Hiroshi Sugimoto's series 'Polarized Color' is based on the idea that light is not a series of separate wavelength which divide cleanly between colours, but a spectrum with the infinite capacity to blend between different shades. He was inspired by criticism of Sir Isaac Newton's scientific approach to the spectrum of light, particularly by poet Johann Wolfgang von Goethe who said "[colours] had effects upon the human psyche that would not submit to mechanistic quantification."

Sugimoto created the pictures by using expired polaroids to photograph different frequencies of light shone through a prism. In his own words:

"I decided to use virtually obsolete Polaroid film to photograph the spans 

between colours.Sunlight travels through black empty space, strikes and suffers my prism, and refracts into an infinite continuum of colour. In order to view each hue more clearly, I devised a mirror with a special micro-adjusting tilting mechanism.Projecting the coloured beam from a prism onto my mirror, I reflected it into a dim observation chambre where I reduced it to Polaroid colours. Of course, I could further split those prismatic colours by adjusting the angle of thatlong tall mirror so as to reflect only the hue I want. I could split red into an infinity of reds. Especially when juxtaposed against the dark, each red appears wondrous unto itself. Moreover, colours change constantly. As thesun climbs on its arc, the colours from the prism vary moment by moment. It only takes a few minutes for red to goorange then yellow. Cranking the worm gear by hand to adjust the mirror angle to compensate for the rising sun, I managed to keep the colour band within my field of vision."

Source 1 Source 2

These photos are part of a series by Ori Gersht called 'Rear Window'. The pictures are taken without filters or manipulation and document the skies above London, including all the optical effects cause by the air pollution. 

"The series calls into question our familiarity with our own natural habitat, pointing out the gulf between the sky that we believe we know, and that of the photographs: a gap between the mechanical, attentive and unassumptive vision of the camera, and the presumptive and subjective vision of the human eye."

Source

Photos from 'Still Water (The River Thames, for Example)' by Roni Horn, featuring photos of the River Thames at different points. These are all very abstract, and some don't even look like water, but it's quite cool the way they are all from the same river.

"My gaze alights on the water, on this spot on the river, here where the water is turning around, where the currents turn the water in tightening circles. I can't turn away. I want to feel time twist as I watch these spirals forming. I want to feel time twist and myself turning as I watch them disappear. I want to twist with the turning water. I want to watch these spirals turn themselves invisible. I want to watch them turning from the surface, turning down into the depths where I cannot see them. I want to turn invisible with them. I want to turn with them, invisible and keep turning."

"Black water is opaque water, toxic or not. Black water is always violent. Even when slow moving, black water dominates, bewitches, subdues. Black water is alluring because it is disturbing and irreconcilable. Black water is violent because it is alluring and because it is water."

"Water is lubricant to other places. It dilutes gravity when you're in it. It reduces friction when you're around it. Almost any form of water—rivers, lakes, oceans, even sinks—will do. My mind roams freely, breezily near it. My thoughts take me backward and forward. Time has no direction near water."

"Water is lubricant to other places. It catalyzes memory and aspiration. This water exists in monolithic, indivisible continuity with all other waters. No water is separate from any other water. In the River Thames, in an arctic iceberg, in your drinking glass, in that drop of rain, on that frosty window pane, in your eyes and in every other microcosmic part of you, and me, all waters converge."

Source

Photos by Wolfgang Tillmans. While most of Tillmans' work is based in photojournalism and portraiture, he also has a keen eye for abstract, experimental and still-life photography. 

Source

More photos by Erich Hartmann, this time based around DNA. I like the abstract trippiness in all of his more scientific photos.

Source

Photos from the series 'The Shapes of Sound' by Erich Hartmann, made as part of a 1960s IBM voice recognition study.

I can't find any other information on this particular shoot even though Hartmann is a reasonably well-known photographer, but i really really like really like this series, so i will have to find something similar from other sources

Source