New Joiners - Animals #776

This is a stand out winner for me from the selection. There are so many elements that the photographer has done well here. Firstly, look at the composition and how they have carefully arranged the two characters in the frame - this is not by chance, this has been carefully considered. The character on the left acts as the main anchor for the shot and the left hand side of the frame. The fox on the right secures the bottom right of the frame and creates a strong diagonal connecting the pair's gaze. This is the key to this image, it's that contact between the two and how that has been balanced in the frame. I also really like the fact that both animals are in the same plane of focus, meaning that both are sharp and separated sufficiently from the background. This image also has such a strong narrative, always a winner in photography.

I have included this image in my top ten as, although it isn't perfect, I applaud the idea and the attempt to create something different. If you are going to use a silhouette technique, the most important thing is that your subject is instantly recognisable to the viewer. This means that you need a strong and distinctive shape - herons are perfect for this style. The other element that is key, is a clean and contrasting background - another tick for this image. I also really like the simplicity of the branch and the way its shape rather mirrors the 's' shape of the bird's neck. What doesn't work for me so well is the crop, the image just doesn't flow as it should because the shape of the surrounding space lessens the impact. I see this as a tighter horizontal crop which I think would strengthen it immeasurably.

The photographer correctly references the harsh lighting conditions they faced when taking this image. This is particularly apparent if you look at the breast and throat area - the yellow plumage is a little over-exposed here. However, the low angle of view is good - this creates separation from the background and delivers intimacy with the viewer. The point of focus is also accurate and enables the viewer to enjoy lots of detail in the bird's plumage. In this situation, I would have been tempted to use the bright light to my advantage and deliberately under expose the image and create something that moves away from the literal in favour of the artistic.

Photographing animals is not just about the tight, portrait style images - in fact, these can be some of the easiest shots to master. Giving your subject a bit more space in the frame allows you to include some of the environment and create more of a story with your work. But balancing these elements to create a pleasing composition can be tricky. I like what the photographer has tried to achieve here, and this is a good eample of the correct choice of crop. The vertical orientation has allowed emphasis to be drawn to the pines and their tall, slim profiles. Notice how the moose has almost been framed within a small clearing, creating a pocket in the image within which it sits. That backwards glance and direct eye contact creates immediate connection with the viewer and is a critical element. The photo is a bit flat and could do with some levels and curves adjustments to give it more life.

I like the idea of this image. Not showing the face of either dog really should not work, but it does - for me at least. As a dog lover, I think it's rather fun, the dogs are clearly fixated by some scent or other. I only hope that they are not in the process of digging out some form of wildlife..... The low angle of view is one of the key elements as it has allowed a degree of separation from the background. The conversion to black and white has removed the complication of colour and simplified the composition - a good choice in my view.

This is an image of two halves. The first is the animal itself which has been captured in a way that demonstrates lots of technical skill. The focal point is right on the eyes, the exposure is well judged, and the depth of field has enabled lots of detail to be retained in the fur and features. The backlighting has also given the monkey a beautiful glow, framing its features and helping to separate it from the background. The second half is the background - this is a very nearly image in that respect, but the photographer can learn from it. There is a beautiful pocket of bokeh in the top right corner of the frame - by moving to the left a little, the photographer could have incorporated more of this in the background. This would also have adjusted the position of the dominating tree in the background, potentially eliminating it altogether.

I like the idea of this image - there are lots of elements that have been really well executed. The ridge that these elephats are walking along has created the opportunity for the photographer to generate separation from the background - the low angle of view has helped here. The earth ridge itself forms a strong anchor for the bottom of the frame. The elephants are very symmetrical in their postures - I like the leading adult and smaller infant - this scale reduction makes the photo very comfortable to look at. The conversion to black and white works well - removing the distraction of colour has strengthened the composition. For me, there is way too much redundant sky in the top half of the frame. A panoramic crop to reduce this element would give the image more impact.

The idea behind this image is solid and I appreciate the photographer's attempt at adding interesting context to the photograph with the iconic background. The composition is so nearly there - the starling is well placed between the main bridge supports, its beak pointing skyward at an angle that adds balance. Such a shame that there isn't enough space at the bottom of the frame and the feet have been cropped out. The image could also do with the shadows around the face lifting in post production. The starling is an invasive species in North America where its numbers are booming - rather ironic that its numbers are falling dramatically in the UK.

When photographing animals in woodland, light (or rather lack of it) is always the major hurdle to overcome. What struck me immediately about this photograph is the gorgeous soft light that bathes this scene. It is bright, but has been so beautifully diffused through what I assume is high cloud. This has meant that there is no loss in detail, and no contrasting highlights and shadows to distract. That out-of-focus foreground just seems to glow and provides the perfect frame for the bottom of the image. The focal length of the lens and the wide open aperture has delivered the perfect depth of field; sufficient to isolate the subject and for the other elements not to become too distracting, but with enough depth to retain a sense of place. I'm not generally a fan of square crops, but it does work in this case.

My initial reaction to this image was that the out-of-focus grasses in the foreground were a bit too distracting to really make the photograph work. However, over time the frame grew on me and I rather think that, while these elements may subtract from the visual appeal, they add to the narrative and the strength of the shot. They provide the animal with a sense of place, giving the viewer a good insight into the habitat in which it is found. The overall composition is strong, and I like the tight crop here (although the right ear tip has caught the top edge of the frame). If you linger on this image for long enough, then it reveals some extra delights in the flies that adorn the nose, snout and eye - that's such a nice detail, and one that makes me want to brush them away with my hand.....

This image is all about the connection between adult and offspring. The physical contact that the photographer has captured creates an intriguing narrative for the viewer. I also quite like the sepia-like tone of the elephants themselves which contrasts well with the rather muted background; an interesting combination which helps to focus attention where it needs to go. I would have cropped in a little tighter to better balance the composition.

Thae main strength of this photograph lies in the way the owl has been isolated from the background using a combination of depth of field and tonal difference. This helps the viewer to concentrate all their attention on the owl. The twigs in the foreground are a bit of a shame as they do distract somewhat, however, their impact would be greatly reduced if the longest vertical twig were removed in post production. I think a vertical crop would also work better than the square format chosen.

This is quite an intriguing photograph. Initially, the foreground grasses really bothered me, but I think the photographer has done well to maintain focus on the koala - look how the point of focus has remained on the animal's eyes. The result is that, although the grasses are a little distracting, they provide some interest in the frame. The exposure is well judged and I like the overall composition. The shallow depth of field here really works, without it the photo would be too messy and confused.

There is lots to admire in this image. I like the low angle of view the photographer has adopted - this is one of the first things I always advise people about when they are seeking to improve their photography. The low angle not only delivers an immediate intimacy with the subject, but also creates separation between the subject and background. The overall composition of the photograph is well balanced and the point of focus falls directly on the eyes. The exposure is well judged and the depth of field maintains the viewer's concentration on the lioness and her facial features. Good job.

Direct eye contact and ensuring the point of focus falls directly on the eyes are the key elements to making close portraits such as this work. Direct eye contact with the viewer ensures that their attention is immediately grabbed by the initmacy it creates. I really like the way the focal length, aperture and close proximity to the subject has created that beautiful out-of-focus background, while maintaining so much detail in the subject for the viewer to enjoy. The photographer may have been a little enthusiastic with the saturation slider in post production and I would tone this down a little.