Motorway architecture is my specialist subject so I love this photograph! I love the strong compositional dynamic the architecture makes within the frame, which leads the eye through the photograph. The choice to shoot at night is a good one, as the surreal glow of the night sky adds an eerie tone to the photograph. The underside of the bridge is well exposed, something that can often be a problem when shooting at night and dealing with areas of extreme contrast.
A very confident and evocative photograph.
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686 Photographers
The photographer has made a very strong photographic composition of a wonderful car park. [Coincidentally I've photographed this building myself for a book on car parks]. This excellent photograph shows how we can find beauty in an architecture normally considered ugly, if we only just look!
The strong perspective created by shooting from low down perfectly accentuates the triangular patterning on the building's facade. I also love that although it's a very muted colour palette is still a colour photograph and the photographer has resisted the temptation to shoot these architectures in B&W, thereby accentuating their 'grim' cliche.
The quality of the light is what captured my attention in this photograph; it has the look of a misty early morning. I love that the contrast between the highlights on the brickwork and the shadows under the arches of the bridge still retains detail, which can be difficult to achieve in contrasty light. The composition successfully uses the curve and perspective of the architecture to lead the eye through the frame of the photograph; the includion of the grafitti'ed hand adding another visual dimension to a successful photograph.
This is a very elegant photograph of a wonderful Brutalist building. The photographer has successfully reduced the architecture to a series of concrete forms, balanced beautifully against a soft blue sky. The subtle shadows on the concrete forms adding a delicacy to the appearance of the building.
The exclusion of the messy ground level of the building was a wise choice. This type of architecture needs a restrained composition to adequately do it justice, as it's a much maligned, but in my opinion, wonderful period of British architecture.
I love the disorientating feeling this photograph provokes. It takes a while to understand what exactly you're looking at. The composition is well executed, with just the right amount of shadow and highlight on either side of the sky gap, a balance of exposure that is difficult to achieve.
I also like the idea that the photo could work as a composition looking downwards as well. I'm intrigued to know more about the architecture that it shows, which is always something a good photograph should do.
This is a fantastic photograph which successfully uses the strong lines of the architecture to accentuate the composition. The photograph is perfectly straight, any deviation or converging verticals in an image like this would be extremely detrimental to the power of the image.
I love the intensity of the photograph, it almost suffocates through its totality – there is no visual escape at the edges of the frame. A perfectly framed and powerful depiction of a very contentious period of British architectural history.
85,750 Ratings
The photographer of this image gives no information in the metadata, which makes me intrigued by the architecture it illustrates and the lives occurring behind the walls. I love the perfectly straight verticals and graphical nature of the shadows and highlights on the concrete.
The window and laundry are placed perfectly within the frame; adding necessary detail and colour to an otherwise beautifully muted study of concrete and shadow. The small patch of colour and detail is a perfect visual foil to the minimal nature of the rest of the photograph.
The EUR is an interesting area of Rome and a great place to shoot and the photographer has chosen one of the best buildings to photograph. This has the potential to be a very strong photograph but the composition just needs a bit more rigour. I would have preferred the top of the building to be included and the lines to be straighter; there is also some vignetting from a lens hood [?] in the top left corner of the frame.
The blueish quality of light is wonderful though, and works well with the Travertine marble of the architecture.
This is a wonderfully abstract response to the competition brief. I love the simplicity and economy of this composition.
The reduced colour palette contributes to this minimalism. It's perfectly lined up and the positioning of the darker blue line within the frame adds a dynamic line through the frame. The photograph looks almost a CAD rendering and it's reminiscent of the work of the artist Thomas Demand. I also love that the warehouse's surface is 'clean' thereby avoiding the crumbling warehouse cliche.
Brief
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**PLEASE NOTE that this is a *minimal Photoshop* challenge, with no black and white images allowed. Click on 'The brief in detail' for our submission guidelines.** The world’s towns and cities have become a breeding ground for contentious architecture, which is always a hot topic for debate. Are imposing contemporary constructions acting as a positive solution to growing populations and a lack of space, or are they irreversibly damaging traditional vistas and skylines? Should concrete-heavy brutalist architecture be viewed as a blight on 20th Century design, or a poignant reminder of how we can rebuild our communities in the aftermath of war and natural disaster? Buildings good, bad or downright ugly can so often be the subject of powerful photography. We want to see your best photos of architecture that divides opinion - **BUT, this is a minimal Photoshop challenge. Click on 'The brief in detail' for more information.**
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This is a great example of architecture that divides! I like what the photographer has attempted to do with this photograph - the juxtaposition of horizontal and vertical layering in the two parts of the carpark. But, the composition needs more rigour to fully work. The horizontal and vertical elements must be precisely straight, which they are not unfortunately. The slight tilting of the lines reduces the power of what otherwise would have been a very successful observation of a very controversial type of architecture.
This is a good example of how shooting at night can elevate an ugly urban space into something more interesting. Is that Banksy graffiti on the wall?
The composition needs more rigour and cropping to fully work though. I would have cropped the photograph to the left of the staircase as the composition tends to 'fall off' on this side, and the eye wanders out of the frame.
The exposure and observation of colours of this urban landscape are very successful though.
I really love the colours in this photograph and the inclusion of the woman in burgundy is a very good observation. Her positioning within the frame is perfect but the rest of the composition needs a bit of tightening though. An image like this one, which is dominated by horizontal lines, needs more rigour. The lines are not straight, particularly at the top of the frame – perhaps the result of too wide a lens. The verticals also need to be straightened; easy and quick to achieve in Photoshop. Small issues with an otherwise great photograph.
This is a great photograph of a terrifying piece of architecture. The enormity and density of this apartment block is truly dystopian!
The composition is very nearly perfect, it just needs a bit of cropping to really work. I would have preferred the composition to exclude the sky as I feel it weakens the intensity of the photograph. Also, I would have excluded the trees and lamp posts at the bottom, all things that 'soften' the photograph and reduce its visual intensity.
