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Showing posts with label f4. Show all posts
Showing posts with label f4. Show all posts

Monday, November 2, 2026

Hosier Lane Mural for Mural Monday

 


The alleyways of Melbourne whisper a rougher, darker tune today, where the boundary between public art and raw graffiti has blurred into a historical low. Once a sanctuary for grand, sweeping murals, Hosier Lane now wears a fragmented skin, a dense collage of tags and rapid spray where structure struggles to break through the noise. Yet, in this shadow-drenched alcove, a distinct piece holds the wall, pinned against a deep, arresting background of pitch black that anchors the visual chaos. Above the sharp, fractured lettering, an enigmatic figurehead peers out—a stylized helmet flanked by crossed cutlasses under the banner of a distant city, framed by wide, weeping eyes that drip crimson tears onto the stone. It has been six months since these feet last tracked through the city’s concrete arteries, long enough for the landscape to shift, harden, and reclaim its renegade edges. The streets outside carry a tense, unpredictable current, punctuated by the frequent rumble of violent protests that disrupt the urban rhythm. But the pull of the street walk remains absolute. Camera in hand, the lens catches this fleeting monument of the underground—a stark, defiant snapshot of a city forever writing, erasing, and rewriting itself in real time.




Sony A7RV

FE 20-70mm f4 G



Linking Mural Monday


Sunday, November 1, 2026

Balnarring Jetty wave motion for Sunday Best

 




I mentioned recently that I had taken around 200 shots at Balnarring Jetty. As with any photographic adventure, some frames turned out to be little jackpots, capturing that fleeting magic I had hoped for, while others simply missed the mark. Such is the nature of photography. Sometimes the light, the timing and the composition come together beautifully; at other times, the moment slips quietly through our fingers.

Going through those images again, I found a few more worth sharing. Perhaps it is time to dust off some of those forgotten frames and let them see the light of day, especially after my recent sabbatical from photography as a hobby. There is something rather comforting about revisiting old photographs. You begin to see them differently, with fresh eyes and a quieter mind, discovering little treasures that you might have overlooked the first time around.

Meanwhile, I am still waiting for my new camera to arrive. The Sony A7R VI has yet to find its way into Australian stock, and honestly, how long does one have to wait? 😂 In the meantime, I suppose patience is another skill a photographer must learn, alongside chasing the light and waiting for the perfect moment.

Until then, I shall make do with what I have, revisit a few old favourites, and keep shooting whenever the mood strikes. After all, the joy of photography was never just about having the latest gear. It is about seeing the world a little differently, finding beauty in unexpected places, and occasionally striking gold among those hundreds of frames.


Sony A7RV

FE 70-200mm f4 G



Linking Sunday Best

Friday, October 30, 2026

Bay of Martyrs Great Ocean Road for Skywatch Friday

 


The sun dips low, painting the sky in soft, bruised tones of twilight as it holds its breath above the Great Ocean Road. At the Bay of Martyrs, evening arrives not with a roar, but a quiet, golden sigh.

A brilliant trail of liquid light spills across the dark silk of the sea, fracturing into a thousand shimmering ripples that reach toward the shore. Guarding this fleeting brilliance are the ancient ones—dark, weather-worn islands and solitary sea stacks rising from the shadows. They stand as silent sentinels in the fading warmth, cradling the sun’s last fiery reflection before the night reclaims the waves.


Sony A7RV

FE 70-200mm f4 G




Linking Skywatch Friday


Thursday, October 29, 2026

Cadillac Gorge sunset San Remo for Water H2O Thursday

 


Twilight settles over Cadillac Canyon, a raw basalt platform hidden along the wild Bass Coast near Phillip Island.

In the distance, a violent ocean surge shatters against dark stone shelves, throwing a ghostly plume of spray into the bleeding rose and violet sky. As the frenzy passes, the water yields, spilling backward through deep channels in a silken, slow exhale. This receding rush transforms the chaotic swell into smooth, velvet-creamy tide pools, capturing a fleeting trace of motion right before darkness folds over the coast.


Sony A7RV

FE 20-70mm f4 G




Linking Water H2O Thursday


Tuesday, October 27, 2026

Doncaster Shopping town Westfield view for Treasure Tuesday

 


Lately, Joel and I have grown a little lazy with our photography outings, spending less time chasing scenery and more time simply enjoying the day together. After a Korean barbecue at Westfield Doncaster, I happened to glance out across the car park and caught sight of the Melbourne skyline stretching into the distance. A quick shot, almost an afterthought, yet somehow it became the treasure of the day. Sometimes, the photographs worth keeping are not the ones we set out to capture, but the unexpected gifts that find us along the way.

There is, however, a certain irony to photographing from shopping centre car parks. Security guards are quick to approach us when we point our cameras towards the distant skyline, as though a harmless photograph of Melbourne's cityscape poses some great security threat. Yet, when it comes to the reported incidents of youngsters wielding machetes inside shopping centres, one cannot help but wonder where that same vigilance goes. It seems that a camera aimed at the horizon can attract more immediate attention than the troubling things happening much closer to home.

Still, the skyline remains beautiful, and the photograph is mine to keep. After all, we went out for a meal, not a photography expedition, and came home with a little unexpected treasure. Perhaps that is the charm of photography: even on a lazy day, when inspiration seems to have wandered off somewhere, the world occasionally offers us a reason to lift the camera again.


Sony a7RV

FE 70-200mm f4 G



Linking Treasure Tuesday


Sunday, October 25, 2026

Bridgewater Bay in Blairgowrie in a different look for Sunday Best

 



The afternoon light drifts across Bridgewater Bay, spilling gold over the jagged rim of a natural rock pool where the restless surf meets the shore. From high upon the crags, the coastline unfolds in all its untamed grandeur, revealing a vast shelf of reef laid bare by the retreating tide. Great dark boulders lie scattered across the pale sand, as though the ocean has cast them ashore and forgotten to reclaim them. Between the rocks, vivid green moss clings to the dark shallows, bringing unexpected life to this ancient landscape.


Below, the receding waters settle into stillness, transforming the tidal flats into a mosaic of natural mirrors. They hold the warm glow of the sunlit cliffs and the distant silhouette of a rugged rock bridge arching over the shoreline. Here, there is no need to soften time with a long exposure. The landscape reveals itself in all its quiet precision: the delicate contours of moss-covered mounds, the tiny figures of visitors standing against the vastness, and the crystalline surfaces of tide pools cradling fragments of sky.


For a brief moment, the sea seems to have forgotten its restless nature. Between the ebb and flow of the tides, Bridgewater Bay rests in a rare stillness, where light, water and stone come together in a timeless conversation.



Sony A7RV

FE 20-70mm f4 G



Linking Sunday Best


Thursday, October 22, 2026

Pinnacles in Cape Woolamai for Water H2O Thursday

 



The rocks flanking the Pinnacles of Cape Woolamai are often overlooked, standing quietly on either side of the more celebrated formations. Yet I have always been drawn to these lesser-seen corners of the coast, where the landscape reveals a different kind of beauty to those willing to look beyond the familiar.

The first photograph captures a particularly inaccessible stretch, a place few venture into because of the danger of rogue tides and the seemingly impossible jumble of rock stacks that must be negotiated on foot, hopping from one precarious foothold to another. I ventured there once on a low-tide day, only to pay a small but costly price for my curiosity, breaking a filter and a lens along the way. The coast has its own way of reminding us that beauty is not always meant to be approached without consequence.

And then there is Joel, growing older alongside me, though perhaps less inclined these days to trust his footing on the uneven ground. In the photograph below, he has ingeniously enlisted his tripod as a three-legged walking companion, turning a piece of photographic equipment into a makeshift walking stick. 😂 Perhaps this is what years of exploring together eventually lead to: the rocks remain stubbornly ancient, the tides continue their restless dance, and we learn to negotiate the landscape with a little more care, a little less haste, and a growing appreciation for the simple pleasure of still being out there together.



Sony A7RV

FE 20-70mm f4 G




Linking Water H2O Thursday



Monday, October 19, 2026

Utility box art in Adelaide for Mural Monday

 


A splash of vibrant sun warms the concrete grid of North Adelaide, where an urban canvas blooms from a drab utility box. A striking, indigo-dappled blue swimmer crab rises from a neon coral reef, its outstretched claws balancing a luminous, ruby-red gem against a stark yellow sky. Part street-side whimsey, part vivid maritime dream, the mural anchors the sidewalk with bold outlines and a playful, stylized energy. It catches the eyes of passing strangers, turning a mundane street corner into an unexpected gallery of color and wonder.


Sony A7RV

FE 20-70mm f4 G



Linking Mural Monday


Friday, October 16, 2026

Noosa Beach Queensland for Skywatch Friday

 


After sharing yesterday’s photograph of Noosa Beach, I thought I would follow it with another, this time capturing the drama of the cloudscape. Queensland’s tropical weather has a temperament of its own, with the sky changing its mood in a heartbeat. Here, beneath the gathering clouds, gentle waves ripple across the shallows, tracing delicate patterns along the sandy shore.

The tiny figure in the distance is actually Joel, busy searching for crabs in the sand. 😂 When we head out with our cameras, we tend to give each other plenty of room to work. We both know the importance of finding our own perspective, and neither of us particularly likes stepping on the other’s toes, especially when composing a landscape. So, while I was busy capturing the sky and sea, Joel was happily hunting for crabs. We each had our own little adventure along the same stretch of beach.


Sony A7RV

FE 20-70mm f4 G



Linking Skywatch Friday


Thursday, October 15, 2026

Noosa Beach Esplanade in Queensland for Water H2O Thursday

 


There is nothing extraordinary about this ordinary stretch of Noosa Beach Esplanade, yet I find myself drawn to its quiet, unassuming beauty. I enjoy strolling along the waterfront, watching the vast sky drift beneath clusters of white cumulus clouds, while the water takes on a soft, translucent green and the golden-yellow sand stretches gently along the shore. The scene offers little drama, no spectacular sunset or grand natural spectacle, just the familiar rhythm of sky, sea and sand existing in effortless harmony. Even beneath the wet, heavy humidity, with moisture lingering in the air and everything feeling faintly damp against the skin, there is something deeply soothing about wandering here. Sometimes, all a photograph needs to offer is a moment of quiet, a place where the eyes can wander and the mind can rest.



Sony A7RV

FE 20-70mm f4 G



Linking Water H2O Thursday


Tuesday, October 13, 2026

Nyah Victoria in Australia for Treasure Tuesday

 



In March 2026, I was once again told that I could no longer provide bulk-billed geriatric services to nursing homes in the remote parts of Victoria. Another change of hospital management had arrived, bringing with it the familiar ritual of replacing existing arrangements with something new. In the world of corporate administration, it seems, little is sacred except the perpetual need for change. This was the fifth time in twelve years that I had found myself at the receiving end of such a decision.

This time, however, I could no longer be bothered to play the corporate game. I had learnt enough from twelve years of service to know how little one's efforts might count when a new set of managers arrived with their own ideas, their own priorities, and their own people. I simply gave them the answers they seemed to want and left it at that.

Over those years, I had gone to considerable lengths to keep the service alive. Every referral from a general practitioner had to be worded appropriately and satisfy the necessary requirements. I paid for motel accommodation when an overnight stay was needed, drove for hours across the region, and often spent six hours on the road for a round trip to visit nursing homes with fewer than twenty residents. The roads were another story altogether, riddled with potholes that seemed to offer a fitting metaphor for the state of rural healthcare itself.

At the facilities, there was often no continuity of staff and little reliable clinical information to guide my assessments. The people who cared for these residents changed with bewildering regularity, and the knowledge that should have accumulated over months and years was repeatedly lost. Families, meanwhile, were often described as supportive, though some residents received little more than an occasional visit, perhaps once a year. Between the administrative machinery, the revolving door of care staff, and the distance separating these elderly people from their families, the responsibility for understanding their medical and functional decline sometimes fell upon remarkably few shoulders.

And here lies the irony. Some of these residents have survived years of imperfect care, changing personnel and fragmented clinical oversight. I have come to know them through repeated assessments, through the slow accumulation of small observations, and through the familiarity that only time can provide. In some instances, I suspect I know more about their circumstances than the people who see them every day, including their general practitioners and care managers.

Yet, after twelve years, I find myself being shown the door once again.

There is something quietly absurd about this arrangement. A service that has persisted through years of practical difficulties, long journeys, endless paperwork and considerable personal expense can apparently be discarded with a change of management. The institutional memory disappears overnight, while the residents remain exactly where they have always been, frail and dependent, waiting for someone to take the trouble to understand them.

I have little doubt that, within the next six months, somebody whose name I have never heard will eventually approach me to ask whether I might return to provide consultations. Perhaps another change of management will have taken place. Perhaps the shortcomings of the new arrangements will have become apparent. Perhaps someone will suddenly remember that these residents need a geriatrician who knows their histories and understands the peculiar difficulties of caring for the elderly in remote communities.

But this time, I will decline.

For too long, I have allowed professional duty to carry me beyond the boundaries of what could reasonably be expected of one person. Much of what I have given to this region has amounted, in practical terms, to a form of pro bono service, sustained by a sense of responsibility rather than any meaningful recognition or institutional support. I do not regret the care I have provided, nor the time spent with those who needed it. My regret lies elsewhere: in the realisation that twelve years of commitment can be so easily forgotten by the very system that benefited from it.

Perhaps this is the peculiar fate of working in neglected corners of the country. The work is essential until it becomes inconvenient. The practitioner is indispensable until a new administrator decides otherwise. And the elderly residents, who have no influence over the machinery governing their lives, are left to bear the consequences of decisions made far away from their bedsides.

I shall leave the service behind without bitterness towards the residents themselves. They deserved better, and they always will. But there comes a time when one must recognise the difference between serving a community and allowing an institution to take one's efforts for granted. Twelve years is a long time to keep knocking on a door that opens only when somebody else finds it convenient.

The photographs accompanying these reflections were taken in the quiet country around Nyah, beside the broad reaches of the Murray River.

The first photograph offers a sweeping view of the river, a landscape I have always enjoyed seeing in this part of Victoria. The Murray moves through the country with a patient, unhurried presence, indifferent to the ambitions of administrators and the changing fortunes of institutions. Its waters have witnessed generations come and go, carrying their reflections downstream without ceremony. There is a reassuring permanence in such a landscape, a reminder that some things endure without requiring the approval of anyone in an office.

The second photograph captures an old, weathered Post letterbox, its surface marked by the beautiful colours of rust. I have always had a fondness for such humble objects. Their peeling paint, corroded metal and faded presence tell stories that newer things cannot. They have stood through seasons of rain and heat, quietly collecting the marks of time. To some, the rust might suggest neglect. To me, it possesses a certain dignity, the beauty of something that has endured without pretending to remain untouched.

Perhaps that is what draws me to these remote places. Beyond the noise of corporate decisions and the endless reshuffling of responsibility, there is still a landscape that asks nothing of me. The river flows, the old letterbox rusts, and the country carries on in its own way.

After twelve years of service, perhaps it is time for me to do the same: to turn away from the machinery of institutions and return to the quieter business of observing, photographing and finding meaning in the things that remain.



Linking Treasure Tuesday


Monday, October 12, 2026

Mural in Adelaide Laneway for Mural Monday

 


Yes, this trippy-looking lady is painted on a wall tucked away in one of Adelaide’s little laneways. Joel looked at her and declared that this was the sort of mural you would need LSD to truly appreciate.

According to him, once the drugs kicked in, the colours would become stranger, the shapes more bizarre, and the hallucinations would probably take the whole thing to another level.

I looked at the mural again.

“No thanks,” I told him. “I think I’ll stick to seeing it exactly as it is.”


Sony A7RV

FE 20-70mm f4 G


Linking Mural Monday


Saturday, October 10, 2026

Alcázar of Segovia Spain for Black and White Community

 


Through the modest lens of a compact camera, a singular moment was captured—a fleeting glance at the grand Alcázar of Segovia. In that passing instant, the true depth of its majestic artistry remained hidden from view, masked by the broad stroke of a traveler’s eye. Yet, memories possess a rare and enduring resilience, holding fast to the grace of its design long after the journey has ended.

Now, through the quiet canvas of a black-and-white lens, a deeper exploration begins. Stripped of color, the old photograph invites a closer gaze, transforming a simple exercise into a celebration of form. In the interplay of light and shadow, the intricate details of the stone and the textured geometry of the facade finally reveal themselves—shadowy secrets of an ancient masterpiece, patiently waiting to be found.


Panasonic G9

Leica 12-60mm f2.8-4


Linking Black and White Community




Friday, October 9, 2026

St Kilda Pier sunset sky for Skywatch Friday

 


St Kilda has changed so much over the years that I sometimes feel as though I am visiting a place caught between memory and reality. I was glad, at least, to find the old pier still stretching into the water, a familiar landmark holding its ground against the passing of time. Beyond it, Melbourne’s skyline continues to grow wider and taller, its ever-expanding collection of buildings reshaping the horizon I have known for decades.

Time really does change everything. I have lived in Melbourne for more than 36 years now. When I stop to think about it, that is a substantial part of a lifetime. Yet, people still occasionally ask me when I jumped off the boat, as though I have only recently arrived on these shores. Perhaps it is my accent that gives me away, an unusual blend that belongs neither exclusively to Mandarin nor to any of the other Chinese dialects I speak. What makes it rather amusing is that I completed my medical training entirely here in Australia, working my way through the local system from beginning to end, much like any other locally trained doctor. Apparently, even three and a half decades are not always enough to convince people that you have been here for a while.

St Kilda, too, has lost some of the little things that once made it familiar. My favourite café, where I used to indulge in its excessively sweet ice cream and decidedly overpriced fish and chips, is no longer there. Perhaps the food was never quite as good as I remember it, but that was never really the point. Some places become part of our lives through the simple repetition of ordinary pleasures, until one day we realise that we have been collecting memories without knowing it.

The old pier remains, the skyline keeps rising, and the familiar streets continue to change their faces. I suppose Melbourne has been moving forward all these years, just as I have. Yet, standing in St Kilda today, I cannot help feeling that a little piece of the place I once knew has quietly slipped away.

Perhaps that is what time does best. It leaves enough behind for us to recognise, but takes just enough away to remind us that we can never truly return to the past.


Sony A7RV

FE 20-70mm f4 G



Linking Skywatch Friday


Thursday, October 8, 2026

Flinders Blowhole Cape Schanck for Water H2O Thursday

 


The waves and layers of rock in this image seem to create their own sense of movement, almost as though the volcanic basalt at Flinders Blowhole, Cape Schanck, is flowing rather than standing still. The textures rise and fall like frozen waves, giving the rock an unexpected rhythm and a sense of motion.

Recently, I received some thoughtful feedback from an old acquaintance about my photography blogs. He suggested that perhaps I should start thinking in terms of smaller, more focused projects rather than always trying to photograph the landscape as a whole.

The idea has stayed with me.

Photography has always been something I can become slightly obsessed with—perhaps a particular kind of wave motion in the ocean, the way water threads itself through rocks, or the old fascination I once had with searching for abandoned sea caves and photographing their entrances from the inside looking out. These little obsessions seem to give my photography a purpose beyond simply finding another beautiful landscape.

Perhaps that is what I need now: small projects with very narrow themes, enough to stimulate the creative part of my brain again. After all, I have spent decades photographing Victoria's landscapes. I know many of these places almost too well. I have returned to the same coastlines, rocks, beaches and forests so many times that sometimes I wonder whether I am discovering anything new—or merely revisiting what I already know.

Maybe the answer is not to keep looking for bigger landscapes, but to look more closely.

A micro project can begin with something almost ridiculously specific: a particular form of wave movement, a certain texture in basalt, forgotten entrances to sea caves, weathered concrete, or the strange relationship between water and rock. The subject itself may be tiny, but the possibilities within it can be surprisingly deep.

And that is what appeals to me about this photograph. At first glance, it is simply a piece of volcanic rock at Cape Schanck. Yet I have never really seen another photograph from this particular location that explores the rocks in quite this way. It is not the iconic Flinders Blowhole that I am photographing, but a small, overlooked detail within a place I have visited many times.

Perhaps this is where my photography needs to go next.

Not necessarily farther, but deeper.

After decades of photographing the landscape, perhaps it is time to stop trying to photograph everything—and start becoming obsessed with something very small.


Sony A7RV

FE 20-70mm f4 G



Linking Water H2O Thursday


Wednesday, October 7, 2026

Gouger St Adelaide Bench mosaic sign for Sign2

 


A solitary mosaic bench rests against the pavement, a vibrant tapestry of fractured blues cradling tiles shaped like forgotten stamps. Across its heart, script loops in elegant ceramic cursive: Gouger St, Adelaide—a sudden, artistic compass pointing the way for a traveler lost in a fruitless hunt for the city's hidden murals.

Yet, the romance of the discovery quickly curdles. The bench is not granted room to breathe; instead, it is closely besieged by a grim garrison of overflowing rubbish bins. The brilliant, hand-placed glass and whimsical shapes find themselves drowned out by a thick, inescapable stench, turning a brilliant pocket of street art into a casualty of the city's discarded excess.


Sony A7RV

FE 20-70mm f4 G



Linking Sign2


Tuesday, October 6, 2026

Suupaa Korean Fusion Cafe in Richmond for Treasure Tuesday

 



Joel is becoming more of a gourmet than I am these days. This time, he wanted me to venture with him to Suupaa Café in Richmond, a place he had apparently decided was worthy of our culinary curiosity.

Getting there was an adventure in itself. Parking around Richmond was almost impossible, while the traffic seemed to conspire against us at every intersection. Somehow, though, we managed to find our way in, and once inside, the little café felt rather bougie—stylish, intimate, and just a little too polished for two photographers who were mostly there to see what all the fuss was about.

I ordered the bolognese udon, an unexpected marriage of Japanese noodles and Italian comfort food, generously buried beneath a mountain of Parmesan cheese. Joel, naturally, chose something different—a dipping-sauce ramen, because apparently he now has considerably more adventurous culinary instincts than I do.

The menu was Japanese at heart, but with an unmistakable Italian accent here and there. It was an unusual combination, but perhaps that was exactly what made the meal interesting. We weren't there for any grand gastronomic revelation. We were simply trying something new together.

And sometimes, that is enough.

Afterwards, we wandered next door to Baker Bleu, where a long queue had already formed for their much-talked-about tarts. Naturally, we joined the ritual and brought some home with us.

Perhaps the best part of the outing was never really the food. It was the simple pleasure of going somewhere neither of us had tried before, discovering a little corner of Richmond together, and allowing an ordinary afternoon to become another small memory shared between us.

You can see the website here Suupaa Cafe


Sony A7RV

FE 20-70mm f4 G




Linking Treasure Tuesday



Monday, October 5, 2026

Dragon Mural in Adelaide CBD for mural Monday

 


Tucked away in the quiet geometry of an Adelaide laneway, the city's morning hum softens into the background, leaving only the steam rising from a breakfast cup and the sudden, fierce geometry of a hidden wall.

Here, a dragon breaks through the brickwork—not in a whisper, but in a deafening shout of crimson, scarlet, and blood-orange. It is a creature born entirely of fire and focus, coiled tightly around the architecture of the alley as if it grew from the stone itself. Its scales twist like cooling magma, vibrant and heavy against the dark recesses of the street.

The beast’s face looms large, defined by curved white horns and eyes wide with ancient, knowing mischief. A long, pink tongue lolls past jagged teeth, playfully tasting the cool morning air just above a modern fire door that it seems to guard. Yet, for all its coiled power, a delicate grace tempers its fury: pale pink cherry blossoms drift across the composition, softening the dragon's sharp claws and anchoring the fierce, red spectacle in a moment of fleeting, poetic balance.


Sony A7RV

FE 20-70mm f4 G



Linking Mural Monday


Friday, October 2, 2026

Rabbit Rock Sunset Montforts Beach for Skywatch Friday

 


Rabbit Rock would surely make an iconic Easter image — if only it weren’t September. Yet the season seems almost incidental beneath that dark, brooding sky, where the golden sunset burns through the clouds with a quiet, dramatic splendour. It is a scene both moody and magnificent, as though the day itself were reluctant to surrender to night.



Sony A7RV

FE 20-70mm f4 G


Linking Skywatch Friday and Skyview Blog


Thursday, October 1, 2026

Balnarring Pylons in Cape Schanck for Water H2O Thursday

 


This was one of nearly 200 frames I made at Balnarring, each one an attempt to find a slightly different rhythm in the water. After spending so much time chasing that particular kind of silky, flowing motion, I wanted to show another interpretation—water curling and breaking around the weathered remains of the old pylon.

Eventually, I found the shutter speed I was looking for. The sea softened without losing its character, wrapping itself around the broken timber in long, restless threads. It was one of those small moments when the camera finally seems to see what I had imagined in my head.

Last weekend, though, the weather had other plans. Storms rolled through, and Joel and I decided to take a quiet break rather than head out. My teeth are still giving me grief, nearly three weeks after the extractions, which is becoming rather tedious. Sometimes the best photographic decision is simply to stay home, let the weather pass, and wait for both the sea and oneself to settle down.


Sony A7RV

FE 70-200mm f4 G



Linking Water H2O Thursday