Is this a reflection like yesturday, or is they looking at you?

Definitely, I love this shot, the way the two faces contrast cultures, worldviews and definitely destinations.

Is this definitely the final one the the trilogy djn?
They definitely work well together.

Tis definitely the season to be Jolly with your shots, keep up the good work!

djn your blog is definitely right up there with Benny A's as one of the best online!

I like this image more than yesterdays one, I like the more gritty raw feel this one has. I wonder what his attention was focused on, or lack there of; it is like he could give you a hard poke in the eye in an instant, at any moment. In relation to these two fellas where were you?
Good luck in the awards, i am out to go work on my relatively obscure blog. Ahhh... maybe one day, lol.

In my opinion - this is one of your best photographs to date. I have just got in and have to go out so I will explain my thoughts later.

Great image. Definately prefer this to yesterdays, it looks more realistic.

Oh YES….I like this. Great expressions good eye contact … nice reflection blur. How did you manage to take this without your subjects being aware ?

Like others so far, I prefer this image.

With the blur appearing to originate from the man, it has a sci-fi feel -- not in lasers and robots, instead more in a gloomy, Orwellian sort of way (the reason for the blank stare). The transport technology's advanced and they go to work at hyper speeds, but the men are surrounded by an evironment styled as if it were the Industrial Age.

It's great!

Personally, i prefer yesterdays, im not entirely sure why. Possibly the background makes yesterdays, and the lack of any difinitive background. The first word that came to my mind about todays is 'disturbing' and when i showed it to my mum, she backed my suspicion up by saying 'thats powerful, he looks rather disturbing!'
Althpugh, it seems that the pictures that the majority go wild about arent usually my favourites! But still, good shot :-)
Jermain, i love the over usage of definately, it definatley amused me!

I much prefer this shot to yesterday's. #2 lacked focus (I don't mean it was blurry, but that there was no central element). I understood what you were trying to do, but it didn't work for me.

Everything about today's shot is much stronger. Their expressions - or lack of - are incredibly nuanced. The lines of motion blur lead the eyes right into the image, and the combination of the sharpness in their faces and the blurred background make the image feel almost surreal.

I'm still trying to figure out where you took the picture from in relation to the subjects and their reflections in the window, and how they didn't see you.

I def like this best of the reflections. very cool!

Wonderful. I definitely prefer this to yesterdays, purely because they are both looking straight into your lens. Their expressions are inredible.

David,

For me, the second is the best. The first is quite interesting and I like the effect. Today's shot, while the subject do not realize they are being photographed, one can not know that without some explaination. So while this is a very interesting shot in itself, it almost appears to be staged.

Yesterday's shot is the most interesting because the subject appears to be reflecting. Perhaps there is a story behing the subject and the structure; maybe this is a dream sequence where the world passes by in the background and the subject comes into view to reflect on an event from the past.

For me, it's the story the photo tells....or the story it allows me to make up. =)

Very Blade Runner.

I normally watch your images go by, and can't comment "wonderful!" on each as it's a bit repetitious. But this one in particular is very arresting. Excellent!

You know, these two shots (this one and yesterday's) would have looked really cool and had great impact if you'd set them up together on the same page, maybe even in a mini-Flash movie fading in and out together. What I like about them is, first, the fact that I don't know if the person in black is a man or a woman. It always spooks me when I can't figure out a person's sex. Second, the person in black has an inscrutable expression that I read as either neutral or evil, more on the neutral side in yesterday's shot but more evil in today's shot. Third, the guy in today's shot looks drugged and disoriented, helped along by the motion blur, and the position of the inscrutable one behind him adds to the overall spooky and malevolent feel this shot has; not to mention the fact that it looks like a small hand is creeping around the guy's neck. *GULP* Okay, I've scared myself silly now. lol!

This is brilliant!

WOW this is amazing, I love this shot so much more than yesterdays.

I prefer this picture to yesterdays image; to me it has a futuristic almost time-travel feel to it.

Yes, to what Judith said. Also, the irony that the inscrutable Asian-looking woman (man?) is in clear focus, and the thuggish, druggey, superficial lad is quite blurry is very fortunate (and interesting).

Did you ask these people before you photographed them? (I presume not.)...
So then, if one is in close proximity to someone, courtesy (whatever that may be) requires one to ask their permission before photographing(?), but if they don't KNOW you're doing it (recording images of them), then you needn't?
This type of distinction seems VERY odd to me...
As long as I don't KNOW someone is helping themselves to photographing me, then it would, ostensibly, be morally/socially acceptable for them to do whatever they will with the light which has previously bounced off of me?? But if I KNOW they are making a record of the light which has previously bounced off of me then it's not okay somehow (without my personal accedance)?? I do find it quite peculiar, differentiation of the moral rectitude of what one may or may not help himself to in a public place based on whether nearby persons are aware of what one is doing or not.

I return to my [much] earlier point, that once light waves/particles have bounced off of the surface of someone, they actually have no "right-of-ownership" over it whatsoever, and that there is no real moral basis for any [possible] objection, whether they may DECIDE to object or not. (...it does not harm them in any way, nor cost them anything, nor does the act of merely recording the bouncings of light which have already passed over them interfere with them in any way). The notion of it being "polite" to ask for this as if it were some sort of special privilege over which the person ought to have some "right-of-ownership", well I think it's actually something else masquerading as courtesy...
I contend that photographers (the many who do ask) ask permission for photographing others in public places (but then only those who are aware of them doing it), solely because they [subconsciously] fear possible physical/emotional repercussions (confrontations) from the subject if they do not.
Being not afraid of possible disapproval/confrontations where the other person is not being harmed or restricted by my actions in any way, I can go out and photograph anything I please (as long as it is in a "public" place and I do not interfere with the subject) *without* having to ask anybody for anything.
I offer this as food for thought (since it is clearly brought up by yesterday and today's chromasia photos) for those who may not have looked deeply into the real whys and wherefores of their own personal habit with this.

David,
Today's photo is much more interesting than yesterday's. The fixed stare and the "frozen" expression on both subjects, gives a surreal emotion to this composition. But the best part for me is the movement sensation caused by the motion blur of the left side of the frame.

A very powerful shot IMHO. Dramatic, unnerving and complex. The eyes in the centre have a very powerful attraction and the ambiguous expression gives a real tension to the shot.

I like today's more than yesterday's, but I think today's picture is better because it followed yesterday's.

For me, the last picture told me that this one was set on a train and taken through a window. And in turn that tells you why these people have such a numb look on their face: the scenery and distances flashing before their eyes have placed them on their own introspective trains of thought.

Without knowing that these people are on a train, and that you're looking at their reflection, it just looks like a cheesy photography trick.

I can't say that I prefer one to the other, the feelings in both are very different. I feel that this shot is much more raw...the facial expressions in it is what I'm drawn to. I really like the guy in the middle's facial expression. And the guy behind him looks lost in thought.

Yesterday's shot was, to me, much more serene. I know that myself, when I'm on a train, and landscapes are rushing by me, I space out, dream. And that shot brought me back, made me think of other destinations I've travelled to. To me, that's what the Asian guy is doing, by his expresion, his mouth is just slightly curved upwards. #2 is more about losing yourself in the landcapes going by your window, than thinking about your troubles past anf at hand.

Thanks everyone, I'm pleased with this one so it's good that it's getting such a positive response.

Rick: yep, it's a reflection.

For those of you who are wondering, here's the layout: I'm sat at one side of a table looking out the window. At the opposite side of the table, facing me, is the guy in the middle of the shot. In the seat behind his is the guy in the far right of this shot. And no, I don't think either of them were conscious of the fact that I was photographing them.

Judith: I don't know why, but I don't really like putting shots up in pairs, at least not on chromasia. Oh, and the second person was male.

peter: had they known I was photographing them this shot wouldn't have been the same; i.e. their expressions would have betrayed the fact, in some way or another. Sure, if this had been a setup, it could have been achieved, but these are just guys on a train, idly watching the world go by. As for the morality of this: I guess my own feeling is that I wouldn't put up a shot that I thought did a gross disservice to the subject; i.e. ridiculed them in some way.

Tyko: yes, you're right, this one does work better if seen after yesterday's shot.

You should read "Snow Country" by Yasunari Kawabata. These 2 shots are there, exactly.

Yes! Great photograph. I really like the one from today.

This is great ; the ghostly Russian sailor on the 9.20 out of Blackpool.I much prefer this to yesterdays, it has an arresting celestial quality. I have often enjoyed marveling at your train journey images. I particularly love this one.

I like the faces. Mine is kindof like that today

I prefer this one - now it's about the people - yesterday it was about the bridge with the person as an intruder.

Nobody seems to bementioning the use of motion blur, which is a little surprising, but then perhaps they don't do 'the rounds' ;-)

I think this is fantastic Dave. What I particularly love about it is that I'm so drawn to the central character that I forget there's another participant in this scene but then my eye wanders and I remember he's there!...then I see both expressions together. Very good.

What makes this more special to me is that I've endured 10+ hours on trains today and I don't see these images....the whole thing just grinds me down (10+ hours!!) ...It's yet another proof that you're photography isn't just about the post-processing but also the vision.

'Your'........not 'You're'...I'm sick of doing that!

Mark: I guess I have a thing about to reflections, so constantly look out for them, particularly those on trains. What I should add though is that you need to be lucky with who sits where. At the moment it's too dark on the way home, so my only chance is on the way to work, and because Blackpool is a terminus I normally end up sitting down at one of the tables hoping that someone will come along and sit in the opposite seat, or the one behind. Most days, it doesn't happen, or it does and the light isn't right, or any number of other things go wrong, but these two guys were perfect, or as near as you can get.

If the people in the reflection appear to be staring right at you, it is because they are--at least at your reflection. Thus, if you can see them, they can see you well enought to know you are taking photographs. Perhaps, however, they did not realize just how clearly they were showing up.

For what it is worth, I think this is the best one--and it is superb.

A Stunning shot, really unnerving, I keep looking into his eyes to try and get something, a flicker of emotion or something?

They say eyes are the gateway to the soul or something like that. Looking at this shot I hope not!

Brilliant though i will keep coming back to this.

Dave,
It's not the taking of clandestine photographs (in public) that I challenge (*of course* the "intimacy" of this photo is only possible by virtue of your having been covert to some degree - a fact which lends support to my argument); rather it is to the asking of permission in SOME situations that are functionally identical to this one to which I address my ongoing objection.
I feel as though one MAY indeed freely make images of *whatever* happens in public (as you have done here), *without* catering to the various possible emotional peccadillos and insecurities of those being viewed by asking their permissions, although I too happen to have a personal prohibition against my own use of ANY images I might make (whether they are made clandestinely or not) in ANY way which would disgrace, insult, or misuse the person(s) in the image.
This image is wonderful and highly worthwhile (to my personal taste and opinion). I would hope addtionally though that you and other photographers could somehow relieve yourselves of the generally prevailing "need" to ask permission of anyone out in public at any time, and instead just go right ahead and make images whenever and wherever the pleasure strikes you (even when the person IS aware of your doing so). We could stand to also (in addition to the "sneaky ones) have SOME photos taken once in a while fully, directly "head on", suddenly and in whatever interesting moment arises, without the [usually] moment-breaking ritual of permission-seeking, in *addition* to these sorts which are obviously obtained in a less direct manner.

Ouch, that is amazing. I agree with "expression" statement. If they were doing anything else the whole picture would be changed. But the effect you used on this is great too.

I think this one beats yesterdays by a mile. This is just a great, great image.

This is an absolutely outstanding shot. The elements that strike me most are the composition, the expressionless faces, and the motion.

You've balanced flashing motion with static emotion by centering on your main subject.

The two young men appear to be from different worlds (different rows, different stops, different family and friends) and yet their emotionless faces tie them together as though they were sharing the same thought.

Because both men feel to be in front of the camera, the motion from outside is moved forward to be on the same plane, creating a very unstable and unnatural sensation for the eye.

Between destinations - focused exactly between there and here.

Haunting! This one is difficult to look away from, though I can't decide which set of eyes captures me more.

I like this one better and for many of the same reasons. Thanks for the tutorial on setting up a shot like this.

Great shot Dave!

What I really like about this shot, well in fact there are many things I like about it, but one in particular is the way that the central subject is looking right at you. Of course, he may be looking straight out the window. But conversely, he may be looking straight at your lens in the window's reflection. His gaze appears to be focussed close rather than at something far away, although I'm not sure if that's something you can tell simply by looking at someone's eyes. But it's a nice possibility when taking into account the way you are also surreptisiously photographing them. The more I think about it, I think it would be highly unlikely that he is looking at something outside the train. The chances that his eyes would line up with the lens would be slim. It'd be much more likely I think that he is also surreptisiously watching you photograph him :) I wonder if he also figured you were doing the reflection thing? The guy's blank expression is also a gem.

The Chinese guy in the background is great as well. His blank stares mirrors the other guy and his somnolent gaze is something all train travellers could respond to :) With his gaze though, you can clearly see he is looking outside at something - his gaze is directed slightly off to one side.

I take it the motion blur is coming from the 1/15th exposure. Did you do anything to this image in pp, apart from the b/w conversion and the crop?

I really like yesterday's shot as well - I find it very difficult to say one is better than the other. I think both are tremendous. This one though has more depth to it I suppose - it raises issues that the other one doesn't.

Top shot.

I can't pick between the two, I love both. I like how the guy on left looks almost like a pencil drawing.

Truely brilliant, I like to look out for reflection shots but as you say it is tremendously lucky for people to sit just right for you, this shot is my fav of the two.

Oh and [Mark] I don't think its motion blur, look at the shutter speed, and remember its out of a train window. See what I mean...:)

I like both for different reasons. The one yday was kinda spooky with the partially ghost like face, I also liked the background. In the one today I like the central man but think I would of liked it more without the one on the right, It distratcs from the central man but doesnt add anything.

This is an arresting image. There's a robotic trance feel that you capture because the person is not fully aware that they are the subject of a photograph, which is the point you made. Their faces aren't totally blank though so I have a feeling that they had a suspicion; but then they'd think why would a guy be taking a picture of my reflection and brush it off.
Do you employ any methods of subterfuge? For example taking a few pictures of the scenery out of the window first and then shifting the camera across slightly while feigning interest in some random pylon on the horizon? Or pretending that you're just firing off a few random test shots to check something on your camera? Or maybe the least suspicious way is to just pick up the camera and do it!
Can we have some more of these conjectural images please. Thanks.

Great photo - the way they seem to be looking right through you is creepy. Definitely prefer this one to yesterday's.

Peter Cohen - I think it's a bit rich to post a long comment on the rights and wrongs of photographing people without asking their permission, when you'll quite happily describe someone you've never met, and only seen in a photograph as "the thuggish, druggey, superficial lad". What gives you the right to describe someone like that based on one image (which to me just looks like a man on a train) ?

today one

the face has an ethereal innocent feel - you want to cup it in your hands. the person behind looks like a bodyguard to prevent that from happening!
prefer this to yesterdays - found the bridge a distraction.

definitely this one as opposed to yesterdays

I think there is almost a false look about the image, almost as if its a CG'd image from a computer game or film.

With the guy in the back being some sort of stereotypical bad guy

I don't know why but it makes me think of the computer game "Max Payne",
maybe im just crazy, maybe I had too much sleep,

i have to say i like yesterday's shot better. It has a context, while today's is just an excellent portrait. Another interesting trend i gather from reading comments above is that in a Westerners' eyes, Asians either appear sexually indistinguishable or evil.

The movement is great! You created a very special atmosphere.

This one is my favourite of the two pictures, and by far.

The blur of the outside "make" your main character look like he's being swept forward, or dematerializing.

But even better, his fixed stare suggest he knows the procedure, he's bored, blasé, and this effect is all the more powerful that the guy right behind him is staring exactly the same way.

simply mind-blowing.

Bravo for your nomination. I 'm agree with yo, about this kind of shot. People keep a dreamy regard. A regard turned on themseves...

I have now seen the first shot and have come back to this one, even more curious, though enlightened. Once I have understood it was two people seating in seats, one behind the other, I'm a little spooked by the look in their eyes, and that they should seem to be looking straight at the camera, without in fact seeing the photographer at all!

GREAT Even more dramatic than the last one, two strangers, two difrent stories,one railroad...Life!

Excellent work

Excellent work

i prefer this one. the motoin blur works so well on the person on the cener. i'm still confused with what you said about how the are looking right to the camera but don't know that are being photographed!

This is a great shot..I love this one more than yesterdays.. I kinda understand how you got this ..a little confused

I'm a bit late to say 'fantastic', but I'll say it anyway: Fantastic.

You get this same look on the faces of people in oncoming cars. No human interaction going on at all. I don't think I've ever seen a photo which captures this as well as you have done. This is people as they often are but not as they are ever photographed.

Thanks for posting this. A genuine jog to the imagination about what is possible.

this shot really grabs you. i love it.

Thanks everyone.

You could get these guys an auditioned expressionless kung-fu fighting sidekicks of any hollywood villain. One of the best of yours IMHO. I must try this technique, only thing that bothers me that train/bus windows are not that clean in India.

Great picture!!
(and better than the one's from yesterday, if the comparison matters)
Before realizing that it was a reflection, my first question was How could get that deep of field and, at the same time, the guys not realizing that they were being shot? A fantastic (double?) portrait.

I'm reminded of the portraits of Craig Cutler. http://www.craigcutler.com/
He has subjects pose with a blank, Mona Lisa sort of expression.

I think this is a tremendous photograph.

Like this one best, initially thought they were both quite clever and that was it, but today I really like this one...... a lot.

I'm off on a trip in Feb and will be travelling everywhere by train.
I'll be asking for window seats all the way :-)

I'd like to see the colour version

I love both shots because they are both creative and wonderfully evocative. As to the subjects .... I am glad that Plastic TV commented as he/she did about we westerner's limited view of Asian people (a view that is unfortunately fostered all too readily and often in one dimensional media depictions. How self indulgent of us to assume that any group consisting of billions of people could be so monochromatic. Watch any Margaret Cho performance to learn more). To me both of these travellers are beautiful young men (obviously both men! Perhaps gender is in the eye of the beholder?) dreaming on a train. I don't see either of them as evil, or as any more mysterious or superficial than anyone else. They were simply fortunate enough to be 'seen' by David.

I'd love to hear their reactions, to the photos and the comments.

I have to agree that this is a powerful image. Some say gritty raw feeling, others said disturbing, while you mention an unnerving feeling. In some ways it reminds me of photos taken during WWII of jews being taken to concentration camps. The hollow expression and b&w work together to create a very intriguing image.

Hehe. He looks just like Jean-Claude van Damme :)

I haven't been round here for a while and look what I found when I am back, I definetely rather to see this one than the other posted before. You always managed to do great pictures out of simple and common situations. I love his expression. This could be a movies poster, it really makes me wonder the story behind it, at least there are a lot of elements to construct one and the desition on posting in B & W was just perfect.

Hope your babies and your self are a lot better now. Great work as usually Dave ;)

Powerful, well done Dave.

Holy cow. That's one amazing capture there. Their faces are amazing and full of intrigue.

I'll just add myself to the chorus of wows...

So shocking and timeless.

Andrea

the contrast and cerebration

Outstanding...my favourite of all your work. For me, this is a "I wish I'd taken that." shot (along with most of your other work too!!).

Congrats on PhotoFriday. Well derserved with this post.

great mood!