New Joiners - People #569

This is really rather well done and works because the portrait really seems to capture something of the character of the boy. I really like the biting sharpness of the frame and that the exposure has caught a catchlight in the left eye, giving a more rounded impression to the face. The car in the background is almost too distracting but a high-key approach has saved the day. Nicely done and congratulations.

Compositionally this isn't bad - I like the figure looking into empty space and overall this is nicely framed. It's a tricky image to expose for and the brightness of the water has meant that much of the figure is in deep shadow. The image is redeemed by the shaft of light illuminating the man's face and that - by planning or happenstance - means that this frame works. Well done.

A charming, romantic image that says much about friendship and fun. The composition is straightforward and all the better for it: a central action turned to silhouette by the dying sun. A rather tricky exposure to pull off and the gestures certainly help to delineate the figures into a readable image. The crop clearly also concentrates the eye into the middle of the frame. Well done.

This is a cracking and simple image, slightly hindered by the limits of its exposure. I really like the straightforward framing which has captured a very natural moment. I additionally like the bars of the slide (?) that 'hold' the composition together. I also like that the trees and the building are not in compositional conflict with the subjects. However, the frame is perhaps a 1/2-1 stop overexposed and some of the highlights look like they're starting to blow. That said, all in all, this is a lovely frame.

This is certainly a humorous, slightly risqué effort and in that sense the juxtaposition of the woman and the poster works. I would say that it feels a little contrived but it is well seen and timed. In terms of exposure, it feels a little bit 'flat', it's a very good effort.

There is something painterly about both the quality and texture to this image, which, although I think is a touch too bright in its highlights on the face, is engaging and entirely evocative. Oddly the brightness is almost dead-centre of the frame and as such, seems to draw the viewer in to the images' muted tones. I like the pose and the naturalness that's been captured and all in all, I think it's a rather haunting photograph. Well done.

There are images within this image but I think that it demonstrates clearly that the camera is simply a recording device that has no aesthetic ability and it's down to the photographer to convey their intention by composing clearly. Cafe tables and their occupants have been the subject for photographers since the invention of the medium. Brassaï's 'Paris at night' series and of course, Doisneau's “Le baiser de l’Hôtel de Ville” being the most obvious examples. That work is difficult, you need to be close and determine what it is you want to photograph. Clearly here, the central woman is engaging and an image of her would be better constructed to the partial exclusion of the surrounding customers. With this sort of thing you just have to be brave and move in - and sometimes ask... good luck.

This is potentially a really lovely image marred by both split-second timing but also by the drawbacks of an automatic exposure. I'm presuming that one of the models was taking the image and unfortunately, the camera-phone has tried to expose for the sky in the background thus giving a washed-out photo. Although I like the simplicity of the white sky I think that there's less chance of this happening if the camera is lowered (and open your eyes when you press the shutter! : ) Keep going and at least you have an image packed with emotion and good memories.

This image is a good idea in principle but in practice it falls short of what it promises. Clearly here the subject is the street seller however the problem is that both the background and foreground are distracting. A better frame might have been made by firstly moving closer and in doing so, making some sort of emotional connection. Also, a more careful exposure which additionally would take care to visually separate the subject from other figures, would be welcomed. Still, this is well seen so keep going.

There's a lot about this frame that's interesting: the colour, the angle of the platform and the delineation of the figures, but I'm puzzled at what I'm looking at. I can see several potential areas of interest: the two figures on the far right of the frame to start with - but more than that, I'm struggling to see more than evidence of the photographer being there. Good photography is often about making clear visual statements about what the photographer wants to say. It looks like you can compose an image, so keep pushing and tell that story!

This, by luck or judgement, has become a rather interesting frame and it's the tightness of the photograph (perhaps a slight crop?) juxtaposed with the smoke that makes it so. Clearly the image is shot against the light which means that the shadows are blocked but there is just enough light to illuminate at least part of the face. The deep red of the chair(?) in the background is delicious but sadly distracting. That said, overall this is a good effort and an intriguing one that prioritises feeling over technique. Proof sometimes that breaking (some) rules produces something interesting.

This chaotic moment clearly shows joy and significance and, perhaps more by luck than judgement is an interesting composition that reflects this attributes. The issue is that the main character's face doesn't have enough exposure whereas the figure in the right, does. Two ways around this: either a better key exposure measured off the central figure's face or an overall (again carefully metered) flash exposure that would 'flatten' the light by filling it. Anyway, a nice effort.

This image has a delightful backstory and, as an aide-mémoire to that, is perfect. However, as a photograph, it does no justice to Etta and that's an enormous shame. Fundamentally, a 'good' image usually has some thought about how the final image would look. Here. perhaps it might have been better to frame Etta from either the front or at least to make sure that nothing in the background (like the cars) distracted our view. I'm sure that with a little practice, you could make a simpler and more effective portrait. that additionally gave some indication of her character. Good luck.

Although this frame is engaging in the sense that we can see what is being portrayed, I wonder if we might make it better? I like the portrait framing of the image but by shooting with no regard to the background, the figure merges into the window of the cinema. We make effective compositions by moving ourselves around a situation and here I suspect just a step or two would have given a clearer composition - and avoided the sun flare that stretches all across the image. Keep pushing!

Sometimes, the image is there and sometimes the light is there. When they're both together, one has a strong image. Certainly in this frame the light is lovely and you've captured well, a relaxed, revealing portrait that says, I'm sure, much about the sitter. That said, the camera-phone has been fooled I suspect by the light from the rear window which has meant the highlights on the model's face are blown. More, the background is too busy and I find myself scanning around the picture. That said, coming closer and tighter would have likely solved these technical issues leaving you free to concentrate on making and framing an equally engaging photograph. Well done.