I chose to print them on Dibond, which are composites of two pre-painted sheets of.
In others, I added a lens flare and used the liquify tool to stretch and distort to create the movement that I sensed coming from the machines. In some cases, I cloned and stretched the effects of the prism from one image onto another. Once I made my selects, I turned to Photoshop. Post-production was equally as important as the shoot itself. I also shot directly through the prism, which distorted the picture by bringing in reflections of angles that weren’t directly in front of me. By shooting light through the prism while standing close to my subject, I was able to incorporate spectral rainbows into the pictures. However, a dense medium such as glass slows things down, dispersing the light and forming a spectrum. Light is generally seen as white, because it is moving through air. In addition to dragging the shutter, I placed the flash in different positions to create different moods and scenes, based on the energy of the space. It involves using a wireless transmitter which triggers an off-camera flash, and setting the shutter speed very low-say, to a quarter of a second-and moving the camera while I took the picture. Using my Canon DSLR, I used a technique that nightclub photographers have long employed to add movement to the pictures. The magnet was so powerful that I had to be very careful to not get too close, otherwise my camera would have been destroyed. A giant magnet in the center of the room was at the heart of a running experiment. Neatly organized cables wove rainbows of currents throughout the spaces. One lab-a jungle of wires, shiny objects and laser optics equipment-was a feast for the senses.
Portraying my interpretation of how these machines behaved, and how their functionality wasn’t visible to the human eye, was part of the challenge and fun. It was important to me to capture the laser beams, particles, and the essence of what machines were built to do. I wanted to photograph all of it: The way that the gloved hands interacted with the complex machinery the shiny objects the sparseness of the clean rooms. The symbiotic relationship among the people, spaces, and machines really stood out and I knew this was something I wanted to capture.Ī few weeks later, I returned and spent eight hours there. The spotless hallways led us to different rooms, thriving microcosms with unique personalities and energies. She gave me an overview of the different projects and introduced me to physicists and researchers who patiently explained their projects to me. Victoria Misenti, the lab’s Programs Manager and gatekeeper, showed me around. My first meeting didn’t involve making any pictures. But when I stepped into the Wright Lab on assignment for Maquette, I was introduced to a whole new world of concepts, words, and images. I scraped by in algebra, and have never taken a chemistry, calculus, or physics class. Throughout my life, I have managed to avoid most of the sciences and math.
Its director, Karsten Heeger, was integral in creating this self-sustaining ecosystem that functions as a platform for physicists to test out their theories. The Wright Laboratory is Yale’s physics laboratory where research is conducted to explore the unseen building blocks of space, time, and the universe. This includes being introduced to things you never knew existed-in this case, it was right on my doorstep. One of the great things about being a photographer is the exclusive access to people, places, and situations that many don’t have.
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