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her gaze leads me out of the frame to the left away from the reflected planes.
I was kinda in the same place, only thinking @ her and the planes as subject matter. The introduction of the family @ part of the subject, now makes the planes only environment/background clues, and it no longer seems out of place/awkward. Funny how much it depends on the viewers perspective.
The initial "wait a minute" double-take of seeing the planes behind her and realize she is at an airport, not her living room winding, is what makes the story line and "timing" of this shot work.
In composing a shot like this you can put the context of the story where the viewer must literally trip over it to get to the focal point, or as in this case hide it so the focal point is seen first then the context to explain the action at the focal point to explain why she is looking out the window.
It all comes down to guessing and trying to manipulate what in the photo the viewer sees first. We've previously had knock down / dragged out debates on whether or not placing focal point on left or right side will predict / control what is seen first, but on a dark stage the star in the spotlight always gets the most attention from the audience. That's why in my edit I intentionally made her face brighter and stronger and darkened the reflection of the planes a bit: to manipulate the viewer and make sure they saw the face and dwelled on it, before wandering off to the right to get the context of where she was and why she had the expression she does — which is still left the imagination of the viewer.