View allAll Photos Tagged Complexity
abstract shapes shadows and silhouettes
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The complexity of life, even that of a 'simple' magnolia flower, never ceases to amaze me. And the closer one looks, the more amazing it gets.
Indeed, if we looked even closer than a macro photographer's lens can see, we would observe a level of complexity far beyond our imagination. As in every other living thing, each cell in this magnolia flower contains the DNA for the entire organism. In his book (the Selfish Gene), Richard Dawkins says of human DNA:
This DNA can be regarded as a set of instructions for how to make a body, written in the A, T, C, G, alphabet of the nucleotides. It is as though, in every room of a gigantic building, there was a book-case containing the architect's plans for the entire building.
Dawkins denies that there is a God, yet admits that all living cells contain information (instructions) and even likens it to architect's plans. No matter the medium in which it is stored (paper and ink, compact disk, DNA, etc) information has to have an author or, in Dawkin's analogy, an architect.
Sadly, Dawkins appears to recognise the unavoidable truth, yet still says there is no God. But the Bible says:
For the invisible things of Him [God] from the creation of the world are clearly seen, being understood by the things that are made, even His eternal power and Godhead; so that they are without excuse: Because that, when they knew God, they glorified Him not as God, neither were thankful; but became vain in their imaginations, and their foolish heart was darkened. Professing themselves to be wise, they became fools.
(Romans 1:20-22)
La catedral de la Intercesión de la Virgen junto al foso (en ruso Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrová Presvyatoy Bogoróditsy, chto na Rvu), más conocida como Catedral de San Basilio, es un templo ortodoxo localizado en la Plaza Roja de la ciudad de Moscú, Rusia. Es mundialmente famosa por sus cúpulas en forma de bulbo. A pesar de lo que se suele pensar popularmente, la Catedral de San Basilio no es ni la sede del Patriarca Ortodoxo de Moscú, ni la catedral principal de la capital rusa, pues en ambos casos es la Catedral de Cristo Salvador. Como parte de la Plaza Roja, la catedral de San Basilio fue incluida desde 1990, junto con el conjunto del Kremlin, en la lista de Patrimonio de la Humanidad de Unesco.
La construcción de la catedral fue ordenada por el zar Iván el Terrible para conmemorar la conquista del Kanato de Kazán, y se realizó entre 1555 y 1561. En 1588, el zar Teodoro I de Rusia mandó que se agregara una nueva capilla en el lado este de la construcción, sobre la tumba de San Basilio el Bendito, santo por el cual se empezó a llamar popularmente la catedral.
San Basilio se encuentra en el extremo sureste de la Plaza Roja, justo frente a la Torre Spásskaya (la Torre del Salvador) del Kremlin y la iglesia de San Juan Bautista en Dyákovo.
El concepto inicial era construir un grupo de capillas, dedicadas a cada uno de los santos en cuyo día el zar ganó una batalla, pero la construcción de una torre central unifica estos espacios en una sola catedral.
La leyenda dice que el zar Iván dejó ciego al arquitecto Póstnik Yákovlev para evitar que proyectara una construcción que pudiera superar a esta, aunque parece claro que no se trata más que de una fabulación, ya que Yákovlev participó, pasados unos años, en la construcción del Kremlin de Kazán.
La catedral de San Basilio no debe confundirse con el Kremlin de Moscú, que está situado a su lado en la Plaza Roja, y por tanto no forma parte de él. Aun así, muchos medios confunden ambas construcciones.
es.wikipedia.org/wiki/Catedral_de_San_Basilio
The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, Sobor Vasiliya Blazhennogo), commonly known as Saint Basil's Cathedral, is a church in Red Square in Moscow, Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat (Собор Покрова Пресвятой Богородицы, что на Рву, Sobor Pokrova Presvyatoy Bogoroditsy, chto na Rvu) or Pokrovsky Cathedral (Покровский собор). It was built from 1555–1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.
The building is shaped like the flame of a bonfire rising into the sky, a design that has no parallel in Russian architecture. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century. The Guardian compared building with "garish chunk of Disneyland architecture" and "a clown's nose on the face of the evil empire".
A closeup look at the complex linking forming the forming the wheel and drive of an old steam locomotive.
"The aim of art is to represent not the outward appearance of things, but their inward significance."
Aristotle
The Öresund or Øresund Bridge (Danish: Øresundsbroen, Swedish: Öresundsbron) is a combined railway and motorway bridge across the Øresund strait between Denmark and Sweden. It is the longest in Europe with both roadway and railway combined in a single structure, running nearly 8 kilometres (5 miles) from the Swedish coast to the artificial island Peberholm in the middle of the strait. The crossing is completed by the 4-kilometre (2.5 mi) Drogden Tunnel from Peberholm to the Danish island of Amager.
The bridge connects the road and rail networks of the Scandinavian Peninsula with those of Central and Western Europe. The international European route E20 crosses via road, the Øresund Line via railway. The construction of the Great Belt Fixed Link (1988–1998), connecting Zealand to Funen and thence to the Jutland Peninsula, and the Øresund Bridge have connected Central and Western Europe to Sweden by road and rail.
The bridge was designed by Jorgen Nissen and Klaus Falbe Hansen from Ove Arup and Partners, and Niels Gimsing and Georg Rotne.
The justification for the additional expenditure and complexity related to digging a tunnel for part of the way, rather than raising that section of the bridge, was to avoid interfering with air traffic from the nearby Copenhagen Airport, to provide a clear channel for ships in good weather or bad, and to prevent ice floes from blocking the strait. Construction began in 1995, with the bridge opening to traffic on 1 July 2000. The bridge received the 2002 IABSE Outstanding Structure Award.
“Her complexity is a glorious fire that consumes, while her simplicity goes unapproachable. But if one takes time to understand her, there is something beautiful to find, something simple to be loved. But she goes unloved, for being misunderstood.”
― Anthony Liccione
In the digital camera market there is currently a shoot-out going on. Ever more powerful performance combined with in-camera post-processing becomes available - which also means ever more complexity and, inevitably, higher prices. I don't mean to be negative about technological progress. I am just pointing out that there are alternatives. We can stick to digital cameras and (!) combine it with the joy of doing things manually. The camera shown here is a second-hand Fuji X-Pro1. It is a robust and reliable performer which you can get rather cheaply these days. Attach a manual lens, it could be a low-price 'vintage' lens, and you have a wonderful combo very much capable of producing highest quality. There would still be complexity - in your head.
I believe this HYBYCOZO sculpture is titled Pyrite Field. It greets visitors in the Ottosen Entry Garden. Any correction will be appreciated. I especially love it at night with the lights and shadows.
dbg.org/events/light-bloom/2024-10-12/
www.youtube.com/watch?v=FFelgzzzQqg
LIGHT BLOOM by HYBYCOZO is a limited-time exhibit where nature and light converge. This mesmerizing display invites you to explore the Garden transformed by stunning geometric light installations that illuminate the beauty of the desert landscape in a new way. As the sun sets, LIGHT BLOOM comes to life, casting intricate shadows and vibrant hues across the Garden. Wander the trails and let the enchanting installations transport you to a magical realm where the natural world meets the abstract.
HYBYCOZO is the collaborative studio of artists Serge Beaulieu and Yelena Filipchuk. Based in Los Angeles, their work consists of larger than life geometric sculptures, often with pattern and texture that draw on inspirations from mathematics, science, and natural phenomena. Typically illuminated, the work celebrates the inherent beauty of form and pattern and represents their ongoing journey in exploring the myriad dimensions of geometry. HYBYCOZO is short for the Hyperspace Bypass Construction Zone, a nod to their favorite novel (The Hitchhikers Guide to the Galaxy) and was the title of their first installation in 2014. They continue to create under this name. In the novel earth was being destroyed to make way for a bypass. It lead Serge and Yelena to ask what it means to make art at a time where the earth’s hospitable time in the universe may be limited.
dbg.org/meet-the-artists-behind-light-bloom/
Q: Walk us through your creative process?
A: The focus of our creative process is to explore the intricate interplay between geometry, light, space and to inspire contemplation, wonder and a sense of place among our audiences. Geometry and pattern-making serve as the backbone of our creative expression. It is the framework through which we navigate the complexities of form, proportion and spatial relationships. Patterns, both simple and complex, have a profound impact on our perception and understanding of the world. They possess the ability to evoke a sense of order, balance and aesthetic pleasure. Pattern making and geometry offer us a means of storytelling and communication. These patterns serve as conduits for deeper exploration, provoking introspection and contemplation to uncover the underlying symbols embedded within the human psyche.
Q: What inspired the concept of LIGHT BLOOM?
A: Just as many cactus and desert plants have evolved to produce night-blooming flowers, adapting to their environment and thriving in darkness, our sculptures come alive after sunset, blossoming with light and transforming the night into a glowing landscape of art and geometry.
Desert Botanical Garden has an incredible collection of plants and cacti arranged in a beautiful park setting.
"Think the desert is all dirt and tumbleweeds? Think again. Desert Botanical Garden is home to thousands of species of cactus, trees and flowers from all around the world spread across 55 acres in Phoenix, Arizona."
Desert Botanical Garden
DBG HYBYCOZO Light Bloom
A macro view of a collection of glass beads. The frame represents a span of two-inches from top to bottom.
Strobist info:
The scene was illuminated by two Nikon SB900 speedlights positioned at 9- and 3-o'clock, 20-inches above and two-feet away from the beads. They were fired in Manual mode @ ¼ -power through Neewer 24" x 24" soft boxes.
The speedlights were triggered by three PocketWizard Plus X flash triggers.
Lens: Meyer Optik Görlitz Oreston (zebra) f1.8/50mm with a 36mm extension tube attached.
Persino un piccolo ruscello che rimbalza sulle rocce è un sistema incredibilmente difficile da descrivere da un punto di vista fisico e deterministico... eppure, sembra la cosa più semplice e banale da guardare ed ammirare.
Meraviglia del nostro universo.
#acqua #h2o #flow #flusso #gocce #droplets #rimbalzi #bouncing #streaks #lungaesposizione #ruscello #montagna #water
Dedicated to Paul Ewing and Catness Grace for sparking the idea.
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© 2020, Richard S Warner ( Visionheart ). All rights reserved. This image may not be used in any form here or elsewhere without express, written permission.
Guarini's dome on the Capella della Sindone in the Palazzo Reale in Turin . Magnificently restored in the decades after the terrible fire of 1997.
Tanah Lot Temple stands for earth (Tanah) and sea (Lot), quite appropriate considering its spectacular setting on top of an impressive rock overlooking the sea. It's one of seven ocean temples on the coast of Bali that create a sort of spiritual bulwark against bad vibes rolling on the ocean currents. Inside the actual temple compound itself there are tiered shrines that follow the fundamental elements of Balinese design where the number of levels constructed are symbolic to the complexities of the faith.
Prints & Downloads are available on my ☛ H o m e p a g e
The creation of High Dynamic Range (HDR) images of the solar corona is a fascinating challenge, driven by the need to capture the vast dynamic range of brightness that defines these celestial phenomena. This endeavor marries the artistic with the scientific, uncovering details and structures of the corona that a single exposure could never reveal.
This particular HDR image of the solar corona was meticulously crafted from a series of exposures captured during the total solar eclipse on April 8, 2024. My setup for totality included a Canon Ra camera, a Canon EF200mm f/2.8L II USM Lens paired with a Canon 2x III Extender for an effective focal length of 400mm, set at F/8, ISO 200. The camera was mounted on an iOptron SkyTracker, and I utilized a laptop with the SET'n'C (Solar Eclipse Timer and Controller) for precise camera control. The range of exposure times spanned from 1/1000 to 4 seconds, encompassing 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1, 2, and 4 seconds.
During the eclipse, I successfully captured four complete series of photos at these shutter speeds, all in CR3 format. I then processed these files in a Raw editor, adjusting texture, clarity, and denoise settings before saving them as 16-bit TIFF files.
In Photoshop, I centered the photo by loading the images into layers (File > Scripts > Load Files into Stack...) and utilized the “difference” blending mode for layers, manually centering each image using the arrow keys. An average shift calculation from image to image helped address the challenge of centering overexposed images, which could not be simply aligned based on the moon alone.
To create a mean image, I converted the selected layers into a Smart Object and applied the Mean stack mode (Layer > Smart Objects > Stack Mode > Mean), then flattened the image and saved it as mean.tif. For the moon to be at the center of the image, I cropped it accordingly.
I applied a Radial Blur in Photoshop (Filter > Blur > Radial Blur) with the settings: Spin as the Blur Method, Best for Quality, and an Amount of 10, ensuring the moon was centered in the image. This blurred image was saved as blur.tif.
To subtract the blurred image from the original, I used the Apply Image command (Image > Apply Image), setting the source to blur.tif, with the blending mode set to Subtract and an offset of 128. I then compressed the dynamic range using the Levels tool (Image > Adjustments > Levels) and saved the file as subtract.tif.
To multiply the mean image with the subtracted image, I once again used the Apply Image command, setting the blending mode to Multiply. The final image was saved as done.tif.
Final touches were made using Topaz Denoise, the Raw Filter editor, and other Photoshop tools to enhance the image.
The final HDR composition is not merely a visual feast but a technical triumph that reveals the complexity and elegance of the sun's atmosphere. These images are invaluable, providing insights into solar physics and the forces that shape the corona. They also offer a breathtaking visual experience that conveys the awe-inspiring beauty of solar eclipses to a global audience. Through this HDR image, the profound beauty of a transient celestial moment is captured, enriching our appreciation and understanding of the cosmos's wonders and presenting the solar corona in a captivating new light.
What defines happiness, glee, or all-around contentment? It harbor's different responses from each individual. Be it a jam packed stadium full of like-minded fans wavering at the thought of a last minute goal; time spent in the garage with just a wrench, some elbow grease, and all American muscle; maybe some solidarity with scotch on the rocks in a cozy office?
Its the nuances of life that bear its complexities. For those who are familiar with my style, I aim not simply to take pictures, but rather capture reality in the form of pixel and text. For me it's blazon falls colors, the splash of Glen Avon Falls below, a snap in the cool autumn air, and a perch all my own. All of these things, singularly just present in time and space. Melded together, they form a mood, shape an emotion, meld a feeling. EMD's finest play an upgrade ensemble of 16 cylinder diesel engines, while Lake Gitche Gumee, big sea overlooks below.
North Shore Nuances, they soon shall call me back.
This Christmas bauble was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead Christmas baubles for a select group of friends every year. In this case they are for a friend, who like me, elects blue as her favourite colour.
Each bauble is 15 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the pattern and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the flowers, which are 4mm. The flowers are raised cups and are imported from France. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. I always leave the flower cups until last, allowing a gap in the sequin chain to pin them in.
These baubles are smaller than some others I do, however because it is a complex pattern which starts from the inside and is worked outwards in ever larger circles, each bauble takes approximately 2 to 2 1/2 hours per side.
It is however, a labour of love which I do to pass the time throughout the year.
Holy Week in Sicily:
"… There is no country in Sicily, in which
the passion of Christ does not revive
through a real
representation, in which people
lives or statuary groups do not
of the streets and squares the theater
of that great drama ... "
(Leonardo Sciascia).
“…Jesus said, “I love you as you are. And I love you too much to leave you as you are…”
(Chris Lyons).
The rites of Holy Week are present in Sicily with complexity of content and symbologies due to numerous influences, very present those due to the Spanish culture, dominating the island between the sixteenth and seventeenth centuries; in the mystery of the death and resurrection of Christ, it is attended by a popular culture, referring to ancient pre-Byzantine rites that originated long before those of Mediterranean Christian culture.
These ancient rituals represent the most significant moments of the Passion of Jesus Christ, described in the Gospels, from his arrest by the Romans to the Resurrection and are part of the Holy Week celebrations, together with the normal religious functions.
The rites of Holy Week unite Sicily in a single collective rite, an appointment highly anticipated by many Sicilian and non-Sicilian photographers, due to the covid-19 pandemic, now also for this year 2021, as for last year, these celebrations- collective rites will not be able to take place, so I created a "photographic showcase" to be presented on Flickr, composed of images belonging to events that belong to the Sicilian Easter rites, posted in past years; of each reportage presented, I only took "a few cards" more or less significant, some photos were originally posted in black and white, and as such I left them, other photos were posted in color, the latter I re-edited in black and white to conform them to a single photographic language; some photos differ within this black and white language, for having been subjected to a very marked vignetting, I have left them anyway, belonging to reportage characterized by that type of post-production.
Trapani: The Mysteries of Trapani, Good Friday, 2018
Marsala: procession of Good Friday, 2019
Enna: the Good Friday procession (la processione del Venerdì Santo), 2012
Militello Rosmarino: the Good Friday procession (la processione del Venerdì Santo), 2016
Bronte: the Good Friday procession (la processione del Venerdì Santo), 2017
Randazzo: the Good Friday procession (la processione del Venerdì Santo), 2014
Piana degli Albanesi: Easter Sunday (Domenica di Pasqua), 2014
Scicli: Easter Sunday, the Living Man - U' Gioia (Domenica di Pasqua, l’Uomo Vivo – U’ Gioia), 2017
la Settimana Santa in Sicilia:
"…non c'è paese in Sicilia, in cui
la passione di Cristo non riviva
attraverso una vera e propria
rappresentazione, in cui persone
vive o gruppi statuari non facciano
delle strade e delle piazze il teatro
di quel grande dramma..."
(Leonardo Sciascia).
“…Gesù disse: “Ti amo per come sei. E ti amo troppo per lasciarti come sei…”
(Chris Lyons).
I riti della Settimana Santa presentano in Sicilia una complessità di contenuti e di simbologie dovute a numerosi influssi, molto presenti quelli dovuti alla cultura spagnola, dominante nell’isola tra il XVI ed il XVII secolo; nel mistero della morte e della resurrezione di Cristo, si assiste nella cultura popolare, a riferimenti risalenti da antichi riti pre-bizantini che originano da molto prima di quelli della cultura cristiana mediterranea.
Questi antichi riti rappresentano i momenti più significativi della Passione di Gesù Cristo, descritti nei Vangeli, dal suo arresto da parte dei romani alla Resurrezione e fanno parte, insieme alle normali funzioni religiose, delle celebrazioni della Settimana Santa.
I riti della Settimana Santa uniscono la Sicilia in un unico rito collettivo, appuntamento attesissimo da molti fotografi siciliani e non, a causa della pandemia da covid-19, oramai anche per quest'anno 2021, come per l'anno scorso, queste celebrazioni-riti collettivi, non potranno attuarsi, ho così realizzato una "vetrina fotografica" da presentare su Flickr, composta da immagini appartenenti ad eventi che appartengono ai riti Pasquali Siciliani, postati negli anni passati; di ogni reportage presentato, ho preso solo "qualche tessera fotografica" più o meno significativa, alcune foto furono postate originariamente in bianco e nero, e come tali le ho lasciate, altre foto furono postate a colori, queste ultime le ho rieditate in bianco e nero per uniformarle ad un linguaggio fotografico unico; alcune foto differiscono all'interno di questo linguaggio in bianco-nero, per essere state sottoposte ad una vignettatura molto marcata, le ho lasciate ugualmente, appartenenti a reportage caratterizzati da quel tipo di post-produzione.