In a manner reminiscent of the photographic style of Alexander Rodchenko and Laszlo Moholy-Nagy, Hartmann photographs two young boys and men looking through pamphlets before the match they’re attending kicks off from an aerial perspective. Shooting from an elevated position is a consistent throughout Hartmann’s photographic series of Dublin. Excluding a small glimpse of the profile of the boy on the furthest left, the faces of the four figures in the photograph are concealed from the viewer. Emphasis is placed on their attention to the pamphlets and to the ground upon which they are standing. The intersecting lines in the pavement beneath their feet splits the composition into four parts. The shadows of the figures stand out against the pale backdrop of the pavement and in tandem with their dark suits and hats create an interesting contrast between darkness and light. The jacket of a fifth figure who is cut out of the photograph can be seen in the lower right-hand corner of the image and the viewer imagines that the men in the foreground will too walk out of the image and into the stadium any minute.
In a manner reminiscent of the photographic style of Alexander Rodchenko and Laszlo Moholy-Nagy, Hartmann photographs two young boys and men looking through pamphlets before the match they’re attending kicks off from an aerial perspective. Shooting from an elevated position is a consistent throughout Hartmann’s photographic series of Dublin. Excluding a small glimpse of the profile of the boy on the furthest left, the faces of the four figures in the photograph are concealed from the viewer. Emphasis is placed on their attention to the pamphlets and to the ground upon which they are standing. The intersecting lines in the pavement beneath their feet splits the composition into four parts. The shadows of the figures stand out against the pale backdrop of the pavement and in tandem with their dark suits and hats create an interesting contrast between darkness and light. The jacket of a fifth figure who is cut out of the photograph can be seen in the lower right-hand corner of the image and the viewer imagines that the men in the foreground will too walk out of the image and into the stadium any minute.