The color contrasts and set up of these pictures, each from a different series, eerily match each in a descending order (unintentional placement). The mistiness of the first picture de-intensifies the contrasts of the rusted teal car, its red tail light, and the red clay. Only for the rusted red-orange and red hues to become magnified in the form of the boy's skin, paint job and hair color in the next photo. The setup for this photo foreshadows the next. In this last picture, Lavalette photographs another young boy through what looks like a wall of mirrors, and it is through the forms of these mirrors that a connection is drawn between this picture and the one before it. This last photo also reminds me of the Lee Friedlander photo, Boy in Window.
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