View allAll Photos Tagged diagonal_symmetry
An 18 clue puzzle with rotational and diagonal symmetry on both axes.
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While working on box pleated designs for human figures, I stumbled upon a configuration that I think makes quite a nice sword.
I think this is the first time I've done a box pleated design with diagonal symmetry.
Folded from 30 x 30 double tissue. This design has diagonal symmetry unlike most of my models. The wings are little bit too big but i think thats ok (seagulls have big wings) .
Perhaps no other destination evokes many different responses like khajuraho does.
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For more- www.topdestinationphotographer.com/DestinationPhotographe...
Item Title: Barbara Mullen, Flat Hat, Bare Back, Harper's Bazaar, New York, 1958
Description/Notes: Barbara Mullen’s celebrated twenty-inch waist is at the center of Flat Hat Bare Back, which Bassman shot for Harper’s Bazaar in 1958. The formal, compositional elements of black-and-white fashion photography, which have since become Bassman’s signature, were nourished in the collaborative partnership she and Mullen began developing in the late 1940s. This was perhaps due in part to Mullen’s ability to do anything with her arms and legs and pose sinuously (1), but also to the rapport Bassman felt for her models. In her constant attention to light and dark, Bassman brings the black dress to frame the neck and bare back, abstracting them to become a glowing, amorphous form that catches us off guard when paired with Mullen’s obscured, yet recognizable profile. The diagonal symmetry and motion of Mullen’s arms sheathed in black gloves stand in sharp contrast to the horizontal of the flat hat, reminiscent of classical Egyptian fashion. Mullen’s body curves between two parallel vertical lines, which serve as the photograph’s secondary frame. Bassman’s attention to motion is further accentuated by the departure of the anonymous figure from the right of the image. A tableau appears behind Mullen in low resolution, a signature of Bassman’s darkroom techniques of bleaching and tissuing; together, the graininess and blurred edges contribute to the romantic effect for which Bassman is now identified. The inversion of painting as backdrop and human form as tableau suggest that Bassman knows and mischievously challenges the hierarchical distinction between fashion and art. (1) Neigher, Julie. Lillian Bassman: the return of an icon. L.A. Times 7 February 2010: P1, P6. Print. Item described by Catherine Sweatt, Academic Year Wilson Intern, 2010-2011.
Item Number: 2011.3.1.jpg
Permissions: For more information on copyright or permissions for this image, please contact Ruth Chandler Williamson Gallery.
Click here for the original item.
See the Photography from the Scripps College Collection for the original collection.
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Here's me and Jimmy Wall, looking like a couple of queers. Check out the diagonal symmetry of our colours... We headed off to a gay bar that evening. James likes doing that when he's in London.
Explored at #304
Female demonstrating perfect camouflage against the dead Bracken fronds.
Lately I have been cropping 5:4 sometimes, and in this case, it suits the diagonal symmetry of the image
It is rather nice in original size, if you would care to peek
NO GROUP INVITES PLEASE
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Something a little different.
Out super early for blue hour and lots of mist over the fields, hardly a cloud in the sky so I switched to photographing the diagonal symmetry of pylons, hoping the sun would catch the glass of the insulator blocks the way it had on an overcast day last week. Not as much joy with that but the shots came out well. Then walked to the lake and totally failed to shoot a black-headed gull taking flight. However the frost did allow me to shoot a few of these puddles, I'm always drawn to the fractured geometry.
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