AndrewA wrote:
These are wonderful, I like them all but the 3rd really appeals to me.

ronniemac wrote:
Photographically, the first shot is quite without drama, it is so simple but it justifies pause for thought. It has a very strong sense of place, even belonging. Is there a river on the other side of the shed, leading into the sea? Is a boat, as it were, still out at sea? The shed seems to be looking out over the water, the tree casting a soft shadow over the timber wall appears to be offering some sort of reassurance - the boat might yet return. Clearly I am reading too much into the photograph, but it is the sort of image that invites you in. It’s not prefect, not outstanding, one might even say its nothing special, but I find it inviting and persuasive. For me it really works, it has genus loci. The colour is nicely muted but still has a warmth (foreground) and coolth (sea and sky) about it.

The second and third work well as a couple, rich in contrast, strong on context, the theme of boat shed is a good one, nice that people cared so much for their boats, that they built houses for them, no doubt for working boats that deserved a winter’s rest. The second: The withdrawn tide gives rich foreground, the simple roof and wall form is powerful against the sky, if a cloud is necessary to add something to the sky, nice that it touches the roof. Perhaps the low camera angle is what enables the strong profile, but it does conceal much of what is on land, a bit like a seal’s view of our habitat.
The third is a very likeable picture, again distinct forms include a dinghy whose profile is articulated by the shadow of the shed, buildings point out to sea, but the dinghy seems to have other ideas. Both shore lines, near and far, have different edges, one varied, the other level and distinct. Whispy clouds have shed their stuff on snow capped mountains, this is such a good shot, but I wonder if it needed quite as much foreground grass – did you try cropping it to allow the focus to be more of the sheds and their aspect?

The fourth has such a stillness about it, it is another of those pictures that makes me want to be there. North west light is mystical – we call it the gloaming in the NW Highlands. Not sure what the two dark cylinders are in the foreground, maybe something to tie mooring lines to, but I do wish you had kicked the orange buoy out of sight – it is just a tad to vibrant and constantly catches the eye. The relationship these dinghies have with each other may lead to some tenders in the spring, ha. Seriously though, it is a beautiful picture, however I think the question about how much foreground is needed is worth asking – I might prefer it with half as much snow, allowing the focus of attention to drift further into the distant space.

All are excellent examples of how much we can enjoy spending a little time looking into photographs. Thank you for posting, it's really appreciated.

I wonder if something like these could have been captured in a digital camera, clearly you know how to handle film.

bwlchmawr wrote:
These are great. Not sure whether I prefer the monochrome or colour shots, they're both very northern and sharp in feel. I too am drawn to vernacular architecture, Bjørn. You'd love the stone barns in the Yorkshire Dales, for example.

johnriley wrote:
I'm particularly drawn to #3, which I think is a really strong image. The Norwegian coast is truly magnificent

davidstorm wrote:
Simply beautiful images, in a wonderful landscape.

Gravelrash wrote:
I love 2 and 3...but I'm a sucker for mono. Nicely done.