"Industry," featured today at FILE magazine, was initially conceived as a response to some of John's work with dioramas and his particular use of depth of field to create a macro effect in large scale environments. Both posts begin to examine the viewers willingness to suspend their disbelief. I've always been interested in the point when a photograph ceases to be perceived as its content and emerges as an object in its own right. A similar point exists during a play when the curtains are drawn back but before the actors interact with the set. For a brief while the structures remain inert and obvious. It's not until the scene is set and the dialog begins that the viewer forgets the theater.I was mulling over these ideas while driving and snapped a few photos of the passing factories to experiment with later. The technique I wanted to recreate was famously used by Walt Disney in the introduction of Bambi. Several glass panels were painted, then set behind each other and filmed while moving at different speeds. This gave a unique depth to the animation.
Composite:
I think the final image gets at the paradox of what industry symbolizes in a post revolution eco-conscious paradigm. The glowing lights and horizon reminded me of a description of Sir Henry Bessemer's smeltery which reportedly ran 24hrs a day lighting the sky and producing the first controllable purification of iron into steel in the western world. In essence giving birth to the material process which built our great cities. Thanks again to FILE Magazine and those interested in RedTown's process.
