peter_henderson1

Imaginative use of lighting as props. This picture may work best as part of a series. I feel your strongest work is outdoor 6x6/160VC. (most interesting to me, anyway)

Accidental, perhaps, but genius nonetheless.

I'm all out of love, what am I without you
I can't be too late to say that I was so wrong

Circa 1600, the letter B was worn by people accused of Blasphemy. Read Nathaniel Hawthorne's The Scarlet Letter (1850). My best guess would place the photo's subject between three and five-hundred years old. This would explain the hand-stitched prison uniform, and the subject being devoid of life.

The combination of cropping, film, exposure and subject is all too unorthodox. This photograph is trying much too hard. It's taken with a Contax that thinks it's a Holga/Diana.

I have to disagree with "using wild perspectives" on this building. You've got the perspective almost perfect. Next time bring a level to get rid of converging lines.

The tight cropping is necessary (since you don't have a tilt & shift lens) but try to stick to standard proportions. Even making it perfectly square would work.

More of the surrounding buildings would be helpful. Find a time (street cleaning?) when cars are not parked and people aren't walking by in distracting red coats. Very interesting bit of architecture.

I almost always use second curtain sync, but I can't say that it'd have improved this picture or not. The effect is (obviously) more pronounced with slower shutter speeds and/or fast moving objects.

This photo looks like it was taken using autofocus; some cropping might help. For instance, the bike is heading downhill, bearing right (your left). So include more below and to the right (your left) of the subject. The eye naturally wants to see where the subject is headed.

Sorry if I come across as stodgy, but this is a classic example of electronic focus crosshairs. The center focus makes the photograph clinical compared to the canon of HCB street photography it is clearly mimicking.

The picture plane is very flat, and there isn't a face - in or out of focus - to be seen. The anonymity makes it a good postcard-type image. The strong diagonal is unfortunately a visually distracting part of the picture. Take the staircase out and the picture is far better.

Many of the classic embrace/kiss photographs were staged. The irony here, is that this picture seems candid, but the composition is very static.

The single most exceptional thing about this picture is the subtle square halo (a train window?) framing the couple.

Rather disturbing is the 300mm focal length, which makes the photograph eerily voyeuristic.