We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
Early 21st century Hyperrealism was founded upon the aesthetic principles of Photorealism. However, it is starkly contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Despite any apparent similarities, the two styles are distinctly apart from one another. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that unlike Photorealism, often is narrative and emotive in its depictions. Photorealist painters tended to imitate photographic images, often omitting or abstracting certain finite detail in order to maintain a consistent overall pictorial design. They often consciously omitted human emotion, political value and narrative elements.
I would call the painting below by Denis Peterson photorealism, but I am not sure. Artists just paint what they want:
Claudio Bravo. This is Cristo en el Sepulcro (charcoal on paper):
Many people take photorealism as the standard of visual truth, when in fact it's just the highly detailed rendering of how a camera sees object. My understanding of hyperrealism is that it's the attempt to escape the camera's limitations. Both of the bottom two pictures exhibit the limited tonal palette that you find with film, whereas even VelveetaChrome won't get you the luxurious palette in Esteves's paiting. Likewise for the consistency of the lighting & perspective. The biggest strength of painters over photographers is that painters get to cheat in service of their objectives -- folks like Esteves really seem to get that.