In a spacious, unfurnished room with white walls, Keiji, a professional photographer, is preparing to take a series of portrait photographs of Amara, who is dressed in a vibrant red gown. The room has a single door and is illuminated by natural light coming from a large window that occupies most of the opposite wall. Keiji has placed his camera on a tripod which is set at one end of the room, facing the center where Amara will stand. The camera is positioned so that it will capture not only Amara but also a portion of the window and the wall adjacent to the door.

To add artistic effect to the portrait, Keiji intends to use the contrast between Amara's red gown and the stark white background. However, as they start the photo session, Min-Jun enters the room through the door, which is on the wall to the left of the window from Keiji's perspective. He is wearing a bright blue shirt that could potentially clash with the aesthetic Keiji is aiming for. Min-Jun walks across the room, planning to observe the photo session from a corner behind Keiji, which would be diagonally opposite to the door he entered from.

Considering Keiji's camera angle and Min-Jun's path across the room, describe if Keiji should be concerned about Min-Jun's blue shirt appearing in any of the photographs. Also, elaborate on what part or parts of the room, Min-Jun will be able to see during his walk from the door to the observing corner, and what will be visible to Amara as she poses for Keiji's camera.
Given Keiji's setup with the camera facing the center of the room and capturing a portion of the window and adjacent wall, we must consider the field of view of the camera. Since Keiji is focusing on a portrait, the camera's framing would be narrower, concentrating on the subject, Amara, and immediately surrounding space to capture the contrast of her red gown against the white background.

As Min-Jun enters through the door on the left wall, if he remains close to the wall while crossing the room, it's probable that he will not pass through the camera's field of view, given that Keiji's primary focus is on a narrower part of the room that includes Amara and parts of the window and adjacent wall as background. If Min-Jun's path remains sufficiently far from the center of the room towards the corner behind Keiji, he can avoid being captured in the photographs. Keiji would not need to be concerned about the blue shirt clashing with the portrait as long as Min-Jun's path stays outside the camera's framing.

During his walk across the room, Min-Jun can observe various parts of the interior. Starting at the door, he would see Keiji and his camera setup directly ahead, the window on the opposite wall, Amara in her red gown standing before the window, and the adjoining wall that forms part of Keiji's intended backdrop. As he moves across the room, his angle of view changes subtly, and he can begin to see more of the right side of the room, including any features there, like perhaps the corners, light switches, or outlets that are typically found along walls.

For Amara, while posing for the camera, her focus is likely to be straight ahead towards Keiji and the camera lens. This focus means her direct line of sight would include Keiji, the camera, and the area immediately behind them, primarily the wall that would be the background for Min-Jun as he settles into the observing corner. However, Amara would not have a clear view of Min-Jun walking from the door to the corner unless she moves her gaze away from the camera, which is unlikely during the photo shoot. Furthermore, once Min-Jun settles into his observing position, he would be in Amara's peripheral vision, but only if she turns her head. Therefore, Amara's visibility would include the areas in front of her and towards Keiji and could potentially extend to the observing corner, depending on her head position throughout the session.