Portsea Beach, Mornington Peninsula for Skywatch Friday

 

This steadfast rock has ever been my compass for long exposures, a sentinel against the shifting tides and the passing of seasons. Last weekend the heavens conspired with storm and rain, and so I turned from the unruly present to the stillness of my archives, where calmer skies and gentler seas remain preserved.

Portsea Beach itself is a place where time and tide weave their eternal dance. The cliffs and outcrops, born of sandstone and limestone laid down in forgotten oceans, stand weathered yet unyielding, their faces etched by centuries of wind and wave. Each stone bears the script of ages, each ripple of sand a fleeting verse upon the vast poem of the shore.

Here the sea gathers its strength, for the Southern Ocean presses against the narrow Heads, surging into Port Phillip Bay with a restless spirit. The waters may gleam like glass beneath a quiet dawn, yet within them lies the memory of tempests, of ships dashed and lives claimed. Beneath it all, the Bunurong people once walked these sands with reverence, their footsteps bound to the rhythm of tide and season, reading the coast as one might a sacred text.

To stand upon Portsea Beach is to linger at the threshold of worlds—the ancient and the present, the serene and the perilous. It is a place where nature holds dominion, and where the solitary rock, enduring amid the breakers, becomes not merely a subject for the lens but a symbol of patience, memory, and the silent grandeur of the sea.

Sony A7RV

FE 20-70mm f4 G

Linking Skywatch Friday

Bridgewater Bay Blairgowrie for Water H2O Thursday

 

Both Joel and I longed to breathe the briny air and hear again the timeless voice of the sea. A fortnight past, we made our way once more to the cliff-tops overlooking Bridgewater Bay at Blairgowrie, drawn by the desire to attempt long-exposure photography in a place yet untried. Though the conditions were far from perfect, the novelty of the location, with its rugged beauty and the promise of new discovery, gave the venture a certain poetry of its own. Joel, ever patient, came to collect me from my home, but through my own misjudgment—having earlier taken my mother to supper—I delayed him by forty minutes. That tardiness weighed heavily upon me, for I felt I had stolen time from both him and the sea itself.

Bridgewater Bay, where we stood, is no ordinary shoreline. It is a place where the restless waters of Bass Strait carve their legend into limestone cliffs and sandstone shelves, where tidal pools mirror the heavens and the wind carries whispers of ancient times. Once a hunting and gathering ground for the Boonwurrung people, who knew the rhythms of these shores long before our cameras sought to capture their moods, it later became part of the maritime frontier of the Mornington Peninsula. The bay has borne witness to shipwrecks and storms, and its eroded rock formations—arched, honeycombed, and sculpted by centuries—stand as natural monuments to endurance.

Thus, as Joel and I set up our tripods against the evening light, I could not help but feel that our own small pursuit of a perfect image was but a fleeting gesture in the vast theatre of time. The bay, with its layered history of people, tides, and stone, seemed to forgive my lateness, reminding me that all human haste dissolves before the patience of the ocean

Sony A7RV

FE 16mm f1.8 G

Linking Water H2O Thursday

Melbourne Wheel and neon signs on South Bank for Sign2

 

Night falls over Southbank, and the city transforms. The high-rise towers along the riverbank begin to glow from within, their windows lit in squares and strips of amber, white, sometimes warmer yellows, occasionally a cool blue or green. Some windows are full; others only partially illuminated. Their light spills out onto the Yarra below in shimmering reflections — a mosaic of brightness dancing on the ripples.

Along the Southbank Promenade, street lamps and decorative lighting trace the edges of walkways, railings, and trees, giving form to the river’s edge. The softer glow of these lamps contrasts with the intense brightness of the office towers and apartments. There is also a fairytale quality to it — the river acts as a mirror, doubling the spectacle and blurring the boundary between built structure and reflection.

Sony A7RV

FE 20-70mm f4 G

Linking Sign2

Travancore Water Hole reflection for Water H2O Thursday

 

In the 1990s, these sculptural sticks were erected as part of an effort to position Melbourne as a more artistic and culturally expressive city. I still recall the press at the time describing them in unflattering terms, with some critics dismissing them as eyesores or likening them to phallic symbols. I later learnt that the area was considered particularly well suited to black-and-white photography, which prompted Joel and me to visit for a walk. As it happened, the rain had lingered in the precinct, leaving reflective surfaces that added depth and character to the sculptures. It proved to be an enjoyable and memorable outing.

Sony A7RV

FE 20-70mm f4 G

Linking Water H2O Thursday

Infinity rooms Port Melbourne for Treassure Tuesday

 

Earlier this year, a considerable number of exhibitions were devoted to the presentation of so-called “infinity rooms,” a form of immersive installation art that captured much popular attention. These exhibitions became something of a cultural trend, attracting large audiences eager to experience the illusion of boundless space created through the ingenious use of mirrors, light, and repetition. Although they were widely discussed and much admired at the time, I did not record or present them here, and thus the phenomenon has remained unremarked upon in this account.

Sony A7RV

FE 20-70mm f4 G

Linking Treasure Tuesday

Melbourne Skyline Panorama for Skywatch Friday

 

The panorama of Melbourne Sky View. Joel and I did not feel innovative. We went to grab the famous lemon pie from Cliffton Hill then Northcote to take this drone shot. 

DJ Mini Pro4 

Linking 
Skywatch Friday

Lonsdale St Murals for Mural Monday

 

One evening, during an outing, Joel escorted me to a Korean restaurant. At its entrance, and upon the façades of the neighbouring shops, there were displayed murals of considerable charm.

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

New curry house on De Graves St Melbourne for Sign2

 

After returning from my period of work away from home, Joel and I had intended to venture out together, as had been our custom. Yet fate, ever whimsical, had other plans. He was overtaken by a most disagreeable cold which lingered obstinately for several days, robbing him even of his voice, and leaving him in no condition for rambles abroad.

Thus, with reluctant heart, I resolved to take a solitary stroll. The air was gentle enough, though the absence of companionship rendered the way a little quieter than I might have wished. My camera, though faithful, felt almost unfamiliar in my hands, as though it, too, had grown idle during my absence. I captured but a few images, for the rhythm of observation and the instinct for composition, once second nature, now seemed to lie dormant, waiting to be awakened once more.

It was not so much the photographs themselves that mattered, but the act of stepping out, of reacquainting myself with the world through a lens. I sensed that, in time, the old ease would return—that subtle harmony between eye, heart, and machine which makes the smallest detail sing. For now, it was enough simply to begin again, however modestly, and to know that the habit of seeing had not altogether deserted me.

Sony A7RV

FE 16mm f1.8 G

Linking Sign2

Duckboard place mural Melbourne for Mural Monday

 

This mural in Duckboard Place, Melbourne, is the work of Steph Mann, who signs her pieces as @stephmann_artist. It is a striking, dreamlike painting that blends surrealism with whimsical natural motifs.

The piece depicts a fawn-like creature with elongated legs, blending seamlessly with tall mushroom stems that appear to grow into and through its body. The creature turns its head gracefully toward a glowing butterfly perched above its back, suggesting a moment of quiet wonder. The background is layered in vivid blues and purples, transitioning into deep magentas and reds on the ground, evoking an otherworldly twilight or dreamscape.

Steph Mann’s work often explores the fantastical and surreal, transforming familiar animals and natural forms into beings that seem to live in a liminal space between dream and reality. The surreal elongation of limbs and the fusion of plant life with animal life suggest a meditation on interconnectedness, transformation, and the strangeness of the natural world when seen through an imaginative lens.

Duckboard Place, adjacent to the more famous Hosier Lane, is one of Melbourne’s renowned street art precincts. It provides a platform for both established and emerging artists to create large-scale murals that merge fine art with urban expression. Mann’s mural contributes to this vibrant gallery of the streets, offering passersby an invitation to pause, reflect, and immerse themselves in a fantastical vision that lingers long after one has walked past.

Sony A7RV

FE 35mm f1.4 GM

Linking Mural Monday

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. 

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

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

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

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

Jungle Babbler (Argya striata) for Saturday Critter

 

The image, captured many years ago with an early-generation digital camera, may well have been part of an informal experiment with my cherished collection of Pentax lenses. At the time, I was testing their optical clarity and rendering in natural light. The subject—serendipitously chosen or perhaps fatefully encountered—was none other than the Jungle Babbler (Argya striata), a bird of considerable charm and quiet dignity.

Native to the Indian subcontinent, the Jungle Babbler is most often observed in sociable clusters, earning it the endearing epithet of “Seven Sisters.” Its plumage, a soft and subtly variegated grey-brown, carries a fine, layered texture reminiscent of brushed velvet. The bird’s eye, pale and unblinking, holds a gaze both inquisitive and reserved, while its slightly decurved bill—sturdy and dark—is well-suited to its foraging habits among leaf litter and low shrubs.

Though common in its range, the Jungle Babbler possesses an understated beauty, particularly evident in close observation. The photograph, though unassuming in origin, managed to capture the delicacy of its feather arrangement and the quiet expressiveness of its face. It stands now as a quiet testament to the capabilities of those fine Pentax optics—and to the enduring grace of this often-overlooked avian companion.

Pentax K10D

A 300mm f2.8 

Linking Saturday Critter

West Gate Park Melbourne for Treasure Tuesday

 

We had initially set our sights on Sandridge Bridge, intending to capture the city skyline at sunset. Much to our surprise and disappointment, the entire area had been cordoned off, denying us access. Undeterred, we sought an alternative vantage point that might render the excursion worthwhile. We turned our course towards Westgate Park, only to discover that it too was undergoing extensive construction works—an added frustration.

Nonetheless, perseverance led us to a suitable spot from which to photograph the twilight. The gentle hues of dusk, softened by the encroaching night, provided some consolation.

Westgate Park itself, situated along the banks of the Yarra River beneath the West Gate Bridge, has long served as a haven for birdlife and city dwellers alike. Once a barren expanse of industrial wasteland, it was transformed during the 1980s as part of Melbourne’s urban greening initiatives. The park is especially known for its striking pink lake—a seasonal natural phenomenon caused by the proliferation of salt-loving algae under specific climatic conditions.

The current redevelopment seeks to enhance visitor access, restore native habitats, and improve ecological sustainability. Though temporarily inaccessible, it promises to return as an even more vibrant urban refuge.

Our evening concluded at a nearby Japanese restaurant, where we sought comfort in freshly pan-fried gyoza. Joel, in high spirits, treated himself to a small carafe of sake—rounding off a day that, though unplanned in its course, retained its moments of charm and reward.

Sony A7RV

FE 20-70mm f4 G

Linking Treasure Tuesday

Fitzroy Mural in Melbourne for Mural Monday

 

This mural is situated within a narrow laneway in Fitzroy, Melbourne, now heavily adorned with layers of graffiti and street art. Once a standalone piece, it has since become part of the ever-evolving urban tapestry for which Fitzroy is renowned.

Fitzroy, established in 1839, holds the distinction of being Melbourne's first suburb. Originally developed for the working class, it soon became known for its row houses, bluestone laneways, and bustling community life. By the mid-20th century, Fitzroy had evolved into a melting pot of cultures, attracting waves of immigrants and fostering a rich tradition of activism, creativity, and bohemian spirit.

In recent decades, the suburb has become a vibrant centre for the arts, with its walls serving as open-air galleries for muralists and street artists from around the world. Though once associated with countercultural resistance, the area now walks a fine line between gentrification and artistic preservation. This mural, layered with the marks of many hands, is emblematic of Fitzroy’s ongoing dialogue between history, community, and expression.

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

Star fish at Mount Martha Melbourne for Saturday Critter

 

While walking along the coast near Mount Martha, I came upon this starfish resting just beneath the water’s surface. Though it is a known marine pest along our shores, I could not help but appreciate the quiet moment when it appeared beside my feet as I was photographing the sea.

The image depicts a sea star—also known as a starfish—positioned upon a bed of green algae and submerged vegetation. Notably, it possesses more than the customary five arms, suggesting it may belong to a multi-armed species such as the Solaster, commonly referred to as the sun star.

These creatures are marine echinoderms, distinguished by their radial symmetry and numerous tube feet, which they employ to navigate the ocean floor. This specimen was observed in a shallow, tranquil coastal pool, where the clarity of the water revealed the richness of the marine flora beneath.

Sony A7RV

FE 70-200mm f4 G

Linking Saturday Critter

De Grave Place Melbourne Signs for Sign2

 

The signage around this quarter marks some of my favourite locales—there is something distinctly Melburnian about their character, at least as captured through the lens. Nowhere is this more evident than in Degraves Place, nestled in the very heart of Melbourne’s central business district.

Degraves Place, and its adjoining laneway Degraves Street, take their name from the Degraves family, early settlers and entrepreneurs in colonial Victoria. William and Charles Degraves arrived from Hobart in the 1850s and quickly established themselves as prominent figures in Melbourne’s flour milling industry. Their enterprise, the Degraves Mill, once stood near the banks of the Yarra, a symbol of industrious ambition in the young colony.

Today, Degraves Place is emblematic of Melbourne’s famed laneway culture—an elegant mingling of past and present. Beneath its heritage façades and weathered brickwork lie cafés, galleries, and small boutiques, alive with the hum of conversation and the aroma of espresso. The signs that adorn these narrow passages are not mere markers—they are storytellers of a city that thrives on character, contrast, and continuity.

Sony A7RV

FE 14mm f1.8 GM

Linking Sign2

Vue De Monde Melbourne for Treasure Tuesday

 

Roast Eel 

Smoked cocktail

Picked Oyster

Caviar on pumpkin mesh

Merren 3 eats

Pineapple sorbet with floral crisps

Cured Kangaroo meat 

We are getting older 

Souffle 

Joel’s birthday was celebrated just last week, an occasion for which I had secured a reservation no less than three months in advance. The booking, as expected, was gone within minutes of the reservation page opening—testament to the enduring allure of this esteemed establishment, which has held its place among Melbourne’s finest dining destinations for over a quarter of a century. Indeed, having now dined at virtually every hatted restaurant in the city, it feels as though we are truly savouring the richness of life’s finer pleasures.

For this special evening, we were seated at Vue de Monde, a culinary landmark atop the Rialto. The evening unfolded with an elegant succession of courses—each a thoughtful homage to native Australian ingredients and refined technique. There was the delicate smoked eel with white chocolate and caviar, a bold yet balanced expression of contrasts. The Western Australian marron arrived perfectly poached, nestled in a vivid green sauce of Geraldton wax and finger lime. A course of Flinders Island lamb followed, prepared with such precision that it seemed to melt upon the tongue. Even the bread service—a warm, crusty sourdough with house-cultured butter—was elevated to a ceremonial delight.

The degustation concluded with an exquisite arrangement of petit fours: wattleseed macarons, eucalyptus marshmallows, and a hand-churned ice cream, theatrically frozen in liquid nitrogen at the table. Each dish was presented with care, matched by service that was both attentive and effortlessly refined.

To commemorate the occasion visually, I brought along my new Sony 16mm f1.8 lens. Its compact form and brilliant aperture made it an ideal companion for capturing the quiet drama of the dining scene—the glint of glassware, the sheen on porcelain, the gentle fall of candlelight on plated artistry.

Sony A7RV

FE 16mm f1.8 GM

Linking Treasure Tuesday