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Our Langstone Harbour Trip with the RSPB

On a grey yet thankfully dry Sunday morning if I had a Portsmouth bucket list, I had one of the items near the top ticked off with a boat trip with the RSPB. Personally, I’ve always loved Langstone Harbour. When I first moved to Portsmouth I lived at the Furze Lane Langstone campus of the University of Portsmouth and the harbour was on my door step and one of the first places I explored with my bike and camera. Throughout the years I’ve been lucky enough to explore every yard of its edge plus the sandbank and the Phoenix Breakwater with my camera, from high tide to low, but I haven’t had a chance to explore the islands.

The thing, for me, that makes Langstone Harbour extra special is that it is a wild habitat right on the doorstep of the most densely populated city in the UK. Considering the close proximity to well over two hundred thousand people, the harbour is surprisingly biodiverse and a key nesting location for birds on the south coast. More surprising is that for birds, Langstone Harbour has way, way more calling it home through the seasons than its neighbour Chichester Harbour. So…all of this wildlife shares Portsmouth with us, and us with them. Particularly at this time of year: nesting season. So for the very, very novice twitcher side of me, a boat trip out to see the birds with the RSPB was a fantastic opportunity.




We set off from the slipway at Broadmarsh Costal Park south of Havant with Wez at the boat controls and Dawn to help both myself and Tristan find out more about the wildlife and what the RSPB do in regards to the harbour and the bird populations. It was a good start with lots of Mute Swans seeing us off from the quayside and even a low flying Heron passing overhead. We travelled south, in parallel with the shore of Long Island, one of many different islands in the harbour that have (since the late 1970s) become protected bird preserves of the RSPB. We passed the southern tip of the island, which is one of the few areas where the public can land (we saw kayakers taking a break on the small shingle beach) before moving south west to Round Nap Island.


Long Island.


I’ve always been intrigued by the harbour’s islands and as they are off limits to the public this was my first chance to see them up close. Round Nap Island is quite small and at high tide seemed like a very flat and precarious home to the nesting birds and visiting birds too. On the shingle we saw Black Headed Gulls with their brown, fuzzy and big chicks who will be very soon flying themselves. Also on the island we saw quiet Cormorants taking a rest from fishing and curious Oyster Catchers exploring the shingle and waterline for food.


Round Nap Island.


Cormorants on Round Nap Island.

The RSPB routinely (at times, daily) check the nesting islands to ensure the birds aren’t effected by the many different dangers to them, their nests and their young. At low tide some of these islands are accessible by the mudflats so some islands have electric fences to protect against foxes and other predators. Another serious danger to these birds are storms and surging tides. Recently a storm washed away nests and seriously effecting the breeding of some of the harbours most important visitors.




Black Headed Gull.

From Round Nap Island we set off to the much larger South Binness Island, the most southerly of the islands in the harbour. As we travelled along the southern shore of the island we saw hundreds and hundreds of Black headed Gulls and their young plus the sharp edged Sandwich Terns, Common Terns and our first sighting of the beautiful Little Terns that visit the harbour each year. The Little Terns have struggled in recent years to raise young due to weather and tides and in 2013 this island was raised up with 500 tonnes of aggregate with the hope that their ‘scrapes’ would be better protected.


South Binness Island.


Oyster Catcher and Black Header Gulls on South Binness Island.


South Binness Island.


Black Headed Gull chicks on South Binness Island.


South Binness Island.


Sandwich Tern.

Little Terns are very special visitors to Portsmouth. Unknown to me until fairly recently, Portsmouth and Langstone Harbour is home to one of the largest colonies of these special birds, along with Blakeney Point and Great Yarmouth in Norfolk and Minsmere in Suffolk. You might find the birds in much smaller groups around the coast of the UK, including Scotland…but right here in Portsmouth is a key nesting site in the UK. Sadly these birds have difficulty in producing young as our weather has been bad in consecutive years but they will continue to try through the rest of the season. There are only 1,900 (approx.) breeding pairs in the UK so the work done locally by the RSPB to support and help these birds is vital. To put it in context, on South Binness Island alone in 2008 the island had 4,886 nesting pairs of Black Headed Gulls.


Little Tern.


Little Tern.


Wez.

We travelled west past the island and out to a place I have wanted to visit for years, Oyster Island. Many years ago this small island was home to an oyster watchman’s house built in 1819. I had heard that you could still see the foundations and remains of the house (which was possibly washed away in a storm) still on this tiny island south of Farlington Marshes. As we approached you could clearly see on this tiny island the timber beams of the house plus bricks and more. Hard to believe that someone could live out here, right on the harbour.


Oyster Island.


Oyster Island.

From here we travelled to Baker’s Island with it’s northerly wild side. The RSPB obviously tries to not disturb the birds but there are occasions when it is necessary to land on one of the islands. Routinely the RSPB need to count the nests and check for any issues. Sometimes they have to fix fencing and maintain signs, etc, on this occasion Wez had to replace the electric fence battery so we grounded the boat on the beach for a few minutes. Obviously it is vital these islands are not visited by the public so this was an unexpected privilege to see this habitat up close for a minute or two.


Baker’s Island.


Oyster Catcher on Baker’s Island.


Surrounding the boat at Baker’s Island.

We set off from here and travelled east across the harbour and midway saw a large commercial vessel leave the quay at the Lafarge Tarmac site and travel towards the harbour entrance. It was a good reminder that despite being a quiet harbour there is still commercial activity on a day to day basis. There are also fishing vessels that work within the harbour too.


Commercial vessel passing Round Nap Island.




Tris.

The old oyster beds on Hayling Island’s north westerly edge (next to the ‘Billy’) have a long history, from farming huger amounts of oysters for consumption in London (ending due to pollution) to them being neglected until recent years when they were restored and made a protected RSPB area. These interlinking beds are now home to many different birds and access is prevented from Hayling Island as well as from boats. From here we saw a harbour favourite the Little Egret and also a solo Great Crested Grebe before it dived under the water and disappeared. On the way back to Broadmarsh we were lucky to see about a dozen Common Terns feeding, with them circling, hovering and then diving in to the harbour waters. We also saw some Little Terns too, who only feed around one kilometre from their nesting sites.


Little Egret at Hayling Island Oyster Beds.




Diving Common Tern.


In only a matter of two hours we had an incredible trip around the harbour and were introduced to not just the birds that call Portsmouth home but also the dedicated work by the RSPB, who with a very small team have to protect the habitats and birds. If you want to keep up to date with the work done by your local RSPB team be sure to follow their blog HERE. A huge thank you to Wez and Dawn for the trip!

Interested in seeing some of these birds yourself? It is actually pretty easy from the shoreline of the city of Portsmouth. We’re working with the RSPB on a series of articles starting tomorrow and we’ll be running a competition too. More details tomorrow.

Review of Under the Spotlight | Photography Exhibition at Coastguard Studio

Coastguard Studio this past weekend was host to it’s fifth (if I remember right) exhibition in a matter of six months or so, this one being a spin-off show to to the hugely successful Under the Spotlight exhibition earlier this year. Under the Spotlight | Photography brought together 30 photographers who are either based in Portsmouth or have strong ties with the city and the large open plan gallery space was packed full of diverse and engaging work.

I started off in the bar area, grabbing a beer and then checking out the panels lining the walls to this back space of Coastguard Studio. The first series that caught the eye were a pair of medium format, multiple exposures by Matt Ankers. I’ve seen a lot of Matt’s digital and commercial work (such as Victorious) so it was great to see his more personal work. The two images complemented each other well with emotive seaside scenes shot locally. Great to see film well represented in the exhibition. Next door on the wall was a series of film-noir inspired portraits by University of Portsmouth student Harry Murphy. This small wall right from the get go showed the incredible diversity of work produced for the exhibition and the different backgrounds of the contributors.

Under the Spotlight | Photography Exhibition - Matt Ankers
Work by Matt Ankers.

Under the Spotlight | Photography Exhibition - Harry Murphy
Work by Harry Murphy.

Another eye catching and intriguing panel was by Deborah Holton. The panel of 4 matched images showed x-ray collections of objects found on beach walks, going back over a decade or more. Each individual beach collection was kept in a 35mm film canister and could consist of beach glass, stones, sand and more. The idea behind the project and the dedication and composition consistency elevated this work to a highly conceptual piece that I’m sure inspired a few people to consider striking up their own ambitious concepts and projects in the future.

Under the Spotlight | Photography Exhibition - Deborah Holton
Work by Deborah Holton.

Also in this space were works by Andrew Hayward whose photography we’ve featured on a few occasions on Strong Island. On display were a small set of Andrew’s personal project capturing the oasis feel of service stations at night (also recently exhibited in a solo show with Aspex Gallery and Portsmouth Guildhall). The different garages shot in the same compositional style created a sense of consistency in the panel, drawing the eye in to discover more about the lit forecourts and bringing to mind the memories of late night road trips with friends and finding a sanctuary of fuel for the car and for the passengers. We’re actually exhibiting Andrew’s latest project in Strong Island Co very soon, keep an eye out for details.

Also shown in the room was work by Billie Cawte with her series of photos of projections shot around Portsmouth. These carefully considered images matched a location with a projection of a vintage image, shot at night, instilling a sense of continuity of a sense of place extending beyond normal, individual perceptions of time. These also, in a pleasantly strange way, bring to life forgotten functional corners of buildings. There was lots more to see in this space with other work by local photographers, I spent a little more time looking around before moving in to the large, open main exhibition space.

Under the Spotlight | Photography Exhibition

Straight away it was great to see the place so busy. It was early-ish on the Saturday night and the place was full of people of all ages checking out the work and chatting. Its always great to take a step back in an exhibition and just see people enjoying it. There is way too much work to go through individually here but a few panels really caught my eye for very different reasons. In one corner were a series of 360 images taken by Guilhem Brandy which showed different, familiar, spots around the city in an interesting new way. Changing up perspectives of familiar places is something I personally really like and this series from Albert Road, Southsea Seafront, Garrison Church and Guildhall Square drew you in to find out more.

Under the Spotlight | Photography Exhibition

One of the many great things about a shared exhibition is that the work touches on so many different subjects, drawing out many different thoughts and feelings from the people viewing the work. In a matter of a few steps you could take in the B&W film street photography by Matt Maber exploring the physical, social and cultural boundaries of Fratton Park on a Saturday afternoon through to the questioning and bold nudes by Ashton Keiditsch. In particular the powerful image of a lady with a partial mastectomy meant that the exhibition tackled some heavyweight subjects and these honest and questioning portraits looking at contemporary body image issues rightly raised discussion. The work reminded me of the recent series by Bryan Adams and also The Battle We Didn’t Choose.

Under the Spotlight | Photography Exhibition - Ashton Keiditsch
Work by Ashton Keiditsch.

Also panels that caught the eye included: the photos of Diana Goss whose work has a foot in each of her professions: photography and psychotherapy, the long exposures by both Elmer Maniebo and Jon Neil, the portraits by Aaron Bennett, the views on old age by Yasmin Collins and so, so much more. Hopefully the photos below give you a glimpse.

If you want to see the work in person the exhibition is open until Friday from 12pm to 2pm. Check the Coastguard Studio Facebook page for more information HERE.

Under the Spotlight | Photography Exhibition

Under the Spotlight | Photography Exhibition

Under the Spotlight | Photography Exhibition

Under the Spotlight | Photography Exhibition - Yasmin Collins

Under the Spotlight | Photography Exhibition - Aaron Bennett

Under the Spotlight | Photography Exhibition

Created Local Special: Immy Smith and the Brain Tumour Research lab at the University of Portsmouth

We’ve featured many local artists, photographers, filmmakers, designers & makers under the Created Local series for many years (over 100 in the last 6 years), profiling work touching on many, many different subjects. Immy Smith’s background, artwork and working environment is something a little different.

Immy Smith is a rare creative, working in what initially might be thought of as two different worlds: one foot in science, the other in art. With a PhD in Pharmacology plus a strong arts background Immy has recently been working in the Cellular & Molecular Neuro-Oncology (Brain Tumour) Research laboratories at the University of Portsmouth on a 10 month residency which looks at how to foster better and more creative working relationships between medical science and the arts. The residency, funded by the Leverhulme Trust, aims specifically to create a sense of collaboration with not just laboratory staff but also the patients effected by brain tumours, which kill more children and adults under the age of 40 than any other cancer.

“The project I’m working on here at the Brain Tumour Research lab is a Leverhulme artists residency where I work in the lab making art alongside science researchers. Our project aims to tell the story of brain tumour patients, scientists and clinicians, through art. We want to make these stories accessible and share the unique challenges of brain tumours with a wider audience to help raise awareness of this devastating disease.” – Immy Smith

Cellular & Molecular Neuro-Oncology (Brain Tumour) Research laboratories

Working within the laboratory environment sees the research staff and artists working in a shared space, with artwork becoming a part of the laboratory environment. The relationship allowing for artistic insight in to the latest treatment research and the scientist an appreciation of creative processes and different patterns of thought. The project has included workshops with scientists as well as patients, collecting stories and aiming to “fill the gap in understanding”; having perspective on cancer analogies, unique sensory & cognitive effects of these tumours due to their location in the brain and patterns of cells and diagnosis & treatment. The creative work aims to engage with all and to broaden the horizons and enhance the skills of both artist & scientists, through this particular interdisciplinary research.

Staff at Cellular & Molecular Neuro-Oncology (Brain Tumour) Research laboratories

Immy’s work includes ‘Heterogeneity Experiment: Ink, SciArt, and Brain Tumour Heterogeneity’ which explores heterogeneity between brain tumours, through making art at the lab bench. The ingredients used are primarily inks – ultramarine and magenta. Other constituents include water and lab filters. Every filter contains both colours. From this limited palette of ingredients are made an array of unique patterns – more than 120 of them. The components are few but the outcomes are complex, heterogeneous:

“The cellular components of your brain are primarily neurons and glial cells. Neurons get a lot of the limelight, however glial cells – including astrocytes and oligodendrocytes – play a crucial role in brain function, and neurons are lost without them. Other constituent cells include pericytes and endothelial cells in the brain’s blood vessels, microglia (immune cells), and ependymal cells (which line brain ventricles). From a limited palette of cellular ingredients, all the fascinating machinery of your brain is created.” – Immy Smith

Heterogeneity Experiment: Ink, SciArt, and Brain Tumour Heterogeneity

Heterogeneity Experiment: Ink, SciArt, and Brain Tumour Heterogeneity

Another part of work produced during this pilot project are Immy’s Ugly Objects experiments:

“Some of the scientists here expressed a wish to depict brain tumours as something ugly – rather than using images of cells which are often quite beautiful. While this project is about using recognisable or non-exclusive imagery (so I wouldn’t use scientific images of cells anyway) it raised many interesting ideas. I previously discussed the scientists feelings of the dread and awfulness, that they associate personally with brain tumours as cancers. Another interesting idea was; what is ugly? Is what we perceive as ‘ugly’ in any way universal? What are common features in people’s descriptions of ugly? Can we use this as something recognisable, something not exclusive to science or art, with which to communicate about brain tumours? I don’t know the answers to these questions, but I know it’s harder to draw ugly than you might think.” – Immy Smith

Ugly Objects

Ugly Objects

Immy is working towards an upcoming public exhibition, with permission to use the event to fundraise for the charity Brain Tumour Research. We’ll let you know more details on the upcoming exhibition and the work included soon. For now, if you are interested in finding out more about Immy’s work you can visit her websites below:

connectingnarratives.tumblr.com
immysmith.com
imaginingscience.com

Immy Smith

When The Tour Came To Portsmouth – A Conversation With John Bagnall – Part 2/2

Welcome back to part two of our interview with John Bagnall, a key player in bringing one of the biggest dates in the sporting calendar to Portsmouth in 1994. You can revisit part one here.

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Hi John, in part one we discussed what it takes to begin paving the way for a Portsmouth stage. What else did you have to organise or overcome on your road to June 1994?

The next obstacle we had was the police, mainly due to the fact they had never dealt with anything quite so big before. At the time you had the Milk Race and the Kellogg’s Tour Of Britain as the biggest cycling events in the UK. And those were done by rolling road closures: a police car or motorcycle in front and behind which leapfrogged each other to stop the traffic. The Tour wouldn’t contemplate that, it had to be a completely sterile loop. The police have an organisation called ACPO (Association of Chief Police Officers), that oversee combined or national large scale operations. We got assigned an inspector who was a bit full of himself and quite jack the laddish. You could see why he had gone far in the police force; a rather strong personality. He came to the first meetings saying, “well you know, I can’t see it working but we’ll go through the motions”, it was that sort of attitude. This was partly because, to start off with, they couldn’t get their mind round what the Tour was and how it felt to be part of it. So we took him and a couple of his deputies, including another guy assigned by Hampshire Constabulary, to France the next year to see the race. The Tour kindly decided to put them in their control car as guests, and for two days they were able to experience their operations first hand.

Unfortunately we thought we’d blown it on the first day. By then they were into the mountains, and this particular stage finished at Sestriere in the Alps, which is one of the very famous climbs if not one of the very legendary ones. Sestriere is now in all of the record books because Claudio Chiapuccino won it with the longest by distance and time break away in Tour history. Claudio came in forty five minutes ahead of the rest, it was quite an incredible ride, and probably drug assisted at the time if the truth be known… But Sestriere is a mountain top and it was just gridlocked. There was no way you could get anywhere for hours afterwards and yet we were supposed to collect these ACPO guys in order to look after them. We just couldn’t make the physical connections. Mobiles were very new technology and there was no coverage on the tops of the alps, so we had no means of getting in touch with them. We thought we had really blown it, they will be pretty hacked off at being left stranded with French men. As it turned out our French counterparts realised the situation and said “don’t worry, we will look after you”. They dished up a really nice dinner, got them suitably drunk and they had a really good time. When we met up with them the following day we fully expected them to pull the plug on the whole affair, however they expressed a different kind of concern; “After what we saw yesterday I’m not sure that we, the English police force, could manage something so awe inspiring. It was so well organised, it is going to give us real problems matching it”. Thankfully this soon became an ego thing and before we knew it, the challenge had been set to do it better than the French.

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I recall in the first half of this interview you briefly mentioned the issue of legislation having to be created specifically for the Tour, could you give us more details on what had to be put into place?

What the police soon realised was that road cycling at that time, took place under a minor clause-of-a-sub-statute-of-a-bit-of-legislation dating back to 1948. This simply didn’t give them the powers they would need to create a completely sterile road closure. The existing legislation meant that it was okay for a police car to stop and for a policeman to halt traffic with his hands for 15 minutes, but not for a full day. So we shaped and drafted an Act of Parliament that was taken through as a private member’s bill. It was very discreetly done because this was still subject to confidentiality, all very hush hush. The bill went through Parliament and was enacted; giving all the relevant authorities the power to do whatever necessary to close the road and such like. This is the same legislation under which the Tour can take place in Yorkshire on Saturday.

That then just left all the towns and villages. We had numerous meetings with the county councils: Kent, East Sussex, West Sussex and Hampshire because the Tour want money to come. To be a start of finish town back then was around £100,000.00, which is quite a lot of money. And that was just for the Tour to come, so not including your organisation costs. All of that had to be negotiated through all of the various councils, but I think we had the political network working for us, everyone at Portsmouth City Council was up for it. By then a momentum was gathering and rumours started to appear. Cycling Weekly would phone up every so often and ask “what is going on?” “well what do you think is going on? I haven’t heard anything?”, all this bluff and counter bluff. Cycling is a small world, so they recognised that if they blew it then it could lift the lid on the whole thing. They were bound into it as well. Gradually we ticked off all the councils putting up the money for physical improvements. After this operation had been put into place the roads on the planned the route had never better for cycling; whole stretches were re-tarmacked because none of the councils wanted to be known for having bought a rider down.

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The next part of the operation was to simply identify all the businesses that would be affected; banks, supermarkets, retail outlets, etc. Staff would have problems getting in due to the roads being closed at five in the morning. Deliveries would not be able to take place and cash points would not be refilled. Memorably I researched every crematorium, cemetery and undertakers on 25 miles either side of the route in order to write to them saying “please be aware that on this day restrictions will be in place and you might not have access for mourners, don’t book funerals for that day”. Similar to this, part of the route was going up Ditchling Beacon where a very rare orchid grows, so rare that its location is kept a secret. Naturally the Environmental Agency were worried about it, so the area was coned off and marshal placed there specifically to protect this plant from cycling fans and plant collectors alike.

Then it was just down to getting people along the route to buy into it; we persuaded villages councils and the Department for Education to allow schools to close for the day so that their pupils were able to watch the race. By the time we had the national launch, Cycling Weekly was planning events and their editor, Martin Ayres, came on board on a freelance basis to help with the writing of our newsletter. Through our newsletters we were having to inform people who had never heard of the Tour de France what it was about. We had to get out there and convince the people who, not only did not cycle, but disapproved of cycling in general. All whilst keeping the cycling clubs and the aficionados happy. It all came together amazingly well, but it was a lot of hard work. During the winter of 93 -94, for three to four nights a week I was in village halls somewhere along the route; showing a film and telling people what would be happening. Often you would get people sitting there with their arms crossed saying “why should I pay my rates so that French men can race bikes past my house?”, we were dealing with that sort of mentality.

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By all accounts this was a successful stage, but can you tell me if there were any incidents that you had to deal with? With that amount of people massed together surely some issues cropped up?

The only incident in the whole thing was during the Portsmouth leg, when a child stepped out onto the curb after the peloton came round. Unfortunately he was clipped by the wing of one of the official’s cars who were following the riders, and momentarily we were quite concerned. Thankfully the Tour stopped one of its medical cars and called up one of their helicopters. The helicopter landed just behind where it happened and took the child and his mother to the hospital for the check-up. He had a headache and was slightly bruised but nothing serious. In truth it was fantastic PR on the Tour’s part to of done that, it added hugely to the concept of goodwill.

Over the two days, the police estimated between two and three million people had watched at the roadside. It had huge television coverage relative to the time, I remember Mr Leblanc saying that we have already seen the biggest stage crowd for the whole Tour, and we were only on stage four and five. The goodwill that was generated was just amazing, it’s fantastic anywhere you go on the Tour anyway, but the friendship and fun that was being had was truly magic. It laid the groundwork for the Tour to come back to England.

What would you say the aim was in bringing the Tour here, and what legacy did it leave? What do you think it brought to the city?

The immediate aim was to inform as many people as possible across the world, that there is a city called Portsmouth on the south coast of England. A city with an important heritage and history. A city that is open for commercial business. We were the people that started this whole thing, we are a city with a “can do” spirit. We are international and friendly. This was general promotion of sorts, for all kinds of different reasons and messages, and we very much hoped to ignite greater interest in cycling. Not to mention greater investment in cycling on the part of the city. We are on an island, the highest point in Portsmouth is twelve meters above sea level, it’s difficult to think of somewhere better, perhaps Cambridge apart, in physical terms for cycling. And yet the provision within the city is not good. Unfortunately I think Portsmouth just didn’t managed to capitulate on the immediate legacy of the Tour to achieve a tipping point that could be built on. In a way that you could argue that London has done with the Boris Bikes. There is still more work to do and I don’t entirely see who is doing it and where it is coming from. Southsea Cycle Club and various community projects are doing a great job in making it visible, but I don’t think it’s really come together as a critical mass in Portsmouth.

What really makes me sorry is if you cycle up of down the back or Portsdown Hill, you can see where the cycling tracks have been laid and marked out, but the tarmac has almost worn off. There is just the faint trace of a bike as you come up from Waterlooville and I think that is ever so sad, it’s symbolic of the tokenism that prevailed in the end in Hampshire and Portsmouth. They were given an opportunity to make themselves famous permanently in England as the cycling city, but the momentum was never really achieved in the first place. It was a very successfully stage and I think the longer term legacy wasn’t in the immediate benefits to the people who ride bikes in Portsmouth. However, to the cycling community in Britain as a whole it has had enormous benefits; it worked by laying one of the first foundation stones in what you could describe as a cycling wall. In the next course of bricks above Portsmouth 1994 you have Dublin in 1998, and then a couple courses of bricks above that you have London in 2007. Next you have smaller bricks above that: Mark Cavendish and Bradley Wiggins. Riders who, as kids, might of watched Portsmouth on Channel 4. I would love to know if Mark Cavendish did and whether it fuelled his desire to be part of such a legendary event. You cannot quantify this part of the legacy. By this weekend, Yorkshire 2014 will be at the top of the wall. Yet when you look closely; Portsmouth is still right there at the bottom, as a foundation stone. This is where it all began.

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I would like to express a huge thank you to John & Jan for allowing me into their home and sharing this great story with me. The 101st edition of the Tour De France begins on Saturday the 5th July, with ITV and ITV4 covering live stages and providing nightly highlights.

When The Tour Came To Portsmouth – A Conversation With John Bagnall – Part 1/2

With the 101st edition of the Tour de France due to begin on Saturday and a summer of sport well underway, I believe the time is right to delve into the past and look to when the world’s greatest cycling race crossed the channel to our shores. On the 7th of July 1994 Hampshire was gripped with cycling fever; a 187km long 5th stage was about to begin and end in Portsmouth. Half a billion eyes around the world were glued to television sets as the peloton, which included cycling legends Marco Pantani, Miguel Indurain, Chris Boardman and a young Texan called Lance Armstrong, powered past HMS Victory in the Historic Dockyard. For a day, Portsmouth played host to one of the most prestigious sporting events on the calendar. So how did this extraordinary day come about? In a two part post, I catch up with Southsea resident and ex-council employee John Bagnall, a key player in bringing the event to the city.

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Hi John, thank you for taking time out to speak to us. First of all can you tell us what you were doing during the lead up to 1994?

I was the Marketing Communications Manager at Portsmouth City Council, it was looking after press and media relations.

And I believe that this whole venture arose from a discussion over a pub lunch, is that right?

My colleague David Knight, head of leisure for the city council said to me “What can we do that will really put Portsmouth on the map and be a counter point to the D-day commemorations? What is international, bright, young and youth orientated?”

So when you say the commemorations? This was the 50th D-day celebrations? Quite a big deal.

Yes, it was the 50th anniversary of D-day. So for a week at the start of June, Portsmouth became centre to the world in terms of commemorating the liberation, or the beginnings of the liberation of Europe. Clinton and the Queens were here, many world leaders came to Portsmouth and stood in a special bandstand built on Southsea Common. There was a huge international flypast, I think a couple of hundred planes came over Portsmouth; Spitfires, Lancaster Bombers, Flying Fortresses, it really was the world solemnly marking D-day and the beginning of the end of World War Two.

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OK, so press-wise, a pretty good window of opportunity here. What was discussed over lunch?

As I said to David over that pub lunch “Hey, why don’t we bid to get the Tour De France to England?” I’d never really thought at that moment there was a realistic prospect of getting them here, I just thought the council would probably laugh it out of court anyway. Even if we did get as far as sending an invitation to them they would just turn round and say “I’m sorry, why would we come to England? You have no history or heritage of cycling”.

So to add a little context, I believe The Tour had come to England once before? In 1974?

Yes, the time before they raced on the newly completed, but not yet opened, Plympton By-pass near Plymouth. It was just coned off at each end and they went up the dual carriage way for X number of laps. And that was it. I think a few hardcore cycling clubs came to see some of the riders of that time, but there was no broadcast coverage and precious little coverage in the newspapers. By all accounts it was very dull and very boring. The Tour didn’t like it because of the amount of time it took to get the riders there and then take them back again.

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I see, so it seems like The Tour organisers weren’t exactly scrambling to recreate another UK leg?

No, the tour had no thoughts of coming to England ever again after the Plymouth stage. So during that pub lunch the idea really was to “fly a kite”, let’s do something a bit crazy. My argument to David was; they will probably say no even if they bother to reply, but I can still get some publicity out of that. Perhaps a little story into the cycling friendly The Guardian about how a town in Portsmouth bids to get France’s biggest sport event there (wry laugh)… So David and I went to talk to a guy called Richard Tryst who was the chief executive of the council. Richard was quite a frightening man with a hawkish and cynical sharp manner, but he didn’t suffer fools gladly. He liked boldness and directness. We went to see him and basically said “it’s crazy but we think this is a good thing to do, it ticks all the boxes of what the council are looking at”. He sorted of nodded and said “well yes, there are a lot of other questions to answer as well, but we’ll keep this alive”.

Richard bought in the then leader of the conservative council, a guy called Ian Gibson, who like all local politicians that get to be leaders of the council, was a very upfront, bold and visionary guy. And he got really excited about it as well. So on the 18th of December 1990 I drafted a letter to Henry LeBlanc who was the president of Amaury Sports Organisation, which was the company that controls the Tour De France. And about two weeks later they came back basically saying; “Subject to commercial confidence we are interested, and we are very grateful for your support”. They went on to explain that the Tour at that time was losing direction as the Tour De France; it had this great tradition attached to it but it wasn’t going anywhere with it. What they were trying to do was to introduce a policy that they called “mondialisation”. The organisers wanted to take it global and they were actively looking for other European countries that they could go to. They even discussed the possibility of, and this was back when people were excited by Concorde, to go across the Atlantic and even starting it in America or Canada. So to have an approach from an English city saying “what can we do to help?” was brilliant to them.

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Could you perhaps detail some of the ins and outs of trying to organise an event of this scale whilst remaining compliant with the confidentiality agreement? Seems impossible to me.

We had to sign legally binding documents with them not to divulge the fact that they might be coming here, and from there it became a planning operation. The organisers want to be able to book up every hotel going within, in some cases, 50 to 60 miles of a particular stage town. And at a competitive rate too. If it was common knowledge that the Tour was coming to Portsmouth every hotel in Hampshire, Sussex and Dorset would be ratcheting up their prices. Not only that but we had to make sure that the public knew where to be and what they were going to see. We took care of safety and we made sure there were no embarrassing blockages such as level crossing gates being down. It was a massive planning operation that went into incredible detail; and day after day more and more levels of detail were added.

One of the first things that came up was that the Tour uses a massive bandwidth of transmission frequencies. Back then, before radios were used with the riders, the teams still had their private frequencies so that the Director Sportif could talk to the team cars and any other helpers he needed to contact. The race officials too needed an overall race frequency that everybody could listen to, as did the aid operations, the radio operations, the feeding operations, the signing operations and for the clearing up of the signing operations. The list just went on and one. Hundreds of frequencies and sod’s law would have it that was the most of them were in the band of frequencies used in the UK for hospital radio paging systems. There was no way that we could bring the Tour through with hospitals being disrupted and lives being put at risk because of radio interference.

Immediately we set up a meeting with a government agency called the Radio Communications Agency. This was a formal meeting with about 30 of their wise men. We bought over the communications manager of the Tour and a specialist from France Telecoms. During the meeting’s presentation you could see various people around the table shaking their heads; “impossible”, “far too hard”. But a couple of the right senior people listened intently, and one of them I think the deputy chief executive said “well look, I have no idea how were are going to do this because it will be a massive problem, but leave that to us, if we can’t solve it we shouldn’t be doing our job, we think we can do it.” Suddenly the head shakers were agreeing. We got their commitment. From then on the RCA also undertook all that was necessary to make sure that the hospitals, for those two days, would be working from a different wavelength and there would be no clash.

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Another major issue was that the overall physical envelope of the Tour is massively more than just the peloton. You have the advanced publicity caravan, you have the people who would have gone over two or three days prior: putting up signage, checking access to the routes, checking where they can take off vehicles that might break down. All the kind of technical aspects. They are physically working several days, and perhaps hundreds of miles distance, from where the Tour is at that particular point. It is all part of the live event. Then you have the security operation that physically surrounds the tour: the motorbike marshals that escort the official’s cars, that monitors the press and first aid cars. They have their own radio frequencies and take up physical space on the roads. Amongst those you have the camera bikes that are filming the close-up of the derailleurs and the break-aways. They are beaming a signal up to a helicopter above and there will be four to five other helicopters covering the breakaways and the peloton. Each group of cyclists needing their own cameras.

For two days they would have to touched on Gatwick’s airspace and the approach path for Heathrow. I remember being in the office when Alan Rushton called Directory Enquiries (this was pre internet days) to get the number for the Civil Aviation Authority. He phoned up the switchboard and asked to speak to whichever department was responsible for closing the airspace above British airports. You could sense the stunned silence on the other end of the phone. Thankfully the CAA came back very quickly with a can do attitude. The only stipulation being that any emergency aircraft landings would have to take priority, but otherwise they would work with the French air traffic specialists to bring the Tour through safely.

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Be sure to check in on Wednesday, when we bring you the second part of our interview with John. We will touch on what else was required to bring the race here and what cycling legacy (if at all) the Tour left, not just in Portsmouth, but for the UK.

Nike Football’s ‘Risk Everything’ by Portsmouth Studio ilovedust – Exclusive Interview

In the last few weeks Nike launched ‘Risk Everything’ their new football marketing campaign that features the England football team as well as other players from all around the world including Cristiano Ronaldo & Neymar Jr. Risk Everything also includes the new England kit for the 2014 World Cup with striking imagery of the players and the three lions. The artwork & branding of this vast, international marketing campaign by one of the largest brands in the World was created by Portsmouth’s very own award winning ilovedust design studio, located at the heart of the city. Established in 2003 the company and design team have grown dramatically, working with international brands as well as on local projects. Strong Island caught up with ilovedust’s Matt Howarth, senior designer, and found out more about ILD’s involvement with Nike’s Risk Everything:

ilovedust has been working with Nike for some time, can you give us a quick history of how you hooked up with them initially? Some of the past projects with them that you guys have been particularly stoked on?

We’ve been working for Nike for the last 7 years, it all started off with an illustration for a Jordan x Levis 501 project back when we were a small 4 man studio, i guess we did a pretty good job and the word spread internally at Nike world headquarters that ilovedust knew their shit! Since then we’ve grown our relationship year on year and been lucky enough to meet some inspiring people and work on some great projects along the way.

Can you give us some background on when and how you guys got involved in the England World Cup promotional branding and Risk Everything?

The initial brief for the “Risk Everything” campaign came from advertising agent Wieden & Kennady (W+K) in Portland, Oregon, over the years we have a made a few friends there and they emailed us way back in September saying they’ve got the perfect project for us! The project became so big that we ended up working directly with the Nike Football department directly.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust

From what has been released already I’ve seen the mural on the Southbank of Jack Wilshire & Wayne Rooney the backdrop for the England team for their World Cup kit, retail displays and more, it is clearly a huge project, can you break down what is involved in a project of this scale?

Oh god… where to start!! Initially W+K briefed us to create illustrations for their 5 top footballers to be used in a print campaign (these will released in a couple of weeks), then Nike Football tasked us with creating illustrations for 7 different countries which Nike will be sponsoring at the World Cup, these would be used online and across retail destinations in each of the 7 countries. Since all of these have been completed we’ve been contacted by W+K London, Amsterdam, Rio and Tokyo for additional illustrations, this is where the Wayne Rooney/Jack Wilshere piece comes in to play, curated by W+K London and currently on display on the Southbank.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (5)

With Risk Everything you guys have stamped your distinct signature style all over it, what level of creative control do Dust and the team have in the collaboration with Nike?

When the brief came in it referenced a lot of our work, the client had a distinct idea of what they wanted, we took it, run with it, and made it better. Luckily we have good, open relationships with our clients, and we know a thing or two about football, so they trusted us.

As well as having your main studio in Portsmouth you have a studio in Portland, working with a brand the size of Nike and a project of this scale have there been practical issues with working with a brand on the other side of the World? Advantages?

We’ve visited Nike HQ 3 times during this project and our small studio in Portland has allowed us to work on the project in real time with the clients. We’re used to being 8 hours ahead of them everyday, and working until midnight is not uncommon, so being able to work and get feedback instantaneously was a real advantage.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (1)

The ilovedust lion is the striking backdrop for the England team in the new Nike kit in the run up to the World Cup, what design constraints did you experience (if any) with working with essentially a national sporting icon? Were the FA involved in sign-off?

This project was a fun one to work on with hardly any design restraints, and as far as we know The FA were not involved in sign-off, but as with all Nike work it had to go through legal checks, we we’re pretty safe with the 3 lions.

The lion and associated artwork are already gracing huge sports retailers’ windows plus on TV adverts, how does if feel seeing your work on this level in the UK?

It’s always nice to see months of hard work pay off when it’s released to the world – a bit surreal to see it in shop windows in your hometown!

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust

I’m assuming there is still much more to come in the run up to June and the World Cup? Will you guys be getting out to Rio?

Yes, lots more to come. The “Risk Everything” campaign will run beyond the World Cup and into next season so we have started to work on a different style of illustration for Europe’s top clubs; Barca, Man Utd, PSG, Juventus etc etc

ILD is home to some die hard Portsmouth FC fans, ever think about what you could do in regards to the club in respect to design? Maybe a new kit for 2014/2015 season?

Ha, the current kit’s not too bad but i’m sure we could improve it if given the chance!

Without letting too many cats out of the bag, what other projects are you guys working on for 2014?

Some very cool projects in the pipeline, one for Pepsi which is also World Cup related, we’re continuing to work with Microsoft for the launch of Xbox One’s Sunset Overdrive computer game in 2015, hmmm what else… lots more Nike that’s for sure, a few bits for Red Bull and a couple of top secret projects which you’ll have to wait for… sorry!

The Risk Everything artwork continues to roll out through the press and on TV, below are some images of the artwork already in the wild, be sure to keep up with the ILD website, blog, Twitter, Instagram & Behance to see more.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (3)

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Last Day of the Creating Balance Project Exhibition at Pitfield in Winchester

The Creating Balance Project exhibition’s current residency at the Pitfield Pop-Up in Winchester ends today with the exhibition receiving some really great comments and coverage on websites, etc. Below are some photos by our own Claire Sambrook from a recent visit when many of the project’s artist/designer/photographer participants went up for a look. See more of Claire’s Creating Balance Project photos over on here Flickr.

The Creating Balance Project exhibition will return home to Portsmouth on the 10th of January 2014 for an extended exhibition at Aspex Gallery in Gunwharf, with an opening party and a series of other events and activities to be announced very soon. Ourselves and Anglepoise® are all really looking forward to showing the project to everyone in Portsmouth very soon!

To find out more about the project and exhibition please visit:

www.creatingbalanceproject.co.uk

Creating Balance Project Exhibition at Pitfield in Winchester (1)

Creating Balance Project Exhibition at Pitfield in Winchester (2)

Creating Balance Project Exhibition at Pitfield in Winchester (3)

Creating Balance Project Exhibition at Pitfield in Winchester (4)

Creating Balance Project Exhibition at Pitfield in Winchester (5)

Creating Balance Project Exhibition at Pitfield in Winchester (6)

Creating Balance Project Exhibition at Pitfield in Winchester (7)

Creating Balance Project Exhibition at Pitfield in Winchester (8)

RETROSPECTIVE – Vintage Portsmouth & Southsea

“Since Strong Island began back in 2008 we have amassed an incredible amount of historical information about Portsmouth & Southsea’s past. These articles are not only from our own interest and passion about the city, but also from readers that have sent us some amazing facts. So much has changed in such a relatively short amount of time and the fast pace of life around us can make it easy to forget the importance of this cities history.

Retrospective‘ takes a look back at some of our previous posts incase you missed them in the past or you’re one of our new readers. One day myself and Paul hope to create a stand alone archive here utilising all the books and photos we have collected that haven’t made it on to Strong Island as of yet. With permission of course! So much to do and so little time. Enjoy.”

This is one seriously awesome vintage photography collection from Pop Olive33 that I found on Flickr a while back (sadly no longer active). Check out Osborne Road and Guildhall. Just incredible. It’s hard to imagine a time when traffic flowed through Guildhall, and that was only in 1968 and the shot looking west down Osborne Road is amazing. Trams, horses, grand buildings, a traffic cop, ladies & gents. It’s all going on…

Originally published Tuesday, March 15th, 2011









It’s going to be a Strong Movember – Join The Team

Righto chaps, keep that mighty moustache on the grow in support of Movember for The Prostate Cancer Charity and the Institute of Cancer Research. For 30 days of November you can help support and raise awareness through selflessly parading your top lip for charity.

You can sign up yourself, as I’m sure many of you already have, or you can join the Strong Island team and seek out sponsorship as a team. Through the Strong Island Movember page you can ask people to join the group, make donations, upload photos and post updates via the MoSpace page, Facebook and Twitter.

Head over to our MoSpace if you would like to get involved and grow a Strong Moustache to help raise awareness, or simply head over to www.uk.movember.com and sign up to personally raise money.

The funds raised in the UK support the number one and two male specific cancers – prostate and testicular cancer. The funds raised are directed to programmes run directly by Movember and our men’s health partners, The Prostate Cancer Charity and the Institute of Cancer Research. Together, these channels work together to ensure that Movember funds are supporting a broad range of innovative, world-class programmes in line with our strategic goals in the areas of awareness and education, survivorship and research.

Poster: Tristan Savage

It’s going to be a Strong Movember

Righto chaps, it’s time to clean shave your boat race and get that mighty moustache on the grow in support of Movember for The Prostate Cancer Charity and the Institute of Cancer Research. For 30 days of November you can help support and raise awareness through selflessly parading your top lip for charity.

You can sign up yourself, as I’m sure many of you already have, or you can join the Strong Island team and seek out sponsorship as a team. Through the Strong Island Movember page you can ask people to join the group, make donations, upload photos and post updates via the MoSpace page, Facebook and Twitter.

Head over to our MoSpace if you would like to get involved and grow a Strong Moustache to help raise awareness, or simply head over to www.uk.movember.com and sign up to personally raise money.

The funds raised in the UK support the number one and two male specific cancers – prostate and testicular cancer. The funds raised are directed to programmes run directly by Movember and our men’s health partners, The Prostate Cancer Charity and the Institute of Cancer Research. Together, these channels work together to ensure that Movember funds are supporting a broad range of innovative, world-class programmes in line with our strategic goals in the areas of awareness and education, survivorship and research.

Poster: Tristan Savage

Next »

Archives

Portsmouth on Film – Episode 4

The new episode of Jonathan & Matthew Ring’s vintage family footage ‘Portsmouth on Film’ went up yesterday. This episode is of a bus trip from Old Portsmouth to Southsea to Eastney.

I still lament the loss of the Portsmouth Transport Museum.

Super Sunny Southsea

What amazing weather we’ve been having as of late. I even rode the full 8 miles home in the sun on Friday. We all had a great weekend spent on the common, riding our bikes, skateboarding and generally eating and drinking the days away.

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The Old Portsmouth and The New Southsea

Gareth Colwell sent us these amazing scans from a vintage book called ‘The Old Portsmouth and The New Southsea. “It was an old book of my Grandads’ we found when going through some of his old stuff that had been packed away for years. I love the paintings and the written bits, especially describing Southsea Common as “a dismal spot in the old days. Footpads and cut-throats roamed at night, and a murderer hung in chains on the edge of the shingle”

A really interesting read so I won’t say anymore and let the book do all the talking. Check out the full set of scans over at Gareths Flickr.






New Book – Portsmouth from Family Archives

A new book called ‘Portsmouth from Family Archives’ has just been published. Brothers Jonathan and Matthew Ring started developing the book last summer. All the photographs included in the book were from their grandparents. They spent a great deal of time compiling, scanning and restoring slides and film from 1950s to 2006, including behind the scenes filming in Portsmouth.

The 100-page book is available online at Amazon. Bonzo Studio and Southsea Gallery on Albert Road, Southsea are currently selling it, and they hope other shops will sell it too. They are also planning to do the summer market at the Square Tower, Old Portsmouth.

“It’s been great fun, and such hard work keeping it a secret from everyone! We hope everyone enjoys the book and the photos inside it as much as we did.”

Photos below – A photo of Jonathan Ring, their Grandmother and Matthew Ring; unveiling the book to their grandparents; book cover and the slides.

Facebook group can be found here: https://www.facebook.com/pages/Portsmouth-From-Family-Archives/164827033632175

Sneak Peek - Showing the Grandparents the Portsmouth Book

Slides - Portsmouth Book (Coming Soon)

Nike Football’s ‘Risk Everything’ by Portsmouth Studio ilovedust – Exclusive Interview

In the last few weeks Nike launched ‘Risk Everything’ their new football marketing campaign that features the England football team as well as other players from all around the world including Cristiano Ronaldo & Neymar Jr. Risk Everything also includes the new England kit for the 2014 World Cup with striking imagery of the players and the three lions. The artwork & branding of this vast, international marketing campaign by one of the largest brands in the World was created by Portsmouth’s very own award winning ilovedust design studio, located at the heart of the city. Established in 2003 the company and design team have grown dramatically, working with international brands as well as on local projects. Strong Island caught up with ilovedust’s Matt Howarth, senior designer, and found out more about ILD’s involvement with Nike’s Risk Everything:

ilovedust has been working with Nike for some time, can you give us a quick history of how you hooked up with them initially? Some of the past projects with them that you guys have been particularly stoked on?

We’ve been working for Nike for the last 7 years, it all started off with an illustration for a Jordan x Levis 501 project back when we were a small 4 man studio, i guess we did a pretty good job and the word spread internally at Nike world headquarters that ilovedust knew their shit! Since then we’ve grown our relationship year on year and been lucky enough to meet some inspiring people and work on some great projects along the way.

Can you give us some background on when and how you guys got involved in the England World Cup promotional branding and Risk Everything?

The initial brief for the “Risk Everything” campaign came from advertising agent Wieden & Kennady (W+K) in Portland, Oregon, over the years we have a made a few friends there and they emailed us way back in September saying they’ve got the perfect project for us! The project became so big that we ended up working directly with the Nike Football department directly.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust

From what has been released already I’ve seen the mural on the Southbank of Jack Wilshire & Wayne Rooney the backdrop for the England team for their World Cup kit, retail displays and more, it is clearly a huge project, can you break down what is involved in a project of this scale?

Oh god… where to start!! Initially W+K briefed us to create illustrations for their 5 top footballers to be used in a print campaign (these will released in a couple of weeks), then Nike Football tasked us with creating illustrations for 7 different countries which Nike will be sponsoring at the World Cup, these would be used online and across retail destinations in each of the 7 countries. Since all of these have been completed we’ve been contacted by W+K London, Amsterdam, Rio and Tokyo for additional illustrations, this is where the Wayne Rooney/Jack Wilshere piece comes in to play, curated by W+K London and currently on display on the Southbank.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (5)

With Risk Everything you guys have stamped your distinct signature style all over it, what level of creative control do Dust and the team have in the collaboration with Nike?

When the brief came in it referenced a lot of our work, the client had a distinct idea of what they wanted, we took it, run with it, and made it better. Luckily we have good, open relationships with our clients, and we know a thing or two about football, so they trusted us.

As well as having your main studio in Portsmouth you have a studio in Portland, working with a brand the size of Nike and a project of this scale have there been practical issues with working with a brand on the other side of the World? Advantages?

We’ve visited Nike HQ 3 times during this project and our small studio in Portland has allowed us to work on the project in real time with the clients. We’re used to being 8 hours ahead of them everyday, and working until midnight is not uncommon, so being able to work and get feedback instantaneously was a real advantage.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (1)

The ilovedust lion is the striking backdrop for the England team in the new Nike kit in the run up to the World Cup, what design constraints did you experience (if any) with working with essentially a national sporting icon? Were the FA involved in sign-off?

This project was a fun one to work on with hardly any design restraints, and as far as we know The FA were not involved in sign-off, but as with all Nike work it had to go through legal checks, we we’re pretty safe with the 3 lions.

The lion and associated artwork are already gracing huge sports retailers’ windows plus on TV adverts, how does if feel seeing your work on this level in the UK?

It’s always nice to see months of hard work pay off when it’s released to the world – a bit surreal to see it in shop windows in your hometown!

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust

I’m assuming there is still much more to come in the run up to June and the World Cup? Will you guys be getting out to Rio?

Yes, lots more to come. The “Risk Everything” campaign will run beyond the World Cup and into next season so we have started to work on a different style of illustration for Europe’s top clubs; Barca, Man Utd, PSG, Juventus etc etc

ILD is home to some die hard Portsmouth FC fans, ever think about what you could do in regards to the club in respect to design? Maybe a new kit for 2014/2015 season?

Ha, the current kit’s not too bad but i’m sure we could improve it if given the chance!

Without letting too many cats out of the bag, what other projects are you guys working on for 2014?

Some very cool projects in the pipeline, one for Pepsi which is also World Cup related, we’re continuing to work with Microsoft for the launch of Xbox One’s Sunset Overdrive computer game in 2015, hmmm what else… lots more Nike that’s for sure, a few bits for Red Bull and a couple of top secret projects which you’ll have to wait for… sorry!

The Risk Everything artwork continues to roll out through the press and on TV, below are some images of the artwork already in the wild, be sure to keep up with the ILD website, blog, Twitter, Instagram & Behance to see more.

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (3)

Nike Football's 'Risk Everything' by Portsmouth Studio ilovedust (4)

Vintage Portsmouth & Southsea poster

You know we love a bit of Vintage Portsmouth & Southsea here at Strong Island. Not too much info on this one, perfect for holidays though. The flickr link states the photo of the poster was taken in Eastney, but I’m not sure where.

Via : Bob Franklin

Local Photographer – Eamon Lane

A recent arrival to Portsmouth, Eamon Lane has been out and about the city recently shooting photos on the street and at local events such as Love Your Bike. Below are a few examples of Eamon’s photography, visit I Love Slugs to see more.






Harbour Tour

If you’re brave enough at this chilly time of year head on down to Gunwharf and take a tour around the home of the modern Navy. With aircraft carriers, the HMS Ark Royal, HMS Illustrious and Invincible, there’s plenty to see. Oh, and they sell beer on board.

Portsmouth at Night

Claire Sambrook from the http://www.flickr.com/groups/portsmouth_creative_movement/ sent me a link to a Flickr group called Portsmouth at Night, and let me say this, their photos are amazing. Lots of playing with lights, angles and exposures make for some fantastic photography.

Check out all the PAN photography on their Flickr.

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Holy Cody Batman

Cody needs no introductions, ever. The nicest guy you’ll ever meet with a heart of a gold and the skateboard mentality of an escaped mental patient.

If you need conformation of that statement then check this photo I grabbed from some site called Facebook. Off the clubhouse roof into the flat bank down Southsea Skatepark. Nuts…

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Shortly after I posted this insane photo of Cody going nuts down the skatepark, he sent a reply. Thought i’d post it up so people that know him can have a read.

“Thank u for the nice word. I just have to say thank you to all the peeps and friends that have help and shape me as a sk8er and as a human being. The love that i have been shown over the years is so big. The friend and peeps i have met and change my life and change my path to some thing good. I truly say it with my heart that i love you all and i hope to make more friends and to have more good time. Here a shout out to all the u.k sk8 scene and the southsea boys and girl sk8er or not, much love. and to the guys like strong island crew and bored sk8 for keeping the u.k. scene going. So if u up for a sk8 drink or chill u find me in southsea. 1 love bye cody x”

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