ABSTRACT
The subject of an architectural photograph is, in the rst instance, a building or space, but photographs also have a viewing subject whose spatial identity, I wish to argue, is inuenced by the medium. This is to say that our identities, at some point, are relocated through the way in which photography determines our understanding of place. Photographs, then, produce their own spaces of knowledge, and with them a ‘subject’ who not only subjectively reads them, but is subjected to them. In order to explore the historical evolution of this space of photographic knowledge, the spatial dynamics of three photographs by Eduard Baldus, Eugène Atget and Thomas Struth, each relating to the development of particular new urban spatial forms, are discussed.
