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A heavy frost at 18 degrees F. (7.77 C.) created this frost pattern on our backyard corkscrew willow tree.
Coccothrinax salvatoris. Texture on the trunk.
#Coccothrinaxsalvatoris #Coccothrinax #salvatoris #palm #texture #pattern #PatternsInNature #botanicabstract #abstract #CU #CUGreenhouse #UniversityofColorado #botany #macro #macroplant #macrophotography
20250824_5944_R62-100 Punga Fern frond detail
Dappled sunlight filtering through the tree ferns.
#16419
On tour of the Lower Antelope Canyon. In the Navajo Nation Reservation area in LeChee, Arizona, United States.
The thing I love about water reflections is their uniqueness, no one will ever see this exact pattern again
Racking my brains for "Patterns in Nature" for this week's Macro Mondays theme. Looking out of the bathroom window over the garage roof it became obvious which pattern I needed to try and capture.
We have a very artistic snail, who often leaves a small pattern on a tile. I have thought of photographing it before, but decided today was the day. This necessitated hanging out of the small fanlight window with camera held firmly (although we're only on the ground floor, there is quite a drop between house and garage).
Unable to be absolutely certain of dimensions, but I would say this is 3" maximum dimensions, as I was fairly close to the tile.
Close-up of the Canna Lily, canna x generalis "Tropicana", leaf. The back lighting brings out the vibrant colours of the leaf. Located in the Royal Botanic Garden Sydney
On tour of the Lower Antelope Canyon. In the Navajo Nation Reservation area in LeChee, Arizona, United States.
Last old black & white shot for a while. I remember - clearly - the circumstances of this one. I was in a public park with some friends; we had a picnic lunch, and were lying on the grass. Looking up I saw the pattern of tree branches and leaves, and reached for my camera. Simple. It was perhaps the first time I looked past the name of the thing and saw its graphic elements directly - a difficult trick to learn. All visual art consists of textures, lines, shapes, and colours, but when we attach labels to objects in our physical world, we have moved a step away from them. We are no longer seeing directly.
It reminds me of the day my father tried to show me how to draw a cat. I was very young and liked to draw. "No," he said, "that's not the way to draw a cat." And then he "taught" me how. He drew a large circle for the body, a smaller circle on top for the head, added a squiggly line for the tail, and so on with ears, eyes, whiskers, etc. - thus ruining my ability to draw cats. After that, instead of drawing a cat the way I saw and felt it, I was trying to please him (which ultimately didn't work out too well). It wasn't his fault; he had no idea about art.
Circling back to photography, if we look at a scene and think "sunset from the beach", we are far less likely to see beyond the cliché. We will fail to notice the way the red light is reflecting off the wet sand, or any of the sundry details that make the scene unique and different from every other sunset that has ever happened. Dropping the labels may help us see the textures and lines first, and - as a good photography teacher told me a few years later - "Don't worry, the content will be there!" You can always add the label afterward. And never let anyone tell you how to draw a cat or photograph a tree...
Photographed on Kodak Tri-X film (ISO 400) in Niagara Falls, Ontario (Canada); scanned from the original negative. I used a Pentax Spotmatic with Takumar 50mm f/1.4 lens. Don't use this image on websites, blogs, or other media without explicit permission ©1971 James R. Page - all rights reserved.