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Sometimes you have to really look to find photos, and sometimes you turn a corner and it is right there like a building to the face. I knew in less than a second of seeing this that I was going to make a photo of it, it just had to be done; the geometry was too nice to pass up. The clouds were a nice bonus.
Hasselblad 500C
Kodak Portra 400
CN's Geometry Train makes a stop alongside the platform where a large Grand Trunk station once stood.
Geometry
The strength and beauty that geometry brings in the urban landscape. Shapes, reflections, lights and shadows. In front of the eastern palace in Madrid, life goes on.
Geometria
La fuerza y belleza que aporta la geometria en el paisaje urbano. Formas, reflejos, luces y sombras. Frente al palacio de oriente en Madrid la vida sigue su curso.
Microfibre cloths.
OK, your challenge is to work out what the whoopsie was on this pic, which I only noticed when I looked it full size. The prize is a virtual box of Smarties (that’s a unique and ancient type of candy, in case you were obliged to grow up in the wrong country ;) ). Just let me know if you guessed right in the comments . (Answer below…)
I bought these cloths as a job lot from Amazon a while back. I really didn’t need that many for cleaning my glasses (as in eyewear) but they were cheap and the right size and, hey, the pretty colours might make good photography fodder…
This was my alternative idea for Macro Monday’s theme Cloth this week.
What was unusual is that my original idea actually worked out more or less as intended. Yey!!
Normally once I try and realise an idea, the practicalities of imaging transform the original concept into something very different and the initial exuberant optimism gives way to sullen, if pragmatic, acceptance of the limitations of reality.
But do I like it? Well, no, not really (which is why I put the other into Macro Mondays). And that comes as a suprise (to me, if not to you). I see this as a technical graphic art creation (I use the term art rather cynically here). But, for me, it lacks emotion and interest - it’s just pure colour zing and geometry zap…
I'm curious as to why I really much prefer my first idea (flic.kr/p/2d5i1fX) . That one feels much less contrived - just fold the scarf and point the camera and wish… And yet the result seemed much more interesting, engaging, even emotional.
Well there we go. Sorry to bore you with another step on this tortuous journey that is Me and Photography! (I console myself that you don’t have to read any of this!! :) ). The lesson is that I should try and think less, and just shut my eyes and let it all happen… or not.
And the whoopsie? Well when I folded the cloths for the pic I folded them on different sides - when you look at the blue and orange cloths the weaving is on the front side and for the others it’s the back side. If this were properly done we would have the requisite order and consistency (wouldn’t we?). The marvels of macro discovery!!
This is my first contributuon for the Mittwochs Makro (Macro Wednesday) group. Thanks to Mae (www.flickr.com/photos/soymae) for the suggestion.
Thanks for taking the time to look. I hope you enjoy the image! Happy Macro Wednesday :)
[Handheld. Sidelit by LED lightbox.
Developed for colour and contrast. Sharpened with High Pass filter/Linear Light blend. Fairly strong dark vignette.
This was one of those images that said something different if you flipped it horizontally (always worth a try if you don’t have text in the image!). This is the flipped version :)]
Every year the CSX Geometry Train would make a trip across the Keystone Sub, and I lined up with it three times during my engineer career. One such time was in October 2004, when conductor Scott Sechler and I were called to take the train between Cumberland, MD and Connellsville, PA. As far as the train crew was concerned, the train operated as a normal passenger train, running passenger speeds and with the conductor riding the rear end.
In this image, Scott relaxes in an easy chair at the rear end of the theater car, and will spend the trip up and over Sand Patch with free food and drink while enjoying an amazing view. I, however, will be in the cramped right hand seat of a GP40-2. You can't win them all.
This abstract image is one of several table shots taken indoors after setting up my studio using both of the crystal sphere's I've used quite a bit outdoors. Using a geometric background I wanted to see how the globes distorted the pattern. The lighting turned out to be quite tricky, due to trying to get enough light for the shot while be concerned with glare and the reflections. This was a 20 second shot having turned around my studio lights in an attempt to "bounce" the light off the ceiling rather than off the glass. Still there were shadows, glare and color distortions that are evident in the image. Overall a fun learning experience that has me looking forward to using my new tabletop studio setup a great deal!
Shot with a Canon 70D camera and a Sigma 24-105mm lens. Some editing done in Photoshop to remove dust spots and to adjust white balance.
Setting: ISO 100, 35mm, f/22, 20 sec
Comments and constructive feedback are always appreciated!
Best viewed large.
A view of the Natural History Museum at Amherst College. I spent most of a 10:20 - 1:30 free block editing pictures today. My Wednesdays are going to be pretty sick this year haha. I took 7154 pictures this summer, so for the next couple of weeks I'll probably be sifting through old pictures and uploading the stuff I like.
edit: Thank you daruma* for awarding this "Admin's Pic of the Day" (13/9/09)!
Through a perfectly aligned window frame, The Sea Ranch reveals its philosophy in a single view: structure and landscape as one seamless composition. The weathered cedar siding, aged to silvery gray, contrasts against the vivid greens of coastal vegetation and the deep blue of the Pacific beyond. Morning light glances across the façade, tracing the precise geometry of the architecture—a quiet choreography of form, texture, and light that defines The Sea Ranch’s timeless appeal.
This framing device, likely intentional in design, captures the community’s original vision articulated by architects Charles Moore, William Turnbull Jr., Donlyn Lyndon, and landscape architect Lawrence Halprin. The open window becomes both a literal and conceptual aperture, focusing attention on the natural environment while grounding the built form within it. The wild grasses and native shrubs flow to the edge of the structure, reinforcing the principle of “living lightly on the land.”
The scene is at once intimate and expansive—an invitation to pause and see how architecture can amplify, rather than dominate, its surroundings.
Framed by weathered cedar, this Sea Ranch view exemplifies the community’s defining ethos: minimalist modernism shaped by the Northern California coast’s raw beauty.