Nullawil Silo Art, Victoria Australia for Mural Monday

 

The Nullawil Silo Art, located in the small rural town of Nullawil in Victoria, is part of the renowned Australian Silo Art Trail. Completed in July 2019 by street artist Smug (Sam Bates), the mural features a striking and realistic depiction of a farmer and his working kelpie dog. The artwork celebrates the strong bond between rural Australians and their working dogs, symbolizing themes of resilience, community, and country life.

Painted on a disused grain silo, the mural has become a cultural and tourist landmark, drawing visitors to the otherwise quiet town. It reflects both artistic excellence and the spirit of regional Australia, contributing to the growing movement of turning industrial structures into large-scale public art. The Nullawil silo is praised for its incredible detail, lifelike quality, and emotional warmth.

Sony A7RV

FE 20-70mm f4 G

Linking Mural Monday

Upon returning home to Bendigo, I discovered that a fuse in the motherboard had likely blown. The house, being quite old, has required increasingly frequent maintenance, and the costs have begun to accumulate significantly over the years. It seems that last month’s wages will once again be consumed by repairs. Small wonder, then, that so many around us have resigned themselves to merely “lying flat,” doing only the bare minimum to keep the machine of life running.

More from Lake Sanitarium Mount Macedon for Sunday Best

 

That is another charming pixie parasol from the verdant forests of Mount Macedon, Victoria, near the historic Lake Sanatorium. The image was produced through focus stacking, combining fifty exposures to achieve remarkable clarity and depth. I previously attempted to stack one hundred exposures; however, the resulting image was of inferior quality compared to that obtained with fifty shots.

The panorama displayed here depicts Joel and myself engaged in foraging amidst the dense and ancient woodlands of Mount Macedon. These forests, renowned for their towering mountain ash and cool temperate flora, surround the serene Lake Sanatorium—a place rich in both natural beauty and historical significance.

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Sigma 105mm f2.8 Macro

Linking Sunday Best

Buffy Fish Owl in Bird Park for Saturday Critter

 

During my visit to a distinguished bird park in Japan, I found myself seated amidst a group of kindergarten children, quietly delighting in an educational lecture on the avian wonders of the world. Among the many splendid species exhibited, one particular creature drew my attention—a striking owl perched solemnly before us.

This noble bird was the Buffy Fish Owl (Ketupa ketupu), a species native to the dense riverine forests and mangroves of Southeast Asia. Recognisable by its bold yellow eyes, long lateral ear tufts, and mottled tawny plumage, the Buffy Fish Owl is uniquely adapted to its riparian habitat. Unlike many of its nocturnal kin, this owl is often crepuscular, most active at dawn and dusk, where it employs remarkable patience and keen vision to prey upon fish, crustaceans, amphibians, and small reptiles.

Unlike owls that rely solely on silent flight, the Buffy Fish Owl often perches low over water, striking swiftly when it sights movement beneath the surface. Its feather structure lacks the full silencing adaptations of other owls, a compromise in favor of resisting the moisture of its preferred environment.

As I listened to the naturalist’s words, surrounded by the innocent curiosity of children and the lush foliage of the park’s conservatory, I felt a profound appreciation for the marvels of avian biology—and for the rare opportunity to behold such a fascinating and elusive bird from distant shores.

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Fujinon 16-55mm f2.8

Linking Saturday critter

Joel preferred to leave the coast behind and venture further into an urban setting, intending to experiment with the remaining bright lenses we had acquired for bokeh photography.

Mungo National Park sky for Sky Watch Friday

 

It was during one of those long, wind-swept nights beneath the vast, starlit expanse of the Australian outback that I attempted a panoramic photograph—an effort made while Joel and I waited patiently to capture the Milky Way in all its nocturnal splendor. In those youthful and impassioned days, we were possessed by a singular devotion to the art of photography. No hardship deterred us; we would endure scorching days and frigid nights, often in complete solitude, all for the hope of a single, perfect image that might capture the eternal.

Our vigil took place in the hauntingly beautiful Mungo National Park, a land steeped in both geological and human antiquity. The Park, part of the Willandra Lakes Region World Heritage Area, is home to the enigmatic formations known as the "Walls of China"—spectacular lunettes shaped by the elements over tens of thousands of years. These sculpted ridges, composed of eroded sand and clay, rise like the remnants of an ancient civilization, their strata whispering tales of climate shifts, vanished lakes, and the passage of deep time.

It was here, amidst the ghostly contours of this primeval terrain, that we lingered. The very ground beneath us bore the imprint of some of the earliest known human beings on the Australian continent. The remains of Mungo Man and Mungo Lady—buried with ceremonial care over 40,000 years ago—had been discovered not far from where we stood, lending our modern artistic pursuit a solemn sense of continuity with those who had gazed upon the same stars in an age unimaginably distant.

Though our lenses sought the ephemeral beauty of the heavens, it was the timeless silence of the land that truly left its mark. In that moment, as the night wrapped us in stillness and the ancient rocks glowed faintly in the starlight, our dedication to photography seemed not merely an artistic endeavor, but a dialogue—one between past and present, between the eternal sky and the ever-changing earth.

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FE 70-200mm f2.8 GM

Linking Sky watch Friday

La La Creek in Warburton Melbourne for Water H2O Thursday

 

The journey from Melbourne to La La Creek in Warburton is oftentimes a test of patience. Each township en route enforces a strict speed limit of 50 kilometres per hour, and the frequent deceleration through these settlements serves only to prolong the wearying passage. Yet, upon arrival, all such inconveniences are swiftly forgotten.

La La Creek, nestled within the tranquil folds of the Yarra Ranges, offers a quietude that soothes the spirit. In winter, the air is brisk and pure, and the perennial murmur of the creek weaves through the forested glen like a thread of silver sound. The absence of mosquitoes during the colder months renders the experience all the more agreeable, allowing one to linger undisturbed by the banks of this gentle watercourse.

Once a source of life and sustenance for the Wurundjeri people and later a site frequented by timber-cutters and bushwalkers alike, the creek now flows in peaceful retirement, its mossy stones and fern-fringed edges recalling a natural history both rich and enduring. Here, beneath towering mountain ash and alongside trails softened by fallen leaves, one finds a serenity rare in the modern world.

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FE 20-70mm f4 G

Linking Water H2O Thursday

Collins Street Road Sign in Melbourne for Sign2

 

These are simply candid street photographs taken along Collins Street. As some signs appeared incidentally within the frames, I have chosen to feature them as part of this week’s theme.

Earlier this week, I received a call from Joel, who shared with me a rather troubling incident involving his son. The boy, during a philosophy class at school, had quoted the words of the philosopher Nietzsche, saying, “We have killed God. Humans have killed God...”—a reference, of course, to Nietzsche’s profound critique of modernity and the decline of religious faith in Western society.

Regrettably, the teacher, evidently young and unfamiliar with Nietzsche’s work, misconstrued the remark as an act of blasphemy. Rather than recognising the statement as a pivotal moment in philosophical discourse, she responded by issuing the boy a detention.

It is both disheartening and perplexing that one entrusted with the instruction of philosophy should possess so little acquaintance with its foundational thinkers. How is one to teach the great questions of existence, morality, and belief without a proper understanding of those who have shaped the discipline through the ages?

Sony A7RV

FE 35mm f1.4 GM

Linking Sign2 and FACE OFF

I am enjoying Micky 17 on Max. What a good story!

Pixie Parasol in Lake Sanitarium Mount Macedon for Treasure Tuesday

 

Around this season each year, we venture into the woodlands of Mount Macedon, near Lake Sanitarium, in pursuit of the delicate and elusive wild mushrooms that flourish briefly in the damp and shaded understory. This annual tradition of mushroom hunting is both a ritual and a delight, a quiet communion with the rhythms of the forest. Yet, this year, our efforts have thus far borne no fruit. Twice we have searched the familiar grounds, only to find the earth ungenerous. The unseasonably warm weather has likely discouraged the fungi from their usual emergence, for they thrive best in cooler, moisture-laden air.

Nevertheless, in the spirit of perseverance and appreciation for nature’s finer details, Joel and I turned our attention to the craft of focus stacking—an intricate photographic technique suited for capturing these minute woodland organisms in their full dimensional glory. Each specimen demands patience and precision: we take between twenty and fifty images of a single frame, adjusting focus ever so slightly with each exposure. These are captured wide open, at the lens’s brightest aperture, allowing for maximum light and subtle depth. The process, though meticulous, borders on artistry. Thankfully, modern tools like Adobe Photoshop now make the post-processing more accessible, layering these images into a singular, sharply focused result.

I am truly enamored with the outcome. The images reveal the mushrooms as they are—young, tender sprouts, barely rising from the mossy floor. Their forms are delicate, almost otherworldly in their fragility.

Joel, ever the skilled forager, has an uncanny ability to find the pixie parasol—Mycena interrupta—a rare and enchanting species distinguished by its luminous blue hue and ephemeral presence. His knowledge borders on the encyclopedic, and he often jests, with an arched brow and a knowing smile, “What would you do without me?” Indeed, his companionship and expertise are as indispensable as the forest itself in our shared pursuit of these botanical treasures.

In these quiet moments beneath the towering eucalyptus and mountain ash, surrounded by the ancient breath of the earth, one is reminded that even in scarcity, the forest offers gifts to those who look closely.

Sony A7RV

Sigma 105mm f2.8 Macro

Linking Treasure Tuesday

Fitzroy St Murals for Mural Monday

 

These photographs, taken during my former wanderings through the storied precincts of Fitzroy in Melbourne, form a modest yet treasured archive of days past. Though some images have weathered time gracefully and others appear worn or unrefined, each holds a certain charm for me—vestiges of solitary afternoons spent observing the character of the city through the lens of my camera.

Fitzroy, long regarded as Melbourne’s cradle of bohemian culture, has earned renown for its vibrant and often provocative street art. From the 1970s onwards, its laneways and brick facades became the canvas for an evolving urban dialogue—first through political slogans and stencil art, and later through intricate murals and large-scale commissions that drew artists from across the globe. The suburb’s walls speak in colour and form, telling stories of rebellion, community, and cultural transformation.

In such an environment, every corner bore the potential for artistic revelation. My photowalks, humble though they were, sought to capture fleeting intersections between light, decay, and expression. Some of the images reflect this energy vividly; others merely hint at it. Regardless of composition or clarity, these photographs are to me what relics are to a historian: fragments that, when assembled, speak not only of place, but of time and of one’s quiet presence within it.

They may not all gleam with technical finesse, but they are, in their own right, memory’s keepsakes—witness to an era in which Fitzroy’s streets breathed with defiant creativity and untamed spirit.

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Sigma 17mm f4 

Linking Mural Monday

London Bridge Remains, Portsea, Mornington Peninsula for Sunday Best

 

Situated upon the windswept coast of Portsea, at the southernmost tip of the Mornington Peninsula in Victoria, Australia, the site known as London Bridge was once crowned by a magnificent natural arch—an enduring testament to the erosive power and artistry of the sea. Fashioned over countless centuries, the arch stood as both a geological marvel and a cherished local landmark, drawing visitors to behold its stark beauty and the thunderous majesty of the ocean that sculpted it.

The great arch succumbed to the inevitable work of time and tide, collapsing in the early twenty-first century and thus altering the visage of the coastline forever. Yet the place remains imbued with a kind of solemn grandeur. Where once stone spanned sky, now only remnants of its former glory stand—weathered, noble, and quiet.

I used to frequent this place often, long before I began to spend my weekends in the company of Joel. In those days, I found in the solitude of London Bridge a peculiar and profound kind of solace. Though the arch itself has long since fallen, the sea, ever faithful to its art, continues its delicate work. At high tide, waters surge into the heart of what remains—a rocky cavernous bowl—filling it with a shimmering pool of seawater that dances and glistens in the sunlight. It is a sight of singular, haunting beauty.

Joel, however, regarded the place with far less affection. To him, it was barren and uninspiring, its charms too subtle, its colours too subdued. I suppose we all have our own preferences. Where I perceived wild poetry, he found only a muted coast. And yet, I cannot help but feel that therein lies its power: in the understated, in the stripped-down silence of land and sea at meeting point.

Though the bridge itself is no more, the spirit of London Bridge endures—etched not only in the weathered stone and the tides that whisper through its remains, but also in the hearts of those who once stood before it and felt, if only for a moment, the immensity of the earth’s quiet grandeur.

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FE 16-35mm f2.8 GM

Linking Sunday Best

Ruddy Shelduck for Saturday Critter

 

The ruddy shelduck is a strikingly beautiful waterfowl known for its warm, orange-brown plumage and contrasting pale head. It’s native to parts of Asia and North Africa and is often found near lakes, rivers, and wetlands. This species is admired for its graceful swimming and distinctive, honking calls. The ruddy shelduck is also quite adaptable, thriving in a variety of habitats from high-altitude lakes to lowland wetlands. Overall, it’s a charming and elegant bird that stands out among waterfowl for its vibrant color and lively behavior.

Linking Saturday Critter

The recent proposal by the Australian Labour Party to impose a tax on unrealised gains within superannuation accounts exceeding three million dollars has understandably caused considerable concern. While it is true that this measure would directly affect only a relatively small cohort—given that merely tens of thousands of individuals possess superannuation balances of such magnitude—the absence of indexation to this three million dollar threshold raises important questions.

Moreover, taxing unrealised gains sets a significant precedent that may pave the way for future policy extensions, potentially encompassing unrealised increments in other asset classes, such as residential property values and equity portfolios. This prospect is troubling to many, as it challenges the fundamental principle that taxation should generally occur upon the actualisation of gains—when assets are converted into liquid capital—rather than on paper valuations. The idea of taxing wealth before it has been realised provokes substantial debate over fairness and economic prudence, with critics cautioning against the implications such a policy might have on investment behaviour and the broader economy.

Balnarring Beach, Mornington Peninsula for Skywatch Friday

 

In the first photograph, Joel is visible in the distance, intently focused on photographing seaweed along the shoreline. The air has grown markedly cooler, and the sky bears the pale, steely blue that signals the quiet approach of winter. It is in such moments that the necessity of reconnecting with the natural world becomes most apparent—calming, grounding, and essential to the soul.

Balnarring Beach, located on the Mornington Peninsula southeast of Melbourne, stretches along the calm waters of Western Port Bay. Its gentle crescent shape and serene outlook toward Phillip Island make it a place of both quiet retreat and natural charm. The area is known for its safe swimming waters, expansive foreshore reserves, and the peaceful rhythm of tidal life.

The name “Balnarring” is thought to originate from Indigenous words meaning “little” and “gumtree,” a poetic nod to the native landscape. European settlement began in earnest in the 1840s when pastoral stations were established, and by the latter half of the 19th century, Balnarring had grown to include a post office, a school, and a church. The arrival of the railway in the early 20th century further connected the township with surrounding areas, allowing more visitors to discover its coastal beauty.

Balnarring Beach—once also known as Tulum Beach—has long held a quiet reputation as a haven for holidaymakers and nature lovers. In more recent times, it was honoured as one of Australia's cleanest beaches, a testament to the community's stewardship and respect for the land.

Even as seasons shift and the cold edges in, Balnarring Beach remains a place of stillness and reflection—a coastal landscape where history, nature, and memory meet in tranquil harmony.

Sony A7RV

FE 20-70mm f4 G

Linking Skywatch Friday

The past fortnight has been exceedingly busy for me. Despite the considerable amount of work I have undertaken, the returns have felt rather meagre. Joel and I have been diligently studying investments in the Japanese stock market, prompted by Warren Buffett’s decision to reallocate his wealth into Japanese equities.

Granite Island, Victor Harbour, South Australia for Water H2O Thursday

 

These photographs showcase areas of Granite Island that were not included in my earlier publications. The striking red mosses adorning the granite rocks are a distinctive and captivating feature of the island’s natural landscape. Granite Island, located just off the coast of Victor Harbor in South Australia, is famed for its extensive granite outcrops formed millions of years ago, which have shaped its unique terrain and ecosystem. The island boasts a rich history, having been inhabited by the Ngarrindjeri people for thousands of years before European settlement, and today serves as a protected reserve supporting diverse native flora and fauna, including the well-known little penguin colony. I find great enjoyment and solace in experiencing the island’s remarkable natural beauty and the opportunity to immerse myself in its serene environment.

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FE 20-70mm f4 G

Linking Water H2O Thursday

Castlemaine Signs, Victoria for Sign2

 

The township of Castlemaine, nestled in the heart of Victoria, carries with it a distinct and storied reputation. Founded during the fervour of the 1850s gold rush, the town once bustled with fortune-seekers and independent spirits drawn by the promise of prosperity. That legacy endures, for the region has long been known as a haven for those inclined toward unconventional lifestyles and independent thought.

In contemporary times, Castlemaine is often regarded as a refuge for individuals of a more bohemian or "hippie" persuasion—those who value artistic expression, sustainability, and a certain distance from mainstream norms. Its residents, many of whom dwell amidst the surrounding bushland, are perceived to emerge from their secluded environs infrequently, often bearing views shaped by a deep scepticism of authority and institutional convention. This reputation, colourful though perhaps exaggerated, continues to distinguish Castlemaine from its more conventional neighbours, adding to its charm as a bastion of countercultural identity rooted in a rich and defiant past.

Sony A7RV

FE 16-35mm f2.8 GM

Linking Sign 2

Tsuruga Castle, Aizuwakamatsu, Japan for Treasure Tuesday

 

Tsuruga Castle: A Symbol of Samurai Resilience in Aizuwakamatsu, Japan

Tsuruga Castle, also known as Aizu-Wakamatsu Castle, stands as a proud symbol of samurai heritage in Fukushima Prefecture, Japan. Originally constructed in 1384 by Ashina Naomori, the castle has withstood centuries of conflict, reconstruction, and renewal. Nestled in the city of Aizuwakamatsu, it is famed for its unique, red-tiled roofs—a striking departure from the traditional black tiles seen on most Japanese castles.

The castle has been rebuilt and renovated several times, with the most famous version completed in the early 17th century under Gamo Ujisato, who redesigned it with the elegant seven-story keep. Today’s reconstruction, completed in 1965 and renovated in 2011, closely replicates the historic structure and serves as a museum showcasing samurai artifacts, the Boshin War, and the legacy of the Aizu clan.

Surrounded by cherry trees, Tsuruga Castle is a popular destination in spring, when sakura blossoms transform the grounds into a stunning scene. Its resilience and beauty continue to make it a cherished site of cultural and historical importance.

I have journeyed to Japan on more than thirty occasions throughout my life. My entire family holds a deep affection for the country, cherishing all aspects of its culture, history, and daily life. Were it not for Japan’s stringent immigration policies, we would have gladly made it our permanent home.

During several of these visits, I set aside photography altogether. As a devoted enthusiast of film cameras, I long regarded digital equipment as insubstantial—mere trifles lacking the soul and discipline demanded by analog photography. My admiration lay in the rich textures of film grain and the intricate craft of developing negatives and positives. Consequently, I seldom used digital cameras during those times, viewing them as little more than fleeting novelties, unworthy of the art...

Fujifilm Pro2

Fujinon 16-55mm f2.8

Linking Treasure Tuesday

Barham NSW Water Tower Art for Mural Monday

 

I frequently journeyed through Barham, New South Wales, situated just beyond the northern border of Victoria. Recently, the town’s silo was adorned with a splendid work of art, masterfully completed by the artist who undertook the Barham Silo project. I find the artistic touch both inspiring and deeply evocative, adding a remarkable cultural dimension to the rural landscape.

The recently completed mural on the Barham water tower in New South Wales stands as a testament to the artistic prowess of Gus Eagleton, a distinguished Australian muralist renowned for his large-scale public artworks. Completed in April 2025, this monumental piece is part of the River Country Art Trail, an initiative that brings vibrant art to regional communities. Eagleton's decade-long career in contemporary muralism is marked by a keen ability to intertwine local narratives with striking visual elements, thereby enriching the cultural tapestry of the locales he engages with. His work in Barham not only enhances the town's visual landscape but also reflects its unique identity and community spirit.

Sony A7RV

FE 20-70mm f4 G

This is linking Mural Monday

Adachi Museum, Japan for Sunday Best

 

In the tranquil prefecture of Shimane, Japan, the Adachi Museum of Art stands as a breathtaking fusion of nature and culture. With every curve of its meticulously sculpted gardens and every brushstroke of its extensive Nihonga collection, the museum has not only captured the hearts of art lovers but has also earned international acclaim—winning top honors in global garden rankings for years. A visual tour through the accompanying photo gallery brings this achievement to vivid life, allowing us to understand why the Adachi Museum continues to captivate visitors and critics alike.

Founded in 1970 by entrepreneur and art enthusiast Adachi Zenko, the museum was envisioned as a place where the appreciation of Japanese art could be deepened through harmony with nature. This ideal is realized most profoundly in its gardens, which have consistently been awarded the title of Best Japanese Garden by the Journal of Japanese Gardening for over two decades. Each garden, whether it's the Dry Landscape Garden, the White Gravel and Pine Garden, or the Moss Garden, is a masterpiece of composition, evoking both serenity and awe. The photos—rich with seasonal color and poetic light—capture the soul of this landscape artistry, where every element seems to breathe in rhythm with traditional aesthetics.

Yet, Adachi’s genius was not only horticultural. The museum’s gallery of modern Japanese paintings, especially its works by Yokoyama Taikan, offers a luminous counterpart to the gardens. The large windows framing the gardens act as living canvases, drawing a subtle but deliberate connection between brushwork and landscape design. The photo gallery illustrates this seamless integration, showing how natural views are curated with the same sensitivity as the paintings hung on the museum’s walls. The result is an immersive experience, where one feels not as a mere spectator but as a participant in a continuous dialogue between art and environment.

This winning synergy—of nature, architecture, and curation—is no accident. It reflects a distinctly Japanese worldview: that beauty is not an isolated entity, but an atmosphere cultivated through attention, patience, and care. The Adachi Museum’s numerous awards, both for its gardens and its contributions to cultural preservation, are not just acknowledgments of excellence—they are affirmations of a philosophy that seeks harmony over spectacle.

In conclusion, the Adachi Museum of Art’s winning reputation is a testament to its founder’s vision and to Japan’s enduring reverence for the intertwining of nature and culture. The gallery of photos, with their serene compositions and seasonal richness, serves as more than documentation—it is an invitation to experience the museum’s quiet, compelling triumph for oneself.

Fujifilm Pro2

Fujinon 16-55mm f2.8

Linking Sunday Best