stripes
by bvy

Comment:
This is a modern iteration of a Winogrand classic: the famous image of the mixed race couple with the monkeys. Not a re-creation, mind you; that's too easy. This is more of a subtle nostalgic nod from two generations' distance.

The power of that original Winogrand shot wasn't so much the monkeys-as-children (although some commentators saw some unpleasant symbolism in that). It was the very idea of a mixed race couple, each of them strikingly attractive and stylish. For its time, it was a tricky photograph to deal with. The viewer had the irresistible impression that there were people all around looking on with disapproving, or at least skeptical, visage. There was massive tension implicit in that picture. I think Winogrand's shot was a test for the times: (a) OK; (b) Not OK; or (c) Undecided.

And yours? They're probably not an actual for-better-or-worse couple, but they are a casual couple at least for this moment. The tension is gone. The sense of sartorial style (and expectation) is substantially relaxed. And the monkey is barely visible at all. Everybody's cool now. But imagine for a moment if the guy in your shot had a menacing facial expression instead of his exuberant smile. Would we still be passing the test then?

Anyway, enough of discussing the shots that aren't here. The shot that is here is a very fine photograph in the modern unaffected street photography style that I imagine Winogrand would have enjoyed. 10. Thank you.

bubbles
by LevT

Comment:
If it hadn't been black & white I'd have picked it for a Martin Parr photograph. That's a good thing because Martin Parr is a whole lot more interesting than Garry Winogrand.

This is really a very funny, savage indictment of a certain prominent wedge of modern western life (I'd say American life, but you'd like my comment even less if I did). The obesity to the point of immobility; the silly, pampered, yapping dogs; the dreadfully tacky sunshades; the truly awful Disney World school of architecture â€Â¦ all wrapped up in a fountain of flaccid-looking bubbles cascading towards a bewildered kid who himself appears to be already on the road to double-wide pants. It's a scarcely credible celebration of gross indulgence and delusion.

Even if you took a kinder view than I, it's still a good street photograph on a superficial level. 9. Thank you.

o
by nick_hinch

Comment:
It's a terrific street photograph.

The obvious part is that it so loudly rings one of the central bells of street photography, which is that people can be seen by a camera in a way that differs from how an actual eye witness would have seen them. She wasn't standing there looking goofy for ten minutes: it was only for a fraction of a second. And you wouldn't have seen it yourself if you hadn't been holding a camera with mischief in mind (your mind, not the camera's).

The less obvious part is that as well as being good street, it's also most excellent photography. The composition, the theatrical orchestration of the tonal blocks, and the technical camera stuff like exposure in particular, are all exemplary. 9. Thank you.

Women ARE beautiful
by lei_73

Comment:
This is so like a typical Winogrand 'Women are Beautiful' shot that I'd be happy to believe it's genuine. I think the frank exchange of glances between she and your lens is the only thing that makes it a little less convincing than it might be; very few (any?) of the Winogrand 'women' involved eye contact. But I think yours is better and more interesting than most of his for that very reason. 9. Thank you.

Got Milk
by salmiakki

Comment:
I love goats, pretty much unconditionally. This is a terrific picture too. The man's posture, his stick and his exotic (to my eyes) clothing, and the A, B and C echelon of the goats, are all fabulous. And then there's the composition, which is also exceptional in the ordering of all the graphic elements. A very beautiful and absorbing photograph which, although it's not much like any Winogrand that I ever saw, rises above all that petty DNMC stuff just by being so very good. 8. Thank you.

Saturday mornings
by tome

Comment:
This is a beautiful photograph. I see it as an environmental portrait, where she is the owner of the restaurant/cafe, or at least works there. That may in fact be wrong, but it's not wrong for me. The composition, and the lovely balance of the tonal masses, plus the subject's orientation (projecting out of the premises, rather than in) suggests too strong a connection between the two – i.e. person & place – to be just an arbitrary choice on your part. 8. Thank you.

chill
by jmritz

Comment:
Yes I like this. It's beautifully incomplete, with an imagined icy pavement down there outside the frame, and probably snow and slush residues edging the roads. It's a good example of how you can say more by showing less, and thus you can meet the viewer half way, rather than forcing him/her to go all the way across to your side of the bridge of comprehension. I'm a relentless fan of unfinished pictures like this. 8. Thank you.

New York City
by tvsometime

Comment:
This is an interesting street candid. She has lots of handles for the viewer to grab, and I'm not making a cheap and tasteless joke â€Â¦ I mean her 1950's glamorous hairdo and makeup, her Guess shopping bag, and the pack of Marlboros (?) semi-concealed in her other hand. She's a striking and provocative character. 7. Thank you.

-Twosome-
by sfalice

Comment:
Lovely photograph that's not a bit like Winogrand. I don't care at all about that. She does look like Annie Liebovitz, so there's a bonus point for that. It really is a terrific, interesting, appealing picture. 7. Thank you.

Don't Step There
by Jackson_H

Comment:
A very engaging sort of street candid portrait. Sometimes a camera can capture what's not visible, or at least not noticeable, to the human eye. The camera can characterise a person with an expression that they never really had (it might in reality have just been a moment of transition from one expression to another). This is apparently one of those. 7. Thank you.