I would definitely eliminate the shadow crossing the figure. Although you intended it , to me it reads more like a mistake to be airbrushed out or repositioned behind the figure. You could exaggerate an elongate the shadow cast by the figure. The obscured ‘one way’ sign hanging below the traffic light may not play well in paint. The perspective is a little unconventional but can work. I’ve seen a lot of bird’s eye perspective street scenes lately, usually of crowds of people crossing roads.
I’m not used to green traffic lights- they are yellow in these parts. A yellow light would echo the double yellow line and the figure’s yellow jacket. This green light is a little too close in color and value to the street and shadows and doesn’t stand out. Also the perspective puts the traffic light almost front and center and will cause it to compete with the figure as a center of interest.
What you could try is print the photo in black and white on cheap printer paper and then hand -enhance the printed black and white photo with colored pencils or oil pastels to see it will be worth pursuing. You can print several black and white copies and try out different color and value approaches.

*edited to add You could also try different crops of this same photo. for example you could crop below the traffic light and have sort of a panoramic view of the street with the figure crossing The light would be implied by the shadow it casts. It might play well from this perspective. Just a thought. So many possibilities.

Things I like about your photo:
– The shadow jumped out at me straight away. I love the way it intersects the scene. It adds diagonals, where everything else is perpendicular. I think it works well with all the other strong lines (I like strong lines in pictures)
– I find the traffic light interesting. It might be because they are completely different to the traffic lights here and I like things that are different. It might dominate the scene, but it’s the thing that controls what happens in the scene, if you see what I mean. I’m not sure what you mean by the perspective looking wrong, could you explain please?
– I like that the pedestrian has a yellow top on that matches the line in the road. It ties him into the scene really nicely.
– The point of view. The vast majority of paintings of urban scenes I’ve seen recently have been from street level, with traffic and lots of people (and usually a wet road) and it’s refreshing to see something else.
– I like that the pedestrian is walking against the direction of the arrows.

I think what I would change is the position of the pedestrian, maybe have him closer and a bit further back, so that he was about to cross the shadows and the line and nearly everything would intersect, but not quite yet. I would also add a touch more yellow, maybe to one of the cars on the left. I would maybe take out the cars coming down the road in the distance, and the traffic light further away. I would keep the nearest one though, I think it adds to the scene, and without it there wouldn’t be that shadow (and that shadow makes the picture for me).

So many possibilities and opinions

Those are my thought exactly, except for the street light color. OVerhere green means go. .

Sorry I didn’t mean the green color of the ‘Go’ lens. I meant green as in the painted outer metal casing of the entire light assembly. Here they are always that same shade of dirty yellow as the double yellow line. I never made the jaywalking connection. That’s an interesting little detail.
Although if you were to illuminate the yellow lens that would send the ‘caution’ warning-a subtle little narrative in an of itself.

I would not paint that.The end.

I congratulate you on what is the first sensible post.

I simply don’t believe it has the balance and visual strength to lead the viewers eye anywhere without the viewer being overly aware of the traffic lights. Composition rules are only really guides. However, I do not see that the photograph falls into any rule of composition I’m aware of.

What are your ‘other reasons’?

I’m taking a break from today, but I’ll read your response.