Brian Micklethwait's Blog
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Most recent entries
- A swimming pool in a skyscraper
- God is dead
- PID at the Times
- My week in Brittany 2: A crane holding a bridge at Canning Town!
- ASI Boat Trip 9: The man driving the boat
- Back from France (plus cat photos)
- Big Things through a gasometer
- The view from Stave Hill
- Confirming my String prejudices
- Cat photo and cat news
- Man 3D-prints Thing in his back garden
- Oxo Tower with bus advertising The Expendables III
- Something at Samizdata
- 5G Boris
- Out from under the weather
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Category archive: Photography
One of my favourite www destinations just now is the Evening Standard website. Presumably because there are other Evening Stardards in the world besides the Evening Standard, the Evening Standard of London, the website of the Evening Standard is called “London News” (even as its website is something different, involving the world “standard").
A lot of this is because, more and more, I love London, and the Evening Standard, not unnaturally, has lots of London stories.
A particularly fine one recently featured this delectable photo:
The young woman is an Evening Standard journalist, Miranda Bryant, and the swimming pool is on floor 52 of the Shard, being one of the amenities offered by the Shangri La hotel.
One of the edges of this swimming pool is right next to the glass wall of the Shard, and I can’t help thinking how great it would be if the glass wall of the Shard were to double up, at this point, as the wall of the swimming pool. Think of the photographs this would provoke. This is why God invented x50 zoom lenses.
An ultrazoom photo I have long wanted to take of the Shard would feature a gorgeous young woman in silhouette, at the top, where the light goes right through the building. But such a woman swimming might be even better, especially if the light could go right through that also.
One of the reasons why architecture is such an influential profession these days (if you are one of the top dogs of the profession – one of the “starchitects") is that the kind of down-the-pecking-order architects and engineers whose job is to contrive things wanted by their bosses or clients, and make these things work properly, can now, it would appear, make absolutely anything work properly. Therefore, the starchitects, the ones who decide how things are going to be and to look, can now make them be and look any way that their starchitectural whims determine. (See, e.g.: Zaha Hadid.) Not so long ago, a swimming pool high up in a skyscraper would be a disaster waiting to happen to everyone foolish enough to situate themselves anywhere below it, and in particular a disaster for any idiot architect silly enough to ordain such a thing. Now, it is just a matter of some starchitect saying “do it”, and it is done.
It was posted in August 2012. Better, far better, late than never. I found this in their list of top twenty postings, top in popularity, presumably.
Another of those Things That Have Been Encouraged By Digital Photography. The Art is temporary, but the pictures of the Art will last far, far longer, on many, many hard discs.
Yesterday, London was bent totally out of shape by the Tour de France. It became a French provincial city for the day, as I suppose some French people think it is always.
It rained. I was otherwise engaged, and in any case did not fancy fighting my way through crowds for the mere chance of snapping a herd of cyclists racing past me for about twenty seconds, especially after I had watched a Lance Armstrong documentary on my television. What a shit. And what a shitty sport. Besides which there would, I reasoned, soon be plenty of photos on the www of the drugged up veloherd pouring past the Docklands Towers, the City and its Big Things, Parliament, Buckingham Palace and so on.
Most of the pictures I found today involved Parliament and Buckingham Palace rather than more modern Big Things, and the veloherd (all with hats designed by Zaha Hadid) of course, and the best Tour de France in London snap by far that I found today was taken three months before the big day, when they were still telling everyone about it:
Classic. Seriously, what better background could there be to a sport that is all about wheels?
Original and slightly bigger picture, with the story, here.
Just now, there is some particularly choice stuff at Colossal:
An Abandoned Bangkok Shopping Mall Hides a Fishy Secret
This is fish being farmed in an abandoned basement.
Click and enjoy.
Further to this posting, more incoming from Darren, following my interest in further Oval views, looking to the right of the Spraycan shot in that earlier posting, towards the middle of London:
Here’s the other photo I took at the same time. No Shard, but you can just see Victoria Tower (The King’s Tower) with a nice crane alongside. Not a great view, but then again actually pretty good considering it was taken with a device whose main purpose it to access the internet.
Yes, cranes are always good. Here at BrianMicklethwaitDotCom, we like cranes. And yes, we can all see the Other Parliament Tower, by which I mean the other one besides Big Ben:
But now take a closer look (good thing Darren sent me the full sized version rather than a cut-down version) at that Thing Cluster, in the middle:
Now you can also see Big Ben itself, and the BT Telecom Tower or whatever it may have decided lately to call itself instead. I know this Thing as the GPO Tower, and it was the first of London’s modern Big Things. And there it is, to the left of the spike that is Big Ben. (Here is another BT Tower picture, one of my best ever snaps, I think.)
The point of photos like Darren’s, and like the previous one taken from the same spot, is not that they are perfect photos. They are not. They were taken with a mobile phone, in fading light, for heavens sakes. What matters is that such photos show what can be photographed from this or that vantage point, what (if you have really good eyesight, better than mine) you can see.
If anyone else - me for instance - wants to go there with a better camera with a zoomier zoom, we now know what we are looking for. We know that a pictorial snark is there to be hunted.
Incoming from Darren:
I just read your comment about The Spraycan always being lit the same way in your
Big Things in the sunset article and it made me realise I might have one or more photos waiting on my phone that I took last night that would confirm your assertion. I wasn’t (deliberately) photographing The Spraycan, of course.
Unfortunately it turned out that rather a large bit of “clutter” had thwarted me - see attached:
So, you’d have been watching Jason Roy upstage Dilshan then.
That looks like a great seat you had there, way up in the stand. A while back, D, you said something about us both going to the Oval. Rudely (apologies) I now realise I never replied. Serves me right. But next time you are going to that high up spot, and there’s space for me, let me know.
The Spraycan is right in the middle of this picture, at the back there, behind the floodlight. The Spraycan being at Vauxhall and the Oval being right near there also, there it is. Over to the right but further away, there are such things as the Strata and the Shard to be seen, or so I seem to recollect from when I was last at the Oval.
I’d enjoy the cricket too.
Surrey are doing really well just now. In addition to Roy’s T20 heroics, they are now third in Division 2 of the County Championship and have an outside chance of getting promoted right back into Division 1. All this after a truly frightful start to the season. Their last four first class games have been won 2 drawn 2, which may not sound that amazing, but Surrey have topped 400 in their first innings every time, and in one of those innings even got past 600. The last time they did that must have been in the halcyon days of Ramps. Now, instead of just the one guy making half the runs, they’re all at it. Burns, Ansari, Davies, Solanki, Roy (off 55 balls) and new captain Wilson have all got first class centuries in the last few weeks, and Tremlett nearly got one also.
Gloucester saved that game where Surrey got 600, losing only one wicket throughout the last day. But the point is, Surrey are making big first innings runs again, for the first time since Ramps went off the boil. Even if you don’t win after that, you don’t lose either, and the bonus points pile up. For batting obviously, but for bowling as well, because nothing puts pressure on opposition batters like a ton of runs against them. Gloucester may have escaped heroically, but Surrey still got quite a few more points than them in that game.
Incoming from 6k, about a dramatic Big Things photo that he came across, via a Facebook friend. There is also a blog posting at his place about it, and about how I might like it, which indeed I do.
I’ve done what he suggested and have thinned it for here:
He has the whole thing, and here it is even bigger. Very dramatic, I think you will agree.
6k entitles his posting “Waterloo sunset”. This is a fine Kinks song, but sunsets are defined by where you are when you see them, and this photo was taken from the other side from Waterloo of the Big Things of the City of London, which is what these Big Things are. He has most of them identified, but his big omission (no criticism intended - he is, after all, now 6k miles away) is the tallest one, in the middle. This is the Cheesegrater.
My first thought was that this view might have been taken from the spot I visited last January, when I took these Big Thing photos.
But that isn’t right. However, some other photos I took that day that do point at the approximate spot where the above sunset photo was, I think, taken from.
Photos like this one, also thinned:
6k’s sunset photo was taken from somewhere in among those houses on the other side of the river, with the Shard sticking up behind, on the left of my photo.
Here is a slice of Google Map which shows were everyone is:
I was where it says “ME”. The Big Things of the City are where it says “BIG THINGS”, and 6k’s anonymous photographer was standing somewhere very approximately where I have put “?”. The spot I chose for “?” is something called Stave Hill Ecological Park, which sounds very promising, what with it maybe being a hill. I have never been there and I must check it out. But, that’s only my guess. The photographer could have been quite a bit further south and/or west. Don’t know.
But there is more. While going through the photos I took last January, comparing them with 6k’s sunset photo, I came across this one, which I have again thinned:
Again, click to get the bigger version.
Now, in the middle there, unmistakably (with three unmistakable holes in its top), is the Strata.
But, and I only spotted this today, almost directly behind it is the equally unmistakable Spraycan, unmistakable because in the dark, that is how the Spraycan is always lit up.
Here is a close up of the two of them:
The Strata is at the Elephant and Castle, and the Spraycan is way over in Vauxhall. Beyond Waterloo, in other words. Once again, I hit google maps, to check on the alignment of these two favourite Big Things, and it all fits. By and by, I shall return to that same spot, to take more and better versions of this photo.
Like I always say, my camera has better eyesight than I have. On days like that one, it almost invariably sees far more than I see.
Chequeholders will soon be able to cash their payment almost instantly by taking a photo on their smartphone and sending it to the bank.
The government’s Small Business, Enterprise and Employment Bill will allow banks to process cheques using “digital imaging” technology for the first time.
As well as removing the hassle of a visit to the bank, the new scheme is expected to allow cheques to be cleared in two days, instead of the current six.
Yet another surprising impact of digital photography. Had I known about it when I gave that talk I did about this, I’d have given this a mention.
I just came across this video, here, again, which has had many hits on Youtube. Like millions of others, I like it a lot. It’s Louis C.K., complaining about people who complain about modern life and all its wondrous new gadgetry. I was going to stick the video here, but it wouldn’t fit. (Anyone know how to make it 500 wide instead of 560? Maybe I should redesign my blog wider.) But follow that link and scroll down a bit to where it says: “- it’s very funny”; and then, in white on black at the top of the video: “+Everthing’s+Amazing+ +Nobody’s+Happy”. And then click and enjoy.
Part of why improved gadgets don’t automatically make us happy is that everyone gets to have a go on them, but what really makes a lot of us happy is improved relative status. New gadgets create a different world, in which we may as likely as not be demoted in status, below others who understand the new gadgets better.
There is also the particular genius of the gadgeteers to be considered, compared to our own ungenii. New gadgets can make many of us feel like savages, out of our depth in a world of wonders, less capable (because utterly incapable of producing such a wondrous gadget), rather than more capable (through possessing the gadget).
In the article linked to, there is speculation that old people are more easily pleased, by things. I certainly enjoy digital photography, as all regulars here will know, and you obviously enjoy that or you’d not be a regular. I also enjoy typing verbiage into my magic machine and this magic blog. Perhaps a reason why these things please me so much is that I am old, and had been waiting for such things to be possible for such a very, very long time. For decades, I fretted about my inability to make pictures without fuss and write stuff without fuss, and show both to other people whenever I felt like it, again without fuss. Now I can do these things. Any envy I feel towards the people who contrived these wonder is dwarfed by the pleasure I get in doing these things, finally. I know, I’ve been showing off my pictures and babbling away at various blogs for well over a decade. But like I say, I’m old, and more than a decade is nothing to how long I spent waiting for these things to be possible, all the while not even knowing if they ever would be. I had become used to knowing that these things might never happen, which means that I still can’t quite believe that they have happened, which means that they still make me happy.
I think that this …:
… is a spectacularly beautiful photograph.
It is the work of Mick Hartley, whose photos I admire more and more.
What I so especially like about this one is how the colour of the waterlily is contrasted with the black and bleak colouring of the big circular leaves. Usually, in photos of this sort, those big leaves would be bright green. But the indoor setting and the industrialised Kew Gardens ceiling turns the water in which the lilies float into something more like crude oil, giving the whole thing a very distinct atmosphere.
It brings to (my) mind those scenes in Schindler’s List where a little girl in bright red appears, in an otherwise black and white movie.
In general, colour is a big deal for Hartley. From time to time, he features photos at his blog (by him or by others) where there is a big expanse of bright colour and a relatively drab small object or objects in the middle. The opposite of the waterlily photo, in other words. But maybe I just notice these particular photos because I particularly like them.
There was a time when self-consciously artistic photographers seemed deliberately to turn their backs on the huge opportunities offered by colour photography. Digital cameras, which could do colour from the get go, and which have enabled regular people to revel in colour photography whatever the Black and White Photosnobs might be saying about colour photography, have put a damper on all that. At first, posh photographers sneered at digital photographers partly because of all the colour. But now, Real Photographers are, more and more, people who got started with photography because of cheap digital photography.
I’m absolutely not saying that I dislike black and white photography, or photography of very drab and monochrome colours (like when it’s nearly dark for instance). I’m merely saying that bright colours are great also. And these two things are especially diverting when combined in the same photo, as above.
Taken by? No prizes for guessing who. Country? “Poland/Georgia”. Date? “Jan/Feb” of this year. That’s what it said in the email.
I plan to be going to the land of the foreign people. Quite soon. Early August. The air tickets are already bought. But, have just discovered that my passport needs renewing. It gave up the ghost in about February.
Bugger. Passports are just now being particularly delayed. Questions are being Asked In The House about it. So I guess they are now throwing money at the problem.
There is also a throw money at it option for us punters, about an extra hundred quid, which I have in mind to use, just to make sure that all goes well. But first I have to get a haircut and then I have to get some “passport photos” done. I know how to take photos of myself. I do not know how to take “passport photos”. This is why God invented shops.
In this list of Top10 Rooftop Bars in London is one that is both enticing and new to me.
I know all about the view from the top of One New Change (the first in this list), and very fine it is too.
The view from Radio Rooftop Bar at ME Hotel (number 6) is another that I am now very familiar with.
Sushisamba (number 7) I have here written a memo to self here about, a memo saying I must check this out. So far I haven’t, but this reminds me that I must. (The Heron Tower has, by the way, recently been renamed.) From this the Gherkin can be observed from close up. The trouble with the view from the Gherkin is that from the Gherkin one cannot see the Gherkin.
But, I did not realise that number 3, “Vista at the Trafalgar” was publicly accessible:
I think I know of this place, having seen people in it, but I did not know I might be able to go there myself. So, another memo to self.
I’m sure I’ll be able to take more dramatic snaps than that one, although to be fair to them, they were going for informative rather than dramatic.
If you’ve not been there before, I recommend visiting Handpicked London. I’ve just been browsing through it, and found my way from it to Photographs of Tower Bridge being constructed are found in a skip, from December 2011, which I do not remember noticing at the time. (The first two of those are Facebook links, and maybe they don’t last. You have to register, is what the second one just said.)
These photographs of Tower Bridge being constructed have been unveiled after a stash of hundred-year-old photos were found in a skip. The 50 sepia pictures, the most recent of which date back to 1892, reveal in incredible detail the ingenuity behind one of the capital’s most popular tourist destinations.
Hybrid modernism. Modern in its manner of creation. Ancient in appearance. An architectural style with a lot of mileage in it.
LATER: More stuff from me about towers here.
I like to browse through Jonathan Gewirtz’s photos from time to time, and on my latest browse I came across this photo, of a brightly lit building in Urban Florida. Miami? Don’t know, and it doesn’t matter.
What particularly got my attention was the fact that Gewirtz included in the picture: his own shadow.
I have taken the liberty of reproducing this detail here. “Copyright ©2011 Jonathan Gewirtz” is what it says just before saying “jonathangewirtz.com”, but I trust my little except does not break any rules. (Rules often being the point of copyright violations, I’m guessing. Maybe this particular copyright violation, on its own, would not be a problem, but once the line is crossed, by anyone ...) If Gewirtz wants this little piece of his work removed, he has only to say and it will be removed forthwith.
Okay, with that out of the way, the point that I want to make here is that I suspect that this thing of including your own shadow in pictures is a practice that has filtered upwards to the Real Photographers like Jonathan Gewirtz, from us digital amateurs.
Your own shadow in the picture often starts as a mistake, but then you think: well, okay, that’s my shadow, but what’s so wrong with that? I was standing there, with the sun behind me. I mean, did you think this wasn’t a photograph, and that someone standing there throwing a shadow into the picture wasn’t even there? Did you think that God took the picture? Cameras gobble up whatever they see in that moment, and in this moment, for instance, my shadow was part of what it saw. Often, the shadow is all there is, and very amusing it is too.
The crux of the matter is, I think, who the picture is for and what the point of it is. Is it for someone else, someone paying? Is perhaps a happy couple being photographed on their wedding day? In which case, they are the point, not the photographer. Likewise if the point is to photo this dish of salad, or that house interior, or this beloved pet or that sports team, well, the Real Photographer is not being paid to insert himself into the scene, and he will be careful not to.
But if, on the other hand, you are a snapper who is just having a bit of fun, then why shouldn’t you, the snapper, also become your own snappee?
But the thing is, when Real Photographers are out having fun, the way Jonathan Gewirtz presumably is when taking photos in Miami or wherever, just because he likes to, they are liable to take their ingrained Real Photographer habits of self-effacement with them. So, interesting that Gewirtz did not do this, at any rate not this time.
I’ll end with a slice out of one of these photos:
The crooked forefinger being mine.