In the early days of photography, the general public saw it as a scientific mechanism, capable of documenting evidence. Yet as the technology of photography developed, ideas about photography began to shift. In 1899, Alfred Stieglitz argued that photography valorized its artistic significance over technical knowledge, arguing that it was vital for photographers to think thoroughly when they have absolute control over their work. Photography is not only about scientific techniques, but also the mental ideology of the photographer. In this photography by Lion Feuchtwanger, the alleyway and buildings depicted inside the frame seem to have been intentionally selected. The composition, lighting, and lines create a sense of distortion and confusion. It is hard to determine the photograph’s exact timeframe and location. The dim, quasi-wall on the right blocks most of the viewers’ vision, so it is very challenging for anyone interested to pinpoint their geographical position. Moreover, the building structures seemingly lack unique cultural features, mostly covered with shadows and snow. That being said, these qualities seem to be artistic choices of Feuchtwanger, coming from his own thoughts. In fact, he might have been in the state of exile from Nazy Germany when he took these photos. The feelings and emotions conveyed by the image may be intertwined with the mentality of Feuchtwanger at that time. To be more specific, the photograph implies a loss and confusion in time and space, a distortion of the physical world, and almost a deprivation of one's sense of self. To look through the photographer’s perspective, he is entirely in the shade, and that is how the viewers feel when looking at the photo—standing in the dark on the rocky road with sources of light in the front and above the one’s head at a reachable distance. Even though the place where Feuchtwanger was standing was absent of light at the moment he took the picture, the composition implies this darkness will not last forever.