Busy Shots

Well I mean really busy backgrounds in shots.

When I go to see a Bond movie, I go to see the Walther PPK, or the tux, or the jet-pack, or the Aston Martin, or the Bond-girl, or the glossy lipstick red undersides of her Louboutins, or the villain. I don't want to go and see some urban householder's interior design concepts, 'adorning' the set as well. 

The concept of FOUR objects for your eye to fall
on and to send to your brain to think about - the
shot is 'busy,' but not really...

I don't need to see that the actress is so thin that her arms literally compete with the fake pampas grass-tree on top of the never-used kitchenette. Or that she is so short that the armchair back is at head-height when she climbs onto it - so that, later on in the scene, she needs to literally sit astride the chair back! ...Just to be in frame of the other character in the shot.

We built long plywood runways for Mel Gibson in 'Year of Living Dangerously' to accommodate his walking into the ballroom with Sigourney Weaver.

This also seems busy - but again, it isn't.
It's a composed arrangement from a Spanish brandy advert.

In the last article here you will note that Diana Widmaier Picasso was one of only four torsos in camera shot. This photograph is a lesson in human subject photography. It has everything: subject, object, alternative perspective, and the abstract as also a representative 'other' human subject - and with even greater potential depth to that last element than all the rest.

Last night, the television was so boring, that I was avidly looking forward to the Geminid Meteor Shower - and, not letting me down, Nature also provided a lightning storm with limited clouds at the same time. We had thunder, lightning, meteors, and flying Pterodactyls. Okay, we didn't have the Pterodactyls. Although we might have had those but I fell asleep at some point in the hammock.