New Joiners - Animals #788

Exclusion can be very powerful in photography when used wisely. Here the photographer has chosen to exclude a good proportion of the bears' heads, something that the vast majority would not think of attempting. I think it really works in this context as it has forced the viewer to focus all their attention on the connection between these two animals. The lack of any clear eyes has drawn the viwer's eye to the nose of the lower bear, around which the rest of the image hangs. The details of the nose and snout are so clear, you can almost feel the cool, damp rubberiness of that nose! There is a beautiful tenderness to that pose, almost in deference to the larger and dominant male who arches over in imposing fashion, protecting his mate. It is the detail that has been captured in the fur that really makes this shot. The tones and textures are simply delightful. A bold composition which has produced a very powerful and successful image.

I visited the Carmargue last summer for a brief afternoon and loved the place. My time was spent photographing the flamingos, but the area is just as famous for its iconic white horses, such as the one pictured here. Most images of these beautiful animals are taken as herds are choreographed on the beach, running through the waves in beautiful evening light. What a lovely change it makes to see one photographed in a more natural setting. Take your time to enjoy all the lovely textures, colours and tones of the setting this horse and its unusual rider find themselves in. The white colouration of both characters makes them stand out perfectly, the tones of the horse's mane complimenting those of the surroundings. The composition here is so nicely balanced and the cattle egret perched on the back of the horse is a beautifully serendipitous moment that makes the shot.

This is a classic pose for this family of birds as they dry their wings in the sun. The key to this photograph is the shape of the bird - there is a nice symmetry with the position of the wings, framing the neck and head, which are forming a pleasing 's' curve. Note how there is clear separation between all the head and neck elements and the square side-on position. The angle of the beak is also nicely balanced by the opposing angle if the tail. Filling the frame was a good choice here to take emphasis away from the rather ugly tones of the water.

The strength in this photograph lies in the pleasing light and bold composition. The obvious emphasis on the coastal environment has added an interesting mystery to the image - I can't think of too many shots I have seen of cows on beaches! This delivers an interesting narrative to the viewer as we take in what our eyes are seeing and try and piece the story together. She does seem to be enjoying the sun, sand, and solitude! I applaud the placement of the cow in the frame here, not many would choose to include only the head and shoulders and place them off to the left half of the frame, but it is this choice that has ensured we are in no doubt as to the environment we are looking at - enter the narrative! When photographing scenes by water, pay attention to the line of the horizon. Here it is not quite level - a simple fix in post-production that makes so much difference.

Goldfinches love seeds - just look at the shape of their beak, perfect for picking them out from the flower heads of plants and mashing them up. This character has been attracted by the seeds of this sunflower, one of their favourites. What makes this image is the gorgeous light, buttery smooth background, and warm tones. The bird is almost spotlighted by that bright patch of light illuminating it and the immediate background area. The darker areas of the frame form a natural vignette that helps to concentrate our attention on the main subject. The point of focus is right on the money here, look how delicioulsy sharp the bird is and how the eye is the centrepiece. I also like the way the sunflower curves out of the top half of the frame, the angle of the Goldfinch the perfect extension. I would have cropped in a little tighter to reduce some of the unecessary dead space at the bottom, but a minor point only. Beautifully done.

Wood ducks are impossibly good-looking - those head markings are the star of the show as is emphasised in this image. The even, lighter tones of the background water provide a perfect backdrop to showcase this duck's good-looks, the darker tones of its plumage standing out in stark contrast. The long focal length of the lens and the wider aperture have delivered a depth of field that renders the background mainly out-of-focus and removes any distraction there may be. A nice touch are the two darker rocks on either edge of the photograph which help to frame the scene. Photographing birds from behind doesn't work well too often, but here it's the sideways glance that makes the shot. The viewer is treated to a good view of the bird's profile and intricate head colouration. Critically, we can clearly see the eye and this forms the central part of the image around which the rest hangs.

Direct eye contact is the important thing here. The fact that this leopard is looking straight down the barrel of the lens creates an immediate connection with the viewer. I also really like the soft lighting of the scene - the darker background helps to focus all our attention on the animal and its lighter tones, a contrast that has been emphasised skillfully in post-production. The focus is also directly on the eye and the long focal length of the lens has created a nice shallow depth of field. A shame about the foreground foliage slightly obsuring the animal's head, but a great shot nonetheless.

Portrait of elephants work so well in black and white. The removal of colour ensures that all the emphasis is placed on the textures, tones, and composition of the photograph. See how removing the distraction of colour has brought out the rugged texture of this animal's skin. The dark background has provided good contrast for the lighter tones of the elephant which is nicely composed and balanced within the frame.

Mallards are often overlooked as photographic subjects, and I think that's a shame. The males in particular (as pictured here) are especially handsome birds that ooze character and attitude that is so often ignored, so I am always pleased to see images of them. I don't often see them taken in flight, and even less so in the more unusual flight poses as we see here with this individual preparing to land. Technically, this is very accomplished; the lighting is warm without too much contrast, the focus has landed on the bird and isolated it perfectly from the plain bluesky background, and the shutter speed is well-judged to ensure everything is sharp. I would have cropped the image a little to place the bird off-centre and to the right which would have better balanced the composition.

What drew me to this photograph is the narrative it delivers. The supporting background elements provide a sense of place for the main subject and tell the viewer something about where this animal lives. The overall composition makes good use of the rule of thirds across the horizontal zones with foreground, central zone and background clearly defined. The focus is on the subject and this has been placed centrally on the intersection of the lower and middle thirds, balancing the mountain peaks above. The lighting is a little harsh with the bright sun of the middle of the day, but there are some strong compositional elements on display here.

For me, this is all about that delightful light that is illuminating the head of this female mallard. She seems to be rather enjoying the attention that her rather drab brown plumage sadly rarely attracts. The key to the image is ensuring that the focal point lands on the eye - this is the immediate area our own eyes are drawn to when we first look at the image. See how the placement of the eye is on the intersection of thirds making this a very pleasing composition to look at. I also rather enjoy the 's' shape to the body posture, the sideways glance gives us a nice side profile in that beautiful light. The long focal length of the lens and open aperture has delivered a depth of field shallow enough to create good seprartion between subject and background.

This photograph is all about that warm, soft light as it illuminates the African landscape, the grasses glowing delightfully in the central strip of the frame. I love the tonal layers that are formed by the vegetation and light and shade. See how they clearly divide the image into horizontal zones, zones that sit nicely within the rule of thirds. Centre stage is our leopard looking imperious as it sits tall amoung the grasses. The photographer has chosen to place the animal's head in the centre of the frame, something that I would normally avoid but, strangely, I think it works well in this instance as it gives the image a rather calm atmosphere. A shame about the foreground grasses slightly obscuring our view, and I would have cropped in a little tighter to remove the ugly branch creeping into the shot in the top left corner.

The obvious attributes of this photograph are the gorgeous warm lighting, sharp focus and well-judged depth of field that delivers both subject separation while maintaining detail in the overall environment. What makes it stand out is the composition of the horses in the frame, the two main characters acting as bookends for the more distant central animal. There is just such a beautiful balance to it that makes it very pleasing to look at. I think the panaramic crop is the perfect choice, giving the image a rather cinematic edge.

I preach about this quite a bit, but adopting a low eye-level perspective to your subject is one of the things that will instantly elevate your photography. Getting low like this immediately creates a connection between the subject and your viewer, making the image far more compelling. This shot is a great example of that, the photographer getting the camera as low to the water as possible. A low angle also allows decent separation between subject and the background and foreground elements, drawing attention to the subject. The focus has landed in the correct place here - on the eye of the nearest swan, and the expoure is well judged, although some of the highlight areas could do with being pulled back a little in post-production. The vertical composition is a good choice here, but I would have placed the nearest bird more to the left of the frame to balance the background swan more pleasingly.

The eyes most definitely have it when you look at this image. There is simply no ignoring them as they stare out of the screen, boring into your very soul. There is such a strong contrast between the bright blue and the paler, more muted fur. What I really like is the close crop that removes any background distractions and focuses solely on the form of the face, its elements providing a pleasing symmetry. The shallow depth of field delivers a delightful softness that contrasts with the harshness of the eyes. The eyes are at a slight angle that I find irritates a little and would have corrected in post-production.