What does this photograph show that is explained in the chapter?

   This photograph reminds me of the stereograph entitled, "Man with Big Shoes". It is an example of  the "distortions of space" that often occur in photographs. These distortions of space are created by "point of view". Painters often deal with this situation, using the technique of "foreshortening". For example, our text uses an illustration of a painting by Andrea Mantegna called, "The Dead Christ". In this work of art, it is easy to see how the artist adjusted the dimension of Christ's extremities, via foreshortening, to correct that distortion. In the past, it use to be almost impossible to correct such
distortions of space in photographs. Now, with digital photograhy and programs like "photoshop" it
is possible. This photograph illustrates a number of concepts mentioned in Chapter 5. For instance, the angling of the walls, base boards, ceiling, and crown moldings are good examples of using "linear perspective" to create depth in a 2-D surface. The theme of this photo is a little ambiguous. Is someone resting, after having worked hard to "move out"? Is someone exulting in their new home,
prior to "moving in"? Another mystery, are these the feet of a man or woman? Are they the feet of
a child or adult? It's difficult to say, because the scale is distorted and they have been "disembodied" by the artist! The photographer has been clever in his use of various artistic techniques. For example,
because of the artist's use of "vantage point", the doors look smaller than the feet. (Can we believe our eyes? No!) His use of lighting to create shadows and overlapping of images, both in the crossed feet of the subject, suggest depth and three-dimensionality to this work. My favorite photograph in this chapter is Paul Strand's, "Abstraction, Porch Shadows". Why? Because he accomplishes in an "unmanipulated photograph", what some other artists would need photoshop to do. He uses real physical objects to create a disorienting abstraction.  How? He uses "odd points of view, extreme close-ups, and radical cropping" of objects in the print to make them essentially unrecognizable. So, he has managed to "morph" the real into the abstract. A wonderfully executed composition.