A recent visit to Copenhagen

View of Amager Bakke Building by Bjarke Ingel’s from freetown Christiana

Walkway outside Grundtvig’s Church, Copenhagen.

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Their Van Diemen’s Land

Their Van Diemen’s Land is a series of photographs that explore lives and landscapes in a small mining town on the west coast of Tasmania, Australia.

Initially these elements remained wholly independent, almost projects in their own right, however over time their boundaries blurred.When knitted together, patterns slowly emerge revealing a rich tapestry of the community.

Shot over the last five years, this body of work is an intimate reflection of Luke’s experiences, relationships and influences.

The work will continue to evolve my regular visits to Tasmania. An extended edit can be found on my website.

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Luzzara, Po Valley


Throughout photography’s short history photographers have approached architecture in various ways, with many focusing on significant architectural works that have been widely celebrated.

In 1954 Paul Strand created a photobook called Unpaese, shot in Luzzara. Whilst photographing the village and it’s surrounds he wrote to a friend explaining that he found Luzzara hard to photograph because it had ‘no buildings of architectural interest’.

In 1993 Stephen Shore visited Luzzara, taking a very different approach to Strand’s. Shore understood that while the buildings in the village were not significant architectural works, photographing them together, new and old, started to tell a story about how the village had changed over time.

When visiting Italy last year I stopped in Luzzara, this is Luzzara through my eyes. 

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Cemetery of San Cataldo , Modena


In the 1980’s Italian photographer, Luigi Ghirri lived close to the San Cataldo Cemetery in Modena. At the time a new wing was being constructed designed by Aldo Rossi. Already knowing the architect through his essays, Ghirri was curious and found himself exploring the location documenting the evolution of the new wing.

Ghirri, drew me to his work through an article I had read in a book called Constructed Worlds by Preston books. What struck me about Ghirri’s work was the new way in which he captured and represented architecture in photographs. As he photographed San Cataldo through it’s construction he didn’t just document the process, he went back and looked for new relationships that had developed between the buildings. Once the building was complete these relationships could never be captured again.

Shooting through the different seasons, using the changing light at various parts of the day, he became more aware of the different characters that the building had to offer, changing the perception of the building through his photographs.

As Rossi said himself “Ghirri’s photographs of my work as as well as studio are that “something new” that only an artist recognizes. And I see in them something I was looking for but never found”.

During a recent trip to Italy I spent a morning photographing San Cataldo. Although I only shot for a small period of time, my small collection of photographs allowed me to compare my document to that of Ghirri’s.

The comparison cemented an idea that had started to form; Architectural photography doesn’t just have to be a document, it can be an artistic discussion that explores a building throughout its life.

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