'Mirroring in a Vienna Street' - Limited Edition of 15 Photograph

From earliest time of what has evolved into 'Street Photography' and since the development of the 'billboard' into a larger image, here the 'poster' advertisement, photographers have been using the poster image in juxtaposition with other parts of a subject to create some sort of 'conversation or 'interaction' between the posted image and a subject. Photographes such as John Crosley, understand that everything in an iimage capgtured on the street or elsewhere becomes part of the composition. An interesting image sometimes can be created by locating a ready-made and interesting background poster or billaboard, the juxtapoising it with the proper 'real life' subject. Here, that subject is the man, dressed in a long black overcoat. His hand is somewhat clutched but his indesx finger is pointing. In fact, that finger is pointing in an almost 'mirror' to the poster man's image with his projecting, clutched hand also pointing an index finger. Two whitish hands with projecting index finger in a mostly dark and/or black background, helps the photographer create a juxtaposition in which the poster man's pointing finger and hand seem somehow to be a 'reflection' or otherwise interact with the hand and projecting finger of the passerby. Voila! It's highly unusual to see a background image like this and be at the proper location when a passerby with projecting finger walks by, but that's the art and the sport. It might be easy for a film director or even a still photo director to hire someone for the roll of passerby, if such a scene possibility were recognized, but that is not Crosley's way. Instead, as he wanders each day, he sometimes sees such juxtapositions as this, and if he thinks a background image is interesting enough he might wait a while, usually a very short time to see if some juxtaposition can be created or recognized from nearby subjects,. Here Crosley did not have a long wait focused on the scene to watch the passerby with hand and pointed finger pass by. In fact he was no t sure until image review, that the man's finger and hand were 'mirrors' or that in the poster above. That is the 'art' and the 'chance timing' of the street image. The only planning is in the recognition that something interesting might occur in various places then the decision to wait or no,t, or in some cases caching an instant pleasing juxtaposition just as the photographer walks or is stopped nearby. In Crosley's view, this image epitomizes the temporal element of street photography -- catching the right moment. Even if a possible good 'scene capture' is recognized, more is needed than a poster on a fence, and when part of a good opportunity presents itself, as here, on occasion he is able promptly sometimes to capture it . Such scenes as this rarely will evolve so quickly as this, and that is part of the spirit and nature of 'street photography' Hundreds, thousands or more possible juxtapositions present themselves but are not realized. Only the smallest fraction as this are captured. Perhaps that's why one time big game hunter from Africa, Henri Cartier-Bresson, developed into such a skilled 'street' photographer after pursuing big game trophies in Africa as a young man before he began taking photography seriously. However, the term 'street' was not commonly used until 20 or 30 years ago, and not in most of the famed photographer's life when such captures were called 'documentary' of even 'human interest' for magazines such as 'Life' "Look' 'Stern' and other pictorials including the great ones that formed a good part of HCB's early market

Photography:Digital on Paper

Artist Produced Limited Edition of:15

Size:40 W x 26.6 H x 0.1 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.