pond reflection

of this world

or the world beyond? on the sea

the sunset glow

~Tsuda Kiyoko (M Ueda, Far Beyond the Field)

Sony RX100 3 f/2.8 1/200s 25.7mm 800 ISO

inspiration: mood

murmur of voices

unheeded by today’s

regrets of yesterday

Nikon D750 f/4 1/400s 42mm 160 ISO

Image submitted for Dogwood Photography’s annual 52-week photography challenge.

Week 9 Inspiration: Mood (Your Artistic Inspiration this week is the mood you are feeling today. Take that mood and use it to create art.)


Nikon D750 f/7.1 1/400s 85mm 140 ISO

Over the wintry

forest, winds howl in rage

with no leaves to blow ~Soseki Natsume

Natsume Soseki (夏目 漱石 in Japanese; February 9, 1867 – December 9, 1916) was the pen name of Natsume Kinnosuke (夏目金之助), one of the foremost Japanese novelists of the Meiji Era.  Soseki, along with Mori Ogai,  is considered one of the two greatest early modern Japanese writers… The alienation of modern humanity, the search for morality and the difficulty of communication were common themes throughout Soseki’s works. From 1984 until 2004, his portrait appeared on the front of the Japanese 1,000-yen note.

Natsume Kinnosuke was born on February 9, 1867, just one year and a half before the start of the Meiji Reformation, in Edo (modern-day Tokyo). His father, Naokatsu, was the hereditary chief of a small town in Edo. When Natsume was born, Naokatsu was fifty years old, his wife Chie was forty-one, and they had five sons and three daughters. Bearing a child late in life, in those days, was regarded as “the shame of woman.” Chie was ashamed to have a child at her advanced age and, as the last baby of many children, Natsume was placed in a foster home at either a second-hand store or a vegetable shop. Kinnosuke’s elder sister found that he was being kept in the shop until late at night (the shop was probably kept open until midnight), confined in a bamboo cage beside the merchandise. Unable to look on in silence any longer, she brought him home.

When Natsume Kinnosuke was one year old, his parents foisted him off again, this time on a former household servant, Shiobara Masanosuke, and his wife. Natsume began his life as an unwanted child. Although he was brought up indulgently until the age of nine, Shiobara Masanosuke and his wife eventually separated and Natsume was returned to his family home. He was welcomed by his mother, but his father regarded him as a nuisance. When he was fourteen, his mother died. The solitude and defiance that he exhibited later in life came not only from his character, but from the surroundings in which he grew up. After his return home, he was required to call his parents “grandparents.” …

cited: http://www.newworldencyclopedia.org/entry/Natsume_Soseki

early morning reading

contemplative photography 3

“…It was a dazzling morning in June, the morning brightness flooded unmoving through the streets—I was standing in the Rua Garrett at a display widow where the blinding light made me look at my reflection instead of the merchandise. …I was about to make my way inside through the shadowy funnels of my hands, when behind my reflection—it reminded me of a threatening storm shadow that changed the world—the figure of a tall man emerged. He stood still…his look strayed and finally fixed on me. We humans: what do we know of one another? …The stranger saw a gaunt man with graying hair, a narrow, stern face and dark eyes behind round lenses in gold frames. I cast a searching place at my reflection. …I looked like an arrogant misanthrope who looked down on everything human, a misanthrope with a mocking comment ready for every thing and everyone. That was the impression the smoking man must have gotten.

How wrong he was!” ~ Pascal Mercier, Night Train to Lisbon (77-78)