During the fall of 1950, the photographer Hans Namuth recorded many of Pollock's working sessions. Widely reproduced, Namuth's photographs and films encouraged the belief that Pollock's compositions were the by-product of a kind of shamanistic dance, performed without regard to the picture's appearance. Studied more closely, the photographs suggest a hidden order to Pollock's compositions, while the films demonstrate that he worked with remarkable precision. Each new layer of paint seems to retrace or respond to its precursor. In a radio interview from that year, Pollock emphasized his control over the painting technique.