View allAll Photos Tagged GeometricShape
The sun rises over San Francisco Bay, painting the sky in gradients of orange, pink, and deepening blue while the iconic shipyard cranes of Pier 70 stand in silhouette. This is the view that greeted generations of maritime workers arriving for early shifts—the industrial skyline that built America's Pacific naval power now transformed into one of the city's most evocative historic landmarks. Those gantry cranes marching across the horizon are among the most recognizable structures at Pier 70. Their skeletal steel frameworks, designed for lifting massive ship components and machinery, create a rhythmic pattern against the colorful dawn sky. During World War II, cranes like these operated around the clock, hoisting steel plates, engines, and armaments onto vessels destined for the Pacific theater. The distinctive A-frame shape allowed them to straddle railway tracks that once crisscrossed the shipyard, moving materials from fabrication shops to drydocks with industrial efficiency. The water catches and reflects the warm sunrise colors, creating a mirror image that doubles the visual impact. San Francisco Bay has always been central to the city's identity and economy—first as a Gold Rush gateway, then as a maritime and naval powerhouse, and now as a contested space where public access, environmental restoration, and development pressures collide. This particular stretch of waterfront, once closed to civilians for security and operational reasons, has gradually opened to public use as the shipyard's industrial functions wound down. Sailboat masts visible on the left frame the scene, reminding us how this working waterfront has transitioned. Where cargo ships and naval vessels once dominated, recreational sailors now navigate these waters. It's a shift repeated across San Francisco's waterfront—from commercial and industrial uses toward residential, recreational, and mixed-use development. The tension between honoring maritime heritage and accommodating contemporary urban needs defines much of the conversation around places like Pier 70. The composition itself emphasizes the scale and drama of industrial infrastructure. Silhouetting the cranes against the saturated sky transforms functional machinery into sculpture, their geometric forms creating visual interest through repetition and variation. The foreground remains in deep shadow, focusing attention on that brilliant horizon where industrial history meets natural beauty. This is the kind of view that makes San Francisco special—a city where working landscapes and stunning natural settings coexist, where you can witness both human ambition and environmental grandeur in a single frame. For decades, these cranes represented economic vitality and American industrial might. Now they stand as monuments to a bygone era, preserved not for their utility but for their historical and aesthetic value. Their presence reminds us that San Francisco wasn't always a tech hub—it was a city built by people who worked with their hands, who built ships and loaded cargo, who operated cranes and welded steel. As the city transforms, these structures anchor us to that history.
Los Angeles - California - USA
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Uploaded on January 25, 2019
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~~~~~ My own photo Digitally Manipulated and converted to Black and White
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A beautiful Ferris wheel illuminated in wonderful light at the Walworth County Fair in Elkhorn, Wisconsin.
Ferris wheels at the county fair are always fun to photograph. This particular one was no exception.
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Trapezoid quadrilateral, rectangles, ovals, and squares. I was just doodling around in photoshop and decided to try some of the various tools and see what would happen. Well this is what happened. I love intense colors and just had to make them really colorful.
digital art
Posted for the week 6 challenge at Summer of Color 5 (2015.) to use two oranges and one blue: www.flickr.com/groups/thesummerofcolor/pool/
Intricately designed hexagonal lanterns, featuring traditional Japanese patterns like Seigaiha and floral motifs, glow warmly against a vibrant purple and blue night sky during an illumination event on Enoshima Island, Japan.
There are subjects that have been photographed thousands of times.
For me, the point is not to show once more what a place looks like,
but how it feels when I connect it with my own imagination.
Stuttgart City Library is a strong piece of architecture,
but in a purely documentary image it becomes interchangeable for me.
It’s the kind of picture you look at for a moment and forget the next day.
For the wall, I am looking for something else:
an interpretation that still inspires years later.
So this is not a classic documentary photograph.
I take the idea of the architecture and push it further –
into a calmer, clearer, futuristic version that still remains believable.
A smartphone could document this space perfectly well.
So why do we walk in with high-end cameras and lenses
only to produce yet another “correct” documentation?
I deliberately photograph in a way that turns a real location into a personal world.
Many architectural images are clean and technically correct – and still interchangeable.
One has a bit more sharpness, another a bit less noise,
but in the end it’s essentially the same picture.
You recognize the building, but not the person, the photographer, the artist behind it.
That’s where such images lose their impact, especially if you want to live with them on your wall.
Do we really want to contribute the ten-thousandth version of the same scene?
Creating your own visual worlds is much more demanding.
There is no template, nothing to copy, no guaranteed formula.
All you have is your inner idea of the place, and everything has to build around that:
colors that work together, light that carries a certain mood,
and the question of what this image is supposed to express.
That’s also why such a style is hard to imitate –
there is no preset for it, only the artist’s handwriting.
It took me a long time to understand this.
For many years I held back my own signature because I thought
photography had to be “correct” first and foremost.
But that way of working makes many images age quickly.
Photography becomes truly interesting when you dare to think a subject further –
not just to document, but to interpret.
That is what interests me today:
revealing the potential of a place, not just its surface.
If this image encourages other photographers to repeat less
and show more of their own signature, it has done its job.
There are far more possibilities than “natural colors” or “black and white”.
Once you allow your inner version of a subject to flow into the picture,
you start creating images you genuinely want to keep for a long time.
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And if you notice a man from the future
in the glass door at the top —
don’t worry, that’s me. 😉
(At 100% zoom: unmistakably the Running Man.)
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Technical details
📷 Camera: Sony Alpha 7R V
🔭 Lens: Sony FE 14mm f/1.8 GM
📍 Handheld – tripods are not allowed at this location
🔍 Focal Length: 14 mm
🌞 Aperture: f/5.6
🌙 ISO: Auto
⏳ Exposure Bracketing (HDR-RAW): 5-frame series with 2.0 EV steps per image
📍 Location: Stuttgart City Library, Germany
In this minimalist architectural study, I focused on how light plays across concrete surfaces to create subtle gradients and sharp edges. The composition explores the dialogue between rigid geometric forms and the flowing nature of light.
Quality prints, greeting cards, puzzles and many lovely products can be purchased at >> kaye-menner.pixels.com/featured/shadows-in-the-park-by-ka...
My photographic image of shadows and light of an old curved bench seat I captured whilst strolling through Dubbo Botanical Gardens, outback New South Wales, Australia.
This curved bench timber seat caught my attention with the late sun creating a nice defined shadow of the curves and wooden slats.
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Gemstone
52 Weeks of 2024 - Geometric Shapes
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© All rights reserved
The Champalimaud Centre for the Unknown in Lisbon is a biomedical research center specializing in neuroscience and cancer studies. Opened in 2010 and designed by Charles Correa, its modern architecture sits along the waterfront, offering striking geometric lines and open spaces. I spent a couple of hours capturing its curves, reflections, and dynamic light—an ideal spot for photography.
Lisbon, Portugal
04/52 2026 Geometric Shapes
This Gothic Revival architecture in the piers support the rail part of the Huey P. Long Bridge, which is among the longest rail bridges in the U.S. It works nicely for the geometry theme since a pointed arch is derived from the intersection of two circles.
Trapezoid quadrilateral, rectangles, ovals, and squares. I was just doodling around in photoshop and decided to try some of the various tools and see what would happen. Well this is what happened. I love intense colors and just had to make them really colorful.
MiMo or Miami Modern is the name coined by Randall Robinson and Teri D’Amico to describe the architecture that flourished in South Florida from 1945 until the late 1960s.
In their words:
MiMo is not a single style, but rather a confluence that includes the world-renowned Resort glamour of Morris Lapidus, the sublime Subtropical Modernism of Igor B. Polevitzky, and the flamboyant Latin infusion of Enrique Gutierrez, the architect of one of the Southland’s Modernist masterpiece, the Bacardi USA building. The common denominator is a time — the heady decades after the war — and a place — the subtropical environs of South Florida.
Miami Modern is further classified into two distinct strains, Resort MiMo and Subtropical Modernism. The visual “lineage” for both the resort and subtropical versions of Miami Modern can be traced to Miami’s emerging modern movement beginning in the 1930s. Local architects adapted elements of the International, 19 Streamline Moderne and Art Deco styles in their versions of contemporary buildings. Resort MiMo of the 1950s is a product of the experimentations. best represented by the vivid scenographic expressions of Miami Beach architects.
Resort MiMo is associated with the 1950s and 1960s and the influences of Hollywood set design, automobile styling, military jets and the space race. The American fascination with Futurism was a pervasive influence in the designs of Resort MiMo. It was realized in architectural form by acute angles, boomerangs and trapezoidal forms.
Subtropical Modernism was a strain of the modern movement that recognized the needs of a year-round population rather than solely the demands of the winter-resort guests. As a result, designers addressed the humidity and heat of summer by making accommodations for breezy corridors, covered galleries and shady courtyards. Subtropical Modernism also employed elements associated with the International Style of architecture that included glass walls and low-slung lines, flat roofs and wide eaves and free-flowing interior spaces. Many of the motels along Biscayne Boulevard are impressive examples of Resort Miami Modernism.
Credit for the data above is given to the following websites:
www.miamidade.gov/Apps/PA/propertysearch/#/
search.yahoo.com/yhs/search;_ylt=AwrCmuOgCLJj4BoApREPxQt....
study.com/academy/lesson/modernism-in-architecture-defini...
mimoboulevard.org/what-is-mimo/architecture-and-history/
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Chengdu open air music park modern building with futuristic architecture reflecting in a pond, Sichuan province, China
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Photography by Christian Nass
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