Beaches and shorelines

A half second exposure has provided great opportunity to capture both the shape and movement of the crashing waves in this incredible coastal location. The cool, dark clouds and swirling sea is dramatic and frightening. I love exploring the nuance of the water falling of the rocks, the sweep of the foam, and, in the background, the solidity of the lighthouse atop the craggy island. The viewpoint is as if we are there amongst the tumult! Brilliant.

I read in the photographer's notes for this photograph mention of level adjustments in Lightroom. It does look like the linear gradient tool has been used to reduce the overall tones of the sky to the horizon line. Maybe I'd also reduce the brightness of the pale yellow sand, too, as I find my eye being sucked towards it part of the frame. This to one side, I do appreciate the soft tones and hues of this shoreline. I follow the subtle curvey leading lines of the soft surf band to to the distant horizon and the tiny windmills that dot it length. This is a quiet landscape that holds a balance of softness and subtle notes of contrast.

I think we know where the shoreline is in this photograph. The white strip of foaming surf acts as a demarcation between the choppy sea swell and the equally dark sand beach and muted hues of the landscape beyond. The stormy sky adds and intensifies to this tumultuous scene. I would not like to hang around this place at this time for too long!

This birds-eye view works perfectly. The bands of information - sea, wet sand, dry sand - are flecked by ripples, footprints and remnant water lines. That vertical, curving line in the sand that leads to a darkened mark (shadow? rock?) offsets the horizontality whilst adding a tiny note of punctuation.

Photography can provide images of unambiguous information. It can also provide opportunity to explore counter to the pragmatic qualities of reality. This image does the latter brilliantly. The rippled sand bands merge sea and sand, flipping between positive and negative interpretations. I love that photography can abstract reality when an observant photogarpher is in top form.

The spikey strands of foreground grasses add a warm and contrasting touch to this otherwise, dramatic beach scene. Black sand beaches have an intrinsic odd quality. Add some striking, jagged mountains in the background, and your well on the way to capturing an amazing shoreline landscape. The added dots of humanity provide a point of scale difference which further emphasises the specialness.

This scene has little of the drama that are evident in so many of the wonderful photographs in this contest. But, there is something about the simplicity of the composition and juxtaposition of it elements that works very well. If we squint when we view it, we see no detail, only the variations of tone. The red cliffs are the strongest of those elements: sharp, jagged and imposing, the cliff line takes our eye further into the distant to provide a sense of depth. Then, offsetting this boldness is the soft curve of a buried rock in the sand. The contrast of scale accentuates each whilst providing a dialogue between the two.

The simplicity of the composition appeals: the one-point perspective composition holds our gaze firmly along the axis of leading lines of the sand/sea/sky. The red structure sited perfectly along this and centred is odd and intriguing (what is it, I wonder?). The final addition are two figures neatly either side, heads down walking with intent. It is like a Fellini film shot by Martin Parr.

The subject of this photograph is without question, the shoreline. The black sand beach dramatically contrasts the white and light tones of the surf. The waves' edges and remnant water marks are fleeting and unique. The positive-negative quality of the water and beach means the 'mountain peaks' of the water edge can visually 'flip' to become the mountain peaks of the sand.

I still can not quite work out the reality of this scene. If it were not for the figure (their silhoutte providing an indication of their reason for being here), it would be even more abstract. The golden hue - glistening from the angle of the sun - adds to its specialness.

There were few snowy coastal scenes amongst the excellent photographs of this contest. This was the best and a striking photograph in its own right. The warm hues of the sky and reflection in the sea contrast and compliment the cool, subtle blues in the shadows of the landscape. The 'cut' in the snow of the lower foreground adds a striking leading line that anchors the composition.

My rule of thumb regarding whether a subject or scene is that it should be perfectly level - if that is the intention of the composition. If you untend to angle the point of view, then do it dramatically - make the most of the diagonal lines that it creates. This photographer obviously agrees. The jaunty angle has added a dramatic element to an already good photograph.

A wonderful aerial view of a sparkling day on the south-west England coast. A compostion - splitting vertically the shore and the sea - has made a strong minimal statement. Dotted along its edge are people empahsising the scale of the scene, which at first was deceptive.

There were several photographs of this scene, but it was this one I liked best. The eerie light - "Shot in pitch black" - according to the photographer, has rendered the scene a peculiar quality. It seems both still and 'alive', as if the pylons are animated in conversation.

The size of the drift wood relative to other detritus deems it an obvious subject in this low-tide beach scene. What elevates this further is the brooding sky that glows above the log. The faint arch of a rainbow adds a subtle note to this hallow effect. Wonderful.