Motorcycle in black and chrome

Near the car park we use in Hereford is another car park with an area reserved solely for motorcycles. Occasionally I notice a machine parked there. Not that I have much (any?) interest in motorcycles. What usually grabs my attention is the gleaming bodywork lovingly prepared by an owner who is the polar opposite of me when it comes to this form of transport. We saw such a motorcycle recently with burnished chrome and gleaming black paint. I didn't study it in great detail but later, after I'd taken my shot, I remembered that I didn't notice what make it was. Fortunately, on the section I photographed were the words "Harley-Davidson".

photo © T. Boughen     Camera: Nikon D5300

The Kyneburgh wall

Like a lot of contemporary street sculpture that I see, the Kyneburgh Tower in Gloucester and its associated 30m long wall offers more by way of detail than as a whole conception. This photograph shows a section of the steel (?) wall with its paintwork looking something the worse for wear, but better than it did when in pristine condition. Of course, that may have been the sculptor's intention from the outset.

photo © T. Boughen     Camera: Sony DSC-RX100

A First World War memorial window

Often memorial windows to those who fought and were injured or died in the two major wars of the twentieth century contain calm, reflective, sombre images. But a minority seek to show something of the fury and horror of mechanized warfare depicting combatants, machine guns, armoured vehicles, aircraft etc. The photograph above is a detail of a stained glass window in Worcester Cathedral and it clearly falls into the latter category. It dates from about 1921 and is by the Scottish artist, James Eadie Reid (1868-1928) who, as well as working in stained glass, designed wall murals for churches.

photo © T. Boughen     Camera: Olympus OMD E-M10

Timber-framed houses

I once read that the order and symmetry of the exposed woodwork of timber-framed medieval and later houses revealed something about their age. Broadly speaking asymmetrical, seemingly (though not in fact) haphazard wok was usually an indicator of early work - say, the fourteenth or fifteenth centuries. The more orderly, symmetrical timbers that were often arranged to form patterns and sometimes include ornamental quatrefoils and such were invariably later, usually dating from the sixteenth and seventeenth centuries. By that reckoning this photograph taken in Lavenham, Suffolk, shows some reasonably early timber-framing.

photo © T. Boughen     Camera: Olympus OMD E-M10