Elson T. Elizaga, Brothers. Nice looking kids, but there's a posed quality to it, as if they're getting tired of being photographed. The flash shadows are distracting.
Emily L. Ferguson, Cranberry bog pump houses. This seems to me an unremarkable assembly of trees, and there's nothing about the tiny red structures in the distance that suggests they have anything to do with a cranberry bog. I'll take your word for it, though!
Jan Faul, Sully rush hour. Interesting enough, but sticking a blurred car with normal color in a scene with an overall sepia tone seems like showing off technical expertise, rather than conveying an idea or emotion. One wonders: Hey, how did he DO that?, rather than being arrested by great or unusual beauty.
Don Draper, untitled. If this were mine, I'd stop down a bit, punch up the contrast. As it is it seems contrived, too carefully arranged, too symetrical. But that's just me. Others may find this quite pleasing.
Chris Strevens, the drink. A study in sadness. This is what awaits us all. I'm not sure that the soft focus works, but then I'm not sure a precisely focused shot would be better.
Bob McCulloch, Sunrise over Valley Field The pole crossing the setting sun either adds to, or subtracts from, the image overall. I'd be inclined to clone it out.
Maria Pires, Where the streets have no name. This arouses in me a strong need to nitpick. For one thing, there is only one street visible here, so the plural is inappropriate. For another the subject is not the street, but the painted stripes and shadows that are upon it. This is about shapes and textures. And what is it with all this sepia toning? First Faul, then Pires.
