View allAll Photos Tagged SteelStructures
A low-angle perspective captures the sweeping lines of the stations arched roof, enhanced by large skylights that allow ample daylight to illuminate both the steel structure and the platform.
The sun is reflected off of the Eiffel Tower's iron trusses - as seen from a boat on the Seine River
A dramatic view upward reveals the intricate structure of a modern glass-and-steel atrium. Repeating curves, intersecting beams, and geometric patterns create a striking visual composition that blends engineering precision with architectural elegance. The symmetry and layered design draw the eye toward the illuminated ceiling, transforming a functional space into a futuristic architectural landscape. This image captures the harmony between light, structure, and contemporary urban design in Japan.
Descrizione (Italiano):
Una prospettiva verso l'alto svela l'intricata struttura di un moderno atrio in vetro e acciaio. Curve ripetitive, travi che si intersecano e motivi geometrici creano una composizione visiva d'impatto che unisce precisione ingegneristica ed eleganza architettonica. La simmetria e il design stratificato guidano lo sguardo verso il soffitto illuminato, trasformando uno spazio funzionale in un paesaggio architettonico futuristico. L'immagine cattura l'armonia tra luce, struttura e design urbano contemporaneo giapponese.
The 232 m high structure is a pylon of steel used until the nineties to bring electricity line high voltage 220 KV that crossed the Strait of Messina between Sicily and Calabria.
A dramatic night-time close-up of Tower Bridge in London, showcasing the intricate stonework and steel structure of its iconic towers. The powerful architectural details are highlighted by carefully balanced lighting, revealing texture, depth and craftsmanship against the dark sky. The illuminated walkways and suspension elements create strong geometric lines, while the warm glow from within the bridge contrasts beautifully with the cool exterior tones. This image captures the grandeur and engineering elegance of one of London’s most famous landmarks after dark
Shot from Leeds Road, you can see that it's now down to the bottom ring, in the demolition of the Gasometre.
More information here: huddersfieldhub.co.uk/date-is-set-for-demolition-of-hudde...
Whilst we were up in the Northeast, back in August 2018, I had a day to myself and so I headed off, armed with my photo-kit and "Bucket List". First stop was Middlesborough, for a trip across the Tees on the Transporter Bridge, something that I had been wanting to do for a very long time! I parked on the North back and made the return trip as a pedestrian but it was still great fun!
The Montjuïc Communications Tower, also known as the Torre Calatrava, is a striking architectural structure located in the Olympic Park of Montjuïc in Barcelona, Spain. Designed by the renowned architect Santiago Calatrava, the tower was constructed between 1989 and 1992. Its futuristic design, representing an athlete holding the Olympic flame, has become an iconic symbol of the city. The tower also serves as a functional element, transmitting television coverage of the 1992 Olympic Games.
Standing proudly in the heart of Tokyo, Tokyo Tower is an iconic symbol of the city’s post-war rebirth, embodying a fusion of Japan’s traditional aesthetics and modern aspirations. Inspired by the Eiffel Tower, this 333-meter structure was completed in 1958, making it a distinctive landmark during Japan’s economic boom. Unlike the French tower's classic iron hue, Tokyo Tower is painted in a striking red and white color scheme to meet air safety regulations. As Japan’s tallest structure at the time of its completion, it served as a beacon of Tokyo's modernization and a broadcast tower, transmitting signals across the city.
An insider tip: Visit the tower’s main observatory, where panoramic views of the sprawling cityscape and glimpses of Mount Fuji on clear days offer a breathtaking experience. You can also explore the lower levels filled with quaint souvenir shops and the Foot Town area featuring restaurants and a quirky "One Piece" manga-themed park. For those craving a romantic night, Tokyo Tower shines with different lighting schemes throughout the year, casting a warm glow over the city. The unique lighting designs change seasonally, and occasionally, special colors light up the tower for holidays or events, making each visit feel special and memorable. With its rich history, architectural significance, and unrivaled views, Tokyo Tower is more than a tourist spot—it's a cultural touchstone connecting past and present Tokyo.
A perspective on La Grande Roue de Montreal in the Old Port of Montreal, Quebec, Canada.
As the tallest ferris wheel in Canada, it was opened to the public on September 1, 2017, to celebrate the city of Montreal's 375th anniversary.
Its construction cost $28,000,000 CDN and was paid by private investors.
It is a Ferris wheel model WS60 (White Series 60 metres) from the Dutch Wheels Company (Vekoma Group) with a height of 60 metres (200 feet) and comprised of 42 passenger units, each of which can fit 8 persons for a total capacity of 336 passengers. A ride last 20 minutes.
towering assertively against the madrid sky, the KPMG tower at Cuatro Torres is a spectacle of reflective glass and steel. It stands as a testament to modern engineering and design, reaching for the clouds that casually drift by. The building's facade is a canvas for the shifting sky, reflecting the ever-changing tableau above, while below, the city pulses with its ceaseless rhythm.
Standing as an iconic sentinel over the Irish Sea, the Blackpool Tower was inspired by the Eiffel Tower in Paris and opened to the public on May 14, 1894. Designed by architects James Maxwell and Charles Tuke, the Grade I listed structure rises to a height of 518 feet (158 metres). Unlike its Parisian counterpart, which is freestanding, the base of the Blackpool Tower is hidden within a red brick building that houses the world-famous Tower Ballroom and Tower Circus.
Technical Specifications:
• Structure: Steel and iron lattice tower.
• Materials: Approximately 2,500 tonnes of iron and 5 tonnes of steel.
• Lighting: The tower is currently illuminated by over 25,000 eco-friendly LED lights, a modern evolution from the traditional incandescent bulbs used for the "Illuminations."
• Foundation: The four legs are set in concrete blocks 35 feet square and 12 feet deep.
A compelling perspective from inside the historic steel truss structure of the Keizersveerbrug in the Netherlands. Carrying heavy daily traffic along the A27 motorway over the Bergsche Maas river, this iconic bridge stands out with its intricate criss-crossing metal lattice framework. The photo captures a typical busy day with cars and a large international meat cargo truck lined up under the massive industrial canopy.Location: Keizersveerbrug, A27 Highway, North Brabant, Netherlands
Al Faisaliyah Tower
Architect: Foster + Partners
Contractor: Bin Laden Construction Company
Owner: King Faisal Foundation
Consultants: Buro Happold, Brian Clarke, Sandy Brown Associates, WET Design
Date: 1994 – 2000
Website | Instagram | 500px | Behance | LinkedIn | Pinterest | Facebook | X | Tumblr | | Deviantart
Stand at ground level on the rubberized green-and-blue surface and the playground's largest structure reads less like equipment than like weather caught mid-motion. Endrestudio and Andrea Cochran named these forms after San Francisco's fog patterns, and this open helix — "Sky Punch," with its warping blue net spiraling up to a ringed walkway — earns the metaphor. Shooting from below and close lets the steel ribs cut diagonals across the frame while the safety netting reads as taut catenary geometry rather than a barrier.
What makes the picture work is the collision behind it. The playful parametric curves sit directly in front of the city's most rigid expression of civic authority: the Beaux-Arts colonnade and arched window of the Civic Center, with brutalist and corporate towers stacked beyond. Dawn light keeps everything cool and even, no harsh shadows to break the structure's logic.
Opened in 2018 as a Helen Diller Family Foundation gift through the Trust for Public Land, the playgrounds were a deliberate intervention in a long-troubled plaza. Framing the helix against those columns puts whimsy and order in the same breath — which is exactly the argument the project was making.
I shot this picture in Cambridge MA, on the MIT campus. The Ray and Maria Stata Center was designed by Pritzker-Prize winning Frank Gehry and finished in 2004. It is a very interesting building because of its many faces, angles and parts either made of bricks or metal.
To shoot this picture, I set up the camera touching the lower part of the building, in order to accentuate the leading lines and perspectives. I wanted to instill this feeling of looking up at a very high and menacing tower, a little bit like that of a medieval Castle, or something that people would use to reach Heaven, just like the biblical Tower of Babel.
Open or Limited Editions prints of this picture are available on my website: www.thibaultroland.com/
Technical info:
ND110 - 16 stops.
f/13
ISO 100
21 mm
335s (5min 35s) exposure
Software:
PS CS5
Silver Efex Pro2
For more information about my photography:
For more information about my photography:
www.thibaultroland.com/ (work in progress)
www.facebook.com/thibault.roland
plus.google.com/u/0/118424601051534304110/posts
17777.portfolio.artlimited.net/
500px.com/thibaultroland
www.stark-magazine.com/member/thibaultroland
ndmagazine.net/photographer/troland/
The train slips out of Edinburgh beneath the blazing latticework of the Forth Rail Bridge, the August heat turning its iron into what looks like a molten red tunnel around the passing carriages. Seen from the Fife side, the daylight catches the metal in a way that feels both industrial and quietly surreal.
It’s a departure that mirrors the wider rhythm of how Edinburgh moves, trains stretching north while Lothian Buses thread their routes through the city below, each part of a transport story that’s real but refined. A summer moment shaped by heat, colour, and the sheer poetry of engineering.
Shot from Leeds Road, you can see a large chunk of the steel structure of the Gasometre has been demolished.
More information here: huddersfieldhub.co.uk/date-is-set-for-demolition-of-hudde...
Shot from New Hey Road showing the entrance, more of the roof and block work on going and part of the perimeter fence removed to enable work near the pavement, on the site of the New Lidl Supermarket.
The Forth Circle excursion train crossing the Forth Bridge on 6th September 2015.
(Please view F11 in lightbox for intended best.)
This photograph is a striking study in light, darkness, and modern architectural geometry, set against the backdrop of San Francisco's historic waterfront—a familiar, yet completely reimagined view of the Embarcadero. Rendered in dramatic black and white, the image immediately focuses your attention on the huge, perfectly illuminated white ring or halo that dominates the center of the frame. This circle of light is a contemporary sculpture or architectural lighting feature, placed directly within the arched transom of a large, glass-and-steel building facade, likely near one of the major piers or cultural institutions that populate the area.
The monochromatic treatment strips away the distraction of color, emphasizing the powerful contrast between the brilliant light source and the deep black shadows of the surrounding structure. The entire composition is a masterclass in symmetry. The arch of the building and the grid of the windows are perfectly centered, providing a strong, ordered frame for the glowing circle. The repeating vertical lines of the doors and the horizontal window mullions guide the eye inward, creating a rhythmic, almost hypnotic pattern that locks the light source into place. This structural precision suggests that the building itself, despite its historical context, has embraced a sleek, contemporary aesthetic.
Beyond the glass doors, the interior is visible, hinting at an art gallery, a tech office, or a modern event space. You can just make out geometric patterns on the walls inside—sharp, angular shapes that echo the strong lines of the window grid and offer a further contrast to the perfect curve of the illuminated ring. This interplay between the interior and exterior suggests a threshold, a passage between the utilitarian history of the port (implied by the setting) and the city's modern, art-forward identity. The image feels less about a place and more about an idea: the intersection of raw industry, symbolized by the heavy steel framing and arch, with pure, minimalist form, represented by the perfect circle of light. It captures a moment of quiet, powerful modernity on a street known for its bustling daytime life, inviting viewers to pause and appreciate the beauty found in urban geometry and intense visual contrast.
Update on the wheelhouse. I removed the steelstructure for the sunscreens. It was present on the ship when it was build, but when launched it was removed. I have made a modification on the windows of the bridge. The first version shows the use of windows 1 x 2 x 2 without sil as windows. But that did not stroke with the real apperance of the bridge. I changed the windows into transclear panels 1 x 2 x 2 and used white stickers to get the right look. I have tried several snot constructions, but not one of them was good enough. Besides that I would have lost the black plates that sits, at the botom of all the walls, around the whole wheelhouse.
Saamis Tepee
Originally constructed for the Calgary 1988 Winter Olympics, the Saamis Tepee is a tribute to Canada’s native heritage. After being moved to Medicine Hat, assembly of the major structural elements began October 20th, 1991, and was completed in less than one week. The World’s Largest Tepee is built entirely of steel with a concrete foundation and is ringed with 10 large circular story-boards depicting aspects of native culture and history. There are ten story-boards built into the tepee depicting native culture and history. The colours of the structure are symbolic, white for purity, red for the rising and setting sun and blue for the flowing river. The Saamis Tepee has a foundation weight of 800 metric tons, and the dead load of the structure is 200 metric tons. The main masts of the Tepee measure 215 feet (equivalent to a 20 story building!) and the diameter of the Tepee is 160 feet. There are 960 bolts holding the Tepee together.
Few structures reward repetition the way the Golden Gate Bridge does. From this Presidio-side approach, the bridge reveals itself less as an icon and more as an engineered gesture, a continuous red line pulled taut between hills, sky, and water. The composition leans into that idea: roadway in motion, railing as rhythm, suspension cables drawing the eye forward until the towers resolve against Marin’s muted greens.
The light does the quiet work here. Late-day sky scatters into layered blues and soft grays, giving the International Orange just enough warmth to hold the frame without overpowering it. Shadows stay present but open, letting the textures of steel, hillside, and planted edge read naturally. Nothing feels pushed; the scene breathes the way San Francisco does when the weather behaves and the city briefly relaxes.
What makes this view distinctly local is its in-between quality. You’re not standing at a postcard overlook or a tourist pull-out. You’re moving through infrastructure that locals know well, where walking paths, bike lanes, and traffic coexist beneath one of the most studied spans in the world. The blur along the pavement isn’t a flaw but a clue: this is a lived perspective, not a frozen one.
San Francisco reveals itself best in these moments, where motion, restraint, and geography align—and the bridge becomes part of daily life again, not just a symbol.
From the Marin side, the Golden Gate Bridge reveals a quieter kind of authority. The south tower lines up cleanly, frame within frame, its geometry doing the work without theatrics. Traffic moves steadily across the deck, suspended between headlands, while the bay opens wide to the west in muted blues and silvers. This is the bridge as infrastructure first—precise, legible, and confident in its own proportions.
The catwalk and trusswork below introduce a second rhythm, all diagonals and riveted steel, grounding the span in craft and labor. Hills rise tight against the roadway, reminding you how abruptly the city gives way to landscape here. On clear days like this, the scene feels almost understated, as if the bridge is content to let light, distance, and repetition carry the image.
San Franciscans know this angle well. It’s less postcard, more proof-of-concept: a working crossing that happens to be monumental. The Golden Gate Bridge earns its place not through drama, but through consistency—showing up, day after day, as a piece of city-scale design that still feels right, decades on, no matter how often you return to it.
Picture of a Chapel on MIT campus, Cambridge MA, 2013.
I shot this picture using Canon's 24mm T/S lens, and wanted to experiment with both shift and tilt. The symmetrical composition made it especially interesting to tilt the lens in order to introduce some blur as you go away from the spire.
To my knowledge, this is only the second image that mixes techniques of long exposure and lens tilting, applied to architecture (the first being Julia Anna Gospodarou's Fluid Time I).
I find the results very appealing and intriguing. In this case it feels like the building and spire appear from the darkness. This combination of techniques open up a whole new world of opportunities, which I intend to delve more into
As a teaser, I shared with you a few days ago one of the intermediate masks, and I hope you like the end result.
You might have noticed that selections were very tricky to do, even more than for regular LE architecture shots, because of the gradual increase of blur... I am still trying to develop the best way to do these selections, but I can tell you that is a completely new challenge, and it forced me to work some ~50 hours on this image alone and go down in scale to process individual pixels... like, seriously.
For this image, I also used the amazing neutral density filters provided in the Formatt Hitech Filters Joel Tjintjelaar signature edition kit. I am very happy with the improvement from B+W, since they are very neutral and do not display any color cast contrary to all of the other filters available commercially.
As usual, FB compression does a very bad job, but you can find a better resolution on my website.
Open or Limited Editions prints of this picture are available for sale: www.thibaultroland.com/
Now the good news.
To celebrate Christmas and my new website, you have until Dec 31st to order a signed Limited Edition Print of this or any other picture on my website (there are even new photos I'm sure you have not seen yet!), with the following discount:
- 15% OFF any ORDER for ONE LIMITED EDITION PRINT
- 25% OFF any ORDER for TWO or more LIMITED EDITION PRINTS
So follow the link if you want your pictures under the tree www.thibaultroland.com/Prints/Fine-Art-Prints
Technical info:
ND110 - 16 stops.
f/3.5
ISO 100
24 mm
96s (1min 36s) exposure
Maximum Shift upwards
5mm Tilt
Software:
PS CS5
Silver Efex Pro2
Topaz B&W Effects
For more information about my photography:
www.facebook.com/thibault.roland
plus.google.com/u/0/+ThibaultRoland/posts
17777.portfolio.artlimited.net/
The Bay Bridge doesn’t announce the morning—it receives it. Across these views, the structure stretches low and deliberate, cutting a clean line between water and sky as the city eases into daylight. Warm light gathers at the horizon, then slides slowly across the bay, turning steel into silhouette and water into texture.
From the shoreline, the bridge reads as infrastructure first: cables, towers, and span doing exactly what they were built to do. As the light builds, the city behind it starts to surface—brick, glass, and vertical density rising carefully along the edge. Nothing competes. Everything layers. The water holds steady, absorbing color while keeping its own rhythm.
These are not dramatic moments. They’re the kind locals recognize without naming—early hours when the bay feels calm, functional, and expansive all at once. The bridge becomes less of a landmark and more of a constant, stitching neighborhoods and eras together while the city wakes beneath it. San Francisco shows its best side here: patient, engineered, and quietly beautiful, long before the crowds arrive.
Another Blown Glass structure by Dale Chihuly stands outside the Temple of Bellona
Royal Botanic Gardens, Kew Gardens. London, UK
The former Nissan Dealership site is to become the new police station for Huddersfield.
A new regional HQ is being built in Dewsbury, while Huddersfield the larger of the two towns will get a reduced, in size and service, police station.
Demolition has finished and erecting the steel work is almost finished, in this shot from Tesco car park.
Anyway more information here: www.examinerlive.co.uk/news/west-yorkshire-news/new-hudde...
Standing proudly at the entrance to Birmingham Bullring, the iconic bronze Bull commands attention against the backdrop of the city’s modern glass and steel architecture. Captured during the blue hour, the soft evening light enhances the rich metallic tones of the sculpture while reflections from the surrounding buildings add depth and atmosphere to the scene.
Using a low-angle wide-angle composition, I wanted to emphasise the strength, scale, and character of one of Birmingham’s most recognisable landmarks. The combination of contemporary architecture, dramatic sky, and warm urban lighting creates a striking portrait of this celebrated piece of public art.
Photographed at Bullring & Grand Central, Birmingham, West Midlands, England.
The Silver Jubilee Bridge or Runcorn Bridge crosses the River Mersey and the Manchester Ship Canal at Runcorn Gap between Runcorn and Widnes in Cheshire, England. It is a through arch bridge with a main arch span of 1,082 feet (330 m). It was opened in 1961 as a replacement for the Widnes-Runcorn Transporter Bridge, and was initially known simply as the Runcorn Bridge or Runcorn–Widnes Bridge. In 1975–77 it was widened, after which it was given its official name in honour of the Queen's Silver Jubilee. It carries the A533 road and a cantilevered footway. The bridge has been designated by English Heritage as a Grade II listed structure.
The first plan for a high-level bridge was a truss bridge with three or five spans, giving a 24 feet (7 m) dual carriageway with a cycle track and footpaths. This was abandoned because it was too expensive, and because one of the piers would be too close to the wall of the ship canal. The next idea was for a suspension bridge with a span of 1,030 feet (314 m) between the main towers with a 24 feet (7 m) single carriageway and a 6-foot (2 m) footpath. However aerodynamic tests on models of the bridge showed that, while the bridge itself would be stable, the presence of the adjacent railway bridge would cause severe oscillation. The finally accepted design was for a steel through arch bridge with a 30-foot (9 m) single carriageway. The design of the bridge is similar to that of Sydney Harbour Bridge but differs from it in that the side spans are continuous with the main span rather than being separate from them. This design feature was necessary to avoid the problem of oscillation due to the railway bridge.
This is some footage of the old transporter bridge, that this bridge replaced.
www.youtube.com/watch?v=lCDM9p09lSg
www.youtube.com/watch?v=VuBHVznFpBI
Looks at it's best when viewed large, press L on your keyboard.
www.flickr.com/photos/51789932@N02/8365588035/sizes/l/in/...
Copyright © 2013 Ray Wood. All Rights Reserved.
www.fluidr.com/photos/51789932@N02