Realistic panoramic photography always seeks to create a realistic impression of the place depicted. The movement of the camera imitates the gaze of the viewer, who turns around on his own axis, orientating himself by the horizon. In the three-dimensional panorama illustrated here, the panoramic impression still manages to convey an approximately realistic impression even though it has been transferred to a two-dimensional surface.

However, our camera has discarded the attempt to illustrate places realistically; the playful approach to foreground and background supports and heightens distortions, which we use as an essential design element to break up the realistic spaces and recombine them to form new spaces. The idea of the unrealistic depiction of places becomes clearer the more the exaggeration and hence the abstraction of the forms of the picture’s focus.

The spatial feeling created remains fictitious. It must remain impossible to actually experience the place illustrated
in this way.