Coastline, lakes and mountains from a year on the move, most of it the summer of 2026. Calanque inlets, alpine valleys, a colonnade in late light and a ridge above the clouds.
The pictures switch between full colour and a warm sepia. Colour records the places as they were; the sepia frames read more like memory. Where people appear they are small and placed at the edges, reading, swimming or waiting at the waterline, and they give each view its scale.
01.02
Low sun lights the cliff face and leaves the water in shade, so the frame splits into warm stone above and cold blue below. The headland in the middle distance stops the eye before the open sea.
01.03
A square frame cut almost exactly in half by the waterline. The cliffs and their reflection are near-identical, and the white hulls moored on the right are the only hard edges in the picture.
01.04
The reader is tiny against the rock shelf, set in the lower third with the sea filling everything above. Placing the figure so low makes the bay feel enormous and the afternoon unhurried.
01.05
A walker pauses at the right edge with the inlet opening behind him. Pale rock in the foreground leads the eye in from the bottom corner, across the water and up to the line of pines.
01.06
Columns repeat in a curve from the right edge towards the vanishing point, each a little smaller and a little warmer. The soft, even light keeps the stone gentle, so the colonnade reads as rhythm more than architecture.
01.07
Shot straight into the sun, which flares over the ridge and flattens the mountain into a silhouette. The grass in the foreground stays sharp and gold, and the sepia tone pushes the frame back in time.
01.08
A boy stands alone at the waterline in the lower left, back turned, looking down at the stones. The swimmers far out on the lake and the empty beach around him give it the quiet of a day nearly over.
01.09
A valley view built in layers: rooftops in the foreground, trees in the middle, ridges fading into haze behind. The road on the right pulls the eye down into the valley floor.
01.10
The harbour wall runs across the bottom of the frame like a stage, and a sunbather lies along it, one knee raised. The lake, the white building and the mountains sit behind him like a painted backdrop.
01.11
Black and white strips the concrete down to line and texture. Balconies stack up the left, a tower rises in the centre and a slab of glass closes the right, leaving the sky as a narrow gap.
01.12
Taken high above the cloud line, with the valley lost under a sheet of white. The skier sits in the lower right, and the cool green-blue grade makes the whole scene still and almost silent.
