I hope I don't confuse by saying this but, to me, #2 is by far the better image.
The issue of the geometry between that window and the shadows angling across the wall in image #1 doesn't really strike me as particularly meaningful, either as an abstract concept or a concrete object.
Now, when looking at #2 the whole situation is changed: the storytelling potential in that scarred old door, a crumbling wall, and those peeling posters is immense!
I could envisage putting several good novelists in front of this images and watch them come up with several unique plots for a good novel just from what is contained in that highly intriguing image.
It reminds me a little of some of the images Michael Reichmann shot in that town in Mexico where he used to go during winter-time. Such simple compositions yet so rich and evocative.
I truly have no idea what your club might make of either image, but, for me, #2 is a winner!
Tony Jay
I understand what you're saying, Tony, and agree to some extent. To me, though, the interest is in the strongman poster, not the photograph itself. I find myself looking at the details of the poster, not as a photograph but as a poster. So is it a successful photograph or a successful human interest poster? Just a thought.
