New Joiners - Animals #751

Using the wooden rails of the holding pen to create this letterbox style framing for these sheep is really effective and is what drew me to this image. I also like the black and white conversion that emphasises this shape and form by removing the distraction of colour. That direct eye contact from the subject is so important, and I like the fact we can see all of the main elements of the face - the ear, eye, nose and mouth. This completes our connection with the animal. I also like the symmetry created by the animal behind, its head mostly hidden, but its position mirroring its foreground flock mate.

Most images I see of hummingbirds are taken in the classic way, employing an outdoor studio setup with multiple flashes fired remotely. While the images can be stunning produced in this way, I always feel that they can have an artificail feel to them. This photograph has been taken using the available ambient light and has a more natural feel as a result - I like that. Even with really fast shutter speeds, the movement of the wings as they beat multiple times a second can't be completely frozen, as they can using the much faster flash duration to do the job, but I like a bit of blur as this energises the scene. The little trail of water droplets adds extra interest. The overall composition is solid, the photographer choosing to place the bird to the right of centre and giving it space to look into. I also like the fact that the photographer has chosen not to use denoise software, but to leave in the grain from the high ISO settings for a raw feel.

A lot of my reviews make reference to the importance of the eyes when it comes to animal photography. The eyes are the things that create the connection with the viewer and can direct the emotional response. Direct eye contact grabs the viewer's attention immediately and remain the main focal point of the image, as we see in this example. I like the complimentary tones of the cubs' fur and the surrounding grassland - we really enjoy a sense of place and get transported to the African plains that these animals call home. The overall composition is a little uncomfortable - I would like to have seen more space at the bottom of the frame. Also the third cub cutting across the left edge is a shame - I would have included the whole face or cropped it out entirely.

Swans have to be one of the most photographed of bird species, not a surprise given their size, trusting nature and abundance. They are also such an elegant looking bird that simply loves the camera. Consequently, I have seen thousands of images of them and do often photograph them myself, so it takes an exceptional image to stand out. This image is taken in rather harsh light, but the photographer has used that to their advantage by choosing a tight head portrait. The balance of exposure is spot on here - the top of the head is slightly blown out, but I think this doesn't detract at all as the darker elements are the more important here. What really makes it is the beautiful blue water background which is decorated by those lovely bokeh sparkles. I also really like all the feather detail that has been captured with the tiny water droplets mirroring the background bokeh.

There are so many things that the photographer has done well here. The central position of the donkey in the frame is an excellent choice as it dominates the image, the direct eye contact creating immediate connection with the viewer. The crop helps carry this central composition off and the black and white conversion removes the distraction of colour from the foreground and background elements. I love the way the photographer has used foliage to create a framing window around the donkey, ensuring all the attention is on the subject.

The low point of view is what makes this image and gives it a rather gawky appeal. That large, out of focus paw in the foreground adds to the overall unusual feel. The central position of the cat's head isn't something that I would normally go for, but the lines of the background fences both converge, so I think the central composition is the right choice here. The photographer has ensured that the camera has focused on the cat's eyes, and these act as the central draw for the viewer. I like the black and white conversion, perfect for the cats striking facial markings.

Common and confiding subjecs like this Canada Goose allow good opportunities for close portraits such as we see here. This is a good example of the photographer getting the technical aspects of this image correct. The bright light conditions make balancing the exposure quite tricky to retain detail in the blacks, while not losing detail by overexposing the whites. The balance is perfect here. The background is evenly toned, of a contrasting colour, and deliciously out of focus. These elements ensure that all the viewer's attention is on the goose's head and all the lovely detail that has been captured. The crop and composition is solid, and I like the little catchlight in the eye created by the sun's reflection. The blades of grass sticking to the beak add that extra little touch.

This image is all about that dramatic point of view. Getting low to the ground and shooting from this perspective creates an immediately arresting image - the vertical orientation helps to emphasise the perspective. I like the central position of the horse in this shot, and the angle of light helps to create some depth with that mixture of light and shade. Phones are always good at retaining a generous depth of field, as we see here, and this works well with this shot. A shame the horizon lines aren't straight, but an easy fix in post production.

I really enjoy the colours, textures and tones of this image. The warm light of what I assume is late afternoon/evening, has really brought out the warm earthy tones of the vegetation and the horse. These are nicely contrasted by the blue of the background sky. The position of the darker hair of the mane and tail give a subtle energy to the image as I image them blowing in the breeze. I like the depth of field, shallow enough to focus all the viewer's attention on the subject, but still retaining sufficient detail in the background to give us a sense of place. It's a shame we can't see the whole of the animal's head, and I would have given the image a little more space on the left of the frame to create better balance.

One of the things that I love about photography is its ability to reveal things that we can't see with the naked eye. One of those treats are images such as this that show small creatures in magnified detail. Lense systems that produce magnification of the like that we see here, suffer from shallow depths of field - a problem that modern digital technology overcomes through focus stacking. This technique allows plenty of in-focus detail to be captured for the subject, while leaving the background elements out of focus to avoid distraction. This image is a great example of this - just look at all the lovely detail we can see on this tiny animal. The photographer has chosen a nice central composition to emphasis the symmetry and create a result that is well balanced and pleasing to the eye. There are some soft edges around some parts of the insect, a result of the focus stacking process no doubt.

One of the tricks with photographing animals in a zoo is to try and exclude elements that give the game away and suggest that the photographer may have taken the image in the wild. I think the photographer manages just that in this case. The tight composition is very well though out, I love the diagonal of the branch as it stretches right into the top left corner of the frame - this creates a strong framework around which the rest of the image hangs. The pose of the koala is as endearing as it gets, the viewer almost feels as if they are intruding as this animal rests. The green foliage acts as the perfect frame, ensuring that all the attention is on the animal and that super cute face.

This photograph clearly demonstrates one of the things that can quickly improve viewer engagement with your work, and that is the low angle. The photographer has the camera at ground level - eye level with this squirrel, and this creates an immediate connection with the viewer which is further enhanced by the direct eye contact. Getting low and on the same level as your subject can be so important - look how the out of focus background isolates the subject ensuring all the attention is on the animal. This has been achieved through the low angle ensuring that the background is a good distance away from the subject, not something that could be achieved from a higher viewpoint. I also really love the overall composition - the shape of the squirrel is so nicely balanced, curving through the frame from that outstretched front paw in the bottom right corner, through to the beautiful sweep of the tail. This image shows lots of skill and understanding of the subject and is a deserving winner.

This photograph proves that you don't need amazing light to create effective images. I rather like the dull and overbearing sky - the bright white plumage of this egret is the perfect counterbalance and really makes the bird stand out. The soft lighting has allowed plenty of detail to be captured in the whites, the plumage almost having a fluffy appearance. The bird's dark legs look like an extension of that dark rocky perch which acts as a solid anchor for the bottom of the frame. I also like the vertical crop which I think helps to excentuate the stature of this egret. The overall dull tones are punctuated by the brightly coloured beak and eye which are the central draw.

The main attractions of this image for me are the lovely warm tones of the morning light and the clear connection between parent and offspring. I really enjoy the shape that these animals make as the foal seeks protection from its mother who is clearly keeping a close eye out for the dangers that may lurk in the long grass. I'm not sure the vertical crop is the right choice here - I would be tempted to crop in tighter and remove both the sky and the darker strip of bush in the top half of the frame, leaving the zebra framed by grassland only.

Photography is not just about creating artistic and beautiful images, sometimes those images that tell a story and create an emotional response can be even more powerful. This image does just that. I really admire what the photographer has attempted to do here. The close up of this primate's hand, with its fingers wrapped around the mesh of its cage is very moving - recalling a prisoner clenching the bars of their cell. That human-like quality of the anatomy creates an empathy with the viewer and a feeling of pity and shame. Images like this have the power to change opinions and shape future behaviour and policies. A well seen and executed image.