I love it. The brightness helps to accentuate the sitter's solitude, but it's not so extreme as to overwhelm. I like the inclusion of the boat, which may or may not be the object of the girl's attention. And the faded colours complement the subject. A terrific first upload.

Finely tuned balance between the dark tree form and the bright sky, with the tramline pulling the eye into the scene. Love those streaks of light extending across the crop in front and behind the tree.

Excellent stuff, Clive. The low perspective really helps to create a strong composition, with the rail pulling the eye towards the boat which is positioned to complement the direction of those high clouds.

PS And I love the B&W version on your website.

Definitely not pants, Ed. I might have been tempted to crop a little from the left and from the bottom, and perhaps clone out that horizontal feature entering from the right of the frame (although its reflection would have been quite a cloning challenge!) but those are only my personal preferences. There's some gorgeous detail that really shows itself in the large version and I like the tones which I think enhance that wonderful sky.

Wasn't 100% sure about the lights at first, Gary - they did seem to burn a hole in that misty scene. But the more I look at it the more I like it for its different-from-the-norm quality. There's something almost ghostly about the way the lights appear in the distance over the brow of the hill. As for those misty, twisted, turning limbs....absolutely gorgeous. Congrats on the HC.

A fascinating and inspired perspective, Rob. Like Andrew, I found myself wishing I could see the buildings and their reflections in their entirety framed between the handrails, but I can imagine this would have been almost impossible without losing the strong graphic lines of the handrails themselves.

Could never tire of these boats, Tom, especially when photographed with such expertise. The early morning misty conditions are special - they enhance the stillness and tranquility of the scene, and I love the way the foreground boat comes to greet you while the others remain at rest and asleep.

A great deal of thought put into the composition of this, Ed - the light string standing clear of the clock face, the lamp well positioned between the Victoria and Central Towers. It's great to see Westminster Abbey iluminated in the distance, and there's terrific detail retained in the sky.

This is remarkable, Milena. A truly moving portrait, and yet I'm not sure I know why. I suppose it must be that beautifully sad expression on his face. The badge on his jacket suggests he has something to be proud about, something from the long distant past. While the woman on her mobile and out of the field of view moves quickly by, leaving him alone with his thoughts. Superb.

A dark and hugely evocative image, Martin. Curiously it's the pair of shoes that I find the most stirring element of all. Neatly placed side-by-side beneath the ominous noose, there's a disturbing formality about their arrangement, as if their owner is in a very orderly state of mind while deliberating on his fate.

I like the subject matter, the composition and the light in this image. The lifebuoy (seen better days!) is very well placed, as is the jetty, while you've captured some fine light touching the tops of the grasses. My only slight niggle is the horizontal blades of grass near the bottom of the frame, but it's a very small point.

I love how the snow only goes so far up the side of the trees and then stops, leaving the tops of trees dark against the white sky. And the skiier is a wonderful feature.

I think the stream leads in well, Julian, and I don't think the tree is over-dominant. I do wonder if those elements would have been strengthened further if the colourful conifers in the distance hadn't been there - with perhaps that deep blue darkness on both sides of the mid-ground trees.

I like the white canvas which the slow-worm appears to be slithering across, and the shadows balance the raised head well.

Beautiful in its gradient simplicity. I was wondering if perhaps a less busy sky might have been better, but actually I think it contrast well with the minimalist feel to the rest of the scene. And it just wouldn't have been the same without that foreground feature.

I like the impressive colours caused by the distant storm, but (even allowing for the darkness of this monitor of mine at work) I do think the foreground is rather too subdued. It would have been great if you could have positioned the lifebuoy a little further into the frame and allowed it to be better exposed (while filtering the sky to ensure it didn't become over-exposed).

A belated welcome to EPZ, by the way.