New Joiners - Animals #803

I think the key to a decent zoo shot is a close portrait as it removes a lot of the obvious background elements that place the animal in context. Here we see how this technique can produce a nice result. This has a lot going for it, the focus is on the animal's eyes, the lighting is soft and even (perfect for portraits), and the depth of field gives us a nice balance between detail and isolation. I would have been tempted to crop in even tighter to remove a bit more of the background and to deal with the ear which is clipping the top of the frame.

Technically this is a very accomplished shot. I like the use of the low angle of view here, I expect the photographer had the camera positioned on, or close to, the ground to achieve this. This creates an intimacy with the subject that just isn't possible from a higher perspective. The shallow depth of field has isolated the subject from the background and foreground elements, both of which are evenly toned and do not cause distraction. It could be argued that the placement of the mouse in the frame is a little too close to the right edge, but the tail extending out to the left balances this and creates a well-constructed scene. I also like the foreground, subject, and background elements effectively forming three clear horizontal zones across the photograph.

There is no doubt about it, but Puffins are one of the most popular wildlife subjects submitted in photo competitions. They are confiding and easy to photograph in the summer months if you know where to go - in this instance Skomer Island off the coast of Wales. But this makes them one of the more difficult subjects to do well with as most judges will have pretty much seen it all, and it takes something different to attract attention. This is one of those images and, as a photographer with a love of the artistic myself, this really speaks to me. To have the vision for something like this takes a photographer who thinks differently to most and who really knows how to use light. Photography is not about capturing the subject, it is recording the light itself - when you understand this concept then a whole new world opens itself. Here, the photographer has seen an opportunity to use contrast to their advantage. By under exposing the image heavily, they have turned the areas in shade black, creating crucial negative space in the image. This focuses all our attention on the illuminated part of the puffin - critically this is the bill and a small portion of the face. As a viewer, we instantly recognise it for what it is, but we can't see all of it and out brains fill in the blanks. I would much rather come away from a trip with one image like this than a thousand more 'conventional' shots. I wish I had taken this myself.

The rear view of birds in flight is something I like to avoid for most of the time as they tend not to be very engaging. This photograph is an exception to that rule and this is down to a number of things. Firstly, note that beautiful warm-toned out-of-focus background providing a nice canvas for the subject which gets all our attention as a result. Secondly, it is the symmetrical position of the outstretched wings and fanned tail feathers, enhanced by the choice of central composition in the frame. See how the wing tips both point directly into left and right top corners, the outer tail primaries into opposing bottom corners. The bird is clearly hunting, hovering over a potential meal, rather than flying away from the photographer. All the technical stuff is spot on, exposure, shutter speed, and focus. Great shot.

I'm a big fan of photographs that deliver a little more space for their subjects - these often provide interesting narratives that give the image more depth. This bird is caught in a pose often seen as it dries its wings after a feeding spell in the water. They have a very distinctive shape, and an elegance about them with those broad wings, long slender neck, and arrow-like bill. The photographer has captured this bird in the watery habitat it calls home, and I particularly like the wide view which has delivered quite a bit of negative space in the form of sky-reflecting water. The photographer's elevated position has allowed them to include the reflection of the bird and it's woody perch, adding symmetry to the image. That small element of vegetation in the top right of the frame balances everything perfectly and is a nice touch.

This photograph is all about the comedy in that expression - it's an image that immediately invites a caption competition. There is an interesting diagonal created by the angle of the squirrel's head, mirrored by the angle of the twig it is grasping and the position of its front legs and tail. The open mouth is hilarious and there is a beautiful symmetry in the face with that direct stare. Eye contact is also critical here as it creates immediate connection with the viewer. The large leaf in the foreground is a bit distracting and obscures the tail a little, but a nice moment to capture.

You simply can't deny the appeal of a raccoon, its bandit-style facial mask and dark eyes are a compelling draw. These are elements that are centre-stage in this photograph, our eyes are immediately drawn to those facial features. The image has a nice balance to it, the tree trunk forms a solid anchor for the right side of the frame without dominating, and the lighter background elements help to highlight the subject and lift the scene. All the technical elements are well delivered, and I like the choice of vertical crop .

The first thing to note here is the low angle of view - this is important to create an intimacy with the viewer. It also helps to ensure that the concrete background has an obvious role in the image - a higher point of view would have reduced its emphasis. This low angle also helps to create a frame for the bottom edge by using that strip of grass. The focus is on the animal's eyes and I like the direction of the gaze as it focuses on something other than our photographer - that creates a rather voyeristic feel. The pose of the fox is also nicely balanced - I like the sweep of the tail and the curve of the body through to the angle of the head. It all has a nice flow to it. I also like the way the concrete wall behind adds a narative to the photograph.

Photographing animals within the context of a larger scene is a tricky thing to do well. Composition is much more complicated with more elements to juggle and balance to achieve a pleasing result, but including more habitat can create compelling images that provide the viewer with a narrative. Here, the photographer has managed to balance the composition of this chipmonk nicely to include some of the mountainous habitat in which it is found. This gives us a lot more information about this animal that a close portrait would have delivered. I like its position in the frame, on the intersection of thirds. I also like the diagonals that the foreground rocks form, mirroring the mountain ridge behind. The focus seems a little off and the animal a bit soft as a result, but full marks for composition.

There are some really nice elements to this image. I like the way the photographer has used a low angle of view and some out-of-focus foreground elements to isolate the subject, ensuring all our attention is focused on it. The contrast between the bird's plumage and the rest of the frame also helps in this regard. The placement of the bird in the frame is a little central, but there is some negative space on the left of the frame for the bird to look into - this is important to balance the image. Personally, I would have cropped some space from the right edge to adjust this balance slightly. The focus is clearly on the bird's eye, and this is critical with images such as this - that head and bill are nice and sharp. The blurry wings are a result of insufficient shutter speed - this may have been the intention of course, but way more is needed if these are to be rendered sharp.

This image certainly delivers 'gruesome'! The photographer here has used the light in the middle of the day to photograph this scene, not the most flattering of conditions, but this is all about the shock value of the kill as opposed to a flattering portrait, so they have used the conditions well. Exposure, focus, and overall composition are good, and the post-processing is sympathetic rather than heavy-handed. The dark fur of the kill stands out well against the lighter colours of the grassland and the lion itself. The head of the lion is a little close to the top edge of the frame.

It's all about the teeth isn't it? That's the first thing your eyes are drawn to when you look at this photograph. It's as if they snag you straight away and draw you into the depths of that mouth. The crucial thing here is the point of focus which has grabbed the area between the eyes and nose tip. This has meant there is sufficient sharpness in all the facial area, helped by a generous depth of field in this zone. The rest of the image fades nicely, ensuring that we maintain our attention on the main part of the frame. The vegetation hanging down from the top of the frame, and the stem arching across the bottom are a little distracting, but this is still a great candid moment to have captured.

This is a nice studio-style pet portrait that shows a practiced hand. The white background ensures that all our attention is focused on the dog. The lighting is nice and soft, a result of the softbox used with the flash, a reflection of which has created a nice catchlight in the dog's eye. It's a slight shame that the image hasn't been cropped tighter as the negative space at the top of the frame is unecessary and we are rather robbed of all the nice detail that has been captured in the animal. A tighter more horizontal crop would elevate the image.

The low angle of view here is the thing that makes this image work. I mention this a lot in my reviews, but it really makes a huge difference as it creates an immediate connection with the viewer - essential for a successful portrait. We also have direct eye contact, another important element. The composition is also solid, I like the slightly off-centre placement of the face, that outstretched paw to the right balancing the space on that side of the photograph. The conversion to black and white adds to the image by removing the complication of colour. Perhaps adding some darkening vignetting to the top and bottom right corners would help balance the darker left edge.

What I really enjoy about this image is the background vegetation. Those dual tones create a feeling of texture and depth, emphasised by the shallow depth of field. The main focus is on the animal and, critically, the focus lock is on the eyes. The exposure is nicely balanced, and the lighting flat and soft which has enabled the detail to star. The expression of the wombat adds interest with that gaping mouth. I also like the cinematic crop in this instance, and the central placement also works. The twig immediately behind the animal is a little distracting and I would be tempted to clone this out.