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© © 2013, John Crosley/Crosley Trust, All rights reserved, No reproduction or other use without express prior permission from copyright holder

'Changing Airport Concourses'


johncrosley

Copyright: © 2010 John Crosley, John Crosley Trust, All Rights Reserved, No Reproduction or Other Use Without Prior Express Written Permission;Software: Adobe Photoshop CC (Windows);

Copyright

© © 2013, John Crosley/Crosley Trust, All rights reserved, No reproduction or other use without express prior permission from copyright holder

From the category:

Street

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This well-equipped business traveler rushes down a dramatically

lighted underground and award winning airport connector as he tries

to connect flights from one concourse to another. Your ratings,

critiques. and observations are invited and most welcome. If you

rate harshly, very critically, or wish to make an observation, please

submit a helpful and constructive comment; please share your

photographic knowledge to help improve my photography. Thanks!

Enjoy! john

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Colors, shapes, symmetry, silhouette of a passenger  with his shadow on the shiny floor! Extraordinary!

 

Best regards, John!

 

PDE

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I love that corridor! I have been to Ohare so many times and never knew it was there until one day on a long lay over I decided to wander around looking for food...

Nice shot!

Regards, Line

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Thank you for the high compliment.

 

I passed this  one over in favor of an even more unusual and extraordinary photo found in my Color, Past and Present (or similar name) folder, which features the same or similar background from the same place/tunnel connecting the two United Airline concourses (then) at Chicago's O'Hare Airport. 

 

If this were the best of the bunch then, it would have been posted, but in my opinion, the other was even more extraordinary (which is a high hill to climb, believe me).

 

I was being pushed in a wheelchair (as usual when navigating airports), and I told my pusher, 'Watch, I'm going to try to impress you by taking a world class photo,' in the five or so minutes extra he had to push me back to the first terminal from the second terminal where we had just missed a plane.

 

I think I succeeded, and in spades, and the pusher, a Polish student, new immigrant to Chicago, was dutifully impressed (as was I, frankly, as I had never attempted this particular background, and only had an idea in my head that I SHOULD attempt it, with no preconceptions of what I was going to 'see' or 'do' other than use the colors and symmetry as a possible background and passersby as subjects however, they presented themselves and depending on my quick reflexes and my (that day D700) to capture them 'in the right place' by shooting in singles and continuously, it didn't matter which, just to get the shot, for that's what it's all about - getting  the shot, not the mode or method. 

 

Thanks again for the high compliment.  I wish I could take such good photos everyday, or even take photos everyday lately.

 

Best to you, Pierre,

 

john

 

John (Crosley)

 

 

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Thanks for the compliment (also).

 

Look in my Color, Then to Now (I think that's the correct name), folder, for another taken the same day and compare.   I happen to think the other is extraordinary or even superlative, but like this one very much, and would have had no hesitation if this were posted as the 'catch of the day'.

 

I generally only post one photo from any day's shooting espousing a long-held belief, that except for rare circumstances, showing more than one photo from any one shooting suggests a paucity of material, (there are exceptions, of course, but few).

 

With nearly 2,000 photos on display and several hundred pretty darn good ones, straddling parts of the civilized world, no one has accused me of having a 'paucity of material', at least so far.

 

Line, next time you're in that corridor if you return, imagine that you're returning, you're in a hurry but have an extra five minutes between flights, you're in a wheelchair being pushed by a pusher, and you have get the pusher (who's employed by someone and under their orders) to let you sit somewhere for five minutes of your choosing to take photos when they're subject to discipline for doing that, then trying like heck to come up with a promised 'world class photo' (or two, or more).

 

It's a tall order, and one I'd be chary of placing again - it's like pointing the bat to the bleachers and then swinging at the first pitch and smacking the ball over those bleachers, I think -- it's a once-in-a-lifetime sort of thing, because you just can't be doing that more than once (unless you're a Cartier-Bresson, of course, and he didn't even think so much of his photos compared to 'ART' in big letters (photos in little letters for him . . . . a sort of dalliance that consumed his life until he gave it up for ART in capitals (for which he never made a name, but at the former 'dalliance' he set the Platinum Standard).

 

If only when I met him, I hadn't listened to him when he described the bleak outlook for the photojournalist and quit my job as a photographer and become first a writer, then moved into another profession (lawyer).

 

I might have a Pulitzer (would have had one almost for certain if I had film when I was in shootings and riots after Martin Luther King got shot . . . . . I'm certain now, but alas in three-four days, I had no film and only can describe the most extraordinary things, though my 'empty' camera was at my side as I got shot, went to the hospital, met my shooter eye to eye, saw him run off after he shot a victim a second time, saw his second victim in the hospital, met with Mafioso who wanted to shoot my shooter for revenge (and racism since my shooter was black), then my trip two days later to the police station in a cop car through the middle of a growing race riot in which two were killed, then being abandoned with one  cop on the second floor of the Trenton police station, and watching that  cop from beside and slightly behind (filmless Nikon around my neck) hold off the rioters (who broke in the cop station bearing axe handles, etc.)  with a double barrel shotgun from the top of the stairs in the Trenton Police Station, then, later, at the end of the night, consoling one young cop who shot a black divinity student who was trying to kill him (the cop was devastated), and then touring the lockup filled with hundreds of cursing rioters, (all cursing at me and I had no horse in that race) almost all of whom shouted that I should be killed (on account of being white).

 

That was BEFORE I met Cartier-Bresson or went to Viet Nam and turned free lance.

 

Met him and essentially quit AP photos after HCB told me his bleak forecast for photojournalism.

 

But I still can pull the rabbit out of the hat from time to time, photojournalism, Pulitzer, HCB's advice, my quitting all notwithstanding.

 

I just LIKE to do it.

 

Even if no Pulitzer or Guggenheim grant ever will follow.

 

(look at my Photostream on FLICKR to get a good idea of the Best of my Best, excluding much color work.)

 

Best to you, Line.

 

john

 

John (Crosley) 

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When you view the first posting from this series of two, you'll see that this is a relatively simply composition compared to the other which has a number of figures in it, all spaced almost like I had placed them there; this has only one.

 

So, for that alone, that one takes the cake.

 

I won't denigrate this one at all; it is a worthy photo by my standards.

 

I'd take it and post it almost every time, but it's a relatively easy photo to take.

 

As to the correct moment or the 'decisive moment' as Cartier-Bresson's publisher (Tierade?) placed on the English version of HCB's first book (not on the French version, however), this has that, and I have to credit the maître for being able to recognize better that 'moment'.

 

However, long before I had ever knowingly seen an HCB photo (I had probably grown up with them however, as they were everywhere in publications as I grew up), I recognized the 'decisive moment' in my photographs and incorporated them into my photos.

 

After I met the man and saw his huge touring exhibition in San Francisco where I worked (for the briefest time for AP as a photographer until I took HCB"s advice about the bleak future of photojournalism and quit.  AP immediately made me a writer.   

 

I had been filled with hopes for a future in photography, but frankly that man HCB had 'done it all' and far, far better than I ever believed I could do, and finally seeing his exhibition shot holes through my dreams.

 

A colleague and former HCB China friend/collegue had arranged for me to go to the exhibition, and told me to say hello to 'Henry', his old friend, ]Jimmy White] who was 'showing some pictures' over on Van Ness Avenue failing to tell me they filled San Francisco's tony and world class De Young Museum.  White said my photos reminded me of his old friend 'Henry's photos so much'.

 

I was both out of breath at seeing HCB's work and heartbroken knowing that I could never begin to equal such an output and that HCB had already done it all.

 

What was there left to do but become an HCB acolyte?   So I moved on.

 

First I turned to writing, then returned to get my degree at Columbia (interrupted by student rioters), then to editing a business publication (turning down an editorship of Business Week), then to law school, then law for over a decade and a half and later, other things.

 

But photography was my chosen love.

 

It's also my first love.

 

If someone ten years ago had said, "John, you'll lastly define yourself as an 'artist'", I'd have sent them to a psychiatrist.

 

Now, I'd award their insight.

 

Times change.

 

My photography style hasn't much in over 45 years.

 

From my first roll of film (on display here), to the present, including today.

 

;~))

 

Yes, after months of recycling, fresh stuff from John after months of hospital.

 

More down time to come, but more fresh stuff possibly in the future.

 

I just LOVE taking photos!!!

 

And the friends I make taking them.

 

john

 

John (Crosley)

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I've said so much above, there's not much more to be said.

 

Except that judging by where and when your comments appear, you're a very harsh critic who's hard to please, so when I get approval from you, I know it's earned.

 

For that I'm thankful; you're no sycophant.  (there are very few here actually).

 

Also, you can also take a mean photo yourself without 'taking into account' anything at all, and judging you as anybody else who takes good photos.

 

So I don't have to be a sycophant, which I would never do.

 

Best to you Drew, until another good one comes by and your next comment.

 

john (Crosley)

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