Piping . . . Down . . . Far Down . . . And Away

This lonely panpiper plays for an audience that once bustled in a major

underground pedestrian tunnel but which has dwindled to two distant

travelers. Your ratings and critiques are invited and most welcome. If

you rate harshly, very critically, or wish to make a remark, please

submit a helpful and constructive comment; please share your

photographic knowledge to help improve my photography. Thanks!

Enjoy! John

Another good image in your portfolio...my eye is drawn in by the line of lights going down the tunnel, then stopped by the two black figures in the distance. Then I travel across the composition and am intrigued by the musician in the left half of the photo. Very good use of perspective to create visual interest. And you have caught a nice moment in which the man seems completely caught up in his playing.

and he was so intent on plying his busking he seemed unaware that the crowd had dwindled to a few -- just a pair as in the distance here.

 

Great deal was paid to 'geometry' here, as Cartier-Bresson liked to describe it, though it really describes 'composition' but his 'ART' teacher Lohte, was really a geometrician, saw geometry in art everywhere, and the term stuck with Cartier-Bresson lifelong.

 

Look for triangles, three ,major ones, complete or partially complete, and one of course forcing perspective which you note correctly is broken by the corollary of our subject -- the reason the subject still plays and the reason for the photo's poignancy, which is his dedication in spite of declining odds of getting contributions.

 

This is one of a series, each taken as I approached the man, and even after I spoke to him, but each reflected better and better the point I was trying to make.

 

Wide Angle lens of course worked best, rather than a telephoto with 'compression'.

 

Yours is a very astute comment that shows your training; please feel free to make more here on other photos that may appeal to you, now or over time.

 

John (Crosley)

Very original street work ,best regards .

I often see 'street work' taken often on the 'streets' of New York. So often it is a photo of one guy or another rushing about, and it's supposed to be 'street' because it isolates an individual within the whole of the passing crowd, but shows me not much because there's little composition to it, and often no telling expression.

 

It's 'street' for the sake of 'street' without many of the values that I seek for my photos, among which is composition and/or expression or many other things which make for 'interest' in the viewer.

 

This is one in which there is no expression per se in the panpiper, but its value lies in the setting and its composition (geometry) accenting his wilful playing in the midst of a lack of audience (and that was so, with my presence or without).

 

Best to you Aivar.

 

john

 

John (Crosley)