I had seen this space earlier, but nothing particularly encouraged me to stop and look closely. On returning later, the man is here, apparently asleep. The bed is in the space between the tree and wall on the right, and a stone water trough on the left. In-between, the ground rises slightly to a flat rock, where a woman stands. I would like to see the man’s face. I walk around to his other side. He is asleep. In the background now, a low wall, and a path where people walk by, some looking, others carrying things. The composition is mildly unusual, but easily rationalised. I move back to where I had previously been sitting. The woman in the background has now sat down and a child has appeared, perhaps why the woman may have been standing earlier, to see down the slope to where the child was out of sight. I am looking at this scene through the viewfinder, I shift a little to the left, to get the space between each person balanced and in line with the wall on the right. I press the shutter. The man sleeps. The woman, present but not particularly paying attention to her child, who plays a game by herself, and me. We all face the same way, the inside, that is outside, all in different times together; our four interiors intersecting in the exterior of the photograph This paper seeks to explore, through an examination of a series of conscious and unconscious gestures of both the photographer and the subjects within the photographic frame, the tensions between an interior and exterior experience described by Donald Winnicott in The Location of Cultural Experience(1967) as the “intermediate area between the individual psyche and the environment, partaking in both.” (in Kuhn, 2013, p.04).