Mathias track, Dandenong for Sunday Best

 

Mathias Track holds both natural and human history woven into its length. Stretching seventeen kilometres through the Dandenong Ranges National Park, it traverses forests of towering mountain ash, groves of tree ferns, and pockets of dry, open woodland. In winter, the land is drier than one might expect for a mountain range; the undergrowth thins, the soil hardens, and the bare forms of the hills emerge more distinctly, giving the track an austere beauty. Lyrebirds often scratch along the forest floor, and the air carries the scent of eucalyptus and damp earth.

The track itself carries a trace of colonial history. It was originally surveyed as a service road, named after Carl Mathias, an early forester who worked in the region when logging of the mountain ash was at its height in the late nineteenth and early twentieth centuries. Alongside its natural splendour, the path retains echoes of human endeavour—abandoned huts and remnants of early forest camps stand as silent witnesses to the men who felled timber and sought shelter here.

Walking along Mathias Track today is thus both a communion with nature and a dialogue with the past. The stillness of the bush contrasts with the faint relics of industry and settlement. To step into the remains of a hut and sit upon its weathered timbers is to momentarily inhabit another life—that of the bushranger, the forester, or the itinerant wanderer—while the surrounding ranges remind one that the land itself endures, vast and unyielding.

Sony A7RV

FE 70-200mm f2.8 GM

Linking Sunday Best

Magpie Shrike found in Healsville Sanctuary (bird park) Victoria Australia

 

I have now completed a three-week term of contract work and at last may return home to rejoin Joel. Together we have long been planning to extend our collection with the addition of three further lenses.

The bird pictured is the Magpie Shrike (Urolestes melanoleucus), which I had once mistaken for a crow. This photograph was taken some years ago and, seeing it again, awakens a sense of fond recollection. The Magpie Shrike, native to the savannahs and open woodlands of sub-Saharan Africa, is distinguished by its striking black-and-white plumage, long tail, and vivid red eyes. It is known for its social nature, often observed in groups, and for the shrike’s characteristic habit of impaling its prey upon thorns—a practice that earned the family the name “butcherbirds.”

At the time, I had recently acquired a Pentax 300mm f/2.8 lens from eBay, a venerable piece of craftsmanship which I added to my vintage collection. The lens, coupled with the encounter with this striking bird, remains a vivid memory, intertwining my passion for photography with the natural history of the African landscape.

Pentax K20D

A 300mm f2.8 

Linking Saturday Critter

Magic Beach Cape Woolamai Phillip Island for Skywatch Friday

 

Magic Beach, revealed only at low tide along the sweeping shores of Cape Woolamai on Phillip Island, is a place where the natural and the personal converge in quiet wonder. When the ocean withdraws, the sea floor unveils a scatter of ancient rocks, their surfaces carved and smoothed over millennia by waves and wind. These formations are the remnants of a powerful volcanic past, for Cape Woolamai itself is born of basaltic flows and granite intrusions that date back millions of years, their rugged cliffs now standing sentinel over Bass Strait. Long before European arrival, this coastline formed part of the lands of the Bunurong people, who knew its rhythms of tide, bird, and season. Today, it remains both a sanctuary for migratory seabirds and a dramatic landscape that draws the eye and stirs the imagination.

It was here, during the pandemic year when Melbourne lay under lockdown, that I came alone with my newly acquired Sony A7RIV, predecessor of the A7RV, eager to explore its capabilities. Magic Beach seemed an apt stage for such an experiment. I found myself entranced by the interplay of light and shadow across tide pools and rocks, using HDR techniques I had never attempted with my earlier Panasonic or Canon cameras. The solitude of that moment—an island shore, a receding tide, the silence broken only by surf—transformed the practice of photography into something almost meditative. In that fleeting communion, I glimpsed both the deep history of Cape Woolamai and the personal magic of discovery, as if the land itself conspired with my lens to etch memory into image.

Sony A7RIV

FE 16-35mm f2.8 GM

Linking Skywatch Friday

Turpin Waterfall, Bendigo for Water H20 Thursday

 

Turpin Falls, not far from Bendigo, remains etched in my memory as one of those rare discoveries that seem almost too wondrous to share. I visited the falls some four years ago, and though I cannot recall quite how I came upon the exact vantage point that day, I remember well the sense of awe as the basalt cliffs opened before me and the water poured in a silver sheet into the deep pool below. The cliffs themselves tell of a distant volcanic age, their dark basalt columns rising like the walls of some vast natural cathedral, while the surrounding country speaks of long habitation by the Dja Dja Wurrung people, for whom this landscape has always held meaning. For over a century, the falls have drawn summer visitors, who would climb down to the base for swimming and relief from the heat, their laughter echoing against the stone. Yet such visits belong now to memory, for the track to the base has been permanently closed, both to preserve the fragile environment and to ensure safety upon those treacherous rocks. In a sense, this loss lends a heightened value to my recollection: a private moment of communion with the wild spirit of the place, both a traveller’s fleeting encounter and a glimpse into the deep natural and cultural heritage of Turpin Falls.

Sony A7RV

FE 70-200mm f2.8 GM

Check oout Water H2O Thursday

Martin Place Signs in Sydney for Sign2

 

Martin Place in Sydney is a most agreeable promenade, a thoroughfare distinguished alike by its elegance and its historical resonance. Established in the latter part of the nineteenth century, Martin Place was originally conceived as a civic square adjoining the General Post Office, and over time it has become both the ceremonial heart and the financial centre of Sydney. Lined with imposing sandstone edifices in the classical style, it has witnessed countless public gatherings, from patriotic assemblies during the Great War to the sombre commemorations of Anzac Day and the more recent memorials of national grief. Today, amidst its bustling offices, cafés, and the ever-present signs that guide the pedestrian, it remains a place where history and modernity intermingle.

Over the past weekend, I found myself obliged to return to Bendigo, for there were pressing matters awaiting my attention. Several referrals required immediate consideration, and so I undertook the journey back to that regional city in order to attend personally to the urgent cases, ensuring that no delay should impede the care of those entrusted to me.

Sony A7RV

FE 20-70mm f4 G

Linking Sign2

Mycena species found in Lake Sanitarium for Treasure Tuesday

 

A dense cluster of small, conical mushrooms was observed growing from moss-covered, decaying wood at Lake Sanitarium, Mount Macedon, Victoria, in a shaded, damp montane forest. The caps measured approximately 5–20 mm across, deep wine-brown in colour, finely striate, and hygrophanous. Stipes were slender, fibrous, and darker toward the base. The species is likely a wood-inhabiting Mycena, though precise identification would require spore print analysis and microscopic examination. It is saprotrophic and plays a role in wood decomposition. Consumption is not recommended.

Sony A7RV

Sigma 105mm f2.8 macro

Linking Treasure Tuesday

Lushux's portrait at AC/DC Lane Melbourne for Mural Monday

 

This mural, located in AC/DC Lane in Melbourne’s central business district, reflects the increasing popularity of portraiture within contemporary street art. The work bears the signature of Lushsux, a prominent Melbourne-based graffiti and mural artist celebrated for his large-scale, often pop culture–inspired creations.

Emerging from Melbourne’s vibrant street art scene in the early 2010s, Lushsux quickly gained international recognition for his provocative and often satirical works, which blend popular imagery with political and social commentary. His murals are characterised by bold composition, meticulous attention to facial detail, and a striking use of colour that amplifies emotional impact. Working primarily with aerosol paints, he employs layering techniques to achieve depth and tonal variation, while his choice of subject matter often reflects current cultural phenomena, internet memes, and global media narratives.

By integrating humour, controversy, and technical precision, Lushsux has established himself as one of Australia’s most recognisable urban artists, leaving an indelible mark on Melbourne’s laneways and beyond

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

Tenby Point for Sunday Best

 

Recently, I revisited the complete series of Tenby Point images that Joel and I once attempted in the ultra long-exposure style. Ultimately, we abandoned this approach to photography, as the results often appeared somewhat artificial, lacking the natural authenticity we sought. Nevertheless, this genre—once highly regarded—held a particular fascination prior to the widespread advent of AI-generated imagery.

Tenby Point, situated on the scenic coastline of Victoria, Australia, is renowned for its rugged cliffs, sheltered bays, and abundant marine life. Its natural beauty has long attracted photographers and nature enthusiasts alike, offering vistas of rocky outcrops, gentle surf, and abundant seabirds nesting along the shore.

In our attempts, we frequently had to employ neutral density filters exceeding 15 stops to achieve the extended exposures, which, when combined with an aperture stopped down to f/22, rendered automatic metering impracticable. Consequently, manual focus was an absolute necessity. Upon revisiting these images, I find that they no longer seem so unsatisfactory and possess a subtle charm that had previously eluded us. 

Sony A7RV

FE 70-200mm f2.8 GM

Linking Sunday Best

White faced Heron in Lake Entrance for Saturday Critter

 

The White-faced Heron (Egretta novaehollandiae) is among the most familiar and widely distributed of Australia’s waterbirds, distinguished by its soft slate-grey plumage, long slender yellow legs, and the pure white of its face, throat, and upper breast. This elegant wader inhabits an extensive range of environments, from tidal estuaries and coastal mudflats to freshwater wetlands, inland lakes, and even urban parklands. Its feeding is a study in quiet precision, the bird advancing slowly through shallow waters in search of small fish, amphibians, and aquatic invertebrates, striking with a sudden dart of its fine, dark bill. I recall that I first captured this image during a journey to Lakes Entrance, Victoria, undertaken in my university years with the purpose of practising waterbird photography. Situated where the Gippsland Lakes meet the Southern Ocean, Lakes Entrance is renowned for its vast system of inland waterways, sheltered lagoons, and sweeping sandbars, providing an ideal refuge for a diversity of avian life. The morning light over the calm estuarine waters, combined with the abundance of birdlife, created a scene of tranquil beauty—an atmosphere perfectly suited to observing and photographing the graceful White-faced Heron in its natural domain.

Linking Saturday Critter

Nyah West sunrise for Skywatch Friday

 

Nyah West is the outback town that I visited for monthly nursing home visit. Outside the care facility, the sunrise is always pretty like this.

Sony A7RV

FE 135mm f1.8 GM

Linking Skywatch Friday

Beauchamps waterfall in Beech Forest Great Ocean Road for Water H2O Thursday

 

I remain on call for another week, my days confined to a unit, tethered to a telephone, awaiting summons from hospital staff. Life in such circumstances is uneventful, and my movements are dictated by the ring of a bell rather than my own volition. Within these narrow confines, my one liberty is to share images of water when the opportunity presents itself.

In my university years, I was captivated by the art of photographing waterfalls, seeking them out with a fervour I no longer possess. One such cascade was Beauchamp Falls, among the three principal waterfalls in the Beech Forest region, situated north of Apollo Bay along the famed Great Ocean Road. The walk to the falls is a return trek of approximately two hours—moderate in exertion yet rich in reward. The path descends through cool temperate rainforest, where towering mountain ash (Eucalyptus regnans), tree ferns, and myrtle beech cast deep shade upon the forest floor. Birdsong echoes faintly through the canopy, and in summer the air hums with the persistent presence of mosquitoes, undeterred by human intrusion.

The falls themselves descend in a singular veil of white water, dropping approximately 20 metres into a clear pool encircled by moss-covered rocks and lush undergrowth. They are named in honour of William Beauchamp, an early settler in the district, and stand as a quiet testament to the enduring beauty of the Otways. Fed by the East Barham River, their flow remains steady even in drier months, owing to the high rainfall and dense forest cover of the catchment. Visiting Beauchamp Falls is less an act of travel than a passage into a living remnant of Victoria’s ancient Gondwanan forests—timeless, green, and untamed.

Pentax K10D

FE 30mm f1.8 limited 

Linking Water H2O Thursday

Signs on Flinders St and Swanston St Melbourne for Sign2

 

The first photograph was taken at the renowned Young and Jackson Hotel, an enduring landmark situated in the heart of Melbourne’s central business district. Established in 1861, this historic hotel has long been celebrated for its distinctive Victorian architecture and rich cultural heritage. Beyond its architectural and social significance, the hotel is perhaps most famously associated with tales of the supernatural. According to local legend, the spirit of a former barmaid named ‘Jane’ is said to haunt the premises. It is believed that Jane met a tragic end within the hotel’s walls, and since then, numerous patrons and staff have reported unexplained phenomena—whispers, fleeting shadows, and sudden drops in temperature—giving the establishment an eerie yet compelling allure. These ghostly tales have cemented the Young and Jackson Hotel as one of Melbourne’s most haunting and storied sites, attracting both history enthusiasts and those intrigued by the paranormal.

Following this, the image depicting the juice bars along Swanston Street was taken; these establishments continue to operate, serving a steady stream of patrons.

Sony A7RV 

FE 20-70m f4 G

Linking Sign2

** A glitch that this was posted on Tuesday instead of Wednesday. 

Portsea Back Beach in Mornington Peninsula for Treasure Tuesday

 

At times, once an image is captured, I find it impossible to recreate it again, even when returning to the same location under seemingly similar lighting conditions. For a period, I frequently ventured alone along the shore, experimenting with various shutter speeds and techniques. I persisted in my pursuit irrespective of the weather. These photographs were taken during that time at Portsea—a locale not renowned as a popular tourist destination yet distinguished by its exposed ocean floor at low tide. Though these scenes may not captivate the majority, I hold a profound affection for these two particular images

Sony A7RV

FE 16-35mm f2.8 GM

Linking Treasure Tuesday

Makatron's basketball mural in Fitzroy Melbourne for Mural Monday

 

In the heart of Fitzroy, Melbourne, a vivid and commanding mural by renowned street artist Makatron stretches across a building wall, celebrating the legacy of basketball legends with unmistakable flair. Boldly coloured and rich in caricature detail, the mural features iconic players from the Chicago Bulls, including the unmistakable figure of Michael Jordan, alongside animated expressions, dynamic poses, and even the team’s red mascot brought to life with oversized sunglasses. Known for his large-scale, pop-surrealist works, Makatron infuses this piece with both nostalgia and urban energy, turning a quiet laneway into a vibrant homage to sporting greatness. The mural not only showcases his signature comic-inspired style but also contributes to Fitzroy’s reputation as a living gallery of contemporary street art

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

Killen Falls Ballina NSW for Sunday Best

 

I have visited this waterfall on several occasions, primarily during my locum postings in either Ballina or Lismore, New South Wales. While I have previously shared several images of the falls, I had not, until now, revealed the singular perspective from within the cave behind the cascade. On that particular visit, the conditions were exceedingly damp, the air thick with mist and the roar of falling water echoing within the hollowed rock.

Killen Falls, part of the Emigrant Creek catchment, is a vestige of the region's ancient volcanic history—its basalt cliffs formed by lava flows from the long-extinct Mount Warning shield volcano. The waterfall plunges over a semi-circular basalt overhang, allowing one to stand within the cave and behold the curtain of water from behind, a rare and immersive vantage point in nature.

Following this wet and awe-filled exploration, I ventured to a nearby township where I partook in a traditional Jewish breakfast—an experience that remains warmly entwined with the memory of that elemental and storied place.

Sony A7RV

FE 20-70mm f4 G

Linking Sunday Best

European Goldfinches at Cranbourne Garden in Melbourne for Saturday Critter

 

This journey took place during the autumn months, when Joel and I set out in hopes of observing some rare and exotic bird species. However, our efforts were met only with sightings of European Goldfinches.

Despite the absence of more unusual birds, the presence of the European Goldfinch (Carduelis carduelis) offered its own quiet charm. Native to Europe, North Africa, and western Asia, this species has long held a place in human culture and history, admired for its striking plumage and melodic song. During the Middle Ages, the goldfinch was frequently featured in Christian iconography, symbolising endurance and the soul’s resurrection due to its association with thistle plants—linked to the Passion of Christ.

Biologically, the European Goldfinch is a small passerine bird belonging to the finch family (Fringillidae). It is easily recognised by its bright red face, black-and-white head, and warm golden wing-bars. These birds are primarily seed-eaters, favouring thistles and teasels, and their slender, pointed beaks are well-adapted for this purpose. Social and often found in flocks, they are a common sight across much of their range, thriving in open woodlands, orchards, and gardens.

Though not the exotic encounter we had envisioned, the experience served as a reminder that even the familiar, when seen with attention, carries its own elegance and significance.

Sony A7RV

FE 200-600mm f5.6-6.3 

Linking Saturday Critter

Portsea Back Beach for Skywatch Friday

 

My visit to this area during an unusually low tide proved most rewarding in terms of photographic endeavour. The light, delicate and fleeting, was at its finest just before the onset of complete darkness. The exposed ocean floor took on a strange, otherworldly appearance—almost alien in aspect. Portsea itself, a refined and affluent enclave favoured by the wealthy, remains largely untouched by the ordinary tourist trail. Few ventures beyond the cave gate that marks the divide from London Bridge, lending this particular stretch a sense of quiet seclusion and hidden charm.

Sony A7RV

Laowa 9mm f5.6

Linking Skywatch Friday

Balnarring Jetty at Mornington Peninsula for Thursday H2O Thurdsay

 

I am presently undertaking a three-week placement in regional Victoria. The first week involves continuous 24/7 on-call duties, leaving little opportunity for personal time.

The photograph shared here was taken late last year. Joel and I had become quite captivated by the idea of capturing a particular perspective of an old jetty pylon. Though we never quite achieved the precise image we had envisioned, the final photograph possesses a distinct character of its own.

Sony A7RV

FE 20-70mm f4 G

Linking Water H2O Thursday

More Signs from Hay Street Foodcourt in Sydney for Sign2

 

Over the years, during each visit to Sydney for conferences, I found myself returning to the same familiar stores. They offered convenience and efficiency, remaining largely unchanged in appearance. Remarkably, despite the triannual renovation requirements imposed by their leases within shopping centres and food courts, the signage and overall presentation remained consistent, lending a sense of continuity amid the passage of time.

Sony A7RV

FE 20-70mm f4 G

Linking Sign2

Wynward Station Sydney for Treasure Tuesday

 

During a recent visit to Sydney, I made it a personal mission to locate a particular entrance to Wynyard Station—an architectural curiosity that has captivated the attention of numerous bloggers and photographers alike. This strikingly unconventional design, modern and somewhat whimsical in character, had eluded me on previous occasions, owing to the station's labyrinthine layout and multitude of exits. It was not until my fourth excursion that I successfully discovered the precise location, tucked discreetly within the urban sprawl.

Wynyard Station itself is steeped in history. Originally opened in 1932 as part of the electrified City Railway line masterminded by engineer John Bradfield, the station served as a critical node in the development of Sydney’s underground transport system. The design of the station has undergone several transformations over the decades—from its early utilitarian function to the more recent revitalisation efforts that have introduced contemporary architectural elements. One such feature is the now-iconic "Interloop" installation at the escalator entrance, which reimagines decommissioned wooden escalator treads as a suspended sculpture, blending heritage with modern art in a most imaginative manner.

Since that journey to Sydney two months prior, however, I have found myself increasingly hindered by a malfunctioning camera. My current equipment struggles to capture images with the clarity and tonal nuance I desire. I await, with mounting impatience, the release of Sony’s anticipated successor to the A7RV—the elusive A7RVI. Reports earlier in the year suggested a launch was imminent, possibly heralding the arrival of a 100-megapixel sensor and an even more refined dynamic range. And yet, the months have passed in silence, with no definitive announcements. It is a most vexing delay, particularly for one who values the capacity to record light and form with the highest fidelity.

Sony A7RV

FE 20-70mm f4 G

Linking Treasure Tuesday

Rone's Mural in Fitzroy Melbourne for Mural Monday

 

Rone: Street Artist of Elegance and Decay in Fitzroy, Melbourne

Rone, the pseudonym of Tyrone Wright, is one of Melbourne’s most renowned street artists, celebrated internationally for his hauntingly beautiful portraits of women that grace crumbling walls and forgotten spaces. His murals evoke a compelling contrast between beauty and decay—a central theme that has come to define his aesthetic. Nowhere is this more evocatively expressed than in the streets of Fitzroy, Melbourne’s cradle of bohemian culture and urban creativity.

In Fitzroy, Rone’s work is woven into the very fabric of the suburb. His large-scale murals typically depict elegant female faces rendered with painterly precision—eyes soft, melancholic, and distant, as though they belong to fading memories of another time. These portraits often occupy weathered surfaces, where peeling paint and exposed brick are not flaws but integral elements of the work, symbolising impermanence and the quiet erosion of beauty by time.

One of Rone’s most famous Fitzroy murals was painted on the side of the Young Husband Wool Store, and another memorable piece graced a wall along Napier Street. Though some of his Fitzroy works have since disappeared—painted over, demolished, or reclaimed by the environment—their spirit lingers in photos, archives, and in the visual memory of the community. These transient masterpieces underscore one of Rone’s key messages: beauty is fleeting, and so is the space it occupies.

Rone’s Fitzroy murals are more than art; they are monuments to emotion, atmosphere, and the tension between urban life and artistic stillness. In a city constantly changing, his work offers a quiet pause—inviting passersby to stop, feel, and remember.

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

Ink Caps at Mount Macedon for Sunday Best

 

This photograph was taken during one of my regular excursions to Mount Macedon, a place I frequent for contemplative walks through its verdant woodlands. These foraging wanderings are a source of quiet delight, offering both the invigorating freshness of the forest air and the opportunity to encounter nature’s hidden curiosities—among them, the delicate and often overlooked ink cap mushrooms.

The specimens depicted appear to belong to the Coprinopsis or Coprinellus genus, commonly known as ink caps. These fungi are distinguished by their slender stems and conical to bell-shaped caps, often bearing a dusky sheen when moist. They thrive on decaying wood and forest detritus, emerging in clusters after rain or during periods of high humidity. One of their most striking characteristics is their tendency to deliquesce: as the mushroom matures, the cap begins to liquefy, transforming into a dark, inky fluid—hence their common name.

Among the various species, Coprinopsis atramentaria, also known as the Common Ink Cap or Tippler’s Bane, is notable for its chemical interaction with alcohol; when consumed in conjunction with alcohol, it can cause adverse reactions due to the presence of coprine. Others, such as Coprinellus disseminatus, form large, fairy-tale-like colonies across mossy logs and stumps, yet do not deliquesce.

Though some ink caps are considered edible when young and properly identified, their ephemeral nature and potential for toxicity demand caution. For the mindful forager, however, they remain a fascinating subject of study—ephemeral, mysterious, and exquisitely transient.

Sony A7RV

Sigma 105mm f2.8 Macro

Linking Sunday Best

Eastern Long Snake Necked Turtle for Saturday Critter

 

This photograph, too, hails from a bygone era—captured over thirty years ago at Healesville Sanctuary, by the edge of a tranquil pond. It is difficult to fathom that such richness of colour and remarkable clarity could be achieved with a digital SLR of such vintage. The image stands as a quiet testament to the enduring capabilities of early digital photography, as well as to the attentive eye behind the lens.

The true subject of the photograph is a native freshwater turtle, most likely the Eastern Long-necked Turtle (Chelodina longicollis), a species commonly found in the wetlands, rivers, and billabongs of southeastern Australia, including the sanctuary grounds at Healesville. With its distinctive serpentine neck—often as long as its shell—this turtle has long fascinated naturalists and casual observers alike. When threatened, it emits a pungent musk from its glands, earning it the colloquial name "stinker."

In this image, the turtle appears either basking or gliding just beneath the surface, its smooth carapace catching the light, revealing details lost to the hurried eye. These turtles are an essential part of the aquatic ecosystem, feeding on insects, small fish, and carrion, and contributing to the balance of the watery habitats they call home.

To think that this moment—quiet, ordinary, and now distant—was captured so vividly with the technology of the time is both humbling and wondrous. It reminds us of the enduring value of patient observation and the rich natural heritage preserved within sanctuaries such as Healesville.

Pentax K10D 

Pentax 300mm f2.8 

Linking Saturday Critter

Pulpit Rock in cloudy sky for Skywatch Friday

 

I have shared numerous photographs from this region. Pulpit Rock, a striking natural formation at Cape Schanck on Victoria’s Mornington Peninsula, bears a resemblance to a phallic symbol. This prominent geological feature is composed primarily of basalt, formed from ancient volcanic activity approximately 20 million years ago during the Miocene epoch. The rock stands as a testament to the region’s turbulent geological past, where successive lava flows cooled and solidified, creating the rugged coastline that defines Cape Schanck today.

In this particular image, the golden hour’s enchanting light is absent, replaced instead by an overcast sky. The green algae carpeting the foreground emerges as the principal feature, adding a vibrant contrast against the dark basalt. These algae thrive in the intertidal zones of the rocky shore, contributing to the complex coastal ecosystem by providing nourishment and habitat for a variety of marine life.

The air was chill, and Joel was unwilling to remain for long. During our visit, we observed a young boy of Indian descent nearly swept from the precarious rocks and into the sea—a stark reminder of the power of the ocean at this exposed headland. Pulpit Rock and its surrounding cliffs are constantly shaped by relentless waves and winds, making it a site of both breathtaking beauty and inherent natural danger.

Sony A7RV

FE 16-35mm f2.8 GM

Linking Sky watch Friday