HypnosPilot

@hypnospilot.bsky.social

317 Followers 364 Following

Poet, Author, Photographer, palate, perfume All photos and opinions posted are my own and belong to me alone. The memes probably don't.

Snow covered Mount Rainier looms over a tree line at the edge of a farmland field. Just in front of the tree line a row of telephone poles runs parallell. A flock of pigeons takes flight, dotting the scene.
The dark grey-blue pacific ocean on the right meets a black, jagged, rock wall on the left creating white capped waves and ocean spray. The sky above and the sandy beach in the foreground both shades of grey.
The interior of the above loaf of wheat bread resting on two slices of the same. The crust is crisp and the crumb is uniform, springy, and cut with an awful knife that has left it shaggy in places
A side view of a round bread loaf on a cooling wire rack. It has a deep tan colored crust that is textured by wheat husk and air bubbles from baking. Curved cuts in the crust made before baking reveal a lighter tan interior. The edges of the cut portion are raised and a much darker brown.
A screen shot of the headline, subheadlines, and byline of an article on The Atlantic website. The headline reads, "Yes, It's Fascism" The subheading reads, "Until recently, I thought it a term best avoided. But now, the resemblance are too many and too strong to deny." The byline reads, "By Jonathan Rauch"
An image of a political campaign style button featuring a portrait photo of Ted Cruz in front of a billowing American flag. The bottom quarter of the image is overlayed with a blue background and white text in the manner of a campaign slogan. The text reads "this man ate my son."
A round loaf of handmade white bread with a medium brown crust sits on a wooden cutting board. The crust has 3 stripes down the center and slightly to each side that are a lighter brown from the dough being cut just before baking. The loaf is sliced and the open face of the loaf is facing the camera. One slice of bread lays on the cutting board in front of it. The crumb is white, even, tight, and fluffy.
Two stickers featuring the words "I Voted" in front of a striped blue and orange gradient background. The words are bordered at the top and bottom by art of the city using the same color palate as the stripes.
A screenshot of a cell phone push notification alert. The alert reads: "Public safety message Yang- Mountlake Terrace, WA https://bit.ly/MountlakeTerraceSilverAlert Ok"
A screenshot shot of a small sections of the quote-tweeted article. It reads "The real question is, Why do some guys and lesbians have trouble admitting bisexuality are part of the movement? The truth is that bisexuality or, for that matter, heterosexuality is not the enemy.The enemy is sexual intolerance. The enemy is any cultural or political worldview that defines a certain group as "other," inferior, sick, or criminal. Those who invent an other are the real enemy.
A screenshot of a cell phone with an alert message popup on the screen. The alert reads "Public safety message Yang - Mountlake Terrace, WA https://bit.ly/MountlakeTerraceSilverAlert OK" Somewhat ironically, this popped up over a bluesky post about severe weather forecast tools being terminated
Screenshot of a Smartphone screen alert that reads: "Public safety message Yang- Mountlake Terrace, WA https://bit.ly/MountlakeTerraceSilverAlert"
On a cloudless day, a cement arch of the aurora bridge frames part of downtown Seattle and Mount Tahoma behind it
An image designed to be turned into a sticker or button: a circle made of concentric colored circles, each colored one of the colors of the rainbow, starting with red on the inner-most ring. These rings surround the colors of the Trans flag overlaid with black block text that reads, "Trans ppl existing does nothing negative to your life, you crybaby bitch"
A camash flower in bloom in a field of grasses. Facing the camera is a 6-petaled, violet colored flower with a nearly neon green oval center and 6 long purple stamen. It is surrounded by closed and only slightly open blossoms coming from the same stem.
Tahoma on a bright spring evening. The foreground features the canopy of a large cherry tree in full bloom at the bottom right frame, and just a very small amount of the same type of tree at the bottom left. They create a soft pink frame for the deep greens of evergreens, the yellow of budding deciduous trees and red of budding maple trees that dot the landscape all the way to the base of the snow covered volcano. The sky is hazy and dotted with clouds made by the mountain. The mountains shadows are a deeper cerulean than the sky.
Two massive deciduous trees stand next to one another in a forest, their canopies expansive and so interwoven they've cleared the forest around them by taking so much light. The bright yellow sunlight of a summer mid morning filters through the leaves but the upper canopy is so dense it is mostly shaded underneath them. The ground around them is glear of plants and large rocks and is covered in fine brown dirt and leaf litter. The forest borders the grove like a wall of smaller pine trees.
A well kept gravel path leads into the woods. It is bordered by wooden rails sunk into the earth until they are flush with the ground. Just a few feet ahead, the bright green surrounding forest growth becomes taller and the branches arch more and more completely over the path so that the path becomes tunnel-like and much darker. The end of the tunnel seems sunny and filled with more bright green foliage. The image is nearly monochrome in green.
Looking over a cliffside covered in last year's grasses and this year's new blooming shrubs and trees, the Salish Sea ripples a soft ceylon under a soft yellow, white, and pastel blue sky just an hour or so before sunset starts. The angle of the light sillouettes and casts beams between the Olympic mountains. Just beneath the southern slope of the largest peak gliding solitarily across the sound is a single sailboat.
A sea of grey water stretches to a horizon where it meets a sea of grey clouds. I the foreground a tangle of blackberry vines curls like barbed wire, blocking the camera person from the cliff edge
A shot of a sunset from the ground of a field of dry grasses. The grasses are brown and orange in the glow of the sun setting in mid frame. The sky above is pastel yellows and blues with flares of soft broken and whispy pink and grey clouds.
A foggy beach with large rocks jutting out of the water and shore. Nearest to the camera, green and brown grass-covered sand Dunes roll with the straight lines of a foot path carved through the middle of them. Beyond them a sandy beach shore littered with large rocks. The blue water and white surf lap at the shore in the distance. Overhead the blue sky is obscured by very low, fluffy, translucent gray clouds that make up sporadic fog covering some of the beach.
The orange sun sets between two tufts of beach grass growing from a fine white sand dune. The water is a cool still grey. In the distance to the right, sillouettes of rocky hills jut out into the sea. The sky is cloudless and gradients from yellows and deep oranges to a steely grey like the water.
A shot of the twisted trunk of a moss covered tree from the forest floor looking up. The trunk looks as though it is made of multiple smaller tree trunks wound together like rope. It is covered in bright green moss growing so long it lays down like fur. The trees around it also have spots of the same moss covering various amounts of their reddish bark, making a bichromatic scene with the light grey sky as a backdrop between the canopy branches.
A Great Blue Heron fishes in the shallows of low tide in the Salish Sea. The water ripples with a light breeze and reflects a blue grey sky that ripples with some distant clouds. The far shore is deep blue in the grey afternoon light. The scene and the Heron have the same color palate.
A photo of the beach taken in the style of a Rothko painting. The lower half of the photo is nearly uniform brown sand. The upper half is nearly uniform blue sky. The only disturbance is a small line between the two at center/middle frame where a few clouds and the breaking waves can be seen along with two black dots, almost unrecognizable as two distant people looking for rocks on the shore. This photo is a secret portrait of the photographer's partner and best friend.
Peeking through dark mossy pine forest to a sandy rocky river shore. The sand is fine and light tan. The rocks are scattered and mossy gaining numbers as the water gets deeper. The water itself is a vibrant turquoise as clear as glass, deepening in colour as the depth increases nearer to the top of the frame.
Puget sound as the sun is setting behind the Olympic range. The sky is orange and red fading to grey. The sun has just slipped behind the sillouetted mountains still fully lighting the clouds and a single contrail above them. The water is rippled with oranges and grays as it reflects the sky. Floating in it to the right side of the frame, a lone bird bobs along.
A grizzled, splintered and worn tree stump that has clearly washed up as driftwood sits upright on the dark sand of a beach, balanced on what remains of its roots. It leans slightly towards the waves that have been lapping at its edges judging by where the line of wet sand ends. The stump, the sand, the sea, and the sky are all different shades of grey, darkest to lightest respectively. A far shore can be seen, with brown sand and lighter colored driftwood, and behind it dark mountains.
A sunrise seen from the shore of a lake looking across to the other side and under a bridge that spans over the water. The sunrise is an intense yellow sillouetting every solid structure in frame and casting the clouds into deep oranges, pinks, and purples. The outlines of the pine trees topping the hill of the far shore are in sharp relief. Black against the fire orange sky. Not much of the water can be seen as a barrier near the camera is blocking it, but the little peeking over the top and between the slats is reflecting the fire colours in the sky. The crisscrossing support beams of the bridge break up the pink and purple expanse of the sky in the upp part of the frame.
The snowy top of mount Tahoma as seen from an airplane window. The snow and ice are thick and bright white, interrupted only by the sharpest and steepest of rocky out crops and slopes nart the summit. The less snowy portions of the mountain near the bottom of the frame as well as the land beyond the mountain seem blue in the afternoon light. The soft hills rolling off to the horizon fade into a foggy haze as they go. The clouds above are whispy and gray.
A zoomed in shot of a supermoon. The moon, large and pink from sunset light, hangs just above the deep blue Cascade mountains and below a solid undulating grey-blue cloud ceiling. In the foreground, peeking through pine tree tops the city sprawls toward and up the nearest hillside.
A fork in a dirt foot path leads around the outside of or into a green, grassy, treeless meadow. Just inside the break in the fence that allows the path and any of its travellers in, a single, nearly bare, deciduous tree. It is autumn and the path and grass both inside and out of the meadow are sprinkled with orange and yellow leaves. On the far side of the meadow, a dense pine forest comes right up to the fence line. Overhead a bright blow sky lined with puffs and whisps of bright white clouds.
Large, bare, mostly black volcanic rocks stick up out of the waves of the Pacific ocean. The largest one is topped with 4 large birds distant enough we are unable to see any detail about them. The waves are a brighter blue than the hazy cloudless sky.
Between large back barnacle-encrusted rocks, a piece of driftwood sticks straight up. It's bottom end likely wedged under one of the stones, the exposed length is worn and covered in barnacles like the rocks around it. The remnants of its root ball have broken and worn away with the waves giving the impression of grasping fingers, a rope has unevenly worn the wood just below giving the impression of a wrist. To the onlooker, it seems a giant desperate hand and arm is emerging from the rocks to grasp at the grey cloud covered sky, now that the equally grey water has receeded beyond.
A black asphalt two lane road with a double yellow paint line dividing the lanes and a single white line pained to border the edge winds through the Redwood forest. The narrow shoulder of the road on each side is red-brown dirt and dry pine needles. Beyond that, Redwood trees tower like buildings over the road, Their green tops filtering the light coming from a blue midday sky. The bright green underbrush throughout the woods made up of ferns and regular-sized trees, and a small group of thigh-height guard posts bordering the road to one side of a gentle curve, seem miniscule compared to the trees, giving some sense of their scale.
A scene looking at the Salish Sea from a grassy cliff near the shore. The grass is mostly brown and laid down by wind and the feet of passers by, but there are spots of new green and tall grasses near the edge. A plant with purple daisy-like flowers is directly in the foreground in right frame. The remainder of the roots of a tree that has since become driftwood peek over the cliff edge from the shore a couple feet below. The sea is calm and grey the sky above is blanketed in grey clouds. The hills on a distant shore can just be seen on the horizon.
A set of wooden steps are placed into a forested hillside leading up the hill. The stairs gently wind between the white-barked trees lining the path they make. Large ferns and wiry shrubs lean their leafy arms over the path here and there. Some branches from smaller trees arch over the path like an entryway. Though the ferns and underbrush are green, the entire scene is sprinkled with yellow, orange, and brown fallen leaves.
Looking between two pine trees down a grassy hill to a solitary park bench facing away from the camera and towards a large body of water and tree-covered hills on the far side. Everything is bathed in bright golden light from the sun peeking through clouds in the top right frame and the reflection of the golden light coming off of the water. The light is so golden that the scene appears monochrome.
A foggy scene. A field of a mixture of new green grass and broken and long dead long brown grasses leads up to a foot path that runs horizontally across mid frame. A solitary and empty park bench sits to one side of the path facing away from the camera, inviting any who it to gaze into what appears to be a grey foggy abyss beyond. On the far side of the path the ground abruptly stops. The ghostly shadows of the tops of trees can be made out and let the viewer know there must be a cliff on that side of the path, but the cliff edge and what is beyond it is lost to the fog.
Black sand dotted with bleached driftwood gives way to grey waters under a gray sky. On the far shore, mountains, the tallest of them snow-capped, peek through a break in the cloud layer, brining just enough blue sky with them to tint the whole horizon cyan.
A sun baked sandy scene with the sun center frame, hanging in a cloudless blue sky. Below it are hills, mostly sillouetted but also partially obscured by a haze that seems to be windblown sand. They are hazy enough that the viewer cannot tell if they are craggy and rocky or covered in trees. Bending into frame from around a hill a road runs to the left down to middle frame and out. In the foreground sand dotted with browned grasses.
Rolling grassy hills smattered with trees and a rock or two roll from bottom frame and off to left frame. A small footpath cuts through the middle of the grass and winds along the hills. Midframe, the grass meets the beach and from enter frame right is calm blue sea. The sky overhead is bright blue and has a few bright white feather like clouds.
Redwood trees. The picture is taken looking straight up towards the sky. The tops of the trees are so far away they are imperceptible. The red trunks and green canopy leave just enough room between them to let the blue sky and afternoon sun shine through.
A photo of a bridge at dawn. In the foreground an empty street and two bright streetlights provide an offset frame. Beyond the guardrail of the street, a tall, large bridge with a complex lace work of support beams runs left to right in middle frame. It is sillouetted against a sky that is just starting to lighten and change colour with the rising sun. Beyond the bridge two hills covered with trees and dotted with the lights of houses can be seen. Above this the morning clouds are vibrant pinks and purples. Part of a cloud has swirled up into a hook shape and can be seen over the bridge like a large bird or sea creature poking it's head over to look around.
A screen shot of The Princess Bride. Inigo Montoya looks at Vizzini incredulously. Bold white text borders the top and bottom of the image. It reads: "You keep using that word I do not think it means what you think it means"
Calm blue waters of Lake Union fill the lower half of the frame, rimed with boats and lakefront houses. Near-cloudless blue sky fills the upper half. In the middle a small strip of land between them shows off the other side of the Seattle skyline. Two house splattered hill slopes give way to skyscrapers. Just to the right of the skyscrapers stands the space needle. Most of the buildings are also shadowed and blue appearing, but the space needle stands in sunlight.
A gray gravel path leads through tall brown dry grasses and on to lush green tree-dotted gentle hills. The deciduous trees are full of large green leaves. A thick Grove of the stands at left center frame. A smaller gravel path leads off the main trail and into these trees. Overhead the blue sky is cloudless but hazy near the distant horizon. The sun peeks through the foliage of a tree that stands on the edge of the path in center frame. The light flares up and down in a line like someone has cut the image here and is shining a light through behind it.
An aerial shot of Western Washington looking Southeast over lake Washington. The lake is glass like and reflecting the grays and pinky golds of the morning clouds with the last remnants of sunrise still on them. Fog rolls across the lake towards the lower portion of the frame where a floating bridge spans the lake connecting two land masses. Haze and mist line the hills and valleys in the distance creating a gradient of sillouetted mountains topped by a large snow-capped volcano leaking above some whispy contrails. Above the peak, the golden clouds have sporadic and inconsistent textures and break just enough to let sunlight through.
A light green moss covered wide path winds through dark and dense woods. from center bottom frame and curves right and then left before disappearing behind trees mid frame. The path is lined with thick under brush of ferns, shrubs, vines, and saplings. Large fir and hemlock trees loom overhead and reach fine, pliable branches down to fave height. Aside from a bare bit of trunk or dirt on the path, everything is green.