My first tought was that the senior citizen army was on the move. Excellent black and white study in kinetic (left) and static (right).

This is a very good b&w study Andrea, nice tones here.

Shopping must be done! Wonderful candid!

Excellent street capture.

Great street photography. Fantastic monochrome tones.

First impression is that it is Senior Discount Day !

Which of course I fall into once a month in most places in our little town ! Smiles.

Fantastic b/w photograph Andrea !

Stunning capture Andrea. God bless.

A really splendid shot of shopping life :-)

Beautifully captured! Subjects well spaced out in different states of motion/non-motion and perfect b/w choice! Really great!

I love it when you do street photography. You're so good at it!

Superb candid shot!!

Nice B&W but it looks like It was a rough day.

Yeah I agree with tara, you're a natural at street photography, I wish you did more of it. This is in the (made up) category of the "spread out music of random walkers". (Sounds like a formal category, doesn't it?) It's the kind spread we see everyday. Has to be seen zoomed to get the sweep. I like all the space between them, it's not crowded: It's relaxed, and it's got little spotlights in it. I mean human spotlights: Ie, the two ladies on the left both looking into their bags. The middle guy carrying two. The two men on the right in some discussion or argument. A guy on the far right lost in thought. And the stray other people doing what they do. There's a sweet array. And black and white is natural because it allows the viewer to see the people's visual music without being intruded-upon by colors. It's why, I'm sure, great street photography still feels most at home in black and white. And there's light on either end, and a swath of dark towards the center (in the mid-guy's dark coat and the dark behind him). You also have a slight 'glow' to the shot, maybe from the softer focus...it's a sweet street shot, very singing, Andrea. Very "allowing". Ie, you didn't mess with them, you let the shot come to you.

Ok, let me share some thoughts; you probably know all this, but I'm just sharing 'cause it's a gallery. As if we were standing and looking...Cartier-Bresson wrote of the "decisive moment," the thing that makes every good street-shot sing. I think some photographers have misinterpreted that to mean a "big" moment: But that's not what CBresson meant, of course. He found bigness in the everyday. On the other hand, I assume the biggest mistake new street shooters make is they think they can shoot 'anything', and that makes it a good street-shot---where the less character the shot has, the more "real" it is. (I made this mistake often.) But that's why CBresson coined the phrase "decisive": It has to have something decisive in it. Something that "speaks" of life rather than just snaps it. So in a shot like yours, you chose a moment or an array, a visual stanza, a quick poem. It may have just happened in front of you, but you chose it. Of all the street shots you got, you chose to work up this one and present it. It has that moment, that visual spark in it---it doesn't leave us “where we were”. Whereas the latter is one of the biggest mistakes of street shooting: photography that leaves us where we were. (Some of Historically Informed Performance---in classical music---is so non-committal, it leaves the music where it was, before they even performed it. They make no commitment to it: They treat the music as fragile glass that can’t be touched for fear of crumbling. There have been some very poignant critiques of this, by some very big figures in the field. There are truly great interpreters of that school; but some are so careful, they lose the music in the process. Bach didn't see music as fragile glass. Nor Mozart, etc.) Further, the best street shooters may just "see" the pic before they shoot, but that doesn't mean their eye didn't try for it. The inner eye is seeing while the outer eye is drifting. That split second, when the shooter gets the decisive moment, the eye is like a background application on a computer: It's making choices while the actual screen is quiet. There's a "decisive" in there. And think of the centuries it took before painters finally broke away from posed portraits, and started capturing the "moment". It took till the 19th C. (Vermeer’s an exception, but one of a few.) Here are two examples I'm sure you know. They illustrate the change: First, Degas...second, Manet. These, to me, are the unwitting birth of street shooting:

http://images.fineartamerica.com/images/artworkimages/mediumlarge/1/absinthe-edgar-degas.jpg

https://upload.wikimedia.org/wikipedia/commons/8/8f/Edouard_Manet_004.jpg

I hope they both show. I could go on forever about the latter, but they painted the 'moment', they painted the decisive moment. No more posing, just life. But, in the process, they elevated the moment to the 'forever'. Something like that. It's a poem. Well ok, I'll get off this, I just wanted to share these thoughts, since your street shooting has that moment. Tara and I have talked about your street shots ((she loves them)). You don't leave us where we 'were', you take us to the poem.)

(btw, I redid my comment on “Eastern Love-In,” in case there’s no notification. Even this comment disappeared. Something's screwy here...Ok, I’ll let you go now...)