Blake House
by EstimatedEyes

Comment:
Quite pleasantly geometrical; the processing feels over-forced though - the shadows are brought so far up that the light feels unbalanced, and there's a fringing to everything that feels unnatural - most especially visible in the edges of the trees against the sky.

Reflecting Giant
by trevytrev

Comment:
Sunlight on steel always seems to be particularly effective in black and white: maybe it isn't steel, but it has that feel about it. I think I like the graininess - although it has perhaps a sense of being added after the show - could be just because I know that - as it goes against the obvious approach.

Fields (Week 2)
by booboo_goon

Comment:
The thing about what actually is, arguable, a 'rather boring composition', is that the best of them holds a mystery. perhaps something along the lines of 'why was this shot taken?', or 'what is it I'm missing here?', or simply, 'why do I have nowhere to rest my tired eye?' whatever, this is reminiscent of some early 20th century stuff - Kertesz when still in Hungary, or Capa before the war photography; perhaps even of McCullin in Gloustershire. I like it. although the blackening of frame does feel over done and a little forced, perhaps. It might be subtler without losing any of its impact?

Lincoln cathedral (Week 1)
by booboo_goon

Comment:
Whilst the light somehow slightly upsets the symmetry, I think there's anough strength otherwise for the impact to survive - and what an impact: that arch gaping in the middle of this famous screen like the mouth of hell. almost. Step inside, won't you? Fine work.

#2 Passing Time
by Sonifo

Comment:
Not really knowing what the point of self-portraits is, I have to say I like this; I like the unlikeliness of those boots, as mentioned elsewhere, and I particularly like that you haven't 'corrected' the light through the blinds. What's wrong with it anyway? A little illuminant arrow pointing at the subject ... glory in it, I say. I like the absolute straightness of the curtain pole, too, and the hazed idea of windows behind the curtains - all those layers of increasing restriction of light, like the greatest cinema you never went to.

There's an absoluteness to it too: a stripping down to bare essentials. What more does one need than a favourite chair, a book, and good light to read by? Well, apart from good boots, that is? I'd need a notebook, and a table with a drink. At the very least.

And finally: this is properly black and white photography, to my eye. It's all, absolutely, about light. Does anyone else who looks at this care what colour any of the stuff in this shot is? That carpet could be a livid shade of neon green, for all we know ... this makes this scene be about form - about the rigidity of the windows, the more fluid but somehow obdurate structure of the chair, and finally a certain organic softness in that female form. And if you look at it like that, the boots make absolute sense, do they not?

Under an Urban Moon
by muur88

Comment:
Difficult composition; I'm not sure the colour works well, and I'm not sure about your cropping - it seems you've made that strong vertical image left your guide, but that makes your framing of the building with the figure appear tilted - and just slightly enough for it to seem accidental, and thuis disturbing.

The Flow
by daryn

Comment:
Intriguing abstract; could almost be a macro of a material.

Happy Man
by nutzito

Comment:
I love the unprocessed sense of this: whether or no you have spent hours, days, months on it, it doesn't show which is, in the rush of HDR nonsense, an great pleasure in itself. Fine photograph - I like very much.

Mounds
by jaysonmc

Comment:
I was so numbed by the stuff in this challenge that I almost went straight past this. Interesting - I hope I remember to come back to it.

Beach Club Bungalow #6
by bassbone

Comment:
More interesting than most. I quite like how it begins to be about only vertical lines; although that isn't followed through to the obvious conclusion, I think there is anough of that implication to be intriguing.