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"Holzschlägermatte" or curves that made history!

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Created on May 27, 2014

Text:

Daniel Reinhard

Photos:

Daniel Reinhard

Archiv Reinhard, Foto Max Pichler

Daniel Reinhard

Archiv Reinhard, Foto Max Pichler

Schauinsland - An Abarth masters the Holzschlägermatte

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Schauinsland - a Porsche takes the bend Holzschlägermatte in 1959

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Schauinsland Panorama Holzschlägermatte (1962)

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Schauinsland Holzschlägermatte - Comparison past and present

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Schauinsland Holzschlägermatte - comparison of the past and present (2014)

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Schauinsland - a BMW baroque angel at the Holzschlägermatte (1959)

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Schauinsland Holzschlägermatte: Curves inside today (2014)

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Schauinsland - after the Holzschlägermatte, the reporter's house followed on the right (2014)

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Schauinsland - The tower housed the route announcer for the Holzschlägermatte (2014)

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Schauinsland Holzschlägermatte reporter's house (2014)

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Schauinsland - Newspaper clipping of the "speedster" on the race track

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Schauinsland Holzschlägermatte - Vergleich früher heute

Schauinsland Holzschlägermatte - Vergleich früher und heute (2014)

Summary

This article contains the following chapters

"Holzschlägermatte" at the Schauinsland hill climb in Freiburg im Breisgau
One of the most popular German hill climb races with 100,000 spectators
Mario Ketterer, Freiburg's national hero
Schauinsland 1965: Henning Volle, a racing driver remembers
Showtime
The documentary
Karl Foitek's memories of the right-hand bend
Schauinsland hill climb 1974

Estimated reading time: 11min

Preview (beginning of the article)

Some curves on historic racetracks can be recognized at first glance. A single photo is enough and you immediately know where it was taken. You can see photos of one and the same bend from countless racetracks over decades. There are several reasons for this. These are not always, or were not always, the most photogenic corners. Often it is also those bends that the photographer could reach without much effort and were not too far away from the start or paddock. The photographer's tasks are varied and are not limited to the moving cars. He also needs portraits of the winning drivers, as well as atmospheric pictures of the paddock or the starting ceremony. He also had to be able to leave the scene of the action as quickly as possible without being stuck in an endless traffic jam and being late with the pictures at the editorial office at the end.I would like to tell you about precisely these corners and their stories in future and, whenever possible, show them in their current state.

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