Introduction Jeff Wall is a contemporary photographer who was born in Vancouver, Canada, in 1946. In the 60s, he studied art history and became interested in the experimental art scene, and taught photography himself. Later, Wall received a Bachelor’s and Master of Arts degrees, after which he conducted postgraduate research. In 1969 he participated in group exhibitions in Vancouver, Seattle, Washington, and London ( Jeff Wall ). Wall’s first one-man exhibition was held at the Nova Gallery in Vancouver in 1970 ( Jeff Wall ). In his works, the photographer depicts everyday life and contains references to media, art, and socio-economic issues. Wall also actively explores the film and literary aspects of photography through narrative and composition. The photographer is associated with the movements of contemporary and postmodern art. Career and Works Jeff Wall, The Thinker, 1986. Early in his career, Wall experimented with conceptual art, seeking new ways to express his ideas. After his first exhibition, Wall did not pursue art until 1977, when his first backlit photo-transparencies appeared (Newman 85). Many of the photographer’s works contain references to classical pieces of art, such as The Thinker (1986), which repeats Rodin’s sculpture of the same name. Most of the photographer’s works are staged, depicting everyday scenes related to the problems of representation and the history of art. He often refers to Hokusai, Manet, and Velazquez, as well as Mishima, Kafka, and Ellison (Merritt 9; Newman 83-83). Thus, Wall’s work strives to highlight art in the modern day-to-day world. In contrast to other photographers who often create a series of works, Wall tends to present single pieces. However, he occasionally uses diptychs and triptychs that form the shared scene (Campany para. 4) Summer Afternoon One of the photographer’s most striking diptychs is Summer Afternoon (2013). The two pieces are different in size but aligned with the tops of the doorways; Wall also uses the directed light on the right in both photos, which combines them to create a panorama (Dufour 2). The photographer often mentions in interviews that he does not tell the story in his pieces but allows the viewer to reconstruct it ( Jeff Wall talks ). The same is the situation with this diptych, in which the author indicates that this is one and the same space, but with different people and probably at different times. However, Wall does not specify at what point in time people are and how they are related to each other. Jeff Wall, Summer Afternoon, 2013. As always with Wall’s works, it is necessary to view his photographs from the point of view of art. Dufour notes that “the woman reminiscent of Goya’s La Maja Desnuda …The man could be a reverse angle of Lucian Freud’s Naked man with rat ” (3). However, again, these plots are placed in a daily setting, and the title gives the viewer an idea of ​​the context of the events. Thus, the main theme of Wall’s work may be his endless admiration for the reality of modernity. In particular, the figures are depicted in an abstract, self-absorbed state. They are daydreaming or reflecting. Perhaps the photographer emphasizes that static figurines, upon closer inspection, can reveal entire plots and stories, opening up opportunities for inter