WHAT IS IN AN AND.

THERE IS A QUALITY THAT IS UNIQUE TO THE OTHER ENVIRONMENT.

YOU ARE ABLE TO HEAR THE CRACKLE OF THE DRY LAKE BED BREAK UNDER EACH STEP YOU TAKE.

YOU ARE AWARE OF HOW MUCH OF YOUR BODY IS NOT DESIGNED FOR THE DESERT.

THE DIFFERENCE BETWEEN THE NATURAL ENVIRONMENT AND WHAT IS A SCAR OF A PROCESS BECAUSE THE DRY LIQUID IS MISUNDERSTOOD AT FIRST GLANCE OF THE GEOLOGICAL FORMATION RATHER THAN WHAT IT IS, WHICH IS A SCAR THAT RESULTS FROM THE ACTION OF REMOVING WATER AND WHAT HAPPENS WHEN THE SUN AND WIND CREATE A NEW LANDSCAPE AS A RESULT OF THE ABSENCE OF WATER.

IT IS THE AREA THAT THIS PROJECT FOCUSES ON IS THE TERRITORY GEOGRAPHICALLY BETWEEN THE ROCKIES AND THE SIERRAS.

THE WEST OF THE UNITED STATES RUNS A SERIES OF MAGNIFICENT CASCADING LAKES THAT STRETCHED ALL THE WAY FROM THE SIERRAS TO THE OCEAN AND ONE FLOWED RIGHT INTO ANOTHER.

IT WAS A PARADISE.

WESTWARD EXPANSION WAS LARGELY A QUEST FOR THE MINERAL WEALTH OF THE WEST.

SILVER MINING WAS A HUGE PULL TO BRING PEOPLE OUT WEST AND THE RAILWAYS ALLOW THAT TO HAPPEN ANY IMMENSE AMOUNT OF WATER COMING FROM THE SIERRAS GREW A RANCHING POPULATION THAT SUPPORTED SILVER MINING.

GEORGE EASTMAN HAVE THE ABILITY TO THINK THROUGH THE FIRST MASS- PRODUCED ART PRACTICE THE WORLD WOULD EVER KNOW.

BECAUSE THE AVAILABILITY OF SILVER THAT WAS COMING EAST TO PHILADELPHIA WHERE MONEY WAS MINTED AND HE DEVELOPED A POCKET INSTA MEDIC CAMERA.

-- AND STIGMATIC -- INSTAMATIC CAMERA.

ONCE HE WAS ABLE TO MAKE HIS BUSINESS MODEL WORK, HE WENT ON TO HELP MAKE FILM AVAILABLE FOR FILMMAKERS.

THAT WAS SHIPPED BACK TO EMERGING HOLLYWOOD AND TAKING BACK TO WHERE THE SILVER WAS MIND TO BEGIN WITH, WHICH WERE THEN EXPLOITED ALL AROUND THE WORLD.

ANOTHER MINING PHENOMENON THAT HAPPENED IN THE SAME LOCATION, WHICH IS THAT WATER STARTED TO BE MINED OUT OF THE MOUNTAINS TO FEED THE EMERGING CITY THAT WAS GROWING AROUND.

THE MAYOR OF THE CITY OF LOS ANGELES WITH HIS WATER COMMISSIONER TOOK A TRIP IN 1905.

THEY CONCEIVED IT WAS POSSIBLE TO MOVE WATER FROM THE MOUNTAIN TOPS TO LOS ANGELES SIMPLY BY GRAVITY.

THEY WERE ABLE TO USE THE MULE PACKING INDUSTRY, WHICH SERVICED ALL THE MINES FROM ALL THE RANCHERS TO CONSTRUCT AN ELABORATE SERIES OF PUDDLES AND PIPES THAT STRETCHED ALL THE WAY FROM THE TALLEST PEAK IN THE AMERICAS TO THE CASCADES HERE IN LOS ANGELES.

ON NOVEMBER 5, 1913, WILLIAM MULHOLLAND AND THE MAYOR OPENS THE WATER AT THE CASCADES WITH A FAMOUS SLEW -- FAMOUS SHORT SPEECH.

IT WAS MIND-BOGGLING, THE SINGLE FEET OF MOVING WATER 240 MILES AWAY THROUGH A GRAVITY FEED HAS REDEFINED GLACIAL TIME.

THE PORTRAIT I GAVE YOU THAT STRETCHED BETWEEN THE ROCKIES AND THE SIERRAS WAS ABSOLUTELY CHANGED INTO THE CONTEMPORARY PICTURE OF THE WEST WE NOW KNOW BY THE EMERGENCE OF THE L.A.

AQUEDUCT.

IT HAS BEEN ACKNOWLEDGED BY THE EPA AS BEING A CARCINOGENIC CATASTROPHE.

THE PEOPLE WHO PLANNED THE L.A.

AQUEDUCT HAD NO WAY TO KNOW THAT.

THEY CANNOT BE BLAMED FOR THE FACTS THAT ARSENIC IS FLOATING AROUND THE UNIVERSE, BUT IT IS A PROBLEM THAT WE NEED TO RESOLVE.

THE WORK I AM DOING WITH THE STUDIO CAN BE SEEN AS AN ACT OF RECONCILIATION.

IT IS ABOUT BEING PRESENT AND ACCOUNTABLE AS WITNESSES AND STORYTELLERS.

THE WORLD OF MULHOLLAND AND THE PEOPLE WHO BROKERED THE L.A.

AQUEDUCT.

THE WORLD THAT WILL EMERGE HAS YET TO BE BORN.

SINCE 2005, WHAT HAS GUIDED MY ACTIONS IS THE NOTION THAT ARTISTS MUST CREATE ON THE SAME SCALE THAT SOCIETY HAS THE CAPACITY TO DESTROY.

HERE IS THIS 100 MILES SCAR.

HOW DO WE TRANSFORM THIS?

WHAT CAN WE DO?

IT HAS TO BE SOUND.

WHAT IS THE SOUND OF TRANSFORMATION?

I LOOKED AT THOSE GIANT SILOS AT THE EDGE OF THE DRY LAKE BED AND I IMAGINED THAT THEY MADE A SOUND SO PURE THAT IT WAS CAPABLE OF ACTUALLY MOVING THE STAGNANCY OF 80 YEARS OF SUNBAKED DECAY.

THE AMPLE FLOWS TO CREATE SOUND AND COMMUNICATE IT.

THE SECOND IMPULSE WAS THE VALLEY WAS THE GRETA GARBO -- THERE IS NO BAD SHOT AVAILABLE.

THE IDEA OF A TRANSFORMATIVE SOUND.

I HAD IDEA THAT FILM COULD BE THE VEHICLE TO DELIVER THAT TRANSFORMATIVE SOUND.

I HAD THE IDEA THAT FILMMAKING AS A PROCESS COULD CATALYZE THE COMMUNITY INTO A NEW SITUATION.

>> LAUREN HAS CONSTRUCTED A NARRATIVE FOR THE VALLEY THAT SHE USES FOR DESCRIBING WHAT SHE IS DOING.

WE HAVE BEEN USING IT FOR A VARIETY OF DIFFERENT THINGS.

THE CRYSTAL AND WATER ORCHESTRA.

IT HAS FUNCTIONED AS A MEETING PLACE.

>> INSIDE OF THAT SILO IS WHERE WE WERE DEVELOPING FILM FOR THE ROBERT WORKSHOP.

IT WAS INSIDE OF THAT SILO THAT WE HAD THE FIRST CONVERSATIONS ABOUT THE INDEX IMAGE.

IT IS FITTING BECAUSE THE SILO USED TO HOLD LAKEBED.

>> WE RECOGNIZED THAT THIS COULD ALSO BE A CAMERA.

IT COULD BE THE OBSERVER OF THE LAKE.

IT HAS BEEN THERE OBSERVING.

WE HAVE TALKED ABOUT HOW THIS CYLINDER HAS POSSIBLY COLLECTED YEARS AND YEARS OF IMAGERY.

>> IT IS PRESENT, BUT WITHOUT AND I -- AN EYE.

>> THEY DID IT COMPLETELY ON THEIR OWN.

THEY DRILLED A HOLE THROUGH THAT STEEL.

WE HAVE TO SHOW YOU SOMETHING.

IT WAS JUST AN UNBELIEVABLE EXPERIENCE TO REALIZE THEY HAD ACTUALLY CREATED THIS MONUMENTAL IMAGE OF THE LANDSCAPE.

INSCRIBED INSIDE OF THE SILO FOR AS LONG AS THAT SILO EXISTS.

>> WHAT WAS OUTSIDE BECAME INSIDE.

WHEN YOU WALK INTO THE SILO, YOU ARE WALKING INTO THE LAKE.

YOU ARE WALKING INTO A 180 DEGREE VIEW THAT GETS TRANSFORMED INTO A 360 DEGREE VIEW.

THE FUNCTION OF THE EYE FOR THIS LONG-TERM PROJECT IS REALLY IMPORTANT.

>> OUR HUMAN ANCESTORS PROBABLY SACKED IN CAVES AND WAITED OUT RAINSTORMS AND WHEN THERE WAS LIGHTNING BOLTS, THEY WOULD HAVE SEEN THEIR WORLD REFLECTED IN THE STONE SCAPES.

HOW DID WE KNOW THAT THEY DID NOT DRAW THEM IN CAVE PAINTINGS?

THE SILO IS A CONTEMPORARY VERSION.

I HAD THIS LIGHTNING BOLT WHERE I REALIZED ALL I WOULD REALLY LIKE TO GET FROM THIS WHOLE PROCESS IS ONE TINY PIECE OF FILM THAT IS MADE OF THE VALLEY, BY THE VALLEY, ABOUT ITSELF.

THE ENTIRE THING WOULD BE MADE HERE AND WE WOULD KNOW ABOUT THE ECONOMY OF THIS GESTURE.

IT WOULD TALK IN SOME ANALOGOUS WAY TO THE CONSTRUCTION OF THE AQUEDUCT.

IT TOOK AN EXTRAORDINARY ACT OF DETERMINED FOCUS TO TAKE SEVEN YEARS AND MOVE WATER FROM OUR WHITNEY TO L.A.

-- FROM MOUNT WHITNEY TO L.A.. MY QUEST HAS BEEN TO MAKE A SINGLE FRAME OF FILM WHOSE SUBJECT IS THE VALLEY.

>> IN 2010, LAUREN DESCRIBED HIS VISION OF MAKING A PHOTOGRAPH OF THE LANDSCAPE OUT OF THE LANDSCAPE.

THIS IDEA OF DIRECT REPRESENTATION.

IT BECAME CLEAR IN ORDER TO DO THIS, THE PHOTOGRAPHERS HAD TO ENTER THE CAMERA.

STEP THROUGH THAT BARRIER.

WE COULD NO LONGER STAND IN THE PRIVILEGED POSITION.

WE HAD TO ENTER INTO THE IMAGE SPACE.

WE HAD TO TAKE THAT STEP.

THE MAP ON THE TERRITORY.

THE MAP BECOMING SO LARGE THAT IT REPLACES THE TERRITORY.

THAT IS WHAT THE PURSUIT IS ALL ABOUT.

>> THE CONCEPT THAT WE HAVE GONE THROUGH OVARY ACTIVATING -- THAT WE HAVE GONE THROUGH REACTIVATING, THE DEVICE OF WONDER OF FILM BEGAN.

>> IN HIS VISION, THIS PURSUIT OF AN INDEX -- IMAGE MADE FROM THE LANDSCAPE, THE FIRST INGREDIENT THAT WAS MADE WAS A DEVELOPER.

LAUREN HAD SEEN THIS WORKSHOP WITH ROBERT WHERE SHE SAW HIM DEVELOP 16MM FILM OUT OF COFFEE.

DO YOU THINK YOU COULD MAKE A DEVELOPER OUT OF THE LANDSCAPE OFF THE DUST OF THE VALLEY?

WE MADE A DEVELOPER OUT OF A SODA ASH THAT NATURALLY OCCURS HERE IN THE LAKEBED ALONG WITH COFFEE AND VITAMIN C FROM ORANGE JUICE.

WE STARTED THIS INQUIRY TO START MINING AND SOURCING ALL OF THE MATERIAL TO REINVENT PHOTOGRAPHY OUT OF THIS VALLEY.

WE HAVE CONTINUED THAT RESEARCH IN ONE OF THE THINGS WE ARE LOOKING FOR HIS PHOTOGRAPHIC FIXERS.

THIS IS THE MATERIAL THAT MAKES THE IMAGE STAY ON THE PAPER AFTER YOU HAVE DEVELOPED IT.

>> IT IS SULFUR RICH OUT HERE.

THERE ARE THESE HOT SPRINGS BUBBLING UP, SULFITE RICH WATER.

THIS IS A CHEMICAL SOUP OUT HERE.

IT HAS PUT SO MUCH CHEMISTRY COMING OUT OF THE MOUNTAINS ON BOTH SIDES.

IT FILLS THIS LAKEBED UP WITH EVERYTHING.

>> IT IS LIKE A PERIODIC TABLE.

>> WE SAT HERE ON THE EDGE OF THE LAKE AND SURMISE THAT MOST OF THE STUFF THAT WE NEED US TO BE OUT HERE.

-- MUST BE OUT HERE.

THESE CONTAIN A SOLUTION THAT REACTS WITH THE SODIUM THIOSULFATE THAT WE ARE LOOKING FOR.

PUT A SAMPLE OF THIS WATER INTO A BEAKER AND IT WILL SUCK SOME OF THAT SAMPLE INTO THE VIAL.

THE RATE IT CHANGES COLOR WILL TELL US HOW MUCH IS OCCURRING.

>> IT WAS PURPLE FOR A SECOND AND NOW IT IS CLEAR.

HOW MUCH LIQUID DID YOU PULL IN?

>> FIXER -- >> YES, IT IS FIXER.

>> THE RESULTS WERE ABSOLUTELY NOT WHAT WE WERE EXPECT HIM.

>> WE FOUND A VERY CONCENTRATED POOL.

WHEN LOOKING OUT THE SATELLITE MAP, WE REALIZED THE POOL WAS RED IN COLOR.

THAT TRIGGERED SOMETHING IN MY MEMORY FROM WHEN I WAS DOING ALL OF THE RESEARCH ON THE GEOCHEMISTRY OF THIS LAKE.

I WAS READING ABOUT METABOLIZING BACTERIA.

ONE OF THE FERRIES -- ONE OF THE THEORIES, IT MAY BE THE POOL'S RICHEST IN SODIUM BECAUSE THE BACTERIA ARE BASICALLY LOOKING FOR THE SAME TRACE ELEMENT WE ARE LOOKING FOR.

>> IT IS ALL-NATURAL.

THIS IS AN ECOSYSTEM IN ITSELF EVEN THOUGH IT IS HUMAN MODIFIED .

SOMETHING LIKE PHOTOGRAPHY, IT IS ALL-NATURAL MATERIALS.

>> NEXT STOP WILL BE TO GO TO THE EXPERIMENT.

THE TEST SITE.

>> WE HAVE A FEW EXPERIENCE -- EXPERIMENTS GOING.

WE HAVE SOME FILM BURIED UNDER THEIR AND WE LAID THAT IN THE SALT TO SEE HOW THE FILM WILL REACT WITH THE CHEMISTRY.

IT IS AN UNDEVELOPED PIECE OF FILM.

>> WE PLACED SOME OTHER ONES IN THESE POOLS OVER HERE TO SEE IF IT WAS ANY DIFFERENT.

>> THIS IS A PHOTO.

>> THIS EXPERIMENT WAS ABOUT MAKING A PURE CHEMICAL IMAGE.

SEE WITH THE NATURAL CHEMISTRY, AND NOT EVEN THINKING ABOUT DEVELOPER AND FIXER, THIS IS JUST SEEING WHAT THE LAKE ITSELF WILL DO TO FILM.

YOU CAN SEE THE IRIDESCENCE.

>> WOW.

WE HAVE A LOT OF COLORS HAPPENING.

>> THAT WENT CLEAR.

THAT ONE WAS STRIPPED.

>> THAT IS AWESOME.

I LOVE THAT.

>> THAT IS TOTALLY CLEAR.

>> WE HAD OUR HYDRATION TEST KIT.

WE WERE COLLECTING WATER SAMPLES.

AS OUR EXPERIMENTATION CONTINUED, THE LABORATORY FELL AWAY AND NOW WE ARE BECOMING MORE INTERESTED IN LETTING THE LAKEBED BE THE LABORATORY.

USING THE DIFFERENT POOLS TO BE OUR DEVELOPING PLACE AND THINK THE NATURAL NATIVE CHEMISTRY.

-- AND SEEING THE NATIVE NATURAL CHEMISTRY.

THE ASPECT OF THE RHYTHM OF NIGHT AND DAY.

THE NIGHT BECOMES OUR DARKROOM AND THE DAYTIME AS OUR EXPOSURE.

>> LAUREN HAD BEEN WORKING AND ABANDONED SILVER MINE OR A GHOST TOWN.

IT WAS ON THE OTHER SIDE.

WHEN SHE THOUGHT SILVER WAS A COMPONENT, WE HAVE TO GO BACK.

THAT IS THE THIRD ELEMENT IN THE PRODUCTION OF THE PHOTOGRAPHY.

>> I AM ROBERT.

WE ARE IN THE CENTER OF TOWN.

IT WAS FOUNDED BY THREE MEXICANS IN 1862.

BY 1865, THEY GOT SERIOUS ABOUT MINING, BUT THERE WAS A GUY WHO HAD A STORE.

HE THOUGHT, I SHOULD TAKE A LOOK.

THERE WERE 700 REGISTERED CLAIMS.

EVERYTHING FROM SILVER, LIMESTONE, MARBLE.

SUPPOSEDLY $17 MILLION WORTH OF SILVER, WHICH TRANSLATES TO HALF A BILLION TODAY.

IT ENCOMPASSED 2.5 SQUARE MILES.

OVER 200 BUILDINGS.

37 MILES OF UNDERGROUND WORKINGS.

EVERY FLAT SPOT HAD A BUILDING.

SEVEN SALOONS, THREE BROTHELS.

SUPPOSEDLY THEY MOVED ABOVE TO THE FELLOWSHIP HALL.

THEY FOUND FIVE GLASS PERFUME BOTTLES UP THERE.

A LOT OF STUFF WENT ON UP HERE.

THE GROUP DID AN UNBELIEVABLE RESTORATION.

THAT BUILDING WAS GOING TO FALL APART AND I WAS SHOCKED.

I WAS CASTING SILVER BUTTONS.

NEXT, HERE COMES THREE TRACTORS.

I WAS SITTING THERE TOTALLY DUMBFOUNDED.

THIS IS GOING TO HAPPEN.

>> ONE OF THE PROJECTS LAUREN TALKED ABOUT WAS TO MAKE AN IMAGE OF THE VALLEY FROM THE VALLEY.

SILVER IS THE KEY COMPONENT IN PHOTOGRAPHY AND WE RECOGNIZED IN ORDER FOR US TO MAKE A PHOTOGRAPH FROM THE VALLEY, WE NEEDED THE SILVER.

>> THAT IS GORGEOUS.

>> YOU HAVE SOME GOOD SILVER PRODUCT.

>> IN OUR PHOTOGRAPHY, WE ARE USING PHOTOGRAPHIC FIXER.

THE BLACK IS PIECES OF SILVER.

WHEN YOU FIX AN IMAGE, SILVER GETS DISSOLVED INTO THAT CHEMISTRY.

THAT IS BASIC PHOTOGRAPHY.

>> THAT BRINGS US TO WORKING WITH YOU APPEAR.

PRODUCING THOSE SILVER BUTTONS FROM -- WHAT YOU HAVE COMING OUT OF THIS MINE.

WE HAVE GONE THROUGH EACH STEP AND WE WANT TO PUT THE PIECES TOGETHER.

THIS IMAGE THAT IS A PHOTOGRAPH OF THE LANDSCAPE MADE OUT OF THE LANDSCAPE.

WHAT WE WANT YOUR HELP WITH IS TO TAKE THIS ORE AND GET A PURIFIED PIECE OF SILVER AND THAT WILL BECOME THE SILVER IN OUR IMAGE.

>> IT IS ABOUT THE LANDSCAPE.

IT IS ALSO ABOUT THE STUDIO.

IT IS NOT JUST ANY SILVER.

>> WHAT YOU'RE LOOKING FOR IS THE GRAIN.

FINE, SALT GRAIN.

THIS IS A BEAUTIFUL SPECIMEN.

WHAT YOU NEED TO DO IS CRUSH IT AS SMALL AS YOU CAN IN THE FIRST PLACE.

GRIND IT UP TO A POWDER.

MIX IT UP.

YOU NEED TO PUT A FLUX IN IT.

IT WILL GET UP TO 2500 DEGREES.

I EASILY RUN THIS BETWEEN 22 AND 24.

YOU CAN TELL BY THE COLLAR.

WHEN IT STARTS TO SMOKE, YOU KNOW IT IS GETTING READY TO GO.

>> LOOK AT THE BELOW LOOK -- LOOK AT THE GLOW.

IT IS GORGEOUS.

>> WE HAVE BEEN WATCHING SHIPPING CONTAINERS PILEUP IN THE PORT OF LONG BEACH.

HOW LONG WILL GLOBAL TRADE BE THE DOMINANT WAY THAT WE EXIST ECONOMICALLY IN THE WORLD?

WHY ARE WE IMPORTING THINGS THAT WE CAN MAKE AT HOME?

IT WAS THE PERFECT POETIC CONSTRUCT TO MARRY THE CONCEPT OF THE DRY LAKE BED WITH PHOTOGRAPHY.

NOTHING BUT THE LIKENESS OF THE WORLD YOU ARE PASSING BY.

>> THERE IS ALMOST A VACUUM AND IN THE STUDIO, THERE HAD BEEN A NEED FOR SOME KIND OF IMAGE CAPTURE THAT WAS ON SCALE WITH THE SCALE OF LAUREN'S WORK.

IT IS A 20 FOOT LONG SHIPPING CONTAINER.

THESE ARE THE BIG CONTAINERS YOU SEE GETTING LOADED AT THE PORT OF LOS ANGELES.

IT IS THE ARCHETYPAL BLACK BOX, THE CAMERA OBSCURA.

>> WHEN YOU ARE IN THE CAMERA, YOU ARE HERE, BUT YOU ARE SEPARATED.

YOU ARE NOT EVEN OBSERVING IT IN THE RIGHT WAY.

IT IS UPSIDE DOWN AND.

-- IT IS UPSIDE DOWN.

YOU HAVE EIGHT SOLAR PANELS ON THE ROOF OF THE CAMERA AND THEY ARE CONNECTED TO A BATTERY BANK.

IT EVEN POWERS THIS OUT LET'S RIGHT HERE.

-- THIS OUTLET RIGHT HERE.

I ALSO HAVE A LINK SO YOU CAN WATCH THIS ON THE INTERNET.

YOU CAN WATCH US WORK WHILE YOU ARE SITTING IN YOUR LIVING ROOM.

>> THIS IS SOMETHING FOR $20, YOU CAN BUY A LENS LIKE THIS.

ANYBODY CAN DO THIS.

THAT IS WHAT WE HAVE BUILT HERE.

IT IS THE MOST SIMPLE CAMERA.

PEOPLE GET IN THE CAMERA.

IT TAKES A MOMENT FOR THEM TO REALIZE, THIS IS THE PHYSICAL LIGHT FROM THE OUTSIDE.

THERE IS NO ELECTRICITY INVOLVED.

IT IS BEING PROJECTED THROUGH THIS.

THIS IS A PHYSICAL PROPERTY OF LIGHT.

>> OK.

VERY NICE.

THAT IS PRETTY GOOD RIGHT THERE.

HOLD IT.

>> THAT IS GOING TO BE OUR SHOT.

>> WE ARE READY TO TAKE THE SHOT.

WE HAVE TO STABILIZE THE CAMERA.

WE HAVE FOR HIGH LIFT JACKS -- FOUR HIGH LIFT JACKS TO MAKE SURE IT IS STABILIZED.

>> USUALLY, A CAMERA HAS A LENS THAT MOVES IN AND OUT.

WE WANTED THIS TO BE AS INCONSPICUOUS AS POSSIBLE.

>> WE COME IN AND OUT OF FOCUS.

>> TO BE INSIDE OF THIS CAMERA, IT IS A GIANT SCREEN AND YOU SEE EXACTLY WHAT IS HAPPENING THE ON THE WALL.

YOU ARE OBSERVING THE WORLD FROM THAT STATE.

>> HOW MANY STOPS DO YOU WANT TO GO DOWN?

THAT'S PRETTY FAR.

>> IT WILL BE A VERY LONG EXPOSURE.

>> WE HAVE NO POWER HERE.

>> THE CAMERA IS NOT ONLY THE CAMERA TAKING THE PHOTOS.

IT IS THE LAB DEVELOPING THE PHOTOS.

IT IS A SELF-CONTAINED FILM INDUSTRY UNIT.

IT IS ABOUT INGENUITY AND ALL OF THESE THEMES WE ARE TRYING TO CELEBRATE ONLY TALK ABOUT THE MANDATE TO BE FORWARD-LOOKING WHICH IS THE UNIQUE CONCEPT OF THE AMERICAN WEST THAT WE CAN RE-CREATE OUR UNIVERSE THROUGH A DETERMINED DESIRE TO MOVE FORWARD.

>> WE CAN INVERT THE DISPLAY ON THE IPHONE AND IT TRANSFORMS THE NEGATIVE INTO A POSITIVE.

IT IS KIND OF NEAT.

IT BECOMES LIKE A MAGIC WINDOW.

>> NOW WE WILL GO BACK IN.

>> IT REMINDS US THAT THE PHOTOGRAPHIC IMAGES IS THE REAL THING.

IT IS NOT A LIKENESS OF SOMETHING ELSE.

THAT IS WHAT WE LOSE IN THE DIGITAL ERA, THERE IS A PHYSICAL ABSENCE WHEN YOU HAVE A DIGITAL FILE.

THE PHYSICAL REALITY OF IT AND WHAT IT PHOTOGRAPHS IS ITS OWN WORLD.

IT IS NOT DOCUMENTING IN A TRADITIONAL SENSE.

IT IS CREATING SOMETHING UNIQUE AND REAL THAT IS SIMILAR TO WHAT IT IS PHOTOGRAPHING, BUT NOT THE SAME.

IT IS THE BEGINNING OF REMINDING OURSELVES THAT IT IS NOT THE SAME THING.

IN THAT REGARD, IT IS A GREAT TOOL TO COMMUNICATE WHAT IS GOING ON BECAUSE THE IMAGES WE ARE MAKING WITH THE LIMINAL CAMERA HAVE SO MUCH PRESENCE THAT THEY DEMAND THAT YOU AS A VIEWER ENTER, COME TO THEM, NOT JUST SEE THEM.

I AM DOING A SCHEMATIC DIAGRAM FOR OUR SHOT.

HERE IS THE SILO.

HERE IS THE LENS OF THE SILO.

WE WILL MAKE A SILO CAMERA PORTRAIT OF THE LIMINAL CAMERA.

THE CAMERA IS RIGHT DOWN HERE.

WE ARE LOOKING AT A MOMENT WHERE THEY ARE REFLECTING ONE ANOTHER AT THE SAME MOMENT IN TIME.

WE ARE TALKING ABOUT THIS IDEA OF HOW OUR PARTICIPATION IS MAKING OF THE WESTERN.

IT WAS THE IDEA OF A REINVENTED LANDSCAPE TO COMMUNICATE TO THE REST OF THE WORLD WHAT THE WEST IS ALL ABOUT.

WE ARE REEVALUATING WHAT FILMMAKING IS TO THE WEST.

IT IS NO LONGER SIMPLY ABOUT THE ENTERTAINMENT INDUSTRY.

THE LANDSCAPE MATERIAL IS BEING USED TO CREATE A PHOTOGRAPHIC IMAGE TO MAKE A STORY ABOUT IT.

YOU RARELY GET AS A DIRECTOR SUCH A GREAT MOMENTS WHERE YOU ARE ABLE TO LOOK AT THE HISTORY OF PHOTOGRAPHY IN ONE SHOT MAKING THE LANDSCAPE BOTH THE SUBJECT AND THE OBJECT OF THE INQUIRY AND TO REALLY UNDERSTAND THE INQUIRY INVOLVES PARTICIPATION.

THE LIMINAL CAMERA ON THE SILO CAMERA HAVE VERY DIFFERENT PROCESSES OF WORKING.

IT IS AN EXTREMELY COMPLEX SERIES OF SHOTS THAT WE TOOK, WHICH I FOUND REALLY EXCITING.

YOU TAKE YOUR POSITIONS, THERE IS THE GENTLEMAN'S AGREEMENT THAT WE WAIT UNTIL WE DRAW.

INSTEAD OF DRAWING ARGONNE, -- ARAGON, THE LENS OPENS AND WE ALL SHOOT.

IT LASTS FOR A MOMENT AND IT IS ALL OVER.

END OF STORY.