Photo: Francesca Pfister, “Cardboard Bails, South Philadelphia.”

Representing more than 80 different artists working in photographic media, the Philadelphia Photo Arts Center, a Knight Foundation grantee, provides a multitude of perspectives and methods in its sixth annual Contemporary Photography Competition & Exhibition. This juried show contains some heavily edited images, documentary photographs, architectural examinations, portraiture, street photography and just about any subject one can think of, in both desaturated palettes and bright, vivid colors. Understandably, this assortment provides more than enough fodder for discussion or merely observation, and there is no shortage of interesting imagery in which to become immersed.

One of the more hilarious images here is definitely “Rachel” by Markam Keith Adams. In it we find the face of a girl–eyes shut tightly and mouth open to reveal her top row of teeth–in front of an orange burst of light and floral patterns. The digital photo is clearly edited from an original and placed on this dramatic, retro background, but what could have possibly elicited this reaction? Without the original context, we may never know. On the other hand, the girl’s facial expression is as startling as it is memorable. When photography exhibits tend toward certain aesthetics, it is always refreshing when unexpected pieces like this throw a wrench in the works.

Markam Keith Adams, “Rachel.”

Up a more structural alley, we find a photograph by Adam Davies entitled “McCoys Ferry Bridge, Clear Springs, MD.” Davies aims his camera down a lengthy corridor stretching through the middle of a gigantic steel bridge, its trusses and bolts visible below this curving expanse. As the metal bows to the left of the frame, it disappears from view, and we are left with uncertainty about not only where the bridge leads, but what lies around the bend. This photo is formally potent, and it also provides us with an unintentional allegory for the journey of life.

Adam Davies, “McCoys Ferry Bridge, Clear Springs, MD.”

Presumably a self-portrait, but potentially a depiction of someone else, “The Artist” by Kris Graves deserves a double or triple take at least. In this print, the image at first appears completely dark, but upon further examination, features begin to emerge. As it turns out, this portrait is actually the antithesis to most traditionally framed headshots: it focuses on the back of the subject’s head instead of the face. In this case, the figure has a head of black dreadlocks, is wearing a black shirt and is positioned against a black background–it is at first difficult to discern that anyone is there at all. During a time when the visibility of our black brothers and sisters is at the forefront of national and global discussions, this photo resonates powerfully. ‘Look closer,’ it seems to say, and in the process forces us to see not only the social and political ramifications that envelop this photograph, but the individual as well. Only with an intimate sensitivity toward people and their experiences can we truly work to end injustice.

Kris Graves, The Artist.”

What appears to be a black and white photograph by Francesca Pfister (at top) is, in fact, an image of two large bails of paper about to be recycled. In “Cardboard Bails, South Philadelphia,” we are offered a glimpse into where the packaging of the products we use every day eventually winds up. If we recycle it, that is. Showing just one material at a single recycling center in one city, this photo gives viewers some idea about how much waste the human race can generate. All the more reason to keep our consumption in check.

There are many more exceptional photos in the Philadelphia Photo Arts Center’s sixth annual Contemporary Photography Competition & Exhibition. Make sure to stop by before it closes on August 8.