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Description
ORIGINAL WORK BY CAN BE FOUND HERE: [link]

Okay, here we go:

First: regarding the lines

I had a design/composition professor freshman year at Pratt who was obsessed with the ideas of "closure, rhythm, and relation"--meaning related parts, especially of an abstract piece, which tie the piece together and draw the eye around the image. He would have flipped over this piece.

The lines I've added to this image which are of the same color are lines with (approximately) the same angles, which give the piece rhythm. Some of these lines *cross* from one shot to the other, tying the images together into a cohesive whole and centering the weight of the image, from which point the eye can meander in any of several directions. My personal favorite of these is the one I've highlighted in red, which begins around the woman's navel on the left-hand side, and ends at her forehead in the right-hand shot, because it uses both images, and because it travels such a complicated path, moving exactly up the button-line of her jacket to her wrist, and along the angle of her face.

The points at which these "rhythmic lines" intersect explain why the eye is drawn, for example, to the woman's elbow on the left, or to her hip on the right. But these lines also give the work a motion and fluidity difficult to achieve in photography, especially when the subject is seated.

Yeesh, man.

Second: regarding the green ovals

The ovals represent the idea of "closures"--that is, shapes which are suggested but not acutally present. There are, of course, dozens of these in any image, but the fact that these closures are nearly identical in size, shape, and orientation creates further tension and gives weight to "empty" space. The left-most and right-most ovals are, in fact, the same *exact* shape, duplicated.

Last: regarding color and texture

On to the more visceral aspects of the piece. I think it's fascinating that you've chosen such light colors to frame such a tanned and dark-haired figure. Because her clothing and the background are virtually the same color, you've made the areas where her body is visible really pop out.

Finally, the zoom out to reveal the box she's sitting on and the tape frame marker on the floor is at once humerous and intriguing. It's as if on the left you've said "okay, here's a picture of a model wearing designer clothes" and on the right you've said "okay, this is how fashion photography works." you've hinted at the process, making this (ick, is this even a word?) metaphotography, or at least, photography which is both classical and *aware* of itself.

...

Oh yeah, plus, I could *totally* jerk off to her.

I'm sorry. I couldn't help it.

That really sucks, man, to have kids treat your art like that. I can't believe these kids have nothing better to do. Yech.

Anyway, I'm about fried now. Whew. Enjoy. Thank you.

Description
ORIGINAL WORK BY CAN BE FOUND HERE: [link]

Okay, here we go:

First: regarding the lines

I had a design/composition professor freshman year at Pratt who was obsessed with the ideas of "closure, rhythm, and relation"--meaning related parts, especially of an abstract piece, which tie the piece together and draw the eye around the image. He would have flipped over this piece.

The lines I've added to this image which are of the same color are lines with (approximately) the same angles, which give the piece rhythm. Some of these lines *cross* from one shot to the other, tying the images together into a cohesive whole and centering the weight of the image, from which point the eye can meander in any of several directions. My personal favorite of these is the one I've highlighted in red, which begins around the woman's navel on the left-hand side, and ends at her forehead in the right-hand shot, because it uses both images, and because it travels such a complicated path, moving exactly up the button-line of her jacket to her wrist, and along the angle of her face.

The points at which these "rhythmic lines" intersect explain why the eye is drawn, for example, to the woman's elbow on the left, or to her hip on the right. But these lines also give the work a motion and fluidity difficult to achieve in photography, especially when the subject is seated.

Yeesh, man.

Second: regarding the green ovals

The ovals represent the idea of "closures"--that is, shapes which are suggested but not acutally present. There are, of course, dozens of these in any image, but the fact that these closures are nearly identical in size, shape, and orientation creates further tension and gives weight to "empty" space. The left-most and right-most ovals are, in fact, the same *exact* shape, duplicated.

Last: regarding color and texture

On to the more visceral aspects of the piece. I think it's fascinating that you've chosen such light colors to frame such a tanned and dark-haired figure. Because her clothing and the background are virtually the same color, you've made the areas where her body is visible really pop out.

Finally, the zoom out to reveal the box she's sitting on and the tape frame marker on the floor is at once humerous and intriguing. It's as if on the left you've said "okay, here's a picture of a model wearing designer clothes" and on the right you've said "okay, this is how fashion photography works." you've hinted at the process, making this (ick, is this even a word?) metaphotography, or at least, photography which is both classical and *aware* of itself.

...

Oh yeah, plus, I could *totally* jerk off to her.

I'm sorry. I couldn't help it.

That really sucks, man, to have kids treat your art like that. I can't believe these kids have nothing better to do. Yech.

Anyway, I'm about fried now. Whew. Enjoy. Thank you.