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Lighthouses

"I can think of no other edifice constructed by man as altruistic as a lighthouse. They were built only to serve."  George Bernard Shaw



Why I love lighthouses

There has always been something about lighthouses that draws me in. They carry the weight of history, standing through storms, wars, changing coastlines and countless human stories. Each one has watched generations come and go, quietly fulfilling the purpose for which it was built. They are monuments not to power or glory, but to service.

Perhaps that is why they feel so deeply symbolic. A lighthouse does not force its light on anyone; it simply shines, offering guidance to those who choose to navigate by it. There is something profoundly beautiful in that image. And then there is their sheer visual presence. Perched on rugged cliffs, lonely islands or windswept headlands, they are among the most photogenic structures ever created—where engineering, landscape, history and metaphor come together in a way that never fails to stir my imagination.


Map of lighthouses I've photographed


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July 27, 2026

The remarkable history of lighthouses

Humanity's first beacons

Long before GPS, radar and satellite navigation, there were lighthouses. For thousands of years they stood as humanity's promise to sailors: there is land ahead, and someone is watching over you.

The earliest "lighthouses" were surprisingly simple. Fires were lit on hilltops or coastal cliffs, creating beacons that could be seen from miles away. Ancient civilizations, including the Egyptians, Greeks and Romans, realised that a single light could save countless lives by warning ships away from dangerous rocks and guiding them safely into harbour.

Few structures have served humanity so faithfully for so long.


The wonder of the ancient world

The most famous lighthouse in history was the Lighthouse of Alexandria, or the Pharos, built around 280 BC in Egypt. Standing perhaps 100–120 metres high, it was one of the tallest structures in the world for more than 1,500 years and was counted among the Seven Wonders of the Ancient World.

By day, its polished mirrors reflected sunlight far out to sea. By night, a massive fire burned at its summit. It became the model for countless lighthouses that followed, and its very name—Pharos—became the word for lighthouse in many languages.

Although eventually destroyed by earthquakes, its influence can still be seen in lighthouse design today.





From open fires to oil lamps

For centuries, lighthouse keepers relied on wood, coal or charcoal fires. These produced smoke, required constant attention and were surprisingly inefficient. Nevertheless, they represented a huge improvement over complete darkness.

By the Middle Ages, engineers began using enclosed oil lamps fuelled by animal fat, whale oil and later vegetable oils. These lamps burned more steadily, produced less smoke and could be protected from wind and rain.

The invention of specialised lamp burners in the late eighteenth century dramatically increased brightness while using less fuel. Every improvement meant ships could spot the coastline from farther away.


The age of gas and kerosene

The nineteenth century brought another leap forward. Many lighthouses switched to gas lighting or highly refined kerosene (paraffin), which burned brighter and more reliably than earlier oils.

Gas systems could even be automated to some extent, reducing the workload of lighthouse keepers. Engineers also developed ingenious clockwork mechanisms that slowly rotated the lantern, creating the distinctive flashing patterns that allowed mariners to identify individual lighthouses.

Suddenly, a lighthouse wasn't just a light—it had its own unique signature.


The revolution of the Fresnel Lens

No invention transformed lighthouses more than the Fresnel lens.

Invented in 1822 by French physicist Augustin-Jean Fresnel, this remarkable lens used hundreds of carefully shaped glass prisms to capture and concentrate light into an incredibly powerful beam. Instead of allowing most of the light to scatter in every direction, the Fresnel lens focused almost every ray toward the horizon.

The results were extraordinary. A relatively modest lamp could now be seen from over 30 kilometres away.

Many of these magnificent hand-crafted lenses stood several metres tall and contained thousands of precisely cut glass prisms. To keep the enormous lenses turning smoothly, they floated on baths of mercury, reducing friction so dramatically that even a small clockwork mechanism could rotate several tonnes of glass.

Even today, many historians consider the Fresnel lens one of the greatest optical inventions ever created.




Building in impossible places

Constructing lighthouses often required extraordinary feats of engineering.

Some were built on tiny reefs that disappeared completely beneath the waves at high tide. Workers had only a few hours each day to labour before the sea returned. Materials had to be transported by boat, often in violent conditions.

Scottish engineer Robert Stevenson and his family became legendary for designing lighthouses on some of Britain's most dangerous coastlines. The Bell Rock Lighthouse, completed in 1811 on a reef submerged for much of each day, remains one of the greatest engineering achievements of its era.

Engineers developed interlocking stone blocks that fitted together like giant three-dimensional puzzle pieces, allowing towers to withstand the relentless pounding of waves for centuries.

Many still stand today.


Bell Rock Lighthouse




The lonely life of lighthouse keepers

For most of history, every lighthouse depended on people.

Keepers trimmed lamp wicks, polished enormous lenses, wound clockwork mechanisms, cleaned soot, monitored weather, maintained buildings and kept meticulous logbooks. During storms they often worked through the night, knowing that the light could mean the difference between life and death.

Many stations were isolated on tiny islands or remote cliffs. Supplies sometimes arrived only once every few weeks, and entire families lived in remarkable isolation.

It demanded resilience, discipline and an unwavering sense of duty.




Electricity changes everything

The arrival of electricity in the late nineteenth and early twentieth centuries transformed lighthouse operation.

Electric lamps were brighter, cleaner and far more reliable than oil or gas flames. Electric motors replaced clockwork mechanisms, while increasingly sophisticated optics extended the visible range even further.

As power supplies improved, many stations became fully automated, gradually eliminating the need for resident lighthouse keepers.

Across the world, the lonely profession slowly disappeared.


The modern lighthouse

Today's lighthouses bear little resemblance to their ancient ancestors.

Powerful LED lights consume only a fraction of the electricity used by earlier lamps while lasting for decades. Solar panels and batteries allow even remote towers to operate without external power. GPS, radar, electronic charts and satellite navigation now guide most ships with astonishing accuracy.

Yet lighthouses remain vital. They provide an independent visual navigation aid that continues to function even when electronic systems fail. In aviation and marine safety alike, redundancy saves lives.

Many historic lighthouses have also found a new purpose as museums, heritage sites and beloved landmarks.


Why we still love them

In purely practical terms, technology has reduced our dependence on lighthouses.

But emotionally, they have never been more powerful.

Few buildings carry such rich symbolism. They represent guidance in darkness, steadfastness through storms and quiet service without recognition. For generations they have stood exactly where they were needed, asking for nothing in return.

Perhaps that is why photographers, artists and writers continue to be drawn to them. They are beautiful structures, but they are also reminders that even a single light—faithfully maintained—can make an enormous difference.

That idea has remained unchanged for more than two thousand years.

July 27, 2026

Green Cape Lighthouse (Eden)

I was delighted to find these old photos of the Green Cape Lighthouse in Eden I took on a hike there in 2018.  I'd forgotten about this wonderful lighthouse. Another one to add to my collection.









July 27, 2026

Botany Bay National Park and Cape Baily Lighthouse

Yesterday I walked the Cape Baily Track in the Botany Bay National Park, and the highlight was reaching Cape Baily Lighthouse. The walk itself is excellent, following the coastline through heathland with uninterrupted ocean views for much of the way. Despite being so close to Sydney, it feels surprisingly remote, and the lighthouse is a rewarding destination towards the end of the track.

Cape Baily Lighthouse has been guiding ships since 1950 and is still an active navigation aid today. Unlike many of Australia's historic stone lighthouses, it has a simple square concrete design, giving it a distinctive modern look. It was built to help ships travelling north stay on a safe course close to the coast and avoid offshore currents. I enjoyed the sense of isolation as much as the lighthouse itself. With no roads leading to it and nothing but rugged coastline and the Pacific Ocean surrounding it, it's an ideal place to stop, take in the scenery and appreciate one of Sydney's lesser-known lighthouses.


































July 26, 2026

Favourite artists: Banksy

Banksy proves that art can be far more than something beautiful hanging on a gallery wall. His work is witty, provocative and deeply human, using simple, unforgettable images to challenge assumptions about war, consumerism, power, inequality and the absurdities of modern life. What I admire most is his ability to communicate profound ideas with remarkable clarity. A single stencil on a brick wall can spark conversations that books and speeches sometimes fail to inspire. He reminds us that great art doesn't just decorate the world—it awakens us to see it differently.

I also love the mystery that surrounds Banksy. By remaining anonymous, he has kept the focus where it belongs: on the work itself rather than the celebrity of the artist. There is something wonderfully subversive about creating priceless art in public spaces, freely accessible to anyone who walks past. Whether or not I agree with every message, I admire his courage, originality and refusal to play by the conventional rules of the art world. Banksy has shown that one person's creativity, imagination and sense of humour can capture the attention of millions while inviting us to question the world we so often take for granted.



Favourite quotes

  • Fight the fighters, not their wars.
  • Speak softly, but carry a big can of paint.
  • If you get tired, learn to rest, not to quit.
  • You can win the rat race but you’re still a rat.
  • People who enjoy waving flags don’t deserve to have one.
  • Nobody ever listened to me until they didn’t know who I was.
  • You don't need planning permission to build castles in the sky.
  • I want to live in a world created by art, not just decorated with it.
  • A wall is a very big weapon. It’s one of the nastiest things you can hit someone with.
  • All artists are willing to suffer for their work. But why are so few prepared to learn to draw?
  • I just want to make the world a better looking place. If you don't like it, you can paint over it!
  • Graffiti's always been a temporary art form. You make your mark and then they scrub it off. Banksy
  • If Michaelangelo or Leonardo Da Vinci were alive today they’d be making Avatar, not painting a chapel.
  • When you go to an art gallery you are simply a tourist looking at the trophy cabinet of a few millionaires.
  • A recent survey or North American males found 42% were overweight, 34% were critically obese and 8% ate the survey.
  • Not everyone will understand your journey. That’s okay. You’re here to live your life, not to make everyone understand.
  • We can't do anything to change the world until capitalism crumbles. In the meantime we should all go shopping to console ourselves.
  • I don't know why people are so keen to put the details of their private life in public; they forget that invisibility is a superpower.
  • I’d been painting rats for three years before someone said ‘that’s clever it’s an anagram of art’ and I had to pretend I’d known that all along.
  • If you feel dirty, insignificant or unloved, then rats are a good role model. They exist without permission, they have no respect for the hierarchy of society, and they have sex 50 times a day.
  • The human race is the most stupid and unfair kind of race. A lot of the runners don’t even get decent sneakers or clean drinking water. Some runners are born with a massive head start, every possible help along the way and still the referees seem to be on their side. It’s not surprising a lot of people have given up competing altogether and gone to sit in the grandstand, eat junk and shout abuse. What the human race needs is a lot more streakers.

July 26, 2026

Banksy exhibition at The Rocks

I went to the Banksy Unlimited exhibition in The Rocks yesterday, and I was absolutely bowled over. I've always admired Banksy's work, but I hadn't appreciated just how broad and ambitious his artistic output really is. I had thought of him primarily as a street artist, yet the exhibition revealed an artist working across an extraordinary range of media—paintings, sculptures, installations and large-scale immersive exhibits. It gave me a completely new appreciation of his creativity.

I also hadn't realised the geographical scope of his work. From the streets of Britain to the separation wall in the Middle East and more recently Ukraine, Banksy has used the world itself as his canvas. His art engages with war, inequality, consumerism, surveillance, refugees, the environment and the absurdities of modern life. What struck me most was that behind the wit, irony and visual brilliance lies an artist asking profound questions about humanity. Every room seemed to present another powerful idea, another perspective I hadn't considered before.

I left feeling deeply inspired. Great art doesn't just impress us with technical skill—it changes the way we see the world. Banksy's work does exactly that. It is provocative without being preachy, playful while tackling serious issues, and endlessly inventive. The exhibition reminded me why art matters: it has the power to stop us in our tracks, make us think, and perhaps even change us a little.


 









































































































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