
Fujifilm X-T4: f/4 1/50 s 74.2 mm 400 ISO

Fujifilm X-T4: f/4 1/50 s 74.2 mm 400 ISO
as you wander through my dreams,
do our yesterdays greet you?
this aged soul wonders …

Iphone 16: f1.6 1/120s 104mm ISO40
camping in the Snowies

Nikon D750: f/9 1/13 s 78 mm 100 ISO
This week Tina (Travels and Trifles) invites lens-artists to share photographs that bring a bit of humor into their lives. As I have found that photo walks are like treasure hunts where each click of the camera is tucking images into a bag of treasures … only to be opened when one is at home. The images below brought moments of humor that I hope you enjoy.
Only if I could poppy speak.

Yep! A foretelling of academia!

How does a children’s slide become the Fantom of the Opera?

Ready, set, and off flying she goes!

This week Egídio (Through Brazilian Eyes) invites lens-artists to share images of serenity. What is serenity?
In the stillness
Between the arrival of guests
The peonies. ~Buson

Transient

A gentle awakening to unintended stilled silence?

Hidden, evasive, denied as yearning seeks another state of being?
“Is this what life is?” she questioned. “Is this the impermanence of one’s life, a shattering of beliefs, morals, guiding principles…indoctrinations of her life?”

“I anxiously waited for the dawn with uncertain hope.
The temple bell roused me from dreams

And waiting for the starlit dawn
The night, alas! was long as are
One hundred autumn nights” ~The Sarashina Diary*
*cited: Diaries of Court Ladies of Old Japan
“A dreamer is one who can only find his way by moonlight, and his punishment is that he sees the dawn before the rest of the world.” *

Fujifilm X-T4: f/8 1/120 s 80 mm 1250 ISO
*cited: Erin Morgenstern, The Night Circus
Dawns’ light



Sutcliffe rarely left Whitby [a port and resort community on the Yorkshire coast], where his portrait studio kept him busy, and said that he was ‘tethered for the greater part of each year by a chain, at most only a mile or two long.’ To most modern photographers this would seem a crippling restriction, but Sutcliffe gradually realized that it was an asset to him as a photographer since it forced him to concentrate on the transitory effects that could transform familiar scenes. …photographers should always aim for something more than ‘mere postcard records of facts.’ ‘By waiting and watching for accidental effects of fog, sunshine or cloud,’ he advised, ‘it is generally possible to get an original rendering of any place. If we only get what any one can get at any time, our labour is wasted; a mere record of facts should never satisfy us.’
cited: Frank Meadow Sutcliffe, The History of Photography Series, p 8
Horsetooth Reservoir



Journeys with John invites lens-artists to “share where you go or what you do to help lift those spirits when this old world starts getting you down”.
“And he sailed off through night and day. And in and out of weeks. And almost over a year to where the wild things are.”*

“Max said ‘BE STILL!‘ and tamed them with the magic trick of staring into all their yellow eyes without blinking once and they were frightened and called him the most wild thing of all and made him king of all wild things.”*

“And now,” cried Max, “let the wild rumpus start!”*

“And Max, the king of all wild things, was lonely and wanted to be where someone loved him best of all.”*

Submitted in response to Egídio’s lens-artists challenge, “I would love to see your wild side.”
*Maurice Sendak, Where the Wild Things Are
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