'The Pedestrians'

This photo, 'The Pedestrians' is posted as 'street' but might have been

posted as 'fine art' or possibly 'abstract' since it was taken and posted

to show the pattern, a jagged line, of the pedestrians versus the

pavement on which they walk -- all of which equals roughly a series of

straight lines, up and down -- somewhat like a graph of stock,

commodity or other prices -- but reflected in pedestrian movement with

shoes, feet, and such. Your ratings and critiques are invited and most

welcome. If you rate harshly or very critically, please submit a helpful

and constructive comment; please share your superior photographic

knowledge to help improve my photography. Thanks! Enjoy! John

The elements of this photo are (in my mind) twofold:

1. Graphic and

2. Lighting/tonality.

The graphic element is the one described as a 'jagged line' delineating the pedestrians from the pavement.

If those words are too 'fancy' for you, consider doing this simple exercise.

Try drawing or tracing with your finger or some straight edge, a line from the wall, left, past the leftmost shoe, toward the white shoes of the woman in the back, then reverse direction past the baby stroller to the front shoe of the jeans clad man walking toward the front right, then reverse again and go rearward to past the woman in the pedal pushers to the street, right.

If you have done as I see it, you have created a series of fairly straight lines, each of which meets in a very oblique (tight) angle, and that line and those angles form the 'jagged line' that I refer to as the 'delineation' (or limiting line) between the pedestrians and the pavement.

In 'street' sometimes it is helpful (and hopefully 'artistic' to search for patterns that are not always recognized by everybody, and in many cases are very fleeting, such as that shown here.

In some cases, it is possible to 'tell a story' and have geometry and/or composition together in a 'street' photo, and those can be very strong.

In other cases, such as this, it is possible what appears to be a 'street' photo can appear to 'cross over' to the 'fine art' realm.

That is because in addition to having an 'interesting (to me) graphic element, this photo also features very good tonalities, as I view them. I adore 'side lighting' which is often found 'under bridges, at the entrances to subways and 'underground passageways in daytime, etc., as well as other places . . . . and 'side lighting' has wonderful 'modeling effects' that bring out textures and tonalities in things such as seemingly ordinary matter such as pavement, clothing and anything with any sort of texture of shape.

(Compare the view from an airplane flying over rolling hills - even steep rolling hills -- at midday. Those hills are seemingly 'flattened' and not very visible from the airplane high in the sky.

(Consider now the same airplane flying with the sun at a very low angle, such as at sunset -- or sunrise -- where it throws a long shadow, and those same hills -- by virtue of their throwing a long shadow - are more clearly seen. The 'shadow' effect is a good example of 'modeling' by 'sidelight'.

Such 'sidelight' can occur naturally twice a day, and is often strongly colored with yellow (which can affect color captures) However, with illumination from windows, from subway entrances, under bridges or even under broad awnings, the direction of light comes from essentially one direction and is less scattered.

As a result, it tends more to 'throw shadows'; that are coherent, and as a result result in what is called the 'modeling effect' which is what I believe is well illustrated here in the texture and tonalities of the garments here.

As such, this photo, of people without heads, and thus without personalities, becomes 'abstract' in that it represents 'all men' or 'all people' in a way, and at the same time becomes 'fine art' because of the composition and the tonalities, as well (if you will) as 'street' because, of course, it is taken essentially 'on the street' and spontaneously.

This photo was taken 'under and beside a huge freeway', which is why it features 'side lighting.

I hope I didn't overdo it, but this photo is special to me and also is unique among my work.

John (Crosley)

" A good street photography is ALWAYS made with the camera. Never - with the keyboard of your computer " ( Plutarch )

Have the greatest, smiling weekend of them all, John,

george

................................................

Hello, John. I'm back.

"" Of course Plutarch never wrote or said anything of the sort, predating photography ""

How could you be so sure about it, John ? That quote was given to me by my grandpa and you have to agree that he was older than you and ( possibly ?) he could remember those things more accurately than you. Hellooo…Ugh…

He wasn't sure about the Plutarch, though.. It could be Seneca or Aristotle - as well. IMHO - it resembles the style of thinking of Confucius rather, than anyone else.

Also: That discussion was taking place BEFORE my grandpa had finished his daily case of beer and he could not be fully articulate.

………………………………………………………….

"" but rather that it seems to 'fit' possibly into other categories as well, and that it may as well fit into 'fine art', as 'street' because of composition and tonality.

""

Neither of them - IMHO.

……………………………………………

"" And, Polonaise, of course you don't have to read the words at all. ""

I love to… And, I really do read them… I even have read your biography. The ENTIRE content of it !!! ( beat that ?) And, because of that - watch out, buddy pal :-))

………………………………………………….

" The opinion right now is about 95% against your opinion. "

To be precise: 97.386 %

…………………………………………

"" If you object to the content, tell me why. You are free to write what you wish, within bounds of decency and they are considered liberally here. ""

I don't object to the content of the photo. There isn't any !

It's a random shot of some sort, being aimed at nothing. I used to take the photos like this one ( and, about half-a-billion of other 'photographers' did) when I was 12 and belonged to the Youth Camera Club in my city.

Oh, those were the days. Me, and my plastic camera DRUH ( buddy)…

We've been running around as the outstanding artist, aiming our camera where NOBODY ever aimed before… The trottoirs of the city, traffic signs ( arrows and zebras) painted on the asphalt, the mannequins, the people's shoes on the sidewalks and the postal boxes, and the windows and the passing bikes and, people sitting in the park on the benches ( always from behind), and - most of all - the posters on the walls !

Ahhh… The posters ! Somebody's else photographs !

That was really cool. You just positioned yourself across that big and beautiful, made by the well paid professionals - photograph/poster/billboard/painting on the wall and wait for someone - anyone - anybody - anything who was passing by. Click. Then you printed it out and… Voila ! In the finished photo it ALWAYS looked like if it was YOUR photo… Tada !!! You just had to always remember to say that there is a context to it ( like hell it was ?).

And, for that and that alone - my heart is full of gratitude for you, John… For that lonely teardrop of nostalgia in the corner of my eye.

I'm grateful for reminding me of these charming, careless years of the pure happiness and a photographic fulfillment at the age of twelve. Yippee !

Man, if I could - I'd give you a bear hug right now.

…………………………………………………….

"" Did you draw those imaginary lines, and what were your thoughts about the photo, regardless of the analysis, and was the analysis wrong? ""

I've tried, dear John…I really have tried. What I see is just nothing more than what I've seen myriads of times before. On every occasion and every time when the beginners are presenting their works: The pavements of the streets, the umbrellas shots from above, the silhouettes at the end of the tunnels (in every scenario possible ), sleeping people who are shot safely from a distance, by the 100-300mm. barrel. ( one of the most objectionable, shiiity things in the popular photography, if not presented with taste and style, and - the most importantly - without the good reason for shooting and posting to the public ?)…etc..etc…

………………………………

"" I happen to like it very much, but I fear that many may not 'understand it' particularly on a service with so many 'beginners', ""

Well, you know what they say, pal: You show me what do you like and I tell you … You know the rest of the quote, right…?

And, I may not fully understand your enthusiasm towards this babe of yours.

Perhaps - I'm still a rookie in the trade :-)))

…………………………………….

There are few quite good (IMHO) pieces of photography in your portfolio, though. Allow me brother, to drop by and say a word or two about them. They are certainly worthy of my time.

Stay brisk, John… Don't let them bite you.

george

Please send further remarks to abuse@photo.net.

John (Crosley)

Dear John...

It's a fun to have the friend like me rather, than anything else.

................................

I've read your social and political statements and I like them and i share your POV on most of them.

Stay vibrant and smiling

george

'Rather than anything else'

Is an implicit threat.

Please contact Abuse@photo.net

John (Crosley)

It's the most exciting offer you can imagine...

:-)))

................

BTW: Are you always so grumpy ? It takes only a few muscles on your face to smile kindheartedly ... Go ahead... Try it, buddy pal. After all - it's only a photography. Big deal !!!

:-))))