Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Rocco on Milo Yiannopoulos
Tatyana on Four towers joined together by two bridges
Patrick Crozier on Peter Foster on Robert Owen
Brian Micklethwait on Filling in a Meaningless Triangle near Kensington High Street tube
Alastair on Filling in a Meaningless Triangle near Kensington High Street tube
loony sports on Standing on boxes to interview Irfan
Brian Micklethwait on Standing on boxes to interview Irfan
Brian Micklethwait on Couple photoing their own shadows
MarkR on Couple photoing their own shadows
Brian Micklethwait on A Morris Minor advertising a ping pong night club
Most recent entries
- Matt Ridley on Epicurus and Lucretius
- Coloured lights in bottles outside the RFH
- Avian Friday
- New chairs
- Milo Yiannopoulos
- Four towers joined together by two bridges
- Peter Foster on Robert Owen
- Quota Bald Blokes and Big Ben
- Less heat and more light
- Antoine Clarke on herding drunk cats
- Antony Flew on the Terrors of Islam
- Bell end?
- Couple photoing their own shadows
- Standing on boxes to interview Irfan
- What is this iceStone device?
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6000 Miles from Civilisation
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Category archive: Bridges
Photo taken in 2008 by me, from a train, just past Queenstown Road railway station, on my way from Waterloo to Egham, the railway station of my childhood:
That’s not two towers joined together by a bridge.
This is two towers joined together by a bridge:
Those two towers are going to be built in Copenhagen harbour. They’ve just received the go-ahead. Here’s hoping they do indeed go ahead.
The week’s latest manifestation of the Michael Portillo Train Journey Show took us to Austria, and featured a spectacular viaduct, which made it possible for trains to go from Vienna to Trieste, the one big seaport of the old Austro-Hungarian Empire. This is the Kalte Rinne-Viadukt, which gets the trains through the Semmering Pass. I think I have that right.
Here is what it looks like, from above:
The man who designed and supervised the building of this railway would appear to be a very big cheese in that part of the world.
Now for another picture which tells you about something else that is going on in that part of the world, something Michael Portillo did not mention.
They’re building a tunnel:
As part of an on-going programme to improve national and international railway links for the year 2000 and beyond, Austria embarked on excavation of a 9.8km-long pilot tunnel ahead of full construction of the planned 22km-long Semmering base line tunnel through the Alps. The new tunnel is on the domestic route between Vienna and Villach, which is on the main Trans-European railway route between the states of middle and eastern Europe and the Mediterranean harbours in Italy. The new alignment will supplement the existing 41km-long route, which was built more than 100 years ago and winds slowly and steeply up and over the Semmering Pass. At the lower elevation the new tunnel will allow for higher train speeds, ensure continued services through severe weather conditions and reduce travel times substantially. When complete, the new ‘fast’ track will carry high-speed passenger services and heavy freight trains while the existing mountain pass railway will continue as a local community service and as a tourist attraction through the spectacular Alpine landscape.
Work began on the tunnel in 1994, checking out the route, preliminary drillings, that kind of thing. Amazingly, the tunnel only got the actual green light to be actually made, constructed, dug, drilled, built, tunnelled, in May of this year. The present schedule says that the thing will only be finished in 2024.
In other words, it’s going to take thirty years from first use of a digger in anger, so to speak, to the last. That sounds to me like a lot of years.
When I photo a scene, I like to get other people’s screens into my pictures:
The weather was grim and grey today, when I took the above snaps, but the paintings were bright!
Painting. Before computers, this was how they did Photoshop.
August 15th of this year was a good photography day for me. I did particularly well on the Blokes photoing front, although I’m not sure if all the male humans here pictured are actually Blokes. Bottom Middle and Bottom Right definitely. But Top Middle and Top Right are probably what you’d call Guys. Bottom Left might well be a Gent, if we looked at his face, and the face of his lady. And as for Top Left, well, you decide.
Once again, I have confined myself to subjects whose faces are not visible. Apart from the subject Top Left. That Top Left one was taken in one of my favourite Strange London Places, which is the little market space, off to the left of the trains (as you look towards the trains) in the concourse of Charing Cross Station. From it, you can then walk along the side of the street towards the river, but at about second floor level, looking down on the street, until you arrive at the down-stream half of the new Hungerford Footbridges, which are on both sides of the old Hungerford railway bridge. It’s one of my favourite little London walks.
The two definite Blokes are both photoing Big Ben, I think. The Bloke holding a “selfie stick” is, I believe, not actually using it as a selfie stick. I’m pretty sure he is photoing what’s in front of him rather than himself. Big Ben, in other words. Could he be far-sghted?
The fountain, being photoed by a Guy, is the one outside the Royal Festival Hall. The other Guy is photoing that Citroen DS23 that has already been shown here.
The bald Gent photo is not technically very good. But he too is photoing Big Ben, as you can see on his screen, which is what makes the photo non-banal.
Nobody ever comments on my photo-collections-of-photoers postings. Which makes me suspect that I am the only one here who really likes them. But, that’s all it takes for a posting here to be a posting.
Here at BMdotcom, we like a bridge. Even if, from some angles, it does not look much like a bridge. Like a bridge that I encountered yesterday, near Epping:
Looking back through the day’s snaps, I especially enjoyed the contrast between how this bridge looked, above, as I and my walking companion were approaching it, and what we saw, only moments later, from it:
That’s the M11, snaking its way towards London, just before it arrives at its junction with the M25.
You can tell it’s London because if you look (carefully) in the top right hand corner of that picture (after you have doubled its size by clicking on it) you can just make out the tops of the Docklands towers.
On a sunny afternoon in June, this was the big picture, complete with Big Things, and a bridge, in the background:
I homed in on that photosession, down by the river there.
There were making a bit of a spectacle of themselves, so their recognisable faces would have been fair game, but I took lots of pictures of them, and am able to show you only faceless pictures like these:
My favourite faceless photo being this one:
There was a big crowd looking down on all this. They really can’t complain, and I don’t believe they will, in the event they see those pictures.
When I took this snap, this afternoon, ...:
... all that I thought I was snapping was a selfie session, done by two ladies with conveniently face-hiding hats of agreeably contrasting colours.
When I got home and saw the above photo on my giant home screen, I got two nice surprises. First there was the surprise of how well the photo had come out on such a dull day. But there was also the surprise of what that clip-on thingy is on the iPhone. As so often, my camera saw more that I saw.
A little googling soon got me immediately to such places as this. That’s right, a clip-on, fish eye lens. £10.99.
Only a smartphone camera is thin enough for a lens to be just clipped on like this. Did you see that device coming? Me neither.
I’m guessing that taking a selfie with such a lens makes it much more likely that you will be in the picture, which is presumably quite a problem if you can’t see the picture you are taking. It also gives you a panoramic view in the background.
I wonder if they clocked the bloke photoing them, in that background.
6k writes about a Fairly epic disaster video:
Cranes and bridges. I know who’ll like this one…
That would be me.
But it’s not a happy crane and bridge video. It’s a bit of a disaster…
So I watched the video, and then read 6k’s commentary underneath it, in that order. 6k’s commentary described my sentiments exactly:
Look, because of the title of this post and the title of the video, you know that things aren’t going to end well. But it’s the way things happen almost in slow motion and the lack of any sort of discernible panic that makes this so entertaining.
So slo-mo was it that I checked that the people moving about as this was happening were moving at a realistic speed. They were. Which meant that the cranes really did descend this slowly. It was almost like when the Twin Towers collapsed, in that way if in no other way.
I’m not good at putting up videos here, so you’ll have to follow the link at the very top of this to watch this video. However, this disaster having been videoed at the time, there was no way the www was not going to supply follow-up stills of the resulting wreckage, and here is an aerial snap that I quickly found, which tells that story very well:
Click on that picture to get it bigger. Follow the link above if you want to see where I found it.
I’m guessing (only guessing mind) that the fact that the cranes were on a boat may have been the straw that caused the camels to fall over onto those houses.
Commenter number one there spells it out, and he says that the water aspect of things was more like a bale of straw:
There is an example of this exact situation in the maritime crane operation safety textbooks. Obviously, they didn’t read those.
Here’s a quick list of safety violations:
1) None of the vehicles were secured on the decks
2) Barges stability was not ensured in any way
3) The cargo was not stabilized from swinging & windage by lines
It’s easy to sneer about how hindsight is easy, blah blah. But this guy sounds like he might have been able to stop this, had he been directly involved.
I spent the morning not doing anything here, and then the later morning making sure that there were no Ashes mishaps. Then I spent from the middle of the day almost to the end of the night attending a wedding. I took about eight hundred pictures, but for now, one must suffice, not very wedding related, other than it was taken from where the reception took place, namely from the upstairs bar and terrace of Doggett’s Coat and Badge.
I am often out and about in London as the sun sinks, but seldom in a place like this, a crucial few dozen feet higher up than usual. I think this affected the effect of the sun on the Big Things of the City.
Although, it could just be that I was in a good mood and the view was slightly unfamiliar. After all, I was high enough to see over the new Blackfriars Bridge Station, and thus see those Big Things from an angle I’m not used to.
I am not used to the Gherkin being totally hidden by the Cheesegrater, which in this shot it just happens to be. Perhaps that is what is making the Cheesegrater look so good, to me, today. There is no bulge bulging out from behind it.
As you can see, one of the cranes was on fire with the light of the sun.
We start (top left) with a view of a photographer on the Millennium Footbridge, and end with a clutch of photos taken on Tower Bridge. In between, I walk from the first bridge to the second, along the south bank.
As you can see, smartphone cameras continue to predominate:
As you can see, I am becoming every more careful to avoid showing recognisable - especially automatically-computer-recognisable – faces. I have even included one photo (bottom right) where the whole point and fun of it is that a passing car hid the lady’s face, and thus caused the resulting photo to qualify for inclusion in this posting.
Also, I like that effect you get with glasses (top right), where you get a more focussed version through them of the otherwise blurry background.
I need to get out less, and this weather is not helping.
Tomorrow, the weather will be helping very much:
This is perfect. My life today, in the last few days, and for the last few weeks, has been one mad social whirl after another, my contented solitude being having been violated seemingly every other evening and sometimes more often even than that, which is all fun and all that, but I find that an evening out puts a blight on creativity for the entire day, because what if I start something, want to finish it, but then don’t have time to, because I have a social whirl to attend and to get ready for and to find my way to and to find out about finding my way to? Last night I whirled out to watch theatrical stuff in an unfamiliar and transportationally complicated part of town with a theatrical friend. Tonight, I face another social whirl, to meet Perry II. Every time I go out I take photos, but because of all this going out I have no time to show them to you people or not with the sort of insightful commentary that I want to attach to them without which what’s the point? - They’re just pictures.
So tomorrow (a day during which I have nothing else planned), I will stay in all day, and try (although I promise nothing) to do here a mammoth day of catch-up blogging, showing you a tiny fraction of the pictures I have been taking lately, all properly explained, and anything else I’ve been meaning to put here for some time that I decide to put here tomorrow, in not one, not two, but many postings.
We shall see.
Busy day today, so another photo taken yesterday evening, at the southern end of Blackfriars Bridge:
You can find lots of pictures of these dragons, but not so many photos that look the way mine does, with a blurry Big Thing and a blurry crane in the background.
Wikipedia, which I assume to be reliable on something so politically uncontroversial, has this to say about the Buck Brothers:
Samuel Buck (1696 – 17 August 1779) and his brother Nathaniel Buck (died 1759/1774) were English engravers and printmakers, best known for their Buck’s Antiquities, depictions of ancient castles and monasteries. Samuel produced much work on his own but when the brothers worked together, they were usually known as the Buck Brothers. More is known about Samuel than Nathaniel.
Samuel Buck was born in Yorkshire in 1696. After publishing some prints in that county he moved to London. With Nathaniel he embarked on making a number of series of prints of “antiquities”, which consisted of ancient castles and former religious buildings in England and Wales. Starting in 1724, they travelled around these countries, and completed sets of prints for the regions of England by 1738 and for Wales between 1739 and 1742. These are commonly known as Buck’s Antiquities. During this time they also worked on a series of townscapes in England and Wales entitled Cities, Sea-ports and Capital Towns.
I mention these guys because here are their engravings of the Thames in London, seen from the south. All are worth clicking on.
For the first time ever on the net, here are high quality images of Samuel & Nathaniel Buck’s complete sequence of five views of London as published in 1774.
That “first time ever” was in 2012, but news like this does not date.
Together the originals form a panorama of mid 18th Century London over 4 metres long. They show, in tremendous detail, the whole of the north bank of the Thames, between Westminster and the Tower.
Horizontality! Each is fairly horizontal to start with, but stitch them together ...
Just how accurate these engravings are of the former times that the Buck Brothers were purporting to recreate, I do not know. But I assume they give us a pretty good idea of how things were, until such time as aliens show up to reveal to us their tourist snaps from previous visits.
I especially like the last one:
I like this for a number of reasons.
First, it shows the spires of old London, and hence how very well the Shard fits into contemporary London. The Shard is of course the very embodiment of new London, but it also evokes old London, far more that most more recent London architecture.
Second, this shows old London Bridge, with all its buildings. What fun it would be for London to build itself another such bridge. One of the reasons I so welcome the new Blackfriars Station, on its bridge, is that it sets a precedent for just such a bridge with buildings some time in the future. This new Ponte Vecchio on Thames probably shouldn’t be in the middle of London, though, because that would spoil a lot of views. Why not a big bridge of this sort further downstream? Any decade now … If it were ever to happen, such a bridge would nicely complement the new Garden Bridge, full of plants, that Joanna Lumley wants to build. This is going ahead (… ”will” …), apparently.
And the third reason I like the above Buck Brothers panorama is that to the far right, it nicely shows what an imposing edifice the Tower of London used once to be. Here is the detail I mean:
Okay, that big building to the left means that the Tower is not as imposing there as all that. But it certainly gives you a clue concerning what an imposition it was when it was first imposed (scroll down to the quote there).
You can tell that the bridge is Blackfriars Bridge because it has that written on it.
And then, moments later, I photoed someone else with the same combination of ideas:
Both photoed at that magic hour in the evening when everything is lit like it’s in a movie and when pictures on other people’s cameras show up in my pictures . Movie people call this magic hour “Magic Hour”, or so said a book I read a while back called Magic Hour.
Photographer on the upstream Hungerford Footbridge, me not on any Hungerford Footbridge:
Photographer on the downstream Hungerford Footbridge, me on the same Hungerford Footbridge:
Me on the downstream Hungerford Footbridge, photographer not on any Hungerford Footbridge:
The first picture is the most visually dramatic, but the third is the most mysterious.
Deck chairs on a deck makes sense, but why is there a pretend lawn on the deck? And why did the man need to be in the middle of the pretend lawn to take his photos?
I do not know.