It is exciting to see new things happening in an old city, especially when these developments change the dynamic of the landscape completely. The Peace BridgeinDerry/Londonderryis so named for connecting different parts of the city that have historically been divided due to the religious and political conflicts that have plagued Northern Ireland in years past. And the fact that it is a car-free bridge for walking and cycling adds an additional layer of symbolism: Unlike motorists, the pedestrians and cyclists crossing are unshielded by anonymity. It is the ultimate gesture of mutual trust and connectedness.Along the river bank, a new bicycle path is being built that will link this bridge to another further down the river for an even greater sense of unity.
I have never been to Derry prior to the construction of the new bridge. But as a first time visitor I cannot imagine it not being there.Not only do the modern shapes of the contemporary structure harmonise with the historical buildings in the background (from some vantage points, the bridge even appears to "hug" the old city center), but its usefulness and influence on local culture were apparent.
People walking and riding their bikes, some in a hurry and others strolling with newspaper in hand while enjoying the view - the city feels alive and my impression is that this liveliness is recent.Walking through the city center early on a Sunday morning, my impression was that the city was waking up in more ways than one.
Being in Derry, I truly felt it as a living organism in the process of transition. The city wants to be vibrant, it is on the verge of it. The air is electric with change and potential. It is an exciting place to be while this development is happening.
As a funny contrast to the Peace Bridge in Derry, I had earlier visited theCarrick-a-Rede Rope Bridge on the Antrim coast. In decades past a precarious bridge built forfor local fishermen to crossfrom a tiny rocky island to the mainland, it is now a tourist attraction.For a fee of£5.60 you can cross the bridge, circle the island and come back.
The tug of war between this being a tourist attraction for which an admission fee is charged, while still being part of nature and therefore inherently dangerous, is interesting to observe.
Not all who attempt to cross the bridge are able to, as it sways and feels rather unstable. And so in a sense it is also a test of courage - accentuating differences between those who attempt to cross it. Some grasp the rails in a panic, others dance across mockingly. I am told that once the coast guard had to be called because a tourist had a panic attack on the other side of the bridge and could not cross back.
Most visitors get to the Carrick-a-Rede Rope Bridge in a car. There is a huge car park by the road, next to it a tea house. From there a scenic path leads down to the bridge itself. The path is maybe a 15-20 minute walk, downhill, with beautiful views throughout. I had gone there in late afternoon and the last group of tourists was still about. Walking down the path, one woman said to her husband "My God, why couldn't they make this thing closer to the parking lot? This is ridiculous!"
That is my story of the two bridges.
We really appreciate you all and your cool boat! Today we spent a good bit of the day out, enjoying the water and doing some tubing with them.
An osprey and its nest:
I had three lenses with me in the camera bag yesterday, so I thought it would be neat to illustrate how different lenses affect the way a bicycle looks in pictures. Here are three photos of my mixte standing in the same position, taken with (left to right:) an 85mm lens, a 50mm lens, and a 35mm lens, using identical camera settings. Notice any differences?
Here is a closer look at the picture taken with the 85mm lens. First off, notice the relationship of the bicycle to the trees: In this picture the bike looks like it is positioned in between the trees. There are hardly any trees in the frame itself and if I wanted to I could crop them out all together, making the bike an isolated object in the midst of snow and sand. There is also not a great deal of background information in the space above the bike: a few stairs, but that is all. Furthermore, the things in the background are kind of blurry in comparison to how sharp the bicycle itself looks. And finally, take a look at the size of the bicycle's wheels. The bike is slightly turned toward the camera and the front wheel is closer to me than the rear. But despite this, the front wheel does not look much larger than the rear; the bicycle looks proportional. The 85mm lens is considered a "portrait lens" precisely because it creates these effects: It isolates the subject from the clutter of surrounding objects and reduces unflattering foreshortening effects in the subject's face and body.
Now the same scene, but taken with a 50mm lens. Notice how much more background information is visible in this picture. And it's impossible to crop out, because all that extra stuff is directly behind the bike, rather than around it. The same trees that were spread out to the right and left in the previous picture, now overlap with the bike's wheels and can't be cropped out. More stuff in the space above the bike is visible as well - now we see not just the stairs, but a winding path. And the background scenery is in sharper focus than in the previous picture. It's a nice composition as far as narrative goes (we get more of a sense of the bicycle being in the woods), but a portrait or product photographer would tell you that the background is starting to compete with the subject of the photo. One of the trees looks like it's growing out of the pannier, and the winding path draws the eye away from the forms of the bike itself.
And same scene once again, but with a 35mm lens. The entire patch of woods and the street behind it have now been wrangled into the shot. The background scenery is just as sharp as the bicycle itself, and there's so much of it, that the scene looks altogether cluttered. Also, notice that the front wheel of the bicycle looks considerably larger than the rear, as a result of being closer to the camera. Foreshortening effects are pretty strong with this lens: If I were photographing a person's face, their nose would appear exaggeratedly large in comparison to their eyes for the same reason as the mixte's wheels look to be different sizes.
There is much more to be said about differences between these lenses, and in fact I haven't given a proper introduction to camera lenses at all - but that would take ages and it's nothing you can't find in an online reference. Hopefully, these pictures illustrate the way in which lenses play a role in bicycle photography, and why sometimes it seems like you just can't compose the shot you want with your camera. For those of you who use digital SLRs with interchangeable lenses, which do you prefer to use for bicycle photos?
The macarons at Laduree are of course no better than the everyday normal macaron’s sold on the streets of Paris. People flock here like seagulls, mostly tourists, because of the brand. Everyone wants to savour the Laduree macaron (or cakes) and sit in the café. Including us haha.
Long line at the patisserie.
Arc de Triomphe on Champs-Elysees.
Inside Laduree patisserie.
Arc de Triomphe and traffic at night.
With a blizzard raging outside, what better way to spend an evening than working on bikes? The Co-Habitant agreed to help with my Gazelle (and by "help" I mean "do most of the work"),in exchange for which I prepared lavish portions of a dish that is sort of a cross between French Toast and a Croque Monsieur - only larger, fluffier, more generous on the cheese, and with some secret herbs that make it special. He likes my cooking, I like his mechanics: win-win!
Though I bought new tires for my Gazelle months ago, we had been procrastinating with their installation, as it required dealing with the formidable chaincase. Removing it seemed complicated. And who knew what was under there after all these years?
TheGazelle'schaincase is a vinyl casing that is stretched over a metal support structure.It is clipped and fastened at several attachment points - including an amazing system of clasps along the bottom, the likes of which we have never seen before. I am not certain how closely the current-production Gazelle chaincase resembles the one on my 15-year-old A-Touren model, but mine was not exactly easy to remove and install - not a project for beginners at least.
Once removed, this is what was inside. It's entirely possible that the drivetrain has not been worked on since the bicycle was first purchased by the original owner. The metal structure supporting the vinyl casing was covered in surface rust, as were parts of the chain itself. But otherwise, there were no apparent problems. These bicycles were built to be used and abused for years without any need for maintenance.
We were disappointed to see that the chainring did not have little gazelles carved into it like the older ones did. But I suppose that would be too much to expect from a '90s model. The metal chaincase support structure disassembles into several parts - allowing the rear portion to be removed without taking the whole thing apart.
The main chaincase attachment bolt is on the chainstay - a more secure method than attaching chaincases or chainguards to the bottom bracket. Another point of attachment rests on the rear axle. While more difficult to tinker with, the benefit of the vinyl chaincase design, is that it is less likely to rub or knock against the chain. It also weighs less than plastic or metal chaincases - though somehow I doubt that was a concern for the makers of Gazelle.
The Co-Habitant was thoroughly impressed by the design of the GazelleA-Touren's rear triangle, and believes it to be a better (more integrated) system than that of the vintage Raleigh DL-1 or of the modern Pashley.
Everything on the Gazelle fits together just so, as if the parts were all custom-made for each other. And once the chainguard is off, the fork ends are cut in such a way, so as to facilitate wheel removal. The 28" wheels with the stainless steel rims weigh a ton.
The routing of the tail light is entirely internal: The wiring comes out of the chainstay right next to the fork-end, and snakes along the inside of the rear fender invisibly. These are the kinds of design elements that make this bicycle a fully integrated system - almost an organism - that experiences very few problems. There are fewer things to shake loose, break, or fall out of adjustment, which is what makes it so low maintenance.
I know that some enthusiasts would have next taken the whole bike apart, scrubbed off the rust, polished the frame and components, and put it back together - but we prefer to let functional bikes be. Having checked the drivetrain, none of the components seemed to be any worse for wear despite some cosmetic degradation, so we just cleaned them up a bit, greased everything, adjusted the brakes and shifter, and closed the whole thing back up. I will replace the chain soon just in case, but that is about it. Changing the tires on this bike was easy, and the cracked originals are now replaced with newSchwalbe Delta Cruisers. We also removed the vinyl dressguards and are replacing them with something more personalised. The snow continues today, but by the time it is over the winterised Gazelle will hopefully be ready for her test-ride. Working on this bicycle has made us both appreciate just how well it was built. I know that the current-productionGazelles differ in the way they are constructed, but I hope that they retained at least some of the ingenuity of the original design.