Hans Klemmer - It's hard to figure out exactly what this is meant to convey. Urban decay, a partially demolished building, a war zone? The four children appear well-fed, well-dressed, and the boy at far left seems aware of the photographer, and the others seem self-consciously posing. John Retallack - Larry A large man overshadowed by a tree, which looks like an ominous human-like figure with upstretched arms, about to collapse and do some serious damage. The man's face is essentially blank, betraying little or no emotion other than a vague, passive indifference. Like the urban image above, the author's intent is impossible to discern. Emily L. Ferguson - Schooner Alabama's topsail crew Sepia usually conveys days gone by, but this is clearly modern, with the clyndrical "GAR" thing at the man's lower left leg, which I presume is part of a radar navigation system. Crew is plural; I see only one of them. Bob Turner - Noah's new scarf The child's face is pleasingly striking, and makes an excellent portrait, but the whole thing is spoiled by the overexposure of the left portion of the scarf, and most especially spoiled by the gimmicky photoshopped frame. D.L. Shipman - Busy work Good action shot that's somewhat diluted by the apparent apathy of the people in the stands. They look bored. Lea Murphy - Edyn with blocks, thirteen and a half months Like Noah above, a pleasing portrait suffers from an overexposure of white, which pulls they eye away from the subject. Christopher Strevens - Run down railway in Hungary Dreary landscape, dreary industrial building, dreary cloudy sky. Very close to existential dread.
