This is a similar subject to the preceding example, yet it takes advantage of an entirely different use of the wideangle lens. The great reclining Buddha of Bagon was located in very tight building. The wideangle lens allowed me to some how make a photo of it. Yet this even larger reclining Buddha is housed in a massive structure with plenty of space to maneuver. Here the problem was not to somehow fit the Buddha into the frame. Instead, the goal is to stress the huge scale of the Buddha figure itself. The 24mm lens does this very well. I found a solitary monk praying to this enormous figure and used a vantage point that allowed me to create scale incongruity by contrasting scale relationships. I anchor the photo along its left hand edge, stressing the huge arm holding up the head, and I compare that big arm to the tiny monk in the lower right hand corner, who also uses his arms, but for a quite different purpose. The three layers in this image are stacked from left to right rather than from bottom to top. The foreground anchor is at left, the middle ground embraces the head and body of the Buddha figure, and the background features the point of the picture -- the tiny monk praying to the huge sculpture. Another incongruity stressed by the wideangle lens is the nature of the building itself. It could just as well be an industrial warehouse. Yet the Burmese use it as a house of worship. The wideangle effectively frames the Buddha in a mass of girders, panels, and towers, adding one incongruity to another.