[↑] Wayne Lazorik – Untitled (1970); [↓] Ray Bidegain – tuscany_1 (2007)
Juxtaposition as commentary
[↑] Wayne Lazorik – Untitled (1970); [↓] Ray Bidegain – tuscany_1 (2007)
Juxtaposition as commentary

Renee King – self portrait (2015)
This photograph takes my breath away.
There’s room for improvement: the background–a patio/porch, a sliding glass door and a door leading into a laundry room–is ho-hum; the basket is an interesting touch and the depth of field does a good bit to focus attention on the subject; conversely, the three items intruding into the frame on the lower left are ultimately distracting.
But look at the way her hands are perfectly aligned with the bottom of the frame! And the tautly sinuous effortlessness of it. (Perhaps half a demerit for the oddness of not being able to see her right foot–a slight shift so that it would be seen protruding behind her right thigh would’ve accent the dynamics of her pose.)
Anyway you slice it, Renee King is splendidly talented photographer. I hope you’re all following her.

andrea margaret
Margaret has made work with a veritable a who’s-who of Tumblr image makers: Darren Ankenman, Babak Ghaemian, Todd Hido, Brittany Market, Megan Sample, Erica Shires (whose work is INCREDIBLE), Art T (aka Creative Rehab) & Chip Willis.
Her appeal is understandable: she effortlessly shifts between ingenue, coquette, muse and provocateur. Yet, the shift is not so much like donning a mask as assuming an entirely new identity.
A desirable knack, certainly, but what further distinguishes her work is the fiercely assertive, in-your-face independence that shimmers just below the surface. Andrea Margaret can appear disdainful, bored, playful–often all at once–but it is always evidently she’ll tolerate no sort of foolywang whatsoever.
That’s what makes this picture stand out to me; it’s a self-portrait (as far as I can tell) with a severely limited dynamic range suggestive of a low-end digital rig–an iPhone 4, if I was forced to guess. It’s hell of muddy; but not in a someone tracked-mud-onto-the-floor-you-just-mopped way, in a simpering Delta blues way.
Here, Margaret seems less overtly confrontational. Instead, her provocation is cut with an aching, frustrated determination, perhaps some loneliness as well.
Quite nice, really.