New Joiners - Animals #696

Photography is all about eliciting an emotional response in the viewer. Strong back lighting can provide excellent opportunities to create silhouette images as we see here. The secret with silhouettes is that the subject, although devoid of any detail save its outline, should be instantly recognisable. There is no doubt as to what the subject is here, and the drama of the lighting has created an arachnophobic undertone. What I particularly like is the web detail which circles around the subject, mirroring the shape of the light source and spiralling arouind the spider. The slightly off-centre placement of the spider and light shows good understanding of composition.

This image not only shows great technique, but is also pleasingly composed. Technically, the focus is on the eyes, exactly where it needs to be, the shutter speed is sufficient to eliminate any motion blur in the subject, the aperture has allowed the background to soften and reduce any distraction, and the overall exposure is well judged. The soft lighting has worked to allow plenty of detail in the fur to come across, and the overall symmetry and position of the dog in the frame is pleasing. These action shots are tricky to compose perfectly as they happen so fast, but watch the space around the edges of the frame. I hope the photographer (also I presume the dog's owner) prints this and puts it on the wall.

I like pet portraits that portray the character of the animal, and pose a few questions for the viewer to ponder. There is no denying that the viewer's attention goes straight to the dog and it's expression. The body of the car and the window provide the perfect frame for the head which is poking out of the window with an expectant look. The door of the car is slightly ajar and the handle pulled half down. Is the dog waiting patiently for the return of its owner? Has the owner not closed the car door properly? Will the dog escape and wander off? Creating images that tell a story and ask the viewer questions is a skill that goes beyond the technical.

As a photographer who has shot a lot in woodland, I understand only too well how tricky it can be when you have heavily contrasting light conditions as we see here. However, used correctly, the bright light can be quite effective and the contrast used to the photographers advantage. This is a great example of that, exposing for the bright shafts of light has underexposed the background and accentuated their effect. This would have been a nice woodland scene by itself, but to add in the dog was a lovely touch, particularly in the way it is positioned in the opposite corner of the frame to the light and looking towards it.

Wildlife photography is not just about filling the frame with your subject, telling a story by including some context and environment can be equally as powerful and engaging. Indeed, these wider shots can be more difficult to compose that a tight portrait. I like the overall composition of this image. The trunk of the tree is obviously the dominant part of the frame, but placing it centrally has softened its impact, the complimentary tones of the background also helping this cause. The woodpecker does not get lost as a result and draws the right level of attention from the viewer. It is skillfully placed in the frame and its pose tells the viewer a little about where this bird is found.

I chose this image for two key elements; the overall textures, and the symmetry of the animals. The fuzzy softness of the grasses in the foreground and background create the ideal frame for the bold contrasting lines of the Zebra. The animals offer a degree of symmetry, both with side on profiles and facing into the centre of the frame. I also like the way the heads are turned towards the photographer. The choice of black and white here is good as it concentrates the viewer on the strong elements of the frame I have described.

The low point of view the photographer has chosen with this image creates an immediate connection with the viewer to the animal and has allowed a sense of place to come across. It is immediately obvious that the dog is in an urban environment which adds an element of intrigue. I also like the slight under exposure that has added a rather dramatic feel to the photo, accentuating the dark, warm tones. The overall composition is also strong with the out of focus person on the left balanced by the hint of buildings on the right.

Tight portraits of a tiger's face always make compelling images as we see in this example. The photographer has ensured that the point of focus is right on the animal's eyes and this helps to create a connection with the viewer. The exposure is correct and the photographer has cleverly used post processing to darken the background areas of the image around the tiger's head to remove distraction. The black and white conversion works here too. I'm not keen on the foliage in front of the animal's face which I find distracting.

This is an image that I kept coming back to and it grew on me over time - that's always the sign of an interesting photograph. Firstly, the central position of the adult female Mallard is a good compositional choice. I like the way the ducklings are spaced around her with a nice degree of symmetry. What really draws it all together is the background of stones beneath the water as they provide uniformity of tone and pattern, complimenting the subjects in a pleasing way. Never ignore common and easy to photograph subjects as there is always a successful image to be had if you look hard enough.

The overall composition of this image is what drew me to it. I rather like the curving tree trunk which dominates the right hand side of the frame, its leafy branches holding the top edge and framing the sheep. The triangular shaped outcrop of rock is mirrored by the position of the three sheep which also form a triangular pattern. The technical elements of exposure and focus are well executed and the lighting has allowed plenty of texture and detail to come across.

Images that work well always include an element that elevate them over others. In this case, the image of the butterfly is technically very accomplished; exposure, focus, and composition are all spot on. What takes it to another level is the lighting and the way the photographer has chosen to shoot into the light. This has allowed the under exposure of the background to remove any distracting elements and to provide contrast for the brightly lit subject. The position of the main point of light in the top part of the frame is well judged, and those shafts of light act like stage lighting for the subject. I would have repaired the damage in the wing, but understand that the photographer may well have preferred to keep it entirely natural. This is a beautiful image and a great example of the use of back lighting.

Elephants make great subjects for black and white images when photographed up close as the removal of colour helps to focus attention on the texture of the skin. Composition is critical when taking other elements away like colour. Here, the photographer has the right idea, that texture and detail are there for the viewer to enjoy, but the bright sky on the right of the frame takes the attention away from these details. A tighter crop and a curves adjustment to brighten the image a little would make it even more effective.

The choice of crop is a very underestimated part of photography, and the ratio of the dimensions plays a critical part in a successful image. Here, the panoramic choice is inspired as it gives an almost cinematic feel and echoes the shapes and contours of the dunes. A standard 4:3 ratio would have included too much sky or foreground sand, diluting the emphasis of the dunes. The lighting is particularly effective; coming in from the side it has allowed shape and depth through light and shadow. The silhouette of the camel and its placement in the frame adds that central focal point around which the rest of the image hangs. The choice of black and white removes the distraction of colour and elevates the image still further.

Photography is often about subtraction, and removing the colour in an image can be an extremely powerful tool. In this case, the conversion to black and white has accentuated the texture and detail in the fur and nose which I really find appealing. I also like the attempt at composition, placing the eyes in opposing corners at the top of the frame. This is one of those work in progress images that has all the right ingredients, but takes a few iterations to perfect. Had the shot been taken head on with a tighter crop, then the distracting lighter background to the left edge of the frame could have been eliminated and a much more powerful image would have resulted.

I love the approach the photographer has taken with this image which is a very different pet portrait. The trick with this is getting the exposure correct - not easy with a backlit subject and high contrast. In this case, the exposure is perfect; just enough to retain the important detail the shadows and the highlights, both of which are critical in this photograph. I love the outline of the cat and the way its shadow forms a distorted image on the curtain. What absolutely makes it is the eye staring directly at you through the material - this is the focal point of the image and follows you around the room! Well spotted and nicely done.