verse-n-frames

@verse-n-frames.bsky.social

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I enjoy writing and have decided to embark on an experiment by starting a Bluesky account to share my texts. Occasionally, I use images from my other account: @endeavour07.bsky.social. Texts and pictures are mine (except for reposts). 📍 Northern Germany

Close-up of a display shelf in a garden centre. On the shelf stand blue elephant figurines that are presumably meant to look cute. They have enormous eyes, a short blue trunk, look as if they have fallen out of a comic book, stand on two (!) red feet with green toenails, and have yellow and green bodies. More than twenty identical figurines stand on the shelf – waiting for buyers. If you insist, I’ll be happy to tell you where I photographed those things…
The first black-and-white photograph shows the view from the observation deck of the Montparnasse Tower over part of Paris. The backlighting from the low afternoon sun emphasises the contrasts. The second black-and-white photograph shows a bird’s-eye view of part of the Montparnasse Cemetery in Paris. Light-coloured gravestones stand together, neatly arranged within separate sections. A pattern of straight paths runs through the cemetery, recalling the overarching structure of the city with its streets lined by houses. Text of the poem: As we look down from the Montparnasse Tower, my telephoto lens focuses on a regular structure far below us: gravestones, lined up along paths, surrounded by the pattern of the city’s streets and houses— everyone has their own house number.
View of a distant coastline, depicted as a thin line along the lower edge of the image. In front of it, dark water, grey‑green, without contours. Above the scene, an ominous, low‑hanging mass of cloud appears to be developing into a bad‑weather front. Text of the poem: A ferry sets off while clouds hang low Out at sea, the passengers notice there is no captain on board The clouds sink lower The passengers look at the compass Its needle turns aimlessly The clouds sink lower The passengers lock themselves in Behind the portholes they play cards The clouds touch the deck
The black-and-white photo shows a brimstone butterfly resting on a lavender blossom. Because the background is black, its very light wing and pale body stand out clearly.
Shortly after moonrise, the reddish moon appears through a gap in the foliage of a tree that is out of focus in the foreground. Parts of the lunar disc are obscured by leaves.
A double window in a timber-framed house. The windows are designed as sash windows. The plaster of the timber frame is painted blue, although the paint is peeling off in some places.
Close-up of a white lily, whose petals are opened so wide that you can already look into the inside of the flower from the side.
A black and white close-up photograph of a grass panicle standing out brightly against a black background.
The black and white photograph depicts a white wooden fence captured from above.
A fence crafted from individual, seemingly handmade wooden posts that, thanks to its natural character, doesn't appear forbidding at all. Instead, it blends beautifully with its surroundings in the green meadow. The fence's owner has placed colourful wooden clogs on the fence slats, creating a wonderfully quirky yet deeply personal touch.
The photo showcases the lush greenery of several tree canopies, standing out against the deep blue of the rain clouds arching above them. The rich, dark tones of both the clouds and the foliage indicate an impending thunderstorm. Text of the poem: The green of trees like a beacon against the rain clouds One must give credit to June: it certainly knows how to do colours! The soundtrack to this display? Thunder (in the distance) It's as dark at midday as it is in the evening Noon twilight Thunder (getting closer) The calm after the rain will be beautiful.
A jet flies distantly across the sky, leaving a contrail in its wake. The camera captures the view from below, focusing on the white underside of the commercial aircraft, which stands out against the blue sky. It travels diagonally from the top edge of the image towards the bottom left corner.
On a purple columbine flower, shown in close-up from the front, a few small raindrops from the last shower are resting. The delicate blossom appears even more fragile due to the water droplets. Yet, sometimes, even the beauty of nature does not ease the restlessness of everyday life.
A sparrow flies away to the left from a rooftop ridge, out of the picture. Beneath the outermost tile of the ridge, a pair of sparrows has built their nest. The chicks have hatched and need to be fed. Now, the adult birds are incessantly flying back and forth, bringing food. In the foreground of the picture, the leaves of a hazel tree can be seen, depicted out of focus.
Empty bottles of various colours stand on a windowsill in front of a tall window, which features diamond-shaped panes. Bright daylight streams through the overexposed window, casting light on the bottles in the foreground and highlighting their colours and diverse shapes. Tall bottles, squat bottles, and smaller bottles are arranged loosely together. As the bottles are positioned in rows of three, varying densities of light permeability are created. In the lower third, hardly any light penetrates through the bottles, resulting in a very dark area, while the upper two-thirds of the portrait-mode photograph are occupied by the window.
A shiny buttercup in the foreground. In the slightly blurred background, one can discern the blue-grey surface of the small lake. The trees on the opposite shore are reflected in dark green on the smooth water surface, as is a pink cloud. Raindrops are visible on the bloom of the small yellow flower.
The evening sky is darkened by almost black, low-hanging rain clouds, heralding a storm. The sunset just manages to break through in a narrow strip beneath the clouds, which occupy the upper two-thirds of the scene. The rain is about to begin.
The monochrome photograph depicts the weathered, damaged and dilapidated barn. Ivy climbs up the brick walls, and the grass around the building is quite tall, suggesting that it has been a long time since anyone passed through the slightly ajar wooden door. The farm to which the barn belongs was abandoned some time ago, with the old farmer having passed away, and the buildings are being demolished. This forgotten place serves as a reminder of a time when small farms were still profitable, and people bought their potatoes directly at the farm. By now, all the buildings have long since disappeared, leaving only the tall grass behind.
Close-up of some pink bluebells against a dark, blurred background.
The image of some trees is significantly underexposed, giving the impression of a night-time photograph. The supposed night shot displays the silhouette of a branching tree trunk in the foreground. In the middle ground, another tree is depicted, with most of its trunk and crown visible. In the background, additional trees can be seen. Behind the tree in the foreground, the full moon (actually: the sun) casts a bright glow, which sets the black tree silhouettes apart from the dark blue “night” sky.
A close-up of a dandelion flower, with its parachutes still fully intact, set against a blue April sky with surrounding blades of grass.
In the deep black surrounding the image, one can discern a section of a rising staircase railing in the centre, illuminated by a window located to the right, outside the frame. Behind the railing, the shadows of the heavily divided window frame are visible. The window casts a warm, almost golden glow on the wall behind the railing.
The photograph, taken from a very low camera angle, captures the view along a kerb where the wind has gathered the blossoms from the street trees. They form a pink trail, sharp in the foreground and gradually becoming blurred towards the background. The colourful petals stand out against the grey kerb and the road. A blue April sky stretches above the scene.
The camera captures a very tranquil lake. The lower and upper shores are outside the frame, with only the water's surface visible, reflecting the blue sky and white clouds. At the top edge of the image, you can see the reflection of trees growing on the opposite shore. In the centre of the image, there is the reflection of a slightly larger cloud.
The photo captures a close-up of a single cherry blossom, with its pistil and stamens prominently in the centre, surrounded by white petals. The blossom appears to be reaching towards the blue sky.
The black-and-white photograph depicts the large clock on the end wall of the interior of the Musée d’Orsay in Paris. It hangs on a glass wall, behind which, faintly visible, museum visitors can be seen walking. It is unmistakable that the building was once a train station.
In the foreground, one can see a flowerbed, bordered with low-growing ground cover plants, followed by small perennials and then trees. The vegetation is already quite dense at the beginning of spring, with the trees showing their leaves. Behind the flowerbed, the impressive architecture of the Paris Hôtel de Ville can be seen. Mayor Hidalgo has had a veritable urban forest established on the forecourt. The trees were chosen for their heat resistance. I haven't counted them myself, but there are said to be 49 trees in total.
On the left, the photo depicts the upper part of an antique children's carousel, adorned with colourful images of Parisian cityscapes on its exterior. The illumination by light bulbs evokes a sense of bygone times. To the right of the carousel, there is a similarly antique-style street lamp, featuring three lamp boxes mounted on its black metal arms. A typical Parisian townhouse forms the background of the image, its compressed portrayal through the telephoto lens representing the visual abundance of Parisian city life.
A glance upwards at the cloudy sky of a rainy March afternoon: A dramatically appearing cloud stretches diagonally across the image, starting in the lower left corner and reaching up to the upper right corner. The other half of the diagonally divided image is dominated by the blue of the sky, against which fragments of clouds hang. However, in the lower left, a distinct blue patch emerges, suggesting that even on a rainy day, there remains hope for blue...
The overall blurry photo features a few bokeh lights in the centre, seemingly floating weightlessly in an otherwise dark setting. They are vertically aligned and partially overlapping. The top three lights have a yellowish hue. The light in the centre of the image is almost white, with a reddish edge on the right. In the lower third of the image, the black darkness transitions into a greenish tint. Overall, the image conveys a calm, nocturnal atmosphere.
The black-and-white photograph captures the Moon, with its small disc occupying only a minor portion of the otherwise completely black image. On the Moon's surface, individual craters and the large areas of the Mare are discernible as dark structures.
The black-and-white photo shows a low-angle view of the glass dome of the Berlin Parliament building, where the German Bundestag convenes. From 1995 to 1999, the former Reichstag building was fundamentally redesigned by Norman Foster for use as a parliamentary building. The dome is composed of a steel skeleton and made of glass and mirrors.
The February evening sun slants through a south-facing window onto a bookshelf. This angled light creates a narrow beam that illuminates only a portion of the books on the shelf. The majority of the shelf is cast in a nearly black shadow.
By a narrow, slow-flowing river that runs diagonally across the lower half of the image, there stands a solitary little tree. In February, without its leaves, it appears quite fragile and somewhat forlorn. The blue sky and white clouds are reflected in the smooth water of the river, and the small tree also has a clear reflection. In the upper half of the image, you can see the landscape behind the tree: a green field bordered at the back by the edge of a forest.
The close-up shows a frontal view of a section of an old valve radio. The scale, illuminated with warm light and displaying its extensive station listings, is visible. On the right, you can see the ivory-coloured knob used to search for stations. In the lower left of the image, the equally ivory-coloured buttons of the old radio can be seen, which are used to select the frequency range. This radio was capable of receiving shortwave, longwave, medium wave, and ultra-shortwave frequencies. It is also apparent that I urgently need to dust the radio again. In some parts of Germany, FM broadcasting is now being phased out in favour of DAB+ and digital distribution channels such as streaming. With digital devices, I miss the charm and unique sound of the old valve radios.
The image depicts a section of the front of a VW Bulli, likely the T1 model. The visibly aged vehicle features the typical two-tone paintwork, in this case, a combination of light blue and white. The VW company logo is positioned above the centre of the image, with the headlights and indicator lights located at the edges. The paint has aged, with dark water streaks noticeable on the white paint. There are light rust spots visible on the bumper at the bottom of the image. Overall, the appearance of the car evokes a positive, nostalgic feeling.
The black-and-white photo depicts a series of icicles stretching from the right side of the image to the left, where they fade into the blurred background. Only one icicle is captured in sharp focus by the camera, with air bubbles trapped inside giving it texture. At the top of the image, the edge of an aluminium window sill, from which the icicles have formed, is visible.
The photograph depicts a green aurora against a night-black sky: The mist-like cloud of green light stretches horizontally across the image. A few stars can be seen in the night sky.
The (unfortunately not very sharp) photograph taken with a zoom lens captures some cloud streaks exhibiting horizontal structures. These clouds catch a spectrum of reddish tones in the light of the setting sun, interspersed with subtle blue hues in places. The red clouds completely fill the frame of the image, offering little for the eye to rest upon.
The autumnal brown leaf of a walnut tree rests on the lawn. The close-up captures the raised edge of the leaf, adorned with ice particles. A blade of grass in the foreground is similarly covered with ice particles. The background is a blurred darkness.
The photograph depicts a jetty extending into a lake, suitable solely for smaller boats. It stretches from the left edge of the image to the centre, where it branches out in a T-shape to both sides. The lake is obscured by dense fog, concealing all details and creating an illusion of the jetty floating in space. A few irregularities on the icy water surface in the foreground hint at the otherwise smooth water. The fog creates a seamless transition between the water and the sky, with no visible horizon.
The afternoon sun casts the shadow of a star onto a yellow wall. The shadow is sharply defined because the bright sunlight hits the window image at just the right angle, projecting the shadow onto the wall immediately adjacent to the window. The window is visible on the right side of the image.
The vast expanse of the black-and-white photograph is dominated by a clear sky. The camera is angled upwards, capturing only the topmost leaves of a bamboo hedge at the bottom edge of the frame. Contrails streak across the sky: one, already dispersed and gradually fading, runs horizontally through the image, while another, more recently formed, diagonally traverses the lower part of the picture in the right corner.
The black-and-white photo depicts a refrigerator placed by the roadside. Its door is open, and the refrigerator is empty. It stands on a rough sandy ground, which is partially barren and partially covered with unkempt, long grasses that appear to have been driven over and flattened by construction machinery. The refrigerator is positioned in front of a white plastered house wall with a window, whose pane appears black, thus standing out more prominently against the house wall and gazing at the refrigerator like a dark eye. Overall, the image evokes a mood of desolate solitude and abandonment.
Against the backdrop of the brown leaves of the walnut tree lying in the tall grass, and in the twilight shortly after a December sunset, a remaining toadflax flower shines brightly. The blossom glows white, while the background is a diffuse blend of blurred, brown autumn foliage, parts of the plant, grass, and darkness.
In front of the whitewashed wall of a church stands a candelabrum made of black wrought iron. The base consists of four arches that converge into a long stem, which ends at the top in a ring reminiscent of a chandelier. Attached to this ring are candle holders bearing white candles. The candles are not lit. Sunlight, entering through a distant high window, casts a somewhat diffuse shadow on the wall. Apart from this highlight, the scene, captured as a black-and-white photograph, appears quite dark overall.
The camera captures an aerial view of a red brick-paved area where a puddle has formed after the rain. In the puddle, the colourful lights of a nearby children's carousel are reflected, though the carousel itself is not visible in the frame. The bright lights also illuminate the surrounding wet pavement, creating a slightly nostalgic atmosphere overall.
The image depicts two horizontally hanging strings of lights glowing against a dark blue evening sky. In the background, the black silhouettes of trees can be seen. The photo was taken at a forest Christmas market. It captures a tranquil, evening atmosphere suggestive of the forthcoming Advent season.
The photograph features a fly agaric mushroom captured from a low angle, providing a side view of its cap. The red top with white spots is visible, as well as the gills on the underside of the mushroom. Surrounding and in the foreground, autumn-coloured oak leaves can be seen, while the background displays the blurred foliage of still-green bushes.
A flock of birds is flying in a V-formation across the sky. The image captures the birds from directly below against a heavily clouded sky, where the grey clouds are subtly outlined by a bright blue and white edges. The birds are making their journey to their winter quarters. This image symbolises both a farewell and the hope that they will soon return.
A wilting poppy blossom, weighed down and moistened by raindrops, bends deeply downwards. It extends into the image from the upper edge of the photo. In the lower right, one can discern a faded, now incomplete yellow blossom. Both flowers indicate the advancing autumn, which is also evident in the blurred autumnal colours surrounding them. Additionally, one can see the hole-ridden leaves of other flowers in the background. This section of a flower bed signifies that the time of blossoms has passed.
The image depicts a mobile phone with a shattered display. The glass is covered in fine cracks, which stand out distinctly against the black background due to their white colouring. The pattern of the cracks resembles a spider's web.
The photograph depicts a star-shaped leaf of the Blue Lupine, comprising seven individual leaves arranged in a star formation. The gentle October rain has left numerous droplets on the leaves, which stand out clearly against the dark green foliage, illuminated by the silvery reflected light of the sky. Surrounding the leaf are several buds that have yet to open, with their yellow petals waiting to bloom. Below and to the right of the star-shaped leaves, there is a solitary blue flower, which, like the other unopened buds, lies in the blurred area of the image.
An autumn alley of trees on the northern edge of Goslar. The view extends along the alley, which narrows as it recedes into the distance, culminating at the vanishing point. The path is strewn with brown autumn leaves. The trees on either side of the path are gradually turning yellow. The atmosphere is calm and peacefully autumnal.
Three deep red poppy blossoms, in the foreground and within the focus of the lens, stand out against a blurred background, composed of a bokeh of autumnal colours, predominantly black.
A red poppy, bent by raindrops, stretches almost horizontally across the image. It stands against a blurred background and foreground. Its surroundings consist of autumn-brown leaves from a walnut tree, grasses, and blossoms of other autumn flowers.
The photograph depicts a charming little shop specialising in pasties and fudge. I captured this image in 2015 in a coastal town in Devon.
In the Arboretum Poort Bulten, the trees are quietly yet brilliantly celebrating. A tree in the foreground grows at an extreme angle. It is rooted in the bottom right of the image, with its crown reaching the left side. The tree stands in a park setting, surrounded by other trees at some distance. Below the leaning tree, there is a park bench. The trees are adorned with autumnal foliage, with brown, red, and yellow dominating the scene. Contrasting these colours, the green grass and a slightly blue sky complete the picture.