Crane and shadow outside Victoria Station

I love a good crane, especially in these almost craneless times. And I also love a good shadow. So, you can imagine how much I appreciated what I saw, outside Victoria Station, this afternoon:

Today there was rain around mid day, followed by the brightest of bright sunshine. This is the best sort of sunshine there is, because the rain washes the air before the sun shines through it.

Also present in this photo is Pavlova, the ballerina on top of the Victoria Palace Theatre. This is a very good photo, of the crane and its shadow, but not of Pavlova. For Pavlova, Try one of these.

Vincent House with tree shadows – Vincent Square with cricketers

Today I forced myself out, to post a letter which had to be posted, something I don’t think I’ve done in years.

My guess as to where there was a posting box, or whatever they are called, took me to the nearest post office that I am aware of, via Vincent Square, which I hoped would be looking good in the sunshine. It was:

That building is Vincent House, which sounds and looks like it might be important, but it’s just a block of flats.

And this is the middle of Vincent Square:

In earlier times, on a day like this, I would have gone a-wandering and a-photoing, but now, I’m afraid I feel the cold, and although delightfully sunny it was still cold. Also, all walks now take twice as long. So I posted that letter, and also did some shopping and then went straight back home. Shopping being another thing that has had to change recently. Big and occasionally has had to be replaced by less but more frequently, because there are limits to how much stuff I can now carry in anything resembling comfort, especially up my stairs.

Just before I went on this expedition, I got a phone call from one of the Marsden exercise experts. Apparently exercise is good for you. But he would say that, wouldn’t he?

Life goes on.

Quota photoers

With shadows:

Outside Westminster Abbey, May 2017.

Today was a busy day.

Paul poster with shadow selfie

One from the I Just Like It directory:

I photoed this photo, somewhere out east (a photo photoed at the same time was of the Thames Barrier) ten years and seventeen days ago.

I like the movie. I like this advert for the movie. And I like how I inserted a shadow selfie into my photo, of the advert for the movie.

The chaos from which buildings arise

It is the sundrenched late afternoon of April 21st 2009, and they’re busy building something:

What I’m getting at with the above imagery is:

(1) This is a construction site, and these people clearly know what they are doing. Constructions almost always turn out exactly as planned.

And:

(2) Look at the state of it!!!

I recognise various individual bits of tech there, like the reinforcing rod tubes, and that big blue propeller for digging holes, to put such things as reinforcing rod tubes in. But all that stuff jammed together in a confined space like that? It looks like someone’s attic for goodness sake.

Yet, it was from this outdoor attic that there duly emerged … the Shard.

Photoer photos guardsman

I like this photo, which I photoed in the summer of 2013, somewhere in the vicinity of Victoria Station, Victoria Street, or some such place:

I like it for lots of reasons, including that it is a fine example of the modified cliché photo. What could be more banal than a bloke photoing a guardsman, in the Buckingham Palace part of London? Yet the manner in which this scene is presented is most unusual.

Like I say, I like it. But I don’t understand it. How – and for that matter why – was that effect created, behind an office door of impeccable dullness and insignificance? They are clearly not shadows of an actual photoer and an actual guardsman, standing behind me as I photo, because where is my shadow? Are the photoer and the guardsman cardboard cut-outs? If so, the cardboard of the guardsman’s bayonet is very thin and vulnerable.

Are these just big bits of paper, stuck on the inside of the windows? Is it that straightforward? But if so, how come the shadows of the two guys seems of the same sort as the shadow of the two poles with the rope hanging in between them? Which appears to be a real shadow of a real thing, see below the shadow.

Are the two guys 3D sculptures?  But if so, why?  Why go to all that bother in such a place?

And what is that strange ghost-like thing, just to the right of the photoer?

I like puzzle photos, but I prefer it when the puzzle is soluble.

Oval memories

My life and the world are both a bit of a mess at the moment. I’ll spare you the details of the former, by just saying that these details are indeed messy without in any way being life-threatening. The mess the world is in you know all about, even as you and I may well quarrel about who’s fault it is and what needs doing about it. Just so you know, I’m right about that and if you disagree you’re wrong, but I see no need and now feel no desire to elaborate on that basic truth.

So, escape, in the form of yet more happy memories from The Time Before All This:

This was a game of cricket at the Oval, a walk across the River from me, in July 2016. I was originally only going to post the one with the silly hat and the artistic one, with the shadows, photos 8 and 7. But then I thought, have a good old wallow. Thank you again Darren. Darren being my friend Darren, the Surrey Member, who gets me in with him as a guest.

Photo 1 is the first ball of the match, between Surrey and Gloucester, hit by Jason Roy, pictured there, to the boundary. Photo 9 is the end of the match, with Surrey having won at a canter. All the others are the sort of photos of sporting events that Real Sporting Photographers ignore, but which I really enjoy. All the incidental stuff. The signs and commemorations. The groundstaff and their equipment. The crowd and their various habits and antics, fuelled by drink.

I can wait to go to the Oval again, to see another game. But only because I will have to. Can’t come too soon.

My first encounter with Jeppe Hein’s Modified Social Benches outside the Royal Festival Hall

I am happy to note from my site stats system that a posting I did here about Jeppe Hein‘s Modified Social Benches has been receiving a regular trickle of visitors, as has this posting of photos of these red benches done more recently, during Lockdown, with consequent silly plastic tape all over them.

So, here are some more photos of these red benches, photoed by me on the very first occasion that I saw them, or at any rate the first time I properly noticed them, on May 22nd 2017:

As you can see, they were still working on their installation. But already, you could see that they were being well received. I now realise that the biggest one to be seen in these photos, the one in photos 3, 6, 7 and 8, was only there for a short while. It doesn’t appear in my later postings, so it had to have been gone. I would not have missed it otherwise.

In the first posting above, the photos were all done in rather dim weather, which emphasised how colourful these things are. The above photos, done in bright sunlight, are no less colourful, I hope you will agree.

Big Things across the River

There were statues to be seen nearby, but there were bigger things, Big Things, further away, on the other side of the River:

Photo 1 uses the clutter associated with getting on and off of a boat to frame the Wheel. All the rest are entirely of more distant stuff.

I like the colours, warm cream when the sun hits stone or concrete, dark glass, the perfect blue of the sky. My camera makes the dark glass, of such buildings as One Blackfriars (aka the Boomerang), all the darker by not wanting bright sunlight directly reflected to look too bright.

And once again with the shadow of the Wheel (for once London “Eye” works very nicely) on the Shell Building, but this time with the shadow seeming to be the wrong way round, as seen most clearly in photo 6 and also in photo 7. It is of course the shadow of the opposite side of the Wheel.

And in the further distance, in gaps, the Shard (photo 9), and a rather handsome view of 22 Bishopsgate (photo 5) looking like a more coherent shape than I am used to seeing, a bit like a ship, front on. Move along a bit, and we then see the Cheesegrater as well (photo 8).

These strange alignments all take a bit of getting used to when you first see them. This is because, like so many rivers in the middle of great cities, this river twists and turns, that being a big reason why the city got built here in the first place. By twiddling this way and that, the river brings valuable riverside spots closer to each other, and stirs up a lot more commerce than a straight river would. (See also: Paris.) But these kinks play hell with your sense of direction, or with mine anyway. I was on the north bank of the river, but, although I was looking straight across the river, I was nevertheless looking due east, rather than south. And back across another kink in the river again when seeing 22 Bishopsgate and the Cheesegrater, which are both part of the City Big Thing Cluster, which is on the north side of the river.

It is all part of London’s charm, and the charm of its Big Things. When out-and-abouting in London you can never be quite sure which Big Thing you’ll see next, through some gap in the foreground, or from what direction you’ll see it.

There are cranes to be seen, but very few.

Shard earlier today

Photo taken by a friend earlier today, of the Shard from downstream:

Photoed with an iPhone 11. Pointed straight at the early afternoon sun. I’m impressed that the iPhone software managed to make so much of a distinction between on the one hand the Shard and its’s Guy’s Hospital smaller companion, and on the other the buildings in the foreground. Not sure my camera would have done so well.

In general, I love that blue-ish colour of the Shard and Guy’s. Again, don’t think mine would have managed this. I would have managed something, but it would have looked different.

What my friend saw when looking at this scene while photoing it was, I am sure, very different.

For all kinds of reasons, including the camera contrast but many others besides, my photos never seem to look quite like that. Strange that something so automatic should end up being so individual.