View allAll Photos Tagged geometricpattern
Vast, geometric patterns of crystallized salt stretch relentlessly toward the horizon, glowing with a subtle, icy blue luminescence under the fading light. This is the otherworldly expanse of the Salinas Grandes in the Argentine Northwest, a desolate yet captivating high-altitude desert. The low angle of the camera meticulously highlights the raised, crusty ridges of the polygons, emphasizing the harsh, tactile reality of this extreme environment. A deep depth of field ensures that every crystalline fracture in the foreground remains razor-sharp while guiding the viewer's eye across the expansive basin toward the distant Andean foothills. As the sun dips behind the jagged silhouette of the mountains, it ignites the horizon with a fiery, golden-orange glow that contrasts dramatically against the cool, darkening sky. The ambient light casts long, subtle shadows across the textured salt floor, enhancing the three-dimensional relief of the interlocking geometric shapes. This interplay of warm and cool color temperatures evokes the plunging temperatures typical of the Puna region at dusk. Captured during the golden hour, the photograph leverages the soft, diffused backlighting to transform a barren, saline wasteland into a landscape of profound, tranquil beauty. The sheer scale of the salt flat dwarfing the distant peaks speaks to the immense geological forces that shaped the Norte Argentino over millennia. The absence of any human element amplifies the profound silence and isolation that defines this remarkable corner of South America. Every ridge and crevice in the salt crust tells a story of evaporation and time in one of the most arid regions on Earth. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Vastos patrones geométricos de sal cristalizada se extienden implacablemente hacia el horizonte, brillando con una sutil luminiscencia azul hielo bajo la luz tenue. Esta es la extensión de otro mundo de las Salinas Grandes en el noroeste argentino, un desierto de gran altitud desolado pero cautivador. El ángulo bajo de la cámara resalta meticulosamente las crestas elevadas y costrosas de los polígonos, enfatizando la dura realidad táctil de este entorno extremo. Una profunda profundidad de campo asegura que cada fractura cristalina en el primer plano permanezca nítida mientras guía el ojo del espectador a través de la vasta cuenca hacia las lejanas estribaciones andinas. A medida que el sol se oculta detrás de la silueta dentada de las montañas, enciende el horizonte con un resplandor ardiente, naranja dorado que contrasta dramáticamente con el cielo frío y oscuro. La luz ambiental proyecta sombras largas y sutiles a través del suelo de sal texturizado, mejorando el relieve tridimensional de las formas geométricas entrelazadas. Esta interacción de temperaturas de color cálidas y frías evoca las temperaturas en picada típicas de la región de la Puna al anochecer. Capturada durante la hora dorada, la fotografía aprovecha la luz de fondo suave y difusa para transformar un páramo salino y estéril en un paisaje de belleza profunda y tranquila. La inmensa escala del salar que empequeñece los picos distantes habla de las inmensas fuerzas geológicas que dieron forma al Norte Argentino a lo largo de milenios. La ausencia de cualquier elemento humano amplifica el profundo silencio y el aislamiento que define este notable rincón de América del Sur. Cada cresta y grieta en la costra de sal cuenta una historia de evaporación y tiempo en una de las regiones más áridas de la Tierra. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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A canted angle intimately captures the rustic charm of an aged wooden door adorned with vibrant, painted glass panels somewhere in the Argentine Northwest. Weathered dark brown timber, etched with the passage of time, frames striking geometric and flowing Art Nouveau-inspired designs. The glass sections glow with soft hues of sky blue and olive green, delineated by bold, dark leading lines that mimic organic, swirling foliage and structured grid patterns. Natural light filters subtly through the translucent sections, highlighting the brushstrokes and artisanal imperfections of the decorative inserts. The composition utilizes a deliberate tilt, injecting a dynamic, almost disorienting energy into what is otherwise a static architectural detail. Focus remains sharp on the worn metal door handle and the chipped paint surrounding the keyhole, anchoring the viewer in the tactile reality of the historical structure. This intricate craftsmanship speaks to the colonial and early twentieth-century architectural influences that permeate towns across Norte Argentino. Such details are a visual testament to a region where European artistic movements historically blended with localized building materials and techniques. The stark contrast between the ornate, colorful door and the plain, rough-hewn whitewashed wall to the right emphasizes the hidden beauty often found tucked away in the narrow streets of the provinces. It invites onlookers to ponder the countless hands that have turned this latch and the generations of stories concealed behind the striking glass facade. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Un ángulo inclinado captura íntimamente el encanto rústico de una antigua puerta de madera adornada con vibrantes paneles de vidrio pintado en algún lugar del noroeste argentino. La madera marrón oscuro desgastada por la intemperie, grabada por el paso del tiempo, enmarca llamativos diseños geométricos y fluidos inspirados en el Art Nouveau. Las secciones de vidrio brillan con suaves tonos de azul cielo y verde oliva, delineados por líneas oscuras y audaces que imitan follaje orgánico en forma de remolino y patrones de cuadrícula estructurados. La luz natural se filtra sutilmente a través de las secciones translúcidas, resaltando las pinceladas y las imperfecciones artesanales de las inserciones decorativas. La composición utiliza una inclinación deliberada, inyectando una energía dinámica, casi desorientadora, en lo que por lo demás es un detalle arquitectónico estático. El enfoque se mantiene nítido en el pestillo de metal desgastado de la puerta y la pintura descascarada que rodea el ojo de la cerradura, anclando al espectador en la realidad táctil de la estructura histórica. Esta intrincada artesanía habla de las influencias arquitectónicas coloniales y de principios del siglo XX que impregnan las ciudades del norte argentino. Tales detalles son un testimonio visual de una región donde los movimientos artísticos europeos se combinaron históricamente con materiales y técnicas de construcción locales. El marcado contraste entre la puerta ornamentada y colorida y la pared encalada lisa y tosca a la derecha enfatiza la belleza oculta que a menudo se encuentra escondida en las estrechas calles de las provincias. Invita a los espectadores a reflexionar sobre las innumerables manos que han girado este pestillo y las generaciones de historias ocultas detrás de la llamativa fachada de vidrio. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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new works
made in kyoto (nishijin)
おおきに、こんばんは。
今宵も昨晩ご紹介しましたウインターサイクルキャップのお色違いをUP致します。
同じく起毛コットンに直線と曲線を使い幾何学的パターンを染め抜いた「幾何学模様 ピンク／Geometric pattern pink」です。
ツバ裏には同柄の色違い、ブルーのジオメトリックパターンを使用しました。
丁度良い生地厚の起毛したコットンを使っているので暑すぎず寒すぎずライドできます。
耳当て部も同様にブラックコットン製のホルムアルデヒド対策加工をしている布で肌に優しく且つ柔らかく耳を包んでくれます。
冷え込んで耳が凍え痛い経験してはるサイクリストも多いと思います。
昨年も書きましたが昔使ってた冬用サイクルキャップは耳当て部が短く耳たぶも隠し切れずに露出し寒い思いをしたので耳当て部は長めに、頭頂部は深く被れるようにしています。
週末はまた冷え込む予報です。
寒さ対策しっかりしてライドをお楽しみください。
それでは皆様かぶってみて宜しゅう～！
★☆★☆★☆★☆★☆★☆★☆★☆★☆
instagram : www.instagram.com/enishi.handmade.cyclecap/
flickr : www.flickr.com/photos/enishi-kyoto/
縁 enishi cyclecap facebook page :
www.facebook.com/enishi.cyclecap
★☆★☆★☆★☆★☆★☆★☆★☆★☆
Kumiko folding screen, 2019
Sakae Tategu Kōgei
Japanese castor aralia (lignitized), Japanese cedar, Japanese whitebark magnolia (lignitized), Japanese cherry, Japanese whitebark magnolia, Kiso hinoki cypress, Chinese pyramid juniper, katsura (lignitized), Japanese sumac (urushi), Japanese whitebark magnolia (sapwood), Chinese cedar
This complex kumiko work depicts a mountainous landscape, draped in mist. By applying the design to a folding screen (byōbu), the viewer can feel immersed within the surrounding landscape.*
Kumiko latticework
Kumiko refers to the intricate latticework used in Japanese architectural fittings (tategu) such as shōji – translucent, sliding partition screens; ranma – decorative transoms; and tsuitate – freestanding, movable partition screens. The origins of kumiko likely date back to the Kamakura period (1185–1333), with techniques passed down through generations. The central process involves crafting thin, delicate pieces
of wood and assembling them in various geometric patterns to form a seamless surface. This advanced technique was further developed in the latter half of the 20th century. While high-quality, straight-grained hinoki cypress is typically preferred, integrating contrasting natural colours from a variety of woods can give Kumiko works an expressive painterly quality.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
A low-angle shot captures the quiet solitude of an empty room, where the only light streams through a barred window, casting a soft glow and a perfect reflection on the polished wooden floor. The shallow depth of field blurs the window, drawing the eye to the sharp, geometric patterns of light and shadow mirrored below, creating a contemplative and slightly melancholic atmosphere.
This photograph captures a section of a subway or public transit station wall, characterized by its bold geometric tile pattern in shades of yellow, brown, black, and white. A large, plain beige pillar interrupts the pattern, with exposed wiring and a junction box adding an industrial, slightly unfinished feel. To the right, a clear sign prohibits smoking, drinking, eating, and graffiti, grounding the scene in a regulated public space.
The early 2020s were represented by paintcolors of buff and dark red.
A door lacks a handle. A wall-mounted air conditioner occurs.
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In Savannah, Georgia, on December 31st, 2023, was the John S. Delaware Center, a community center owned by the city of Savannah, at the northwest corner of Lincoln Street and East 35th Street.
Per Google Streetview, the wall was repainted no later than January 2022, covering a one-color beige paintjob.
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Getty Thesaurus of Geographic Names terms:
• Chatham (county) (2000316)
• Savannah (7014487)
Art & Architecture Thesaurus terms:
• air conditioners (300135620)
• architectural ornament (300378995)
• buff (color) (300263546)
• community centers (300005120)
• concrete blocks (300374976)
• dark red (300126317)
• doors (300002803)
• emergency exits (300002781)
• exterior walls (300002523)
• geometric patterns (300165213)
• lozenges (300009791)
• Mid-Century Modernist (300343610)
• paint (coating) (300015029)
• repainting (300260743)
• winter (300133101)
Wikidata items:
• 31 December 2023 (Q69307031)
• 1960s in architecture (Q11185676)
• 1965 in architecture (Q2812393)
• Coastal Georgia (Q124660863)
• December 31 (Q2912)
• December 2023 (Q61312901)
• Lincoln Street (Q111941776)
• New Year's Eve (Q11269)
• straw (Q7622361)
Library of Congress Subject Headings:
• Concrete masonry (sh85030722)
• Diamonds (Shape) (sh2007004510)
• Public buildings—Georgia (sh97006915)
Kumiko folding screen, 2019
Sakae Tategu Kōgei
Japanese castor aralia (lignitized), Japanese cedar, Japanese whitebark magnolia (lignitized), Japanese cherry, Japanese whitebark magnolia, Kiso hinoki cypress, Chinese pyramid juniper, katsura (lignitized), Japanese sumac (urushi), Japanese whitebark magnolia (sapwood), Chinese cedar
This complex kumiko work depicts a mountainous landscape, draped in mist. By applying the design to a folding screen (byōbu), the viewer can feel immersed within the surrounding landscape.*
Kumiko latticework
Kumiko refers to the intricate latticework used in Japanese architectural fittings (tategu) such as shōji – translucent, sliding partition screens; ranma – decorative transoms; and tsuitate – freestanding, movable partition screens. The origins of kumiko likely date back to the Kamakura period (1185–1333), with techniques passed down through generations. The central process involves crafting thin, delicate pieces
of wood and assembling them in various geometric patterns to form a seamless surface. This advanced technique was further developed in the latter half of the 20th century. While high-quality, straight-grained hinoki cypress is typically preferred, integrating contrasting natural colours from a variety of woods can give Kumiko works an expressive painterly quality.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
Kumiko folding screen, 2019
Sakae Tategu Kōgei
Japanese castor aralia (lignitized), Japanese cedar, Japanese whitebark magnolia (lignitized), Japanese cherry, Japanese whitebark magnolia, Kiso hinoki cypress, Chinese pyramid juniper, katsura (lignitized), Japanese sumac (urushi), Japanese whitebark magnolia (sapwood), Chinese cedar
This complex kumiko work depicts a mountainous landscape, draped in mist. By applying the design to a folding screen (byōbu), the viewer can feel immersed within the surrounding landscape.*
Kumiko latticework
Kumiko refers to the intricate latticework used in Japanese architectural fittings (tategu) such as shōji – translucent, sliding partition screens; ranma – decorative transoms; and tsuitate – freestanding, movable partition screens. The origins of kumiko likely date back to the Kamakura period (1185–1333), with techniques passed down through generations. The central process involves crafting thin, delicate pieces
of wood and assembling them in various geometric patterns to form a seamless surface. This advanced technique was further developed in the latter half of the 20th century. While high-quality, straight-grained hinoki cypress is typically preferred, integrating contrasting natural colours from a variety of woods can give Kumiko works an expressive painterly quality.*
From the exhibition
The Craft of Carpentry Drawing Life from Japan’s Forests
(March – July 2025)
This exhibition reveals the essence of Japanese carpentry in three ways: through the work of temple and shrine carpenters (dōmiya daiku); that of teahouse carpenters (sukiya daiku); and joinery techniques (kigumi).
Since ancient times, Japan’s craftspeople have been shaping their social environment. Their work continues to permeate all aspects of life, contributing to everything from the everyday to the most sacred grand designs. Within this society, people have always been grateful for the blessings of nature and revered the innumerable kami – spirit-deities – residing in the natural world. Carpenters and woodcutters respectfully seek forgiveness from the forest kami before gathering the raw materials for their work. Understanding the individual qualities of trees and their environment is crucial to their activities.
The great 20th-century craftsman Nishioka Tsunekazu laid out a number of key principles. For temple construction, he advised using wood from a single mountain, and understanding the wood’s natural curves. Choosing the right wood is vital: trees grown on higher mountain slopes are ideal for structural elements such as beams and pillars, while those in the lower valleys are better for finishing materials. When used correctly, wood can last for generations. Timber is only a renewable resource if the growth period of the tree and the life of a building align. If we use a 1,000-year-old tree, we need to be prepared to take on more than 1,000 years of responsibility for the building we create.
The precision of Japanese woodworking is deeply rooted in a respect for nature, expressed through highly refined techniques and tools. In a land where iron is scarce, carpenters developed advanced joinery methods that do not rely on the use of nails. As we reconsider our relationship with our planet, these practices offer a wisdom that continues to resonate today.
[*Japan House]
Taken in Japan House
This photo captures a quiet, overcast day with dozens of identical black metal bike racks standing empty on a concrete plaza. The repeating geometric shapes create a strong sense of rhythm and order, while scattered autumn leaves hint at the season. In the background, lush green shrubbery and a brick building provide a soft, natural contrast to the stark, man-made foreground.
A striking abstract composition captures the sharp, diagonal shadows cast by a metal railing onto a sunlit concrete sidewalk. The interplay of light and shadow creates a rhythmic pattern of alternating stripes, while the shallow depth of field blurs the foreground railing, drawing the eye along the receding lines into the distance. Small weeds sprouting between the pavement cracks add a touch of organic life to the otherwise stark, geometric scene.
Vibrant hues of handwoven textiles explode against the dusty, sun-drenched backdrop of the Argentine Northwest in this candid market scene. A local vendor, clad in a striking crimson sweater, leans intently over towering stacks of folded blankets and garments, her patterned wide-brimmed hat shielding her from the intense Andean sun. The bustling energy of an outdoor craft market is palpable, where the tactile richness of alpaca and sheep's wool invites passersby to touch the intricate geometric patterns. These textiles are not merely souvenirs; they are the woven narratives of indigenous Andean culture, reflecting centuries-old traditions passed down through generations in the high-altitude villages. Photographed with a deliberately shallow depth of field, the subject and her colorful wares are rendered with sharp clarity, while the background melts into a soft, dreamlike blur. This bokeh effect beautifully isolates the vendor's focused posture and the intricate textures of the woven goods from the surrounding environment. The brilliant, natural altiplano lighting acts as a natural spotlight, enhancing the rich reds, deep blues, and earthy ochres of the stacked fabrics. Subtle shadows cast by the hats and folds of clothing add a three-dimensional depth to the composition, highlighting the sheer volume of the artisanal inventory. In the softly blurred background, the unmistakable silhouettes of towering cardón cacti and a rustic adobe building ground the image firmly in the rugged, arid landscapes characteristic of the Quebrada de Humahuaca or Iruya. This visual juxtaposition of delicate, colorful craftsmanship against a harsh, sun-baked desert environment perfectly captures the resilient spirit of the Norte Argentino. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Los tonos vibrantes de los textiles tejidos a mano estallan contra el telón de fondo polvoriento y bañado por el sol del noroeste argentino en esta cándida escena de mercado. Una vendedora local, vestida con un llamativo suéter carmesí, se inclina con atención sobre imponentes pilas de mantas y prendas dobladas, mientras su sombrero de ala ancha con estampados la protege del intenso sol andino. La energía bulliciosa de un mercado de artesanías al aire libre es palpable, donde la riqueza táctil de la lana de alpaca y oveja invita a los transeúntes a tocar los intrincados patrones geométricos. Estos textiles no son meros recuerdos; son las narrativas tejidas de la cultura indígena andina, que reflejan tradiciones centenarias transmitidas de generación en generación en los pueblos de gran altitud. Fotografiada con una profundidad de campo deliberadamente baja, la protagonista y sus coloridos productos se muestran con gran nitidez, mientras que el fondo se desvanece en un desenfoque suave y onírico. Este efecto bokeh aísla maravillosamente la postura concentrada de la vendedora y las texturas intrincadas de los productos tejidos del entorno que los rodea. La brillante iluminación natural del altiplano actúa como un foco natural, realzando los rojos intensos, los azules profundos y los ocres terrosos de las telas apiladas. Las sutiles sombras proyectadas por los sombreros y los pliegues de la ropa añaden una profundidad tridimensional a la composición, destacando el gran volumen del inventario artesanal. En el fondo suavemente desenfocado, las inconfundibles siluetas de los imponentes cactus cardón y un edificio rústico de adobe sitúan firmemente la imagen en los paisajes escarpados y áridos característicos de la Quebrada de Humahuaca o Iruya. Esta yuxtaposición visual de la delicada y colorida artesanía contra un entorno desértico, duro y horneado por el sol, captura a la perfección el espíritu resiliente del Norte Argentino. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para Project 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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This photograph captures a stark, minimalist scene of bare, reddish-brown branches silhouetted against a light-colored, textured brick wall. The strong, diagonal shadow cast across the wall adds depth and a sense of drama, contrasting the organic, chaotic lines of the branches with the rigid, geometric pattern of the bricks. The image evokes a quiet, late winter or early spring mood, focusing on texture, line, and the interplay of light and shadow.
Triangular indentations in concrete blocks have been ornamentally arranged for our enjoyment. This is driving me wild!
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In West Allis, Wisconsin, on April 29th, 2021, at a commercial office building (built in 1963) at the northeast corner of West Greenfield Avenue (Wisconsin Highway 59) and South 87th Street.
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Getty Thesaurus of Geographic Names terms:
• Milwaukee (county) (1002672)
• West Allis (2122668)
Art & Architecture Thesaurus terms:
• commercial buildings (300005147)
• concrete blocks (300374976)
• exterior walls (300002523)
• geometric patterns (300165213)
• gray (color) (300130811)
• Mid-Century Modernist (300343610)
• office buildings (300007043)
• recessed (300375746)
• triangles (polygons) (300009806)
Wikidata items:
• 29 April 2021 (Q69306035)
• 1960s in architecture (Q11185676)
• 1963 in architecture (Q2812335)
• April 29 (Q2535)
• April 2021 (Q61313052)
• Milwaukee metropolitan area (Q1146039)
• Milwaukee-Racine-Waukesha, WI Combined Statistical Area (Q110495108)
• Treaty of Chicago (1833) (Q87256769)
• Wisconsin Highway 59 (Q841295)
Library of Congress Subject Headings:
• Concrete masonry (sh85030722)
• Concrete walls (sh85030747)
• Office buildings—Wisconsin (sh85094178)
Vibrant hues of azure, neon green, and fiery orange collide across the textured surface of a concrete canvas in the heart of Buenos Aires. This extreme close-up captures the raw, kinetic energy of the city's legendary street art scene, where every alleyway serves as an open-air gallery. Employing an exceptionally shallow depth of field, the lens isolates a narrow vertical sliver of the mural, bringing the cracking layers of spray paint into razor-sharp focus. The left side of the frame dissolves into a smooth, abstract wash of color, with sweeping, out-of-focus curves guiding the viewer's eye toward the detailed ridge. Natural ambient light catches the uneven, weathered texture of the wall, highlighting the tactile nature of urban aerosol art. In neighborhoods like Palermo or Colegiales, these murals are not mere vandalism but celebrated expressions of Argentine identity, rebellion, and creative freedom. Bold black outlines intersect with vivid geometric patterns, creating a sense of chaotic beauty that reflects the dynamic pulse of the capital. The tight framing intentionally obscures the broader narrative of the piece, transforming the recognizable graffiti into a pure study of color, line, and form. The physical decay of the wall beneath the pigment adds a layer of urban grit, reminding the viewer of the ephemeral nature of street art. It is an intimate, almost microscopic look at the visual poetry that coats the streets of this South American metropolis. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Tonos vibrantes de azul, verde neón y naranja ardiente chocan sobre la superficie texturizada de un lienzo de hormigón en el corazón de Buenos Aires. Este primer plano extremo captura la energía cruda y cinética de la legendaria escena del arte callejero de la ciudad, donde cada callejón sirve como una galería al aire libre. Empleando una profundidad de campo excepcionalmente reducida, la lente aísla una estrecha franja vertical del mural, enfocando con nitidez las capas agrietadas de pintura en aerosol. El lado izquierdo del encuadre se disuelve en un suave lavado abstracto de color, con curvas amplias y desenfocadas que guían el ojo del espectador hacia la cresta detallada. La luz ambiental natural capta la textura desigual y desgastada de la pared, resaltando la naturaleza táctil del arte urbano en aerosol. En barrios como Palermo o Colegiales, estos murales no son mero vandalismo, sino expresiones célebres de la identidad argentina, la rebelión y la libertad creativa. Audaces contornos negros se cruzan con vívidos patrones geométricos, creando una sensación de belleza caótica que refleja el pulso dinámico de la capital. El encuadre cerrado oculta intencionalmente la narrativa más amplia de la obra, transformando el grafiti reconocible en un estudio puro de color, línea y forma. La decadencia física de la pared debajo del pigmento agrega una capa de crudeza urbana, recordando al espectador la naturaleza efímera del arte callejero. Es una mirada íntima, casi microscópica, a la poesía visual que recubre las calles de esta metrópolis sudamericana. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Heavy, oxidized wrought iron dominates the foreground, its elaborate scrollwork and floral motifs standing as silent sentinels to a bygone era of architectural grandeur. The thick layers of rust and weathered patina paint a textured palette of burnt orange, deep brown, and muted charcoal across the ornate metalwork. Shot from an extreme oblique angle, the fence creates a powerful leading line that draws the eye deep into the frame. A shallow depth of field sharply defines the intricate geometric patterns and classical urn shapes nearest the lens, allowing the receding fence line to gently blur. This masterful metalwork is quintessential of the Belle Époque aesthetic that defines the historic neighborhoods of Buenos Aires, a city often referred to as the "Paris of South America." Behind the sturdy ornamental bars, a finer wire mesh adds a secondary layer of security, creating a complex interplay of intersecting lines. Through the rusted fretwork, glimpses of a grand, classical stone facade emerge, complete with arched windows and decorative corbels. Lush, vibrant green foliage, including tropical palm fronds, spills around the stonework, offering a striking organic contrast to the rigid, decaying iron. The diffused natural light softens the scene, emphasizing the tactile, rough surfaces of the aged metal rather than casting harsh, distracting shadows. Such gates speak volumes about the city's opulent past, where European craftsmen imported their skills to construct palatial estates that now wear the beautiful scars of time. The juxtaposition of enduring craftsmanship and natural urban decay encapsulates the romantic, nostalgic atmosphere inherent to Argentina's capital. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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El pesado hierro forjado oxidado domina el primer plano, con sus elaboradas volutas y motivos florales erigiéndose como centinelas silenciosos de una época pasada de grandeza arquitectónica. Las gruesas capas de óxido y la pátina desgastada pintan una paleta texturizada de naranja quemado, marrón intenso y carbón apagado sobre la ornamentada estructura de metal. Fotografiada desde un ángulo oblicuo extremo, la valla crea una poderosa línea de fuga que atrae la mirada hacia la profundidad del encuadre. Una escasa profundidad de campo define nítidamente los intrincados patrones geométricos y las formas de urnas clásicas más cercanas a la lente, permitiendo que la línea de la cerca que retrocede se desenfoque suavemente. Este magistral trabajo en metal es la quintaesencia de la estética de la Belle Époque que define los barrios históricos de Buenos Aires, una ciudad a menudo conocida como la "París de Sudamérica". Detrás de las robustas barras ornamentales, una malla de alambre más fina añade una capa secundaria de seguridad, creando una compleja interacción de líneas que se cruzan. A través del trabajo de celosía oxidado, emergen destellos de una gran fachada de piedra clásica, completa con ventanas arqueadas y ménsulas decorativas. El follaje verde exuberante y vibrante, que incluye frondas de palmeras tropicales, se derrama alrededor de la mampostería, ofreciendo un sorprendente contraste orgánico con el hierro rígido y decadente. La luz natural difusa suaviza la escena, enfatizando las superficies táctiles y rugosas del metal envejecido en lugar de proyectar sombras duras y que distraigan. Tales puertas dicen mucho sobre el pasado opulento de la ciudad, donde los artesanos europeos importaron sus habilidades para construir fincas palaciegas que ahora lucen las hermosas cicatrices del tiempo. La yuxtaposición de la artesanía perdurable y la decadencia urbana natural encapsula la atmósfera romántica y nostálgica inherente a la capital de Argentina. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para Project 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Images from three weeks discovering China, Taiwan, and Qatar. The majority of my trip was a solo food, photography, and discovery trip spent in China visiting several new places while revisiting old favorites.
All of these images are single exposure with basic edits - nothing added, nothing removed. The only use of AI is for noise reduction and dust removal.
All images by Alex Berger, please reach out directly for licensing or usage requests.
Find more of my work at alex-berger.com or on virtualwayfarer.com.
Piercing the flat, overcast sky, the iconic verdigris dome of Buenos Aires' architectural heritage is captured in an unconventional, gravity-defying horizontal orientation. The heavily oxidized copper surface reveals decades of weathering, transforming the grand cupola into a mesmerizing study of muted sea-green tones and intricate geometric patterns. Ribbed panels run along the curvature, punctuated by precise rows of decorative rivets and circular rosettes that draw the eye toward the base of the towering spire. Utilizing a telephoto lens, the composition compresses the distance between the viewer and the summit, isolating the intricate metalwork against the minimalist, desaturated backdrop of the heavens. The flat, diffuse lighting of an overcast day acts as a natural softbox, eliminating harsh shadows to perfectly illuminate the ornate, sculptural elements—including what appears to be classical figures or grotesques—anchoring the pinnacle. A deep depth of field ensures meticulous sharpness across the vast curved expanse, from the foreground rivets to the needle-like tip of the finial extending into the negative space. This structural behemoth likely crowns the Palacio del Congreso de la Nación, standing as a monumental testament to Argentina's turn-of-the-century prosperity and its aspiration to mirror European neoclassical grandeur. The surreal, sideways framing challenges spatial perception, forcing a deliberate re-examination of familiar civic architecture as pure abstract form. It strips away the bustling street-level context of the capital, offering instead a quiet, almost reverent focus on the enduring craftsmanship suspended above the city. Even a solitary bird caught in flight near the needle's tip adds a fleeting sense of scale to this massive display of historic authority. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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Perforando el cielo plano y nublado, la icónica cúpula de cardenillo del patrimonio arquitectónico de Buenos Aires es capturada en una orientación horizontal poco convencional que desafía la gravedad. La superficie de cobre fuertemente oxidada revela décadas de intemperie, transformando la gran cúpula en un estudio fascinante de tonos verde mar apagados y patrones geométricos intrincados. Paneles acanalados recorren la curvatura, acentuados por filas precisas de remaches decorativos y rosetones circulares que atraen la mirada hacia la base de la imponente aguja. Utilizando un teleobjetivo, la composición comprime la distancia entre el espectador y la cumbre, aislando la intrincada estructura metálica contra el fondo minimalista y desaturado de los cielos. La iluminación plana y difusa de un día nublado actúa como una caja de luz natural, eliminando las sombras duras para iluminar perfectamente los elementos esculturales ornamentados —incluyendo lo que parecen ser figuras clásicas o grutescos— que anclan el pináculo. Una gran profundidad de campo garantiza una nitidez meticulosa en toda la vasta extensión curva, desde los remaches del primer plano hasta la punta de aguja del remate que se extiende hacia el espacio negativo. Este gigante estructural probablemente corona el Palacio del Congreso de la Nación, erigiéndose como un testamento monumental a la prosperidad de Argentina a principios de siglo y su aspiración de reflejar la grandeza neoclásica europea. El encuadre surrealista y lateral desafía la percepción espacial, forzando una reexaminación deliberada de la arquitectura cívica familiar como una forma puramente abstracta. Despoja el bullicioso contexto del nivel de la calle de la capital, ofreciendo en su lugar un enfoque tranquilo y casi reverente sobre la perdurable artesanía suspendida sobre la ciudad. Incluso un ave solitaria captada en vuelo cerca de la punta de la aguja añade un fugaz sentido de escala a este despliegue masivo de autoridad histórica. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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Golden sunlight spills across a vibrant display of traditional textiles on a street in the Argentine Northwest, illuminating the intricate textures of locally woven garments. In the sharp foreground, a cream-colored poncho with delicate fringed edges commands attention, its tightly woven wool catching the warm, directional light. Just behind it, a mannequin models a striking grey and white patterned zip-up sweater paired with mustard-yellow trousers, showcasing the region's enduring knitwear traditions. Further back, a bold crimson poncho with stark black geometric accents adds a splash of intense color to the lively artisanal arrangement. The photographer utilizes a shallow depth of field to isolate the central garments, creating a soft, dreamy bokeh that blurs the background elements while maintaining a strong sense of place. Desaturated but culturally significant, a painted wooden sign reading "ARTESANIAS" hangs above the display, anchoring the scene in the context of a local craft market. The towering, porous skeleton of a dried cardón cactus stands among the wares, a quintessential symbol of the arid Andean landscape from which these crafts originate. To the right, brightly colored vertical stripes of traditional aguayo blankets cascade down the wall, adding layers of visual rhythm and indigenous heritage to the composition. The warm color palette, dominated by earthy ochres, deep reds, and natural wool tones, evokes the rustic charm and rich cultural tapestry of high-altitude towns like Iruya. Shadows fall softly across the fabric folds, emphasizing the tactile quality of the handmade clothing and inviting the viewer to imagine the crisp mountain air. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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La luz dorada del sol se derrama sobre una vibrante exhibición de textiles tradicionales en una calle del Noroeste Argentino, iluminando las intrincadas texturas de las prendas tejidas localmente. En el primer plano nítido, un poncho de color crema con delicados bordes de flecos llama la atención, su lana estrechamente tejida capturando la cálida luz direccional. Justo detrás, un maniquí modela un llamativo suéter con cremallera y estampado gris y blanco combinado con pantalones color mostaza, mostrando las perdurables tradiciones de tejido de la región. Más atrás, un audaz poncho carmesí con marcados acentos geométricos negros añade un toque de color intenso al animado arreglo artesanal. El fotógrafo utiliza una profundidad de campo reducida para aislar las prendas centrales, creando un bokeh suave y de ensueño que difumina los elementos del fondo mientras mantiene un fuerte sentido del lugar. Desaturado pero culturalmente significativo, un letrero de madera pintado que dice "ARTESANIAS" cuelga sobre la exhibición, anclando la escena en el contexto de un mercado de artesanía local. El imponente y poroso esqueleto de un cactus cardón seco se alza entre las mercancías, un símbolo por excelencia del árido paisaje andino del que provienen estas artesanías. A la derecha, rayas verticales de colores brillantes de mantas tradicionales de aguayo caen en cascada por la pared, añadiendo capas de ritmo visual y herencia indígena a la composición. La paleta de colores cálidos, dominada por ocres terrosos, rojos profundos y tonos de lana natural, evoca el encanto rústico y el rico tapiz cultural de los pueblos de gran altitud como Iruya. Las sombras caen suavemente sobre los pliegues de la tela, enfatizando la calidad táctil de la ropa hecha a mano e invitando al espectador a imaginar el aire puro de la montaña. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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