Flying Chicken

“Taken in a friend's studio in Jakarta, four flashes were used – two at the back, diffused by smoke, and two either side of the camera. These are not fighting cocks, although the tradition continues in Indonesia. The wood chips were actually thrown by my assistant.”
Canon EOS 5D Mk II with EF16-35mm f/2.8LII USM lens. Exposure: 1/50sec at f/4.5 (ISO 400).

Paddy Terrace | Fishermen | Tenggerese Boy | Farmer and His Grandson

“Bali is famous for its beautiful paddy terraces. Shot at sunrise, I wanted to include the terrace lines as well as the first rays of light. My metering point was on the sky to maintain highlight detail, which made the shadows quite dark, but recoverable in processing.”
Sony A7 with FE 28-70mm f/3.5-5.6 OSS lens. Exposure: 1/200sec at f/5.6 (ISO 320).

“If you ever visit Sanur Beach in Bali at sunrise you will find fishermen looking for small fish and shellfish. I've seen a lot of images of this type of scene, so I aimed for something a little different. I adjusted the White Balance in processing to warm up the image.”
Canon EOS 5D Mk II with EF17-40mm f/4LUSM lens. Exposure: 1/800sec at f/5.6 (ISO 100).

“An unexpected environmental portrait during a sunrise workshop in Mt Bromo, East Java. This is my guide's son and dog with Mt Batok in the background. I exposed for the sky and used my flashgun set to TTL at 45 degrees in front of subject.”
Canon EOS 5D Mk II with EF17-40mm f/4LUSM lens. Exposure: 1/160sec at f/5 (ISO 160).

“Shot almost ten years ago on a basic DSLR, there's actually very little editing here and it was an easy image to shoot. There are many locations in the higher areas of Java or Bali that offer this kind of beautiful backdrop and soft light diffused by the mist.”
Canon EOS 350D with Tamron 28-75mm f/2.8 lens. Exposure: 1/200sec at f/8 (ISO 200).


James captured this eye-catching vertical panorama of Wedge Mountain in Alberta, Canada by stitching together ten landscape-format frames. The effect is very impressive – the vertical format adds three-dimensional depth to the image and suits the subject. James's exposure is spot on, with everything from the brightest clouds to the darkest shadows well exposed. The serene reflection in the lake adds further interest too, and the dusting of snow contrasts nicely with the punchy blue sky. Great technique and execution James!
Why it works
- Perfect exposure throughout
- Vertical panorama adds depth
- Great light and interesting landscape
Sony Alpha77 II with Sigma18-35mm f/1.8 lens. Exposure:1/100 sec at f/9 (ISO100).


Long exposure coastal images using extreme nd filters have seen a sharp rise in popularity over the years. it's probably due to the increased availability and affordability of the filters themselves. We really like Fern's effort here. the groyne and posts provide a strong lead-in towards the structure out to sea, while the long exposure has rendered the water and sky a minimalist blur. the square crop and contrasty black & white conversion is classic for this type of image too. We're struggling to find fault!
Why it works
- Monochrome conversion
- Great composition and crop
- Minimalist fine-art image

Canon EOS5D MkIII with EF24-105mm f/4 Llens. Exposure:132 seconds at f/16(ISO100).

Dartmoor Waterfall

Marcus has done a good job of capturing this Dartmoor scene with great technique. The slow shutter speed has recorded just the right amount of blur in the waterfall – it's easy to overdo it and lose all texture in the water by selecting the longest possible shutter speed, but Marcus has avoided this. Rather than detract from the view, the overhanging branches help frame the waterfall, adding depth and interest and focusing your eye on the falls. We'd be interested to see what effect a circular polariser would have on this scene – Marcus didn't use one, and they're usually good for boosting saturation in foliage.
Why it works
- Foliage creates a natural frame
- Slow shutter speed implies motion
- Good level of blur, retaining texture

Canon EOS 550D with EF-S18-55mm f/3.5-5.6 lens. Exposure:1/5 sec at f/13(ISO200).


“I shot this Physalis in my humble studio. I say studio, but it's really an old garden table set up in my cellar! The light is provided by a desk lamp and the background is coloured paper. Backlighting the Physalis shows off its delicate structure and translucent form. I enjoy exploring the tiny details of nature that are often overlooked.”
Canon EOS 70D with EF-S60 mm f/2.8 Macrolens. Exposure:1/3 sec at f/11 (ISO100).