“I am never interested in the individual, but in the human species and the environment,” the very idea that encompasses Andreas Gursky’s work. He explores the objectives of how humans interact with each other and in specific surroundings. These intentions are noticeable in Ratingen [Swimming Pool] in which he discusses humanity, spatial elements and the method of consumption. Divisions of the planes arise from the natural colors in the scene of light brown, blue a green but the spots of flesh also creates a link amongst the photograph. The perspective of the camera creates flatness, a quality commonly seen in Gursky’s photographs. In the 1980s, Gursky expands to outside scenes in order to create a larger canvas and as a result, creates more distance from the subject. His photographs are characteristic of a heighten view of the setting. Other examples of this perspective as well as repetition include chromogenic color prints, 99 Cent from 1999, a view of store isles or Shanghai, view of building levels from 2000. The distance of the camera or the viewer reshapes the ideas of the sale figure and becomes about the population of the pool as a whole. There is a detachment from knowing the individuals and interacting at this pool setting. Also, there is a distinct feel of observation occurring. Lending to the idea of photography as a documentation of human interactions as they naturally occur, the individuals are unaware of the photographer’s presence As a result, there is a division between the audience and the pool population. The pool occupants become the art that us on display in a gallery.