I once submitted this picture to a photography contest. To enter was free of charge, so I had nothing to lose beyond risking further damage to my already lacerated and limping self-esteem.

The competition’s organizers set the parameters: intimate family scenes. They did not elaborate. I checked my library and found an authentically poignant family moment: two brothers together in hot weather playing among backyard sprinklers. It is an example of Americana with deep roots. Certainly the general theme is hackneyed: you may witness every summer journalistic photos of children frolicking — prancing over concrete slabs — dodging vertical jets of water which rise from the ground and often reach above surrounding buildings. In the sun’s light the streams achieve a crystalline gleam. I have noticed this motif (the same idea) used over and over again throughout many years.

I believed my variation had unique elements. I liked the affection revealed in the boys’ exquisite body language. The older sibling (though fatigued) with his clenched fist and athletic stance seems concerned and ready to protect his little brother. The younger reveals in his posture a fragility and innocence beyond my ability to describe in words. Only with a photograph could I uncover these subtleties. Grown humans cannot remember — much less re-experience — what the little fellow is feeling. The world is new to him and full of exciting miracles. His vitality is unconstrained; and like our mythological first ancestors, he does not realize he is naked.

The tournament judges saw none of what I saw. My work did not rate an honorable mention, nor a green ribbon for participation.

The winners sent pictures which were all nice but provoked only commonplace feelings in me; which could be described in stale language. In some cases I had no reaction at all. By showing slightly contrived looks on their subjects’ faces — and setting them in colorful, occasionally distracting scenes — much attention was drawn to the surface of things.

Here is another shot from the same session:

Shooting from behind, concealing the faces of the kids, seems to spark our ability to read more deeply into the situation. Faces can be used to distract and dissemble, even among children. Notice how the boy has switched completely — from the tenderness he displayed toward his brother — to the clear brawn and masculinity he shows while playing with his best female friend.  His demeanor contrasts sharply with the graceful, willowy movements of his playmate.