Why am I always seeing afresh? It’s a burden. At best, research begins with a questioning formed around the obvious but not previously examined. Once a conception/question is articulated the rest follows: methodology, models, data, narrative, evidence, reference. I’ve not quite identified my query yet regarding this small collection of images ‘Everyday Stress’, except as a minor strand of my larger quest, search and research into imagery and its social meaningfulness in truth and poesis. I test the value of quotidian expression, minor details indicative of everyday stress ‘caught on camera’ in a world of (apparent) mundane detail. Depicted stress, whether minor or catastrophic, varies from the obvious to implicit, either extra diegetic for the viewer to ‘imagine’ or stemming mostly from the already imaged within the frame. And, ‘Everyday Stress’ corresponds with the slightest response to the camera. So, importantly, there is very little in these images that could be attributed to enactment, ‘putting on a face’ or a ‘fake smile’. Expression is relentlessly authentic, certainly not dramatized but subtle and intentionally more engaging for that. The story behind Rembrandt’s portrait of ‘The Weeping Woman’ 1644 remains a matter of speculation, whilst Picasso’s depiction of ‘The Weeping Woman’ 1937 is seen consensually as iconic, based on his earlier image of a woman holding her dead child taken from his anti-war mural, Guernica. Utilising photography as a research tool, the study documented over 130 skateparks in Australia and overseas. These photographs reveal ways to read the visual traces left behind by the users of the skateparks, and demonstrates the important role that the skatepark plays for users of the space.