iiinova — where your digital self keeps evolving

Sèafra @woodward.ca · 3h

I swear that the show North of North is just a little bit magical.

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Sèafra @woodward.ca · 4h

Anyway, not long after that I started mostly working behind the camera, which I prefer.

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Sèafra @woodward.ca · 4h

Messages from the streets.

The image captures a detailed, eye-level perspective of a heavily weathered, cylindrical metal utility pole standing prominently in an urban or suburban setting. The pole's surface is mottled grey, severely scratched, and adorned with numerous layers of old, torn paper and adhesive residue, giving it a distressed and textured appearance. Two distinct stickers are visible on the pole. The upper sticker is rectangular, black, and features white capitalized text that reads "OIL & GAS DOESN'T â™¥ YOU BACK." A small white heart icon replaces the word "love" in the message. This sticker shows some wear, with a small tear on its right edge. Below it, a vibrant circular yellow sticker stands out, featuring a stylized blue illustration of a smiling man's face with a beard and eyeglasses. To the right of the man's face, the words "HEY BABE" are stacked vertically in white capital letters. Numerous other irregular white fragments of torn stickers cling to the pole, contributing to its layered and aged look. In the background, partially visible on the left side of the frame, is the rear section of a light-colored, possibly white or silver, vehicle, including a portion of its fender and a black tire. The ground beneath the pole and extending into the mid-ground is covered in dirty, melted snow and slush, indicative of cold, wintery conditions. The snow is not clean white but rather a brownish-grey, suggesting road grime and melting. The lighting is soft and diffused, likely from an overcast sky, casting no harsh shadows and contributing to a subdued, realistic atmosphere. The overall scene depicts a common sight of public infrastructure accumulating informal expressions and environmental wear.

This realistic night scene features two prominent, identical red warning signs, brightly illuminated against a deeply dark, nocturnal urban environment. Each rectangular sign boldly presents the imperative message, "EXIT DO NOT ENTER," in stark white, capitalised lettering that appears to glow intensely. The luminous quality of the white text and the vibrant red background suggests either neon tubing or LED backlighting, with numerous small, yellowish-orange points of light scattered across the red panels, enhancing the overall luminescence and perhaps hinting at individual light sources within the sign. These signs are securely affixed to a sturdy, dark grey or black horizontal structure, which exhibits a rough, possibly concrete or brick-like texture. This base structure extends across the lower portion of the frame, creating a solid foundation for the illuminated warnings. The background is enveloped in the deep, inky blue of a night sky, under which abstract forms of tall buildings subtly emerge. These architectural elements are largely silhouetted, with only faint, blurred lights visible through their windows, contributing to the city's enigmatic nocturnal presence. The soft, diffuse glow from distant artificial lights creates pockets of faint illumination in the far background, contrasting with the sharp, deliberate brilliance of the foreground signs. The overall spatial relationship places the viewer slightly below the eye-level of the signs, looking up towards them and the dark expanse beyond. The atmosphere is one of clear directive and controlled access, with the glowing signs acting as unequivocal visual anchors in the subdued nightscape, unequivocally communicating a boundary to viewers approaching this specific location in the urban landscape. The vivid red and white hues of the signs pierce through the surrounding darkness, drawing immediate attention to their critical instructions.

The image captures a realistic scene from a low-angle perspective, focusing on a weathered urban curb area. A prominent feature is a rectangular red sticker affixed to a rusty, dark brown metal pipe or rail that runs horizontally across the mid-ground. The sticker, which has slightly peeled edges and some minor scratches, displays the white capitalized text "LOVE IS TELEPATHIC." in a straightforward sans-serif font. Above the metal pipe, a light grey concrete sidewalk or pavement stretches back, showing a coarse, pebbly texture and some dark, damp patches. Further up, a narrow strip of dark earth, indicative of a small patch of ground, hosts several small clusters of vibrant green weeds and sparse dry twigs. Below the metal pipe, the scene continues with dark, damp soil and an accumulation of street litter, including multiple discarded cigarette butts, small torn pieces of white paper, and various organic debris like dried leaves and dirt. The overall atmosphere is one of urban decay, subtly contrasted by the unexpected sentimental message on the sticker. The lighting is diffused, suggesting an overcast day or a shaded area, which softens the textures and colors of the concrete, rust, and dirt, while the bright green weeds provide a small burst of life. The composition highlights the juxtaposition of mundane urban elements with an enigmatic and hopeful message.

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Sèafra @woodward.ca · 4h

Luckily I didn't live there so that mitigated it for me a little, but I genuinely don't know how even remotely famous people deal with it.

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Sèafra @woodward.ca · 6h

Back in 2009 I was simultaneously cast in both TV and print ad campaigns for Calgary's blue bin program and for their rec centres. My face was fucking everywhere in that city and I did NOT like it.

The realistic scene captures a vibrant summer day in a lush green backyard, where a family enjoys leisurely outdoor activities. In the foreground on the left, a man stands, dressed in a blue and white patterned short-sleeved shirt, khaki shorts, white socks, and white flip-flops. He wears a yellow baseball cap and dark sunglasses, looking up and slightly to the right, holding a green garden hose in his hands, which appears to be spraying water slightly to the right, though the stream is not clearly visible. The hose coils around his left leg, adding a slightly humorous element to his attire. His posture suggests a relaxed yet attentive presence. To the right of the man, occupying the mid-ground, is a blue plastic kiddie pool filled with water, positioned on the green grass. A blue water slide with orange steps connects to the pool. A young boy, wearing yellow swimming trunks and green arm floaties, sits at the top of the blue slide, looking towards the viewer with a thoughtful expression. His feet are bare. Submerged in the kiddie pool, partially visible, is a young girl with long brown hair, holding a red and white striped beach ball. She looks towards the left, seemingly interacting with the man or observing something off-camera. The background features a long white picket fence that stretches horizontally across the image, separating the backyard from what appears to be another property or open space. Behind the fence and extending upwards, numerous green trees with dense foliage create a natural canopy, indicating a well-treed neighborhood. A glimpse of a light-colored house with a dark roof is visible through the trees in the far background on the right. The grass is well-maintained and bright green, suggesting a sunny day with clear skies, which is further implied by the strong, even lighting. Various small toys, including a red and yellow toy and a green toy vehicle, are scattered on the grass near the pool, indicating a playful environment.

This is a wide-angle photograph capturing an urban street scene on an overcast day, likely in late winter or early spring, as patches of snow still cover the ground alongside visible pavement and dry grass. In the foreground, a concrete sidewalk stretches along the left side of the frame, bordered by a strip of brown grass and scattered snow. A prominent bus stop shelter stands on the sidewalk, featuring a vibrant advertisement depicting a man beside a blue recycling bin, with the text "calgary.ca/bluecart" visible at the bottom. Behind the shelter, a white bus stop sign with a blue circular icon and the number "13" indicates a bus route. To the right, a white SUV, possibly a Mercedes-Benz M-Class, is parked at the curb, partially obscured by a metal pole, and the front portion of another, larger vehicle is visible next to it. The street itself extends into the distance, with several cars driving away from the viewer, including a red SUV and a dark sedan. Various multi-story buildings line both sides of the street; some are older brick structures with reddish-brown facades and distinctive architectural features, while others further back appear to be taller, more modern high-rises with glass exteriors. Traffic lights are visible at intersections, and numerous utility poles and signs dot the urban landscape. The overall lighting is soft and diffused due to the grey, cloudy sky, creating a cool and somewhat muted atmosphere.

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Sèafra @woodward.ca · 7h

cc: Yeg City Council

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Sèafra @woodward.ca · 11h

On this date in 1994 The Cranberries released their beloved second album There's No Need To Argue. Here's the Al-Bum Covers version of that LPs artwork. Thanks so much to the model who chose that record.

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Sèafra @woodward.ca · 14h

The exceptions to this rule are: cold pizza, cold chow mein,or drive thru burgers (when you're roadtripping)

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Sèafra @woodward.ca · 14h

This person followed me last week and asked me to listen to their music, which I did last night and it's pretty awesome! Give @kakuriyo-lofi.bsky.social ambient stuff a listen.

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Sèafra @woodward.ca · 15h

People who eat dinner food for breakfast are witches and they should be feared.

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Sèafra @woodward.ca · 03/10/2026

God...JITB used to be our very first stop when crossing the border in Blaine. Sourdough Jacks baby!

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Reposted by Sèafra

Movies Silently @moviessilently.bsky.social · 03/10/2026

Please have a video of Eva the Labrador receiving her favorite treat, a cucumber, in these trying timed

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Sèafra @woodward.ca · 03/10/2026

I've loved photographing the grandstand of the old abandoned horse track near our house for the past few years. They started tearing it down a couple months ago and as Dolly and I walked past it today I thought, it may well be my last chance to take a pic of it.

The image captures a grandstand or large building at twilight or night, presented with a dramatic and moody aesthetic. The substantial structure extends horizontally across the middle of the frame, silhouetted against a transitioning sky. The upper portion of the sky is a deep, dark teal-blue, which subtly transitions into a soft, purplish-pink hue closer to the horizon line, where it meets the top of the building. The building itself is largely enveloped in darkness, though its architectural features are gently revealed by the ambient light and its own internal illumination. On the far left side of the structure, a satellite dish or antenna is prominently positioned atop a smaller section of the building, contributing to an industrial or functional appearance. Along the lower facade of the building, multiple windows or openings emit a warm, reddish-pink light, which seems to reflect the colors of the fading sky or originates from internal lighting. These lights form a distinct horizontal band of soft illumination, creating a striking contrast with the otherwise dark mass of the building. To the upper right of the building, an intensely bright red light source or reflection cuts through the darkness, serving as a powerful focal point and generating a sense of dramatic tension. This red light possesses an almost ethereal quality, appearing as a concentrated beam or flare against the dark background. The entire composition is framed by deep shadows along the top, bottom, and right sides, creating a vignetting effect that naturally draws the viewer's gaze towards the illuminated structure and the vivid red light. The dark, almost black foreground emphasizes the isolation of the building. The image conveys a feeling of quiet solitude, perhaps after an event or during preparations, with the artificial lights crafting a strong visual narrative against the encroaching darkness.

The image captures a dramatic and somber scene of urban decay and transformation, dominated by a partially demolished multi-story building under an intensely colored sky. The setting appears to be a large industrial or commercial demolition site, likely at either sunrise or sunset, given the warm, golden hues illuminating the clouds. The sun, a bright disk of light, pierces through a dense canopy of altocumulus clouds, casting a vibrant orange and yellow glow across the entire upper portion of the frame. These clouds are textured with distinct ripples and undulations, creating a powerful and somewhat ominous backdrop. In the midground, towards the left, stands a large, concrete building in a state of partial destruction. Its facade is significantly damaged, revealing interior structures, exposed rebar, and piles of rubble within its open cavities. The upper levels show more extensive damage, while the lower sections, including a lighter-colored section with windows, appear relatively more intact but still show signs of neglect. A prominent satellite dish is mounted on the roof of the building's left section, pointing upwards. A dark-colored SUV is parked on a paved area in front of the building, facing away from the viewer, adding a sense of scale and perhaps a hint of current activity or recent abandonment. To the right of the demolished building, the scene opens up to a vast expanse of a demolition zone. Piles of debris, twisted metal, and broken concrete litter the ground. Heavy construction equipment, including a large yellow excavator with its arm extended, is visible among the rubble, suggesting ongoing or recent demolition work. A tall, dark structure, possibly part of a crane or another piece of machinery, stands silhouetted against the bright horizon further to the right.

The image captures a dramatic and somewhat eerie scene of a partially demolished or abandoned industrial building set against a vivid sunset sky. The upper half of the frame is dominated by a turbulent expanse of orange and yellow clouds, textured with dark, undulating formations that stretch across the horizon. The sun, a bright, hazy orb, peeks through a break in these clouds, casting a powerful backlighting effect that saturates the sky with warm, glowing hues. Below this intense sky, the foreground and midground are plunged into deep shadows, creating a stark contrast. A large, multi-story concrete building stands prominently in the center-right, appearing to be in a state of decay or partial destruction. The right side of the structure is heavily damaged, with large sections of its facade missing, revealing a chaotic tangle of twisted metal, exposed pipes, and interior debris. This raw, broken appearance suggests a recent demolition or a long period of abandonment. In contrast, the left side of the building is more intact, featuring a section clad in a light-colored, possibly corrugated metal or paneled material with horizontal lines, suggesting a more modern addition or a different section of the facility. A large, gray satellite dish is visible on the roof of the taller, rear section of the building, pointing upwards towards the sky. The immediate foreground consists of a dark, empty asphalt surface, likely a parking lot or access road, which is marked with faint, faded lines. Several orange traffic cones are sparsely placed along the edge of this area, adding small pops of color against the dark ground. A sturdy chain-link fence runs horizontally across the midground, separating the paved area from the building. Behind this fence, dense, overgrown bushes and greenery partially obscure the lower levels of the building, reinforcing the sense of neglect.

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Radical Graffiti @radicalgraffiti.bsky.social · 03/10/2026

"Protect Trans Kids, Scare Local Fascists" Sign spotted in Waterloo, Ontario

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Critical Criminology @critcrim.bsky.social · 02/10/2026

Policing is a scam that makes you pay for your own repression #ACAB In Vancouver. #FTP

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Radical Graffiti @radicalgraffiti.bsky.social · 03/10/2026

"Israeli Snipers Target Children" Poster spotted in Lincoln Heights, CA

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Sèafra @woodward.ca · 02/10/2026

Way back on October 2nd 1995 Oasis released their landmark album What's the Story Morning Glory? Here's the Al-Bum Covers version of that LPs artwork. Many thanks to the model who chose this record.

A close-up, artistic shot captures a person's shoulder, upper arm, and forearm against a deep black background, with complex, dark patterns projected onto their skin. The patterns resemble abstract architectural elements or dense urban landscapes, creating a stark contrast against the lighter skin tones. The right hand of the person is extended forward, also adorned with these intricate, shadowy projections. The skin exhibits visible texture and subtle freckles, which are accentuated by the projected light. The light source appears to come from an external projector, casting sharp lines and forms that warp and contour to the curves of the human body. The overall atmosphere is mysterious and introspective, highlighting the interplay between light, shadow, and the human form. The dark background emphasizes the illuminated body part, making it the central focus of the composition. The colours are primarily muted, featuring light skin tones, dark brown and black projections, and subtle cool undertones in the shadows, suggesting an artistic exploration of form and light.

The image presents a striking, close-up view of two human arms and hands, which appear to be intertwined or held closely together against a dark background, creating a sense of intimacy or connection. The skin of the arms and hands serves as a canvas for a complex interplay of projected light and abstract, dark blue and black patterns. The predominant color palette is cool, dominated by various shades of blue and deep indigo, contrasting with areas of warm, natural skin tones and dark brown markings. On the left arm and hand, intense blue light bathes the surfaces, particularly the palm and fingers, creating areas of vivid saturation. Darker, almost black, abstract shapes with irregular edges are projected onto the forearm, resembling architectural forms or distorted figures. The texture of the skin, with its subtle wrinkles and visible veins, adds a layer of realism to the abstract composition. The right arm, partially obscured by the left hand, also displays similar dark, abstract patterns that run along its length, appearing like brushstrokes or shadows. These patterns are less defined on the right arm, blending more with the natural tones of the skin and creating a sense of depth and movement. The lighting is dramatic, with bright, focused illumination on the hands and arms, particularly where the blue light is most intense, causing parts of the skin to glow. The background is dark and indistinct, allowing the illuminated limbs to stand out prominently and creating a mysterious, almost ethereal atmosphere. The overall mood is artistic and contemplative, inviting viewers to ponder the intersection of human form and abstract art, or perhaps the concept of identity and surface. The projections transform the human body into a dynamic, living artwork, with the overlapping forms suggesting a complex relationship between the subjects or elements within the composition.

The image presents a captivating and somewhat surreal scene, focusing on the back of a person, likely a woman, with her arms behind her back. Her light-colored, possibly grey or blonde, hair is gathered into a short ponytail that rests just below her neck. Her skin, which appears light-toned and subtly textured, serves as a canvas for a projected image. The projection itself depicts an old-fashioned street scene, dominated by shades of sepia, blue, and faded browns, suggesting an archival photograph or film. The projected scene shows two male figures walking away from the viewer, down a narrow, cobblestone or paved street. The man on the left wears lighter clothing, possibly a white shirt, while the man on the right, slightly closer to the viewer, wears a light-colored top and darker trousers. They appear to be walking in the same direction, away from the camera's perspective within the projected image. On both sides of the street, multi-story buildings with numerous windows and architectural details rise, creating a sense of enclosure and urban density. The buildings on the left side of the projection feature prominent blue accents, possibly shutters or window frames, which stand out against the faded tones. A distinct blue, star-shaped tattoo with radiating lines is visible on the person's left shoulder, contrasting with the projected scene and the natural skin tone. The lighting for the projection is bright, illuminating the back of the person, while the surrounding environment is shrouded in deep, dark shadows, creating a dramatic and intimate atmosphere. This contrast between the illuminated body and the dark background enhances the ethereal quality of the projected scene. The texture of the skin is visible beneath the projection, creating a unique interplay between the human form and the historical imagery. The overall mood is contemplative and artistic, blending personal identity with historical memory through the medium of light and skin.

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Sèafra @woodward.ca · 02/10/2026

Holy Fuck...are there ANY progressive politicians in this country or do they all have bitumen running through their veins?

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Sèafra @woodward.ca · 02/10/2026

They're fantastic for binding looped up AV cables.

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Alexander Abnos @anabnos.com · 02/10/2026

If your reaction to Wemby saying this is a hearty “hell yeah”, it behooves me to let you know that @theguardian.com does not take business from betting companies, we have a great sports section, no paywall, and a great app. www.theguardian.com/sport/2026/o...

theguardian.com

‘It’s sad seeing players promote it’: Wembanyama says he will never endorse gambling companies

Spurs star says it is ‘very sad’ to see NBA players promote gambling companies and insists money no longer drives his sponsorship decisions

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Sèafra @woodward.ca · 02/10/2026

And if the winds blow in an even slightly different direction they won't even do that.

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Sèafra @woodward.ca · 02/10/2026

4/4 So the moral of this story is that any photographer tells you he needs to shoot you 1on1 to get "the mood right" is absolutely full of shit and probably a terrible photographer to boot. Trust & safety are key to good creative collaboration. Nothing else matters if you don't have that.

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Sèafra @woodward.ca · 02/10/2026

3/4 On shoot day she came with her entire band, including her husband (sorry I can't remember the band name), and let me tell you the mood was silly & ridiculous. That didn't show up overtly in these photos, but it did give her the confidence to be vulnerable & free enough to get the pics we wanted.

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Sèafra @woodward.ca · 02/10/2026

2/4 What you can't see in these shots is that Brielle was quite shy and while she really wanted to do the shoot she wasn't comfortable doing it alone, so she asked if she could bring someone with her. To which of course I said yes.

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Sèafra @woodward.ca · 02/10/2026

🧵1/4 This post turned into a bit of a sermon on Instagram and I kind of wanted to share that here in a short thread because predatory men have been on my mind even more than usual this week. These photos with Brielle are a great example of different the mood of the shoot can be from the shots.

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Sèafra @woodward.ca · 02/10/2026

Sweater weather is here. Brielle getting cozy in the old apartment.

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Sèafra @woodward.ca · 02/10/2026

How, like in the name of all that is holy, are people still buying this Reaganomics bullshit. There's 40+ years of evidence now that it only makes CEOs richer. Guillotine time.

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Sèafra @woodward.ca · 02/10/2026

On this date in 1992 Sloan released their debut album Smeared. Here's the Al-Bum Covers version of that LP artwork. Many thanks to the model who chose this record.

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Sèafra @woodward.ca · 01/10/2026