Category: My photographs

Two Big Thing alignments in one photo

This afternoon, I found myself at Oval Tube, seeing a man about a mobile phone. The weather was filthy, just short of actual heavy rain, so you’d think there’d not be a lot of photo-fun to be had, but actually I photoed several things of note.

The photos describe just one of these circumstances.

Okay. First, I’ve arrived at Oval tube (by bus rather than by tube ut the point is that’s where I was), and I crossed the road in the direction of the City of London, that being the direction we’re now looking:

Now, here comes the kill shot, the photo this posting is all about. I’m zooming in on the what you can only see above in the far distance:

Forget the filthy weather. Just look at what we’re seeing there. There are two major Big Thing alignments happening there, in just the one photo. Top right, Shard next to Strata. (Strata is the official name of the one with three holes in the top. The unofficial name is something like “Razor”, but that’s never really caught on, because too few people in London care about this Thing to bother naming it.)

And the other Big Thing alignment, below and to the left of the centre of the photo, is the Walkie-Talkie and the Scalpel. (Another version of this same alignment, from the actual Oval, can be seen in this posting.

I did two further photos of each separate alignment there, but separate photos defeats the point of what is really happening here, which is that both are in the same scene and the same photo.

Besides which, I already blogged about the Strata/Shard alignment, in this posting from 2014. Click on that and you’ll see that what I was looking for then was to get the Shard right behind the Strata.

I just copied this posting over from the Old Blog, so I could link back to it without inflicting upon you the Screen of the Red Death. You’re welcome.

However, there seems to be a problem with that earlier posting, which is that I appear to be in the wrong place, according to the map there. In the above photo, the Shard is alongside the Strata. The actual Shard is further away and a lot taller. In order to see the Shard above the Strata, I needed to be further away. Yes, I just checked the original directory of photos (actually photoed in 2012 (from which those photos for the 2014 were selected)). To get those I was actually nearer to Stockwell tube, i.e. much further away. So it wasn’t that I didn’t notice that both alignments were photoable in one photo; I wasn’t in the right place to see it.

Besides which, in 2012, and for matter in 2014, there was no Scalpel. It wasn’t finished until 2018. So, the other alignment was not then seeable from anywhere. I almost certainly have photos to prove that, but this posting is already way out of control, and needs to stop, now.

Statues do matter

Or so the recent dramas in Parliament Square would suggest, during which graffiti was attached to the statues of Churchill and Lincoln. Cue angry history lessons from Old People.

So here are a few more statue photos I photoed recently in Parliament Square, including the above two personages, but adding Gandhi and Millicent Fawcett, basically because I like the photos:

And while I’m on the subject of statues, I recently checked out the statues of Lord Dowding (of Battle of Britain fame) and Bomber Harris (of WW2 bombing offensive infamy) outside St Clement Danes, at the other end of the Strand from Trafalgar Square:

I knew that, when I got to this spot, I’d encounter Dowding and Harris. Ben Johnson and Gladstone were both surprises.

Memo to people intending to end up as statues in London: Join the RAF and wear a hat with a flat top sloping slightly backwards. That way, you won’t get pigeon shit on your face. Seriously, someone badly needs to invent an invisible pigeon scarer. Some kind of tiny electronic device that vibrates in a pigeon-scaring way, solar powered so it will go on working for ever.

The above link to my recent pigeon scaring posting being the only link in this posting, apart from the one at the top about the graffiti (so as people reading this in a year’s time will understand which current events I’m referring to), which is a bit lazy and a bit egocentric, but I’m in a hurry to get ready for something else. You surely have all the words you need to find out whatever you want to find out, e.g. if you are a Young Person wanting to find out if Churchill was anything else besides being a racist, or if Lincoln did or said anything about black slavery in America, besides being President at a time when there were still black slaves. (While you’re learning about that, try finding out what Gandhi said about Apartheid, when he was younger and living in South Africa.)

The London City Island cluster from across the River

Last year, at the end of July, I went on an expedition out East, to the Dome and related attractions and excitements, and this evening I was looking through all the photos from that expedition, some of which I’ve shown here already. And, I found myself rather liking these two photos, both of the London City Island tower cluster, on the other side of the River from where I was:

This cluster is just the the other side of the River Lea (the final meanderings of which create the island in question), from Canning Town Station. The one on the right photoed about forty minutes of wandering downstream after the the one on the left.

In the second and smaller of the two images in this 2015 posting from the Old Blog, now here, you can see an aerial fake-photo of how they then merely reckoned it would look. By now, it’ll be finished and occupied.

London is fast become a city not so much of towers, but of tower clusters. The Big Things of the City have now coalesced into one big lump. Docklands ditto. Battersea is heading that way. Soon there’ll be another cluster, upstream from Tate Modern. In the years to come, it may join up with the nearby cluster around the old Shell Building at Waterloo, next to the Wheel.

The light wasn’t that good when I photoed the above photos, but you can see what I want you to see. What I like about this London City Island cluster is that, well, I like it. Its basic job is to fit lots of people into a small area, without excessive cost or bother in the form of “architecture” – unfunctional curves and weird shapes of various sorts, or strange structural illogicalities. This isn’t Starchitecture. It’s a collection of Machines for Living In. But, because the design of all the blocks has been made, as it were, to “rhyme”, the effect is rather pleasing, unlike the usual London cluster mess. Don’t misunderstand me, I don’t mind cluster messes. They’re very London. But I’m glad that one of these clusters is a bit more aesthetically coordinated, because it makes a change. The bright colours of each of the towers adds to the air of a group of buildings all designed at the same time. In London, this seldom seems to happen.

But, if you come back at me and say it’s just ugly lumps, in the usual London way, well, so be it, I won’t argue. Like I say, basically these are Machines for Living In. What they do for London is accommodate more people in comfort. How it all looks is somewhat beside that point.

But, I like the way it looks.

A garden centre in Vauxhall

Just after checking out that China Works Tower, on May 25th, I walked along Black Prince Road, under the big railway that goes into Waterloo, and turned left into Newport Street. There I came across this place:

This is, Google Maps tells me, Spring Gardens Nursery, that being their Facebook page. There you will see photos that emphasise the plants they sell rather than the wire fence at the edge. But when I went there, Lockdown was in full lockdown mode, so I had to make do with photoing through that wire.

It all looks rather temporary, an impression strengthened by a sign (see photo 2 above) with the words PLANNING NOTICE at the top. All the more reason to enjoy it while it lasts, if it doesn’t. Or, if you can’t visit or don’t reckon it to be worth all the bother, you can click on my photos.

Did I say temporary? If you go here, scroll down a bit and watch the video there about the “Relocation” of whatever exactly this is, you learn about how … whatever it is … “moves from Tate Britain to Vauxhall, for permanent installation”. Permanent.

But only originally. It would seem that this Thing began as an outdoor Art Gallery, and ended up as a Garden Centre for selling plants. The shop, in other words, took over the entire place. Guess: Getting people to just stare at Art Stuff became a problem, because it wasn’t lucrative enough? Guess: Their grant got cut? So, they expanded the shop bit and the Art retreated. Now it’s just a shop. A very nice shop, I think, and out-of-doors. But, a shop. At which point, the place having degenerated into mere capitalism, it becomes vulnerable to bigger and richer capitalists who want to buy it and put Machines For Living on top of it, instead of merely one little layer of plants.

All this is taking place in something calling itself Vauxhall One, hence the big coloured letters in my photos, beyond all the plants. I can see from this website what “Vauxhall One” says it does, but I am not yet clear what Vauxhall One is. I think it may be the name of a Creative District, or some such thing. Anyone?

All of which is only me guessing. This place is only a longish walk away from where I live, which is how I came to be photoing it during Lockdown in the first place, strictly for the exercise you understand. So, memo to self: Go back there in a while and check out what happens. Maybe: nothing. Maybe just, more plants.

By the way, “Beaconsfield” (see the last two photos above) is an actual art gallery, still, it would appear. Shut now, of course. Memo to self: Check that out too.

China Monty

Last night, as already mentioned earlier today, I went to Sainsburys in Wilton Road. On my way there, I passed the Royal Trinity Hospice charity shop, also in Wilton Road, where I photoed thus, through the its annoyingly shiny shop window:

On the left, a very reflection-ridden photo of a generic beefeater jug, and a Field Marshal Bernard Law Montgomery jug. On the right, a better close-up of the Monty jug. Well, I think they’re jugs. I couldn’t see if there were handles on the back. But they sure look like they’re one of these and one of these.

And if that’s right, then they are both products of that exact same pottery enterprise, Royal Doulton, that used to be at that China Works place I’ve just recently been out photoing.

When I photoed these jugs last night, I did not know this.

Somewhat more seriously, I think it worth asking why public statues are not more realistic, in this exact sort of highly colourful way. Why, to put it another way, were these guys (on of them being Monty again) were not done in a similar way to the way that the above items of pottery were done?

Is it that statues please people by being very obviously statues, and not actual people? Too realistic, and statues would freak people out. I’m more sure that this is an interesting question than I am about the answer. Maybe it’s just that people have got used to statues being monochrome, and they expect them to go on being that way. Maybe they tried doing them in colour, but people complained that they looked too much like china jugs, rather than like proper statues.

But as the technology of this kind of thing gets better, and as colourful architecture becomes more of a regular thing, will public statues suddenly become colourful also, again?

The e-scooter story gets more interesting – in Sainsburys

Last night I went shopping, and was out for about an hour. In that time, I observed three more e-scooters in action. Three. In the space of an hour.

First, on the left below, was the usual. A guy on an e-scooter, scooting past me so quickly I hardly saw him. This time, I did have a camera with me, and managed the photo you see. Thank goodness for zoom:

On the right, it gets a bit more interesting. We are now in my local supermarket of choice, Sainsburys. I spotted a lady pushing what I could clearly see (from the wires) was an e-scooter with an e-. I asked her, as super-politely as I could manage given the circumstances, if I could photo her e-scooter. “I’m writing an article about e-scooters.” “Not you, just the scooter.” She agree very readily, so there is her e-scooter.

Then it got really interesting. I spotted a guy, not just pushing his e-scooter around, but using it to carry his basket of purchases. Same request from me. Photo please, not you, just the e-scooter, please say if you don’t want this, ingratiate ingratiate. But, surprising answer, beyond the Yes Fine Photo Away bit, I mean. Turned out this was the same guy and the same e-scooter as in this earlier posting here. “You photoed me before!” Oh, wow, that was you.

So again with the photoing, not of him but of the e-scooter, this time with his shopping basket aboard:

You can see a bit of my basket on the right there. The real point, however, is how very fortuitously convenient it is to plonk your basket on an e-scooter like that. Nobody planned this. When they were designing e-scooters, nobody said, what about supermarket shopping? It just happens to work well. You’ll be seeing a lot more of this in the future. There will probably even be design tweaking, to include a shopping basket of this sort in the design of the entire e-scooter, just like is happening with food delivery motor-scooters.

I asked E-scooter Man if he’d had any grief about bringing his e-scooter into Sainsburys. Funny you should ask, he said. No grief from Sainsburys, but, the nearby Tesco wouldn’t let him do this. So he said, fine, I’ve been shopping at Tesco’s all my life, but if you don’t want this, I’ll take my business elsewhere. No problem, your gaff your rules, but I’m off. Whether these contrasting decisions reflected a big Tesco-v-Sainsburys commercial divergence, is some sort of class thing, or merely reflects that Sainsburys has bigger aisles, I do not know. My guess is, local staff made it up, but Tesco will give it further thought. Prediction: the design of shops will also be affected.

E-scooter Man agreed with my claim that bikes are useless for urban shopping, because you have to leave them outside, and sooner or later, they’ll get stolen. “I’m not leaving my bike out there.” Everywhere I go in London I see bikes parked outside, and a regular percentage of them are severely damaged, especially the wheels. Sometimes entire bits are missing. And of course if it’s all been nicked, you don’t see that, but it still happened. But, when you stop riding your e-scooter you can take it with you. Above all, if necessary, you can carry it with you. If, in mid-shop, they tell you to stop pushing it around, you can simply fold it up and carry it. Are they going to even forbid you to do that? Surely not. You need never be separated from from your e-scooter. Which means it could still be mugged from you, but is far, far less likely to simply be stolen or maliciously wrecked in your absence.

New category here. E-scooters.

Two cats and a squirrel above the China Works Tower front door

I posted earlier in the week about the China Works Tower. By the time I visited it, I had already read this:

Here, a group of carved figures examine an impressive collection of pots and vases — striking relief created by master craftsman George Tinworth in around 1878. Look a little closer, and what is thought to be leading female artist of her time Hannah Bolton Barlow can be spied seated with her pet cat under her stool.

So, I was ready with my camera for this detail of the building in particular.

Here’s the entire relief on top of the original entrance:

And here I am, looking a little closer like they said, at Hannah Bolton Barlow and her cat:

Who the bloke in the hat might be, I do not know, or all the others.

But also, look at that big vase to the left of her as we look. That’s definitely a lion, and on the narrow bit at the top, I believe I see a squirrel.

It’s like these pottery people had seen The Internet coming, and knew just how to get noticed by it.

The China Works Tower

A while back I was walking along by the River, just upstream from Lambeth Bridge, and photoed this photo (number 5 of these) of the China Works Tower (thank you commenter Alastair for identifying it):

Also a while ago now, I went back there, yes, to photo stuff like all the signs at the other end of that link, but basically to check out this China Works building from close-up:

In an earlier posting here about would-be applier of architectural decoration Adam Nathaniel Furman, I said:

Furman intends to apply ornament with colourful abandon.

But, not the old sort of ornament that the Victorians liked to do, and against whom the original Modernists reacted with such disgust. …

Well, the above photos are of just this old sort of ornament, the sort that Furman doesn’t want to do. But, technologically, he intends to use very similar techniques. Ceramics. Also known as: China. (Odd that, naming a material after the big old country where they got the idea from. Are there any strange things called, in foreign parts, Britain or England? So, how’s your meat? Okay, but it could use a dash of Britain. Your skirt’s falling down, try using an England.)

This China Works Tower is surrounded and jostled aggressively by modern buildings, designed by the sort of people who grew up believing all the old sort of ornament to be an aesthetic abomination, or at the very least an aesthetic dead-end.

The most aggressive architectural jostler is a fire station, immediately the other side of a very narrow road. Which happens to be the start of Lambeth High Street, which is odd but there you go. Here are photos I took of all that jostling, with the fire station in the middle photo here:

You can see the white roof of the fire station in the photo at the top of this posting.

Luckily, the China Works Tower is not entirely isolated, and is hence not totally smothered by later buildings. It was once only a small part of a bigger collection of buildings, and a decent chunk of those earlier buildings remains, attached to the Tower and keeping it company:

There was a lot of sunshine and shade colliding on the facade of the Tower, so that doesn’t look so good there. But the blander, less decorated and bigger stretch of the old building was easier to photo, as you can see.

I shouldn’t grumble too much. At least the Tower survived, along with a chunk of the earlier buildings it presided over. The Tower was the architectural advert, so to speak, for a real business, one that survived longer than most Victorian-era enterprises, way past World War 2. And then the Tower was saved by an early manifestation of the Conservation Movement, in the form of two rich fogeys, aesthetically speaking. The link above, in paragraph one of this, concerning the history of this place and what they’re now doing with it is well worth a follow, so here is that link again.

I wouldn’t want London to consist only of such ornamented antiquities, but I am glad that quite a lot of such oddities still survive, and that they now look like having a decent future, to follow their distinguished past. And I am glad to have lived long enough to have experienced a time when this past can be easily learned about. During the last century, I would see such a building, wonder about it for about one minute, and then forget it and move on to the next equally baffling oddity.

Blackfriars buskers

All in the same spot, right near the southern end of the Blackfriars Railway Station Bridge.

July 2015:

September 2016:

May 2020:

Same spot. Different times.

Blotting out the face with reflections at the top of the Tate Modern Extension

Here are some photoer photos I photoed almost three years ago now, at the top of the Tate Modern Extension. They are all of the same person, taken one after another:

I think that what she’s doing here is a selfie with the Big Things of the City of London behind her. It’s because it’s a selfie rather than a straight photo of the view that she is facing us.

When photoer photoing, I am always on the lookout for ways for faces to be blocked out. The camera itself, smartphone (as above) or just a regular camera, often does this by getting in the way. Bags and coats often oblige. Lately, of course, there have been masks. Simplest of all is just photoing from behind the photoer. But simple can be ever so slightly dull, and that particular dullness was avoided this time.

What blots out this lady’s face is that she is behind a window, and the reflections in the glass of what is behind me do the job. Well, mostly. If you knew her already you might recognise her from the last one. But I doubt a face recognition computer could make much sense of it.

This Tate Modern Extension summit is a fabulous place for photoing, for me. Other photoers, great views out over the middle of London, often combinable in the same photo. Terrific. And with windows on three sides of the room at the top, and the viewing platform all around the outside, the reflections and combinations and complications are often mind-boggling. Just explaining what’s going on in the above photos would take another screen’s worth of prattle, and you’d probably be none the wiser.

And don’t get me started on those big spots on the windows. They add a whole extra dimension to everything.

The only way to explain all these complications and ramifications is to have a mass gallery, with lots of photos of photoers and of the place itself, to the point where you can all see for yourselves what’s going on, and why everything looks the way it does. But not today.