Once in a while, as a photographer, you come across a view and know that this will be the shot of the day.
This is very satisfying. Even better and much rarer is it when you come across a location that feels like stepping out of reality into a scene where almost every view is powerful.
In the 90s, I spent a lot of time biking in the Siebengebirge, a usually rather scenic hilly region southeast of Bonn. Seeking exercise and one or two good views, I once stumbled across a gypsum mine, still active, but in a pretty desolate shape.
It felt like out of the sudden, color had been removed. It is one thing when you take black and white images, or when reality suddenly becomes black and white. Motives that will stay with you for decades emerge out of the dust.
The tension, however, is not between the remaining black and white. It is rather the almost existentialistic fight against decay, be it by machine, be it by nature.
The novel Woman in the Dunes by Kobo Abe, turned into a devastating film by Hiroshi Teshigahara, captures all this much better.
The Inner Frame 