RustyBug 
Online
• • • • •
Upload & Sell: On
|
It strikes me as a bit of an odd duck (I'll explain) kind of comp.
Normally, we travel "to" a subject. Here, it seems that we are traveling "through" the paper rather than "to" it. I get drawn "to" the hands for the contrast in their texture, "to" the box for the contrast in the grain, "to" the stripes in his shirt for their contrasting tones, to the lids for the contrast in specularity.
The leading and implied lines seem to "criss-cross" us through (or nearby) the paper, with it not quite having enough to stop us there as we are continued to be drawn elsewhere by either the continuing lines or the contrasts involved elsewhere. If it were not for passing by/through it, its scale is small enough that it wouldn't mean much, except that we keep passing by/through it as we are drawn to the other areas. Kinda like "the girl next door" (or Chuck's inference) that one passes by on a daily basis without giving much attention to. But then, one day she catches your attention just a slight bit differently and your curiosity is heightened and you begin to wonder how much more there is to the story that you've previously passed by so often.
Normally, the augmenting movements are linearly aligned. Here, it seems that they are radial to the paper, where we are being drawn "outward", yet get pulled back by/through for a different "outward" tug. This is the "odd duck" that I was referring. I'm somewhere between serendipitous incidental and sublime genius on this radial relationship to the larger scale elements.
I realize the title is currently "Idle Hands", but going back to my mantra of "What's the point?" "What's the message that you want to convey to your viewer?" I'm inclined to think that the current title is an incongruous misnomer for reconsideration. The central location, the tonal value and focus of the paper along with our perpetual travel by/through/around it call to me for a different title.
To me his hands aren't idle, they are tending to something. The title starts us down a different path, and I think I get the "misdirection" that is striving to develop an intrigue as to what he is/was doing with the paper ... but I think the title direction to the hands being idle serves to confuse a bit as we can see / imagine otherwise that he has either already written something, or is waiting to do so. For me, the intrigue is in wondering what he has / will be doing. Suggested title in the "hmmm" stage, atm.
Compositionally, I might consider cropping some to change the weighting/balance to place the paper in a less static position as we move about the frame. While certainly not all the lines in play, here's a few to illustrate how one can go toward, then right on past the paper on to something else without stopping, yet repeatedly coming by/through ... kinda like a hub/spoke relationship.
HTH ... if that makes any sense. BTW, what's your early take on Perfect Resize 7.5 compared to PS?
NOTE: I'm not suggesting this "radial" is wrong and should be changed, just dissecting why I keep "hangin' around" on this one while it doesn't "jump out at me". I'll likely keep this "radial" as a nugget with potential for the right (I'm thinking similar diminutive/sublime) application.
|
For me, it is a spontaneous action capturing a moment of time that I happen to have found interesting (for whatever reason), with of course some input on my part - the techy stuff. If it is all techy stuff and no spontaneity, no fun in that.
