View allAll Photos Tagged geometricpatterns
For those interested in such things: this was taken with the Light Lens Lab 50mm ELCAN homage wide open at f/2, mounted on an SL3.
I have to say, there are aspects of this which read to my eye as if this had been shot on film.
(lookit the lovely subtle glow on those handlesets!)
[jbm-20261023-sl3-007]
A close-up view of a beautifully hand-carved wooden panel, showcasing a rich blend of floral motifs and geometric star patterns. The warm, golden-brown wood grain is accentuated by the deep relief carving, creating a tactile and visually engaging surface. A black electrical cord drapes across the right side, adding a modern, slightly incongruous element to the traditional craftsmanship.
Abstract image of office building with window reflections of trees and unusual architecture designs.
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2018 Contact me at jimcorwin@live.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
A moody, monochromatic photograph captures a dense web of high-voltage power lines and transmission towers against a flat, overcast sky. The composition is layered, with a large, out-of-focus vertical element in the foreground framing the intricate, geometric patterns of the steel lattice towers and sagging cables in the mid-ground. The image evokes a sense of industrial complexity and quiet, almost oppressive, stillness.
Kikagaku Moyo live at the Hare and Hounds, Birmingham, UK - 17th August 2018
geometricpatterns.bandcamp.com
© 2017 Robert Barrett, All Rights Reserved
Facebook:https://www.facebook.com/palmmusik/
Instagram: @palmmusik_photography
These images are not available for use on websites, blogs or other media without the explicit written permission of the photographer. Thank you.
This low-angle photograph captures a worn, geometric tile floor, likely in an abandoned or neglected building. The composition draws the eye along the repeating patterns of beige, black, and green tiles, which are now scattered with fallen leaves and debris, telling a story of decay and the passage of time. The dramatic lighting from above highlights the texture and grime, creating a moody, atmospheric scene that feels both beautiful and melancholic.
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
★☆★☆★☆★☆★☆★☆★☆★☆★☆
A close-up, top-down view captures a rectangular mosaic of small, square tiles set into a dark concrete surface. The pattern is composed of off-white tiles interspersed with dark blue or black tiles arranged in a geometric, almost pixelated design, creating abstract shapes and lines. The grout is dark and slightly weathered, adding texture and contrast to the clean lines of the tilework, evoking a sense of urban artistry found in everyday pavement.
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.
---
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.
-----------------------
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
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.
Chair abstract indoors close-up of shadows and highlights on wall with strong contrast
All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.
©Jim Corwin_All Rights Reserved 2018 Contact me at jimcorwin@live.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.
My website is jimcorwin.photoshelter.com
My E-Mail Address is jscorwin@mac.com
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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The stark, geometric expanse of the Salinas Grandes stretches endlessly under the fading light of the Andean sun, its surface a mosaic of crystalline hexagonal fractures. A dramatically elongated human shadow, cast by the photographer, bisects the textured foreground, creating a striking focal point that emphasizes the immense scale of the high-altitude desert. Golden hour illumination bathes the vast salt flat in rich, warm amber tones, beautifully contrasting with the cool, shadowed crevices of the salt crust. Shot with a deep depth of field, the image sharply captures the rough, granular texture of the salt polygons in the immediate foreground while maintaining the clarity of the distant horizon. In the background, a small, blindingly white mound of harvested salt sits near the edge of the flats, a subtle nod to the region's traditional extraction methods. Tiny vehicles and a solitary flagpole mark the boundary of this surreal landscape, dwarfed by the sheer magnitude of the Puna de Atacama region. A rugged line of ochre-colored mountains rolls across the horizon, their peaks lightly dusted with distant clouds against a clear, pale blue sky. The visual distortion of the stretched shadow introduces a playful, almost surrealist element to the otherwise barren and harsh environment. This stark geography is deeply emblematic of the Argentine Northwest, a region where extreme altitudes and arid conditions forge landscapes of unparalleled and desolate beauty. The interplay of light, shadow, and geometric earthforms creates a captivating documentary frame that transports the viewer directly onto the crunching surface of the salt pan. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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La extensión austera y geométrica de las Salinas Grandes se extiende interminablemente bajo la luz menguante del sol andino, con su superficie convertida en un mosaico de fracturas hexagonales cristalinas. Una sombra humana dramáticamente alargada, proyectada por el fotógrafo, divide el primer plano texturizado, creando un punto focal llamativo que enfatiza la inmensa escala del desierto de gran altitud. La iluminación de la hora dorada baña el vasto salar en tonos ámbar ricos y cálidos, contrastando maravillosamente con las grietas frías y sombreadas de la costra de sal. Tomada con una gran profundidad de campo, la imagen captura nítidamente la textura áspera y granular de los polígonos de sal en el primer plano inmediato, al tiempo que mantiene la claridad del horizonte distante. En el fondo, un pequeño y cegador montículo blanco de sal cosechada se asienta cerca del borde del salar, un sutil guiño a los métodos de extracción tradicionales de la región. Pequeños vehículos y un asta de bandera solitaria marcan el límite de este paisaje surrealista, empequeñecidos por la pura magnitud de la región de la Puna de Atacama. Una línea escarpada de montañas de color ocre se extiende por el horizonte, con sus picos ligeramente espolvoreados de nubes distantes contra un cielo azul pálido y despejado. La distorsión visual de la sombra estirada introduce un elemento lúdico, casi surrealista, en este entorno por lo demás estéril y severo. Esta geografía implacable es profundamente emblemática del Noroeste Argentino, una región donde las altitudes extremas y las condiciones áridas forjan paisajes de una belleza desolada e inigualable. La interacción de luz, sombra y formas geométricas de la tierra crea un cautivador encuadre documental que transporta al espectador directamente a la superficie crujiente del salar. 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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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.