Stop

Richard

ziggy53

Timing is everything and this is a perfect example of perfect timing. Right place; right time, and ready!

Very nice compositionally too.

Much more difficult shot than would first appear to be.

thumb

Juano

... and neither seems to be attempting to stop!

Richard

Thanks for commenting, guys. Something about this shot has been growing on me, though I can't quite explain it.

ziggy53

Notice how the rightmost rider is right on the edge of the shadow cast by the railroad trestle. A couple inches to the right and the image would be quite different and much less (because of how the shadows would cut into the scene.)

You captured the left rider at the perfect juncture between the two lightpoles, and yet you could not have seen the rider on the left until just before the shot because of the building on your left. Perfect timing!

The rider on the left has their right leg at BDC (Bottom Dead Center) while the rider on the right has their left leg at BDC. Possibly both were coasting a bit because the grade seems slightly downward for both riders, but to have them both at that position of inverse symmetry, and the most photogenic position too, is extremely fortuitous and serendipitous.

The neglect of both the buildings and the railroad trestle, evidenced by both the vegetation overgrowth and the trestle's grunge, is in stark contrast to the skyscrapers in the background. The bit of grain elevator showing also lends to the urban decay foreground, and in a larger view would be more apparent.

The urban clutter of the foreground also contrasts well against the clean backdrop of skyscrapers.

The lack of visible automobiles in the scene is surprising, given that Chicago street images are often challenged by a large number of those beasts. The lone vehicle is partially obscured by the stop sign, possibly signalling a subliminal visual cue.

The only visible humans in the scene are somewhat subjugated by the scene and setting, and yet they are about to merge, leading to questions about their imminent future. (Do they talk, ride together, etc.?) Questions left unanswered by the image but suggested by the scene.

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Those elements listed are the compelling elements which one may find individually in other images, but which conspire in "this" image, inducing a rather perfect storm of thoughts about the image. This is an image which deserves to be printed large and shown proudly.

For those willing to see, there should be both autonomous and visceral reactions to this image. Seemingly ordinary, this image is simply extraordinary!

black mamba

You know, Richard, that I'm one of your greatest fans of the street shooting that you do. In all honesty, though, this shot doesn't do much for me. I read Ziggy's extended analysis of all the elements that come into play and I wonder why these assessments are lost on me. One thing's fairly obvious to me: I better stick to old barns, cars, rust, and such. I'm not equipped to appreciate the many nuances at play as pointed out by Ziggy.

Stay safe, my friend,

Tom

Quincy T

I do like it.

With that said, I'd have preferred more exploration of the rider on the right, who is perfectly straddling that shaded area with a very crisp shadow extending out from there.

Richard

Wow, great feedback. I was ambivalent about this image, so it was interesting to read Ziggy's observations of some things I hadn't noticed myself as well as Tom's So What? reaction. What initially attracted my attention was the forlorn, somewhat abandoned feeling of the foreground contrasted with the power of the skyscrapers in the distance. Not really my usual cup of tea, but I thought the composition was interesting. It wasn't meant to be about the cyclists. They just appeared in the viewfinder when I was framing the scene, though I did wait to get the timing right. In the end, I think the combination works, but my opinion doesn't count for anything. YMMV, which is as it should be.

halcon

I think I would prefer it without the cyclists. There's a dreariness they kind of interrupt.

Richard

halcon wrote: »

I think I would prefer it without the cyclists. There's a dreariness they kind of interrupt.

Yeah, I understand what you are saying--I was interested in the shot before I saw them. OTOH, they are pretty small and could easily be overlooked at first glance, yet (IMO) could hardly be better placed once you do notice them. I find this sort of bonus irresistible. I also think that two small cyclists instead of any cars adds to the sensation of abandonment. Of course as I said earlier in the thread, the image has to stand on its own, so my opinion carries no more weight than yours.

Juano

ziggy53 wrote: »

Notice how the rightmost rider is right on the edge of the shadow cast by the railroad trestle. A couple inches to the right and the image would be quite different and much less (because of how the shadows would cut into the scene.)

You captured the left rider at the perfect juncture between the two lightpoles, and yet you could not have seen the rider on the left until just before the shot because of the building on your left. Perfect timing!

The rider on the left has their right leg at BDC (Bottom Dead Center) while the rider on the right has their left leg at BDC. Possibly both were coasting a bit because the grade seems slightly downward for both riders, but to have them both at that position of inverse symmetry, and the most photogenic position too, is extremely fortuitous and serendipitous.

The neglect of both the buildings and the railroad trestle, evidenced by both the vegetation overgrowth and the trestle's grunge, is in stark contrast to the skyscrapers in the background. The bit of grain elevator showing also lends to the urban decay foreground, and in a larger view would be more apparent.

The urban clutter of the foreground also contrasts well against the clean backdrop of skyscrapers.

The lack of visible automobiles in the scene is surprising, given that Chicago street images are often challenged by a large number of those beasts. The lone vehicle is partially obscured by the stop sign, possibly signalling a subliminal visual cue.

The only visible humans in the scene are somewhat subjugated by the scene and setting, and yet they are about to merge, leading to questions about their imminent future. (Do they talk, ride together, etc.?) Questions left unanswered by the image but suggested by the scene.

---

Those elements listed are the compelling elements which one may find individually in other images, but which conspire in "this" image, inducing a rather perfect storm of thoughts about the image. This is an image which deserves to be printed large and shown proudly.

For those willing to see, there should be both autonomous and visceral reactions to this image. Seemingly ordinary, this image is simply extraordinary!

Thanks for the comment on Richard's pic and helping us see more.