So it was brought to my attention that the "Introduction" I had written is actually a preface. So here it is, again, re-written and drastically shorter.
a.
In the winter of 2008, I thought, “I just want to take pictures,” convinced that there must be a way to relate photographs to architecture, or architecture to photographs. Caught up in the dialogue of what is architecture and what is art, I spent almost an entire year trying to justify why I wanted to take pictures, what it had to do with architecture and what it all meant to me.
I began familiarizing myself with photographers - incredible photographers - like Walker Evans, Harry Callahan, Eugene Atget and Robert Frank. After all, the more photographs we see, the better photographers we become. I read texts by Susan Sontag, Roland Barthes, Walter Benjamin, John Szarkowski and Stephen Shore, hoping they had the answers I was looking for.
I eventually decided to photograph – to throw myself into the act of taking pictures. I stopped looking for a justification for it, besides my desire to do so. I wandered through Galt, taking pictures when something caught my eye, and, though not structured or pre-meditated, this wander became my format, my modus operandi.
There is a seduction in the opportunity to combine two passions and create something. Synthesizing the original two, the experience inevitably becomes a third passion or, even, an obsession. When I finally decided to photograph, it was through the experience of it, that I located my thesis and its relationship to architecture.
a.
In the winter of 2008, I thought, “I just want to take pictures,” convinced that there must be a way to relate photographs to architecture, or architecture to photographs. Caught up in the dialogue of what is architecture and what is art, I spent almost an entire year trying to justify why I wanted to take pictures, what it had to do with architecture and what it all meant to me.
I began familiarizing myself with photographers - incredible photographers - like Walker Evans, Harry Callahan, Eugene Atget and Robert Frank. After all, the more photographs we see, the better photographers we become. I read texts by Susan Sontag, Roland Barthes, Walter Benjamin, John Szarkowski and Stephen Shore, hoping they had the answers I was looking for.
I eventually decided to photograph – to throw myself into the act of taking pictures. I stopped looking for a justification for it, besides my desire to do so. I wandered through Galt, taking pictures when something caught my eye, and, though not structured or pre-meditated, this wander became my format, my modus operandi.
There is a seduction in the opportunity to combine two passions and create something. Synthesizing the original two, the experience inevitably becomes a third passion or, even, an obsession. When I finally decided to photograph, it was through the experience of it, that I located my thesis and its relationship to architecture.
