A forest in fog is a forest with fewer opinions. Distance goes first, then colour, then everything except the three trees in front of you — which turn out, once everything else is gone, to be enough.
Photographers chase fog the way others chase sunsets, because it does professional-grade work for free: it separates layers, softens light, and gives depth to woods that photograph flat on clear days.
These make patient wallpapers. Nothing in them asks for attention. They sit behind your icons the way rain sits behind a window — present, calming, none of its business what you do all day.
