View allAll Photos Tagged GeometricShape
©2011 Blomerus Calitz (All rights reserved)
Best viewed full size.
Playing with Bismuth Crystals and an acrylic ball.
Two flash guns has been used in this photo from behind to light the background and to freeze the motion of the water.
Every element in this photo is real and the colour is as captured by the camera. The clouds I took from my last visit to Cornwall. Minor enhancements and dust busting have been done in Lightroom 3
Please let me know what you think. Comments and suggestions welcome.
I found the grocery netting to be quite an interesting piece of material with great repeating geometrical lines once stretched out and vibrant colours. Can you guess what the back ground is ? Hint used recently in one of my macro shots.This shot is best viewed on Black to see the finer details.
Reposted for Macro Mondays Geometric shapes theme.
HMM
For "Macro Mondays", "Geometric Shapes", this shot of an antique pressed glass water goblet.
Sony 18-55mm f3.5-5.6 with 12mm extension tube attached. Lighted from above left with black background.
Well, I couldn't resist taking another shot of this unique roof of a Scottish Water building that sits on the esplanade!
Flickr Lounge ~ Weekly Theme (Week 5) ~ Geometric Shapes ...
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
The Hive - Kew Gardens - a 17m high multi-sensory installation commissioned by the UK Government and created by artist Wolfgang Buttress, Simmonds Studio and BDP. It formed the centerpiece of the UK Pavillion at the 2015 Milan Expo.
The structure highlights the importance of pollinators to our future food security.
Macro Mondays, Theme Geometric Shapes.
I found some templates from a Google search and folded these myself.
Serie de distorsiones, fractales y figuras geométricas creadas con las app para Android Mirror Lab y Glitch Lab este septiembre de 2019 a partir de un autorretrato de 2014 titulado "Enkidu".
The image in this hand-made cyanotype is a design which is commonly used in Russia. This image is derived from a 1969 book titled "Russian Geometric Design and Ornament".
Description: Although Thomas Smillie, the Smithsonian's first photographer and curator of photography, used images to catalog much of the institution's physical object collection, he also extensively photographed pages of books on topics of personal interest to him as a way of copying the material for future use. Smillie also photographed letters and documents as a method of preserving the Smithsonian's records.
Creator/Photographer: Thomas Smillie
Birth Date: 1843
Death Date: 1917
Born in Edinburgh, Scotland, in 1843, Thomas William Smillie immigrated to the United States with his family when he five years old. After studying chemistry and medicine at Georgetown University, he took a job as a photographer at the Smithsonian Institution, where he stayed for nearly fifty years until his death in 1917. Smillie's duties and accomplishments at the Smithsonian were vast: he documented important events and research trips, photographed the museum's installations and specimens, created reproductions for use as printing illustrations, performed chemical experiments for Smithsonian scientific researchers, and later acted as the head and curator of the photography lab. Smillie's documentation of each Smithsonian exhibition and installation resulted in an informal record of all of the institution's art and artifacts. In 1913 Smillie mounted an exhibition on the history of photography to showcase the remarkable advancements that had been made in the field but which he feared had already been forgotten.
Medium: Cyanotype
Date: 1890
Repository: Smithsonian Institution Archives
Collection: Thomas Smillie Collection (Record Unit 95) - Thomas Smillie served as the first official photographer for the Smithsonian Institution from 1870 until his death in 1917. As head of the photography lab as well as its curator, he was responsible for photographing all of the exhibits, objects, and expeditions, leaving an informal record of early Smithsonian collections.
Accession number: RU95_Box76_011
#3 of the last 7 pics for the 07_07_07 pool. a project of pics taken on this date. the group admins will try to publish a selection of the pics as a book, benefitting unicef
©2010 Blomerus Calitz
Best viewed full size.
Playing with a prism and an acrylic ball. This photo and the one before it is almost identical except for a few changes in the possition of the light sources which change the entire look and feel of the photo
Two flash guns has been used in this photo, one from behind with a blue gel and one from the right with a red gel.
Please let me know what you think. Comments and suggestions welcome.
As always, thanks for your views, comments and faves!
During my trip to Atlanta this week, these are views of geometric patterns seen around and about my hotel downtown. This is a view from the lower level up along the base of this fan-like structure spreading out in the lobby. You can also see the glass elevators that go up the middle of this hollowed-out building.
#TwitterTuesday
A feat of British engineering. The Hive - Kew Gardens - a 17m high multi-sensory installation commissioned by the UK Government and created by artist Wolfgang Buttress, Simmonds Studio and BDP. It formed the centerpiece of the UK Pavillion at the 2015 Milan Expo.
The structure highlights the importance of pollinators to our future food security.
Actually, it was many small steps, as this toddler led his mother on a wide ranging exploration of the grounds of the church at Ta' Pinu.
Variaciones a partir de la fotografía con la que Moustache90 ganó el 2º premio de CAM4 en 2016 (variaciones realizadas en septiembre 2019)
No he encontrado medio para contactar con él, aunque la foto es pública y no tiene ninguna indicación. Si él o alguien que lo conozca ve esta serie y no está a favor de que haya usado la foto que me lo diga por favor.
es.blogs.cam4.com/cam4-stickandwin-ganadores-de-nuestro-c...
The High Line, NYC
by navema
On view May 7, 2010 — May 2011 on the east side of the High Line, between West 17th and West 18th Streets.
Richard Galpin is best known for creating altered photographs of cityscapes. His chosen method of manipulation is to cut and remove the top layer of the colored emulsion from his photographic prints, exposing the paper substrate. By eradicating part of the photograph, the imagery becomes altered to the point of total abstraction. Using clean lines and sharp angles, Galpin's technique produces works with an emphasis on geometric shapes, recalling early 20th century movements such as Constructivism, Cubism and Futurism.
For the High Line, Galpin has created a 'viewing station' that functions in a manner similar to his cut photographs. Park visitors can look through a viewing apparatus lined up with a metal screen from which geometric shapes have been cut. The combination of these two devices gives visitors an altered, abstracted view from the High Line. One of the wonderful experiences the High Line has provided to visitors is a new vista of Manhattan. Similarly, Galpin's artwork will offer a novel reconsideration of our surroundings.
This High Line Art Commission is presented by Friends of the High Line and the New York City Department of Parks & Recreation.
ABOUT THE ARTIST:
Since graduating from Goldsmiths College with an MA in 2001, Richard Galpin has had solo exhibitions at Franklin Art Works, Minneapolis; Brancolini Grimaldi Arte Contemporanea, Rome; Galeria Leme, Sao Paulo; Roebling Hall, New York; and Hales Gallery, London. Group exhibitions include Under Erasure at Temple Bar Gallery, Dublin; When it's a Photograph at The Bolsky Gallery, Los Angeles; Prints and Drawings: Recent Acquisitions at the British Museum, London; The Photograph in Question, Von Lintel Gallery, New York; Attack: Attraction, Marcel Sitcoske Gallery, San Francisco; and Looking With/Out at the Courtauld Institute of Art, London. His work is included in several public collections including the British Government Art Collection, the British Museum, and the Victoria and Albert Museum. He lives and works in London, and is represented by Hales Gallery, London and Galeria Leme, Sao Paulo.
HISTORY OF THE HIGH LINE:
The High Line is a park built on a section of the former elevated freight railroad spur called the West Side Line, which runs along the lower west side of Manhattan; it has been redesigned and planted as an aerial greenway.
In 1847, the City of New York authorizes street-level railroad tracks down Manhattan’s West Side. Between 1851 – 1929, so many accidents occur between freight trains and street-level traffic that 10th Avenue becomes known as Death Avenue. For safety, men on horses, called the West Side Cowboys, ride in front of trains waving red flags.
The High Line was built in the 1930s, as part of a massive public-private infrastructure project called the West Side Improvement. It lifted freight traffic 30 feet in the air, removing dangerous trains from the streets of Manhattan's largest industrial district. The entire project was 13 miles long, eliminated 105 street-level railroad crossings, and added 32 acres to Riverside Park. It cost over $150 million in 1930 dollars—more than $2 billion today. In 1934, the High Line opens to trains. It runs from 34th Street to St. John’s Park Terminal, at Spring Street. It is designed to go through the center of blocks, rather than over the avenue, to avoid creating the negative conditions associated with elevated subways. It connects directly to factories and warehouses, allowing trains to roll right inside buildings. Milk, meat, produce, and raw and manufactured goods come and go without causing street-level traffic.
No trains have run on the High Line since 1980 - the last train ran on the High Line pulling three carloads of frozen turkeys. Friends of the High Line, a community-based non-profit group, formed in 1999 when the historic structure was under threat of demolition. Friends of the High Line works in partnership with the City of New York to preserve and maintain the structure as an elevated public park.
The project gained the City's support in 2002, and in 2003, an open ideas competition, "Designing the High Line," solicited proposals for the High Line's reuse. 720 teams from 36 countries entered - hundreds of design entries were displayed at Grand Central Terminal. The selected team was established in 2004: James Corner Field Operations, a landscape architecture firm, Diller Scofidio + Renfro, an architecture firm, and experts in horticulture, engineering, security, maintenance, public art, and other disciplines.
In 2006, groundbreaking is celebrated on the High Line with the lifting of a rail track, and the beginning of construction begins. On June 9, 2009, the first section (Gansevoort Street to West 20th Street) opens to the public. The second section (West 20th Street to West 30th Street) is projected to open in spring, 2011.
When all sections are complete, the High Line will be a mile-and-a-half-long elevated park, running through the West Side neighborhoods of the Meatpacking District, West Chelsea and Clinton/Hell's Kitchen. It features an integrated landscape, combining meandering concrete pathways with naturalistic plantings. Fixed and movable seating, lighting, and special features are also included in the park.
Access points from street level will be located every two to three blocks. Many of these access points will include elevators, and all will include stairs.
For more information, visit: www.thehighline.org
The Vaillancourt Fountain, also known as "Quebec Libre!," is one of San Francisco’s most controversial and intriguing public art pieces, located in Justin Herman Plaza at the Embarcadero. Designed by Armand Vaillancourt in 1971, the massive, raw concrete fountain is a bold example of Brutalist architecture, standing in stark contrast to the waterfront’s more polished and modern surroundings. Its jagged, geometric blocks of cement rise into the air, creating a visual puzzle that draws you in for a closer look.
At night, the fountain takes on a new character. The harsh edges of the concrete blocks soften under the glow of the plaza’s lights, casting long shadows that emphasize the structure’s abstract forms. Originally designed to have water flowing through it, the fountain was intended to evoke nature’s raw power, with water cascading through its maze-like structure. However, it’s the interplay of light and shadow after dark that makes Vaillancourt Fountain a must-see for those exploring San Francisco at night.
Vaillancourt created this piece as a statement of artistic freedom, and its controversial nature—some have loved it, others have called for its removal—only enhances its mystique. Over the years, it has become a symbol of San Francisco's rebellious and avant-garde spirit, standing defiantly amid its critics. Whether you’re an admirer of Brutalism or not, the Vaillancourt Fountain continues to captivate as a piece of art that refuses to fade into the background.