Graveyards, Cemeteries and Crematoria

I am always interested in the process of human activity. A cemetery is, by definition, almost anti-active. It is a place of "rest". The principal subject matter in this photograph is a mound of earth extracted in readiness for a burial. We see the boards laid to protect the grass, the hole behind the mound, and the shovels stationed vertically.

Their arrangement is semi-orderly with a short ladder adjacent, and a couple of fallen shovels that are presented collectively like some sort of art installation. It is beautiful!

The tonal quality is rich and the shallow depth-of-field helps to highlight this array from the remainder of the cemetery and parkland beyond.

A dramatic scene of brooding clouds, rugged coastal mountains, desolate sea, is foregrounded by a dry-stone wall and, nearest to the camera, a pair of iron crosses marking graves.

All these elements combine to reinforce that we are viewing a distant land (that time has been forgotten). It is an evocative image, expertly captured and presented by the photographer.

The formality of the grave markers — neatly presented along terraced rows — is acknowledged by the equally formal one-point perspective.

I appreciate this, as it consolidates the information, whilst allowing me (the viewer) to jump from detail to detail to examine this scene more closely.

Cremation is an ancient ritual performed particularly in Hindu countries such as India. Outdoor crematoria along river banks are active places when in use.

This photograph provides a formal composition of this particular scene, viewed across the river from the opposite bank. It is distant (and thus, respectful), expertly capturing the late afternoon light. The resultant darkened tones hold flecks of detail which make one (well, me at least) want to zoom in and look more closely at the detail.

The overall mood — dramatic sky, wisps of smoke and solemn action — provides a dramatic rendition.

A barren, desolate landscape punctuated by a tiny cemetery plot marked by white fence and crosses, and road markings that link it to the living world beyond.

A cemetery is a strong reminder of past lives and human action. A scene such as this always makes me wonder "what brought these people here? What did they do?".

The photographer has composed the information to accentuate the isolation of this tiny cemetery. The subtle sweep of power lines at the bottom of the frame, however, provides a contemporaneous note, perhaps hinting that this place is not so far removed after all.

I prefer this tighter crop of the same scene that this photographer has captured.

Certainly, when the conditions align — interesting place, great light — it is sensible to explore as much as possible. Almost always, in my experience only one of those explorations is the strongest. With practice, we can determine that strong composition more quickly.

This elements within this photograph feel more balanced than the view that includes the dramatic (but, distracting) sunburst.

This is firstly, a classic landscape photograph. The rolling hills leading to distant mountains. The warm autumnal hues of trees and forests. Wispy clouds above.

The foreground subject matter — the gravestones — is neatly arranged in a one-point perspective. They seemingly look towards us, and with us to the view beyond.

The scattered leaves and warm sweep of light help with the notion that the cemetery is at one with the landscape.

There is a perfect balance between the cool diminishing light of this wooded cemetery, and the warm glow of what must be hundreds of individual lights atop the graves.

Everything is beautifully balanced: cool-warm; light-dark; upbeat-sombre; living-dead.

Actually, perhaps it is not balanced... the busy-ness of the scene and the warmth and sparkle of the lights, provide a note of activity and appeal that invites me in.

A strong, simple composition (always the best option!). My eye jumps between the pair of stone crosses, then flicks top left to the thin tree trunks (I am trying to gather all the information), then wanders around the snow-encrusted foliage.

There is loads of detail: I can read the headstone inscription, see the orange hue of a remnant autumn leaf.

I liked all three render variations of this photographer. This one works best for me.

The warm hues and tones seem best suited to the scene (the multi-coloured version too surreal, the monochrome too muted).

It is a good idea to work through such variations. My advice, though, is that, eventually, we must make a choice and then explore within that choice to the best of our abilities.

Taking advantage of fleeting moments is one of our roles as photographers. This striking photograph illustrates this notion.

The water has that soft sheen from the longish exposure — it looks like ice. The whispy clouds further add to the cool, mysterious ambience. The headstones appear to be rising — activated by the glow of moonlight!

This photograph is an excellent example of the brief's chief aim: "to find interesting and novel ways" to present our subject.

The jumble of headstones in this tightly packed cemetery appears almost sculptural. It is such a contrast to the formality and orderliness of most cemeteries (as presented in many of the photographs within this contest).

I appreciate that the photographer has noticed this and then determined that it offers a potentially strong composition. The view is seemingly both broad yet intimate. There is nothing upsetting the inherent balance of information. Though each is different, the headstones are unified through this thoughtful rendering.

Formerly, this was not the best photograph: the edge-of-frame information (the way the bench on left and headstone right is clipping the frame line); the over-exposed highlights, and; the greenish hue, could all have been improved.

What I like is that we have a reverse view of the cemetery — one from the inside looking out. As such, we see the back of the headstones — no formal details, only the mottled patina of time. Beyond is the glimpsed view of the neighbourhood, which provides context.

The most striking element of this setting is the pair of chairs, presumably dragged into position by visitors (who may or may not have a formal connection to loved ones past and resting here). Their empty state provides a space to imagine oneself or others seated, contemplating past lives and our own mortality.