Yes, I enjoy Escher's surrealism too -- especially his stairways that seem correct until you look closer.
Here's some help (maybe) in sorting out the arches. This is the original in color, just as it came off the D3, but with a quick pass through smart sharpen.
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And here's a record shot I made this morning at 24mm that shows the environment. The blasted cars are always parked back there and the stairwell in the middle of the sequence of arches looks like an afterthought since no architect in his right mind would spoil that arch sequence that way. This, by the way, is just an entryway to a large 13 story building.
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Dave, You were close. I was using a 24-120mm lens and I shot at 120mm in order to exclude the distractions.
Jeff, I may have over-structured the B&W, but I think the surrealism is aided by the extra local contrast. I guess it's a call shot. I usually don't like to show anything I've just shot for several reasons. There are times -- very, very rare ones -- when I make a shot and know I've got something, but usually I have to get the stuff onto my computer and, after culling the obvious losers, let it sit for at least a few days before I make any judgments. One problem is that the tolerable stuff you just did is always the best you've ever done... until you look again later and reality sets in. Then there are the rare times when something I more or less turned up my nose at just after I shot it begins to grow on me.
Ron, Actually, it's real brick, but a lighter color than I'd prefer. I watched them lay the brick on some mornings when the building was going up. The color and environment shots should help to make the real situation clear.
Andrew. You're pretty close to right. The arches are set up at 90 degree angles to each other.
