Architecture (Nikon only)

This is a brilliantly observed image that captures the bright white, lighter-than-air quality of the building's interior perfectly. The photographer has taken great care to line up the verticals on the left and right of the shot, which helps to frame it, while the dynamic diagonals add interest and drama. But it's the lone figure in orange that makes the whites look whiter than white, and brings the whole thing to life; that he's lined up with the pillar to his left is just the icing on the cake.

Images of spiral staircases shot from below aren't exactly original, but rarely are they as well executed as this one. Framing, and deciding what (and what not) to include is tricker than it looks, but in this very striking and graphic image, the balance and composition are pixel-perfect. The crisp, clean whites of the walls and stairs contrast brilliantly with the more ornate blacks of the balustrade, but as with our winning image, it's the splash of colour – in this case the bright blue of the skylight – that really makes it.

This highly original take on a spiral staircase image is unlike anything we've seen before, which is one of the reasons we like it so much. It quite literally turns the idea on its head (the image was supplied this way up), and in so doing forces the viewer to see the world from a fresh persective. We especially like the way the black lines on each of the steps radiate out from the central balustrade like some sort of mathematical sequence. Our one reservation is the distracting shadow at the top left, but a slightly tighter crop would take care of this – and arguably tighten up the composition, too.

A quick search of google images will bring up plenty of images of the nave of Salisbury Cathedral reflected in its baptismal font, but we're willing to bet you wont find any as striking and colourful as this one. For an image like this to work, it has to be perfectly symmetrical – tick – and by choosing to completely fill the bottom half of the image with the reflection (rather than, say, the edge of the font), the photographer has helped to immerse the viewer in the scene, and avoid any awkward juxtaposition of near and far elements.