Photo by Stan Banos
Photo by David Morse
Photo by Mark Kinsman
Photo by Mike Knowles
Stan Banos sent his photo without comment.
David Morse of Philadelphia, Pennsylvania writes, "I took this photo at the annual fourth of July parade in Philly with a Nikon D7000 and a 16–85mm lens. Although the image works in B&W because of the strong composition, the red and blue stars and face paint definitely make the photo sing and define the event as patriotic. Converted to B&W, the stars have exactly the same grey value and you lose the dynamic rhythm the colors provide."
Mark Kinsman says: "I live in the suburbs of Chicago—Glen Ellyn, Illinois. Taken in Millennium Park, Chicago, Illinois, on a summer day. This one caught my attention because of the combination of colors along with her gesture—sitting with feet in a wishing well stream that runs along this area, reading a real book. Without color? No way."
Mike Knowles (whose work also appeared in this post) writes: "This is a photo of a Crimson-Rumped Toucanet (although his rump is sadly out of shot). It was taken near Mindo in Ecuador in 2016 with an Olympus EM-5 and Panasonic 100–300mm lens. I recently stuck a copy of this on the wall next to my desk at work, along with about nine or 10 other photos of various things and places, and it always captures my eye more than the others, which I didn't expect when I stuck it up.
"This was a tough choice...."
Thanks to everyone! The thirteenth photo, which makes the dozen into a baker's dozen, usually appears at the end of the set of twelve. Just as a reminder, Chester Williams' "The Goodbye Kiss" (last picture on this page) was the thirteenth photo in this series. (And by the way, Chester and I are talking about possibly offering that picture as a fine print.)
Looking forward to your comments as always!
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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:
MikeK: "How very nice to be featured here—especially on a day when I was feeling pretty downbeat about my own photography (having looked through over 800 photos I took on a recent trip and found them all to be pretty unremarkable). This wasn't actually my first choice for a submission, but I wasn't sure how essential colour was to my original choice—though the more I think about it, the more I think it is.
"I suppose, ultimately, it must be colour if the author of the work decides it must. It's a creative choice, along with aspect ratio and any aspect of exposure. A given picture may work equally well, or better, with a different crop, for example, but it's the creator's prerogative to choose. I have tried to evaluate my own photos on whether colour, or lack of it, adds to an image. And 'adding' could really mean anything—perhaps just the evocation of a memory related to the photo, which means nothing to anyone else. It's also interesting how different the print I have on my wall looks to the on-screen version. The print seems to have a more yellow tint to it—it's probably not a massive difference in actual values, but it changes the look of it quite noticeably (for the record I prefer the on-screen one)."
Frank Lehnen: "I'd have preferred the first one in B&W...still a great photo though."
Mike replies: Fair enough, but then you'd miss that counter-arguing "blue," which puts the finishing touch on the picture as I see it.