Robert G. Earnest A powerful and intriguing image. We're accustomed to seeing night stars, and sunsets or sunrises, but rarely both at the same time. The only improvement I can think of is getting rid of that white light near the door of the van. It's a bit of unnecessary distraction. Marilyn Dalrymple, Paint Splatter. Interesting abstraction. Yes, I can see a Native American, but I can also see it as a side view of a skeletal skull, and of course the tire tracks that produced the corpse. I'd punch up the contrast, and clone out the date and time stamp. Bob McCulloch, 2. The cleanness, openness and simplicty of this composition is very appealing. I presume those are some sort of floats associated with fishing nets? Mario Pires, Into the light. This feminine figure doesn't seem to be going into mere light, it's more rather like she's being obliterated by a huge explosion. Very violent. It would be interesting to learn how a woman would react to this image, compared to how a man would. Dan Mitchell, Arches. Interesting juxtaposition of an arch and the light falling from another arch. No telling what went on in this space since the 11th Century! Howard Leigh, Mannequin. Another interesting abstraction. At first glance it appear real, but upon close examination, it becomes spooky. In a good way. Art Faul, Bomber Command 22 Missions, B-52-G. After all the unpleasantness involving the author that has passed on the list over the past weeks and months, it is virtually impossible to look at his image objectively. By itself, the shot is beautifully spare and enigmatic. The row of bombs offers an inviting clue, but then the yellow sign is unreadable. Overall this is an interesting and pleasing composition. Then comes the superimposed title and copyright notice, and below an extended caption that's overburdened with unnecessary self-referential details. So this presentation is actually more about the author and his personality and his vast experience and knowledge than it is about the image he produced.
