Inspired by... Derrière la Gare St. Lazare

I was immediately reminded of Dennis Stock's iconic image of James Dean when I first saw this but it deserves an examination in its own right. The moment is well caught and echoes the classic Bresson image very well. That it is an inverted reflection simply adds another dimension. I like the bollards seemingly framing the figure and I like how the pavement patterns bisects the frame in such a bold way. The figure has the hunched look of a miserable man in the rain – an entire element suggested by the graphic. Lovely.

This image really catches the eye and I think is a lovely photograph. In terms of the brief however, it neither has the singular capture of 'the decisive moment' nor the graphic elements to making the frame explain a simple truth – that of a man striding down the street. What it does do however, is make me 'feel', and that is its strength. This is a really positive image that speaks volumes about positivity and light. I like it.

What a dynamic image. A brave and bold compositional decision to use the reflection as most of the frame and one that pays off with a photograph that pops from the page. I like very much the red and the blue – both deeply saturated and the figure almost cutting between them. I like the white circle that adds another layer as well. A good interpretation of the theme although one that doesn't quite match the subtlety of Breton's vision, it stands as an image in its own right.

I just like the simplicity of the image. It isn't a perfect frame in the sense that it is multi-layered but it does what it says it will do: to capture well a split-second. The timing is perfect – just as the boy enters the water and renders the photograph almost as an abstraction of figure. I'm unsure whether turning it upside down doesn't actually weaken it as it becomes almost more abstract the right way up. Simple and elegant.

I like this very much and as a reaction shot, it really works. It's well captured and has a nice sense of balance (ironic when contrasted with the subject matter). I like that the first boy's head is caught in the instant of the flip and the second boy's legs add an element of humour. These kinds of images are about split second timing and luck, and the photographer has had a bit of both on this occasion. A good effort.

An intriguing and well seen image. I like the strong graphic of the reflection and the stark composition. I like also that there are almost two images in one – a monochrome and a colour one. It uses the literal elements of Bresson's image (the legs) but doesn't achieve the lightness of touch nor the sense of hanging in the air. However, the window and the blue sky add another dimension – perhaps literally – and that's why it's noteworthy and interesting.

I love this. For me, a quite literal homage to Cartier Bresson's image in that the figure is moving and the frame captures a decisive moment – the very essence of photography's ability to still life. That said, the image is in some ways more complex: a bold diagonal of the path almost bisects the frame to the sea and the frame is equally bisected by the shoreline and again by the cloudscape. The more I look, the more I see and that the child's feet are both off the ground at that instant gives a magical feel.

This could well be a modern interpretation of Derrière la Gare. It has the same frantic sense of the figure caught in time and the same puddle structure. Moments like this have to be shot from the hip sadly and this frame – eye catching as it is suffers from the distraction of a background that distracts. I like the way the photographer has been brave in the framing though – the wide sweep of the scene is well captured by allowing the frame to breathe through the reflection of the sky. A really strong attempt.

What I like very much about this frame is the unusual angle – it's very difficult to find a new viewpoint in a scene that we're so used to. It's clever and quirky and the pigeons in the top right seem to redress the balance in the frame of all the people on the left. It clearly echoes Derrière la Gare in the sense of shadows and reflections but doesn't quite hit the brief either as a homage or an interpretation. That said, it stands on its own as a good attempt at a cityscape.