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A wide, slightly elevated view of a cluttered workspace that feels lived‑in, improvised, and mid‑process. At the centre of the table sits an open Apple MacBook, angled slightly to the left, its aluminum surface catching soft ambient light. To its right lies a bright green ceramic mug with a deep blue interior, positioned near a whole orange that adds a small pop of color. A glossy issue of Macworld magazine occupies the lower right quadrant of the table; its cover headline, “WHICH MAC is right for you?”, is clearly visible along with smaller subheadings about student tech, photo tools, and low‑priced portables. Scattered around the magazine are loose sheets of paper, mostly bills, some with faint printed text, others blank or partially obscured. A spiral notebook sits near the laptop, its pages slightly curled as if recently used. A clear glass rests near the edge of the table, half‑filled with water. A USB flash drive lies casually near the magazine, adding to the sense of an active, ongoing project. Behind the table, a red chair holds an open backpack with a bright orange interior. The bag’s main compartment gapes wide, revealing pockets, zippers, and the suggestion of hurried access, as though someone just pulled out the laptop or is preparing to pack up. The surrounding environment is softly lit, with neutral walls and minimal background detail, keeping attention on the table’s dense constellation of objects. The overall scene conveys a moment of study, work, or creative planning—an everyday workspace filled with personal rhythms, small messes, and the tactile traces of someone in the middle of thinking, researching, or writing.

A long, gently sloping indoor accessibility ramp extends forward through a brightly lit corridor, designed with clear visual and tactile cues to support safe, independent navigation. The ramp’s surface is smooth and slightly reflective, bordered on the right by a continuous metal handrail mounted along the wall. The handrail is simple and functional, offering a stable guide for anyone who needs physical support while moving up or down the incline. Beneath it, the wall is painted in alternating horizontal bands of yellow and black, creating a bold, high‑contrast backdrop that enhances visibility for people with low vision. The floor at the base of the ramp features a wide strip of tactile paving made of raised circular bumps. This textured surface signals a transition point, alerting visually impaired users that they are approaching the start or end of the ramp. The tactile strip sits atop a patterned floor composed of alternating green and white stripes, which run perpendicular to the ramp and add another layer of visual orientation. The stripes are crisp and evenly spaced, creating a rhythm that guides the eye across the space. To the left of the ramp, a wooden structure with a matte black top—possibly a counter, barrier, or architectural divider—runs parallel to the incline. Its warm wood grain contrasts with the cooler tones of the ramp and the bright colors of the surrounding environment. The structure’s height and placement create a sense of enclosure without obstructing movement. The overall scene communicates intentional, inclusive design. Every element—the tactile paving, the contrasting colours, the handrail, the clear floor patterns—works together to make the space navigable for people with diverse mobility and sensory needs. The image captures a quiet, functional moment in a public or commercial interior, emphasizing accessibility as an integrated, everyday part of the built environment rather than an afterthought.

A repurposed metal shopping trolley stands on a small sandy patch beside a quiet residential street, transformed into a cheerful mobile planter that blends whimsy with community care. The trolleys wire frame is weathered but sturdy, and inside it sits a black plastic crate packed tightly with dark soil. From this improvised garden bed rise several tall, healthy sunflower plants, their thick green stems reaching upward and outward. Multiple blossoms are in full bloom—large, bright yellow petals radiating around deep brown centers—while a few younger buds tilt expectantly toward the light. The flowers tower above the rim of the trolley, giving the whole structure a lively, animated presence. Attached to the trolley are two laminated yellow signs, one on each side, secured with zip ties. The left sign reads “PLEASE WATER ME DAILY (OR AS NEEDED) THANK YOU” with a small sunflower icon beneath the text. The right sign identifies the project as “COMMUNITY SUNFLOWERS” and asks passersby not to remove or damage the plants, noting that they are meant for everyone to enjoy. A small yellow flag rises from the back corner of the trolley, fluttering slightly and echoing the sunflower colour palette. The trolley is positioned near the base of a mature tree whose trunk and leafy canopy frame the scene with natural shade. Behind it, a suburban street stretches out with parked cars, green lawns, and dense foliage lining the sidewalks. The overall atmosphere is calm and neighborly, with the improvised planter acting as a small beacon of shared stewardship. The contrast between the utilitarian shopping trolley and the vibrant organic growth inside it creates a sense of playful ingenuity, suggesting a grassroots effort to bring beauty, sustainability, and communal joy into an everyday urban environment.

A solitary white porcelain toilet sits unexpectedly in the foreground of a quiet rural roadside scene, creating a humorous and slightly surreal focal point against an otherwise ordinary landscape. The toilet is positioned on a patch of uneven grass, its bowl intact, clean, and clearly out of place—unconnected to any plumbing and oriented as though someone simply set it down and walked away. Its glossy surface catches soft daylight, emphasizing its stark contrast with the natural textures around it. Behind the toilet stretches a gently sloping grassy field bordered by a simple wooden fence made of horizontal planks supported by evenly spaced posts. The fence runs parallel to a paved two‑lane road that curves slightly as it disappears into the distance. The road’s surface is smooth and lightly worn, suggesting a lightly trafficked rural route. A narrow strip of gravel or dirt separates the grass from the asphalt, marking the boundary between cultivated land and infrastructure. Further back, a line of mature trees forms a loose barrier between the open field and the sky. Their foliage is dense and varied in tone, ranging from deep greens to lighter shades that catch the sun. Power lines run overhead, suspended between tall wooden utility poles that recede into the distance, adding a subtle sense of perspective and human presence. The sky above is pale and even, with no dramatic clouds—just a soft, diffused light that gives the entire scene a calm, almost mundane atmosphere. The juxtaposition of the pristine toilet with the pastoral setting introduces a playful tension: an everyday indoor object stranded in an outdoor world where it clearly doesn’t belong. The image feels like a visual joke, a moment of accidental installation art, or a small mystery waiting to be explained. The surrounding environment remains peaceful and unremarkable, which only heightens the oddity of the lone toilet resting quietly in the grass

On this day, 20th January. 2011. 2012. 2018. 2020 #photography #OTD

Twilight street scene showing an empty shopping cart on a patch of grass beside a sidewalk. A roundabout sign stands on a pole near the center. A person in high‑visibility clothing rides a motorcycle or scooter past, captured with motion blur. Several cars drive through the intersection. Buildings with illuminated windows and signage are visible in the background under a dark blue evening sky.

After a quick edit yesterday, I decided this was my favourite photograph from 2025. From my Abandoned Trollies Series. North Melbourne, 2025-08-29 18:22:30

On This Day 22nd December, 2006, 2016, 2017 & 2021

A slightly rounded wall painted pale grey, overgrown green grass at the base. Capital lettering on the wall, in two long lines, reads: 'With grey paint we silence some voices in a society. Advertising is fine - it is, after all, the graffiti of the rich"

Once upon a time, the ever-evolving graffiti on this reservoir near the psych unit was a cave-painting-record. I photographed much of it over months.
One day they painted it grey. The next day:

Melbourne's CBD, November 16 2013 14:48:59, Southbank in the background a yellow cab running through the middle ground.

A textured wall in Kensington. 16 November 2017 17:40:40 There is text on the wall, 'colony' 'wooden mill' 'meter room' it reads, a number in the shape of a 4 leans agains the wall. There I a blue stone step in the foreground

An outer suburban industrial park in Melbourne's west 16 November 2018 10:40:01. A chain mesh fence in the foreground, behind which as piles of stones and rocks. Atop these is a rusty steel sculpture of 2 dragons.

An outer suburban shopping centre carpark, on November 16 2022 15:20:57. Text and signs break the image up not smaller picture here are 2 round about signs and a Target logo that echoes the roundabout signs. There is writing on the ground that says Library staff only.

On This Day. November 16, 2013, 2017, 2018, 2022

A multi-story mall interior masquerading as a spaceship terminal for the consumer sublime. Glass railings glint like polished promises, escalators ascend with algorithmic grace, and the skylight—an angular lattice of triangular panels—funnels daylight like divine retail nectar. Each level is a stage in the drama of acquisition, where storefronts blink and beckon beneath recessed lighting and metallic finishes. Red and pink decorations punctuate the neutral palette like capitalist confetti. The geometry is precise, almost smug, as if the building knows it’s photogenic. Verticality reigns—lines converge, perspectives stretch, and the whole space hums with the choreography of movement and desire. This isn’t just architecture; it’s a cathedral of curated impulses, a monument to the spectacle, where every reflection is a selfie waiting to happen.

LEVEL 5 of the concrete labyrinth, where steel beams crisscross like the ribs of a sleeping giant and fluorescent lights hum the anthem of late-stage infrastructure. Diagonal supports slice the air like industrial calligraphy, while the ramp coils upward—a gray tongue leading to unknown altitudes. Parking bays stretch in neat rows, ritual spaces for the daily automotive pilgrimage. A chain-link fence divides zones like a bureaucratic veil, hinting at order but whispering containment. “EXIT” glows like a false prophet, promising escape but delivering only another level. The air smells of rubber and resignation. This isn’t just a garage—it’s a monument to motionless motion, a shrine to the parked and the waiting, where every echo is a ghost of acceleration.

A ghost-path suspended above the arterial hush of lockdown-era Melbourne, where bicycles and pedestrians once danced in parallel lanes now haunted by absence. The fencing—green and black—feels like a polite barricade, a gesture of containment dressed as urban design. The white line down the center is a relic of movement, a memory of shared direction in a time of mandated stillness. Warehouses and power lines flank the route like silent witnesses, industrial sentinels watching the city skyline shimmer in the distance—untouched, unreachable, mythic. The air is thin with protocol. The sky, partly cloudy, wears its ambiguity like a mask. This elevated corridor becomes a liminal zone, a bridge between isolation and aspiration, where infrastructure dreams of footsteps and the city waits, paused mid-breath, for the return of the ordinary sublime.

What a year 2020 was, on occasion we were allowed outside, these are from November, during the world's longest and harshest lockdowns. #photography #iphone #melbourne #2020

Orange bollards delineate an area of the grounds outside the NGV, Melbourne, Australia. A pair of young women are caught edge of frame. The sky is blue and cloudless. The sculpture by Inge King’s Forward Surge, occupies the middle ground with apartment buildings behind that.

The western forecourt of the National Gallery of Victoria, withe the Spiegeltent erected, it’s a bright sunny day and the blue sky is cloudless, surprisingly there are few people around in what is normally a busy spot.

Inside the NGVIan Potter building an architectural marvel and a great place to get lost in.

From my archive. While wandering about. Melbourne has an amazing Arts precinct, there’s always lots to see and do.

A cobblestone plaza in Melbourne glows under a golden sunset, transformed into a pop-up lounge of striped deck chairs and relaxed bodies—urban flâneurs soaking in the twilight. A towering Christmas tree wrapped in electric blue lights anchors the scene, flanked by high-rises and a construction crane that gestures toward futures still under assembly. Overhead, string lights crisscross like celestial coordinates, mapping leisure against the skyline. People recline, chat, or gaze skyward, their silhouettes soft against the amber light. The mood is festive but unhurried, a civic exhale at the edge of the year. In the distance, modern architecture and heritage spires mingle like temporal tourists. The whole tableau feels like a postcard from a parallel Melbourne—where time slows, chairs multiply, and the city briefly becomes a living room for strangers.

The sun sets over Federation Square while people watch the big screen.

Catch the train to the end of the line get off. Walk around. What do do you see? From my series Everything and Nothing, Werribee 2025-10-06 14:53:32

Daylight saving begins, what better way to celebrate than staying out in the gorgeous late afternoon light, photographing’Everything & Nothing’.

wild weird and wonderful, networkoftime.com?match=adolf-...
#www #weird #internetiswierd

Swanston street, in he depths of what feels like a more brutal than usual winter from my series ‘Everything & Nothing’

Infrastructure,infrastructure, infrastructure. From my series ‘Everything and Nothing’.

NGV West wall 2025-03-09 11:33:17. From my series “Everything & Nothing”

what about Flâneur?

*sigh*

All the shadows. All the lines. All the geometry. From my new series ‘Everything & Nothing’.
#photography #urbanlandscape #suburbia #highpoint #shoppingcentre

Double Click Twin photographers in the Golden Age of Magazines

This week, on @flakphoto.news — An excerpt from @carolkino.bsky.social's book, Double Click: Twin Photographers in the Golden Age of Magazines. This was a fun post to produce and a fascinating story to boot. Please share it with your #photography friends. Thank you, Carol!

Great stuff indeed.

sing out if you do would love to show you around

Time travel machine Revisiting locations 30 years apart In 1991 I photographed this scene using my Mamiya C2 camera, I used Kodak's Techpan film, for its fine grain. The excavation in the foreground is now a major...

I hopped in my Time Machine recently and popped back 30 plus years!
s2z.tumblr.com/post/7787872...

I try to infuse my work with "beat poetry"

The Obelisk has been there since about 2021 I think. I’m just using my iPhone currently a 16 Max Pro.

Dusk over the West Melbourne rail yards. From my new series ‘Everything & Nothing’. #photography #urbanlandscape #melbourne #light #magichour

Claude, ChatAi are my 2 favourites, still learning and experimenting though...

Very “New Topographic”

stove top percolator with freshly ground beans

all hail 'alt text'

Actual real tea candles! And beer!

A hillside restoration or landscaping project showing numerous white protective sleeves for young plants or saplings arranged in rows. The sleeves are supported by wooden stakes and spread across a mulched slope. A concrete path or trail runs along the bottom of the slope, with a metal safety railing. There's a yellow warning or directional sign visible, and some graffiti-covered concrete walls in the background. The scene is set against a backdrop of mature eucalyptus and other trees under a clear blue sky, with power lines visible in the distance

From my new series, 'Everything & Nothing'
www.flickr.com/photos/s2art...
#photography #urbanlandscape #newnewtopographics