WINNER
This photo works because it makes you stop. Then squint. Then lean closer. The diver is tiny, almost an afterthought, and that’s exactly the point. Most underwater shots scream for attention with colour and chaos; this one does the opposite. It lets the cave do the heavy lifting.
But the lighting is where this image really earns its winner’s badge. The natural blue glow filtering through the water doesn’t feel staged and the diver’s torch is subtle rather than showy, and we like a lot. Well done Talia Greis.
Photography © Talia Greis
Congratulations to Talia Greis for winning our Frame Your View competition. Talia has scored an OM-5 Mark II + 14-150mm Kit, valued at AU$2,339!
Unfortunately, not everyone can win. But these other submissions came pretty damn close.
Check out some of the lucky runner-ups.
At first glance, this feels timeless, and that’s not an accident. You could tell someone that Callie Chee shot this image last week or 80 years ago and they’d probably believe you. That’s a big part of its charm.
What really sells it, though, is the human element. These figures aren’t posing or performing; they’re busy getting on with it. You can almost hear the splash of water and the soft slap of nets hitting the surface. It’s a photo that respects its subjects by not romanticising them too hard.
Photography © Callie Chee
Let’s be honest. In this photo, the bear cubs are doing a lot of the work here. But this photo doesn’t just coast on cuteness alone, it earns its place by being properly well shot.
And we have to hand it to Ailsa Bernard. The timing is excellent. Both cubs are looking straight down the lens, ears up, expressions matching. That kind of synchronicity doesn’t happen often, and when it does, you need to be ready.
What makes it stick, though, is the personality. It feels curious and quietly funny, like you’ve interrupted a moment you weren’t meant to see. And those are usually the best ones.
Photography © Ailsa Bernard
This image doesn’t sit still. And that’s precisely why we love it. Shot from behind a tuk-tuk tearing through the night, (Stephen Keeling) leans hard into long exposure, letting the lights smear into streaks of amber and red. It’s hella chaotic but it works.
The subject remains just sharp enough to anchor the frame, while everything else dissolves into speed and noise, mimicking the feeling of being swallowed by a city after dark.
Photography © Stephen Keeling
This photograph understands the power of less. A lone figure cuts across vast, rolling sand dunes, dwarfed by scale and swallowed by shadow. The dunes form soft, sculptural lines that lead the eye gently through the frame, while a ribbon of golden light slices across the sand like a quiet revelation.
Timing is everything here. Shot at the edge of day, the light is low and deliberate, catching only the crests of the dunes and leaving the rest to fall away into darkness.
Photography © Gabi Agius
A grand church is reflected in a shallow puddle, its ornate spires warped slightly by uneven cobblestones and still water. By flipping the view on its head, Fiona Collins forces a second look, at architecture we think we know, and places we assume we’ve already seen.
It’s a reminder that travel photography doesn’t always need distance or drama; sometimes it just needs patience and a willingness to look down.
Photography © Fiona Collins
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