I’ve cropped so tightly that you lose sight of the object in context, and are instead presented with the reflected image. The dull shine causes the darks in the reflected image to appear lighter and the edges to appear softer than if the trailer had a fresh mirror polish. This helps separate the reflected image from the surface details of seams, rivets and marking lights. In effect there are two layers of imagery — the reflected image and the surface details, and it seems that in viewing the painting, you are either looking at one or the other. (That’s me with my older son in “Looking Back”)