I am glad you pointed the hand echoes out. That is cool.
I like the contrast between the dark, empty, slightly shabby, but still elegant scene outside and the bright, busy, very ornate and very elegant scene inside.
Excellent use of the swirl effect. Usually I don't see the point of such effects, but here it's just right, keeping the face and hands sharp while getting the viewer's head spinning!
I didn't notice the guy either until Alan alerted me.
As well as the blues throughout the photo, there's a collection of lines running parallel to the chrome strips on the car. Between them, the whole image is drawn together.
There used to be a sort of genre for photos of the world glimpsed from bus and train windows as it flashed by. Window scratches were a valued bonus.
It qualifies for street in my book.
This must be looked at big. The face of the man has to be seen in some detail. appreciating his age adds new layers of meaning. There's the disconnect between him and the graffitti generation. There's the connect between him and the old bare and sleeping trees.
The slight offset of the main trees to the left and the slight offset of our man to the right is satisfying. As is the scale of the trees to the man.
Thanks Pete and Daneland. I'd have seen the hand but probably would have missed the connection to the painting. There are many small touches here that contribute. The glass of wine, light reflecting from skin, especially the bald heads. The light and colours have a touch of the Dutch masters period.
That's Florian's alright and that's the peering in from another universe I remember of the place. The empty chairs outside help the "peering into a different dimension" interpretation.