Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Mark Rousell on Views of Epsom and views from Epsom
Mark Rousell on Views of Epsom and views from Epsom
Dent on The hottest day of the year (5): Old Citroens in Roupell Street
Melbourne House Check on Windows in bright light
Rob Fisher on Modernism now works
Jeff Weston on French animals from GodDaughter 2
Coffee Lover on On the connection between drinking lots of coffee and living a long and healthy life
6000 on Some more anonymous photographers from May of this year
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Most recent entries
- A very good meeting - and a quota horse with quota cart
- World’s tallest and longest glass bridge opens in China
- Views of Epsom and views from Epsom
- Sunny Croydon
- Bridge in Germany with houses on it
- A day in BMdotcom heaven (5): My belated photo-tribute to Kumar Sangakkara
- Quota Shard with quota cranes
- There’s a spiral staircase inside the Testicle
- Dernbach decisive again
- Windows in bright light
- When welfare means lavatories
- Another place to photo London’s Big Things from
- Crane with roof attached
- Another fine day at the Oval (4): Scoreboards old and new
- Street dogs
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Category archive: France
Indeed. Photoed by her in a zoo in or around Quimper, where she is staying at the moment.
First, an elephant. At first I thought there was a camera smudge in this, in the middle. But the elephant is chucking dust over itself, and also some into the air:
GD2 particularly drew my attention to its legs. Also indeed.
And here are some monkeys, looking very learned:
This picture cries out for a caption competition, but caption competitions don’t seem to work here. By all means try to change that if you’d like to.
These - I think - very nice photos were apparently taken with an iPhone 6. Impressive.
Savour this Dezeen headline:
I could write a long essay about that headline, and still not have extricated all the irony and nuance and cultural understanding and misunderstanding, history of failure, history of success, wrapped up in it. Maybe I will.
A central observation in such an essay, should it ever materialise, will be that Modernism now works. Those “machines for living in” that we were promised all those years ago did not work when they were first built, hence the unwillingness of normal people to inhabit these malfunctioning machines. But, now the Modernist machines do work. Architects have spent decades learning how to make “functional” architecture actually function, and now, on the whole, it does.
Thus, buildings which poor people used to run a mile from are now desirable dwellings, and rich people compete to purchase them.
Well, not quite a decade. I’ve been photoing photoers since well before this, but the first of these particular snaps was taken in July 2007. They illustrate that I have been concerning myself with the photoing of photoers while contriving, in one way or another, not to photo their faces, for a long while now. When I started taking photos of photoers, face recognition was a mere idea, used by implausibly attractive detectives on the telly but not yet a real thing in the real world. Now, with the social media and ubiquitous digital photography, faces (not just big faces but faces in crowds) can be dated and placed and identified, of everyone, and very soon by everyone.
I just picked out a few photos that I like (although, it soon became a bit more than a few). I like them because the pose is fun (6.2, 6.4), or because they’re strongly back-lit (1.1, 3.4), or because the screen is so clearly visible (6.1), or because the faces of photoers are hidden by bubbles (7.3), or by a coat (7.1), or by an orange bag with the Eiffel Tower on it (that one is the one snap of these that was not taken in London (that’s Paris, Feb 2012)), or because they’re photoing through some bars (in this case at the top of the Monument (1.3)), or because they were just too far away (in one of the pods of The Wheel and on the other side of the river (5.3)), or because they are simply facing the other way or holding their cameras (or their arms or their hands holding their cameras (1,2, 1.4, 4.1, 4.3, 5.1, 6.4, 7.2, 8.1, 8.2, 8.3, 8.4)) in front of their faces. My favourite face-blocking device here is the blue balloon (2.1) saying visit Mexico. The balloon goes very nicely with the Testicle (click and look on the blue square below if you are baffled). Happy times:
The most recent of these was taken when I was photoing that model of the City of London (8.4). Someone else was also.
After assembling these thirty two snaps, I did more browsing, and I soon realised that I could easily have found another thirty two more, and more, many more, of equal fun-ness.
Like with everything else, good photography comes from doing the same thing again and again.
I already showed you some Narbonne bridges, snapped during my France expedition. Here are more bridges.
Are these first lot of bridges really bridges, or are they just buildings with holes in the bottom of them to let people through? I reckon these make the cut, but once the buildings start really piling up on top of the holes …?:
I’m doing these bridge photos in sets of three, and next is a clutch of photos of a set of three bridges that connect the town of Ceret to the other side of the local river. Picasso spent time in Ceret, because of the light. (I also photoed Renault Picassos.)
The regular shot of these bridges is from below, as you can see if you click on the second of these photos. But I was with people who were in a hurry, so I only got to photo the bridges from the other bridges, or in one case, the shadow of a bridge, from the bridge. And oh look, photographers!:
In the first of these next three bridge photos, there are three more bridges, by my count. They’re in the seaside town of Collioure. The other two are in Perpignan, where, just like in Quimper (where I have also visited these same friends (G(od)D(aughter)2’s family) – they have houses all over the place), there is a river flowing through the middle of the town with multiple bridges over it.
Finally, here are some rather more modern bridges. First there is one of the main motorway from France to Spain, which carries a lot of lorries.
The motorways of Europe may, I surmise, be the place on earth where robot drivers have their first seriously big impact. Robot cars are too complicated, and to start with, what will be the point of them? But robot lorries will be able to travel a lot faster than regular lorries, for a lot longer than regular lorries, on roads that are the most controlled and predictable roads in existence. European motorways carry colossal amounts of freight, unlike in the USA, where a lot freight goes by train, Europe’s railways being full of passenger trains. And there’s nothing like a sight of this particular motorway, handily shown off by being placed on the side of a mountain in full view of the local and non-charged version of the same road, to see all this.
In the middle below is a hastily snapped shot from a bridge as we drove over it, over a newly constructed high speed passenger railway, again connecting France to Spain. Brand new railways lines have a certain pristine charm, I think, with the gravel under the tracks yet to be blackened by constant use.
Finally, we have what may well be my favourite South of France bridge photo of them all, on the right there. This is one of those unselfconsciously functional footbridges, which more and more abound in towns and cities (London has many such bridges), and which join work spaces off the ground to other work spaces off the ground. This particular footbridge is in Perpignan.
Quite why such bridges, which have long been around, are now proliferating is an interesting question. Maybe it is just that organisations are getting bigger, and demand bigger buildings, and connecting two buildings by a footbridge of this sort turns two buildings into one building, at any rate for certain purposes. If two bureaucracies that live across the road from each other merge, then a bridge joining the top floors together is the logical first managerial step. This allows the new bosses to commune with one another, without having to trundle up and down and across the road all day long, rubbing their shoulders with the unclean shoulders of their underlings. Lower footbridges bridges enable functional specialisation to proliferate among lesser personages.
But, what do I know? My point is, I like such footbridges. And whereas most of the other bridges in this posting are the sort that feature in lots of other people’s photos and in picture postcards, these Brand-X urban footbridges are only a Thing because I say they are. Which is a major purpose of truly good photography. Truly good photography doesn’t just celebrate the already much celebrated; truly good photography offers new objects of potential celebration.
So now I will celebrate this Perpignan footbridge some more:
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.
For years I have struggled, with the graphics programme I have been using, to crop, not square (an option this programme does offer), and not to a size I specify (ditto), but to a ratio that I specify. For years, I could not do that. I repeatedly searched for such a thing, in other programmes, but evidently didn’t pick the right words.
Then, in France, I couldn’t remember the mere name (on such things do decisions hinge) of my regular photo-editing package, so I loaded PhotoCat, basically because it had “cat” in its name and I reckoned I could have Friday feline fun with it (ditto), to see if I could photo-edit with that, and I could, and I could do constant ratio rectangular cropping which was a most welcome surprise.
Thus are decisions made, by computer operatives. There are two rules for getting things done in the modern world. (1) Do not unleash solutions upon circumstances which are not a problem. If it doesn’t help you to do something that you need to do, don’t bother with it no matter how cool everyone else says it is. Cool is not a good enough reason to be faffing about with something. (Faffing about to no purpose cannot be cool, because it isn’t, and because another rule is: worrying about being cool guarantees that you won’t be.)
And (2): if it does help you to do just one thing that you do want to do, then, if you can afford the money, the space, the bother, whatever, use it. Then, when you are using that thing for that one essential thing, then, you can move onwards to finding out if it will do any other merely desirable things. But, lots of merely desirable things and nothing essential is not good enough.
Using anything is difficult, if you only use it occasionally, to do something merely occasionally desirable. This rule applies at all times, in all places, and no matter how “user friendly” the gizmo or programme claims itself or is claimed by other users of it to be. Occasional is bother. Always. Don’t do occasional if you can avoid it.
Using anything is easy, on the other hand, if you do it regularly. This rule applies at all times, in all places, to all things, and no matter how “user hostile” enemies of the gizmo or process claim it to be. If a convoluted dance around the houses by a complicated route gets you an essential result, then dance. Convoluted will quickly become imprinted on your brain, and easy, and reinforced each time you (frequently) use it. This is how rats and ants do things. (Hurrah: other creatures!) They’ll probably outlast us. Ants definitely.
The above explains why the division of labour was so epoch-making. When you concentrate entirely on a small but rather tricky part of a big process, you will do it massively better than others attempting this tricky operation only sometimes, in among all the other things they are attempting. The damn near impossible becomes routine and easy.
So, I prepared for a life of frequently PhotoCatting fixed-ratio rectangles out of my photos. Using PhotoCat for that one thing.
But then, earlier this week I was cranking up PhotoCat, prior to some fixed-ratio cropping, and it refused to load. It got to 80%, and then stuck there. Who knows why? Was this PhotoCat’s fault? Was it something I was doing? Probably the latter, but that isn’t the point. It didn’t load. So, I went looking for alternatives, and I found one, called: PhotoPad.
And the bad news for PhotoCat is that PhotoPad also does proportional ratio cropping, and does it rather more conveniently, because PhotoPad operates on my hard disc and doesn’t have to be uploaded from the www each time. Unlike PhotoCat, PhotoPad is not www based, or whatever you call it, which I prefer because you can still use it if the www is out of action. It’s now all mine:
That being a snap of a rather unusual form of transport that I snapped, in France. I like how you can see what’s happening there, like when they zoom in on a detail in a computer picture in NCIS or a movie or something similar. (Question. Does art lead life in computing? Does stuff like the above start out in the movies, just so absolutely everyone can get what’s going on, and then migrate to real life?)
PhotoPad does something else which PhotoCat didn’t do, or not for me, which is rotate much more exactly. Most photo software seems to want to offer only rotation in 1 degree increments. If they can do better, they don’t volunteer the fact. But, PhotoPad does volunteer this. With PhotoPad, instead of rotating something 1 degree or 2 degrees (or 359 degrees), you can do 1.38 degrees or 1.77 degrees or 358.61 degrees. You’d be surprised, perhaps, how often that is a desirable refinement. You can do it by eye, and let the numbers take care of themselves. Terrific. Cool, even.
So. PhotoCat now offers me … nothing. So, … see above.
Just now, while checking out the PhotoCat link for this posting, I successfully cranked up PhotoCat. Whatever went wrong before has now gone away.
Another French picture, but this time taken in Paris, by my friend Antoine Clarke (to whom thanks):
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.
The 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.
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.
Horizontal French signs
A house in France that is not faceless
Safe cracks in an airplane window
Weather and weather
Mozart’s Requiem in Narbonne
Why I photo postcards
My camera can see through a Ryanairplane window better than I can
Using your crane to protect your cement mixer
The view from the roof
More drone trouble
A rejected Grand Chose that shouldn’t have been
Footbridges in the sky
Twelve 2015 photos
The culling of the Northern Hemisphere
Trois Citroens (et deux chevaux)
Credit where credit is due (in France)
A new Grand Chose for Paris
Pancake White Van
A forgotten war
A new not very big Thing in Paris
Marc Morris on how the Bayeux Tapestry ought not to exist
The Bayeux Tapestry small enough to fit in this blog
Triple Chess and a Four Wheeled Pedal Board
Proof that there are a lot of French people in Britain just now
Smartphones and tablets at the Charlie Hebdo demo
Sixty Charlie Hebdo demo signs that say something other than “Je Suis Charlie”
Charlie Hebdo demo in Trafalgar Square
Old Quimper Cathedral
Posting difficulties so see you tomorrow
Cats in Quimper shops
Quimper and its Cathedral
French roof clutter
Touch typing or no typing at all
A French film poster advertising a British film
Tired in France
Quota photo from Paris (also a selfie)
Marginal Eurostar economics
Recently on dezeen
Parisian roof clutter gets the Real Photographer treatment
Back from France (plus cat photos)
Cat photo and cat news
I need a new passport but just now passports are a problem
Emmanuel Todd talking in English (about how the Euro is doomed)
The joyful excitement of the Festival lyrique international de Belle-Île-en-Mer
Bennett and Lotus on how Emmanuel Todd’s family provoked his Grand Theory of Everything
Selfies of me – 2001, 2007 and yesterday
Three more Paris pictures
Eiffel Tower with chimney pots – La Défense ditto
Eurostar before St Pancras
Craig Willy on Emmanuel Todd
A Fleet Street lunch
Little Lady Liberty - still in France
Mon chat se tient debout tout seul
I’m Charia Hebdo!
Les Rillettes Henaff
Summer blogging break
Empty tables and empty chairs
Quimper cat on Harley-Davidson
Signs from the Frenchosphere
Rugby shirts on drugs
Pronouncing on the Six Nations
Another link enema
Great speech by Kevin Dowd in Paris which should be available to listen to soon
France falls in love with Hugh Laurie
Sailing photos – and another bridge for the collection
Happy New year (if possible)
The Fat Man is not alone
Flat viaduct and spiral bridge
Talking about St Pancras at St Pancras
Millau Viaduct with goats
Australia out! – New Zealand out! – pass forward!
Antoine Clarke on the French National Assembly elections
Lots of links
Antoine Clarke on Sarkozy
Somebody else photos Billion Monkey photo-ing Notre Dame!
Antoine on Sarko’s win
Serious tax cutting
If they don’t get who they would have preferred then silly them
“What do YOU think?” - “More -isationisation!”
“It’s a shame that copyright was infringed in a thesis about copyright itself”
Other people’s photos (6): More bridges
Other people’s photos (5): Red balloons on a monochrome bridge in Paris
Deceiving the eyes of Paris
Singing Frenchmen in stripey T-shirts
A dangerous development