Take, for example, this image of a fire in a metal cart, which seems to embody Casaca's "emptiness"—what could possibly be more bleak than a garbage fire in an abandoned cart on a freezing day? Still, given that pretty much every image is so blue, it's hard to believe that it's actually cold here, or even that the scene we're seeing is really so deserted. None of this should be held against Casaca, as if we should be expecting photographers to reveal some sort of truth to us. Instead, considering Casaca's images on their own terms suggests that he's putting forth a highly personal view of Dalian, and in any case it is clear that Casaca is very aware of his own limitations as a foreigner. In a strange way, he could claim that by attempting to represent his own feelings so drastically—a way of shooting that places him close to desolation fiends like Daido Moriyama—he's actually being quite truthful.