountains in Czechoslovakia, after leaving communist Poland (1987), being completely soaked through despite my waxed cotton gear... even the MZ I was riding (which breathed through its frame backbone!) was gasping for air and choking on the waves of muddy water thrown over us by trucks passing the other way. Luckily, I was young, and arrived safely in Vienna after 12 hours, whereupon I KISSED THE GROUND. No kidding. Then I had a beer at a MacDonalds (and I hate Mickey D - that's how bad the food was in the 80's Eastern Bloc). Sorry for the digression!








The last
set of photos involves Nicole (don't ask for her phone number, as I don't have it!) with my Norton. Top photo shows the setup with Nicole silhoutted against the dome light. Dan Stoner, editor of Garage, stands to the left. Second pic shows Nicole wearing a leather helmet and my Avionix goggles (contemporary, from France), and a sort of Art Deco blouse. The bottom pic shows her outfit better; jodhpurs, Deco blouse, leather helmet, tall boots - a nice look... motorcycles do look better with a beautiful woman next to them!