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Category archive: Cranes

Friday July 22 2016

Last Tuesday was ferociously hot by English standards.

The first thing I noticed, when I stepped into the inferno that was outdoors, were those windows which are not windows. (1)

After dropping in on Gramex (on that day mostly stuffed with stuff I either already had or didn’t want), I went to Waterloo Station, where I came upon that Ghostbusters sculpture. (2)

I was at Waterloo because my officially designated destination was to check out the state of this view:

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I took that photo in July 2004, with a now antique Canon A70, through a window, hence those unfortunate reflections.

Because it was a rather dirty window, this photo also emits a rather antique-photo atmosphere, like it was taken in the very earliest days of colour photography, an atmosphere greatly reinforced by the subject matter.  Right in the middle of that snap is a bunch of back-to-back terrace houses.  Where are we?  Somewhere in The North?  No, we are looking out on a little bit of London near Waterloo Station, a strange clutch of houses left untouched by either bombing or Modern Architecture.  All around this antiquated patch of otherness, Modern Architecture is springing up, beating its chest and yelling for attention.  But the thing itself is an unsullied little set of dwellings that would not be out of place in a DH Lawrence TV adaptation.

Here is how the same view looked last Tuesday:

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No dirty window, no reflections, because I managed to get my camera through a small window opening out into the open.  Also, my latest camera takes a broader view of things, which means that the stubby tower in the 2004 photo has become slimmer, and more of the horizon is to be seen.  The Oxo Tower, for example, has moved into view.

The most obvious change is how 240 Blackfriars now blocks out so much.  Tate Modern, Tate Modern Extension, and a large chunk of the City, all blotted out.

The place where I took these photos, from the outside, in 2004 as now, looks like this:

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Just before taking the new version of the back-to-backs view, I took another photo, through another window off to the right of the ones you see in the above photo, the one of the Wheel and the cranes and the clutter in this earlier posting about a cricket match. (3) Which makes this the forth posting involving photos taken on that expedition.

Wednesday July 20 2016

My entire day today was bent out of shape by a cricket match, between Surrey and Hampshire.  Surrey were trying to bowl out Hants and win, but the pitch was a belter and a draw was the likely result all day long.  Nevertheless, every time the day looked like it had died, Surrey took more wickets.  It reached six down, and Surrey were in with a chance.  But then there was yet another long stand, by two Hampshire guys, in a match distinguished by long stands.  The game had begun with a stand of over two hundred by the Surrey openers, and the Surrey first innings ended with another two hundred stand, unbroken, between the Surrey wicketkeeper and the Surrey captain, Gareth Batty.  So today, Hampshire six down, with the game nearly over.

But then, Batty suddenly got a couple more wickets in the same over, bringing his total for the innings to six and his total for the match to eight, and then Stuart Meaker got another, and suddenly Hampshire were nine down.  Could Surrey finish it?  Earlier in the season, they got another side nine down but then got beaten by a big tenth wicket stand, so nothing was done and dusted until it was done and dusted.  But then Meaker got the final wicket, and it was done and dusted.

Just now I did manage a posting at Samizdata, based on some photos I took out in the blazing sunshine of yesterday afternoon.

The two photos I showed at Samizdata were chosen for their content, not their artistic expression.  Here is one of my favourite photos, from the artistic expression point of view, that I took yesterday:

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Mmmmmm.  Cranes.  And roof clutter.  And The Wheel.

While out and about taking snaps like that, I was also following the Hampshire v Surrey game on my mobile.  When I left my home, Hampshire were nearly all out in their first innings, and Surrey were on course to get them in again and get stuck into their second innings.  But while I was drowning my sorrows in photography, Hampshire’s last wicket pair were frustrating Surrey for the last hour and a half of the day, and Hampshire still hadn’t lost their last wicket at close of play.  This morning, the stand went on, only ending with a run out.  Like I say, this was a match which Surrey always deserved to win, but you never thought they actually would.  And then: they did.

Yesterday, I was opining that you shouldn’t let yourself be at the mercy of popular culture, to the point where you start getting angry about sequels and remakes, in this case the remake of Ghostbusters.  But this is the fate of every true sports fan.  He is at the mercy of events entirely controlled by others, and is doomed to constant disappointment.  But, I suppose, there are enough good days, like today was for me, to make it a satisfactory bargain.

And I really am a true Surrey fan.  While Surrey were piling up the runs on the first day of this game, England were busy being bowled to defeat by Pakistan.  And while this was happening, I was wondering how many Surrey wickets I would surrender to cancel out England wickets.  It turned out: hardly any.

So here, to celebrate, is another photo I took, last year, when I actually went to watch Surrey play:

image

That being Gareth Batty.  Man of the Match, and Surrey’s Man of the Season so far.

LATER: Cricinfo agrees:

Batty was not so much leading from the front as picking up those around him, yapping under the helmet and then getting the job done himself. A century in the first innings began his work before two for 78 in the Hampshire reply was bested by a sensational six for 51 in the follow-on. Throw in Stuart Meaker’s reverse swing addled 18 overs of four for 40, and you wonder where the doubt in obtaining a result came from.

But with 10 overs left in the day, hope had all-but gone. At the end of Batty’s 24th over (56th of the match) he walked duck-footed to mid off, shoulders slunk, cap in hand, dreading what might be. Of all long-form cricket’s gut punches, the handshakes after a drawn fixture take the most out of a skipper who has spent the last few hours on top. And Batty’s side had been ahead for the last three days.

Summoning one last push, Batty returned to take two in his next over. Lewis McManus, having started the day with bat in hand, looked like he would finish it, too. But, after six hours and 21 minutes of crease time across both innings, he was finally dismissed to a fast arm ball. Three balls later, Andrew’s outside edge was found with a perfect off spinner. It was left to Meaker to finish things off. Late movement into the right hander did for Gareth Berg, before Mason Crane was the recipient of a bouncer that would haunt the most weathered opening batsmen, let alone a 19-year-old number 10.

Surrey currently sit outside the relegation zone, 10 points away from Nottinghamshire, who have replaced them in the bottom two. Even if Hampshire were to win their game in hand with full bonus points, they would only go one ahead of Surrey. It bears reiterating: rarely will you see a side work so hard to achieve a four day win of this magnitude.

Read the whole thing.

Monday July 11 2016

I know what you’re thinking.  You’re thinking that there I was, making my first visit to the Tate Modern Extension, and photoing from the top of it: Big Things, cranes, roof clutter, bridges, churches dwarfed by modernity, and so forth and so on, but I made no mention of other photographers.  Did I perhaps ignore them?

Oh no.

This was the first picture I took of the new building when we arrived in its vicinity, not of the whole building, but of some people at the top of it, taking photos:

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And when I got to the top myself, I was keen to photo more of my fellow photoers, and I did:

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The first and last of those nine photos are of people taking photos of the building.  All the others are, as you can surely see, of people taking photos from the building, from that excellent top level aperture.

Almost entirely smartphones.  I didn’t pick them out that way.  That’s just how it turned out.  The only non-smartphone camera is in the top picture, the one taken from the ground, and even he has a smartphone snapper next to him.

Saturday July 09 2016

There are some excellent photos of the new Tate Modern Extension to be found here, this one being number 3 of the big pictures at the top of that posting:

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As that picture shows very well, they’ve stuck a big lump onto the back of the Original Tate Modern, which is the Big Thing with the big tower on the left as we look.  Tate Modern itself calls this new lump, on the right, the “Switch House”, which may or may not catch on as the real name of this thing.  We shall see.

The new lump is a sort of cross between a modernistic erection from the Concrete Monstrosity era of Modern Architecture and a Crusader Castle.  The structure is concrete, but the surface is brick, just like Original Tate Modern.  And very handsome it looks, to my eyes.  Those thin windows suggest to me people who want to be able to fire arrows at you, while being much harder to hit themselves.  An appropriately belligerent metaphor for the still somewhat fraught relationship between Modern Art and the surrounding culture.

What that set of pictures at Dezeen does not wallow in is what you can see from the new Tate Modern Extension, and especially from that bigger opening at the top, the one without glass.  That is indeed what it looks like from below.  It is a viewing gallery.  I never quite believe arrangements like that until I have personally sampled them.  What will it cost?  Do you have to book?  Is there a lot of airport security crap to get through?  Etc.  But all the answers were good.  It’s free, there is no security theatre to contend with, and the viewing gallery was everything that it promised to be.

I was up there with GodDaughter 2 last Sunday afternoon, and trying not to ignore her completely.  Plus, the place was about to close.  So I was very much in we’ll-look-at-it-when-we-get-home mode.  But I got some good snaps, which at least inform you of the sorts of views you get up there, even if they don’t always hit the spot for artistic impression:

imageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimageimage

Big Things.  Cranes.  Roof clutter.  Bridges.  Churches dwarfed by modernity.  BMdotcom heaven, in other words.  Click at will.

LATER: Or, even better (much better actually), click on this.

Wednesday July 06 2016

That being the name I have given to this photo, taken yesterday afternoon:

image

Pride of place in all the temporariness goes to Centre Point, currently having some kind of makeover.  But there are also cranes, crane shadows, flags, and all manner of urban thisness and thatness, including a big face on the back of a Boris bus, advertising Coca Cola.

Why the Union Jacks I wonder?  Was the idea that, following the vote for Remain that was obviously going to happen, there would always be a Britain?  Tourists, this place is still its good old British self?  Leavers, bad luck, this is your consolation prize?  Remaining doesn’t mean that Britain will be gobbled up by Europe?  (Even though that is the plan.) Seriously, I wonder what the thinking was there.

Whatever, it makes for a pretty photo, I think.  Also, good light.

Thursday June 30 2016

6k writes about the long journey from journeyman amateur snapper to Artist:

I don’t pretend to be a photo ninja. I can point, and I can shoot, and sometimes the results can be pretty good. Very occasionally, they can be startlingly good, but only very occasionally. I need to work more at not just pointing and shooting to increase the percentage of those startlingly good shots. We’ll get there.

There follows a picture of a bird spreading its wings.  In other words, the capture of a fleeting moment.

6k photos his family quite a bit, as they do things like explore the spectacularly beautiful coastline near where he lives, in South Africa.  Photoing your loved ones is also a matter of capturing the exact right moment.

With me, I think I get nearest to Art when I’m lining things up with each other.  I have a mental list of things I like, and a picture counts double in my head, if I can line a couple, or maybe even more, of these things.  The most characteristic of such alignments over the years have typically involved a digital photographer, with a London Big Thing in the background.

Here are a couple of efforts I might pick out to enter a competition, if someone told me I had to do that:

imageimageimage

In these two cases, there is also an element of me waiting for the right moment, or more accurately me snapping lots of promising looking moments and picking out the best one.

Those two are from this huge collection of unrecognisable photographers, which I doubt many of you scrutinised in its entirety.  So there are two of them again.  I particularly like the one with the blue balloon.

And here is another exercise in lining things up, captured just a few days ago.  This time, the object at the front is a plastic water bottle, resting on the anti-pigeon netting in the courtyard outside and above my kitchen window.  Behind the bottle is a thing that regulars here will know that I like a lot, namely: scaffolding!  This being the scaffolding at the top of the big conversion job that’s being done across the courtyard from me:

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That picture involves something I don’t usually like to do, which is cropping.  The original snap was rather bigger.

I don’t know what exactly I’ve got against cropping, but it feels to me like only one or two notches up from cheating.  Maybe I take rather excessive pride in (the Art of) getting the snap I want to emerge straight from the camera, no muss, no fuss, no photoshop.  The truth, of course, is that cropping is itself very much an Art.  But because I don’t do cropping that much, I probably could have cropped this photo a whole lot better than I actually did.

Monday June 27 2016

Usually, I do quota postings in the small hours of the morning.  Today, I am doing my quota posting in the big hours of the morning, to get it out of the way before a rather busy day, at the end of which I do not want to be fretting about doing a quota posting.  Although, actually, this posting has now turned into something a bit more substantial than that, and I changed the title to something more meaningful.  So anyway, yes, cranes:

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Ah, cranes!  Those structurally perfect votes of confidence in the sky.  Those cranes were snapped from the south bank of the river, looking across at The City, on the same day earlier this month that I snapped yesterday’s quota photo.  What that new Moderately Big Thing is, that some of the cranes there are ministering to, I do not know, but I like how it looks, in its incomplete state.

With Brexit, will the cranes vanish for a few years, until London sorts itself out and finds itself some new business to be doing?  Crexit?  (You can always tell when a word has well and truly caught on, because people immediately start trying to apply the same verbal formula to other things.  Brexit, verbally speaking, is the new Watergate.  Frexit, Swexit, Thisgate, Thatgate, etc. etc.) I thought that the cranes were going to depart after 2008 and all that, but the money people managed to keep the plates spinning on their sticks, and London’s cranes carried on.  How will it be this time?

Here is a very pessimistic piece about Britain’s prospects, for the immediately foreseeable future.  Does this mean that my crane photo-archive will, in hindsight, be the capturing of a moment of the economic history of London that will now pass?  If the cranes do go, how will they look when they return?  When the new cranes move in, in ten years time or whenever, will cranes like those above look strangely retro, like digital cameras circa 2005?

Or, will the cranes never return, but instead be replaced by magic electric guns which fill the air with muck and sculpt a building out of the muck, 3D printing style, all in the space of an afternoon?

Sunday June 19 2016

Here is a photo taken by a friend with her mobile, of a construction site in New York, complete with cranes:

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I love it when friends send me snaps of things they know I will like.

I am particularly glad to see New York construction cranes in action.  After doing that posting about how there has been no construction in the southern end of Manhattan, mentioning absence of cranes as evidence of no construction, I started to wonder if, in New York, they do things differently.  I wondered if they built skyscrapers without using cranes, but just lifting all the stuff up the building, as they built it.  Or something.  But of course they use cranes in New York, same as everywhere else.

Just to be quite sure about that, I googled “construction cranes new york”.  And I was greeted with scenes of crane carnage like you would not believe.

Apparently cranes in New York occasionally fall over, and this is the one time when the average person is interested in them.  As a result, the average person has a totally distorted idea of the positive contribution made by construction cranes to modern society.

Thursday June 09 2016

Indeed, with cranes and with intervening roof clutter in the foreground:

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One of the oddities of the internet is that if you google new us embassy london, you get lots of Big Boxy Things, all looking different from each other.  By which I mean, it’s the same box, but the architectural wrapping is different.  Basically what you are looking at is all the different guesses or early suggestions about how it was going to look or how people thought it ought to look, which then just hang about for the next few years.  Until such time as the Big Boxy Thing is finished, at which point huge numbers of new photos of it will drown out the guesses and the failed propaganda.  This makes it hard to know, now, when the Big Boxy Thing is still being constructed, if what you are seeing is the Big Boxy Thing in question, or some other Big Boxy Thing.

But, in among all the imaginings, I found actual photos of the new Embassy as it actually is, in the process of being built, and the above photo is definitely of the actual US Embassy.  No doubt about it.  More views from the same spot, above my head as I write this, here.

What is happening is that Spook Alley, which starts near Waterloo Station, continues via all those James Bond enterprises in anonymous Big Boxy Things, and then takes in the new MI6 building, is now being added to with an American strip of boxes of comparable scale, further up the river on the south side.  This is the Special Relationship in steel and concrete form, and the idea that this relationship is now cooling is visibly absurd.  It has never been more solid.  A whole new district of London is being created, basically for spying on terrorists, and on anyone else that the spooks take against.

As the rest of London expands down river, towards places like the new Container Port way off to the east, governmental London moves in the other direction, up river, west.

Friday June 03 2016

Here is a picture of the Lower Manhattan end of New York, the bit with the tallest skyscrapers, topped off in 2001 by the Twin Towers:

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And here is another picture of the exact same scene, taken fifteen years later in 2016, this time topped off with the single replacement tower for the Twin Towers:

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The guy who took these pictures was interested in which photograph is photographically superior.  The first one was taken with old-school film and the second is digital.

To me the two pictures look nearly identical.  Their technical identicality does not interest me.  But their architectural identicality, aside from the Twin Towers alteration, is something that I find fascinating.

Skyscrapers have exploded all over the world in the last decade and a half.  New York is one of the world’s great cities.  And yet, here are two photos of New York taken at opposite ends of the last fifteen years, and aside from the rather dramatic change imposed upon the place by terrorism, nothing at all seems to have changed.

Things were not changing in 2001 and they aren’t changing now.  Consider the cranes in these pictures.  Basically, barring a few microsopically invisible ones, there are no cranes.

I don’t know why this is, but it strikes me as an extremely remarkable circumstance.

It’s not that you aren’t allowed to build towers in New York any longer, unless you are replacing something like the Twin Towers.  In the part of New York a bit further to the north, just to the south of Central Park, there is an explosion of skyscrapers under way.  Skyscrapers that are very tall, but very thin.

Here is a picture of how these new New York Thin Things look like they will look:

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People have long feared that skyscrapers would make all big cities the world over look alike.  But the shape of individual skyscrapers varies from city to city, and does the shape of skyscraper clusters as a whole, and as does the variations in the heights of buildings.  A city where the newest and tallest towers are a lot taller than the older buildings is one sort of city.  A city where new towers are only slightly taller than old ones looks very different.

New York’s newest towers are, as I say, these tall Thin Things, a lot taller than their surroundings.  In London, the typical new tower is a much fatter looking Thing, the extreme recent case being the Walkie Talkie which is big on the ground compared to its height, and which then bulges outwards as it goes upwards.

Interestingly, the Walkie Talkie is the work of Rafael Vinoly, as is this new Thin Thing in New York.  (You can just see the top of this new Thin Thing in the second of the two Lower Manhattan photos above, bottom left, in the foreground.  That’s the one big change in these photos aside from the Twin Towers having been replaced.) It’s like Vinoly wants to do his bit to make great cities look distinct and recognisable, rather than them all looking the same.  Good for him.

Thursday May 19 2016

Another French picture, but this time taken in Paris, by my friend Antoine Clarke (to whom thanks):

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That would be La Defense, unless I am much mistaken, that being Paris’s new Big Thing district.

I cropped that photo slightly, to moderate that leaning-inwards effect you get when you point a camera upwards at tall buildings.

imageThe email that brought the above snap to my desk, earlier this month, was entitled “warmer than when you were here last”.  When I last visited Paris, it was indeed very, very cold, so cold that water features became ice features (see the first picture there).

Today, Antoine sent me another photo, also suffering somewhat from leaning-inwards syndrome, and also cropped by me, more than somewhat.  See right.

Mostly what I think about Antoine’s most recent picture is: What an amazing crane!  So very tall, and so very thin.  It’s amazing it even stays up, let alone manages to accomplish anything.  I don’t remember cranes like that existing a generation ago, but maybe that’s merely because no towers that high were being built in London.  Not that Antoine’s crane is in London.  It is somewhere in America, but where, I do not know.

I just did a bit of googling for books about cranes, and if my googling is anything to go by, books about construction cranes and their history are a lot thinner on the ground than are construction cranes.  When you consider how many tons of books have been written about the buildings that construction cranes construct, it is surprising that so little is written about the mighty machines without which such construction would be impossible.

It reminds me of the analogous profusion of books on the history of science, and the comparative neglect of the history of scientific instruments.

As I think I have written before, one major defect of my blog-posting software is that I do not get an accurate picture of how the final blog posting will look, and in this case, whether there is enough verbiage on the left hand side of this tall thin picture of a tall thin crane, to prevent the picture of the tall thin crane impinging upon the posting below.  Hence this somewhat verbose and superfluous paragraph, which may not even have been necessary, but I can’t now tell.

Wednesday May 04 2016

I am in the town of Thuir, near Perpignan, for a few days.  Last night, in fading but still fabulous light, looking more amusing sights.  I was not disappointed.

I’m guessing that the thinking here is that nicking a crane, or even getting inside a crane, is quite an operation, what with cranes being rigged so they’re unenterable if you are not the designated owner.  But, nicking a cement mixer is just a matter of lifting it onto your vehicle.  So, here is how you protect your cement mixer when you go home at night:

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Cranes.  Is there anything they can’t do?

Typing text is a struggle in Thuir, because in Thuir, they have slightly different keyboards to what I am used to.  But photos, which in Thuir need different software to work, are also a struggle.  So, blogging here for the next few days will probably (I promise nothing), as always here, be light and perfunctory, the difference being that here I have an excuse.

Saturday April 16 2016

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:

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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.

Tuesday April 12 2016

Being sick as in feeling sick, and occasionally being sick as in being sick.  As in expelling stuff I had previous eaten from my mouth.

Quota photo time:

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There is so much light crashing across London from west to east that evening the eastern clouds were lit up pink, like they were a sunset or something.  So I know what you are thinking.  It must have been one hell of a sunset to do that.  And you are not wrong:

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If I wasn’t sick I probably wouldn’t indulge in such a lurid sunset, which I photoed last Saturday evening on Tower Bridge.  But I am sick.  I can do what I like.

Actually, it’s already getting better.  But wish me well anyway.

Thursday March 24 2016

There is, as I write, deep joy, a crane in operation, right outside my kitchen window.  I can see it now, lifting steel girders onto the roof of a building that is being revamped, from an office into flats, across the yard from me.

Yesterday, I did something I haven’t done for a while, which is I attempted to get onto the roof of my block of flats.  I succeeded.  More deep joy.  The door was unlocked.

Here is a picture I took of the crane, yesterday afternoon, just as it was folding itself up after its day’s work.  The men in yellow had finished their work also, and the crane was about to descend back into the street whence it came:

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I have not seen this process before, which is so central to how these things operate.  It is not enough that they must be able to do their job, of lifting up things like girders and depositing them accurately into the midst of a building.  At least some of them have to be able to hoist themselves up, and unhoist themselves down again afterwards.  I mean, if you could only ever erect a crane with the help of another crane, where would it end?

A crane like the one in the last of these pictures that I showed here last Sunday, is another crane of the sort that can raise itself up off a lorry and immediately start work, and it is pretty clear just from looking at it approximately how it does this, even if its internal workings are slightly mysterious.  But the manner in which the above crane operates isn’t quite so obvious.  You need to see it to really appreciate it.  And now I have.

I’m not exactly sure which it was of the cranes here that I saw in action, but that is definitely the website of the crane hire enterprise concerned.