From its birth, photography has been the preferred medium for representing architecture. Did Le point de vue du Gras, the first photograph taken by Nicéphore Niepce, in 1827, not represent an architectural ensemble? The relationship between the two disciplines is complex. They are complementary, of course; the photographer’s eye conveys the architect’s ideas, or at least their materialization. Yet sometimes, in an architectural photograph, it is difficult to disentangle what comes from the photographed object, be it a building or a work of art, and what comes from the framing, the light, the moment captured. As an artist serving an artist, how can a photographer preserve their own creative freedom? And could their singular gaze perhaps present the architect with a new perception?
Read the issue: lettre-architecture-and-photography.pdf
