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(Madagascar) -Nous sommes toujours au bac n°3. Le fameux radeau dont la flottaison est assurée par des bidons et de jerricans. Il remplace le bac motorisé en panne échoué sur la rive, dont on aperçoit une partie de l'arrière, en haut à droite de la photo.
Cette fois, je suis sur le radeau. Seul le bruit des pagaies des piroguiers rompt le silence qui règne sur la rivière ce matin là, la progression de notre embarcation étant assurée par les passeurs d’eau qui tirent lentement sur une corde qui relie les deux rives. A cet instant, je vis un moment magique qui à lui seul, récompense des fatigues subies sur cette piste infernale.
Cette scène est l’occasion de rappeler qu’à Madagascar, la pirogue est un moyen de transport encore très utilisé dans les nombreuses régions ne disposant d’aucune piste carrossable, où les fleuves et les rivières sont les seuls axes de communication. Chaque famille dispose des plusieurs de ces embarcations taillées dans un seul tronc. Généralement on utilise du bois de « farafatse ». Un arbre très tendre, donc facile à travailler et d’une extrême légèreté.
The essential Malagasy canoe
(Madagascar) -We are still in bac n°3. The famous raft whose flotation is provided by cans and jerrycans. It replaces the broken down motorized ferry, part of which can be seen washed up at the top right of the photo. This time I'm on the raft. Only the sound of the canoeists' paddles breaks the silence that reigns on the river that morning, the progress of our boat being ensured by the water ferrymen who slowly pull on a rope which connects the two banks. At that moment, I experienced a magical moment which in itself rewarded all the fatigue endured on this hellish track.
This scene is an opportunity to recall that in Madagascar, the canoe is a means of transport still widely used in the many regions that do not have any vehicle tracks, where rivers are the only axes of communication. Each family has several of these boats cut from a single trunk. Generally “farafatse” wood is used. A very soft tree, therefore easy to work and extremely light.
Although historic underground mining of coal occurred here with relatively minimal impact, so far this part of the Buller Coal Plateau has not suffered the much more destructive open-cast mining that is occurring to the north at Stockton. However, that might all change with Bathurst Resources - a predominantly Singapore-owned mining company - keen to have their proposal for a large open cast mine approved under our government's fast track legislation.
Enjoy this image, because if the open cast mine goes ahead, much of what you see here will be converted into a large-scale industrial wasteland - all to benefit wealthy business owners in Singapore, with some short-term benefits to Westport through mining jobs.
Twenty images shot at 3 mm intervals with a Zuiko bellows macro 135mm lens, combined in Zerene Stacker... type 'L' to view large
Er zittert im Wind,
ein verlassener Bote der Sehnsucht.
Die Farben seiner Federn
flüstern von Wärme,
doch der Himmel bleibt kalt.
Er flog einst mit Hoffnung,
trug ein Versprechen aus Licht,
und sank doch ins Schweigen,
fern vom Ziel,
fern vom Herz.
Nun ruht er,
zwischen Gestern und Vergessen,
ein stiller Zeuge der Liebe,
die nie begann.
Die Hüterinnen der Jahreszeiten
In einer stillen Ecke, dort, wo das Licht nur zögerlich die Wand berührt,
stehen vier steinerne Frauen – bleiche Wächterinnen vergangener Tage.
Ihr Schweigen ist kein Ende, sondern Erinnerung.
In a quiet corner, where the light hesitates to touch the wall,
stand four stone women – pale guardians of days long gone.
Their silence is not an ending, but a memory.
⸻
Frühling – Spring
„Ich war die Erste,“ haucht sie,
„die das Leben rief.
Ich trug das Grün in meinen Händen, das Lachen der Kinder in meinen Körben.
Nun rankt Moos über mein Kleid, als wolle es mich umarmen.
Doch wenn der Regen fällt, rieche ich noch immer den Flieder –
und für einen Atemzug bin ich wieder jung.“
“I was the first,” she whispers,
“the one who called life back.
I carried green in my hands, laughter in my baskets.
Now moss wraps around my dress as if to hold me close.
But when the rain falls, I still smell the lilacs—
and for a breath, I am young again.”
⸻
Sommer – Summer
„Ich war Fülle und Glanz,“ sagt sie leise.
„Ich schenkte Korn, Sonne, Schweiß und Glück.
Jetzt hat die Zeit mein Gesicht mit Schatten überzogen,
doch ich erinnere mich an jedes Lied,
das über die Felder flog.“
“I was abundance and brightness,” she says softly.
“I gave grain, sunlight, sweat, and joy.
Now time has drawn shadows across my face,
yet I remember every song
that drifted over the fields.”
⸻
Herbst – Autumn
„Ich trug das Gold der Reife,“ flüstert sie.
„Trauben, Äpfel, letzte Wärme.
Ich lehrte das Loslassen,
das schöne Sterben, bevor der Frost kommt.
Manchmal tanzen Blätter zu meinen Füßen –
ich nenne es Dank.“
“I bore the gold of ripeness,” she murmurs.
“Grapes, apples, the last warmth of the year.
I taught the beauty of letting go,
the gentle dying before the frost.
Sometimes leaves dance at my feet—
I call it gratitude.”
⸻
Winter – Winter
„Ich bin Stille und Neubeginn,“ sagt die Letzte.
„Ich halte die Welt an, damit sie wieder atmen kann.
Kälte ist kein Ende,
nur der Atem vor dem Lied.“
“I am silence and new beginning,” says the last.
“I pause the world so it can breathe again.
Cold is not an ending—
only the breath before the song.”
⸻
Und so stehen sie da –
verwitwet vom Wind, doch würdevoll.
Vier Hüterinnen aus Stein,
die uns lehren,
dass jede Zeit vergeht –
und doch wiederkehrt.
And so they stand—
weathered by the wind, yet full of grace.
Four guardians of stone,
teaching us
that every season fades—
and always returns.
This beautiful monochrome car photo was created by photographer Luis Sandoval with a Voigtlander Ultron 35mm f/1.7 lens mounted on his Fuji GFX50R with our Leica M to Fujifilm GFX lens adapter. Click here to learn more about this adapter: fotodioxpro.com/products/lm-gfx-p
And click here to see more of Luis's work: www.instagram.com/justcallmesando
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