* Wednesday C&C "No Theme" Thread #944 / Revived #164 on 2026 05 20 *

Welcome to the Wednesday Comments and Critique (No Theme & No Brand) thread!

We are dedicated to continuing the great tradition of this C&C thread because we are convinced that looking at, and talking about images is vital for better photography.

Our tried and tested concept (almost 17 years and running!) is a weekly "peer-to-peer" photo comments & critique encounter, in which you GIVE and RECEIVE.

The idea is simple: you post a photo or photo-based image that you have made and get critique on it. And in return you give other people your honest but constructive opinion of their images.

Any Theme, Any Camera, Any Style, Any Subject.

We are still figuring out how to create the convenience of threaded view on this new forum.
For now, let us agree that you post an image or essay with a title and short explanation, and that all comments include the image as a quote.
Replies to comments may or may not include quotes.

THREAD GUIDELINES – THE SHORT & SWEET VERSION
• This thread does not care about brands. It’s not about the tool, but the image.
• Post one image or essay that you have made and would like to get comments on.
An entry can either be a single image or a short essay. With an essay we mean not a collection of random images without any connection, seeking C&C on more than one of them. We mean instead a limited number (3 to 10) of connected images that together try to tell a story, create a fuller picture of a situation, event or location, etc.
• Add a clear title to your post to distinguish your entry.
• Look at the other images/essays and give your comments on at least one of those.
• For comments, try to go beyond a simple pat on the back or a short dismissal.
• Do you like an image (or essay) ? Try to explain WHY it appeals to you.
• Negative or critical feedback is OK (we all want to learn), but be polite and constructive. Try to explain why the image (or essay) does not appeal to you and how it might be improved.
• Please stay on topic, i.e. concentrate on the image and the photographic comments, without getting into politics or other distractions. No non-photographic arguments.

The critique you give is vital.
What was your first impression? What catches your eye about an image? Why?
What do you like, and what distracts you? What would you change?

Fiddle with the image in your head - composition, perspective, color balance, exposure.

PLEASE NOTE CLEARLY:
Unless the original poster specifically states (for every individual posting offered for C&C) that they do not want their image(s) to be downloaded, altered or reposted, it is understood that within the context of this thread, other participants are free to download and alter the posted image and repost it in a reply for C&C purposes. That reposted image may remain permanently within the week's thread, or you may remove it after a short period of time if you prefer. The downloaded and altered images are not to be used for any other purposes nor uploaded anywhere else than within the context of the C&C in this thread. No copyright disputes here!

Encourage - it is a scary business putting your work up for other people to judge!

More general feedback is also welcome.
Do you know something about taking the same sort of image that would make matters easier - share your own as an example in your reply.

Have fun, be respectful and let’s stick together!

MORE BOXING - PORTRAITS

Y'all seemed to like my shots of referee Renald De Vulder at the boxing bouts during the "Rumble in da Jungle" performance. So I'll continue with some images from the next couple of weeks.

My unexpected photo venture at that performance resulted in me getting in contact with Renald and discussing his work with the young boxers.
I got myself invited to come take a look at a training session at his ABA (Antwerp Boxing Academy) and went there a few days later.

What was intended as a one afternoon quick look around, turned into me going over there several evenings and weekend mornings over the next two weeks.

Being present often, chatting with the boxers and personnel, showing interest and being unobtrusive while shooting (and bringing a few prints to hand out on one of the days) was the ticket to gaining their trust and getting more and more access. And that, in turn, resulted in a positive reply to my nudging to grant me exclusive and privileged photo access (as "the official photographer") to the Antwerp Boxing Gala that was going to be organized a month or two later.

Maybe we will get back to that Gala someday.
But now we are in the Academy, during some physical training and sparring sessions.

Look here for a comprehensive look at the results of attending a handful of sessions (and a press conference):

roelh.zenfolio.com/p63967426

From that gallery, I've selected a few B&W portraits:

Ayoub "Prince" Nefzi at rest between some serious bag-punching:

Najat "Miss Nouni" Hasnouni in full focus while seated and throwing a heavy ball against the wall:

(this photo had me standing right over her, really close quarters, showing the trust that was established)

Meriton "Mr TNT" Karaxha letting of steam after some intense sparring with head protection:

Calcutta. 1984. Maybe 1982?
Recently I discovered some very old negs from my film days. Many have deteriorated beyond help while others such as this needed a lot of work.
It was my first trip to India. I found some street shots that now distress me. I would never take them today irrespective of how good they might be photographically.

On the one hand I can understand why this distresses you.
Norms and morals have changed.
What was standard street photography in times past, can now often be considered exploitative or neo-colonial.
This is not only true for photography in other (I hesitate to say "third world" or "developing") countries.
Street photography on the streets of any western city is likewise not anymore what it used to be.

Emphasis has shifted over the decades from the rights of the photographer to the rights of the people photographed.
Personality rights, rights over our own likeness and portrait: they have not made the life of a street photographer (or a people photographer in general) easier.
On top of that general shift, there is also the whole issues of gender, race, age differences to complicate matters even further.
A man photographing a woman: not obvious anymore.
A white person photographing a black person: ditto.
An adult photographing a child in public : ditto and to the n-th degree.

This is a fact of life, but it is also a shame, because what happens and is visible in public should be accessible for expression (also visual expression), insofar as there is not exploitative motive or commercial gain involved. I've had NUMEROUS discussions over the years with people who did not like being photographed, but I have always (or almost always) been able to resolve that with a clear expression of legitimate artistic intent and no ill intentions (+ some explanation about the rights around photography in public).
It has become harder over the years.

Why bother anymore?
Because it is valuable to document circumstances and cultures.
Because photographing someone is not a nefarious act, but can be a way to engage and to say "hey, you matter to me."
Because it can be a conversation starter.

Respecting cultural differences and sensibilities is important.

Engaging with the subject is and remains key in my personal approach.
It's not that I ask permission beforehand (permission beforehand ruins the moment - it's also often easier to get forgiveness than permission).
But when I photograph people or groups with intent (not just in a drive-by situation) I always do so openly and I most often approach them afterwards.
I say who I am and I show the result and we have a mini conversation - that breaks the ice, takes away the awkwardness and is often rewarding.

I don't take "sneaky" photographs where I try to hide what I am doing.
I think that most often, that is what creates the most tension: trying to do something stealthily and getting caught.
If you have honorable intentions, why hide your actions?

Having said all that: I would not feel bad about this particular photograph.
There is clear eye contact between you and the subject. There is no sneakiness
There is no expression of discomfort or rejection (maybe the little guy is just used to it and doesn't know better, but let's not assume that).
Maybe you remember what happened afterwards (a conversation, a small payment, having your shoes shined?)

The result is a moment in time and part of your journey.
And his.

You are correct. There was communication here and it was communication that I felt/feel OK about. Just. That isn't so of a couple of discovered photos that I wont be showing.

With your camera, you have captured reality—nothing more, nothing less.
Whether you prefer to turn a blind eye to reality changes nothing about the poverty of these people.
The only thing I would refrain from doing today is photographing people who have lost their self-control.
Otherwise, I would photograph anything I find interesting and informative.
By the way, a very interesting and well-observed photograph.
There are several pairs of well-polished shoes surrounding the child.

A Break by the Sea

Fallen Angels

I will push the envelope even further with this photo from New Orleans, which crosses several lines and are likely to be found objectionable by some. I agree with Roel and with Kumsal. I grew up in the journalistic world of the 1960s with its wars, violence, and social issues. Awareness of all that would have been impossible if people had not photographed real life events whether social acceptable or not. This is still true, but we have grown to accept that there is something morally or ethically wrong with taking photos in public places.

Until Covid, the New Orleans French Quarter was a melting pot of artists, performers, addicts, gamblers, homeless, eccentrics, collectors, pirates, workers, entrepreneurs, etc. This melange interacted easily with each other, and with tourists. After Covid, the city decided to clean up the quarter and pushed most of the "undesirables" past Rampart, under the bridges and overpasses, away from the tourists. So today's French Quarter is less a melting pot, and interaction is not as relaxed.

I took this just prior to Covid. The young man on the right is one I had some conversation with later (after he woke up) but never saw the other again.

I rarely ran into objections about photographs. A few of the street entertainers requested a donation if you took a photo, which I always obliged. Some of the fortunetellers preferred not to be photographed at all, so it was always best to ask them before raising a camera or you might get a mean look. Most loved seeing their photos, and I would often take prints back to the folks I photographed on next trip.