These images vary too much in treatment and subject to constitute a portfolio, although they all depict buildings.
Electronic reproduction may obscure the strips of blue sky on the left and right edges that are easily seen in a print.
This photograph, with its lines and false colors, heralded the portfolio "Corp Distort."
Houston, TX, 2006
The Pennzoil Building
a barn somewhere in New Hampshire, c. 2005
Berlin, looking across the Spree River
A window as reflected in the river is bright (as if the light inside were on) but not the window itself. Since photographic fiction is now technically easier than ever before, I feel obliged to add: I did not make the window look that way, cannot even explain it after the fact, which a friend pointed out to me.
Without a 24mm tilt/shift lens on a DSLR, I would not have made this photograph. It enables me to straighten an image's lines and tilt its focal plane, so that here, the verticals are starkly parallel/vertical (with a conventional lens, they would have converged, since the walls loomed above me), and the focal plane runs from near on the left to far on the right (so that the aperture could stay open enough to keep exposure short enough for a hand-held camera). Because this lens lets me shape what I see, it invites an active stance, even "rubber vision." By requiring manual exposure and focus, it also slows me down, inviting reflection.
To bring out the wall's edges, I have applied a red filter to make an intensely blue sky appear dark.
in the Sculpture Garden of the Houston Museum of Fine Arts, TX, 2011
Giorgio de Chirico painted some scenes struck by similarly stark, angled light, structured geometrically, and populated by works of art. Many of his works hang in the Menil Collection, near which I lived in Houston not far from the sculpture garden of the Houston Museum of Fine Arts, where I made this exposure in 2012.