English: Optical illusion, "Odd Fellows Temple (1908) drum"
Setting from Capitol Hill in Seattle, WA: Oddfellows Cafe + Bar on 1525 10th Avenue (next to the Elliott Bay Book Company and around the corner from the historic 1908 Odd Fellows Temple, on 915 E. Pine Street).
See also: magic (illusion), forced perspective, anamorphisms, and other types of optical illusions; photograph manipulation.

"Does this image seem, real...?"
Here, illusion points for what may be identified as heavy "sensory fluxes" of how realistic and implausible a settings feels at important perceivable limits, are organized via the drum, and its rim. Some main examples:
1. Drum claw-hooks align very neatly with vertical lines from reflections of walls, doors, as well as the dark "brick floor/tiles" beneath the drum; one of these metal claw-hooks merges with the metallic "hinge" of the stool, above the spring...,
2. The rim does not maintain its internal 3D appearance on its wood edging, losing it toward the side of the stool base (zooming in, makes it clear),
3. Pixel resolution of image varies largely, see for example the stool spring, the internal wood-edging of the drum, and the white-brick wall, compared with the top and right-hand side of the bass drum; some if it seems part photograph, while some parts seem electronically drawn, upon zooming in closely...,
4. The pedal to possibly adjust the stool height, possesses a transparency strikingly dissimilar to the rest of the stool's base and wheels, contrasting sharply with the the lighting around it, and noticeably lacking depth and substance, in comparison to its surroundings...,
5. Stool at "hinge" atop spring is in front and behind the wall at too short of a distance, as the wall continues upward in the same inclination point of view; else, if it is a "pony-wall", such that the hinge rests on the top of this smaller pony-wall, it would necessarily continue inside the room at an angle that is around sixty degrees short of a right, perpendicular angle to the window, when the small yet noticeable light-grey/white above the left part of the hinge is said pony-wall. If the brick pony wall is fully perpendicular to the window, then the stool is resting awkwardly, on two legs, or three at at most, where this pony-wall becomes a brick stud, or light-grey half-pillar, etc., or another wall structure toward the left that cannot be discerned from this image.
Assuming the white or light-grey brick structure on the left is a wall that does continue upward toward a ceiling in a normal sense, then the stool paradoxically exists behind the wall at the springs' level, and in front of it at two distinct points, once at the hinge level, and another at its base, underneath the springs. Noticing when zooming in, the second and third coils below the "hinge" are visibly behind this brick-wall; the fourth would be too, if the wall weren't chipped, as it shows precisely the end-tip of the coil fitting snuggly inside the chipping of the wall. Considering the length of the top second and third coil of the spring (at least) are seen to be behind it, this is enough to delineate the slope of the line that is the brick-wall limit on its side as we see it (and the fore-side of it, facing the drum). Taking that first slope that faces the stool, from the top-most visible part of the brick-wall, downward to the floor, shows that all the coils up to the base of the stool would lie behind the wall; regarding the base of the stool, the length of the brick-wall, being already chipped or broken at this level, would lie behind the base of the stool when extending the lesser slope from the fourth coil of the spring beneath the "hinge", downward, which prior would have needed to lie in front of the spring altogether, generating a contradiction (alternatively, the brick-wall would flow through the base). For the brick-wall to exist in front/on top of some of the coils to further down lie behind them (between the third, or fifth coils) and toward the base... the wall would need to be extending outwardly toward the viewer at the slope change of the brick-wall from its top-most point (which would be after the fourth, or fifth coil of the spring); this is evidently not proportionally apparent.
Another, more necessary possibility, is that the stool is not standing perpendicular to the ground, but very close to it, and nearly parallel vis-à-vis the brick-wall, meaning some of the coils could stand in front the brick-wall near the base and behind it toward the "hinge", as its height increases, ending atop the white or grey pony brick-wall; both the stool as well as the brick-wall or pony-wall could have an inclination, as well,
6. The white brick-wall, seems like a separate structure than the window framing, as it's neither the same tone of color, or the same manufacturing ~ it looks like it is in contact with the window, however it is not parallel with the opposite window-wall frame inside the storefront for it to be part of the window, seemingly, however it can still be interpreted as being part of its structure, otherwise, or just simply, there close to the window, like a storefront architectural or stage element; strangely, this white/grey brick-wall, is more parallel with the reflection of the wall and window, or door, on the street-level public domain (opposite side of the intentional angle, position, or orientation point of view of this image), than the window wall framing on the right-side of the picture...

The point, of course, is not to prove necessarily that there are simply momentary inconsistencies in an image, when showing if it is authentically real or not; what is sought is the level of improbability needed to generate what is seen, including if some details are entirely our of reach from what is expected, and possible. When that expectation of what is ordinary is unmet in an undesirable way, as if there were a removal from an overall perceivable optimal balance and structural stability, the setting becomes uneasy, as if there is something manipulating the natural layout and order of what is "statistically normally expected" from day-to-day life. If multiple of these details are found, or expected, then there is possibly an object that "organizes" and points to these elements directly in some fluid way, in an effort to create an inversion of a fundamental archetype: disorder and chaos meaningfully being organized and given structure, as if it carried a true and regular purpose, in its case to trick, or deceive, into believing it is what it is not: a natural setting. The balancing law is one where form is organized by order itself for its own sake (i.e, fundamental symmetry), and where disorder undoes itself back into order, when it comes in contact with it. In this regard, the types of objects and elements used in the image can amplify this inversion, as can be interpreted in this example: a central image of an eye, surrounded in a dark smoky halo, whose golden rays of glory are obfuscated by it. Inside, in an area approximately equivalent to the eye's orbicularis oculi that surrounds the eye lids and the skeletal opening of the eye, a bleaching of the eye, feeling empty of emotional cues. The outline to the eye itself is barely visible, and the iris, and pupil, are fractured by inconsistency in coloring sustained from paint subsiding (as if time itself amplified the smoky effect), conflicting and incompatible with the organic theme of visual clarity, acuity, and even providence. How strongly do objects, such as this eye, unconsciously and subconsciously amplify and attract the perception of an unnatural setting's evasive, forceful structural improbability and perceived situational imbalance? Or steer away from noticing them?

Some refreshing storefronts here: https://www.cnu.org/publicsquare/2017/02/26/great-storefronts
About the Independent Order of Odd Fellows (IOOF): https://odd-fellows.org/about
(Disclaimer: neither the IOOF, nor the Oddfellows Cafe + Bar, explicitly endorse this original work, or its description.)