*ooof*: What Next, Mr Armitage?

What is it that catches your interest when you look at a photograph? Most of you would probably answer that it is the subject matter that determines whether you want to look at an image or not. In the context of the *ooof* series of photo analyses that is not particularly apt – after all they contain the (same) subject matter in each and every image, the delectable Mr A. What is it then, that we get drawn to, individually, when it comes to the available photography of Richard Armitage? Maybe you have never thought about it, but let me tell you – besides subject matter your interest is probably determined by a) composition, b) contrast and c) colour.

The composition of images is influenced by a number of things which I have probably touched upon in all of my posts. Strong lines and shapes that stand out from the depicted scene are hard to miss and are evaluated by us as potentially pleasing (or not). There are compositorial devices such as symmetry, negative space, inversion or deliberately crooked horizons that attract and hold attention. We react to the simplicity or complexity of an image, and framing (the inclusion of objects at the sides of the focussed-on subject/object) can literally suck our gaze into the center of attention.

Contrast is another easy-to-see artistic device. This not only refers to the technicalities of a photograph, such as the difference of light and shadow that makes an object distinguishable in an image, but also to the more tangible contrast between an object in sharp focus and a background that is blurred out, or the amount of light on the photographed object as opposed to the background. But also to the contrast between monochrome parts of an image and colour parts, and of course the content of a picture, e.g. a naked body among only clothed ones.

Colour can also attract attention. When it comes to paintings, for example, I personally often find myself drawn towards bright, fresh colours. They make me want to look at the painting closer. Dark brooding paintings initially hold little attraction to me – unless there is a spot of light(ness) somewhere in it that holds my gaze and which I will then examine in-depth. I had a similar reaction to today’s image which was suggested to me by KatharineD and to whom I hereby dedicate my *ooof*.

What next, Mr Armitage? From a 2012 shoot for Glamour Magazine. Source.

However fashionable grey is, it is not a shade that usually attracts me. It was the yellow stab of colour that drew my eye into this image before my gaze obviously settled on the object of my general attention. Yellow – a colour of warning, used in warning signs; or a device of attraction, seducing bees to fly to flowers like women flocking to Richard Armitage. It often replaces the “colour” gold in painting, printed matter and textiles (cheapskates!!!). It’s the colour of sunshine, pleasure and light – but contradictorily and intriguingly also of envy and jealousy. And it makes a yellow car instantly recognisable as a NY cab. (Unless you are in Germany, where it is – rather mundanely – the colour of the postal service…) Oh, surprise, surprise, there *was* actually a cab in the image. And lo and behold, that meant that there was going to be some sort of scenario involving a taxi and my favourite pollinator… erm… actor. Only on second view I then started recognising all the other photographic tricks that would hold my attention – the subject placed bang in the middle of the image, the shallow depth of field that puts the subject into sharp focus and blurring everything before and behind him into secondary undistinguishableness, the sense of dynamics emanating from the scene, where a beautiful, extremely attractive, dashing man gets out of a car.

There is context in this image – not just a RL background with a discernible car that places the scene in a particular city – but the captured movement of the subject appeals to our imagination. Unlike a lot of studio portraiture with (more or less) neutral backgrounds, we are witnessing an incident – or life, or living, if you want. The subject has not been isolated from the every-day run of life but is shown in the midst of it. Even if this is an acted scene, it is RL context, and as such something that we can relate to because we have comparable RL experiences of our own. We can interpret such scenarios much better than just an isolated sitter on a box, in front of a white background, with only his face to offer any intrigue. It will therefore hold our attention much longer, because we have to read the signs. Where is he? He is in NY, because the cab is a typical NY yellow cab. What is he doing? He is getting out of said cab. When is this taking place? It must be autumn or winter because he is dressed in a heavy coat. And most of all: What is going to happen next? A staged scene will make us wonder what has been leading up to this moment and what is going to happen after. Our imagination is beginning to work its magic. This may well happen to *any* image of Richard that you see, simply because *your* imagination may *always* be inspired by the sight of this attractive, talented, good-natured man. But possibly more so when you have already been given a bit of context to work your fantasy in.

Richard’s facial expressions in such staged photo shoots are infinitely more varied than in the studio portraiture that we have seen so far. In the studio-portraits, more often than not RA adopts a smouldering expression – accompanied by the forward, under-brow tilt of the face. His eyes often show an intense gaze, a stare, almost. His brow tends to be static and therefore uncreased, and he does not often grace the photographer (and viewers) with (even a hint of) a smile. This may well be because it is harder to make a usually fleeting expression stay static on your face (see last week’s *ooof*) than to simply inflame your viewers’ ovaries with an intensive stare. It could be the go-to-expression that Armitage PR has settled on for fabrication of a particular representative perception of the actor.

Or is it good old-fashioned vanity? The practiced smoulder is a certified cherry-teaser, a validated ovary-burner and a guaranteed pant-ripper. I could go on with the similes, but I will refrain… *ooof* The RL expression could possibly be less than flattering – deep brow ridges, silly grins, geeky eyes. A picture statically posed in the studio is created in a much more controlled moment than an image made during an acted scene. But I would hate to think that RA is a “one-expression-man”, which is why I love getting to see images that show some expressive variety. Because we *know* that Richard is masterful at creating different expressions on his face. And it is quite possible that what applies to “The Man” in Judiang’s fiction is also true for RA – it is his business to *act* rather than to pose. It’s what he does for a living, it’s what he knows, what he loves doing and what he is good at. It makes him feel confident and comfortable. And with the expected rush of adrenaline and endorphins that comes with acting, he simply lets go and dazzles us. He plays another role and he is bloody good at that.

So what about that scenario. What story is this picture telling? Well, maybe the story goes like this:

“Stop, stop right here!” “What, now? But we are not at the hotel yet.” “No matter, stop the cab right now, I need to get out.” The cab driver managed to weave out of the traffic and brought the taxi to a stand-still at the curb in a Manhattan side-street. “24 Dollars”. He shoved a few Dollar bills into the cab driver’s hands. Why did these American notes all have to be green and grubby-white. They all looked the same. He had no time to sort this out now. “Keep the change”, he said curtly, didn’t even bother to put the remaining bills back into his pocket and reached for the cab door. — There she was, just a few paces away from the cab, walking up the street, with a determined step. He’d spot his old theatre-classmate from miles away, the dark long locks and the womanly, curvy shape, even when hidden under a knee-length winter coat. How lucky to catch her here, just while she was playing somewhere off-Broadway. He opened the cab door into the path of the sun-shade-clad woman. “A___, fancy meeting you here”, he beamed at her. — Katharine stopped dead in her tracks. It couldn’t be. Was this? Was this really? Was it her moviestar love interest, accosting her on the street? She nearly ripped off her sunglasses in an attempt to have a closer look. His ecstatic expression darkened. This was not his friend A___. How embarrassing. “Oh. No.” He was taken aback and surprised. “Not you.” It all came out wrong. Katharine scowled and threw her head back. “Well. I see. Not you, either”, she growled back. He opened and closed his mouth like a carp panting for air. “I mean, I… “ he scrambled for words while the attractive brunette with the lively twinkle in her eye shook her head and took a step to her right to pass around the door and move on. “Pardon me… I am so sorry… That was rude.. I didn’t… How can I… ” — The words still jumbled from his mouth unsystematically. Katharine moved on, reaching in her purse. She let the little white card fall onto the pavement at his feet with a noticeable flourish. “Favourites are roses.” He frowned, uncomprehending. She was already two steps away. “First drink is on you”, she threw over her shoulder, then flounced on without turning back. He bent down to pick up the business card. Richard steadied himself on to the cab door when he got back up and turned around, searching for her in the crowd. — She was gone.

 

All text © Guylty at me + richard armitage, 2013. Please credit when using excerpts and links. Images and video copyrights accrue to their owners.

~ by Guylty on August 20, 2013.