Brian Micklethwait's Blog
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Most recent entries
- What is this weird plastic thing?
- The view from outside Waterloo Station
- Goodbye KP?
- Strange London buses
- Seaside muralist
- How Centre Point is looking just now
- Another horizontal advert for an only slightly more expensive drone
- First test against NZ – first day
- Blue sky
- Adverts for small and cheap drones
- High hair
- Hungerford Footbridges photographers
- An alien robot playing the cymbals and paps
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Category archive: Cranes
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.
Until very recently, Centre Point, the Big Thing at the corner of Tottenham Court Road and Oxford Street, used to look like this, and quite soon, it will presumably look very much like that again. Just rather cleaner.
But, for the time being, Centre Point is looking like this:
The crane is there because at the bottom of Centre Point there is a frenzy of Cross Rail and London Underground station building activity.
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.
Fantastic weather anyway. I’m still not feeling a hundred per cent. (Perhaps I never again will. (This is one of the facts about getting old. When bodily functions malfunction, they may never well-function again. (And it feels like that even more often.))) But I went out anyway to do some shopping, and then went out again with fewer clothes on, to enjoy the first real warmth and sunshine of this year instead of getting too hot in it.
Here are some snaps I took that show what a good day it’s been.
On the top left, the top of the tower right opposite me, seen from Vincent Square, through the leafless trees. Top middle, the Wheel (through more leafless trees) and that four-pointed Parliament Tower thingy that nobody knows the name of, with the Vincent Square cricket pavilion in the foreground. Top right, the new and rather crass (but I’ll probably end up liking it (perhaps after some clutter has arrived on the roof)) apartment building going up next to Vauxhall Bridge.
The bottom three snaps show what the sun, when it’s out and when evening approaches, does to the buildings on the other side of the river from me.
As you can see, from the all cranes, there is lots of new building activity in my vicinity.
Yesterday I visited a shop called Tiger in Tottenham Court Road. Here is the sign about it that sticks out into the road, even though what I thought I was photoing at the time was the Wheel:
That’s actually one of my favourite views of the Wheel, because it is so weird and unexpected. We’re looking south along Tottenham Court Road, with Centre Point on the left as we look. You hear people seeing this, and saying: Oh look, the Wheel. Wow.
Tiger has lots of stuff in it, which I haven’t time to tell you about now but will hope to do Real Soon Now. But what I will say (today) is that, after a bit of searching, I found cats, in the shapes of: a cat mat, some cat suitcases, and some tigers:
Too knackered to say more now. Suffice it to say that Tiger is a veritable cornucopia of cheap and cheerful stuff.
But still pretty:
One day, a crane reserve (that link being to where the above cranes were photographed) will be a place where they preserve and worship our mighty mechanical lifting devices, not birds. And cranes, of the good sort, will indeed be worshipped, just as soon as they are all replaced by anti-gravitational plasticene which will be stuck underneath heavy stuff, so it can be taken up to the tops of buildings by robot building workers. In the future, buildings will mostly just be sprayed into the air, but some heavy things in them will still have to be made elsewhere and lifted to their required location.
The gap between my eyesight and the eyesight of my camera grows and grows with the passing of the years, as my eyes inexorably dim and as my cameras inexorably improve. Even I can regularly manage quite decent shots with my latest camera. As a result, I become ever more immobilised by having to choose good ones from the enormous piles of decent shots I often come back with, after a day out.
Yesterday was a bit different. I went to the home of Michael Jennings for a Christmas Day lunch, picture 1.1 being the most striking thing I saw from out of his front window. The day was lovely, but the light, though wonderful, was fast fading, so Michael and our mutual lady friend and I went out for a short (by my photographic standards) walk to take advantage of it. Which meant that I took, by my standards, only a few pictures. Which made it easier to choose and stick up a few half decent ones.
Picture 1.2 is my favourite of these. Thank God for London’s religious diversity. Much as I loath what Islam says in its holy scriptures, and much as I am critical of people who go through the motions of worshipping these writings, either because they truly believe what those writings say (very wicked), or because they don’t but think that they it doesn’t matter or that they must (also wicked – yes, I mean you, Moderate Muslims – stop saying that you believe stuff that you also say that you don’t believe), I do like that having Muslims in London keeps shops open and taxis running on days like Christmas Day. Michael fixed a couple of Uber taxi rides for me, and both the drivers had Muslim sounding names.
I don’t know what the church is in 2.1 but it looks pretty behind that leafless tree. And Tower Bridge always looks pretty to me.
Re those two Tower Bridge shots, I’ve always liked how digital cameras do the opposite of the human eye, and turn urban skies bluer and brighter as they actually get darker. It’s all those orange-coloured artificial lights, burning relatively brighter as the sun sinks, together with the actual darkness on the ground, impinging upon the Automatic setting.
Today I went walkabout in the City of London with my friend Gus, father of Goddaughter 1. This evening I found, for the first time, this short video interview at the Arup (his long time employer) website, done with Gus in 2010.
Here are four vertical favourite-photos I took:
On the left, Gus shows me a magazine picture of the Cheesegrater, taken on a much nicer day than the day, cold and windy, that we were having to put up with today. Next in line is one of those Big Things seen through a gap in the foreground shots, but with a difference. This time, there are two Big Things involved. There is a sliver of Walkie-Talkie on the right, and then way beyond it, you can see the Shard. Then, we see Gus joke-propping-up the miniature Lego Gherkin that is to be seen next to the regular Gherkin. On the right, Gus looks up at something or other, this being the best snap I did of him.
Now for all my favourite horizontals.
I’m too tired after all that walking about in the cold to say much about these pictures, but see in particular 2.1, which is, I’m pretty sure, some of the bolts, a few of which recently disintegrated. Now they are having to check all such bolts, and there are a lot.
1.1: Mmmm, cranes. Grim day, well done my recently acquired camera, good in low light conditions.
1.2: Canon Street tube. Designed like a bridge, said Gus, ace bridge designer, because under it there are tube lines which it is built on top of, like a bridge. This is the building I asked about in an earlier posting here.
1.3: I included this because of the sign saying “all inquiries”. All? You know what they mean, but there is fun to be had on the phone with this sign.
2.2: A Gherkin detail, is there because I said, when I saw it, that looks rather plastic. And guess what, it is plastic.
2.4: Shows us the Lego Gherkin in front of the Actual Gherkin
3.2: A more fun picture of Gus, featuring also: me, in the right hand purple circle.
3.3, 3.4, 4.1: All the Walkie-Talkie.
4.4: For scaring pigeons, something you seldom see from above. I saw this particular cluster of pigeon scarers while descending a staircase at Liverpool Street station. That last was the very last photo I took.
When I emerged from Pimlico tube, near my home, I was amazed at how dark it had become, at a quarter to four in the afternoon. Like I say, my new camera really did the business today.
Sorry for all the cock-ups and mispronts in this posting. I’m knackered and am now going to bed.
The way to photo “iconic” buildings is to muck around with them. You can’t just stick up your basic passport photos of them, so to speak, because everyone’s seen that, even the foreigners.
You have to put your iconic building next to something else, perhaps iconic in a different way ...:
… or, you bounce your IB off a non-iconic building covered in slightly bendy glass.
Or you photo it through a Riverside Thing …:
… or behind an Iconic Bridge (the one that wobbled (see the posting immediately below)).
Or you put something else in front of it, like a photographer, and have the IB itself behind and way out of focus.
That works fine because the whole point of an IB is that you can recognise it even if it is ridiculously blurry, the way you never could a regular building.
Or, you photo it on the screen of another photographer, perhaps even a bald bloke photographer. I am now collecting bald bloke photographers, and believe me, the species is now very abundant. And by the way, if you click and look at bit carefully, you can see that the bald bloke had the same idea as me about photoing the reflected version of the Shard, rather than just the Thing itself:
As the autumn light fades, the screens of other photographers shine ever more brightly. (LATER: And, on the right there, I see cranes.)
I picked those four snaps of snappers entirely because I liked them. But, they are all pictures of snappers using their mobile phones. Mobile phone cameras are getting better and better. But of course. I mean, would they be getting worse?
But having said all that, I do like this:
No frills, no complications, just the top of the IB itself, with a bit of orange light from somewhere.
All of the above photos were taken on my way to and from the Tower of London, about tendays ago, to see all those poppies.
LATER: How in the world could I possibly have failed to include, in this, this?
Shard on camera screen, and poppies. But, this time, a clunky old camera camera rather than a mobile phone camera.
I have started a file of photos called “I Just Like Them”, for those days (very frequent) when I have left blogging for the day to the last possible moment and beyond. The idea is to have a plentiful supply of quota photos, ready to hand.
Here is the kind of thing I mean:
That was taken from the top of the Monument on November 18th 2012.
I could drone on for several paragraphs about what is so very nice about that picture (were I to do this, the redness of two of the cranes there would get a particular mention), but the simple truth is: I just like it.
Busy day. Quota photo time:
Red crane tower. Yellow staircase made of scaffolding
There is lots of building going on in the Victoria area right now. That photo was taken in Victoria Street, on the same day that I photoed yesterday’s bag ladies.
And this other photo was taken of the same construction job. It isn’t really raining. But something watery was being done up at the top of the building (washing something maybe?), and water was descending from there, down through the bright sunshine:
Rain is, I find, hard to photo (although sometimes I get semi-lucky – see photo 2 in this posting). The best way is usually to photo it at the place where it lands. Photoing it in the air as it descends seldom works for me.
This is usually because when it is raining there is no bright light in action to pick out the descending drops. It is amazing how much difference sunshine makes to photography. The eye adjusts, and doesn’t see that huge difference. But the camera gets everything exactly so on a sunny day, but dulls everything down on a dull day. If you are photoing rain, bright sunshine blasting through that rain is what you want. The above wasn’t really rain, but it was like rain - although descending more slowly, which also helped, and the sunshine was, as you can see, at full throttle.
However, you probably need to click on it and make it bigger to register the effect at all clearly.
I want one:
Dawkins just couldn’t handle www.dezeen.com, so today I had fun looking back through the last few days (with many more days yet to be looked at). This cried out to be immortalised on BrianMicklethwaitDotCom.
Late this afternoon I had another go photoing the Ballerina, the idea being to do this photo again, but better.
But then I noticed what comely wenches the statues below her were, photoed them, and then picked one and photoed her with a crane behind her:
What I like about her is that she looks so relaxed and happy about what she is doing, and for that matter about what she is wearing. Pavlova, dancing up above them, looks otherworldly and untouchable. The statues look like girls next door, but really nice looking. To be more exact, they look like the kind of girls you wish had lived next door, instead of the ones who actually did.
When I click on either of the above photos, I get the big versions rotated ninety degrees. All I can say about that for now is: my apologies. It is far too late at night for me to be working out why this happens. Does it happen for you? Comments would help, as would explanations of what I am doing wrong or what is going wrong, or whatever.
Taken a few minutes after I had taken this photo.
I should take that shot again, and get those spy cameras looking like they’re looking right at her.
This, you see, is why I like photoing in London, rather than in foreign parts. In foreign parts it is inconvenient to go back and take a picture again. In London, I can do this.
Indeed, I love that ballerina and her cranes:
Photoed by me this afternoon.
A little googling suggests to me that I am almost the only one who enjoys this confluence of balletic grace, old and new. But my googling is nothing to write home about and maybe the www is awash with Pavlova with cranes photos.