New Joiners - Animals #880

The display of the peacock is another of those classic wildlife images, and rightly so as their plumage is one of nature's true wonders. What I like about this particular image is the side view as opposed to the usual head on approach. This has allowed the shape of the bird's side profile to form a pleasing curve through the middle of the frame, that bright solid colour forming an anchor around which the rest of the image sits. The exposure has allowed details to be retained in both highlight and shadow areas, and the depth of field has ensured that the important elements - the body and foreground feather detail - remains sharp with loads of detail. I would have been tempted to crop in a little tighter to remove the obvious fence mesh creeping into the top left corner.

The use of light and shade in this image has created clear horizontal zones across this image. The photographer has cleverly used the areas of light to highlight the dog, the shade in front and behind framing the animal and drawing our attention to the centrre of the frame. The brightest spot is the side of the dog's muzzle, and this is where our eye is drawn initially - bang in the centre of the image. The focal length of the lens and close proximity of the photographer to the subject has created a nice out of focus background which gives context but does not distract. I find the bright square blob in the background to the left of the dog distracting and would have cloned this out.

Great Grey Owls are compelling subjects with that amazing plumage pattern around the face and those bright yellow eyes dominating the frame. Here we see a good example of a close portrait, the central point of which is clearly the eyes which hook you in immediately. I like the context that the surrounding elements bring, clearly defining the woodland habitat these birds are to be found in. The lighting is bright, but with a delicate softness to it that brings the protrait alive. A slight change of angle would have achieved some separation between the top of the head and the angled branch above creating a better frame for the bird.

This scene is rather busy, but the photographer has successfully managed to ensure that our main attention remains on this pine marten by using the focal length of the lens to create some separation from the other elements of the frame through control of depth of field. The direct sunlight on the animal's face, although rather harsh, does ensure that our eyes are drawn to this area of the frame and to the animal's eye. The vertical crop compliments the marten's posture nicely, and is a good choice.

This image isd all about that delicious light that both illuminates the owl and creates a beautiful background colour pallette with its warm tones. The shallow depth of field has created good separation between the subject and the complimentary background ensuring all our attention is on the owl's portrait. The point of focus is where it needs to be, and the subject is both beautifully sharp and correctly exposed, treating us to loads of plumage detail. The crop feels a little awkward and I would have cropped in tighter to remove the coloured platform creeping into the bottom of the frame, and to reposition the bird closer to the left edge. This would have produced a better balanced composition.

Another example of a hummingbird image shot candidly and using naturally available light. The contrast in colours between the subject, the flowers and the background makes for an interesting combination, the dark tones of the background making the other two elements pop from the page. Your eye goes immediately to the hummingbird, which is bright and sharp, the motion being frozen with the fast shutter speed employed. The flowers provide a balance to the opposing corner of the frame, the composition balanced with the vertical orientation.

What i like about this shot is the way that all the lines seem to lead from the corners and edges of the frame to converge in on the centre and to the line formed by the horse's head, neck, and body. Note how the sunlight creates a strong line of highlights on the mane and back - this is the main draw for our eyes as we look at the image. I also really like the position of the animal's pointed shoulders in the middle of the valley bottom between the two mountain sides. the depth of field ensures that the subject is sharp and the central point of focus, the surrounding areas softer, but retaining detail to hold our interest and provide context. I can't help but be drawn to the obvious ribs as they are sculpted by the light - a clear indication of the harsh life in the mountains.

Initially, our eyes explore the head of this alligator and those pointed teeth at the front of the snout as it rests just above the surface of the water. But if you look closer, there are other things to enjoy, notably the moquitos as they sit on the animals eyes and nose - this apex predator not immune to being troubled by these tiny insects. The overall composition is simple and effective, the depth of field providing emphasis where it is needed and a softness that complements. I would brighten the eye in post production to bring more emphasis to this element of the frame and help draw the viewer's initial gaze to this spot.

For me, this image is all about the reflection of the jackal and the diagonal lines formed by the lines of ice and water as they travel from bottom left to top right. These elements provide a solid compositional base around which the image hangs. The depth of field does a good job of both separating the subject from the background to ensure our immediate attention is drawn to the animal, while retaining loads of detail in the supporting elements for our eyes to explore after the main event. The overall exposure is well-judged producing a natural feeling image, supported by the sympathetic post-processing. The eye contact creates the connection with the viewer.

This image has so many things going for it. The main thing that grabs you is the behaviour and the story that the image tells of the Coyote and what forms one of its main prey items. Compositionally the image is also well structured, the animal placed to the left of the frame with plenty of negative space on the right for it to move in to. I also like the layers here - the foreground grassy hump with the Coyote, clearly separated from the mid ground prairie, and the distant hills and sky. The clear view of the Coyote's eyes is a key element as this provides connection, the obvious prey item in its jaws provides the context. Nice job.

Constructing images with the subject small in the frame is one of the most difficult wildlife shots to pull off successfully. This image does that with aplomb. This photograph is so bold - just look at the position of the bird in the bottom left corner of the frame - this works so well giving a sense of drama and impact. The placement of the bird also allows the space for the environment to really shine - just look at those lovely layers of the mountains as the sun shapes their folds and ridges with light and shade. Shooting towards the setting sun has introduced another dramatic element, the flare carefully controlled with the sun just out of shot and not shining directly onto the lens. A skillfully cratfed photograph.

I see so many outdoor studio style hummingbird images that it makes a nice change to see something taken with a more natural feel. The background may be a little busier than many photographers would ideally like to see, but for me this adds an honesty to the photograph that provides character. Similarly, most images seek to use flash as a means of freezing the motion of the rapid wing beats - here the photographer has done this using natural light and a fast shutter speed. I rather like the element of blur which adds some energy to the shot. The composition is nicely balanced, our eyes flowing around the frame from the bird and its outstretched bill to the colourful flower, both of which are perfectly in focus.

A great example of a well-executed classic fishing osprey shot. Here the photographer has shown good skill with both camera settings and the timing of the shot. Note the fast shutter speed, deliberately chosen to ensure that all the elements of the image remain sharp with no motion blur. Even the tips of the wings and individual water droplets are sharply frozen. The exposure is also well-balanced with details retained in both highlight and shadow areas. The central composition feels a little awkward - placing the birds slightly to the right of centre would provide a little more negative space to the left for the bird to move into.

There are some very strong elements to this image. I love the composition here, the long focal length of the lens and the close proximity of the photographer to the subject has allowed a very shallow depth of field. The photographer has cleverly used out of focus foreground elements to create a softness in the foreground area, the perfect compliment to the out of focus and evenly-toned background. These elements allow all our concentration to be focused on the goose, its colours complimenting those of the supporting elements beautifully. I also really like the subject placement as its body flows nicely out of the bottom right corner to the central head placement in the top third of the frame. The negative space on the left balances the image perfectly.

Simple portraits can be so effective if they have a few basic elements. What makes this image work is the close crop and the direct eye contact with the subject - this immediately grabs our attention as a viewer and connects us with this lion. Everything is in sharp focus and correctly exposed, treating us to loads of detail in the facial features. The crop is a little clumsy as the tips of the ears are cropped off at the top of the frame.