Dulwich Hill, NSW

A bold yet plain, yellow door, covered with dark, grubby hand marks sits between a mailbox covered in graffiti and stickers, and PVC cable conduit. A folded-over printout of some announcement is taped to the wall on the right-hand side, and the door looks weary with age and use.
A small, white wire-haired dog sits in a red car, waiting patiently on the driver's seat for their human to return. They are looking up at the camera, slightly anxious and forlorn. The red and white reflection of a store sign is out-of-focus, reflected in the window, covered in soft, light raindrops.
An A4 wheatpasted poster is stuck to a black-painted concrete column, white in colour with a loud, squawking crow perched atop the handle of a golf club. A second golfclub is upturned, blood covering the face of the club, with long foliage behind both clubs and the bird. A silhouette of the grim reaper appears alongside the title at bottom, 'More Golf Courses', written in block capitals. Behind the column and poster is an anonymous, out-of-focus basket of goods in front of a store.
A street scene at a four-way intersection on an overcast, rainy day. A man in a puffy jacket is walking across a pedestrian crossing with a bright yellow umbrella, halfway across the road. To his side are a row of ten identical, regularly- and narrowly-spaced yellow-lidded garbage bins, green in colour.
A scene of a pedestrian laneway between two buildings, one wall consisting of a prefab concrete slab, covered in yellow and orange graffiti, with the occasional hint of green, blue and red segments. A man is walking away from the camera in the distance, towards an extension of the laneway beyond the buildings. In the foreground is a single pole in the middle of the laneway, about waist height, and a green dumpster nudged in the corner of the opposite red-brick-clad building in an L-shaped nook. Two security cameras with rectilinear cable conduit are mounted on the brick wall, watching the laneway.
An abstract photo of a well-textured building wall in a laneway, the texture consisting of bricks covered with years and years of paint and muck. The wall is painted over with vivid swaths of line green, yellow, orange, white, pink, black and silver paint, in mostly-vertical, slightly-diagonal patches.
A photo of vividly-coloured, large tagging on a brick wall in a laneway. The text is made of large, orange block letters with sharp angles and organic curves, outlined with a white highlight to the upper right of the blocks, and framed in a black outline and drop shadow to the lower of the text. The background is a desaturated purple that contrasts with the warmth of the orange.
A straight-on street scene taken of the facade of a building, 1980s or 1990s in age. The building is clad in light brown bricks, a multi-storey building with a thin concrete slab above the ground floor. The building is located on a street that slopes slightly down to the right, with dirty white tiles covering a wide, 8-step stairway to two separate entrances. In small garden beds to either side of the stairs are weeds, concrete and a few patches of mulch. Sitting stop the steps are broken drawers and office furniture, the doors themselves covered in graffiti, and framed at the top with a broken lighted sign, the cover long-lost to the ages.
A scene of a laneway wall, with a large, spherical red demon illustrated in cartoon style, with large, yellow eyes, a wide-open mouth with jagged white teeth hiding a tongue. The demon has been overpainted by someone's tag in teal, outlined in blue. Various posters have been stuck up on the wall on the other side.
A flat-coloured door painted in beige, with a sign at the top reading 'DO NOT OBSTRUCT. DO NOT KEEP OPEN'. On the door someone has written in green handwriting, 'My Dad sold his soul for mine', and underneath the text, a light blue drawing of figure-of-eight shaped goggles have been drawn inside two motion lines.
A wet, dreary scene that doesn't show too much active rain, just soaked pavers in a small plaza, the end of a suburban street in the distance with a couple of parked cars. Off to the right is a tiny Australia Post delivery buggy in fluoro yellow, complete with a 'Caution, slow moving vehicle' and 'top speed 50' sign.
A person is in a mobility scooter, waiting at a pedestrian crossing intersection to cross a major road. Behind them are three storefronts, looking dark and dilapidated, the crossing showing a red light. The person is carrying an unfurled umbrella, and has a shopping bag on the handles of their scooter.
A person in a red puffy jacket is leaning against the side of a brick-clad building, the ground floor housing a retail storefront. The windows are covered with metal bars, and an electricity pole is in the foreground, covered in black graffiti. Next to the building extends a suburban street going downhill, and an overcast scene of blurry, wet houses and parked cars in the background.
A stencil-style graffiti poster is stuck to the wall, showing a woman in a dark-coloured hijab cradling her child, the child's face hidden against her body. Behind the stencil, various tags are on the brick-textured wall with a white background, yellow, blue and black tags covering half the wall. The stencil has '@E.L.K.' written in the corner.
A person in a puffy rain jacket and yoga pants is waiting at a pedestrian crossing, holding a bright yellow umbrella. Behind them, a couple of people wait across the road to cross the other direction. In the foreground is a metal rubbish bin with a sticker reading 'Before crossing the road..'
A photo of a closed storefront, with metal roller doors shut, and entirely covered with black and silver graffiti. The walls next to the doors are covered with posters, some unreadable, others mentioning Palestinian liberation. Above the storefront is a stretched canvas sign reading 'Bakery, Ph: 9518 3381, Cakes, Pies, Bread, Sausage Rolls'. In the foreground is a metal rubbish bin and the end of a public bench, the bin covered in a council-sponsored wrap reading 'Sydney's Best Kept Secret Revealed, Dulwich Hill'.
A cartoon-style portrait of a grey-skinned, wrinkled old man is painted across the upper floor of a one-up-one-down against a cream-coloured background, two regular-sized windows framing either side of the portrait. The man has a green, curly moustache, one hand holding a log-periodic antenna, the other holding up a platter with a drink and an apple, his torso wearing a tartan vest, shirt and tie. The building to the left is a strongly-saturated yellow facade.
Black-and-white striped umbrellas are folded up, sitting atop a bunch of streetside tables outside a cafe. The photo shows a street scene with a number of parked cars behind the streetside tables, on what is a clearly wet and overcast day, the black-and-white umbrellas looking like a folded-up keffiyeh in black-and-white, as adopted by Palestinians.
A woman is walking across a zebra crossing, mid-stride, carrying a bright yellow umbrella. Her face and torso is in shadow, but the umbrella stands out from the dark storefront behind her. The left side of the street is clear, but the right-hand side has stopped traffic, a black SUV in front of a commercial truck leaving a narrow gap across the raised pedestrian crossing.