This image was taken at a large metal works in Siberia. The photograph is a new topographic styled landscape shot which Bendiksen has clearly taken influence from the work of William Eggleston, known for his dark portrayal of bleak landscapes. The image is very ambiguous because to some degree it shows the factory in a dramatic, romanticized manner, whilst at the same time it depicts the factory as grim and unpleasant. My judgement is that the image is a metaphor for evaluating Communist Russia (1917-1991), which on one hand was highly impressive in terms of what it achieved, but at the same time a regime which was responsible for great atrocities; death, persecution and mass suffering, in particular under the leadership of Joseph Stalin (1922-1953). Specifically this photograph explores the influence Communist Russia had over the industrialization of Russia.

Bendiksen explores this ambiguity by framing to image to showing factory as impressive, by arranging the image in a traditional landscape format. Bendisken still however through the incorporation of a low level of lighting and the red glow, giving an eerie mood, is highlighting the fact that despite this impressiveness, it still has a darker side to it.

The context behind this photograph is that Bendiksen was out photographing landscapes in the countryside. He then came across a piece of scrap metal, which was the left over of a Russian satellite. The two men on the top of the scrap metal are satellite collectors, people who make a living out of collecting and selling these pieces of scrap meatal. Suddenly as Bendisken was about to photograph the two men, standing on the large piece of scrap metal, thousands of butterflies suddenly appeared out of nowhere. Bendisken stated that “things came together .. you had the swarm of butterfly’s, you had the spaceship, you had the farmers, the stormy dark clouds in the background, the sun was just starting to break out. It was just a perfect storm of different elements.”

This photo relates to Herni Cartier Bresson’s theory of the ‘decisive moment’. Bendisken has combined his knowledge of composing photographs with an element of luck, being the light and butterflies. The result an incredibly powerful and raw image, with a sense of peculiarity which captivates the viewer into wanting to find out more about the context, and so delve deeper into interpreting its meaning. I almost find that this photograph is somewhat dream-like and separate from reality. This theme of being being dream-like is effective because it is able to serve as a metaphor for the scrap metal collectors optimists and dreamers, taking advantage of the rich opportunities that selling the remains of these magnificent displays of metal-work have to offer.  This is an image which I find to be quite positive and uplifting, an image which symbolises hope in an uncertain future.

The image shows a snippet of a darkened room, with the subject appears to the concentrating on a task. On the television set, the face of former Communist leader Josef Stalin’s face can be shown. The presence of Stalin into the frame is very sinister as a result of this and the glim mood established through the green illumination of low level of lighting, it is a very frightening and unsettling. Without Stalin piercing into the photograph this image would not be as effective because it creates this added suspense.

This photograph directly explores the theme of Russia’s Communist past. Russia under Stalin regime was infamous as a society of excessive  social control. Propaganda would appear everywhere. Stalin appearing on the television set symbolises this theme of social control, and serves to unsettle the viewer, reminding them of the horrors of Stalin’s regime and Communism.

Overall I find this type of image to be a more experimental side to Bendiksen’s photography. In terms of composition it is perhaps not the best image however I like the mood and feel that the image establishes.