Nature retaking control

The photographer picked a fascinating location full of various materials and textures all in one place. The section that intrigues the most is the window area on the left with all the small details and shapes of broken glass, the leaves showing through, the rust patterns. That’s the part I as a viewer would like to explore more yet I’m not close enough. The top part of the image creates a dynamic combination of the green leaves and the grey roof, which together could make a good separate image, however they seem to be lost as the glass section on the left pulls the attention towards it. The line between the windows and the doors seems to break this section into half and more balance could be achieved if it was one third from the edge of the frame. Overall the image is full of very interesting elements and perhaps getting closer in and carefully framing a specific section as a detailed study using the rule of thirds, or on the contrary getting further away to concentrate on the general shape and the presence of the building in the landscape as a whole, would be the next step.

Beautiful detail, well spotted and composed, and what a great colour combination. At first glance it seemed like a world map with blue ocean water surrounding green land. I can recognise it’s a car, yet it’s secondary and I don’t need to see more than the photographer chose to include in the frame. The reflection in the glass echoes the green detail – all the elements come together in a very eye-pleasing image you can look at for a long time.

One of the many joys of photography is its ability to make us pause, become present to the world around us and bring to our attention the seemingly insignificant details of everyday life that we would otherwise overlook. You can take a long time to study the individual curls, threads and forests of this micro world of lichens – truly nature regaining control. The photographer accentuated this effect beautifully with the depth of field and a good choice of simple technique that reveals natural colours.

It’s a subtle understated image that says it all. It's peaceful and serene in spite of showing what we might associate with busy city life. What seems to create this effect is the similar tones in the sky and the buildings and the central characters - the storks, themselves. We are close enough to see the birds relaxed and undisturbed, safely going about their routine, yet we are not too close to them to lose sight of the bigger picture with its urban, presumably densely populated environment that contrasts with them so beautifully. There is something quietly life-affirming about this scene.

The carpet-like texture was well spotted and beautifully composed. Due to the challenging limited light conditions the image almost appears to be split half way ever so slightly, and the eye seems to want to stay at the bottom part and only quickly glance at the top which is darker and less defined. While the softer area at the top creates a sense of perspective, perhaps on a brighter day, especially after the rain, it would be possible to have more of the scene in focus, more evenly lit up. Playing with horizontal format might be useful. It’s a wonderful generous subject that is perfect for abstract compositions the photographer clearly has a good eye for.

Very playful! In this image what we are nominally looking at, an abandoned rusting grass blower, becomes something else: a bird, a dinosaur…a 1970s sci fi character! Regardless of our interpretation there is a clear presence of something other than what the image actually depicts and this second layer is where its strength lies. Strong diagonal composition and two main colours dominating the scene give it clarity and punch. And the varied shapes of leaves and branches going in different directions create an interesting busy textured frame around the perfectly composed grounded central figure.

Another great example of an image that goes beyond what it depicts thanks to its strong composition and considered use of colour. The burned miners’ cabin placed diagonally seems to be inside of a triangle made out of the bush at the bottom left corner, the small fir tree at the top right (together they make another diagonal) and the burned stain at the top. Even the grass at the bottom right follows a diagonal line. This geometry however is very subtle, the lines are off centre and what it all creates together is a very eye-pleasing abstract composition.

Mysterious, intriguing, full of great detail and character, yet grounded and quiet. It could have been a still from a fantasy drama film. The photographer made an excellent choice with black and white - the dark weeds against the white wall create a strong decorative graphical quality and allow us to follow the lines without being distracted by colour. The windows and curtains add to the intrigue: is there someone inside? Does someone live there? The symmetry of the two petrol tanks, the windows and the steps all create a sense of balance and stillness.

This image is neither a striking example of a perfectly picturesque landscape, nor is it a demonstration of a conscious use of sophisticated photographic equipment and polished post-production. It seems to go beyond what immediately meets the eye and suggests another layer. Its subtle strengths lies in a clearly defined frame inside of the frame. In the rusting structure we recognise a decaying trailer, yet it doesn’t hold our interest. Instead it leads the eye straight through it, past the man-made, looking straight into the distance. There doesn’t seem to be anything in particular the eye is drawn to, yet there is a clear sense of direction and our gaze is locked. The beautifully framed light in the sky radiates hope.

What makes this image not just another classical picturesque river view is its beautiful flatness, achieved by the photographer looking down at the scene from a vantage point. The boat could have been a paper cutting, placed carefully at a slight angle, echoing the water and the trees on the other side - all following a subtle diagonal which creates a strong, balanced composition. We see enough of the boat to enjoy the bright sky blue colour accent which lifts the flatness of the overall scene; and we even notice water plants framed alongside its benches, as if deliberately planted by someone, yet we are not too close to it for the image to become just about the small detail. All elements in this image belong together and create one coherent whole.

Working with vibrant colours can be tricky as they tend to grab attention and pull compositional weight towards them. Here we have a beautiful rhythmic interchange of subtle and vibrant colours that complement each other perfectly. The intensity of the bright blue sky and the red-orange-brown of the rusting cart is given space by the gentle yellows of the grass and the distant soft blacks of the mountains. The colours, composition and the abstract quality of the rust are in such harmony with each other that the cart appears to be one of the inseparable layers of the landscape.

It’s a challenge to judge these kinds of images as I can imagine the photographer potentially having been through all sorts of trouble to capture a good quality picture of a wild bird so clearly defined (even the eyes!) and with so much beautiful detail in the feathers. However, considering the image as a whole, there is a potential for a narrative here. The owl is perfectely framed inside of a wheel, yet perhaps the photographer could include more detail in the shot, i.e. what exactly the bird is sitting on, what else is around and how does the bird fit into the environment, or doesn’t. Unless of course the photographer’s goal was to only focus on a study of a tawney owl as a species, in which case it was accomplished.