:This picture should come with a warning label, because it messes with your mind without your permission. With this picture I see the world as theatre stage where I am sited in the spectators front row. Something happened before the frame shot, with these two persons, and there is also a feeling that something is going to happen after that frame-time. It just may look as some kind of derivation of a hyper-realistic picture but it´s not. Time, here, is not freezed or stopped in a frame. Some kind of continuous time-line is out-bordering the picture limits to the spectator´s head and continues to flow there and Time itself emerges like a hidden character in a picture, playing a psychological subdued game in the visual reading of the frame. The impact is immediate and the compositional choices of the author are not random but very clear and specific. The chosen vantage point is really so great that one can really feel it is the better way to show this scene with these specific elements; and this particular vantage point is also the guilty part for the viewer to feel like being there, inside, and not in a simple voyeur role but also seeking what´s going on, also participating in the activity on location. But there is more here, in this apple, to slice: this picture is not just a small piece in the continuous time-line of a major play. It´s a piece of pure abstract Time and Space frame, where the author, consciously, is proposing to the viewer to jump in and walk inside the frame and invading this space and crossing this time-line, he can give to those space and time some of his own and personal identity. This is the main power engine of this picture: the personal invitation done to the viewer made, in my opinion, by the chosen vantage point and by the compositional choices and not by a specific element of the composition or body language management of some character in the frame, as usual. Of course there is also some Kinesthetic connection with the viewer and the characters there, but this specific aspect emerges just after the other ones, as simple hints to help the integration of the viewer inside the frame and for him to build his own play role there. One word also for the colour output choice: the false "raw and natural" mood chosen to present the scene fits perfectly and give it some kind of contemporary look, adding also for the written above. The colours are just there to wrap all these aspects in one single package, and no one can really feel lost in a psychological labyrinth of saturated colours without a clue "where to go". A great picture.