This and the next one go together. The intention was to underexpose the image for letting some people appear only as black silhouettes while keeping also some details from the road and the whole scene in general. I think that the strong light was a great help, since even in such an underexposure it burned many regions of the film frame well enough in order to see something more than simply black shadows.
Many many thanks for the detailed and nice comment, Visar, which pretty much says what I am into with such images.
Indeed, for me there is no reason to go for some kind of absolute "perfection" in street photography since the street doesn't care for looking perfect anyway. The street is chaotic, disorganized, fast, mixed and spontaneous. Capturing it cannot put as much importance on some kind of absolute photogenic look since the main essence would then be taken away - it would be much like a studio and not really the street.
For me it suffices to get some of these things well that define the street. The technical aspects should be done carefully but wanting to "beautify" the street in some absolute sense would be hunting for ghosts - a waste. So I let it be as chaotic as it wants it to be and try to take some of this chaos on the image. And sometimes, like for example here, there is also some kind of "pattern" that appears right out of chaos.
i also agree on these lines of plane, adding more of organised tengleness, as usual in your chaotic shots. but what draws my attention here are the shades of the travelling/ passing couple (like the luggage detail), at the very proper timing, having them emphasised beautifully, and when i see at the entire composition and the elements- so usual, traffic lights, the man across the street on decisive moment, lines and the main subject (the couple), all do interact in a way that make me think profoundly about this shot! i do apprichiate much the state of not going back, going for correction so to say, as i think then one would say that you're going for perfection- for the ideal, knowing there no such thing, even more when that very deed kills the breath/ the spirit of the momentary motion; in this sense, in your shots, i see that sort unperfection firmly stated- presented and i highly value that.
0 
