We re­veal the top 30 im­ages up­loaded to Pho­tocrowd, and cho­sen by our ex­pert panel, from Round Six Cre­ative Eye (ab­stracts)

Amateur Photographer - - 7 Days -

the re­sults of round six of our 2017 com­pe­ti­tion. the Cre­ative Eye theme cer­tainly pro­duced a rich seam of in­spired work

1 Hen­rik Spranz Aus­tria 50pts Canon EOS 5D Mark III, 70-200mm, 0.3sec, f/20, ISO 250

Pan­ning your cam­era hor­i­zon­tally or ver­ti­cally to cre­ate an ab­stract im­age is a pop­u­lar tech­nique with land­scape pho­tog­ra­phers. It works par­tic­u­larly well when pan­ning ver­ti­cally to cap­ture a group of trees, and we’ve seen many great ex­am­ples in this round. How­ever, this one re­ally stood out. De­void of colour, ex­cept the pop of warmth from the trunks, it has a monochromatic feel. Per­haps more eye- catch­ing is the move­ment and shapes cre­ated from the fall­ing snow, giv­ing the im­age a three- di­men­sional feel.

2 Joe Bau­mann USA 49pts DJI FC300C drone, 20.7mm, 1/80sec at f/2.8, ISO 100

This stun­ning shot won the Crowd Vote on Pho­tocrowd, and nar­rowly missed out on the top spot as voted for by the AP ex­pert panel. It was taken in north­ern Min­nesota us­ing a DJI drone and is a great ex­am­ple of how to pare a com­po­si­tion down to its key el­e­ments: in this case the snake-like path of the river and the lush veg­e­ta­tion that sur­rounds it. If you look closely you’ll see that the for­est con­tains mul­ti­ple shades of green and yel­low, adding a sense of depth to the im­age. Shoot­ing from above us­ing a short fo­cal length has given the trees the ap­pear­ance of mov­ing out­wards, adding a sense of en­ergy.

4 Alexan­der Mano Varga Slo­vakia 47pts Nikon D7100, 17-50mm, 1/400sec at f/9, ISO 100

As pho­tog­ra­phers we can get very hung up with the idea of cap­tur­ing max­i­mum de­tail and sharp­ness, but some­times con­vey­ing a mood or a sense of place is more im­por­tant. Here Alexan­der ex­per­i­mented with zoom­ing in and out dur­ing an ex­po­sure, and the re­sult is a study of line and colour. An area of green takes our eyes from left to right, while the trunks di­rect our gaze up­wards to­wards the blue of the sky. The trick here is to leave enough de­tail for the viewer to gain a sense of place, while also cre­at­ing a vis­ually pleas­ing ab­stract.

3 Zay Yar Lin Burma 48pts Nikon D700, 24-85mm, 1/640sec at f/6.3, ISO 200

We are of­ten told to avoid di­vid­ing the frame in half, but the bal­ance of this pic­ture is spot on. The swirling blue and white of the sea con­trasts bril­liantly with the smooth red deck, and the shadow of the painter stops the right-hand side from dom­i­nat­ing the left. It would have been nice to see the top of the painter’s head, but the slice of yel­low in the top left-hand cor­ner sug­gests that this was im­pos­si­ble. The pic­ture was taken from the bridge wings (nar­row walk­ways) of a ship sail­ing in the Gulf of Mex­ico.

5 Athena B USA 46pts Sony Al­pha 330, 55mm, 1/500sec at f/5.6, ISO 100

This beau­ti­ful ab­stract was taken in Yel­low­stone Na­tional Park and could eas­ily be an aerial view of a dra­matic rocky coast­line. In re­al­ity the shot is a macro per­spec­tive show­ing the rich ge­ol­ogy of a ther­mal pool. The colours are spec­tac­u­lar, and the rough lines and lay­ers cre­ated by the rocks give the feeling that we are be­ing drawn deeper and deeper into the pool. To en­hance the colours and de­tails a touch, a slight HDR fil­ter was added dur­ing post-pro­cess­ing, but the colours are still pretty true to na­ture.

6 Tom Sweet­man UK 45pts DJI FC220 drone, 26.3mm, 1/320sec at f/2.2, ISO 100

This aerial shot of cy­clists cross­ing the Ping River in Thai­land is strik­ing due to the view­point and the care Tom has taken to ap­ply the rule of thirds.

7 Roberto Gau­denzi Italy 44pts Canon EOS 350D, 70mm, 1/6sec at f/3.5, ISO 100

Shoot­ing plants close- up re­sults in ex­tremely shal­low depth of field, and re­quires care­ful po­si­tion­ing of the fo­cal point – Roberto has risen to the chal­lenge here.

10 Clau­dia Mot­tram USA 41pts HTC One X, 1/60sec at f/2, ISO 102

This well- ob­served shot of rain­drops on a red back­ground was taken with a mo­bile phone. Proof that it’s what you have with you that counts.

11 Mar­iusz Pi­etranek Poland 40pts DJI FC330 drone, 3.6mm, 1/590sec at f/2.8, ISO 100

The per­spec­tive achieved by us­ing a drone has the power to sur­prise us, and this shot of a se­ries of sed­i­ment tanks over a steel­works in Poland is a great ex­am­ple.

14 Ceri Jones UK 37pts Canon EOS 6D, 105mm, 1/30sec at f/4, ISO 800

Hav­ing care­fully folded rolls of coloured paper, Ceri ar­ranged them into an aes­thet­i­cally pleas­ing pat­tern and lit the paper from be­hind. There is a great sense of move­ment to the shot, and the soft colour pal­ette works well.

15 John Bull UK 36pts Sony Cy­ber-shot DSC-RX100 III, 25.7mm, 1/100sec at f/4, ISO 125

The canopy around the re­de­vel­oped New Street Sta­tion in Birm­ing­ham has led to a mo­saic of colour and shapes.

8 Vi­raj Khor­juwekar In­dia 43pts Canon EOS 600D, 18-55mm, 1/320sec at f/7.1, ISO 100

Us­ing a slow shut­ter speed to cap­ture the move­ment of this flock of lesser flamin­gos has worked well for Vi­raj.

9 Elec­tra Stavrou Cyprus 42pts Canon EOS 600D, 18-135mm, 1/25sec at f/5.6, ISO 800

A wash of colour with one recog­nis­able el­e­ment, the sub­ject was an art­work by Joana Vas­con­ce­los.

12 Lee Acaster UK 39pts Sony Al­pha 7R, 18mm, 30sec at f/11, ISO 200

There is a won­der­ful seren­ity to this shot, cre­ated by the sim­ple com­po­nents and muted colours. The smooth wa­ter jux­ta­poses well with the tex­ture of the quay­side.

13 Matt Lewis UK 38pts DJI FC220 drone, 26.3mm, 1/13sec at f/2.2, ISO 100

Brighton Pier has a sense of still­ness when viewed from above, away from the bus­tle and noise. Matt bat­tled seag­ulls, wind and ex­po­sure is­sues to get his pic­ture.

16 Pratik Prad­han In­dia 35pts Nikon D810, 105mm, 1/640sec at f/4.8, ISO 800

Good ab­stracts of­ten en­gage the viewer by mak­ing them play a guess­ing game, but who would have thought this was a close-up of a cater­pil­lar!

17 Azim Khan Ron­nie Bangladesh 34pts Canon EOS 7D Mark II, 11-16mm, 1/200sec at f/8, ISO 125

Colour is ev­ery­thing in this pic­ture, but the tri­an­gle cre­ated by the three work­ers, and the lines lead­ing down, cre­ate a pleas­ing bal­ance.

18 Rik Ward UK 33pts Sony Al­pha 7R II, 24-70mm, 1/125sec at f/9, ISO 1000

Rik blended two im­ages to cre­ate this colour­ful ab­stract. He no­ticed the re­flec­tions while on a train into Ca­nary Wharf.

21 Partha Chakraborty In­dia 30pts Canon EOS 60D, 18-55mm, 1/100sec at f/11, ISO 800

It takes a while to no­tice the ant on this back­lit leaf, but the in­sect plays an in­te­gral part in the story.

22 Sarah Fox UK 29pts Nikon D5100, 55-300mm, 1/13sec at f/5, ISO 100

This birch grove in au­tumn dis­plays enough colour to make an ICM (In­ten­tional Cam­era Move­ment) pic­ture hugely suc­cess­ful.

25 Chris McPhee Canada 26pts Nikon D610, 70-200mm, 1/10sec at f/14, ISO 50

There is plenty of en­ergy and im­plied mo­tion in this im­age of a rider tak­ing part in a rodeo. Us­ing a slow shut­ter speed has the added bonus of blur­ring a po­ten­tially dis­tract­ing back­ground.

28 Mark Cor­nick UK 23pts Canon EOS 6D, 17-40mm, 4secs at f/5.6, ISO 100

The won­der­ful tonal­ity of this shot re­ally makes it stand out, and the break of light un­der the cloud is per­fectly po­si­tioned.

29 Jose Pes­soa Neto Por­tu­gal 22pts Canon EOS 550D, 15-85mm, 1/60sec at f/7.1, ISO 800

There is some­thing hyp­notic about this com­bi­na­tion of black and white lines and shapes.

19 Alan Humphris UK 32pts Sigma DP3 Mer­rill, 50mm, 3.2sec at f/14, ISO 100

This shot does an ex­cel­lent job of con­vey­ing a sense of anonymity in a crowd, us­ing ICM (In­ten­tional Cam­era Move­ment).

20 Amy Bate­man UK 31pts Nikon D750, 24-85mm, 1/200sec at f/4.5, ISO 400

The point where ice meets mov­ing wa­ter is cap­tured per­fectly here, with the rich blue sug­gest­ing cold­ness.

23 Pas­cale Cadieux Canada 28pts Nikon D7000, 35mm, 1/80sec at f/2.8, ISO 100

The graphic curves cre­ated by coloured sheets of paper en­cour­age the eye to travel along their edges from one side of the frame to the other.

24 Sam Mor­gan UK 27pts Canon EOS 50D, 17-85mm, 1/640sec at f/5.6, ISO 400

The colours, an­gles and curves of this build­ing in Lon­don have been cap­tured won­der­fully by Sam.

26 Tay­lor Newlun USA 25pts Canon EOS 70D, 18-135mm, 1/640sec at f/5.6, ISO 100

This pho­to­graph has the dark tonal­ity of a Turner paint­ing, and it’s the kind of im­age you could hang on your wall and stare at for hours on end – beau­ti­ful.

27 Nor­bert Sto­jke Ger­many 24pts Nikon D5300, 55-300mm, 1/200sec at f/5, ISO 800

There is a won­der­ful cold­ness to this pic­ture, but the or­ange tinge of the reeds and bull­rushes makes for a great re­flec­tion.

30 Carol Hall UK 21pts Canon EOS 750D, 15-85mm, 1/80sec at f/5, ISO 400

The af­ter­noon light re­ally ac­cen­tu­ates the curves of the walls and ceil­ing of the Cast The­atre in Don­caster.


2nd Crowd win­ner


























Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.