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Oh boy! This is fun! Reminds me of a photo by HCB. But that is coincidental. The composition and the timing are perfect. Black and White is exactly right. And there is nothing more to say.

I understand that the timing and composition could be considered "perfect," though it's not an adjective I often use because, IMO, nothing is. In any case, usually things described as perfect turn me off because I tend to prefer the flawed in life, the human as opposed to the godly. I'm not suggesting a change here, since I think the photographer got what he wanted, and I like the photo a lot, but I wonder what would make or allow another photographer to have shot this when the person was NOT in such a "perfect" position, perhaps just coming into the lines of the door or even just walking out of the frame. It would certainly jar the viewer and would likely get more negative response. But the provocative energy of an "imperfect" composition or moment of timing could also have merit of its own.

For me, what makes this image most interesting are those things that one might not normally consider if one were to visualize this image rather than actually photograph it.

Things like this odd door and what appears to be a completely nonfunctional cap. The short white line that breaks the symmetry and suggests a road and yet there is no curb to separate the pedestrian from traffic. The obvious pedestrian “path” in the wet that the individual is following faithfully and yet no “path” indicated of vehicular traffic.

I think the image becomes a bit more that just a predictable graphic with these elements that end up allowing us to wonder rather than just embracing.

It is kind of arresting to the eye. The architectural apertures/windows presume to tell one story and they split the composition about in half, getting much attention in the whole composition. The much smaller figure with the umbrella, overshadowed by the apertures (or dice holes if you like,whatever) wants to tell another story... The dissonance creates a mystery image. Looking closer, the ghostly roofed door adds a third element that is even harder to grab at. (So what would Sherlock decide, shucks Watson I don't know.)
Iwant to tie the three elements together and create a whole,-add the reflections into the mix even more-but it isn't easy for me and that is very OK. It forces attention and is not static,so good. Which is what a photo ought to achieve, at least sometimes.
It is different I will add and hard to place as a story line. An easy story line I mean... At least for me. Fearful asymmetry. I am inclined to go along with JDMV's observation above. Off balance and yet a kind of balance . An adventurous piece of work.

It's a street photography trope (not a cliche) in the "ironic juxtaposition" vein, but a damned good example of one. There are several elements that make it unique, to me: the powerful graphics, so reminiscent of 1960s pop art that it feels like an homage; the perfectly timed stride of the umbrella toting pedestrian; the rain reflections echoing and softening the graphic elements that might otherwise overwhelm the human aspects.

To me it's an example of visual haiku - a formal exercise that seems too constraining to some participants, and often leads to cliches and jokey attempts, but offers opportunities for those who love the genre and appreciate the form to excel and transcend the apparent limitations of the genre.

The visual inconsistencies in the not-quite-perfect window holes, and a few other places, reveal a comfort and confidence akin to an appreciation for the concept of wabi sabi, accepting and celebrating the small details that some less confident photographers might consider imperfections to be "fixed" in pursuit of a more rigid graphic appearance.

The trouble I have with it is that the scene was just sitting there ready to be taken, it's not like all those fascinating things (not that I find them fascinating anyway) have anything to do with the photographer at all - he just waited for the umbrella man to walk into the frame. Most people seem to find the wall in itself incredibly interesting (not-quite pefect window holes, odd door, bottom window reflections "bookends" etc). I'm still not sure why, but I have to say you have all managed to impressively intellectualize the image, whatever I think about it.

Robin,
What is it a photographer does exactly? He/she can make pictures in a studio setting, or see pictures that life shows us but many would not see nonetheless. To be a photographer (or even just someone who likes to take pictures like myself) is to observe life in much more detail than the 'average Joe.' You look for the unique relationships between objects, the cracks in the building, the reflections in the rain, etc. I think when you combine all of the elements of this shot, it makes for an interesting image, but it certainly won't appeal to all. Nonetheless, seems to me that this is what photographers often do - capture that which life gives you.
Bill

Robin, most photos are about recognizing a scene and creating something that works as a photo around that. As Bill mentions, there's all kinds of photography where scenes and situations are created for the photo, but a lot of photos are someone considering how to translate what they see and come across into a photo.

"he just waited for the umbrella man to walk into the frame."

Of course, this is just an assumption. For all we know, the photographer set this shot up and had someone with an umbrella he asked to work with him. In any case, I do think there are interesting considerations when it comes to some street work regarding the scenario where the photographer scopes out a good location and then waits for the "right" person or an interesting person to walk into it. While it doesn't bother me here at all, it does in other cases, especially when you see that repeated throughout a portfolio. There is something about the "lying in wait" that turns me off, so I can empathize with what you may be feeling.

But your opening line, about the scene not having anything to do with the photographer, is a puzzlement. That could be said about the majority of photos, excellent photos, to be sure. How would you know whether a scene had something to do with the photographer and isn't it enough that the photographer made the scene into a photo? Yes, some kind of photographic addition might be desired to any scene or object photographed. IMO, this photo accomplishes that through a variety of devices.

Intellect has little to do with this. It's just about looking and appreciating. And a lot is about taste which, thankfully, differs among viewers.

I'm with Robin, it's just not moving me. I don't like the heaviness above the person first off, too many portholes. That's why someone mentioned removing a row. That does not work, as another mentioned, and for me only two rows would be better. BUT, it still leaves me empty. Textbook positives, but I guess it's lacking, to me, any soul. Maybe lack of depth? This is the kind of thing once you shoot it you say to yourself, ok, everyone would do this, NOW what can I do to move it to the next level? What can I do that nobody else has? One really has to push themselves by asking this after each and every shot. You will find yourself making a lot more WOWS.

"You will find yourself making a lot more WOWS."

Of course, one may have very little interest in making WOWS.

Very well taken and perfectly composed, an eyecatching image. If I was to knitpick I think just a slight increase in contrast to get the whites just a bit brighter. There is real danger of losing detail doing this so the adjustment would have to be impeccable.

Wall art. The comp is really good...i love how the one window has a shade down and the reflections add to the shot.