Much in the contemporary street photography is about that, and this, and the other one. In a maximalisation effort, the ambitious artists are trying to fit as much as possible in a single frame.
Humans in all of their hypostases, but many of them. Faces, expressions, body parts all around. Frontal, partial, in the background, everywhere. And the even more ambitious critics have a wealth of interpretations, reading paths, leading lines, intersecting glances, shapes, clusters, parallel stories and surrealistic juxtapositions.
Usually these frames come from very busy cities (NY, New Delhi, Havana ...) and the photographers, once there, quickly give up any effort to cut-out meaningless information, and they skip the very essence of composition (reductionism, and inclusion by exclusion). And they are satisfied with the raw result of a "chaotic order" (the same contradictory concept as the "tilted equilibrium"). And they are righ on the money. And there is a huge body of exceptional work from many photographers within the above approach.
Nevertheless, and happily, there are also, and still, compositions where the monosemantic reading needs no cruches in order for the picture to prevail and perpetuate in our memory. Like the running (away) girl and menacing corridor of the present picture.
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