Image taken on the forecourt of the Sydney Opera House.
By Rachel Kneubuhler. Although it was taken with a comparatively inexpensive Olympus compact camera, Rachel’s dramatic picture would, I suspect, be a prized result for most macro shooters – no matter how well outfitted.
A particular favourite of mine. The tree roots are stripped bare from the floods that charge through here and provide a wonderful contrast amongst the undergrowth and gloom. The trees looked to have gathered at the water’s edge for a “wee sip”, it could be a scene from The Lord of the Rings! This was a late afternoon shot and the last of the sun can be seen in the distance reflecting off the water.
The tumbler’s position in Saga Shiriskar’s On the beach has a fine, energetic quality and the juxtaposition with the group of background figures really transforms it from glanceworthy to something very distinctly in the “look again” category.
South Bank, Melbourne on a rainy day as people were heading home from work. (First winner for Image Review 2 Competition.)
This image is of Sea Cliff Bridge on the Illawarra coast of NSW. I was on a rock ledge at the Coal Cliff end of the bridge.
Susan Shanta’s amusingly balletic decisive moment is a classic example of the camera capturing what the eye simply can’t grasp.
By Suellen Cook. I understand that my art work is probably not falling into the traditional view of photography, nor what you might be expecting, nevertheless I would appreciate whatever feedback I can get from experienced photographers.
My tag line in Red Bubble says “… and now Stephen looks for aesthetic opportunities where they aren’t expected”.
So I shoot the scene as I see it, not waiting for better light or creating better situations.
I like the idea of seeing an unusual and aesthetic composition in a mundane or familiar place.
So here, in a spot passed by hundreds every day, I can see the Old, the New, and I can Reflect on it. (Pardon the pun).
I was trying to capture a glimpse of the Melbourne atmosphere in my short visit there.