jeffl7

A strong capture that mirrors a strong statement.

The inside is bigger than the outside. You have an eye for the bizarre.

I really like the processing on this one. The tones are quite rich and work well to elevate the subject. What do you use for your B&W work?

To me, the emotional weight of the photo rests on that lingering left leg.

Tony: The twosome were so central that it felt best to put them center stage. Other versions seem to lose the punch. We took our kids back to Guatemala last month. We hadn't been back since 2007 when my son was five months old. Many questions..... Jack: The original color wasn't too far off from this final version. I did another B&W version that seemed even sadder, but the Guatemala is known for its colors so I felt compelled to let the color bleed back in. The colors in Antigua are rich, but can have a dinginess that amplifies the pathos that is likely my own projection. We visited just before Easter, so we were confronted with parades involving the bloodied Christ, pained disciples, Mother Mary, and participants who don royal purple and carry the dais through the cobblestone streets. That red gash was an important and fortuitous element. Fred: I think this is actually a mother and child. There were many folks here who I would've guessed to be five to ten years younger than their age. Everyone thought my kids were several years older because they are well (and constantly) fed. I was extremely shy about taking pictures of people on the street. I didn't want to treat them as props in some one dimensional narrative. There were many disturbing and probably photo-worthy sites of the homeless. In those situations, I left money, but took no photos. Here, the girl and baby seemed quite happy with each others' company. We've had some ensuing discussions about birth parents and the love that drives decisions on both ends. Tatjana: It was only when I got home that I realized and remembered.

With the right vision, even simple fodder becomes elevated. The management of the angles creates a pleasingly balanced shot.

A bit like a chalk outline filled in. It's a neat capture.

The effect of the lens is interesting, producing a lot of contrast, but preserving the richness. I like the yellow flowers photo-bombing your capture.

A clinical capture of that drab part of post-winter when the world feels cold and barren like an autopsy. I like the weight of that foremost tree bending backwards.

Larger, the room opens up revealing great details lurking in the previously compressed shadows. I wonder what the dog thinks. Or what he knows.

As Chuck mentioned, it's an old story that never gets old or fails to amuse. Such a gulf.

The strong vignette gives a sense of Alice peeking down the rabbit hole, which is what childhood should be. A curiosity.

A pretty capture. The spring yellow-green is almost neon.

The complementary color scheme strikes me as interesting, making the chairs pop out from their blue background. The slats in the front look a little bit slack-jawed, which adds to the personification angle.

It's interesting how that pipe, bar, pole--whatever it is--creates motion, pulling the viewer down, down, down beneath the grate. I like the dusky pink.

Painterly is often used (and overused) for such post-processing work, but I think this description works well here.

Almost cat crunches. I like the yellow sheen, which adds to the dreaminess. The stitched webs and dragonflies add flickers of a dream-state as well.

I love the mystery.  Lit like a crime scene photo.  And the missing shoe?  Hmmm.

The tension of the signs tears the photo apart....nicely.

Timing....The white stripes carry a sense of urgency as much as the blurred blue truck cab and the white car it frames, hurdling forward.

A humble capture with well balanced tones. Once I move past the main character, all those great details start to tell tales, too.

Of course, the subject matter itself pulls at heartstrings--those little toes and that cotton candy, wispy hair. But visually, I think it's the position of his legs paired with the lawnmower tracks that tell the story. A sense of a life ahead of him, extending WAY outside of the frame.

Your world is one big projective test. The vignetting keeps the viewer on the path, allowing no salvation from the sidelines.

A solid character study, down the unruliness of his mustache and eyebrows. He seems well contained, but intentionally so.