View allAll Photos Tagged geometricpatterns
At sunset, light reveals shapes and volumes. The houses rise like a silent barrier against the swelling evening sea, which crashes powerfully against the rocks. A frontline where form resists the relentless force of the sea..
the evening sun hung low in the city of arts and sciences, casting long shadows over the polished tiles of valencia. the cyclists came silently, their wheels gliding through light and shadow, their outlines stretching far behind them. the modern arches and geometric lines framed the scene, the architecture as much a part of the moment as the figures in motion. the sun, piercing through the skyline, broke into a starburst, bathing the world in sharp contrasts. there was no sound but the hum of tires and the whisper of a fading day. it was a fleeting moment—of rhythm, reflection, and the quiet poetry of movement.
These elongated glasses - with geometric designs loaded with symbolism such as rungs, circles, trophy heads, stars, chevrons, wavy lines, chakanas and other geometric lines that refer to mountains and water - were used in rituals where toasts with chicha or other sacred liquids were toasted. During these ceremonies, social bonds and commitments were established.
somewhere between blade runner and reality. paris lights itself in red and shadow. he walks through it like it's nothing unusual. maybe it isn't.
Between concrete ribs and morning light, journeys quietly begin
Leica Q2 Monochrome
Summilux 28mm/f1.7 Asph.
Preserving the roots. This image beautifully captures the intersection of traditional indigenous crafts and striking modern display. The deep, rich textures of the carved wooden figures and patterned discs in the foreground are anchored by the majestic, powerful presence of the water buffalo mural above, celebrating the enduring legacy of artisanal heritage and cultural storytelling.
Gatineau, Québec, Canada.
Peinte par l'artiste local José Guénette en 2023, la saisissante murale intitulée In(visible) est située dans le secteur Hull à Gatineau, Québec. {IN}visible traite de la cohabitation urbaine. L'homme dans la rue au centre nous rappelle que l'itinérance fait partie du décor urbain.
La présence de ces personnes dans le paysage urbain est à la fois visible, parce qu'elles vivent dans l'espace public, et invisible aux regards fugaces des passants. Cette fresque vise à sensibiliser à une réalité de la cohabitation urbaine et à l'expérience du vivre ensemble. Le personnage de cette fresque est basé sur une photographie en noir et blanc prise par l'artiste il y a une quinzaine d'années.
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Painted by local artist José Guénette in 2023, the striking mural titled In(visible) is located in the Hull sector of Gatineau, Québec. In(visible) addresses the theme of urban coexistence. The man at the center reminds us that homelessness is a part of the urban landscape.
The presence of these individuals in the cityscape is simultaneously visible, because they live in public spaces, and invisible to the fleeting glances of passersby. This mural aims to raise awareness about a reality of urban coexistence and the experience of living together. The character in this mural is based on a black-and-white photograph taken by the artist about fifteen years ago.
A small section of a very old quilt hand-stitched by my wife's great grandmother.
Taken for the "Smile on Saturday" theme of 12/11/2021: FANCY FABRICS.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
Good night from Turufjell, Flå in Hallingdal, Norway.
A quiet mountain settlement rests beneath a drifting veil of fog, where winding gravel roads trace gentle patterns across the terrain. Just before midnight, the sky opens in soft blue and amber tones, revealing a fleeting balance between light and shadow. From above, the landscape feels suspended—half hidden, half revealed—as clouds move silently through the valley like a living tide.
Fun fact: In Norway’s mountain regions, low clouds and fog often form when warm, moist air meets cooler ground near midnight, creating these dramatic “floating landscape” effects—especially in early summer.
I walked under this canopy the way you walk under weather — without thinking about it, seeking shelter from nothing in particular. It's only when you stop and look straight up that the intention reveals itself: someone, somewhere in a New York studio, drew this geometry with the explicit purpose of making people pause on a plaza that nobody was pausing on. I framed it to lose the tower, the sky, the city — to keep only the drawing itself, the evidence of a thought that has been suspended twenty-four meters above ground for over two decades without anyone asking it to justify itself. What moved me was that it still works, completely indifferent to whether you notice.
North entrance of Tour Légende, La Défense — the circular stainless steel and glass canopy designed by Pei Cobb Freed & Partners, inaugurated in 2001. An ordinary day on the parvis, the kind where you look up by accident and suddenly understand that someone thought very carefully about this exact moment.
the wall took several hundred years to make. she has been there for perhaps twenty minutes. in the third window, she has rested her arms on the ledge and is looking at whatever is outside. the other windows are empty. the calligraphy says something she cannot read. the pattern below says the same thing many times in a different language.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
the world bends and warps behind the glass blocks. figures split, multiply, distort. green patches flicker like broken pixels in an old screen. a reality rearranged by architecture. a city fragmented.
he wasn’t posing.
he was just running – and the light didn’t care who he was.
i had the camera low.
the lines were waiting.
the shadow arrived first.
and then he came –
in the middle of the beat.
she stood still, map in hand, her fingers tracing paths that twisted and turned, just like the alleys of palma. the plaza mayor was nearby, but it might as well have been miles away in her mind. sunlight cut through the shadows of the old streets, her silhouette cast sharply onto the patterned tiles beneath her feet.
a tourist, no doubt, searching for direction in a city where the streets seem to have a will of their own. the grid of the tiles below her mirrored the confusion—orderly but endless, a maze of lines leading everywhere and nowhere.
the photograph captures that moment of pause, the stillness of someone caught between where they are and where they want to be. palma does that to you, makes you lose yourself before you can find your way again.
At blue hour the domes of the Sheikh Zayed Grand Mosque glow softly above the marble courtyard, where light and reflection meet in quiet symmetry. In a turbulent time for the region, may this stillness be a prayer for peace.
EXPLORED ⭐️ March 21, 2026
In creating this image, I wanted to capture the perfect juxtaposition between imposing industrial architecture and the freedom embodied by the aircraft in flight. It was a stroke of luck to see this plane pass precisely through the center of this circular parking access ramp while I was photographing the structure. The choice of black and white was deliberate to accentuate the raw textures of the concrete and the repetitive geometry of the openings, creating an almost oppressive frame that contrasts with the open space at the center.
By composing from inside this cylindrical structure and looking upward, my intention was to create a vertiginous sensation, as if the viewer were trapped in this industrial space while contemplating a possible escape. This fortuitous moment when the plane crosses the perfect circle represents for me the fleeting encounter between the immobility of human architecture and the perpetual movement of our modern civilization.
I wanted this image to provoke reflection on contrasts: confinement and freedom, structure and movement, everyday urban environment and air travel, all united in a single geometrically perfect frame that manifested through a happy coincidence.
This image was taken in March this year at Downside Abbey in Stratton-on-the-Fosse. It’s a relatively modern, beautiful Gothic church built to serve the abbey and the school. It’s a photographer’s dream kind of place.
This image was of one of the long side aisles with the font right at the end and some tombs on the near right. Like most church designs, the font is by the entrance and signifies the start of the Christian life, leading forward towards the altar (and tombs and crypt).
It was quite tricky to process. First, the perspective was corrected using DxO's Viewpoint to make the verticals parallel, and then it was denoised in Topaz AI (the lighting was difficult, so it stretched the camera, especially when shooting handheld).
The rest of the effect was achieved in Nik Silver Efex to increase the sense of light and contrast and emphasise the aisle flagstones. The original was much plainer, though it had a good basic structure. Silver Efex is magic at this sort of thing…
The monochrome conversion was toned in blue to give a cooler, contemplative feel. The main downside to the Downside image was the narrow crop, which buys you very little real estate on Flickr. I hope you can see it OK. Ah well…
Thanks for taking the time to look. I hope you enjoy the image. Happy Donnerstagsmonochrom :)
Captured from above with a drone at Moutmarka, this image reveals the raw geometry of the coastline as waves collide with solid rock. From a top-down perspective, the sea transforms into abstract patterns of motion, foam, and texture, where turquoise water, white surf, and warm reflections meet in constant opposition. The photograph explores the thin boundary between movement and stillness, power and resistance, nature shaping itself moment by moment.
Fun fact: When photographed from directly above, breaking waves often resemble abstract paintings or satellite imagery — a reminder that scale and perspective can completely change how we experience nature.
Nature's spiral secret, unfolding in a dance of green and white. An Aloe aristata, commonly known as the "Lace Aloe" or "Guinea-Fowl Aloe." This succulent is recognized by its rosette shape, spiky edges, and white spots on dark green leaves.
photo rights reserved by Ben
Inside the Šarena Džamija, the richly painted dome immediately draws the eye. High above, a refined interplay of color, form, and symmetry unfolds. In concentric circles, floral motifs, geometric patterns, and small painted scenes flow into one another, naturally guiding the gaze toward the center. Soft light moves gently along the edges of the dome, enhancing the warm tones of ochre, blue, and red. From the center, the chandelier hangs like a visual anchor, giving the space a sense of balance and calm. Every detail appears carefully placed, with a rhythmic repetition that unifies the whole. The dome forms the visual heart of the mosque and reflects the craftsmanship with which the space was shaped in the 15th century and later richly painted. Despite its richness, the composition never feels overwhelming — instead, it feels harmonious and inviting. A place where history, craftsmanship, and spirituality come together in light and stillness.
The painted dome of the Šarena Džamija in Tetovo, North Macedonia, draws the eye with its rich colors, geometric patterns, and delicate details. Soft light enhances the harmony of the design, revealing a space shaped by craftsmanship and balance since the 15th century.
Binnen in de Šarena Džamija trekt de rijk beschilderde koepel onmiddellijk de aandacht. Hoog boven de ruimte ontvouwt zich een verfijnd samenspel van kleur, vorm en symmetrie. In concentrische cirkels lopen florale motieven, geometrische patronen en kleine geschilderde taferelen in elkaar over, alsof ze de blik vanzelf naar het middelpunt leiden. Het licht valt zacht langs de randen van de koepel en versterkt de warme tinten van oker, blauw en rood. Vanuit het centrum hangt de kroonluchter als een visueel anker naar beneden, waardoor de ruimte een gevoel van balans en rust krijgt. Elk detail lijkt zorgvuldig geplaatst, met een bijna ritmische herhaling die het geheel samenbrengt. De koepel vormt het visuele hart van de moskee en weerspiegelt het vakmanschap waarmee de ruimte in de 15e eeuw werd vormgegeven en later verfijnd beschilderd. Ondanks haar rijkdom voelt de compositie nooit zwaar — eerder harmonieus en uitnodigend. Een plek waar geschiedenis, ambacht en spiritualiteit samenkomen in stilte en licht.
For the macro Mondays Theme: "Candy"
Happy Macro Mondays!
Thank you for your views, faves and comments. It's much appreciated.
A delicious theme this week. I hope all subjects have kept up long enough to hit the camera sensor / film before they were eaten