In her book The Eye Is a Door, landscape architecture professor Anne Whiston Spirn, FASLA, contemplates the ubiquity of the digital camera. “Never have so many people owned cameras,” and never have images been disbursed so widely. “Our world is being recorded,” Spirn writes. “But to what end?”
Author Charles Wolfe proposes an end in his new book Seeing the Better City. And that end, suggests this environmental and land-use lawyer, is the improvement of urban environments. The first job of the book, a how-to guide on maintaining a photographic diary, is to answer the obvious question: what role do photographs play in improving cities?
Every day, Wolfe writes, people living in cities encounter changing skylines and neighborhoods. They often have strong opinions on those changes. Oral arguments are made and editorials are written advising on what changes should be made, and often these arguments lack even the most basic visual aid of a photograph. Perhaps the term “multi-family housing” conjures a specific image in your head. But if assessing whether a multi-family unit belongs in your neighborhood, you’d have an advantage if you could view precedents.
Still, there’s a gulf between taking photos and improving cities. How does one apply what can be gleaned from photographs to the world of decision makers and developers? Wolfe offers several case studies of projects that make use of community photography to inform civic debates.
WALKscope in Denver has users submit photos of sidewalk quality, obstructions, amenities, and maps those observations. California King Tides invites users to submit photos of the sea taken at high tide to spread awareness about sea-level rise. Beyond these novel uses of photos, the simple incorporation of photos into presentations that inform civic decisions would greatly improve the decision-making process, Wolfe argues.
As a guide for becoming a better observer, Seeing the Better City is highly successful. Wolfe provides a structured template for an urban diary, but invites readers to construct their own.
As for actually shooting photos, Wolfe eschews prescribing techniques in favor of offering basic guidelines. He draws upon well-regarded photographers such as Ansel Adams and other visual thinkers. Diarists should know to make a photo, not just take one. Light is critical, as is where one stands. People are more critical still. Visit locations multiple times; light changes, but so do uses, the presence of people and animals, and small details such as litter. Juxtaposing the old and new can be interesting, if a bit derivative. Juxtaposing form, material, and use can yield rich photos.
Wolfe wants us to ask ourselves: what is being evaluated through our lens? Wolfe provides 10 parameters for seeing the city. The relation of building to street, standards for roads and signage, and the role of nature are just a few.
Wolfe also suggests activities for inaugurating a diary, such as visiting your five favorite neighborhoods and recording the sights and sounds you encounter, filming your next bike ride, or writing a couple paragraphs about your morning commute.
Many people effectively keep an urban diary without realizing it. The next step is to organize one’s thoughts and photos, reflect on them, and build off them.
Scattered through Seeing the Better City are Wolfe’s anecdotes on his own diary keeping. His observations often demonstrate a deep knowledge of urban policy and land-use issues. Your observations may not, at least initially. But at the very least, urban diaries expand the diarist’s understanding of their city, and that’s enough to start the process of improvement.