Retouch - Colour Toning

What I really like about Richard’s image entitled, ‘Friends”, is that it is simply effortless. It is a fleeting moment that isn’t staged, there is no distinct agenda or contentious message to convey here; rather a chance encounter, keenly observed that evokes a simple yet joyous sense of ‘just being’ and happiness. I love the animated and engaged expressions of the group as the late afternoon sun cuts through the tree line; and the choice of a soft green duotone effect really adds a vintage vibe giving the composition a certain sense of nostalgia. I’m reminded of carefree days spent along Grantchester Meadows when life seemed so much simpler and surely that’s what photography is all about; to prompt, cajole, coerce or otherwise invite an emotional response. In this case I'm left with a warm fuzzy glow inside and the comforting thought, all's good with the world.

I can literally feel the chill of this cold winter’s morning as the light cuts through the tree-line and the muffled crunch of snow can be heard under foot as I negotiate my way along this winding path. There is almost a dream-like allure to Andy’s magical landscape entitled “Winter Freeze” that simply beguiles and enchants the soul. It's that subtle combination of contrasting light, muted colours and differing textures captured within frame that works so well here.

A distant ship seeks safe harbour under the reassuring gaze of the lighthouse. Simon hit the ‘sweet spot’ with a two second exposure that skilfully captures the break, fall and menace of the waves in his seascape entitled, “St Mary’s Swirl”. Once again it’s that seamless relationship between foreground and background elements I find so compelling as we are invited into frame to watch a brooding storm unfold. Light and colour play an active part in this drama that provokes a sense of unease and an ever present danger presented by unpredictable seas. There’s a story to be told here and Simon has done just that in what is an evocative and powerful composition that simply has to reside in my competition top ten.

Paulo’s composition, “Forestal Divisions” seamlessly combines a series of woodland exposures taken in the Casentines forest. Whether this was achieved in camera or in post is difficult to tell, but it’s a fascinating technique that has been around for years and now undergoing somewhat of a resurgence. I would imagine there was a considerable amount of trial and error to realise this composition. It's not easy, but what we're left with is an alluring yet subtle study that evokes dreams and memories of times past complimented by Paulo’s choice of cool tones and colour.

What works so well in in Carl’s compelling image entitled, “Rush” is his sense of timing and control of movement. Waves are fluid; they are in perpetual motion as they rise, fall, break and recede along the shoreline. Controlling that motion to convey a sense of meaning is where the skill and understanding of the photographer comes into play. Carl has captured that fleeting moment with precision as the trailing wash claws itself back into the sea and soft leading lines prevail, pulling us into frame. I would imagine Carl used a shutter speed of around 3-6 seconds to achieve that perfect sense of balance and rhythm he has achieved here. What we are left with is a wonderful, dramatic image of ‘ebb and flow’ that so skilfully encapsulates the wild and rugged nature of the Hebridean shoreline.

I could have kicked myself as I initially missed Mrs “B”’s captivating image entitled “Foggy Farm”. It seriously deserved a closer look as it combines all those magical elements that create such a compelling narrative. You can almost smell the earth as the dew evaporates, night surrenders to day and the reassuring beat of rural life takes hold. An understated yet sensitive composition complimented by the subtle wash of warm tones as sheep enter stage left and meander tentatively into the mist.

It is Dianne’s unique understanding and interpretation of her subject that utterly beguiles the viewer in this stunning composition entitled “Dandelion Waltz”. Cool hues wash throughout the frame to reveal a fragility of form and structure that dances with the light. I’m a great fan of Dianne’s work. It’s the unique and evocative way she visualises individual elements of her subject and realises this imagination within her composition. A tender and evocative image that simply reached out and touched me.

Risto has chosen a minimalist approach in his composition entitled “Reeds” and I think he’s got the balance just about right. It’s his use of negative space which invites the eye to move freely within frame drawn to gentle rest on the reeds as they break still water. It’s this relationship I find so appealing whereby his subject is allowed sufficient room to breath and by doing so effortlessly accentuates the natural form, structure and inherent beauty of his subject. Desaturated tones and colour compliment the scene in which the sense of serenity conveyed in Risto’s image is palpable.

Think “Bauhaus” and you grasp the strong graphic aesthetic of Neil’s powerful, no holds barred, in your face composition entitled “Pyramid”. It's bold, it's fearless and is devoid of any reference to human touch or historical nod in its creation. What Neil’s composition does celebrate with such dramatic effect is the triumph of masonry and steel over sentiment and emotion. In this regard Neil’s choice of crop, cool colours and strong geometric patterns which, unashamedly punch their way in to the heavens is truly inspired.

It could be a scene of the parking lot snatched from the movie “Mars Attacks”; but that said I really like the whole “Sixties” feel created in this high impact composition entitled “Last Exit”. It’s reminiscent of an age when perhaps colour film finally became fashionable and suddenly the accepted mantra was; ‘It’s colour so let’s make it bright!”. The aesthetic feel and composition created here reflects that distinct sense of nostalgia and I could just imagine fumbling in my camera bag and reaching out for the 35mm Kodachrome to capture this compelling scene. I simply love it.

Helen may have been tempted to position what remains of the structure of the Old West Pier in Brighton centrally within frame; but I think she has defied convention in her composition choosing instead to offset her subject and use the negative space to full advantage. This ‘space’ of course is never empty or static, as here it is used to accentuate the fragility and isolation of this decaying structure as it succumbs to the forces of the sea. I find it’s a relationship which conveys a strong sense of fragility and foreboding which is a particularly evocative in this image given the likely demise of this iconic landmark as the years slip by. A moving and ethereal study that resonates in the imagination.

There’s no doubt this competition has been a tough call to judge as the standard of entries has been particularly high. No more so is this the case in the range and variety of submissions which include a cacophony of inanimate objects such as old typewriters, bottles, teapots, decanters and even old boots which might broadly be encompassed in the genre of “Still Life”. Each of course has merit and incredible charm in their own unique right; but what I really liked about Skylerewing’s composition is that it really stood out. I think she’s worked hard to create an interesting composition here complimented by her choice of background, use of available light and the subtle greenish hues she has adopted in ‘post’. Her choice of subject matter and arrangement also provokes interest and there is a distinct relationship within this composition that prompts the viewer to take a closer look. The whole ensemble is tinged with nostalgia and whilst it’s not an area of photography I’m naturally drawn to, I can see in Skylerewing’s compelling image the inherent and lasting appeal.

There’s no half measures in Brent’s rocket fuelled composition that shouts out loud from the rafters; “CALL THE POLICE THE ROCK STAR’S IN TOWN” . There’s so much energy in this image that as a study in “Still Life” goes it’s positively atomic. A choice of tight crop, cool blue desaturated tones, selective focus and shallow depth of field all add to the gig which simply put, explodes at the seams from raw unadulterated power.

I’m back in my comfort zone when reviewing Gideon’s seductive composition aptly entitled; ‘Flamingo liquid”. With the advent of ever faster cameras and huge leaps in focus acquisition; the temptation will always exist to simply ‘freeze’ you're subject within frame. What you’re left with can, more often than not lack a certain sense of distinction or in the case of wildlife photography in particular any essence of life or soul. This is why Gideon’s image holds such appeal as he has chosen to pan the camera with his subject shooting, (I’ll hazard a guess), at a shutter speed of around 1/30 of second. The resulting effect is quite stunning accentuating the movement and flow of his subject with graceful precision.

It’s all about drama and movement as brooding clouds form the back drop of MayMah’s stunning image of Seri Wawasan Bridge. Her choice of angle, position and crop create a near perfect sense of symmetry; and if ever inspiration was drawn from the natural world in architectural design it’s captured with skill and precision here. With the rise and fall of strong flowing lines, somewhat reminiscent of a swan as it takes to flight; the viewer is irresistibly drawn into frame. A compelling study of shape and form that simply rises to the fore.