At the old blog, it was quota photos. Now it’s quota galleries, because they’re so easy to do (at least compared to how hard they used to be to do). And just as I didn’t expect you to expend any more time than you felt like expending on those quota photos, so I don’t expect you to even glance at all these photos, unless you want to. So, click click click:
All of the above photos were photoed in Paris, on May 5th of last year, when I was passing through on my way back from Brittany to London. The weather was stupendous. Not a cloud to be seen. I love how weather like that, when combined with light coloured buildings and the automatic setting on my camera, turns the sky blue-black.
There’s a bit of a bias towards roof clutter. Well, this is Paris. And Paris is famous, even among normal people who don’t usually care about roof clutter, for its roof clutter.
Good night. It has been tomorrow for quite some time.
Yesterday evening I walked over to Battersea, to see how things are going with surrounding the old Power Station with apartment blocks, with sorting out the western end of London’s Big New Sewer, and constructing a new tube station.
In the photos that follow, I concentrate on the new blocks of flats, not least because it is easier to see that, what with it having reached the stage of mostly now being above ground. Tube line and sewer construction remains largely hidden throughout, and in general they tend to be more secretive about such things.
So how are things going with all those flats? How things are going is that there is a lot of building going on, but also, already, a lot of living.
The earliest photos in this gallery show the part where they say: come on it. This is already a place, with people, and food, and a road through to other parts beyond. Then, you walk along one of the oddest bridges in London, over and through what is still a giant building site, right next to the old Power Station, and then you arrive at the bit that is finished and already containing people.
None of the photos that follow are individually that fascinating. But click, click, click your way through them at speed, and you’ll get an idea of how this passing moment in the history of London is now looking:
The photos that concentrate on life being lived, rather than merely dwellings being constructed, concern the London Seafood Festival (that being the only link I now have the time to contrive), which I had definitely not been expecting. But many others had, and were gathered in large numbers to partake.
Then I made my way to Battersea Park railway station, with the last two photos having been photoed from the train that took me to Victoria Station on the other side of the river.
My larger point is this: that the newest and most noticeable London architecture has now done a switch, from the erection of individually crafted and highly visible and recognisable Big Things, to the mass production of generic Machines For Living In and Machines For Working In. So many office blocks and blocks of flats of a certain height, all jammed together in a formerly not so very desirable location, each higher than low but each lower than really high. So much concrete and steel being hoisted into the air by so many cranes. And so many people all being crammed into these new dwellings and new workplaces, as they beaver away at their desk jobs nearby or in The City, and relax by the river in their numerous new eateries and drinkeries down on the ground floors. Yes, this kind of thing has been going on in London for many decades, but just lately, it has shifted up a gear.
That all these new Batterseans will be within walking and face-to-face talking distance of one another is bound to have creative consequences. All sorts of new urban possibilities will become possible.
A lot more of this stuff has been happening out East, in Docklands and beyond. There too (see especially: North Greenwich) things have shifted up a gear. Battersea feels a bit more upmarket than those places down East.
I have a busy day ahead of me, or at least I want to. So I am doing today’s quota photo now, to get it out of the way.
And of all my recent photos I find that the one I want to put here is this:
What I think I enjoy there is the contrast between the smallness and shallowness of the puddle and the extremity of the visual effects it is creating. One silly little bit of water, surrounded only by grubby road and pavement detail, creates all that light and depth, to say nothing of the Photoshop effect it does on the building, turning a mere photo into an impressionist painting.
It helps that the building tells me that I am very near to my home, about twenty seconds from my front door. Nearly there. That always lightens the mood.
If you are not impressed …? As I have definitely said before, the good thing about quota photos you don’t care for is that they waste very little of your time.
Photos by Pip Howeson, which include lots of the interior details, makes the antiquity of this tower block very clear. But you can photo many genuinely modern towers from Canonbury Tower. Here’s a slice of Howeson’s panoramic view from the top of it, of the centre of London:
You can only explore this building on two pre-arranged days each month, which is presumably why Howeson had to make do with weather that he might not have chosen. But a Big Thing spotter like me can still tick off all the names.
The way that we humans feel about other creatures and the way that other creatures either do or do not feel about us continues to fascinate me. Which means that I seem to be continuing here with my creaturely postings on Fridays. Here is another such Friday posting, featuring some birds whom I encountered in East London not long ago.
This is the spot where I found them, at the west end of the Victoria Docks, right next to and right underneath the northern end of the Emirates Air Line or the Dangleway, or whatever you want to call it:
I then switched my attention to the foreground:
That floating platform being where the birds, and their “nests”, were to be seen.
On the right, was this bird:
And on the left, this couple:
A coot, or a moorhen? Ducks, of some exotic sort? But what do I know? Any offers?
What interests me about the not-so-wild wildlife of London, apart from how cute it often is, is how it continues to evolve. As we humans get more sentimental about our fellow creatures, more inclined to feed and photo them, less inclined to eat them or just shoo them away, they adapt to our changing sentiments, and start betting on our benevolence. In this case, they are merely betting that they’ll be left alone, now that it’s been made clear that this is where they live and will be having their kids.
One of the many things I love about this new WordPress blog of mine is that I can now do things like this …:
… a lot more quickly. Thank you “Gallery”.
All of the above photos were taken within a few moments of each other, in the vicinity of Battersea Power Station, just over a year ago. Then as now, this place was being transformed.
But there is much more involved in the Gallery improvement than the fact that I can shove up a clutch of photos more quickly than before. Equally important to me is that you now have a lot more control than you used to. You can now spend no more time looking at these photos, unless you want to, than I did when I photoed them. You no longer have to choose between having a quick gander at the above snaps, and having a life.
The difference is that, now, you can click on the first photo, look at it for as much time as you like or as little time as you like, and then click on the arrow on the right, and get straight to the next one. Click click click. I know, I’m rediscovering the wheel here, but if you have been depriving both yourself and your potential readers of wheels for about a decade, wheels are a big deal.
Because you can click through all these photos so speedily, I feel comfortable showing them to you in such abundance. These are not oil paintings, unless you want them to be. I don’t assume that you’ll be wanting to linger over these snaps. Feel entirely free to do that, if you feel inclined to scrutinise any of them at any length of time, but I don’t expect this.
An obvious question arises: If I like the idea of you clicking quickly through the above snaps, why not a video? Well, number one, a video deprives you of control. But also, what I find fascinating about photoing is the extreme difference between how a camera sees things, and how the human eye sees things. Basically, a video camera sees things more the way that we humans do. Our eyes, like video cameras, roam over the scene in front of us. They don’t look at the scene once, the way a camera does when it takes the one photo, and nor does a video camera. A video shows us what’s really going on. It goes behind and beyond those mere appearances.
A photo is something else entirely. It’s a photo! And that makes videos, to me, from this point of view, less interesting.
In among all the vile bile, Twitter continues to serve up good Other Creatures news, especially in video form.
Here, for instance, is evidence that when it comes to shifting stuff around, while simultaneously showing a bit of common sense, robots would appear to have some way to go before they will be entirely replacing the working class.
Here is a delightful photo of two pigeons, who are checking out a photographer who is trying to photo a ceiling.
And, in otter news, here are otters doing something very strange, under a tree, in what turns out to be Singapore.
On a more melancholy note, Mich Hartley tells of the Soviet whale “decimation” of the middle of the twentieth century. Decimation however, is surely the wrong word. It was far worse than that. The writer whom Hartley quotes seems to think that decimation means killing nine out of ten, because he talks of whale species being “driven to the edge of extintion”. But decimation wasn’t killing nine out of ten members of a Roman legion. It was killing one in every ten. It was to punish, not to extinguish, a legion. That verbal quibble aside, there can’t be too many reports of what an insanely destructive economic system the USSR imposed upon all its victims. And its victims were not only human.
Warning: do not follow the above link if you are allergic to pretentious writing. When Daniel Norcross writes about cricket he takes pretentiousness to a whole new level. What he is trying to say is that, even by the standards of the average day of county cricket, this day of county cricket was rather boring. But does he say that? Does he Samuel bloody Beckett.
This is how the County Ground was looking:
I photoed many more photos than that. I chose the above photos to give you an idea of how it all looked, in a general, scenic sort of way. That’s how it would look to a non-cricket fan. A cricket fan like me would zero in on the actual cricket, as I did in a lot of my other photos. But unless a camera is told to zoom in on that cricket, it simply gobbles up everything it is pointed at.