More Circular Quay at Sydney for Sunday Best

 

Since my return from Sydney, the chill of winter has set in, accompanied by mounting demands at work. In the midst of these burdens, I have found solace in revisiting old photographs from the journey—each image a portal that revives the vivid impressions of my time there. Among them, scenes of Circular Quay stir particular nostalgia. Once the site of Sydney’s first European landing in 1788, this historic harbour has transformed over the centuries from a modest cove into a vibrant nexus of culture and commerce. To linger upon these images is to retrace, in spirit, the footsteps of the past while recalling the quiet splendour of the harbour’s sweeping vistas.

Sony A7RV

FE 20-70mm f4 G

Linking Sunday Best

I recently observed that a fellow photographer and blogger has at last returned to the Instagram scene. He appears to have gained weight and has parted ways with his long-term companion. It seems he has endured a considerable period of personal turmoil, a sentiment reflected not only in his demeanour but also in the manner in which he now edits his photographs. There is a quiet sadness that permeates his work, suggesting deeper emotional undercurrents.

Circular Quay at night for Sunday Best

 

The Vivid Sydney 2025 festival, though notably more subdued in its scale and spectacle compared to previous years, still offered moments of charm and quiet wonder. While the grandeur of earlier editions may have been tempered, it remained a pleasant experience to wander through the illuminated streets, capturing the glow of the light installations that adorned the city. The event, now a well-established fixture in Sydney’s cultural calendar since its inception in 2009, continues to draw visitors with its blend of creativity, innovation, and public art—even in its more restrained form.

Sony A7RV

FE 20-70mm f4 G

Linking Sunday Best

Sydney Lunar Park at night for Treasure Tuesday

 

I have visited Sydney on numerous occasions, as is common for many Australians. My travels to the city have largely been for professional purposes, primarily attending conferences. In earlier years, I would often confine myself to the sterile interiors of hotel rooms, sustaining myself on provisions purchased from nearby supermarkets, venturing little into the urban sprawl beyond.

However, my perspective on cities such as Sydney and Melbourne—so often dismissed as soulless concrete jungles—began to shift a few years ago. I came to appreciate them not merely as landscapes of steel and stone, but as living theatres of culture. I developed a fondness for photographing their architecture, their people, and the fleeting moments that give life to the metropolis.

On a recent visit during the Vivid Sydney festival, I made a point to attend Luna Park—an iconic amusement park that dates back to 1935, nestled at the foot of the Sydney Harbour Bridge. This historic park, with its whimsical Art Deco facade and famous smiling face entrance, has long been a fixture of Sydney’s shoreline. Though it had often been closed during my previous visits, its gates were open on weekend evenings for the duration of the festival. Encouraged by the opportunity, I purchased my ticket in advance and resolved to explore its grounds.

Regrettably, my experience at the entrance was far from pleasant. The staff tasked with managing entry proved disorganised, and their conduct was discourteous and inattentive. The queue stretched the entire length of the wharf, winding beside the harbour. Upon finally entering the park, I found myself captivated not by the amusements, but by the sight of young performers dressed in resplendent carnival fashion—evocative of an era I have only seen through the lens of old cinema. There was a glamour to their attire that delighted me as a photographer and observer of human expression.

I chose to forgo the rides, many of which appeared both uninspiring and, frankly, of questionable safety. However, my visit took an unfortunate turn when I was abruptly approached by security personnel demanding a wrist identification band—an item I had not received at the gate, despite possessing a valid ticket with barcode. Their accusatory tone and my subsequent escort to the front gate to rectify the error left me feeling humiliated and unjustly treated. It was a sobering reminder of how poorly systems of order and hospitality can sometimes serve paying guests.

Despite this, a moment of joy emerged as I passed through a corridor ominously referred to as the "clown lane." The clowns—grotesque in design, with a macabre charm—might have unsettled others, but I found the absurdity delightful. I laughed aloud as I snapped photographs, grateful for having brought my 14mm f/1.8 lens, which allowed me to capture vivid images even in low light.

Joel, for his part, does not share my enthusiasm for such spectacles (he decided not to come from Melbourne), and so I ventured to Luna Park alone. In hindsight, while the experience was marred by poor management, it nonetheless offered a glimpse into the layered strangeness and splendour of Sydney’s cultural life—a city more nuanced than its concrete shell might suggest.

Sony A7RV

FE 14mm f1.8 GM

Linking Treasure Tuesday

Sydney Harbour night view for Water H2O Thursday

 

The Aster Bar, perched atop the 32nd floor of the Sydney Intercontinental, proved to be a splendid setting for an evening of quiet repose. Though Joel withdrew from the trip, claiming Sydney had grown tiresome to him, I found contentment in solitude, relishing the panoramic view all to myself.

Regrettably, the long exposure photograph did not come out as I had hoped; I ought to have set the exposure time beyond two minutes, rather than the mere thirty seconds I employed. Moreover, the balcony's corner—where I had positioned myself—was frequently besieged by other patrons seeking the same vantage, some attempting to displace me outright. Still, despite the challenges, I did manage to capture at least one photograph of the moment.

Aster is an exclusive rooftop bar located on the 32nd floor of the InterContinental Sydney, offering a refined drinking and dining experience. Guests can indulge in creative cocktails, artfully plated small dishes, and personalized service while enjoying expansive 270-degree views of Sydney Harbour, including the Opera House and Harbour Bridge. The bar's interior combines contemporary elegance with a breezy outdoor terrace, providing a sophisticated atmosphere for patrons. Aster is open to the public, with reservations recommended due to limited space

Sony A7RV

FE 20-70mm f4 G

Linking Water H2O Thursday

Melbourne South Bank at night for Treasure Tuesday

 

It has been several years since my last visit to South Bank. I was pleased to discover a newly erected Ferris wheel, accompanied by a series of luminous installations that greatly appeal to photography enthusiasts. Of particular note is the splendid illumination of the surrounding architecture, which lends the precinct an enchanting ambiance after dusk and offers ample opportunity for artistic expression.

South Bank, situated along the southern banks of the Yarra River in Melbourne, is one of the city’s most vibrant cultural and recreational precincts. Once an industrial area, it has undergone a remarkable transformation into a bustling hub of art, dining, and entertainment. The promenade is lined with world-class restaurants, lively cafés, and luxury hotels, drawing both locals and visitors who seek to experience Melbourne’s cosmopolitan charm. Notably, the Arts Centre Melbourne and the National Gallery of Victoria, both iconic institutions, contribute to the area’s reputation as a cultural heart of the city.

In recent years, South Bank has seen the addition of new attractions, further enhancing its appeal. A striking Ferris wheel now graces the skyline, offering panoramic views of Melbourne and the Yarra River. At night, the precinct comes alive with a symphony of light—installations and architectural lighting casting a glow upon the buildings and walkways, creating a picturesque setting ideal for evening strolls and photographic pursuits. The thoughtful illumination of structures such as the Eureka Tower and surrounding facades adds an elegant brilliance to the cityscape, reflecting beautifully on the river’s surface.

South Bank is more than a destination; it is an experience that seamlessly blends the arts, leisure, and modern urban design. Its well-maintained promenades, proximity to the Central Business District, and integration of natural and man-made beauty make it a cornerstone of Melbourne’s identity. Whether one visits to enjoy a theatrical performance, dine by the river, or capture the interplay of light and architecture through a camera lens, South Bank offers a timeless and ever-evolving canvas that embodies the spirit of Melbourne.

Sony A7RV

FE 20-70mm f4 G

Linking Treasure Tuesday

Brisbane Night Ferris Wheel Long Exposure for Sunday Best

 

To undertake the task of long exposure photography amidst the throngs of Brisbane’s bustling South Bank is to court both patience and fortune. The city, vibrant and unceasing in its rhythm, seldom affords the stillness such a technique demands. Yet there, among the restless footsteps and the murmur of daily life, stands a quiet marvel — the Wheel of Brisbane — solemn, grand, and ever-turning.

Erected in 2008 to commemorate the sesquicentennial of Queensland, the Ferris wheel is no mere amusement; it is a modern monument, a gentle giant by the river’s edge, offering sweeping views and enduring symbolism. It revolves steadily, indifferent to the ceaseless passage of pedestrians below, many of whom scarcely glance upward. It is, in its way, a keeper of time — not by ticking hands, but by its own slow revolution.

To photograph such a subject using long exposure is to attempt an act of reverence. The camera, when held in stillness with the shutter drawn open, does not simply record an image — it collects time itself. Light weaves its threads across the frame, motion becomes memory, and all that is unmoving grows luminous and sharp.

Yet therein lies the challenge: the constancy of human movement. Strangers wander unbidden into the composition, their forms becoming translucent echoes — smudges of presence that both enrich and disrupt the clarity of the scene. The Wheel, by contrast, remains serene — turning, yes, but in such a measured fashion that it may appear suspended in time if one is patient and precise.

There is, in this pursuit, a certain poetry. As I adjusted my lens and steadied my breath, I began to perceive the act not merely as photography, but as a conversation between permanence and transience. The Ferris wheel — emblem of modern celebration, built upon a foundation of history — stood as the anchor. Around it, the city’s people flowed like a living river.

And in one fortunate moment — a moment gifted more by grace than by skill — the exposure yielded a quiet revelation. The wheel shone, sharp and majestic, while the crowd had melted into gentle motion, like ghosts in passing. Time, for an instant, had folded, and Brisbane had revealed its dual nature: ever-changing, yet ever the same.

Such is the beauty of capturing the ephemeral. The camera does not merely steal a moment — it elevates it. And in the luminous whirl of Brisbane’s Ferris wheel, we glimpse not only the present, but the echo of what has been and the promise of what may come.

Sony A7RV

Laowa 9mm f5.6

Linking Sunday Best

Fengjia night market Signs for Sign2

 

Clams bake and grill Sign

This sort of game is popular in Asia

Calamari roast 

Strolling through a night vendor market is not particularly conducive to weight loss. However, I take great pleasure in wandering through such places, camera in hand, with my wide-angle lens capturing the lively atmosphere. To avoid the incessant nuisance of scam calls, I make use of a different SIM card while abroad.

Despite my travels overseas, Joel remains in regular contact with me via Signal. He appears rather enthusiastic about the prospect of starting his own podcast, though I sincerely hope he does not. His intensely private nature is well-founded, and only a true friend could engage with his perspectives without passing judgment.

Street photography serves as a sport for me, and as such, my frames often include various signs encountered along the way. 

Sony A7RV

FE 14mm f1.8 GM

Linking Sign2

I am currently enjoying the third season of The White Lotus and have reached the fourth episode. Additionally, I am planning an overnight trip to Shifen, a region renowned for its picturesque waterfall and vibrant night market. However, as my mobile plan is limited to only one gigabyte of data per month, I must rely on public Wi-Fi to access the blog.

Melbourne Night at Birrarung Marr

 

Just too many people in the city. After that long gig 2 nights ago, I am binge watching Lord of the Rings on Netflix instead. Such a tragic story to watch. 

Sony A7RV

FE 35mm f1.4 GM

Diamond Bay Staircase for Sky watch Friday

 

This was taken when I started out learning taking Milkyway photo 

Sony A7RIV

FE 16-35mm f2.8 GM

Linking Skywatch Friday

Bolte Bridge Night for Sky Watch Friday

 

A classic location for boring Friday Night

Sony A7RV

FE 70-200mm f2.8 GM

Linking Skywatch Friday

Sea lake Mallee for Sunday Best

 

Just arrived home from Albany WA

So tired. Constant rescheduling of flights and cancellations. 

Sony A7RV

FE 16-35mm f2.8 GM

Linking Sunday Best

Mungo National Park Desert sky for Skywatch Friday

 

The shot was taken using a Voigtlander 12mm f2.8. It was a tiring trip to access the location. I regret taking this lens only to a night shoot. The colour is not the same as Sony FE 14mm f1.8 

Sony A7RV

Voigtlander 12mm f2.8 

Linking Skywatch Friday

Melbourne urban reflection for Sunday Best

 

When we finished the dinner, the walk back to carpark came across this view. 

A quick snap. No tripod. Shot wide open.

Sony A7RV

Sigma 14-24mm f2.8 

Linking Sunday Best

Marble grade 9 beef with Yuzu sauce. It tasted really nice.

Black lipped Abalone covered by garlic chips

The restaurant we went to is at Atria Fine Dining