The massive construction over the former (hideous, glad it is gone!) Saint James Centre, viewed from nearby Calton Hill, creates a sky forest of cranes, two shots taken just half an hour or so apart at dusk then full nightfall:
As another year ends time to have a look back through my now enormous Flickr photo stream (now well north of 17, 000 pictures) and pick out some of the favourite shots I managed to take during 2018:
Misty evening in Edinburgh – handheld shot walking home one night, amazed it came out:
This poor chap was a rough sleeper, he had set up a small camp bed in Greyfriars kirkyard, his belongings in bags under a nearby tombstone, just a few feet away from the groups of passing tourists exploring the historic church and graveyard:
Autumn but still some bursts of bright natural colours – this close-up was snapped in September in Greyfriars kirkyard, a bloom among the tombstones…
Another macro shot, playing with the close up facility on the camera, these autumnal berries and leaves came out quite nicely, I thought:
Taken the same day in the Colzium at Kilsyth, these gorgeously coloured autumn leaves:
Lady enjoying a burst of warm sunshine on an autumn day:
The Church of Scotland Assembly Building on the Mound, at Blue Hour:
National Gallery of Scotland at dusk:
Union Canal at Blue Hour:
The recently refurbished McEwan Hall at night:
The brightly painted Victoria Street on a damp evening:
The photographer photographed:
Lovely young Fringe performer kindly posing for me on the Royal Mile during the festival:
Really pleased with how this came out for a quick street portrait, taken of a Fringe performer on the Royal Mile. It went onto Flickr’s Explore page, so the views for it went crazy, several thousand views in just a few hours:
My chum Darryl Cunningham paid a return visit to the Edinburgh International Book Festival:
Relaxing in Charlotte Square during the Book Festival:
Selfies on the Mile:
One of the young animators at the McLaren Animation awards during the Edinburgh International Film Festival:
Mike Zahs (with the beard) talking after the film festival screening of Saving Brinton, which is one of my favourite movies of the year:
Russell Jones reading some of his poetry at the regular Event Horizon evening held most months by the Shoreline of Infinity journal in Edinburgh:
Some shots from the Processions parade which marked a century since parliament gave (some) women the vote. I took a bunch of photos that day, lovely atmosphere, but these two were my favourites, came out quite well for improvised street portraits taken as they parade walked by:
Found a nest of fluffy wonders: I’d seen a couple of swans with their new baby cygnets on the Union Canal, then a few days later found their nest among reeds by the canal side, the babies sleeping inside while the parent swans kept a watchful eye nearby. The little wonders you can find just walking home from work…
On a warm spring day, down by Musselburgh harbour, these two little scamps had climbed along the wall – they were pretty high up, and I think their parents would have a fit when they noticed how high they had gone!
Same hot spring day, some kids enjoying themselves in the sea just off Portobello Beach, caught the moment just as one jumped from his boat:
Woman enjoying the spring weather, changing the music on her phone as she sits in the outdoor cafe in Princes Street Gardens, the sun dappled by the trees creating a nice mix of light and shade that drew me to frame it like this:
Enjoying some fine spring weather by the floating cafe on the Union Canal, climbed up on the nearby old Leamington Lift Bridge to get this overhead angle:
Avengers Assemble!! Cosplayers at the comic con at Easter, these guys were friends of my chum, they had been out earlier in their costumes having their photos taken in some of the Edinburgh locations used in the Avengers: Infinity War movie:
Family of cosplayers at the comic con!
2000 AD veteran artist Colin MacNeil with Indy comics publisher and creator Colin Mathieson at the Edinburgh comic con:
Winter’s night in Saint Andrew Square:
Crossing North Bridge on an icy, snowy, windy winter’s day:
Browsing for vinyl at the music stall in the street market:
We were hit by seriously heavy snow storms in March, for only the second time in the decades I’ve lived here the buses stopped running even in the city centre. I ventured out to take a few photos, this was a nearby cemetery – my coat was white by this point from the heavy snowflakes being blown by strong wind, so I snapped a couple of pics then retreated home to the fireside!
More snow, this time on the Royal Mile:
This was part of the Lumen light art installations, several different pieces that came on between dusk and dawn during the winter nights, brightening up the darkness. This was my favourite of the installation, the strings of light hanging down as ambient music played, you walked through them and let the lights sway around you, it was delightful and magical on a dark, winter’s night:
This year was the Muriel Spark centenary, and it started with these projections onto the National Library of Scotland:
Princess Leia cosplayer and Wonder Woman at the Capital Sci-Fi Con:
Blue Hour on the Royal Mile back in January, sun set but this last smidgen of blue in the western sky, my favourite time of day:
View over Edinburgh from North Bridge on Burns Night:
The low winter sun bathing the lighthouse on the mighty Bass Rock last January:
Each January the National Gallery of Scotland shows their Turner collection (a gift to the nation years ago on the condition they be shown in winter when the light suits them best), I try to go along each year to see them again. As I came out the early winter night had fallen and the Mound by the galleries was icy:
New Year’s Resurrection – this short story by acclaimed Scots writer Val McDermid was projected onto buildings like the Signet Library at the very start of the year:
Normally I like visiting the main hall of the original part of the National Museum of Scotland during the day, as the Victorian glass and steel roof means this large space is flooded with natural light, even on an overcast, cloudy day (several galleries along the railings are well served by this light, especially a row of sculptures). Still, it has a certain charm after nightfall too:
I was zooming in on this handsome old wrought-iron drinking fountain with its elaborate surround. I had the camera on a tripod and used a (fairly short!) long exposure, the result was this very clear image of the fountain while the visitors around it were all motion blurred ghosts. It wasn’t a deliberate plan but I quite like the sort of quality it brought to this pic:
Looking straight cross the main hall to the stairs ascending and descending at the opposite end:
Meanwhile, a little earlier I had been on the roof terrace of the modern part of the museum, a free to visit spot that many seem to miss, but which offers splendid views out across Edinburgh’s Old Town in all directions, including eastwards to Athur’s Seat, the huge extinct volcano which sits in the Royal Park of Holyrood (by the palace) and gives us a chance for a country hill walk without leaving the town. Here is Arthur’s Seat and Salisbury Crags catching the final half hour of golden light on a winter’s afternoon:
Flocks of birds swooping around in tight formation over the rooftops of the Old Town as dusk falls on the short winter day:
Spires and minarets of Heriot’s School silhoutted by the setting winter sun:
Looking north from the roof terrace across the Old Town:
And of course you get a terrific view of the Castle:
And Outlook Tower, part of the Camera Obscura, which has been a visitor attraction in the city since the 19th century and still draws them in, sitting right in front of the entrance to the Castle Esplanade, again catching the last few minutes of winter daylight:
And this one was an impulse shot – the east side of the roof terrace has a white wall, with a large section cut out. As the sun was rapidly reclining in the west it cast a gorgeous golden light, throwing shadows onto the white wall and that lovely, warm colour. Along with the cut-put viewing space in the wall acting like a picture frame with the dome of Old College (a distinctive landmark on the Old Town’s skyline) I thought I’d try a pic, quite pleased with how it came out, given it was a spur of the moment thing when I noticed how the light was hitting the wall:
Watched the Moon rising over McEwan Hall the other evening, from the roof terrace of the National Museum of Scotland (one of the best spots for looking out over the roofs, spires and domes of Edinburgh – and like the museum it’s free):
And while I had that elevated vantage point and dusk was falling, I thought I would try to zoom in a bit and see if I could get a Moon shot too:
Then as night fell properly I went for a stroll with camera and tripod, over to Bristo Square and Edinburgh University to take a pic of the Teviot, which is the oldest purpose-built student union in the world (and resembles what Hogwart’s student union would look like if they served booze). Used to enjoy the regular CeilidhPartyDisco nights there when I was an undergrad (live band Ceilidh for first half of night, then late night disco, we had fun), still a hugely popular venue:
And then the recently refurbished and enhanced McEwan Hall at night – this is just half an hour or so after the shot at the top of the dome with the Moon rising above it, already full darkness fallen. This is where my graduation ceremony took place, we all stood in this square afterwards taking photos with our families, feels like a lifetime ago now:
Saint John’s Church on Princes Street has been painting large murals commenting on social and moral problems for many years. It’s been a little while since I saw a new one, but noticed today a fresh one had been painted, celebrating the diversity of multi-cultural Scottish society and timed to coincide with Rosh Hashanah, the Jewish New Year – in an especially nice touch the figure on the upper right pays homage to Raeburn’s 18th century painting of the Reverend Robert Walker ice-skating on Duddingston Loch in Edinburgh, now famous as the symbol of the National Galleries of Scotland:
I’ve just been enjoying a couple of weeks at the world’s largest literary festival, the Edinburgh International Book Festival, seeing a number of fascinating author events and also being fortunate enough to chair several comics and science fiction events too, from Young Adult science fiction and graphic novels to graphic non-fiction covering science, gender and history, as well as taking in two very famous, gifted but different artists, Mr Alan Lee, and Scotland’s own Frank Quitely.
The comics folks were out in force on the first day of the book festival, with the Edinburgh Comic Art Festival gang organising a free comics fair for small press and Indy creators in the hotel right across the road from the main festival in Charlotte Square, which was a very nice touch, giving the small press comickers a chance to shine at such a huge lit fest, in the middle of a city buzzing as the Fringe and International Festival were also going on and it feels like half the planet has packed into our ancient volcanic city to enjoy the biggest arts and culture bash in the world, a terrific place for our fellow comickers to strut their funky stuff.
The opening day also saw the regular lovely old Spiegeltent being used for more events, with a talk involving BHP Comics’ Sha Nazir and Heather Palmer and 404 Ink’s Laura Jones discussing We Shall Fight Until We Win, an all-woman creator anthology celebrating the centenary year of (some) women in the UK getting the vote, with a female figure from each decade of that century explored by the different writers and artists. Both Indy Scottish presses, BHP and 404 Ink, had collaborated on this, and in a remarkably brief timescale – much of the writing, drawing and editing was achieved within a couple of months. Larger publishers would probably still be going over contracts at that point, but small publishers can be swifter and more nimble on this kind of turnaround, as the panel explained. The audience was pleasingly mixed, as far as I could see, comics readers but also a lot of regular book festival goers who had come along partly out of interest in the subject and also perhaps to help support local publishers.
I had the most people I’ve ever had on stage at any event I’ve chaired at the festival for a SelfMadeHero evening, which included John Harris Dunning and Michael Kennedy talking about the amazing Tumult and Javi Rey discussing his beautiful graphic adaptation of Jesus Carassco’s Out in the Open. Javi’s English was fine for one on one chats but on stage we had an interpreter, Carolina, so all in all there were five of us packed onto the small stage (Carolina is also an Indy publisher as well as interpreter, and she brought that to the proceedings too).
Both books were very different, but there was a lot of common ground too, especially in the way the two different artists had used light and colour, and rather nicely it ended up being one of those events where instead of just me asking questions the comickers all started commenting on each other’s answers and asking each other questions too. There was a lovely flow between Michael’s art and John’s writing in Tumult, the art achieving the difficult task of showing the same woman but hinting at the different personalities which manifest in her, while Javi chose to adapt the novel into comics by dropping most of the words, letting the art – including some stunning, Sergio Leone-esque landscapes – carry the story, more an interpretation than adaptation. Interestingly he told us the publisher in Spain approached him and asked him to adapt the hugely successful novel into comics form. At the post-event signing Javi produced his watercolours box and proceeded to paint colour art for every person who signed. I can’t recommend Tumult and Out in the Open highly enough, two of the most fascinating and beautifully crafted graphic novels I’ve read this year.
I was delighted to see Darryl Cunningham, returning to the book festival (he was here previously for Supercrash), bringing his quite excellent Graphic Science from Myriad Editions (reviewed here) to the festival. He had been put on with computer scientist Ursula Martin, who had written on one of the woman pioneers of computer science, the great Ada Lovelace, which proved a good match as Darryl’s graphic work explores several scientists who are less well known and respected than they should be because of gender, class, income or colour, and it was a good reminder of the power of intellect and learning, for the individual of any kind, and the positive effects their work, if they are given the chance, can have on a wider society. I was also cheered when Darryl was introduced as writing graphic non fiction but in his talk he said some of the terms like that applied to creators were clumsy, and he said he simply thinks of himself as a cartoonist. I was very proud to hear him use the “C” word.
Frank Quitely gave a great late night talk at the festival, taking his recent Drawings + Sketches art book published by Glasgow-based BHP Comics as the basis of the evening. Frank had pages of his work from the Drawings book on screen, and he and chairperson Stuart Kelly used those as a good way to explore not just Frank’s impressive body of work, from Broons parody The Greens in Electric Soup many years ago in Glasgow to major works from US publishers such as We3 with Grant Morrison and Jupiter’s Legacy with Mark Millar. The fact this covered everything, from the roughest doodles and sketches to variations in ideas for characters, costumes, layouts, all the way to the finished works, gave the large audience a terrific insight into the creative process.
Frank was also generous with his praise for others, such as the writers he has worked with, the importance of work largely unseen by readers proved by editors and others behind the scenes, and discussing some of the other creators whose work he hugely admires. Dave Gibbons was one artist Frank singled out for praise, mentioning how every so often he likes to take out Watchmen and have a look at some specific scenes, to see just how Dave planned and drew them, except, he added with a smile, the story is so well done that he soon finds himself reading away, lost in it, before remembering he was meant to be studying Dave’s art and layouts from a technical point of view. Despite it being a late evening event the turnout was good and there was a solid line for the signing session afterwards (props to the bloke who arrived clutching a branded bag from the sadly now defunct Plan B Books in Glasgow).
I was very pleased to see Jean-Pierre Filiu returning to the festival this year. Jean-Pierre, a former French diplomat, now writer, lecturer and historian, wrote the absorbing trilogy of graphic history/politics books The Best of Enemies, a history of US-Middle East relations from the very creation of the American Republic in the late 1700s to the modern era. The series offers a fascinating insight into this complex history of competing influences and alliances, wrapped up in some truly astonishing artwork by one of France’s greatest comickers, David B.
Last time he was here Jean-Pierre explained there would be a gap between book two and three as the demands of the complex artwork had exhausted David B, and he required a break. The third volume was published in English by SelfMadeHero earlier this year (see my review here), and was one I was eagerly awaiting. Jean-Pierre commented how the third volume, covering the most recent years, was in many ways the hardest to do, principally because this was a period he had personally experienced (he was actually in Baghdad one evening as Allied airstrikes hit it, a planned outing to a classical concert changed to a cellar after the venue was hit by a Tomahawk missile), and how much harder it was to maintain balance and not become too emotionally entangled.
He also explained the final pages, wordless images of a wide selection of men and women from across the Middle East, Arab, Israeli, young, old, all just looking out of the page at us, looking directly at us as if to say “what will you do? How will you help make this better? We’re just people like you and want to live with our families in safety and prosperity”. Fascinating and extremely compelling, and not a little emotional too.
I had the pleasure of chairing some events in the Children’s Programme this year too; I’ve chaired author events many times before at the festival, but this was the first time I worked on the kid’s programme events, and it really was fun. I had a terrific chat about YA science fiction with Barbados writer Karen Lord (who has one of the brightest and bestest smiles I’ve ever seen) about The Galaxy Game, a follow-up to The Best of All Possible Worlds, and Paul Magrs (who many of you will know for his Doctor Who and Big Finish tales) who was there with the third part of his Lora Trilogy, The Heart of Mars, following a young teenage girl’s journey to save her family and friends across a future, terraformed Mars.
While both books were very different they had a lot in common, both with complex and well-realised societies with rich traditions and customs, and both, I found as I read, avoided the “omniscient narrator” and gave the reader only the same information as the main characters, which had the effect of placing us right there in the journey with them, learning right alongside them, this process immersing us more into the book and cultures and also empathising more with the characters.
The theme of this year’s book festival was freedom, and Gutter Magazine had produced The Freedom Papers, a collection of personal essays on what freedom means to different people, by over fifty writers from around the world, including Karen and Paul, and instead of reading from their own books they both read their essays. Given some dozen important authors (many from African and Middle Eastern countries) were blocked by the incompetent, Kafka-esque Home Office from obtaining their visas to visit the book festival, this discussion on freedom was all too relevant to those of us at the festival – freedom of movement is important, denying it can be, in effect, a form of censorship, and for a government to stop so many lauded writers from entering the UK to its largest celebration of the written word was utterly shameful and hardly does much to enhance the UK’s reputation of being open to the world.
Also on the children’s programme I got to work not only with a pair of Nobrow/Flying Eye creators, Alexis Deacon, there with the first two volumes of his beautifully illustrated YA fantasy graphic novels Geis (pronounced Gesh, as in the old Gaelic term for a form of curse or enchantment), and Joe Todd-Stanton with the second of his Brownstone’s Mythical Collection tales, Marcy and the Riddle of the Sphinx, and The Secret of Black Rock. Joe’s work mixed elements of the classic children’s picture book format with elements of comics to create a delightful hybrid, and boasted some quite gorgeous scenes – in fact Alexis drew attention to a two-page spread by Joe depicting the Egyptian god Ra’s sunboat traversing the sky, all shown in a cutaway fashion, like those lovely Dorling Kindersely books, and the audience of youngsters all agreed with him how beautiful some of those scenes were. It’s always nice when instead of just you as chair asking the authors questions, they interact with each other and discuss each other’s work and processes on stage too, and it becomes more of a natural conversation rather than interview.
With so many young readers in the audience both Alexis and Joe were happy to discuss how they got into illustration and comics (in Alexis’ case this was his first proper comics works, his previous, award-winning works being picture books, but he had long harboured a desire to do longform comics), and how they create their works, from ideas for a story and little doodles to the finished page. Unsurprisingly many of the youngsters there liked the idea of making their own stories and comics, and they seemed to especially enjoy hearing Joe and Alexis explaining to them about how they go about making their tales and their art.
As part of the Scottish Government’s Year of Young People a group of schoolchildren – calling themselves Codename F – worked with the festival programmers on choosing events, and in fact Alexis and Joe were authors they had specifically asked to have at the festival (you can imagine how delighted they were to learn that!). Three of these youngsters took part in the event with us, talking to us beforehand in the Author’s Yurt, they then introduced the three of us at the start of the event (unusual experience for me, normally I am introducing the author, this time I was being introduced with them!) and they had lined up questions for the audience Q&A segment after our on-stage chat. The kids were so enthused at being part of the book festival, and over the moon at meeting some of the authors they had loved reading, getting to talk to them, getting their books signed (both Alexis and Joe did them lovely wee sketches too), they were absolutely beaming, one youngster telling us that this was the best day of his life. It was wonderfully sweet, even to a cynical old bookseller like me, and quite wonderful to see the children so involved and happy at book events. I think that was one of the nicest events I’ve ever done…
On the last day of the festival on the holiday Monday I had my last event, and boy, what an event to finish on: illustration royalty in the form of the great Alan Lee. HarperCollins are publishing the final JRR Tolkien tale, The Fall of Gondolin, this week and this was the first proper event in the world to celebrate that landmark. Ironically this final publication is the earliest Middle Earth tale – Tolkien himself noted in a letter to a friend that this was the first proper tale in his world that he ever started – begun during a break from the horror of the trenches in the Great War. Tolkien, as he often did, rewrote and changed his story over the years, so much so that although parts have appeared before, the full tale, as seen in this book, was thought unlikely to ever see the light of day. His son Christopher Tolkien painstakingly, forensically reconstructed the full tale from multiple versions and drafts (including one saved from destruction by his mother), and the book comes with copious notes on how he put it together and explaining how it fits into Middle Earth history, which is as compelling as the actual tale.
Who else could illustrate this almost lost tale of the First Age of Middle Earth, millennia before the time of Lord of the Rings, but already setting up ideas and sowing seeds that would come to fruition so much later chronologically, in the Hobbit and Lord of the Rings and Silmarillion except Alan Lee. An impeccable pedigree of world-class illustration in pencils, inks, charcoals, oil and watercolours and awards from the Kate Greenaway Medal to an Academy Award, he is one of the artists most responsible for how legions of readers worldwide visualise the rich tapestry of Tolkien’s Middle Earth (and of course that is why Peter Jackson asked him to work on the films with him).
Instead of the usual Q&A session format, Alan had explained he had put together an illustrated talk, and I was happy to forego the time for the Q&A to hear it alongside the packed audience. Alan took us through his work in chronological order, from early works with the great Brian Froud in Faeries to illustrations for Rosemary Sutcliff’s acclaimed children’s takes on the Iliad and Odyssey, the glorious illustrated Mabinogion tales (I still have a copy of that edition, those rich, ancient Celtic myths, source material for much Arthurian lore, married to Alan’s paintings, just enchanting) and of course his many Tolkien works, sharing with us sketches and finished paintings from Lord of the Rings to the Fall of Gondolin, and also his works for the film adaptations with Peter Jackson.
Alan showed us a sequence of works depicting the great city of Gondor, explaining how as well as showing the city from the plains he would then make multiple sketches, effectively tools for himself, taking himself through the streets and buildings so he had a full understanding of how it all connected and worked and looked, inside and out. Part of this found him drawing the different levels and streets as Gandalf rides up to the summit of the city; flicking through these sketches quickly was reminiscent of an animatic used by film-makers to plan a sequence, and indeed Alan added that this eventually went on to be used in the film itself. Alan was also kind enough to include a plethora of sketches and other works which he hasn’t published or shared before, save showing to family or friends, including works from notebooks and sketchbooks he carried with him, and a number of landscapes which he liked to capture in a sketch then would often use later for inspiration for book illustrations, noting Tolkien would have approved given the landscape was such a huge inspiration to him and his writing.
The turnout for this event was huge – sadly we ran out of time and didn’t have space to do the usual audience Q&A session, but everyone agreed it was worth sacrificing those moments to let Alan finish his illustrated talk, and the round of applause for this master wizard of the brushes was enormous and heartfelt. The audience did get a chance to ask him questions at the signing session afterwards, and ye gods, what a line! The queue snaked out of the signing tent, down the walkway then doubled back on itself – by the time I had to leave, a full hour and a half after the end of our event, Alan was still signing for a line of people! Rather nicely I noted that he avoided the chair behind the table provided for the signing, and instead chose to stand in front of it to chat to each reader in turn, right next to them, then sign and sketch for them.
We all know the “Roads go ever ever on, Over rock and under tree”, but here we were, at the end of our journey through Middle Earth, returned to the very beginning, a long journey Alan has also taken with his achingly beautiful art. Although we didn’t get time for a Q&A on stage I did get to chat to him beforehand as we were getting ready, and I asked him if it had been a bit emotional for him, as an artist, to have followed this long journey through Middle Earth, to end up on the final book and going back to the First Age, and yes, of course it had been. A remarkable journey, made all the better for Alan’s artwork keeping us company along the long road.
And now it’s all over for another year, the Book Festival village will be folded away, the Fringe and International Festival have finished, the thronged streets are suddenly passable once more, and the posters for the multitude of events hang slowly fading from walls and railings like ghosts. Always a peculiar feeling just after the festivals finish, a mixture of relief at reclaiming the city and an ennui at the party being over. Until next year, of course…
It’s August and that means festival time in Edinburgh, with several enormous festivals running at the same time, plus the usual horde of tourists, it can make it a frustrating experience for locals trying to get around their town. But it also makes for happy hunting grounds for photographs, especially the Fringe on the Royal Mile, where a section is put aside in August for performers to tout their shows, even including wee stages where some enact excerpts from their acts to try and interest audiences to come to their shows (and with such a vast array of shows every day and night they really need to work to get an audience)Saucy Jack and the Space Vixens have been a regular popular show on the Fringe, nice to see them back again! The pic above was selected for Flick’r Explore front page, which takes photos from all around the globe uploaded to Flickr each day. I was quite chuffed with how this pic came out considering it was a very quick street portrait, and it was nice to see it being put on the Flickr front page and getting several thousand views in a few hours as a result. Finding the manual zoom and focus on the big Fuji bridge camera to be very handy for getting in a bit closer for street portraits without having to shove the camera right in their faces. The Girls From Oz were singing some of their show on the Mile. I normally prefer monochrome for people watching shots (somehow just works better), but they were so resplendent in their vibrantly blue Aussie flag dresses I had to shoot some colour pics too!
Remember the tiny young cygnets I photographed back in early June, sleeping in their nest among the reeds by the side of the canal near my home?
I snapped them again about a month after that, swimming along the canal with their parents, now shedding the adorable fluffball look and starting to grow in their proper feathers:
That last one was early July. Tonight I saw the whole Swan Family again as I walked home alongside the canal, one parent and cygnets all snoozing by the side of the canal and on the towpath, while one of the parents kept a watchful eye open:
It’s as well one of the parents was on guard duty – most walkers, joggers and cyclists moved over onto the nearby grass to give the birds plenty of space, but one utter arsebag of a cyclist came charging at them full speed, with a “out my way” look on his face, he tried to zip past them only inches away. And the parent swan reared up, huge wings opened up, started hissing and lunged to peck his legs. Frightened the hell out of him, you better believe he finally swerved out the way then. Just pure stupidity and arrogance, he could have avoided them easily. Stupid thing to do, he could have harmed one of the swans, and swans can be quite bad tempered anyway if you get too close, but to do it to one guarding its children is just asking for the swan to have a go at you!
Frankly I’d have happily shoved him and his bike into the canal myself if I could. Anyway, most people passing were more considerate, gave them space and were clearly enjoying seeing such a lovely little natural bit of beauty and wonder. Quite lovely to just see things like this on your walk home in the middle of the city, from tiny, fluffy baby cygnets to rapidly growing youngsters, won’t be long before they are taking wing themselves.
Edinburgh is moving into the main part of its busy festival season – the Science Festival has been in April, the Edinburgh International Film Festival in June, July sees the Jazz and Blues Festival, while the start of August gives us the Fringe and International Festival, and later in August the Art Festival and the Edinburgh International Book Festival. Busy, busy, busy…. Sadly the days when we used to get the Fringe Cavalcade parade seems to have vanished into history, but in recent years the Jazz and Blues Fest has kicked off with a colourful Carnival which makes up for that:
After the parade, many of the Carnival performers headed down into Princes Street Gardens, some to have a rest, others decided to put on some more performances for the following crowds, really nice atmosphere:
Some were more ready to just sit down and all check their phones!
Meanwhile this dancer seemed just so full of joy at performing in the park on a wee makeshift stage for the crowds, wonderful smile on her face as she danced:
Walking home a couple of weeks ago along the Union Canal at Fountainbridge I came across the lovely sight of Mr and Mrs Swan taking their new fledglings along for a wee paddle, a flotilla of fluffy cuteness:
Then this afternoon I found this little natural wonder: the fluffy cygnets all curled up together in their nest in some reeds by the edge of the canal, dozing in the warm afternoon sunlight as their parents floated in the water nearby, keeping an eye on their young charges. What a lovely little wonder to just come across…
And here is one of the proud parents:
Here’s an interesting one for those of us who turn into excited ten year olds when we see a classic steam locomotive, an old film documenting the building of an LMS Princess Royal class mainline loco. I’ve seen one of these engines under steam, they’re beautiful, elegant machines, fascinating to see one being built from pieces of molten metal and the hard work and sweat of the skilled workmen:
And here’s the Princess Elizabeth, a Princess Royal class in that lovely LSM maroon livery, under steam at Carlisle: