New Joiners - Animals #814

Stonechats are very often ignored as photographic subjects, which is a shame as the males, in particular, are gorgeous birds with warm colours and bold facial markings. Photographing them on sunny mornings before the sun gets too harsh brings out their splendour, especially when matched with a background of complimentary tone as we see here. What the photographer has achieved so well is the separation between subject and background. The background compliments the subject rather than distracting attention. The subject is beautifully sharp and the exposure well-judged - a diffcult balance when dealing with contrastingly dark and light plumage tones in bright light. I also like the little catch-light in the bird's eye, formed by the reflection of the sun. As I look at this image I can hear the distinctive 'chack-chack' call this bird makes as it sits atop its perch.

Kingfishers are popular photographic subjects with their dazzling electric blue plumage making them unmistakeable. Good portrait images need to ensure that the viewer's attention is focused on the subject. One way to achieve this is to create clear separation between the subject and background, as we see with this example. Note how the background, although textured, is of fairly consistent tone which offers sufficient contrast to make the bird stand proud. I like the pose of the bird, that backward glance is crucial for us to see enough of the beak and eye to form a connection. The bird is beautifully sharp and treats us to a good deal of detail in the pluamge and features. Note the off-centre composition which balances the frame and gives the kingfisher room to look into on the right.

The strength of this photograph lies in the clear separation of the two contrasting background elements and the central placement of their divide within the frame. The background provides a clear narrative to the viewer about the rugged coastline while not distracting from the central character. The gull is placed clearly in the right half of the frame and critically does not span the central divide. I also like the panoramic crop which emphasises that background split - the yin and yang of land and sea.

I am a great admirer of shots that are composed with the subject small in the frame - when they are done well of course. Including more space around a subject can give it room to breathe and also provide the opportunity to include contextual elements around which to build a narrative for the viewer. In this case, the photographer has included the rugged coastal environment with that stunning backdrop. These shots are more difficult to compose well than you may think. In this case, I like the overall idea, but the foreground is a little ugly and distracting and I would have been tempted to try and compose a little tighter and perhaps in a horizontal format.

Zoom in and you will see that the bee is in sharp focus, a tricky thing to do with small, fast-moving insects. The secret is to manually focus on one point and shoot a lot of frames as the bees fly in and out - I'm guessing that is what happened here. I love the relationship and position of the bee to the flower, there is clearly an intent to sample the delights hidden in the pollen-laden centre. And just look at the bulging pollen sacks on the insect's legs - it's a wonder it can still fly. The shallow depth of field has meant the background has been rendered soft and out-of-focus, thus reducing any distracting elements and keeping our attention on the busy bee.

You've got to love a cheeky squirrel when they pose so beautifully for the camera like that. The strawberry in its paws reminds me somewhat of a basketball and I half expect this image to come alive and the squirrel try and shoot a hoop! The focus, exposure, and lighting are all solid here. The central composition works, the direct eye contact creates connection, and the log provides a decent anchor for the bottom of the frame. The background is busy and distracting, a product of a large depth of field a shorter focal length lens delivers.

I like this because it's slightly unusual. The snail partly submerged in the puddle is an interesting angle, something that is enhanced by its reflection in the water. I like the diagonal that is formed by the edge of the puddle as it runs from lower left to upper right as this adds structure and balance. The point of focus and overall exposure are well-judged, and the post-production shows a light touch. I would have cropped in a little tighter to improve the overall composition and use the detail captured to greater effect.

I like the use of the leaves here as a frame for the squirrel which is neatly positioned with clear light behind it. This would be an easy shot to underexpose, the camera leaning toward wanting to expose for the bright background, but the photographer has successfully compensated for this and we have plenty of detail remaining in the animal. The direct eye contact is compelling and the point of focus falls directly on the eyes to ensure that they are the centre of our attention.

If you are going to take tight portrait shot like this, then it is essential to ensure that the focus is directly on the subject's eye. I think it's a tad off here, but the photographer gets away with it in my view. I like the way the eye is positioned on the intersection of thirds which makes it comfortable to look at. The closeness of the lens to the subject and the longer focal length has meant that the background is soft and out-of-focus, thus reducing the impact of any distracting elements.

Pelicans are such characterful birds with their rather gawky and endearing looks. Critical here is the crop - the vertical format is used to good effect to accentuate the long neck and bill. Also vital is the direct eye contact with the bird which connects the viewer as we stare at this image. I also like the overall composition and the choice not to include the whole bird in preference of a head and shoulders approach.

This photograph is all about the use of light. I really like the way the photographer has used the stunning light of the sunset to backlight this horse as it grazes. Placing the setting sun directly behind the animal is smart as it reduces any ugly flare and accentuates the contrast between the brightness of the sky and the darker tones of the horse's body - this side would of course be in shade. Some overexposure has ensured that the horse is not rendered in silhouette outline - another good move in my opinion as we get to enjoy its detail with an angelic like glow around its outline. I would have much preferred a horizontal composition which would have suited the scene better and avoided the inclusion of the wall at the bottom of the frame.

The first thing that draws your attention to this photograph is the direct eye contact from the central chimp. This creates an immediate connection with the viewer, the central placement of the eyes within the frame anchors the shot. I also like the two wooden posts that frame the left and right edges, creating a viewing window. The black and white conversion removes the distraction of colour and adds simplicity. The chimp's pose is also very engaging.

I rather like the overall balance of the composition here - the placement of the cat is quite bold but still adheres to the rule of thirds. The main branch on which it is sat dissects the frame in a logical way and separates out the lighter negative space at the bottom of the shot. The cat's dark fur provides perfect contrast to the much lighter background and this really makes it stand out and ensures that our gaze goes straight to it the moment we view the photograph. The background is also nicely out-of-focus, further ensuring we gravitate towards the subject. The image is well exposed - a degree of over-exposure has helped to reduce the clutter in the background and retain detail in the cat.

This was easily my winner from the selection in this contest. You simply can't ignore that deliciously soft, warm-toned dawn light on this deer as it skips across the meadow. Everything is in sharp focus that should be providing plenty of detail in the animal's fur. The shallow depth of field has isolated the deer beautifully, the background and foreground elements balanced in well-constructed layers that move from the cooler tones at the top and bottom of the frame, sandwiching the warmer tones of the deer and meadow. I also like the hint of mist in the background that adds a serenity to the scene. Please take note of the choice of crop here - the panoramic style provides the perfect composition to make the most of the elements. This is a photograph that shows great skill and judgement.

The key to the success of this photograph is the symmetrical pose of these two deer. The heads and bodies of these two animals are almost mirror-like, the composition cleverly placing each animal in similar space on either edge of the frame with an interesting empty gap between them. The eye contact between the two begs a few questions as to what they are communicating. I also like the understated tones and roughness to the finish of this shot which gives it a grittiness that compliments the animals and their environment.