#Car Scrap in Ilford

[raygoodwinmajournal]

301 - Epochal Territories - 21/4/2022 Shoot #2

Going further afield...how further can that be? Previously, I had mentioned that Plymouth as a location has been exhausted, and felt bored of being around the same locations. Completely unrelated to that, me and Harriet decided to get away for a few days to recharge the batteries after a hectic few years. As a couple, we have never been able to get away due to our degrees, COVID lockdowns and working. We managed to find some time and we decided to go to Cardiff, a place I have never been to and a country I have never visited. Wales has always interested me, because of it’s contrasting landscapes of moorland and industry. Naturally, I found an area that I was interested in via Google Maps whilst looking for places to eat, which was Celsa Manufacturing UK. 

The morning of 21/4/2022, a couple of hours before we were going to check out of our Premier Inn, I walked to this area with the Mamiya RB67 around my neck, loaded with a roll of Ilford XP2. The route was rather strange, as to get to this area (Splott), I had to walk by an busy A-Road being pelted with dust kicked up by constant HGV traffic. The walk was worth it, as I was rewarded with a fantastically bleak area, which was partially marred by heavy traffic. 

The roll started by Pierhead Street, looking out to Roath Docks which houses Hanson Aggregates and EMR Cardiff, a scrap metal works. The 50mm on the RB67 is incredibly wide for 6x7, but perfectly suits my style of landscape photography, as it offers a wide POV style frame from where I am standing, and the detail of the 6x7 negative means that despite areas being further away in comparison to a longer focal length, they are still visible and detail is retained. 

This is the view from the other side of the A4232, looking towards the other end of Roath Docks. Walking across the overpass on the right, I was struck with the notion that it was the most non-place area I have ever visited. It felt like a never ending road, with the wall just above my eye-line, surrounded by concrete and road debris constantly blown into my face, and upon returning, my ears were filled with black dust. A crane claw was in operation at EMR Cardiff, shifting masses of scrap metal creating large crashes and rusty dust emanating from the docks. I was concerned by the constant traffic, as I was worried that it would congest my imagery.

Ocean Way, looking towards Celsa Manufacturing UK. The train tracks and gates creating leading lines which end up at the main processing plant of Celsa, which deals with steel manufacture for industry. The roads running adjacent to Celsa consists of constant HGVs going to the industrial estate and cars driving to a Tesco further up the road. Class 09 locomotives shunt around stock, with Class 66 locomotives moves stock from the plant to the mainline. The trees create a juxtaposition of the industrial setting, with the trees surrounded by litter and other human detritus. 

Opposite Celsa, is a water treatment plant. This was just off of the main road, and was quiet enough to take a photograph. I was constantly looking out for traffic and security - anybody to discourage someone with a camera taking photographs of something that people don’t want photographed. This area was incredibly fruitful, and I wish I had more time and more film with me, but I was limited with time and a single roll. It was the kind of area which I could’ve spent a day walking and taking photographs. 

Celsa Manufacturing UK. I had intended to walk further up the road, as opposite the main site (on Google Maps), looked as if it was full of slag heaps. But the traffic was constant, and I had to wait at a crossing for five minutes just to get this shot. Again, if I had more time I would’ve been able to get the shot I wanted. I have never really been in the vicinity of a plant like this, but I found it fascinating walking past and peering through the fence into the plant. Celsa is the biggest producer of reinforcement in the UK, and one of the largest manufacturer of longer steel products. Yet despite it being a large producer of steel, it has some incredibly bad reviews from lorry drivers, with mostly Romanian and Polish drivers complaining of extremely long waits, terrible waiting areas, poor road quality and drivers from the UK getting instant access to deliveries instead of following a set itinerary of drivers, causing those from the mainland to feel alienated. I cannot say that I am surprised, but it shouldn’t happen. One would’ve thought that an industry as big as this would respect all clients and workers, but favours some. I am only a photographer, but I feel bad for those having to weight several hours when others get fast track status, when one would assume that some steel deliveries would be going back to mainland Europe and would have to drive further in comparison to internal deliveries.

Adjacent to the plant is Splott Beach, an area of outstanding unnatural beauty and often attributed to asbestos and waste. This was an area that I also wanted to visit, but due to the traffic congestion and no way to cross the road to the ‘beach’, I was unable to get to this location. Again, if I wasn’t limited by time, I would’ve been able to visit it, as from the muddy beach, one can see the industrial structures which I found interesting from a compositional, and photographic point of view. 

A coda. Shooting in another country has cemented the idea that Plymouth - to me - is completely exhausted as a location. Half a decade of shooting in the vicinity of Plymouth has left me wanting more, and shooting in Cardiff has given me the urge to travel further afield. Visiting new locations is obviously going to me more fruitful, as you’re seeing locations with a fresh eye, instead of knowing a place like the back of your hand and knowing what to expect. It has given me the idea to return to Wales in the near future, by catching a coach and staying a night in a hotel to cover certain locations. The Megabus seems to be around £40 for a return in comparison to just under £100 for the train, which is only around an hour quicker (if it isn’t delayed). Hotels seem to hover around £50 a night for a decent room which is worth paying for instead of a hostel if you prefer creature comforts like myself. I am seriously considering doing this, as it would give me a fresh view on new locations which I have never explored, instead of trying to cover the same location at a different angle. This is something I would like to look into and get sorted before the end of the academic year in July, possibly in May or June. I am incredibly excited in travelling to new locations, but my main concern would be affording the travel. I hope that I can get a bargain and get myself to sunlit uplands. 

#301

[rhino-scrap-car]

“At RHINO, we take care of everything for you, from collection to disposal and guarantee a cash value upon inspection of your vehicle”.

#Car Scrap in Enfield #Car Scrap in Ilford #Car Scrap in Harrow

[iownyouiseeyou]

SCRAP VOLUME 1 #blackandwhitephotography warrior💿: @fanikroom . . . . . . #scrap #rap #cars #metal #hiphop #analogphotography #film #filmcommunity #filmisnotdead #filmphotography #paperjournalmag #rentalmag #35mm #135film #analog #nikon #fma3 #ilford #iownyouiseeyou #iouicu #instalifo #greece #theindependentphoto #hylasmag #gupmagazine #fisheyelemag https://www.instagram.com/p/B6A__c4geM6/?igshid=op9m0kl8rxpr

#blackandwhitephotography #scrap #rap #cars #metal #hiphop #analogphotography #film #filmcommunity #filmisnotdead #filmphotography #paperjournalmag #rentalmag #35mm #135film #analog #nikon #fma3 #ilford #iownyouiseeyou #iouicu #instalifo #greece #theindependentphoto #hylasmag #gupmagazine #fisheyelemag

[kryetara]

𝐘𝐎𝐔'𝐑𝐄 𝐎𝐍 𝐀 𝐍𝐈𝐆𝐇𝐓 𝐎𝐔𝐓.     𝐲𝐨𝐮'𝐯𝐞 𝐚𝐥𝐫𝐞𝐚𝐝𝐲 𝐟𝐫𝐞𝐪𝐮𝐞𝐧𝐭𝐞𝐝 𝐭𝐡𝐞 𝐮𝐬𝐮𝐚𝐥 𝐩𝐥𝐚𝐜𝐞𝐬 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐮𝐬𝐮𝐚𝐥 𝐬𝐮𝐬𝐩𝐞𝐜𝐭𝐬.  𝐚 𝐝𝐢𝐟𝐟𝐞𝐫𝐞𝐧𝐭 𝐭𝐮𝐫𝐧 𝐭𝐚𝐤𝐞𝐬 𝐲𝐨𝐮 𝐝𝐨𝐰𝐧 𝐚𝐧  𝐮𝐧𝐧𝐞𝐫𝐯𝐢𝐧𝐠  𝐬𝐭𝐫𝐞𝐞𝐭,  𝐚𝐧𝐝 𝐲𝐨𝐮 𝐰𝐢𝐧𝐝 𝐮𝐩 𝐢𝐧 𝐭𝐡𝐞 𝐬𝐢𝐜��𝐥𝐲 𝐠𝐥𝐚𝐫𝐞 𝐨𝐟 𝐭𝐡𝐚𝐭 𝐟𝐥𝐢𝐜𝐤𝐞𝐫𝐢𝐧𝐠 𝐬𝐢𝐠𝐧 ;    𝙱𝙻𝙸𝙽𝙳 𝚆𝙾𝙻𝙵.       you’ve never set foot inside before,  as it usually emits quite the  intimidating  aura ;  this time the dare is set.  you’re pulled in before you’ve the words to protest.  as soon as you make entry through the narrow,  glossy black and peeling door frame,  you realise it’s not the  glaring bouncers  lurking at the entrance that cause such unrest.  it’s the pair of watchful men that share a couple of old leather sofa’s tucked into the furthest corner of the bar,  both nursing glasses of liquor,  that well up such an  atmosphere.   you can’t exactly make our their expressions,  nor their features ;  but you’re more than aware  they’re watching you.            //            a dissection of the infamous blind wolf bar.

𝐓𝐇𝐄 𝐁𝐋𝐈𝐍𝐃 𝐖𝐎𝐋𝐅   is a small bar / nightclub located on postway mews,  ilford.  the street is a one way affair just wide enough for a car or taxi to slip through,  with scratched double yellow lines on the concrete,  doorways to the backs of houses and shops,   litter perpetually dusting up the corners where the road meets brick wall.  there are no spaces for parking,  save for two small slots for the owners,  and the outside of the bar is painted a dark grey,  with usually one or two bouncers posted at the entry.  they have no identification,  and don’t seem to be wearing any official representation of formal training.  at the small hours of the night that break into morning,  there is usually a small crowd gathered outside with plumes of smoke coiling about them,  and the music is played loud enough to mark presence a number of streets away.

once inside the doorway,  you will find that the blind wolf was once a well loved,  well respected,  tucked away club,  but has gone uncared for for a number of years.  the floors,  walls,  ceiling,  almost all the furniture,  is the same shade of dark coal grey that the outside is painted in,  and it has no homely feel to it whatsoever ;  strips of cyan blue neon lighting attached to all the corners of the ceiling.  the bar itself is wide and tall,  and windows to the outside world are layered up so well that even during daylight,  hardly a scrap of sun breaks through.  the centre of the room is a glittering but tired dance floor,  and set up in the corners are tables,  chairs,  and a number of weathered booths.  in the far right hand side of the room sits a long,  l shaped bar,  again painted charcoal grey,  and lit with cyan neon.  the choice of drinks is fairly extensive,  but nothing is immediately accessible ;  the catwalk of the bar is usually empty,  save for the tall pumps,  as the crowd that frequents the place is the sort of crowd to knock things off and break them.  a strip of glasses line the ceiling,  but are coated visibly with a layer of dust,  ironically shown up by the strip lights above.  behind the centre of the bar is another neon sign,  reading  ‘  𝙷𝙾𝚆𝙻 !  ’.   the room is littered here and there with scratched beer mats,  shards of broken glass, and standing in one place for too long will cause the soles of your shoes to become temporarily stuck to the sticky black tile floor as a result of spilled drinks left uncleaned.  the carpet around the corners isn’t much better ;  again,  dark grey,  but home to unending amounts of stains.

looking to the far left of the room,  you will find two small,  two person black leather sofas,  a low,  glass coffee table,  and a large black leather armchair.  this part of the room is elevated,  one step above the rest,  and has black wooden fencing ;  this section is off limits for the general public,  and is the throne of the club’s owner,   𝙺𝙴𝙻 𝙼𝙴𝙷𝙼𝙴𝚃𝙸,   where he sits with others of the albanian clan mehmeti.  most evenings the spot is home to a simple pair of them,  usually kel and murrat,  but is the hub for them all ;  patrons of the bar must fear when all mehmeti siblings are in the nest,  for their beady eyes are always watching.  many approach this exclusive corner,  many are then led out the back through a doorway beside the bar by one of the family,  many dealings of all forms are to be had here. when the corner is empty,  and no mehmeti is present that night,  the walls can breathe a sigh of relief.  but these times are short lived.

the doorway to the back of the bar is small,  and adjacent is a set of creaking wooden stairs.  ascending one flight and you will find a number of ominous bedrooms ;  one more flight,  and you will come across a white wooden door with a lock.  beyond this door is a small box sized room,  with one tall window,  a desk,  chair,  and most importantly,  a safe.  the space is largely empty of personal effects,  but evidence presents itself that one  𝙸𝚁𝙰 𝙳𝚄𝙽𝙷𝙰𝙼   frequents the room ;  one of his coats draped over the seat,  a green plastic lighter in a small dish by a computer screen.  this room is off limits to all bar the mehmeti’s,  and their money-man.

directly behind the bar through the back doorway sits a larger office,  with a desk,  sofa,  bookshelves,  and many sets of drawers.  there are no windows in this room,  and the door again sports an ominous lock ;  it feels as though it’s removed from the rest of the place,  as though entry will plunge you into a different part of the world ;  it feels just as much an interrogation room as it does a workspace.  it is lit by a hanging bulb in the centre,  and has old,  oak furniture,  that perhaps give glimpses as to what the place used to look like before the mehmeti’s bought it out ;  perhaps at one stage just a simple local pub.

the blind wolf has an infamous reputation among the locals for being a  ‘rowdy’  place,  unsettling at best ;  often on the radar of police,  who creep past in the small of evenings almost daily,  tipped off once or twice at unsavoury behaviour.  the mehmeti’s are good at covering their tracks,  however,  and as of yet the only one of the family with a criminal record is kutjim,  sentenced to comitting abh a number of years ago.  as a result,  kutjim spends the most amount of time away from the bar,  so as to try to minimize suspicion.  fights break out a startling amount usually in the street outside,  but the walls aren’t strangers to the occasional thrown glass,  punch thrown,  or hair pulled inside ;  almost a spectacle for some of the family ;  harshly punished by kel,  whenever it presents itself.  they can’t afford any attention drawn to them.

on quieter nights,  when the only people who come in are either friends,  family,  or a number of regulars,  it’s not uncommon to find our dunham behind the bar,  serving drinks.  he will on occasion stand in for staff who don’t show up on busier nights,  even after working for hours upstairs ;   perhaps a more solid means of continual distraction.

with every passing day,  ira grows more and more at home in the place.  he starts making small repairs here and there,  and begins to inject some much needed care in the blind wolf ;  beginning to feel more possessive over it as time wears on ;  much to the distaste of some of the mehmeti’s,  kel included.

#iii. 𝐞𝐱𝐩𝐥𝐚𝐢𝐧𝐞𝐝. / metas / headcanons. #v. 𝐭𝐡𝐞 𝐧𝐞𝐬𝐭. / the blind wolf bar. #finally x #i love a good meta here and there x #idk i just felt like going Ham about blind wolf #its such an important part of ira's story .... #with such an unknown future ... #ii. characterization. / metas.

[raygoodwinbaphotographyjournal3]

PHOT301 - The Calm Before the Storm

Third year has officially began! Hurrah! The final hurdle of the degree has brought itself to the precipice, looking down into the abyss which is ever getting closer and closer with every passing day. PHOT301 is the calm before the storm of the FMP, and eventually exhibiting at the Free Range Exhibition, situated in London in Summer 2020 - this is a long way-a-way as well as bearing down rather quickly.

PHOT301 is the research and development of the FMP, and there certainly has been some ideas gathered for this project. PHOT202 was the realisation that I really wanted to do this project, but I was already rather deep into that project, so I couldn't do it. It was also met with scathing feedback, which in retrospect was acceptable as I wasn't proud of that project, as it was badly shot, organised and featured no contextual practice which my work features rather heavily. I wish to improve on that, as I know I can do better, in terms of photography and contextual studies - I played with fire and got burned.

The project in question, is about the documentation of cars the escaped the 2009 Scrappage Scheme set by the then Labour Government after the 2008 Economic Crisis to recoup money, drive up new car sales and scrap perfectly working (yet environmentally defunct) vehicles. That entire period of time is interesting to me, I had just become a teenager and it was a time when I was become more awake to politics and how money works.

The summer is a long period of time where one thinks; "I will have plenty of time to research, shoot and get a lot of work done!". For me, this never really happened. I had the best intentions to get work done and be able to jump the gun - but then I remembered how much Summer just doesn't do it for me in the photographic sense: The sun is always too harsh, and by the time it's nice, I have already had my dinner and I want to relax. There is also the pretence that sunny summer weather captures joy, happiness and glee...which my project doesn't entirely irradiate. By the time late August/early September arrives, I realise that nothing has really been done. I did manage to do one...one shoot over the summer regarding this as of yet, unnamed project.

19/8/2019 - Canon 5D - 50mm F1.8 STM w/ Hoya CPL

Above, is one of the images taken over the summer period - this deserves its own post to explain what the motive behind the images are, as well as the contact sheet. The initial shoot was shot digitally with my trusty Canon 5D, and my nifty fifty: the almighty 50mm F1.8 STM. The entire premise was wondering around the South Hams suburbia and finding cars that fit the brief of pre-2009 and seemingly intriguing.

9/10/2019 - Hasselblad XPan ii - 45mm F4 - Ilford HP5+

Once third year had commenced, I wanted to try something new, fresh, rejuvenating. The Hasselblad XPan is a camera I have lusted over, for many years, mainly due to it's ability to shoot in-camera panoramic images measuring at 65mm x 24mm, instead of the standard 36mm x 24mm (which it can also shoot). I walked around the Union Street area and shot an entire roll within 30 minutes, as that area has some interesting subjects.

15/10/2019 - Hasselblad XPan ii - 45mm F4 - Agfa Vista 200

I shot a second roll before I had to return the XPan, this time with a faithful roll of Poundland's Agfa Vista 200, may it rest in peace. This wasn't entirely related to the Scrappage project, it was more of just shooting for the sake of shooting whilst out with a drive with Jamie on Dartmoor.

Where is this project headed? I plan on researching more into the time of the economic crisis to get some perspective on what happened, and how it lead to the government creating such a scheme, as well as the implications that the scheme had created. I also need to figure out how exactly I am going to shoot for this project. Whilst I am inherently film based, there are plenty of options for me to use - everything from standard 35mm to large format (which can be excluded immediately as I like to walk around and not limit myself to that extent). I shall most likely, stick to 35mm and 120 formats, as it's what I am comfortable using, and I don't necessarily want to experiment too much and waste time doing so. It's just a case of working towards the FMP goal and creating a project robust enough to be coherent and cohesive body of work.

#phot301

[mariobros2seo-blog]

Triumph breakers At RHINO, we take care of everything for you sell your junk car for cash, from collection to disposal sell damaged car and guarantee a cash sell broken cars for cash value upon inspection of your vehicle sale your car online.

Mitsubishi breakers Saying goodbye to your Renault breakers unwanted car couldn’t be junk car recycling easier with RHINO cash for unwanted cars. ABOUT RHINO car scrap yard Ilford THE BEST Car Breakers in Stockport

Car Breakers in Croydon the knowledgeable staff at Rhino car scrap yard Wakefield Car Scrap buy your car for cash have been working in the car industry for over 20 years Car Breakers in Chelmsford. This has enabled them to get a sound knowledge of Car Scrap in Leeds, and to understand the life cycle of a car Scrap My car Guildford.

#https://www.rhinocarscrap.com/area/birmingham-coventry/ #https://www.rhinocarscrap.com/area/reading/ #https://www.rhinocarscrap.com/area/watford/ #https://www.rhinocarscrap.com/area/telford/ #https://www.rhinocarscrap.com/area/oxford/ #https://www.rhinocarscrap.com/area/milton-keynes/ #https://www.rhinocarscrap.com/area/warrington/

[raygoodwinmajournal]

Epochal Territories Shoot #8 - 10/2/2021

Two more rolls of Ilford XP2 Super lay dormant in my film storage tub. I suddenly decide to load up the Mamiya 7ii with a roll and walk around Cattedown more thoroughly with the second roll in my bag just in case - just as well - as it was used. This shoot comprises of two rolls of Ilford XP2 Super shot back to back within the space of an hour, all around the area of less than half a mile.

As is tradition by now, the XP2 Super was metered at 320 asa to give it a bit more light so it boosts the shadow detail up. But this time, I developed with film myself with the help of my fellow housemate and film fanatic friend, Aaron Lovelock. Using the Cinestill CS-41 kit, the film was developed at home using the simplistic developing kit, making it a two bath process. This makes developing C41 films a lot easier compared to the usual process, and financially better than giving it to a lab to process.

The walk was a good 5 miles, walking around Cattedown and certainly not in the sea as Google Fit seems to think. The main focus of Cattedown/Friary Mill was to photograph and document the surroundings and the companies/businesses/facilities that inhabit that area, mostly aggregate, gas, scrap and engineering works. These are all important and vital supplies for the modern, industrial and late capitalist society that we live in. Without these, our whole society would grind to a halt, as we need these to keep everything ticking. Since reading Industrial Society and its Future, these things make a lot more sense as to how technology controls us, as well as the more mundane things such as road signs, road markings and traffic lights. We are told what to do, where to go and technology controls almost every facet of our lives now. Without the access to instant communications, energy suppliers and engineering firms, we would simply stop existing as we know it. 

The shoot started with a construction tool hire station. This is a place where one would hire certain construction equipment for their constructing endeavours. This to me seems to be a more profiteering and capitalist way of construction, as you aren’t buying the thing to keep for years on end. You are simply performing a transaction depending on how long you keep the thing for, which in the long run is probably more expensive than buying it in the first place. I also enjoyed how the roads create a cross in the middle of the frame, with the building also taking the centre of the frame. 

Moving further along into Cattedown itself, I get to BOC Gas & Gear; a gas a welding supplier. What first drew me in was the immense gas tanks on the left of the top frame. As I got closer, I could hear a hissing noise coming from the area, and within further inspection there was a truck unloading this unknown gas, seen in the bottom frame. I wasn’t sure what was happening, if it was meant to be relieved of it’s gas or not. The ongoing theme of finding it hard to breathe kept on rearing its head, seemingly being a metaphor within this project about our modern society. The other aspect was, who knows what kind of gas it was releasing and the consequences it would have in the environment or by breathing it in. 

Behind this car park with the rather ominous people developers sign, is Origin, a fertiliser supplier who creates organic and nutritional fertiliser for agriculture purposes. Despite living within a city, one often forgets that we are surrounded by farmland which needs to be fed, so that we can also be fed. Without fertiliser, crops wouldn’t grow (as well), and livestock wouldn’t be fed. Despite the natural way that crops can grow, we have made it in such a way that we have interfered with our own food chain, especially with genetically modified organisms (GMO) when naturally grown food is fine - yet why not make this strawberry bigger?

These large silos are West Country Cement, a joint venture of Fahey's Concrete Ltd and E & JW Glendinning Ltd, constructed in 2017. They mainly deal with mass concrete exports utilising the included wharf, and are weirdly out of place in Plymouth. From my point of view, silos always seem to be very American and rarely seen in the U.K apart from the more industrial areas like this. Without these silos, concrete manufacture and export within the area would be difficult and would have to be sourced elsewhere. With this unit situated here, cement can be made locally and exported. It is strange to see where something is made, before it becomes its specific thing. We often don’t get to see how our modern world is created and where it comes from. Just like out food. 

All of these areas are alienating to a certain degree, and reflect on the industrial society that we live in. Without realising it, we are surrounded by it, in every facet of our lives, and this is especially so within my photographs. But, the only way that you can see this is by deconstructing the image and saying what you are seeing. At first it is a typically banal scene; something you would drive past in a car within a few seconds and not notice it. Yet, with some more time looking into it and taking it all apart, you can see how we are controlled, how we live our lives, our changed landscape and the mess we leave behind. It is only then that you start to becoming estranged from how we live in a modern society, compared to how we used to live. We took over the natural landscape to make way for industrialisation, corporations and globalisation. The natural land becomes swamped with gas refineries, landfill and scrapyards, with effluence and harmful gasses flowing into the water and the air we breathe. We let technology control our lives and making us subjugated and subordinate, with only a small number of people allowing what is acceptable or not acceptable to do within that society. You might think you are free, but you are not.

Another approach to BOC Gas & Gear, with the top image on the corner of Valero Logistics, a global company dealing with logistics, refining and renewable fuel systems. These silos are imposing, especially when one realises that they are filled with flammable or harmful gasses. One has to think what would happen if there was a fault and it went up in flames, destroying the complex. Or the silo developed a pinhole in its metal, and started to leak obnoxious gas into the air causing ailments for the workers or nearby pedestrians. With the amount of facilities and equipment in such a small radius, an accident would be catastrophic. 

On the opposite side of Valero Logistics and BOC, is the Plymouth City Council Depot, where all of the refuse trucks for the city are kept, as well as some offices. One part of the car park is allotted for some council electric vans. This is possibly their way to be environmental friendly by using a vehicle that produces no carbon emissions. The only issue with that is powering the chargers for the vans, which is usually powered by a power station which in turn powers the national grid. In theory, electric vehicles are great, but managing to power how the vehicles charge needs to be more renewable. Other considerations such as how the contents of the batteries are farmed in addition to the range/time of charging would also need to improve. Fully electric cars have a woeful range, harmful contents in the batteries, unethical batteries sources as well as making zero noise, potentially making them hard to hear by pedestrians. 

Nothing was written about this shoot, as this area was already covered in a previous shoot and contains the same alienating and estranging properties about it. These industrial areas are incredibly toxic and dangerous places to be in and around, as one is surrounded by potentially highly explosive and abhorrent substances. Not just that, but you are also reminded on how are all controlled by road, safety and traffic signs. You can also see a lot of the aspects of our modern society which is usually hidden away, such as fuels and building materials - without these our society would simply grind to a halt. 

A coda. This shoot was alienating as always. Every time I seem to go out to a location, it reminds me how strange our modern life is and how technological it is. Everything we see is a part of a system, an organised gestalt of natural gasses and aggregate production. These areas always seem so anonymous, as their location could be anywhere across the U.K, or even Central Europe for that matter. The only giveaway would be certain topographical landmarks such as hills or certain skylines. There is also a level of animosity, as it feels that I really shouldn’t be there despite pavements telling you that you can in fact walk there. Even though we are allowed to walk here, it feels as if I shouldn’t be able to see these things and have access to them. It just enhances the feeling that one doesn’t belong where they stand, but they don’t know where to stand either. These areas can make one see just how industrial we really live, which we don’t necessarily realise until we see the scale of the complexes that power our lives. Without them, our industrial society wouldn’t be able to go on as it normally does. Technology is so widespread, and it makes one think if we control technology, or if technology controls us. Are we really in control of our lives, or are there regulations, systems and licenses to tell us what is deemed acceptable? Despite us thinking that we are free to do as we please, that we have a feeling of free will? This simply isn’t the case. All one can really do is realise that they are controlled by a system, and either accept that this is the way they have to live, or try to change that - the latter being an incredibly difficult option. There is no escape from this way of living, as it is too ingrained into us, despite it causing mass psychological and physical issues. It is no wonder that our modern society has pushed us to the limit where we even become alienated from the very way we live, and seeing how rates of mental health issues have risen in recent years. But its fine, you can take this pill to totally reprogram how your brain functions with these serotonin reuptake inhibitors. 

#101

[mariobros2seo-blog]

Your have question in your mind how do i get paid for Scrap My car Luton?

we buy used cars for cash.

At Rhino car scrap yard Luton we love buying used cars and giving people cash for their scrap. If you are looking to sell your used car and online Car Breakers in Luton then you’re in luck because we’ll happily take your old car and give you some cash in exchange.

It’s also hats off to our lovely team at Rhino Car Scrap in Luton who work 24/7 to pick up your vehicle and to make you happy by giving you money for your old car. So if you have a junk heap sitting on your driveway or a motor that won’t move our dedicated team look forward to taking it away and sending it to be recycled.

It doesn’t even matter where your car is stuck because we’ll travel all across Luton to pick up your scrap car and we offer emergency services, which is handy if you need quick cash in return for your used Car Scrap in Oxford also.we buy used cars for cash

As experts in our trade we truly believe in giving you a good price for your junk and as such we offer the best deals for your old car. We also pick up any make or model, so whether it’s a clapped out Capri, a battered old Vauxhall, or an old Mercedes that won’t move, we are happy to take it off your hands.

If your east of Aylesbury or West of Stevenage, we are sure that you’ll be pleased with the amount of money you’ll get for selling your car for scrap. We offer great prices in and around Bedfordshire and if you want to know how much you’ll get for selling your scrap car you can use our online quote tool to check now.

Alternatively, if your car has come to a stop in Stopsley, won’t get you around Round Green, and has lost it’s capability to drop off passengers at Stockwood Discovery, you don’t need to go halfway around The Galaxy to find a scrap service. Contact our friendly team at Rhino Scrap Car to discuss your needs today.

#Car Scrap in Ilford #Car Scrap in Oldham #Car Scrap in Oxford #we buy used cars for cash