Moore at Kew - Opening 15 September 2007

Henry moore detail
by david_pearsonx
Judge Nick Meers writes: "Beautifully minimal, itconveys the texture and sensuous curves of Moore's work very well. It is harder to shoot abstracts than one might think, and this cleverly skirts the issue of scale, as we are not sure if those dots are dewdrops or manmade textures – and nor does it mater, as the whole minimal feel of the image evokes shape, texture, depth and tone."
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seed pods at kew
by Andrew Withey
Judge Nick Meers writes: "These seed pods are not only a fantastic texture but also a good multitude of shades of the same pastel colours, rendering them almost as sculptures in their own right: They have been well isolated from their background so that we can enjoy their unusual forms, and the soft lighting helps our enjoyment of their textures."
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Moore at Kew
by Darren Greaves
Judge Rosemary Williams writes: "This image is an excellent example of making the elements do the work. The best landscape photographers bring their experience of the landscape inside - to let the viewer experience it in comfort. This photograph does just that. Moore wanted his work to be set in the landscape and vie with it, whatever the weather and time of day. The mood and sense of brooding is unequivocal. The silhouette of the heavy forms of the sculpture really have a sense of prehistory exemplified by the 'Henges' and Standing Stones of our heritage. "
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dead succulent leaves
by Andrew Withey
Judge David Mitchinson writes: "Marvellous colour, the serrated edges remind me of Moore's knife edge sculptures"
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Henry Moore at Kew - Double Oval
by Steve P Hughes
Judge Rosemary Williams writes: "Effective and simplethis shot celebrates an unexpected dimension to Moore's work- the colour. It is easy for the viewer to only see the colour of the sculptures as bronze, but the camera discloses much more as its reflective surface engages with the elements. This economic composition utilises depth of field to sensitively balance the tracery of the trees in the background against the sculpture, each complimenting the other."
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reclining figures at kew but not by henry moore
by Jonny Baker
Judge Rosemary Williams writes: "Moore loved working from life fascinated by its rhythms and intricacies. In the context of this competition this is afun and whimsical image, a captured moment, perhaps not the 'best' shot in photographic terms, but it does have the ability to raise a smile."
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Pano---CIMG0475---3788x4996
by Malcolm Banthorpe
Judge Paul Little writes: "Working at Kew, this year's Moore sculptures have become very familiar to me.
I was particularly looking for a fresh perspective, something to surprise or delight.
And I like how Malcolm's manipulated images lend an unsettling dream-like quality to Kew's landscape."
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Knife Edge
by Steve Newton
Judge Rosemary Williams writes: "This is a successful contemporary interpretation of Moore's work which emphasis the both the monumental and the uplifting effect that many of his sculptures create. The effective use of an unusual viewpoint and the careful composition of the elements of the sculpture against the edge of the frame empower the forms. Moore made good use of the diagonal in his works and this image also utilises this with dynamic effect. The resulting image seems to have has a cosmic
timelessness lifting the eye both up and through into the space beyond."
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Moore and flight
by Lynden Potter
Judge Rosemary Williams writes: "The installation of Moore's sculpture into the new and urban location is well expressed in this shot. I would love to know how long you waited to get this brilliant moment lined up. Was it luck, being in the right place at the right time, or was it the adroit use of a 'window of opportunity'?The light which describes its form of the sculpture grounds it, giving it a sense of weight and volume which contrasts so well against the freedom of the birds, and the daily 'grind' and the ongoing never ending loud drone of the Heathrow flight path."
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Dew
by Scott Margetts
Judge David Mitchinson writes: "Exceptionally simple yet highly sophisticated image which would work enlarged to any scale; it lookslike mercury dropped on bronze."
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moore abstract
by david_pearsonx
Judge Nick Meers writes: "This is a good example of an image that isn't necessarily technically brilliant, but because of the lovely combination of colours, shapes and composition is very arresting: I particularly like that the main line through the image takes us up and across the image in an unexpected direction right up to the top right corner, having shown us a gorgeous selection of colours along the way."
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The Princess of Wales Greenhouse at Kew Gardens
by Oliver Squires
Judge Paul Little writes: "I like the symmetry of this image.
The orderly plant rows mirror the hard diagonals of the architecture The trees echoing the Conservatory's vertical lines."
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Hill Arches, 1973
by Nikki Tysoe
Judge David Mitchinson writes: "Simple image, marvellous colour, which reminds me of Moore's comment “Bones have marvellous structural strength and hard tenseness of form”."
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MooreinMist1
by Wendy Alderton
Judge David Mitchinson writes: "Very fine balance between natural and man-made forms, showing the sculpture from an unusual angle while retaining its sense of rhythm."
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Seven Sisters
by June Kingsbury
Judge Paul Little writes: "Assessing images in a virtual gallery is quite different to being present in a real gallery.
The mechanics change.
I was drawn to this image as a puzzling thumbnail, and enjoyed the striking perspective that was revealed."
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double oval
by Andrew Mwai
Judge Paul Little writes: "It's a great moment Andrew's captured here. The dramatic sky colours caught and reflected in the bronze have really brought life to the sculpture and the cloud patterns complement it's form.

Wish I'd been out that day!

"
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_MG_6729
by Stephen W Price
Judge Nick Meers writes: "I really like this strong diagonal, and I think Henry Moore would have too; The essence of a good composition very often is made not from what is INCLUDED, but by what is EXCLUDED from an image, and I like how this simple textured image has been simplified from its surroundings to emphasise the forms. "
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HJOSHI_moore_6969_sml
by Hina Joshi
Judge Nick Meers writes: "I really like this 'stolen moment'. Had the hand been a little higher or lower it would not have worked so well, as the proportions of the image are so carefully considered. I particularly like the inclusion of just the right amount of horizontal line across the bottom of the image, giving it weight, counter pointed by the vertical line centrally placed above the hand. A classic composition."
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Cimg0512
by Malcolm Banthorpe
Judge David Mitchinson writes: "Wonderfully atmospheric with superb lighting, the large bronze looks as if it may just have landed. Great to see a photo of Kew not totally devoid of people; is someone re-shooting Don't Look Now or Schindler's List?"
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