Stills

I think that Matt might see this a 'peeling paint' photo;- )

I like the tonality and ability to see all of the textures. This is one image with the centered subject that might be a tad too static, thus maybe take a little off the top? The glow within the window is wonderful.
 

I'm lost on the scale of this. It is a dolls house, right?

I'm not feeling the presence of people like I did with the chairs. The angle? The size? Not sure, but I'm just not expecting a guy with a hard hat to come along and complain that the tea has been allowed to get cold.
 

Yes, like a doll house scene, except for the peeling paint, of course.

I like this one very much -- it has a sort of formal feeling, but then there is the neglected look. The teapot seems too shiny and new looking to belong there though.

As with the others, the light and tones are lovely.
 

I see that kettle as a form of geological layer: the paint was already peeling(!!) when somebody bought a new kettle; too late, as they then shut the place down.

I don't normally look at whether people could choose a different vantage point but here I fairly quickly started wondering: mainly because by looking down on the shelf the kettle and mug tilt forward. That then led me to look at how the window was represented and, it seems, the window is the centre of the photographer's attention with the symmetrical angling into the glass all round, including the shelf. Is too much of the wall shown, thus reducing the impact of the kettle? Perhaps not as the age of the wall is needed to show off the modern kettle. Nonetheless, various questions about composition wander round my mind, even if the oddity of the window does hold it together.
 

Not looking for excuses, but at that time I was not that aware about geometry, perspective and those things. One can see on this shot that I did not hold my camera parallel to the wall, for example, and it was certainly not a considered decision.

To show the wall was, however. I don't think it is really the same impression if the photo does not show that this is in the middle of a largish wall. It is a balance to find, of course, I don't know if I got it right or not, but in any case there is no way to go back and redo it. :-)

Regarding guys with hard hands, this is not in their area. This is in the offices, white collars sector. They are two separate worlds, with few communication and understanding between each other. They are represented by two different sections of the same union, their rights are set differently by two separate work legislations, white collars are paid by month while for blue collars it is by week. In that region they even barely speak the same language.

So indeed, a guy with hard hands would not approach this, unless he has to.
 

It's all a little jarring on the eye which I think helps you look at this one a little deeper. Not much happening above the window frame to keep me interested save the three marks. Left and right of the window are very unbalanced and even the window sill leans slightly down/out of the shot. The paint could almost be fire warming the kettle. As I said, quite unsettling to view but not so much as to push you along too quickly in this series.
 

'I think that Matt might see this a 'peeling paint' photo;- )'

Ah, but in this case, the peeling paint is only a small part of the interest.

I agree with the decision to frame this loose. Pushing in tighter around the window would have sacrificed the sense of place; it might have made a nice still life, but it wouldn't have been the same photo.