Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
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- Deirdre McCloskey - The Great Enrichment – Using a smartphone as a mirror
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- Horizontal French signs
- A house in France that is not faceless
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Category archive: Design
I have already shown you some horizontalised signs that I snapped in France. Here is a selection of the more regularly shaped sorts of signs, in the order I snapped them:
I love the ambiguity of the very first (1.1) of them, with the French for bread being pain.
Whoever thought that theatre (1.3) could be so dangerous.
That T-shirt (2.2) is a reminder of how many Brits there are in these parts, and the “Tattoo and piercing” sign (3.4) of how French people think English is cool. The French go to England to work. The Anglos (apart from those going there to sing) go to France to unwind, as I was doing. I’m guessing that’s roughly how it is. France specialises in being nice. England specialises in being busy.
I like how the French for cul-de-sac, which you would expect to be “cul-de-sac”, is actually “impasse” (4.1), which in English means something rather different.
I like (4.2) how on building sites, everyone gets credit, like at the end of a movie.
And then there are all those street name signs, that double up as history lessons. 2.4 and 3.1 are too famous to need a date, but one (3.1) still needs a brief explanation. But I love how the guy who does need a date (3.2) would probably have been awarded dates no matter what, because look at those dates! I only just noticed this.
I like how the French for diversion is deviation (4.3).
That Crack sign (4.4) was actually not in France but in a big shopping centre in Spain.
2.1 is reminder that not all signs in France are as informative as most of them are.
There are four such bridges in the world.
And the pictures follow: Ponte Vecchio; Krämerbrücke, Erfurt; the Rialto in Venice; Pulteney Bridge in Bath. (The old London Bridge is, alas, no more.)
But then the bit about how there are four such bridges was crossed out, and this was added:
Update: Apparently, there are a few more. Pont des Marchands in Narbonne, France, is one example.
Narbonne? I was in Narbonne only days ago, hearing GodDaughter 2 and her pals sing the solo parts in the Mozart Requiem. Afterwards, we walked beside the river back to the car. Did I, I wonder, photo this Pont des Marchands? I do recall bridges, and I wouldn’t be me if I hadn’t photoed them. Here are a couple of Narbonne bridges, that I photoed then:
So, did the Pont des Marchands figure in my bridge-snapping?
Image google image google.
The Pont des Marchands looks like this:
I had already copied those two bridge pictures above into my FranceMay2016/bridges subdirectory, but in that directory, there was no sign of anything with shops on top of it. However, another look through all the pictures I took in Narbonne that evening brought me to ... this:
The bridge in the front there is the one in the left of the two bridges above. Behind that little footbridge, could that be the Pont des Marchands, seen from the other side? Got to be. Those Ms certainly look encouraging. Short answer, after only a very little more image googling: yes.
There’s nothing quite like seeing something for yourself. And the next best thing is when you photo it without seeing it, and then see later that you did see it after all.
I had today, May 17th, as the day when I would finally have recovered from the strain and stress of taking a holiday in the south of France earlier this month.
So, what else is there to say about France. Well, a thing I love about France is … The Wires! Just like all those dezeen pictures of bland new Japanese dwellings, surrounded by The Wires!, France also seems to have no inhibitions about hanging The Wires! everywhere, and in particular above the roads.
Below are sixteen South of France clutter photos, chosen from a clutch of clutter photos several times larger than that. Included in these photos are views of The Wires!, and also of regular roof clutter consisting of kit for receiving entertainment. Sometimes both:
I am fascinated by all this clutter, because I am. But in addition to just liking it, I think that it illustrates an important point about the modern world, which is that if clutter is so visually appealing – as I believe it often is – then people should, on aesthetic grounds, be allowed to do erect whatever they like. Chances are, it will look amusing rather than ugly, in much the same way as a forest or a crystal cluster.
But, I have to admit that the general south of Franceness of it all also appeals. All those orange tiled rooves, and stucco, and all that amazing light. Almost anything looks good in light as nice as it often is down there, which it was for the first few days.
Most of the above photos were taken in the town of Thuir, where my hosts have a house.
I love signs. They communicate a lot, by their nature, but they are not considered Art, so they aren’t preserved. They come and go, and stuff that comes and goes is how a photographer who is only an okay photographer makes his photos count for something.
So, I gathered together all the sign photos I took, to do a big collection. But that was taking too long, so I picked out the long thin ones, and here are those ones, in chronological order. I really did take the first one first:
Click on each to get the bigger pictures.
No coincidence that two of them - arguably three of them - are in English. There’s quite a bit of English to be seen in French shops, just as there’s quite a bit of French in English shops.
Byrrh is the local drink of Thuir. It’s a lot like Port. I’d link to the website, but it makes noises that you have actively to silence. I hate that.
What “lefties” means, when on the front of a shop, I have absolutely no idea.
LATER: This was all done in great haste, and I neglected to mention that the “lefties” sign is actually in Spain, in a big shopping centre we visited (and got stuck in because of traffic jams all afternoon (don’t ask)). But, I still like the sign and am still baffled by it.
Yes, it’s a bus, totally covered in an advert:
Click on that horizontalised graphic if you don’t believe me. Buses like this one, photoed by me in Charing Cross Road this evening. really liven up London. Basic monochrome red is so twentieth century.
But when it comes to buildings, plain bright red is a step towards riotous colour.
Circumstances had placed me at the Angel Tube. My business was concluded and the weather was wondrous. So, where to next? There is a canal near there, but I didn’t fancy another canal walk, so instead I just walked along whatever road presented itself to me, in the general direction of the Big Things of the City (one of them (the Heron Tower) having been turned blazing gold by the early evening sun). The road turned out to be Goswell Road. A place of slightly down-at-heal struggle, where you felt that for some, the struggle wasn’t worth it, but for others, maybe. That kind of in-between sort of a place. Not as affluent as you’d expect for something that close to the City, but trundling along as best it could. Big, shabby-modern university buildings. Building sites. Ethnic shops.
And then in amongst all this middlingness, a glimpse through what looked like a shop window, into a world of money-no-object designer gloss and nouveau riche ostentation. What is all this stuff?
It all looked rather Zaha Hadid, especially this shiny but strange object, presumably for sitting on:
And hey, look, there’s a picture of Zaha Hadid. This is obviously a place that takes Zaha Hadid pretty seriously, and is very saddened by her recent death:
Zaha Hadid, I should explain, is the world-renowned starchitect and designer, who recently died at the shockingly young age of 65. When a starchitect dies at 65, that’s like a rock star dying at 22. At 65, starchitects, rather like classical conductors, are just getting started. The thing is, starchitects need power, and their target demographic is old decision-makers, so they tend to be old too.
What was this rather strange place? I stepped back to see if there was any clue on the outside.
Here was a clue:
Good grief. This is an actual Zaha Hadid place of work.
I crossed the road, to photo the whole thing:
To be more exact, this is not the one place where Hadid and all her underlings did everything. This is the Zaha Hadid Design Gallery, which opened in 2013 (I now learn), which would perhaps have been open for me to walk into had I encountered it earlier in the day. The place displays many of Hadid’s numerous designs for Small Things, like furniture, lamps, sculptures, jewellery, paintings, and suchlike.
Considering what a wacky designer Hadid was, that’s a surprisingly prosaic building, isn’t it? I’m guessing that it was not built specifically with her in mind, but was adapted.
So, no wonder that this place now contains memorials to Zaha Hadid, like this:
There is some reflection of the outside in this next snap, but it gives you an idea of what the place as a whole is like, and what kind of stuff is in it:
Frankly, for me, all this indoor small stuff does not show Hadid at her very best. For that, I think, you have to go outside.
Her only building in London so far is the Aquatics Centre, which I photoed, very hastily, when I visited the top of the Big Olympic Thing. Had I know then that Zaha Hadid had been about to die, I would have taken more photos of this building, and more carefully:
I would, for instance, have placed it in a gap in that safety netting, rather than just randomly. Another time.
But notice that even in that casual photo, the beauty, I think, of the building still asserts itself. It’s like a sports helmet, of the sort worn by cyclists, and by some cricketers.
Even more remarkable is this amazing ancient-modern juxtaposition:
This is now, apparently, nearing completion. It might be worth a trip to Antwerp, just to see it.
Zaha Hadid’s underlings are going to try to keep the Zaha Hadid enterprise going, at least the architectural bit. Good luck people, but you’re surely going to need it.
The rumour I heard is that Hadid was “difficult” to work for. Maybe this was just an example of that law that says that bossy men are masterful, but bossy women are bossy. But maybe she really was difficult to work for. If so, this difficulty looks like it was all of a piece with the sorts of designs she created.
The thing is, Hadid was not some logical, everything-has-a-reason systematic, machines-for-living in, presider over a system of architectural problem solving. She was the kind of architect who unleashed drama, excitement, at vast extra expense, if what you’re comparing it all with is a big rectangular box. You only have to look at her stuff to see that any logic involved is just an excuse for a cool looking design. Why does it look that way? Because I, Zaha Hadid, say so, and I’m the boss, that’s why. I make beautiful shapes. Other people like them and buy them. Deal with it.
That’s going to be a hard act to replace.
As regulars here know, I am fascinated by unusual vehicles, and by almost all commercial vehicles. Whereas cars tend to be reticent about making any sort of personal statement, commercial vehicles have to communicate. They have to radiate an atmosphere. They have to dress themselves like they’re going on the pull in a nightclub. Well, they don’t have to. But most commercial vehicles are an opportunity to do marketing, so why turn it down? And these vehicles consequently radiate as many different atmospheres as there are commercial purposes being pursued in and with them.
Here are a couple of vans I spied today:
Both are somewhat self-conscious, I think. There is a lack of earnestness here, a certain ironic distance, a certain slightly bogus artifice, not to say Art, involved.
But, all part of what makes wandering about in London such an endlessly entertaining pastime.
Sausage Man website here. I tried googling “Oliver London”, but all I got was a lot of stuff about a stage musical. The small tricycle van looks oriental to me, and that its presence outside an oriental restaurant is not coincidental.
People talk about how “nothing says London” quite like … and then they say something that happens quite a lot in London or gets eaten quite a lot in London, or some such very London thing, assuming you already know that that’s what it is.
I contend that nothing says London quite like a big sign, saying “LONDON”. With that, there’s no ambiguity.
Here is a LONDON sign – well, more like a painting – that I photoed in Goswell Road late this afternoon:
That particular sign saying LONDON is a bit cleverer than your usual LONDON sign. The more usual sort of sign saying LONDON would say LONDON even more clearly, by just saying LONDON.
A bit more seriously, I’m surprised you don’t see that particular game played with the letters of the word LONDON more often.
Goswell Road is not a familiar place for me, in fact I don’t believe I’ve ever walked along it before. It’s all rather arty and designy, in an urban decay kind of way. That big LONDON sign has a definite Pop Art feel to it. Unlike the sign saying CAR PARK. Arty signs and car parks both being what you do when an urban site becomes temporarily vacant. The usual rules about what is proper don’t apply.
And I was deliberately retracing steps I used to do make a lot of around eight or ten years ago, to see what had changed and what had not. A lot had changed, in the form of a few big new buildings. The rest had not changed.
Did I say that that sunset I recently posted photos of was last Saturday? Yes. Actually it was the Friday. Get ill and you lose track of time. That evening I also took a lot of other photos, on and from the south bank of the river, between Blackfriars road bridge and Tower Bridge, and here are some of the ones I particularly liked:
That array of small photos (click on any you like to the look of to get it a decent size) really should not now be misbehaving, on any platform. If it is, please get in touch, by comment or by email.
As to the pictures themselves:
1.1 A Deliberately Bald Bloke standing at the bottom of 240 Blackfriars. (You can see the top of 240 Blackfriars in 3.1 here.) That Deliberately Bald look is, I think, fair game photo-blogging-wise. The guy is choosing to look this way. It’s a fashion statement, not an affliction. Blog-mocking the involuntarily bald is not right, but blog-celebrating those who embrace their baldness is fine. Especially if the guy obligingly turns his face away.
1.2 is one of my favourite weird London sites, namely the topless columns of the Blackfriars Bridge that isn’t, in between the two Blackfriars Bridges that are, the one on the right now sporting a new station on it. The twist is that this was high tide, and waves were rhythmically breaking against a corner in the river wall and filling the air between my camera and the bridges with bits of water.
1.3 is a building on the other side of the river. Just beyond the Blackfriars Station bridge. I do love what light and scaffolding and scaffolding covers sometimes do.
1.4 and 2.1 illustrate the universal photography rule to the effect that if you want to photo something very familiar, like St Paul’s Cathedral, you’d better include something else not so familiar, such as some propaganda for a current Tate Modern show that I will perhaps investigate soon, or maybe four big circles that you can see at the Tate Modern end of the Millennium Bridge.
2.2 is an ancient and modern snap, both elements of which I keep meaning to investigate. Those two buildings, the office block and the church, are like two people I frequently meet, but don’t know the names of. Luckily, with buildings, it’s not embarrassing to ask, far too late.
I know what that Big Thing behind the Millennium Bridge in 2.3 is, under wraps, being reconditioned, improved, made worse, whatever, we’ll have to see. That’s Centre Point. It even says most of that on it. I have always been fond of Centre Point, one of London’s early Big New Things.
2.4 features something I have tried and failed to photo several times previously, a Deliveroo Man. Deliveroo Men are usually in a great hurry and are gone before I can catch them, but this one was taking a breather. Deliveroo Men carry their plasticated corrugated boxes on their backs like rucksacks, which I presume saves valuable seconds.
3.1: Another ancient/modern snap. The very recognisable top of the Shard, and another piece of ancientness that I am familiar with but have yet to get around to identifying, see above. I reallyl should have photoed a sign about it. I bet there is one.
3.2: The golden top of the Monument, now dwarfed by the Gherkin and by the Walkie Talkie.
3.3: A golden hinde, which is to be found at the front of the Golden Hinde. I’ve seen that beast before, but never really noticed it.
3.4: Another ancient/modern snap, this time with Southwark Cathedral dominating the foreground. The combined effect yet again vindicates Renzo Piano’s belief that the Shard would blend into London rather than just crow all over it. Those broken fragments at the top echo the four spikes on the nearby Cathedral. It looks that way to me, anyway.
4.1: Another delivery snap, this time of the old school sort. A White Van. But with lots of propaganda all over it, notably the back door, in the new school style.
4.2: Yet another ancient modern contrast, this time the Monument, again, with a machine for window cleaning. Note that small tripoddy object on the top of the Monument. I suspect that this is to give advance warning if the Monument starts to wobble.
4.3: Two exercises in power projection, now both lapsed into tourist traps. Behind, the Tower of London. In front, HMS Belfast.
4.4: Finally! Modern/modern! The Walkie Talkie and the Cheesegrater, and probably my favourite snap of all these. Not a view you often see in other photos, but there it was. Should the bottom be cropped away, to simplify it even more. I prefer to leave photos as taken.
5.1 shows that thing when reflected light is the exact same colour when reflected as originally. Photography is light, so photography sees this. But eyes always try to create a 3D model of what is going on, rather than just a 2D picture. Eyes deliberately don’t see this.
5.2 and 5.4 take me back to my beautiful-women-taking-photos phase, which was big last decade. These two were too good to ignore. They were just so happy! But, mobile phones, which is very this decade. Just like my cameras, the cameras in these just get better and better.
5.3 is another view of that amazing cluster of footbridges.
Pyjama bottoms have a way of disintegrating. And just lately I have been having other problems (I will say no more than that) with pyjama bottoms. The night before last I had to wear short pants in bed, like an American sitcom actor just after having had sex, and last night I cranked up the hot water bottle. It’s amazing what a difference just swapping proper length pyjama bottoms for the same thing but with no legs.
So the question was: laundrette, or Primark. Wash the two remaining pyjama bottoms, one of which had gone missing, or: buy some more pyjamas at Primark. I couldn’t face laundretting, so Primark it was. Earlier this evening, I staggered forth to Oxford Street.
In the tube on the way, I grumbled to myself about how I would be obliged to purchase yet more pyjama tops, to add to the already absurd number of such garments that I already possess.
Instead I encountered this:
A pair of pyjama bottoms, as in two pyjama bottoms, and no pyjama tops. I bought two large (L) and two extra large (XL). The XL ones fit fine and I am wearing one of them now. Extra large my arse! Well, apparently so.
I feared that the merely large ones would be far too tight, but they’re okay. I’m now wearing one of them. A bit tight but okay, and the good news is that elastic expands when you wash it.
And all this for just twenty quid. And no, I don’t feel bad about the terrible wages paid to the people who make such garments. I remember winning this stupid argument way back in the seventies, when I was accused of keeping Hong Kongians poor by buying their cheap stuff. What I was actually doing, as I knew at the time, was making them rich (which they now are), by bidding up the price of their labour. And now I’m doing it again.
I tried to find these garments on the internet, but failed. So I just did a photo.
Modern life is good in so many ways, but I really did not see this particular item of goodness coming.
I’ll add that the new Primark at the Centre Point end of Oxford Street, which I was sampling for the first time, was agreeably uncrowded, and generally less of a mad down-market scrimmage than the one near Marble Arch, at least whenever I’ve been there.
The above link gets you to a place that says it isn’t open yet, but it was open enough when I visited. Maybe the fact that it was open but not yet Open explains why it was so quiet. Maybe when these places officially Open, pandemonium rules from then on.
Recently I wrote about footbridges, one in particular, in theatreland. As that posting illustrates, I especially like footbridges that join buildings (in that case theatres), rather than merely convey members of the public who are on a journey through the city, even though I myself cannot cross such bridges, because I too am only a member of the public.
The London epicentre of such footbridge action is situated near Tower Bridge, on the south side of the river. Footbridges of greatly varying heights above the ground and almost beyond counting connect the tall brick buildings on each side of whatever the street is where all these footbridges are to be seen.
I knew that on various journeys along the river I had photoed these bridges, but where were such photos to be found? Oh well, I thought. They’ll turn up.
Last night, they did turn up. I was idling through photo-directories past, looking for something entirely different which I may, or may not, be telling you about Real Soon Now, and suddenly I came across a clutch of photos of the very footbridges I had in mind. I immediately copied all these photos across into the rather recently created Footbridges directory. Photos like this:
None of the photos I took that evening of these bridges were technically very accomplished. The light was tricky and I think I was rather tired by the time I took them. But, there they were, the bridges, and the photos of the bridges.
I chose the above photo from the half dozen or more that I had not because it is the best of these photos, but because it contains this vital piece of information, in writing. Close up:
Le Pont de la Tour? Google google. Apparently it’s a posh eatery, for the kind of posh people who now live in these now very posh buildings. And immediately I had the name of the street.
Don’t ask me how you are supposed to say that. Shad? The Shad? Shad Thames? I don’t know. But there’s the name. Shad. Sounds like Sean Connery saying Sad. (Do you suppose that the reason Sean Connery pronounces S as Sh is because of how Sean is pronounced? Jusht a shuggeshtion.)
Armed with this address, I could pin down exactly as opposed to approximately the location of this footbridge clutch, so that I can return there, and take better photos, and look them up on the www some more, and generally celebrate these striking structures.
And the moral is: when you are (I am) out and about taking photos, always get wherever you are (I am) in writing, by photoing writing. Photo signs of shops, signs outside places, street signs, or, in this case restaurant signs. That way, you can work out where everything was, even years later. The above picture was taken nearly six years ago.
Last night I dined at the new and rather temporary home of Samizdata, where I took this photo:
Click on this to get it larger.
These really are very tasty crisps, and I strongly recommend them. I immediately decided that I would try to serve some of these at future iterations of my last-Friday-of-the-month meetings. So, I took a note of these chips, with my camera.
When I pondered the impact of digital photography, way back when that was, this ability to photo not only mere prettiness, but also information, loomed large.
I mentioned how my friend Simon Gibbs and his workmates all use their smartphones to photo the mass scribblings on a whiteboard after a brainstorming session. The man making the thumbs-up sign in the above photo told me about a new app that he now uses at work which takes a picture like the ones Simon and his pals take, and smartens it up, so to speak. It translates handwriting, that is to say, into proper computer text (presumably computer text you can scan), and arranges everything more neatly and more readably. Impressive. And I’m guessing that the existence both of smartphones taking photos, and of apps like this that can make even more sense of such photos, changes what gets written on the whiteboard, now that more coherent text will be better recorded and processed. I’m guessing that handwriting improves somewhat. But does this app, I wonder, subtract somewhat from the informality of the process? And might that undermine creativity?
I wonder what this app would have done with my Tyrrell’s veg crisps photo.
I photoed Mr Thumbs-Up’s smartphone, where the logo for this app was to be seen, but alas, the smart-focussing in my camera was not smart enough to focus on this image. It was all a blur:
There’s no point in me showing you a larger version of that, is there? How sad that my photo-note of an app for processing photo-notes should be so useless.
I should have included more stuff off screen for my camera to focus on. As I later discovered when I took some other photos off of his smarphone, of how my blog looked on his smartphone. Those photos came out better. But that’s for another posting.
Indeed. The old Eurostar Terminal at Waterloo is finally coming back to life again, for boring rush hour services, but life.
Until late in 2007, Eurostar trains used to come and go from the new station they built at Waterloo for that exact purpose. But then they shut the place, and the Eurostars operated from St Pancras instead. Since 2007, the Waterloo Eurostar terminal has been a corpse.
After much searching, I managed to dig up a photo I took in 2007 of some Eurostar snouts poking out of the Waterloo terminal, just before it died:
Once again, we see Century House in the background of a photo here that is basically of something else. The previous posting in which this happened is here, at which there is a brief explanatory comment about Century House’s history. Spooks, basically. Now just flats.
Even older Waterloo Eurostar photos can be viewed here, posted here in 2013, but taken in 2003. I also just re-listened to a conversation involving Patrick Crozier, Michael Jennings, Rob Fisher and me, about the new St Pancras, which we all liked a lot, and presumably still like a lot.
Last Thursday, I said I would be checking out the Big Olympic Thing, and I did. The expedition was very satisfactory. I got there. I purchased, from a human, a one-year season ticket for a tenner. I ascended to the top. I took photos. I came home again. And I shall return to the B(ig) O(lympic) T(hing) and take better photos, from it if not of it, or at any rate different photos (see below).
First sighting of the BOT, as I emerged from the Westfield Shopping Centre:
Scaffolding, good. Trees mostly without leaves, good.
I still wasn’t sure how to get there exactly, but I was, as the sportsmen say, in the right areas. I asked around, and found my way, and while on my way photoed this part of a bigger map, concentrating on the area I was in at the time:
My destination is described on this map as “Arcelormittal Orbit”. It’ll never catch on.
Photoing maps when on photo-expeditions is very good, especially if the map says “you are here”, somewhere in it, which alas this one does not. Even so, this map shows where I went pretty well.
I started at the DLR station, in the clump of transport signs to the far right. I went through the pale blue expanse that is the Westfield shopping centre, along “The Street”, and then along “Stratford Walk”. Then I emerged into the open and negotiated my way past the “International Quarter”, following that big red arrow that points towards the stadium, and by then it was pretty clear.
Neither the area around the BOT nor the BOT itself is finished. There is a notable lack of any enterprise selling food or drink, and the whole place now has the air of a holding operation.
Here, for instance, was the seething mass of humanity with whom I competed for space on the lift to the top of the BOT:
Next, I’m looking out through the top of the BOT to the Big Things of the middle of London, which as you can see are actually quite a way away. Below is the Olympic Stadium:
I took closer-up shots, of course, of which this is my favourite:
The reason this shot is my favourite is that it aligns two Things you don’t often see aligned, namely the towers of Tower Bridge and, right behind them, the three-eyed Thing that is the Strata. At the time I thought I was photoing only the Strata. It turns out I was photoing an Alignment of the sort I so much like, but by mistake. I love it when that happens.
6k, in a comment on my earlier BOT posting, asked about The Slide. He’s talking about this, which is a graphic I saw at tht top of the BOT just as I was leaving. I left in rather a hurry because the BOT was closing, hence the rather sloppy nature of this snap:
But, as I often like to say about my pictures, you get the picture. That is what The Slide is going to look like. More about that in the Dezeen posting about the BOT Slide that 6k kindly linked to.
6k asked if The Slide is finished yet. Answer: It has hardly started. Not started at all in any way you’d notice. See the next picture but one below.
Meanwhile here is another graphic that I photoed, at the bottom of the BOT, on the outside:
What we see there is how the view from the top of the BOT looks when the sun is off to the side rather than straight ahead, as the sun was in all of my photos of those Big Things. And when a Real Photographer is on the job.
Memo-to-self: Some time quite soon, I shall be consulting the weather forecast and making a trip out to the BOT again, in the morning.
Second-to-last shot, showing the total absence so far of any Slide action, and the Olympic Stadium, soon to be occupied by West Ham United:
Note once again the insane competition from massed humans for the facilities on offer. Not.
I will end with a shot of the BOT and a crane, snapped from just outside Pudding Mill Lane DLR, which is one of my favourite DLR stops if only because of its name. This makes the point yet again that this whole area is very much work in progress rather than finished. The Slide is yet to come, as is a lot of other stuff:
See the very bottom of the map snap above for the location of Pudding Mill Lane. As you can see from that snap, even despite its truncatedness, there is a lot of Olympicness for me to explore that I did not explore on this particular expedition. Like I say, I shall return.
Yesterday I duly climbed to the top of the Big Olympic Thing, but today I want to show you some creature pictures. Having decided to broaden Fridays out from mere cats, to any non-human living thing, I have been wandering through my photo-archives with half an eye for any nice looking non-human photos.
Here are a couple of snaps I particular liked:
These were both taken on a photo-walk that I and G(od)D(aughter) One did in May of 2011. We spent the day walking along Regent’s Canal. I did a couple of postings about this walk at the time, but took many more good snaps than that.
The two birds above are occupants of the Snowdon Aviary. At the end of that link it says that this Aviary contains some “white ibis”, ibis being, apparently, the plural of ibis. Are those things ibis? Could be. I’m hopeless at which brand of bird is which.
The sign, which actually includes a cat, is over an entrance to the footpath beside the canal, from the road. I think. You walk under it, I’m pretty sure.
Strangely, if my photos of the day are anything to go by, we didn’t see many swimming birds that day, in the actual canal. But when we got to Paddington Basin we saw a few.
I often try to photo such birds, but only rarely come away with anything that strikes me as very interesting. The world is, after all, full of extremely Real Photogaphers who like to photo birds. So, what can I add to all that?
These two birds are maybe a bit nice, if not actually what you’d call interesting. The feathers on the one on the left have come out quite well. And the one on the right has an interesting (because pink) beak, which doesn’t look normal to me:
GD1 and I don’t talk much on these walks. We each tend to concentrate on our own photoing. I occasionally photo her from a distance though, with other interesting things (such as bridges) in the background. And occasionally, she photos me:
I like how, in the picture of GD1 photoing me, there is another photographer operating, in the background, on the left as we look.