Category Archives: Collection

How the 1967 Wimbledon Championships made Broadcasting History

Chloe Vince, a volunteer working on our new Information Age gallery, looks back at the first colour TV broadcast.

Chances are that if you haven’t got tickets to the Wimbledon finals this weekend (and lucky you if you have!) you will instead be watching the match on a colour television. This may not seem particularly momentous, but it actually has real historic significance. It was 47 years ago, in 1967 that the Wimbledon Tennis Championships became the first ever UK television programme to be broadcast in colour.

The Championships were broadcast on BBC 2, which initially became the only channel to broadcast in colour, showing just five hours of colour TV a week. This transition from black and white to colour was a huge step-forward in broadcasting technology; however it was only appreciated by a few as there were less than 5,000 colour TV sets in circulation at the time. One of these was the Sony Trinitron TV, and this one (shown below) is part of the Science Museum collection.

The Sony Trinitron TV was one of the first TV sets to broadcast in colour. This model will be on display in the ‘Information Age’ gallery opening later this year.

The Sony Trinitron TV was one of the first TV sets to broadcast in colour. This model will be on display in the ‘Information Age’ gallery opening later this year. Credit: Science Museum / SSPL

The Sony Trinitron TV displayed colour by use of a ‘single-gun three-cathode picture tube’, capable of broadcasting separate red, green and blue signals (RGB) in succession. This technology was first developed by John Logie Baird, a Scottish engineer well-known as the inventor of the world’s first television. He demonstrated the first colour television publicly in 1928, but due to the war suspending the BBC television service, and ultimately ending his research, the development of this technology for broadcasting was delayed.

When the Wimbledon Championships did eventually become the first colour broadcast in 1967, the interest in colour TV quickly gained momentum. Viewers cited a greater feeling of realism when watching in colour and the broadcasts aim to exploit this interest by seeking more programmes that would benefit in colour, such as the snooker programme Pot Black, and children’s TV programme Thunderbirds. Shortly after Birds Eye Peas became the first colour advertisement. By mid-1968 nearly every BBC2 programme was in colour. BBC1 and ITV quickly followed and were also regularly broadcasting in colour by 1969.

However, broadcasters still made programmes in black and white for some time, due to the large expense of the TV sets, as well as the increased cost of a colour TV license (£10 in comparison to £5 for a black and white license) which made the demand for colour TV sets increase more slowly. By 1969 there were still only 100,000 in circulation but viewers soon caught up and by 1972 there were over 1.6 million in the UK.

The Wimbledon Championships are still acting as a landmark televised event today, as in 2011 it became the first TV programme to be broadcast in 3D. However, history repeated itself, as only a few viewers could appreciate the new technology due to the small number of 3D TV sets owned in the UK. So how long do you think it will be until we are all watching the Wimbledon Championships in 3D?

You can discover more about the history of communication technologies in a new Science Museum gallery, Information Age, which opens later this year.

Nine Things You Didn’t Know About the Science Museum

Curator Peter Morris shares nine unusual facts about the Science Museum to celebrate our 105th birthday today (26 June 1909).

1. The Science Museum was officially established on 26 June 1909 thanks, in part, to the work of Sir Robert Morant, a Civil Servant who also laid the foundations for the NHS and the Medical Research Council. Both the Science Museum and the Victoria and Albert Museum (our neighbours) were originally known as the South Kensington Museum, which opened in 1858.

The Exhibition Road entrance to the Science Museum, 1905. Credit: Science Museum/SSPL

The Exhibition Road entrance to the Science Museum in 1905. Credit: Science Museum/SSPL

2. The Wright flyer, the world’s first heavier than air aircraft to fly, was originally displayed at the Science Museum. Orville Wright refused to donate the aircraft to the Smithsonian museum, instead loaning it to the Science Museum in 1928. The Science Museum had a replica of the aircraft built (on display in the Flight gallery) before returning the original to the Smithsonian in 1948.

Ceremony marking the return of the Wright Flyer, Science Museum, 1948.

Ceremony marking the return of the Wright Flyer, Science Museum, 1948. Credit: Science Museum / SSPL

3. Some scenes in the Ipcress File, the thriller starring a young Michael Caine, were filmed in the old Science Museum Library in 1964.

4. Stephenson’s Rocket, one of the most famous steam locomotives in the world, was stored at Brocket Hall in Hertfordshire during World War II. Brocket Hall is often used for filming, most notably the BBC TV version of “Pride and Prejudice” starring Colin Firth.

Stephenson's Rocket, on display in the Making the Modern World gallery. Credit: Science Museum

Stephenson’s Rocket, on display in the Making the Modern World gallery. Credit: Science Museum

5. For three decades, between the 1930s and the 1960s, the Science Museum planned to put a planetarium on the top floor of the museum. The plans were dropped after Madame Tussauds opened the London Planetarium in 1958.

6. The Science Museum has held temporary exhibitions on typewriters, noise abatement, razors and Dr Who. Current temporary exhibitions feature everything from 3D Printing to Psychology, a giant 27ft horn loudspeaker and an exhibition about rubbish.

7. The Science Museum shared its premises with the Imperial War Museum between 1924 and 1935.

8. An automatic door, originally part of a temporary exhibition on photoelectric cells in 1933, is still on display today in the Secret Life of the Home gallery. It works on by breaking a beam of light shining on a photoelectric cell, and not via a pressure pad which opens most supermarket doors today.

9. The first ‘Children’s Gallery’ in the Museum opened in December 1931. It aimed to stimulate the curiosity of children, and included a large number of working models. The Science Museum’s Launchpad and Pattern Pod interactive galleries still have the same aim today.

Schoolboys in the Children's Gallery of the Science Museum, March 1934.

Schoolboys in the Children’s Gallery of the Science Museum, March 1934. Credit: Science Museum/SSPL.

All these facts and more can be found in Science for the Nation, a book about the Science Museum’s history which is available in the Museum Shop.

Wonderful Things: VCS3 Synthesiser

Stella Williams from our Learning Support Team writes about one of her favourite Science Museum objects

The VCS3 was more or less the first portable commercially available synthesizer, unlike previous machines which were housed in large cabinets and were known to take up entire rooms. It was created in 1969 by EMS (Electronic Music Studios), a company founded by Peter Zinovieff. The team at EMS used a combination of computer programming knowledge, advanced engineering and musical ambition to create a brand new instrument for all to use. The electronics were largely designed by David Cockrell and the machine’s distinctive visual appearance was the work of electronic composer Tristram Cary.

VCS3 synthesiser by EMS

VCS3 synthesiser by EMS
Credit: Science Museum/SSPL

The VCS3 was notoriously difficult to program but, a year before the appearance of the Minimoog and ARP2600, it brought synthesis within the reach of the public. It sold for £330 and became very popular in a short space of time. By the mid ’70s, the VCS3 (and its little brother, the suitcase-bound model AKS) had become something of a classic and was used by many famous bands like Pink Floyd, Yes, The Who and Roxy Music.

This unique instrument allowed musicians to experiment with a range of new sounds never before available to them. Along with other early synthesisers it came to shape ‘the sound of the future’ in the ‘60s and ‘70s, and with further developments came the drum machines of the ‘80s setting the foundation for electronic dance music. Much of the music we take for granted today would not be possible without the pioneering work of groups like EMS and as long as there are developments in technology, there will always be people applying these innovations to music. Inventor Steve Mann has developed many interesting instruments such as the hydraulophone which uses pressurised water to make sounds, while artist and scientist Ariel Garten uses an electroencephalophone to turn brainwaves into music.

What sort of instrument do you think will make the sound of our future?

The VCS3 Synthesiser can be found in the Oramics to Electronica exhibition, on the second floor of the Science Museum.

Information Age: Testing, testing, 1 2 3

Jack Gelsthorpe and Lauren Souter are both Audience Researchers working on the new Information Age gallery. Here they discuss some of the work they do in prototyping digital media for the exhibition.

In September 2014 an exciting new gallery, Information Age, which celebrates the history of information and communication technologies, is due to open at the Science Museum.

The gallery will include some truly fascinating objects such as the 2LO transmitter, part of the Enfield telephone Exchange and the impressive Rugby Tuning Coil. As well as these large scale objects, the exhibition will house smaller objects such as a Baudot Keyboard, a Crystal Radio Set, and a Morse Tapper.

Information Age will also contain a host of digital technology and interactive displays where visitors will be able to explore the stories behind the objects and the themes of the exhibition in more detail.

This is where we come in.

As Audience Researchers, it is our job to make sure that visitors can use and engage with the digital displays in this gallery whilst also ensuring that they don’t draw attention away from the objects and the stories they tell.

We do this by testing prototypes of the interactive exhibits, games, web resources and apps with visitors both in the museum and through focus groups. There are three stages in the prototyping process. We begin by showing people a ‘mock up’ of a resource so that we can get feedback on our initial ideas. This can be very basic, for example we have been testing for Information Age with storyboards on paper, handmade models (which have sometimes fallen apart during the testing process!) and computers.

A prototype of an interactive model that represents the Baudot Keyboard

A prototype of an interactive model that represents the Baudot Keyboard

We invite visitors to try these prototypes while we observe and make notes and then we interview them afterwards. This helps us to understand what people think about our ideas, whether people find the resources usable and whether the stories we want to tell are being conveyed effectively. We then discuss our findings with the Exhibition team who are then able to further develop their ideas. The resources are tested a second and third time using the same process to ensure that the final experience is interesting, fun and engaging.

As well as testing these resources in a special prototyping room we also test some of the experiences in the museum galleries to see how visitors react to them in a more realistic setting.

Recently we have been prototyping electro-mechanical interactive models of some of the smaller objects that will be on display in Information Age. These exhibits intend to give visitors an insight into what it would have been like to use these objects whilst explaining the scientific processes behind how they work.

A prototype of an interactive model that represents the Double Needle Telegraph.

A prototype of an interactive model that represents the Double Needle Telegraph.

We will be testing different digital experiences until September, so you may see us in the prototyping room or the galleries. If you see us feel free to say hello and ask us any questions.

Experience these interactive models for yourself in the new Information Age gallery, opening Autumn 2014.

The last man on the moon

Gene Cernan, the last man on the moon, visited the Museum for a tour of our space technologies collections with Curator Doug Millard. Press Officer Will Stanley describes Gene’s encounter with his old spaceship.

Apollo 10 Command Module. Credit: Science Museum

Apollo 10 Command Module. Credit: Science Museum

This is the Apollo 10 Command Module, sent to the Moon and back by NASA in May 1969 as a dry run for the mission that would put the first men on the Moon. But it’s also known by another name, “Charlie Brown”, and this was how Lunar Module Pilot Eugene A. “Gene” Cernan greeted the module when he saw it this morning in the Science Museum.

I asked Gene what it felt like being reunited with Charlie Brown again, “You take yourself back in time to where you were. The view was out of this world.” And Gene should know. He’s been into space three times: as pilot of Gemini 9A (1966); lunar module pilot of Apollo 10 (1969); and as commander of Apollo 17 in December 1972, the last Apollo mission.

Commander Gene Cernan, pictured in our Exploring Space gallery

Commander Gene Cernan, pictured in our Exploring Space gallery. Credit: Science Museum

As only the 11th person to walk on the Moon – and the last to re-enter Apollo 17’s lunar module – Gene has the distinction of being the last man on the Moon. How long he will keep this unique title is still a matter of debate. “Curiosity is the essence of human existence. We have centuries of exploration on this planet alone. What’s around the corner? What’s across the ocean? It is our destiny to explore,” explains Gene.

Gene Cernan with Curator Doug Millard (r). Credit: Science Museum

Gene Cernan with Curator Doug Millard (r). Credit: Science Museum

Walking through our Exploring Space gallery with Curator Doug Millard, our conversation turns to the differences between manned and robotic space exploration. “This is the only computer that can respond to the unexpected,” says Gene, pointing to his brain. “You send humans to deal with the unexpected. To bring back things no one expected to find. That’s the purpose of exploration.”

We arrive in front of Apollo 10. “That’s Charlie Brown. I like to feel that by going to the Moon in Apollo 10 for a dry run, we made Apollo 11 far more successful.” Gene turns to us and jokes, “Where were you when Apollo 10 launched? I know where I was! Sat in that.”

Gene Cernan with Curator Doug Millard (l) in front of Apollo 10. Credit: Science Museum

Gene Cernan with Curator Doug Millard (l) in front of Apollo 10. Credit: Science Museum

His re-entry was one of the most dramatic ever seen. Apollo 10 holds the record as the fastest manned vehicle, reaching speeds of almost 40,000 km per hour (11.08 km/s or 24,791 mph to be exact) during its return to Earth on 26th May 1969. “It was 5 or 6 in the morning and we were like a shooting star coming in,” explains Gene. “On my Gemini mission I could see reds and greens, but for the Apollo 10 re-entry I saw purples and a white hot glow.”

After Gene spots an image of his excursions driving NASA’s Lunar Rover (Moon buggy) on display, I asked which was more fun, driving the rover or piloting “Snoopy”, the lunar module. “Flying Snoopy was pretty exciting, but driving a car in 1/6th of Earth’s gravity. Well if you get the chance, try it. It is a lot of fun. I truly believe we could go back and drive it again, but you might need to replace the batteries,” jokes Gene.

Commander Gene Cernan test-driving an empty lunar rover on the Moon, shortly before Apollo 17 Mission’s first Extra-Vehicular Activity. Image credit: NASA

Commander Gene Cernan test-driving an empty lunar rover on the Moon, shortly before Apollo 17 Mission’s first Extra-Vehicular Activity. Image credit: NASA

“Someone did a hell of a good job building it,” says Gene, looking at Apollo 10. “This not only got us there, it got us back again too. Every man who went to the moon came back.” The round trip to the moon took Apollo 10 eight days. Gene explains how he passed the time, “It was very busy, and pretty exciting. There were all kinds of experiments to do and we were getting ready for challenges ahead. On the way back, you look back and have to pinch yourself. The good news is you had the chance to do it, to go to the Moon. The bad news was that the time went so fast.

Our time is up. Gene takes a last look at Charlie Brown, his former home in space. “In Apollo 10, the three of us, Commander Thomas Stafford, Command Module Pilot John Young and me, we travelled faster than any other human beings ever.” It’s a claim very few can make.

On Thursday 26 September 2013, the Science Museum is offering visitors the rare opportunity to see the interior of the Apollo 10 Command Module via a handheld camera. Doug Millard, Deputy Keeper of Technologies and Engineering will be answering questions about Apollo 10 and the Museum’s Space Technologies collections.

The Science Museum will be also be sharing images and taking questions via Twitter using @sciencemuseum and #Apollo10.

Ask A Curator 2013

A global Q&A session, better known as Ask a Curator Day, takes place on Wednesday (18th Sept). Will Stanley, who manages the @sciencemuseum Twitter account, explains more…

What’s the story behind that object? How was it invented? Which is your favourite? Whenever I see a Science Museum curator, I find myself asking questions (and often tweeting about the result). Now it’s your turn. On Wednesday, our curators will answer your questions (between 1-6pm) for #AskACurator day.

Over 500 museums from 34 countries will be joining in via Twitter, and our curators are poised to take part too: just tweet your questions to @sciencemuseum using #AskACurator.

We have put together a great team to help answer your questions:

You can delve into the Secret Life of the Home, with Helen Peavitt, our Curator of Consumer Technology – just ask Helen how fridges changed the world – or tweet a question for Katie Maggs, our resident medical collections expert.

Our Curator of Time, Transport and Navigation, David Rooney (@rooneyvision), is a recent convert to Twitter, but will be on hand to answer your questions about Alan Turing, Making the Modern World and this ghostly 3D scan of the Shipping galleries. Curator Ali Boyle (@ali_boyle) will be answering your particle physics questions just two months before the new Collider exhibition opens.

If communication is more your thing, our Keeper of Technologies and Engineering, Tilly Blyth (@tillyblyth) has been looking at 200 years of communication technologies for new gallery, Information Age. Content developer Charlotte Connelly (@connellycharlie) even visited Cameroon in her quest for mobile phone related objects for the gallery.

Finally, our Collections Coordinator Selina Pang (@spangoline), will try to answer any other collections questions you might have.

Top tips for #AskACurator

  • Try asking “I find ____ fascinating. Can you let me more about it?” That’s sure to get our curators tweeting.
  • Sometime we won’t be able to fit lengthy answers into a tweet, but don’t worry, great questions and answers are likely to turn into future blog posts.
  • Don’t worry if you are not on Twitter either, we’ll be sharing the best questions (and answers) in upcoming blog posts (like this post for example).

#MMWTour – Tweeting a tour of Making the Modern World

We asked Curator of Time, Transport and Navigation, David Rooney to tweet some of the hidden gems in the Making the Modern World gallery.

The full tour can be seen here, but we’ve pick out a few highlights for you below…

The full tour can be seen here

Thanks to all of you who followed the tour, and you can discover more about Making the Modern World here.

Wonder in science: Infinite Monkey Cage at the Science Museum

Will Stanley writes about the recent recording of BBC Radio 4′s Infinite Monkey Cage  in the Science Museum’s IMAX theatre.

In their favourite episode of the current series, Professor Brian Cox and Robin Ince used the awe and wonder of science as their inspiration, discussing why all children have it and the reasons many adults don’t. And the venue for this recording? Well, it had to be the home of human ingenuity, the Science Museum.

Brian Cox and Robin Ince, presenters of Radio 4's The Infinite Monkey Cage

Brian Cox and Robin Ince, presenters of Radio 4′s The Infinite Monkey Cage

Guests on this special edition of BBC Radio 4’s witty, irreverent take on the scientific world included author and historian Richard Holmes, comedian Josie Long, American astrophysicist and science communicator Neil deGrasse Tyson, and the Museum’s Director Ian Blatchford.

Ian explained that one reason that children love the Science Museum is because it is brimming with stories and old things; a refreshingly different thing to hear in the digital age. “We’re working on a project to show the history of communications, and when you show young people a telephone exchange or even a dial telephone, they are amazed by that.”

Comedian Josie Long “took it out on chemistry”, burning her notes after finishing exams in protest at not being able to study her favourite art subjects. After historian Richard Holmes described building a “magnesium bomb” in chemistry classes, Brian Cox exclaimed, “They are dangerous these arts people, because they were prevented from being scientists at a young age.”

The Infinite Monkey Cage panel at the Science Museum

The Infinite Monkey Cage panel at the Science Museum. From left: Neil deGrasse Tyson, Josie Long, Robin Ince, Brian Cox, Ian Blatchford and Richard Holmes.

Venturing safely back to the eighteenth century, Richard Holmes, author of the Age of Wonder, described his re-discovery of science when researching how Samuel Taylor Coleridge and Humphry Davy, a poet and a scientist, had worked together on Nitrous oxide experiments.

Questioned about whether we are losing our childlike wonder in the twenty first century, Neil deGrasse Tyson – a modern day Carl Sagan, known for his answer to the most astounding fact about the Universe – said that “a scientist is simply a child who never grew up, because they still wonder.”

The extended version of the show, featuring the wooden balls of pioneering chemist John Dalton, a coil of wire demonstrating how Michael Faraday tamed electrons and other remarkable objects from the Science Museum collection, can be downloaded here as a podcast.

Asked about their ultimate museum objects, the panel’s choices ranged from objects that are bigger than you are, to a working time machine and the Holy Grail.

Finally, comedian and rap artist Doc Brown closed Infinite Monkey Cage with this special tribute to his – in fact almost everyone’s - childhood hero, Sir David Attenborough.

Generating Ideas: drawing inspiration from the Science Museum

Inventor in Residence Mark Champkins writes about drawing inspiration from the Science Museum. A selection of Mark’s products can be bought from the Science Museum. 

Coming up with ideas and inventions “on demand” is tricky. I work as the Science Museum’s Inventor in Residence, and it is my job to generate a stream of products that are interesting to the science-savvy, whilst engaging to those new to the Museum. If possible the products should also be wildly popular and generate lots of income. No pressure then.

Fortunately, the Museum provides an incredibly fertile space for generating ideas. Though my ideas tend toward the quirky, rather than world-changing, there are so many examples of ingenuity, insight and inventiveness, it’s hard not to be inspired. But where to start?

It’s not widely known that the Science Museum is home to just 5% of the Museum’s collection. The majority is tucked away in Blythe House in London, and at Wroughton, a former RAF airbase in Wiltshire. However, as the Science Museum is a showcase for the most iconic items in the collection, for me, it is the richest source of ideas.

The Wroughton site houses large objects in aircraft hangars. Image credit: Science Museum

Our Wroughton site houses large objects in aircraft hangars. Image credit: Science Museum

I’m particularly drawn to the Making the Modern World gallery. In many ways it is the centerpiece of the Science Museum. Located on the ground floor, it exhibits objects chronologically, on a timeline starting in the 1770′s in the heyday of the Industrial Revolution, and ending with the Clock of the Long Now, a clock mechanism intended to keep time for 10,000 years. Walking through the gallery, is walking through the recent history of human development.

Visitors in the Making the Modern World gallery. Image credit: Science Museum

Visitors in the Making the Modern World gallery. Image credit: Science Museum

There are a couple of items in Making the Modern World that have directly inspired new products. One of the first glass cases that you encounter in the gallery contains what looks like a whisk with an accompanying pot. In fact it is the apparatus, made by James Prescott Joule, that defines the standard unit of energy, or “Joule”. Filling the pot with water, a “Joule” of energy is defined as the energy required to whisk the water until it has raised the temperature of the water by one degree.

Beauty in the Making

Beauty in the Making: Telling the story of how materials are manufactured, including an aluminium water bottle

This device got me thinking about how SI units are defined, and of measurement in general, and led to the creation of the Word Count Pencil, a pencil that has a scale printed along it’s length, to estimate the number of words you have written as the pencil wears out. A Gramophone in one of the cases along the side of the gallery inspired the iGramo, non-electrical method to amplify iPhones. Electro-magnets in the central glass cases, inspired my Levitating Cutlery idea. A sample of the first pure aluminium inspired me to design an aluminium water bottle that is decorated with an explanation of how the material is extracted, refined, and formed into the bottle.

Often, as I sit amongst the items in the gallery, trying to think up new product ideas, is gratifying to imagine all the inventors and scientists whose work surrounds me, doing likewise. Conjuring up new inventions and ideas using the power of their imagination. It makes me want to think harder and try to achieve more, and I find that profoundly inspiring.

I would urge anyone tasked with generating ideas, or impressed by ingenuity to treat themselves to a trip to the Science Museum. You never know what you might come up with!

Mallard 75: Celebrating Britain’s steam record

Sam Potts, Communications Officer at the National Railway Museum writes about a rather special gathering in York for Mallard75.

On 3 July 1938 Mallard made history when it became the fastest steam locomotive in the world. The locomotive reached 126mph on the East Coast main line, a record which still stands today, 75 years later.

Mallard’s triumphant record breaking team. From left – fireman Tommy Bray and driver Joe Duddington who had worked on Mallard since it was built and knew what it could do.

Mallard’s record breaking team. From left – fireman Tommy Bray and driver Joe Duddington. Credit: NRM

Mallard is a streamlined A4 Pacific, designed by Sir Nigel Gresley to be the flagship locomotive for the London & North Eastern Railway’s Silver Jubilee services. In total 35 A4s were built at Doncaster Works, with only 6 surviving the end of steam in 1968.

To mark the 70th anniversary of the record, the National Railway Museum brought together the four UK-based A4s in York.

Four remaining UK-based A4s in York for Mallard's 70th Anniversary.

Four remaining UK-based A4s in York for Mallard’s 70th Anniversary. Credit: NRM

For the 75th anniversary of the record, we decided to do something even more special – reunite all six survivors, including the two A4s which had been given to America and Canada in the 1960s.

Dwight D Eisenhower was presented to the National Railroad Museum Wisconsin in 1964.

Dwight D Eisenhower was presented to the National Railroad Museum Wisconsin in 1964. Credit: Daily Herald Archive/ NMEM / SSPL

In summer last year work began to bring the North American locomotives from their respective homes, back to the UK. Both locomotives were moved, appropriately enough, by rail to Halifax, Nova Scotia ready to be shipped to Liverpool.

Dwight D Eisenhower during its journey from Greenbay, Wisconsin to Halifax, Nova Scotia.

Dwight D Eisenhower during its journey to Halifax, Nova Scotia. Credit: NRM

In October 2012, after a 2,527 mile journey by sea, both locomotives arrived back on English soil for the first time in over 40 years.

Dominion of Canada returns to English soil after 40 years abroad. Credit: Ant Clausen

Dominion of Canada returns to English soil after 40 years abroad. Credit: Ant Clausen

Both of the North American locomotives have been cosmetically restored to their former glory by the National Railway Museum, and have been on display in both York and Shildon.

Finishing touches are made to Dwight D Eisenhower, during its cosmetic restoration. Credit: NRM

Finishing touches are made to Dwight D Eisenhower, during its cosmetic restoration. Credit: NRM

Today is the first day of a fortnight-long celebration of Mallard’s record, and the first time that all six of the A4s will be seen together, which really is a once in a lifetime event.

Mallard is moved into place with five sister A4s to celebrate the world record. Credit: NRM

Mallard is moved into place with five sister A4s to celebrate the world record. Credit: NRM

To find out more about how you can join us to celebrate Mallard’s remarkable world record, visit nrm.org.uk/mallard75.