Cut it out. See what's possible with a box. The Guggenheim has inspired me every time I have stood under that tornado of a building. I'd say architecture in general has been a muse for me and when this happened I almost cracked up through the viewfinder. Again, the point is to experiment and try to see outside the box.
Minimilism can strain the viewer. I prefer when there is a clue to subject matter rather than purely amorphous but there is no right or wrong here. The idea is to respond to the scene and intentionally represent it in good faith.
The drawn bath here is not apparent immediately and interests me at first because its a venn diagram in the overlap of the tub shadow with the water. I also love the delicious quality of the water against the porcelain, the color of the water, and the tension in the absence of a nude human.
The frame. A classic move. There have been so many stunning examples of the natural frame in the annals of photography. It's irresistible. It is a rare accident when elements can line up this way. It's often quite mysterious. It is a portal. We humans are drawn to portals- windows, doors, holes. They invite us in. I don't care if this isn't new. If you were there and you saw it, then it's new.
We see things we know are worthy subjects but somehow, despite our best intentions, the result falls short (pun unintended). I really love to photograph if for no other reason than it forces me to look and look again. Move around it, wait, wait some more. Really look. Really move. (Don't hurt yourself- pay attention to your safety as well as the subject!)
Here, I had a way to get right on the spill of the falls. And I HAD to have the droplets frozen and the background out of focus. Previsualize! Know your tools! High shutter speed and wide open. I think I did the drama of the precipice justice. What do you think?