The majority of the photo is in sharp focus, making the detail stand out. One example of the detail being easily detectable is of the man's jacket, you can see the pattern made by the stitching. Despite of this there are areas of the photograph that seem slightly out of focus, however I would call these parts muffled. I am talking about parts of the photo behind Vivian Maier in the mirror and also the windows to the right edge. This may be because they are further away than the central focus of the camera but this effect may have happened because of the dim lighting. The brightest part of the photograph is the white strips on the ground, reflected in the mirror. The light is mostly coming from behind and so since the mirror is reflecting the light back at the photographer, she picks up more from there than the other objects which absorb it. The darkest part is of the wooden structure behind the mirror to the left of the man. The only apparent shadow created is on the material in the photo. By this I mean, for example, the creases on the mans coat and on the sack to the left of him. It is difficult to tell from what way the light is cast and the shadow is created because of the nature of the material but the light is coming from a natural source therefore, since the lightest part of the photograph is in the mirror, I would suggest that the light is coming from behind the photographer but obviously above as well. Everything in the photograph, again, apart from the materials and people, is geometric. Despite the patterns on the wood, the structure of the objects and their formation is linear. There is however the screws on the wooden boxes behind the mirror and a wheel sticking out of what seems to be a cart. There is repetition in this photograph, the most obvious example is the brick work on the building to the right. Other examples include the planks of wood going horizontally across on the crate and also the edges of the mirror that run parallel to one another. There is a small contrast in type of object. The material of clothes and of the sack, the camera, the twig poking out from the end of a tree and the bodies in the photograph are the only organic shapes. The wheel of the crate is spherical so could also be classified as organic, however it is metallic so one could also describe it as geometric. The rest of the photograph is geometric as it is based on linearity and planned structure. There is a lot of depth to this photograph, there is something happening in the foreground, middle-ground, and background. It seems as though there is another layer to this photograph because of the high amount of detail the sharp focus camera quality picks out. An example of small detail, becoming enlarged is on the man's coat, the pattern created is visible and the black and white specks do not just blend into one, they stand out and become captivating. The mirror creates another world to the photograph, it extends it and makes the space within seem larger. It tells us more about the photo as well, typically you would just see what is in front of you but with the mirror, you gain another level of understanding due to receiving more knowledge about the space around. Since the photograph has clear, sharp focus you may think that it would have a smooth glossy texture if you tried to imagine touching it. However, because of what the people seem to be wearing, the leafless tree and the dim, foggy, grainy lighting I would imagine that this photograph was taken in winter, or late autumn. This effect has on me, the same effect that it would have on the subjects in the photograph and it gives me the impression that the texture is coarse and rough as a response to the 'biting' cold of the weather. The dull lighting has such a profound effect on me that it leads me to believe that every object in the photograph would be cold to touchh, even the sack and coats on the people.