Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Tom on Pavlova reflected in double glazing
Tom on Smart face on smartphone
Tom on The Shard was looking very special today
Alan Little on Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
Brian Micklethwait on Unusual bench?
Stewart on Unusual bench?
6000 on The Shard was looking very special today
Rob Fisher on Smart face on smartphone
Southall on A posh white van and a not so posh white van
Darren on England crush NZ (and Surrey beat Leicester)
Most recent entries
- Cannon Street Station at the end of the street
- Smoke over west London
- Moving speaker – unmoving listeners, video holder and books
- Pavlova reflected in double glazing
- Out and about with GD1 (3): Baritone borrows my charger
- Out and about with GD1 (2): How mobile phones both cause and solve meeting up problems
- Unusual bench?
- More keeping up of appearances
- Cats and cricket – cats and drones
- Two strangers photoed by Mick Hartley and show there (and here) without their permission
- You can tell that drones have arrived because now they are being turned into a sport
- The Shard was looking very special today
- Windsor Castle from the top of the RAF Memorial
- Photoing old Dinky Toys in Englefield Green
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Category archive: Transport
As everyone else in the world found out several years before I did, a mobile phone is now an essential part of the kit you need to meet up with somebody. So, I made a point of having my mobile with me when G(od)D(aughter) 1 and I met up at Manor House tube last Sunday.
When I arrived there, at our predetermined time, I discovered that Manor House tube has three widely dispersed exits to choose from. Now you may say: “But how many ticket barriers does it have? One.” You are right, but what if the mobile phone reception at the ticket barrier, this ticket barrier being below ground, does not work? I needed to be out in the open.
Mobile phones cause plans to be more muddy and last-minute than they used to be, because that is what these plans can now be. GD1 and I had hoped that “the exit of Manor House tube” would be unambiguous, but we took a chance on that, because we would both have our mobile phones with us, and we could make it up as we went along if things got more complicated.
I picked one of the three exits and looked around for GD1. No sign. I left a phone message and a text message for GD1 saying to her: I am in the Manor Park Cafe, which is next to the big gate into Finsbury Park, which by then I was. Fifteen minutes later, I rang again, and eventually got through to GD1. She said: “I just sent you a text.” Ah. She was running a bit late, which, now that we all have mobiles, is okay because now such information is easily communicated.
Anyway we duly met up in the Manor Park Cafe, and we consumed consumables while deciding to have our walk anyway, despite the weather being vile, but also deciding that we would wait inside the Manor Park Cafe until it stopped actually raining.
What might have happened had we not had any mobile telephony at our disposal, I do not know. The old method, which is that you decide beforehand to meet at place X at time Y, used to work okay. Whoever got there first waited, and whoever was second said sorry, with whatever degree of sincerity seemed appropriate. But now, if you don’t bring a mobile with you, and if you don’t make constant use of it, you are misbehaving.
I brought my mobile with me to meet up with GD1, but at a critical moment I failed to consult it. “Getting old” will definitely be one of the categories below.
Today there was a big old Micklethwait family get-together at the ancestral home in Englefield Green, Surrey. Me, two brothers, a nephew and a niece plus partners, another niece, plus two little kids. I took photos of course, and I wasn’t the only one doing that.
I prefer not to show you pictures of my relatives, but I’m sure that nobody will mind me showing you these snaps:
Those are Dinky Toys, in really quite good condition, dating from the 1950s. I can even remember a couple of the names. The red van (which was my brother’s, not mine) was “Mersey Tunnel”, because it is a Mersey Tunnel police van. And the white car with green on it is a Singer Gazelle. Ah, Singer. Those were the days when Britain contained about a dozen distinct car-makers, with distinct names like Singer.
All these toys had already been extracted from all the other goods and chattels in the house and given to N and NP’s two little kids, before I arrived. Theoretically, three of these four antiquities were mine, or they were mine sixty years ago, but the kids seemed to like them and I was glad for these toys to be passed on. Such things are only worth proper money if the boxes have been kept, and of course they hadn’t been. And although these Dinky Toys, especially the two cars, are in really quite good condition, really quite good condition is not nearly as good as mint condition, moneywise. So, yes kids, you’re very welcome.
But one favour I did ask. Before you take them off to your home, let me photo them, just to remember them. Okay? Okay. So I perched them on my knees and took the shots.
One of the many good things about digital photography is that with it you can store fun memories in two virtual dimensions, rather than in three actual dimensions.
I’ve been giving attention to and often photoing white vans lately, and am starting to notice interesting things about them, of which more in due course. (Maybe. I promise nothing.)
But meanwhile, Fridays here have not, lately, seen much in the cat category, which is a thing I like to do on Friday.
So, a picture of a white van with a picture of a cat on it would seem to be in order.
I have yet to photograph such a thing myself, but I did find just such a picture of just such a white van, here. But alas, the cat was on it for a not very internetty sort of reason:
There’s lots of cat related stuff on the www, but this is an aspect of cats and the keeping of them that typically gets omitted. All is cuteness. Spaying is ... not cute.
I continue to photo white vans. The poshest white van so far is one I photoed today. Here’s the basic photo:
But, this being a posh enterprise, the graphics are a bit thin and polite, and my photo doesn’t help. So here’s a close up what it is:
And here are the services they offer.
Earlier in the day, I also photoed this white van, which also seemed rather posh:
Again, for the same sorts of reasons, here’s a close-up of what it is:
But, although “piano people” suggests people who play pianos, or at the very least tune them, all that these piano people do is move them from place to place, carefully.
There really are a lot of white vans out there.
Indeed. Photoed by me in September 2005, i.e. just under a decade ago:
Had I known how interested I would later become in white vans, I would have done a proper picture of the white van there. At the time all I cared about was the new Wembley Stadium, in the background there. But it says something that I considered this particular white van to be a worthy foreground to all that Big Arch activity. It also shows how white van graphics have progressed since then, the ones there being very straight and rectangular, like they’re done with Letraset, as maybe they were.
On the day I took that shot, I also took other shots like this one ...:
... and this one, which I recall especially liking at the time:
Blue sky. That never fails. Not then, not now.
My rule for violating anonymity here at this blog, by sticking up recognisable pictures of strangers, is that if they are making a spectacle of themselves, then it is okay for me to carry on doing what they started. Someone wearing a weird costume in public or doing something weird in public, or just very deliberately looking spectacularly beautiful in public, are fair game.
There is nothing weird about this guy’s costume, whom I spied at Oxford Circus tube station last night, but he was behaving rather weirdly. So I photoed him, and here he is:
He, I am sure, had no idea that I was photoing him while he was photoing. Any more than I would have noticed if someone else had been photoing me while I was photoing him. Which it would have made perfect sense, to me anyway, for someone else to do. If I saw a bloke photoing a bloke photoing in the tube, I’d have photoed the pair of them like a shot, and what a shot it might have been.
Maybe a Real Photographer would like the lack of advertising in the advertising spots there, preferring arty grunge to vulgar commerce. But I reckon that adverts might have added even more fun to those shots, especially if there had been some relevant slogan or slogans involved. But now I’m just being greedy.
Incoming from Michael Jennings:
Truly, that’s a glorious headline.
Indeed it is:
The drone was not hostile. It was part of the show, as was Iglesias attempting to handle it. It was just that it all went rather wrong:
“During the show a drone is used to get crowd shots and some nights Enrique grabs the drone to give the audience a point of view shot,” the statement read. “Something went wrong and he had an accident. He decided to go on and continued playing for 30 minutes while the bleeding continued throughout the show.”
Iglesias was semi-treated immediately after the accident.
Definitely a future trivia question in a pop quiz. But the worst that could have resulted from this would have been a couple of missing Iglesian fingers. This ("NY-bound plane nearly collides with drone, FAA says") could have ended far more grimly.
There will be many, many more drone dramas. They are colossally useful, and accidents buzzing around begging to happen.
Take a train from … anywhere, into Waterloo. Exit your train, and go through the barriers. Turn right in the big concourse and carry on walking until you have gone as far as you can go, and you get to an exit. Step outside. You are in “Station Approach”:
I’ve messed with the visuals there, to make “Station Approach” readable.
You are wisely prevented by some railings from stepping out into Station Approach itself and being run down by a taxi. But turn right out of the exit, and make your way a few dozen yards along the narrow pavement, to the point in Station Approach where you can cross the road, to some steps that lead down into “Spur Road”. (The steps are right next to the S of Spur Road, in the image above.) But, don’t go down these steps. Stay at the top of the steps and enjoy the view.
To the far left, you can see the Walkie Talkie. To the far right, the Spray Can. Between them is the sprawl of south-of-the-river London.
It’s one of my favourite London panoramas, if only because everyone else who ever sets foot in this place is either in a hurry to get somewhere else, or in a hurry to catch a train. Nobody talks about this view, the way they do of the view from such places as Parliament Hill or the top of some of London’s big or even not so big buildings
What stops this view being talked up as a “view” is the prominence of all the foreground clutter. In the background, there are Big Things to be observed, but they do not tower over the foreground. If anything, the foreground clutter dominates them. Even the Shard is an almost diffident, even sometimes (depending on the light) spectral presence rather than a “tower”. Recently there was a TV documentary about the Tower of London, and the impact of it and the Shard, each in and on their time, was compared. The message was that the Tower then was like the Shard now. But these two buildings could hardly be more different. The Tower then was telling London then that the Tower was the boss. The Shard now politely concedes to London now that London is the boss.
And of course I love this view, because I love London’s clutter, especially roof clutter, and I love it when Big Things can be seen between and beyond the clutter, without necessarily dominating:
Those shots were all taken within moments of one another, just over a week ago, on a sunny afternoon, the same sunny afternoon I took this.
Stations are great linear photo-opportunities. This is because railway tracks have to be pretty much dead level. If the lie of the land is high, the tracks have to be lower, and if the lie of the land is low, the tracks have to be higher, which is also convenient because it enables the railway to jump over the roads on bridges and viaducts rather than compete with them at such things as level crossings. This causes the platforms of many a station to be at roof level rather than at ground level.
Level crossings will get road traffic across a mere double track out in the country, but are hopeless for getting past the tracks out of Waterloo, one of the world’s busiest railway stations. The traffic would wait for ever. So, bridges and viaducts it is, and that means that Waterloo Station itself is dragged up to regular London roof level. So even if you can’t see anything from Waterloo Station itself, you can from just outside it. You can from Station Approach. Well, I can, because I want to.
Indeed. Both of them were photographed by me, in central London, yesterday afternoon.
The first was very striking mainly because of its colour, or the colour it was showing to me. Very pretty in pink:
Seriously, I found this bus very eye-catching. You don’t expect to see a London double decker decked out in that colour.
It was selling ice lollies.
The second strange bus was this:
Something to do with Bayern Munich, as you can see. I stood as far away from this bus as I could, but the pavement was just not deep enough. But, you get the picture.
But why “Gulp”? Was “Gulp ‘82” some kind of tournament they won, in 1982? I asked the internet what gulp means in German, but sadly, all the internet wanted to tell me was the German for gulp. Anyone?
One of my happier fancies here at this blog has been a category of photos called: I just like it! And I just like this:
The point being that the sort of things that I write about here, and investigate, and then photograph very purposefully and self-consciously, often begin just as things that I like. When I trawl through the photo-archives, I find things that I thought I only started noticing quite recently cropping up casually, years back.
So, what do I like about the above picture? It certainly isn’t how well those leaves have come out. (Although in my opinion out-of-control light in a photo at least tells you that it was very sunny.) Do I think the RSC is GENIUS? Only a bit. No, I think what I like is the way that the advert is about as pompous as it is possible for an advert to be, yet life goes on right next to it and indifferent to it. Or maybe not. Maybe something else completely.
It’s the top of one of those open top double-decker buses, by the way. And below that, the advert is for a show called Matilda.
Part of getting old (new category here – I still have a lot of categorising to do so bear with me on that) is that you just forget to do things, even things that you like. Thus, I have recently been forgetting to read Anton Howes. Today I remembered, and started reading, in particular, this posting, which is most recent as of now.
Uber isn’t a taxi company; it is a market. It provides a trust-based platform made up of assurances and ratings in order to let anyone ask “Can I have a ride? / Want a ride?” without sounding creepy.
I will now read the whole thing.
Brians plural? Yes, it looks like both the driver and his mate are Brians.
Incoming from Goddaughter 2:
Reproduced here with the permission of Goddaughter 2’s glamorous friend.
I like the extra three front headlights.
I don’t like all the creepy stuffed animals in the window.
At the point where the east end of Oxford Street connects to the south end of Tottenham Court Road, marked by Centre Point, there is now much building activity. Centre Point itself is being turned from offices into swanky apartments. And at the bottom of Centre Point there is to be a new Crossrail station which is being attached at vast expense to what is already a complicated tube junction stroke station.
Urban building activity is often described as being like a wound. But for me, such a temporary space is a photo-opportunity. It opens up unfamiliar views of clutter clusters, of entertaining comings together of and alignments of the temporary and the permanent, the ancient and the modern, the mechanical or the eletrical and the architectural.
Here are a few shots I recently took just to the south of Centre Point:
Mostly quite (to me) anonymous stuff, but with a couple of bits of favourite modern architecture in there, the BT Tower and that colourful Piano clump.
Soon, most if not all of these views will be gone.
Towards the end of last year, Vodacom upgraded the internet service in Suiderstrand from EDGE to HSDPA. That was great, although quite why they didn’t go all the way and make put an LTE connection in, I don’t know.
Me neither. Can’t help you there mate. If you think you know the answer put it there please, rather than here.
As for 6k’s Ships on a Roof picture, I bet he saw my horizontalisation of it coming, even as he was taking the shot.
I recently decided to keep an eye open for newspaper front pages. Yesterday, I snapped, among others, this one:
It was the airplane nearly crashing, or seeming to, that got my attention.
I tried to chase up the story, and eventually found it, not in the Times, behind its paywall, but at the Manchester Evening News, and I found a slightly better version of the picture at the Daily Mirror, in a piece about the generally windy weather we’ve been having lately:
The Manchester Evening News quoted a spokesman for Monarch, the airline whose plane was featured in this picture. He had some interesting things to say about how the camera had, on this particular occasion, told somewhat of a lie:
A spokesman said: “Over the last few days the country has experienced extremely high crosswinds.
“The image depicts a completely normal landing given the weather conditions on the day.
“The image was taken at long range and therefore is deceptive.
“The foreground in this picture is higher than the touchdown zone on the runway - proven in this case by the lower wheel appearing to be in the ground, which was not the case.
“As seen in this image, it is common practice for pilots to perform a crosswind landing in these conditions.”
After I had had a closer look at this photo myself, I was going to say half of this myself. The foreground is higher, and makes the plane look lower. What I had not realised was that the plane was actually in the air.
I notice, however, that the subheading of the Manchester Evening News report quotes the bit about how this was a “completely normal landing”, above the photo that, as explained, makes it look anything but, thus deliberately suggesting Monarchical complacency. But the spokesman didn’t just say it was normal. He explained why it looked abnormal, without actually being abnormal.