A sign of different times

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One of the photographic themes that has arisen down the years on this blog is public signs. I have enjoyed quite a few that I've seen as I've travelled the country, some perplexing, some intentionally humorous, some unintentionally humorous and others engagingly redolent of the age in which they were made. Today's example that I photographed in Borough Market, Southwark, London falls into the latter category.

The sign itself dates from 1908 and may be original or a copy of an original. The case that holds it is probably original. What I like about this sign is the interesting use of language and punctuation. How odd, for example, that the words "Borough Market Trust" and "Notice" have a full stop after them. This is something that is being done consciously occasionally today by companies such as EAT., but in the main those full stops would be thought superfluous now. It's interesting too that "Beadles" were employed to maintain security in the market and that the police were not deemed sufficient in this regard. I like too, "Loiterers or other suspicious characters", descriptions that we wouldn't use today. It reminds me of the "lurkers" that populate the alley ways of London in Conan Doyle's Sherlock Holmes stories. For more of my photographs of signs follow this link.

photograph and text © Tony Boughen

Photo Title: Notice, Borough Market, Southwark
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 39mm (78mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/80 sec
ISO:2500
Exposure Compensation: -0.3EV

The Mudlark

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I've done my share of mudlarking as this post of 2010 explains.

The usual definition of a mudlark is someone, often a child, who in Victorian times scavenged the muddy fringes of the River Thames in London in search of anything of value that could be sold for cash. The pub sign in Southwark, London, near the river, that is the subject of today's photograph alludes to these "valuables" in the grubby hand and items shown in the bordering circle.

The Oxford English Dictionary (OED) shows that mudlark has not always carried the meaning that it usually has today. The first entry from 1785 defines the word as slang for a hog, and we can see how that might transfer to Thames-side foragers. The next entry dating from 1796-1800 describes a mudlark as someone who prowls around ships in the mud, receiving plundered goods from them which they sold. Again the connection is apparent. The 1801 definition most closely matches today's understanding of the term. However, there are others. Apparently in the nineteenth century the Royal Engineers were sometimes so called. This must have been due to their often muddy work being equated with the urchins who searched the Thames mud.

I was quite pleased to see this elaborate, original and obviously quite expensive sign advertising the pub. All too often today the traditional pub sign is being replaced by a cheaply printed glossy advert, or the old design is replaced by a "tasteful" often almost monochrome updated version.

photograph and text © Tony Boughen

Photo Title: Pub Sign, The Mudlark, Southwark
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 150mm (300mm - 35mm equiv.)
F No: f6.3
Shutter Speed: 1/320 sec
ISO:640
Exposure Compensation: -0.3EV

Canada Water balconies

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There's nothing like the perspective that age brings to make you realise that you're not so different from everyone else. Take balconies. What do you think of when the word is mentioned?  With me it's Romeo and Juliet. And guess what? That's the association that most people make. It's when you get past that first pairing that the differences start to appear. I'd have to say that next, for me, the association is with dictators, perhaps Mussolini, and then it's the Pope.

Interestingly those three associations are all Italian. And equally interestingly, the English word derives from the Italian, "balcone". One of my sons lives in a London flat with two balconies. The largest is traditional, projecting out past the walls of the room and supported on brackets. The other is a "Juliet" balcony, the name given to a floor to ceiling window or doors in an uper exterior wall that has a barrier or rail across it to prevent anyone falling out. This type, of course, gets its name from Shakespeare's play and character though, in fact, the playwright never mentions a balcony of any sort, only a window.

Today's offering shows a detail of some London balconies we saw recently on flats near Canada Water in Southwark, London. We walked past them the other day on the way to the nearby Underground station and their undulations, much more pronounced when seen from below, attracted my eye. The wave-like forms, the sheen of the glass, the touch of red and the deep shadows appealed to me and prompted my photograph.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 14.4mm (39mm - 35mm equiv.)
F No: f5.6
Shutter Speed: 1/400 sec
ISO:125
Exposure Compensation: -0.3 EV
Image Stabilisation: On

A sign of the times 2

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Walking through London one recent evening I came upon a No Entry sign that had been "artistically augmented". To the white edged red circle with its white central bar someone had added what I took to be a traffic warden. This figure was either looking over or slumped on the central bar and two red hearts were either coming from him (or her), or were the object of his (or her) attention. Clearly the person responsible for the "artwork" was trying to say something but I couldn't for the life of me see what. As far as I was concerned the would-be artist had failed, though I did think that could have been because I wasn't part of his target demographic. Nonetheless I took a photograph of the sign, and, over the past few days, I've wondered a little more about it. But to no avail.

Then it occurred to me to turn to that modern fount of all knowledge that is the world wide web for some enlightenment. So, I typed "London no entry sign graffiti" into an image search box and came up with photographs of the same subject and different "augmentations", perhaps by the same person. They included the white bar as stocks through which a head and arms poked, the white bar as a surf board under someone's arm, a figure in the process of sawing through the white bar and the white bar as an actual bar at which people were drinking. Seeing my example alongside the others it was clear that no deep meaning lurked behind the graffiti, WYSIATI (what you see is all there is), and the highest aim of the artist was whimsy. Banksy has a lot to answer for!

Why have I given this blog post the title, "A sign of the times 2". Well, I was obliquely reminded of another sign that I blogged about in 2009, one that that was unintentionally humorous, to which I'd given the original title.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 23.6mm (63mm - 35mm equiv.)
F No: f3.5
Shutter Speed: 1/60 sec
ISO: 800
Exposure Compensation: 0 EV
Image Stabilisation: On

Double the value

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In one of my early posts - in March 2006 as it happens - I extolled the advantages of a west-facing coast. I happened to live near the west-facing Fylde coast at the time and during my years in Lancashire I frequently photographed during the evening by the sea. Such a coast has a singular advantage at this time of day because, if the sun goes down and produces a blazing sunset, one with fiery skies of red, orange and yellow, the reflection on the sea below doubles the magical effect. I now live in Lincolnshire, a county with a coast that faces east and my nearest west facing coast is round on the other side of The Wash in Norfolk, in the area of Hunstanton. In fact, that is the only piece of coast in the east of east of England that faces west (a good quiz question there I think).

Fortunately the sea is not the only reflective surface that doubles the value of a sunset: ponds, lakes and rivers do as well. So too do the glass curtain walls of modern high-rise buildings. This particular sunset shows the same glass wall that features in today's photograph. It is in Southwark, London. On the day in question it wasn't evening as I passed but early morning and looking up I saw that the sky was being reflected in a rather fine manner. Such reflections regularly attract my eye and feature fairly strongly in this blog. I wonder if the extra value that they add to the subject they reflect appeals to my Yorkshire upbringing?

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 10.4mm (28mm - 35mm equiv.)
F No: f6.3
Shutter Speed: 1/500
ISO: 125
Exposure Compensation:  -0.3 EV
Image Stabilisation: On

Modern architecture and caustic criticism

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On a recent visit to London I stopped briefly in front of the Cottons Centre on the south bank of the Thames, raised my camera and took this photograph of the zig-zag walls and the the green-tinted windows reflecting the early morning sky. I liked the detailing of this building the first time I saw it and I like it still. The smooth, cream finish appeals to me and contrasts well with the narrow, terracotta-coloured lines that mark vertical edges and the boundary of each storey. There is a folded, stepped, and chamfered, origami-like quality to this part of the elevation that I find attractive. The way the exterior has the feeling of a technical drawing is something that I like too. Though not a star building among those found in London, in fact, not one that gets much mention in the books on the city's modern architecture, the Cottons Centre has many good qualities and is a positive addition to its location. It's the sort of building that makes me wonder why there are still people who lament modern architecture and always compare it unfavourably with older buildings.

I was thinking about this as I walked by the Thames and I also fell to reflecting on some of the quotations that I know about modern architecture. It occurred to me that whilst I strongly disagree with the blanket "new is bad, old is good" school of architectural criticism, the caustic comments of such people are usually much funnier than any dreamed up by those who defend modern buildings. To illustrate that point here, for your entertainment, are a few such words of wisdom.

"What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?"
Bernard Levin (1928-2004), English journalist, author and broadcaster

“In my experience, if you have to keep the lavatory door shut by extending your left leg, it's modern architecture.”
Nancy Banks-Smith (1929- ), British television and radio critic

"The Sydney Opera House looks as if it is something that has crawled out of the sea and is up to no good."
Beverley Nichols (1898-1983) English author, playwright, journalist etc

"Personally I think all modern architects should be pulled down and redeveloped as car parks."
Spike Milligan (1918-2002) Irish/English comedian, writer, actor, musician etc

"I declare this thing open - whatever it is."
Prince Philip (1921- ) consort of Queen Elizabeth II: on opening a new annex at Vancouver City Hall.

photograph and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 10.4mm (28mm - 35mm equiv.)
F No: f6.3
Shutter Speed: 1/800
ISO: 125
Exposure Compensation:  -0.3 EV
Image Stabilisation: On

Democratic responsibilities

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Living under the benefits of a democracy confers rights as well as responsibilities. One of the duties, it seems to me, is to remain informed about politics and take part in it from a position of knowledge and principle. Sadly, our most recent county council elections demonstrate that quite a few electors show scant sign of such engagement. Moreover, these and other elections have shown that we are unable to expect it even from some of those who seek public office. As those from these islands might realise, I am thinking about the United Kingdom Independence Party (UKIP) who garnered a significant number of councillors at the expense of all of the other parties, but from the Conservatives in particular.

One only has to read what pass for the policies (main UKIP website unavailable at time of writing!) of this party to realise that its position is broadly right-wing and populist, that its underlying principles are not developed in the way that we have a right to expect from serious politicians and that its national profile rests almost exclusively on the shoulders of its leader. According to a news report some senior UKIP figures recognise that the absence of policies is a failing and have considered buying them from right-leaning think tanks!

Those who voted for UKIP seem to have done so for a variety of reasons, few of which I find defensible. Some are attracted by all or individual policies - fair enough - but many are so undeveloped as to be no more than items on a wish-list. Many say they are fed up with the indistinguishable metropolitan elite who head the other parties, an argument I have some sympathy with but one that fatally and naively concentrates on personalities rather than policies. Others say it was to send the main parties a message that they are not giving enough attention to the matters that concern them. Perhaps such people should have been assiduously lobbying their MPs and government rather than relying on a single trip to the ballot box to express their concerns. Then there are those who voted for the UKIP leader because he is "different" from the other party leaders, more "human", more forthright, not part of the establishment. Anyone holding this view simply hasn't been paying attention. I find it hard to see much difference between the backgrounds of the present prime minister and the leader of UKIP. The latter is, apparently, the son of a stockbroker, someone who attended Dulwich College, a private, fee-paying school, and who worked as a commodity broker in the City before entering politics. That is a background, it seems to me, with more than a hint of the establishment and the metropolitan elite about it. As one observer humorously and perceptively noted, the UKIP leader's appeal and approach share a lot in common with that of the current mayor of London. To my mind that is not an endorsement but an indictment.

All this has little to do with today's photograph of a part of London on the south bank, in Southwark, called English Grounds. If I were to try and establish some sort of connection I would do it by saying that this view, like the political party discussed above, isn't entirely what it seems.

photo and text © Tony Boughen

Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 18.9mm (51mm - 35mm equiv.)
F No: f6.3
Shutter Speed: 1/60
ISO: 160
Exposure Compensation:  -0.3 EV
Image Stabilisation: On

Canada Water Library

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At a time when budget cuts have reduced public library funding, when libraries are closing, their services are being reduced, and the very idea and future of the public library as a repository of books and information is under question due to the depth and extent of internet access, it is uplifting to find politicians who are following a different course. The London Borough of Southwark has bravely bucked the trend of closure and contraction, not only keeping its 12 existing libraries open but adding a new one in the form of this bold and unusual building at Canada Water.

On the day I first saw the library we had driven into London on the M11 and had passed a convoy of armoured personnel carriers in desert camouflage being transported on lowloaders. The angularity of this building and its brown metal cladding reminded me of those vehicles. In their case the inclined sides are designed to deflect projectiles that come from the side and from IED and mine blasts from below. The building, however, is this shape in order to fit more floor space on this small site by the edge of the former dock. The design is the responsibility of Piers Gough of the architects CZWG and he has come up with a building that adds distinction to its location. Not unusually for this practice it is characterful and upbeat, rather like their China Wharf (1988) on the Southwark Thames and their nearby house, two buildings with which I am more familiar. We passed the library on the way back from a walk so there was no time to look inside at the big wooden spiral staircase in the centre of the interior or the gallery around the top. Nor was I able to take a shot of it from the other side of Canada Water to show it in relation to the dock. Perhaps next time I'll get to do both those things. This recent blog post shows more of the building, including the entrance.

The library is next to Canada Water station, one of London Underground's newer buildings. It too is an essay in metal but this time polished stainless steel formed into great cylinders. It can be seen on the right of the black and white shot in front of a block of flats.

photograph and text © Tony Boughen

Photo 1
Camera: Canon
Mode: Aperture Priority
Focal Length: 24mm
F No: f6.3
Shutter Speed: 1/160
ISO: 100
Exposure Compensation:  -0.67 EV
Image Stabilisation: On

Oysters and porter

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In recent years I've visited Borough Market in Southwark fairly regularly, often to grab something to eat or to have a drink. I've developed a particular liking for the pork, stuffing and apple sauce sandwiches from a stall that's been a regular fixture since I first went there. As a place to watch people, browse for food, listen to street musicians and generally soak up the character of London few places can beat this market and the surrounding streets.

However, one thing I have noticed, and found curious, is the way in which up-market eateries and high-price fast food joints in this part of London often affect a beat-up, artisan look. Places where a coffee costs £3 think that price will be more easily prised from the punter if the tables have an artfully battered look, the seating consists of communal benches and the decor harks back to what a costermonger of c.1910 might have experienced. Or so it seems to this provincial.

Take the oyster and porter house shown in today's photograph. There may have been a time when such an establishment used barrels instead of tables - but I doubt it. Yet today many people see this as desirable attribute, "authentic" in some way or other, and a reason for paying high prices. I think it most strange, but then I suppose I'm not the target market, either for the oysters or the barrels.

photograph and text (c) T. Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 105mm
F No: f6.3
Shutter Speed: 1/125
ISO: 1600
Exposure Compensation:  -0.67 EV
Image Stabilisation: On