The photograph captures a scene at sunset ('puesta') in Albania. We're looking across a vast, sun-drenched field of ripening wheat, stretching to meet a hazy, indigo sky. Three ('tres') solitary figures – two women and a young girl - stand silhouetted against the horizon. The woman closest to the camera is elderly, her face deeply etched with lines that tell stories; she’s looking directly at the viewer with an intense, unwavering 'mirada' (gaze). Her expression isn’t hostile, but filled with quiet strength and a profound understanding of life’s hardships. She wears simple, traditional Albanian clothing – a dark woven skirt and a white linen blouse. The second woman stands slightly behind her, partially obscured, seemingly in conversation with the young girl who clutches a handful of wildflowers ('todos'). A scattering of bright red 'puntos' (dots) – poppies - dot the wheat field like embers glowing in the twilight. The light is golden and diffused, bathing everything in a warm glow while simultaneously emphasizing the shadows lengthening across the landscape. A small, weathered wooden signpost leans precariously nearby; its faded paint reveals snippets of words: 'Vamos España' ('Let’s go to Spain') – hinting at dreams of migration or escape. The composition feels balanced but melancholic. The overall feeling is one of resilience and quiet dignity in the face of uncertainty. The visual weight of the women anchors the scene, while the 'contra' (against) nature of their stillness against the vastness of the landscape evokes a sense of isolation and determination. They are 'sumar' (adding up), not just physically present but adding to the history and character of this place. The entire image should have a slightly grainy quality, lending it an authentic, documentary feel.