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This is strong photo journalism. Direct unflinching eye contact with someone's life. It's poignant, it does suggest someone trapped, and gazing up at the unreachable.
Very well taken, and helped by the limited colours presenting themselves - the fact that his hat matches the paintbrush and tins in the background is pure serendipity.
The only suggestion that I would make would be to crop tighter at the sides. It needs the frame of the cargo hole, I'm not sure that it needs quite so much of it. I find my eye being drawn to right and left rather than to the centre of the frame. I'll try a Mod. But as an alternative, not necessarily as an improvement. I'd be proud to have taken this.
Moira
Very well taken, and helped by the limited colours presenting themselves - the fact that his hat matches the paintbrush and tins in the background is pure serendipity.
The only suggestion that I would make would be to crop tighter at the sides. It needs the frame of the cargo hole, I'm not sure that it needs quite so much of it. I find my eye being drawn to right and left rather than to the centre of the frame. I'll try a Mod. But as an alternative, not necessarily as an improvement. I'd be proud to have taken this.
Moira
An innovative point of view that really works to capture the viewer's attention. Shooting from above like this is really creative. We are looking down, the painter is looking up, and we make eye contact. We ask, is he going down or is he coming up?
The inside walls of the cargo hole serve not only to frame the painter, but to focus the viewer's eye on the subject perfectly, as if we are zooming in on him. We see the paint pots, the brush, the scaffolding and planks, and we piece together the story that the image conveys.
The way the scaffolding and planks run across the small square serve to add abstract interest to the scene.
Like Moira, the only thing I want to do is crop the image, give it a square format, and bring the painter lower in the frame so that his eyes are one third up from the bottom (see modification). I also put the diagonal lines into the top corners of the frame. Any further juggling with the symmetry would spoil the whole thing.
Pamela.
The inside walls of the cargo hole serve not only to frame the painter, but to focus the viewer's eye on the subject perfectly, as if we are zooming in on him. We see the paint pots, the brush, the scaffolding and planks, and we piece together the story that the image conveys.
The way the scaffolding and planks run across the small square serve to add abstract interest to the scene.
Like Moira, the only thing I want to do is crop the image, give it a square format, and bring the painter lower in the frame so that his eyes are one third up from the bottom (see modification). I also put the diagonal lines into the top corners of the frame. Any further juggling with the symmetry would spoil the whole thing.
Pamela.
This is a great shot. Subject, strong colours, eye contact, all work well.
There are two square mods uploaded, so I thought I would try something different.
Some minor adjustments first, lens barrel distortion can be corrected; if you look at the welded seam in the upper area of the hold ( not hole!) its curved upwards slightly, and is easily straightened.
A small rotation aligns all geometry.
I would remove much of the bottom wall with a 5 X 4 crop. Then increase contrast a little.
All in the mod.
Regards
Willie
There are two square mods uploaded, so I thought I would try something different.
Some minor adjustments first, lens barrel distortion can be corrected; if you look at the welded seam in the upper area of the hold ( not hole!) its curved upwards slightly, and is easily straightened.
A small rotation aligns all geometry.
I would remove much of the bottom wall with a 5 X 4 crop. Then increase contrast a little.
All in the mod.
Regards
Willie
