The Thames Cable Car

click photo to enlarge
There has been something of a kerfuffle in the UK because a supposedly independent body has suggested that members of parliament should receive an 11% pay rise and the great majority of MPs think they deserve it. On the face of it the suggestion is reasonable since the parliamentarians haven't taken the pay awards that have been offered in past years and their pay is relatively less than it was. However, the proposal comes at a time when public sector workers are in the middle of a multiple years pay freeze (imposed by MPs), and when the pay of other sectors (the City, directors of companies, senior management excepted) is either declining, stagnant or barely rising. Opponents of the MPs' pay rise rightly point out that they are public sector workers and that unlike most other state employees they are able to take on a second job -  say, a nice non-executive directorship or "adviser" to a company - and that they are in a line of work for which there is no shortage of applicants.

I have a lot of sympathy with the opponents of the pay hike. To their persuasive arguments I would add that the MPs' suggestion that their pay should mirror and be linked to the pay rates of "other professionals" such as GPs (family doctors) is risible: our elected representatives are not professionals. They have no formal training for the job, need no qualifications to secure it and are not subject to regular scrutiny by a professional body, factors that distinguish most professional occupations from others. The government and opposition leaders who are rejecting the advice for the pay rise are doing so for public relations reasons, worrying how it would play with the electorate; it would be better if they refused as a matter of principle. I was reflecting on this when I rode on the Thames Cable Car recently. This £60 million plaything, subsidised by the budget under the authority of the mayor of London is a colossal waste of money, the most expensive cable car system in the world, and the sort of vanity project that you might expect from amateurs - which is what most politicians are. The current incumbent of the mayor's post is famous for his extra-mural jobs, and is reported to have little of the detailed knowledge needed by someone in his position. Moreover, he is widely believed to want the job of prime minister. It was a disaster for the capital when he became mayor of London; it would be a catastrophe for the country were he to achieve his greater ambition.

So, did I enjoy my ride on the cable car. I did! I'd rather it had never been built, but I'm not immune to the delights of being transported over the River Thames at maximum height of 295 feet (90 metres). Not least because it offers opportunities for some great photographs. It's just a pity that money was spent on this fairground project that currently runs at 10% or so of capacity, rather than the much needed pedestrian and cyclist bridge between Rotherhithe and Canary Wharf that has been suggested by Sustrans.

photograph and text © Tony Boughen

Photo 1
Camera: Sony RX100
Mode: Aperture Priority
Focal Length: 21.5mm (58mm - 35mm equiv.)
F No: f8
Shutter Speed: 1/1250 sec
ISO:125
Exposure Compensation: 0 EV
Image Stabilisation: On

Ludlow rooftops

click photos to enlarge
One of the best views that you can have of any old English town is from the top of its church tower. If the church is medieval or older then it is likely to be located at the heart of the settlement surrounded by the oldest buildings and the tight, narrow streets that they stand alongside.

A church tower that is open to the public - and quite a few are - not only gives a fascinating insight into a town, one that can't be had just by walking around it, but also limits the privacy of those who live in its shadow! I took quite a few shots from the top of St Laurence at Ludlow, Shropshire, that include people eating in "hidden" solitude in pub courtyards, window shopping in tight alleys, working in their enclosed gardens, or repairing windows and walls. All are seemingly unaware that their activities can be surveyed by anyone who pays the small fee to climb the spiral staircase to the summit of the 135 feet tall tower. However, today's photographs don't show these small human dramas: rather, they expose the materials, structure and layout of the closely packed roofs of the nearby streets. Plain clay tiles and slate seem to be the dominant roofing materials in Ludlow's centre. The proximity of Wales might account for the slate. Thatch would have been common in earlier centuries, but it is now mainly found in smaller settlements and country cottages and farms in Shropshire. Lead valley flashing is evident on many of the roofs, and is quite extensive between the three gables of "The Feathers." Note also, at the back of this hotel a bank of three air-conditioning units. Flat roofs are few and far between. The clay chimney pots in the usual cream or terra cotta seem, for the most part to be Victorian. What is interesting is those chimneys that have rectangular holes at the top of the brick stacks with no pot on top. The view from above gives a very real feel for the high density of building in settlements such as this.

On the first shot I deliberately kept the edge of the street market and the people at the top of the frame to give some scale to the image. The second is a companion piece to the post showing the facade of "The Feathers".

photographs & text (c) T.Boughen

Top (Bottom), where different
Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 40(80mm), 73(146mm)/35mm equiv.)
F No: f7.1
Shutter Speed: 1/400, (1/500) seconds
ISO: 100
Exposure Compensation: -0.7 EV
Image Stabilisation: On

Prospecting for views

click photo to enlarge
Look through any art gallery showing paintings from the seventeenth, eighteenth and nineteenth centuries, and you are bound to come across many "prospects". These are paintings or drawings that show a view of a town, city, harbour, building, or any place that the artist or illustrator wanted to describe pictorially. This engraving of "A Prospect of the University and City of Oxford", dating from 1705 and attributed to Johannes Kip, is typical of the genre.

The earliest recorded use of the word "prospect" to describe the pictorial representation of what we would now call a "view" dates from 1649 when John Evelyn (1620-1706) wrote in his diary, "I went to Putney and other places on the Thames to take prospects in crayon to carry with me to France, where I thought to have them engrav'd." Today "prospects" are rarely painted or drawn, but the making of such images is one of the most common uses of the camera. However, we now use the word "view", "landscape", "scene" or some such word, and "prospect" has pretty much dropped out of use. Which is a shame because the the verb form of the word links very nicely with the noun to describe how we search out the particular point from which to make a representation of the scene.

I did quite a bit of searching to find this "prospect" of the church at Quadring, Lincolnshire. I tramped back and forth through the rough grass of this field until I found a composition that made the building the focal point but still kept it quite small. I wanted to include some of the tall brown grasses, and decided to use the interesting but ragged hedge as mid-ground interest and as a means of reducing the expanse of boring blue sky!

Here is a closer look at this church in an earlier blog post.

photograph and text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 11mm (22mm/35mm equiv.)
F No: f7.1
Shutter Speed: 1/160
ISO: 100
Exposure Compensation: -0.7 EV
Image Stabilisation: On