THE OLOGY

I’ve always found it counterproductive to go out with the intention to capture a moment. To me, photography has always been a dialogue with the city. And while sometimes the city is loud in how it prefers to be documented, oftentimes it’s coy, shy, and merely whispers in fleeting moments—breathing life into the otherwise lifeless, animating the otherwise inanimate. Speaking to the lens in a nearly religious, nigh on spiritual, tongue.

In these indescribable and serendipitous minutiae, the only thing left to do is click, find synchronicity, and capture.

Freeze time. Stop light.

As a photographer I’m constantly humbled, not only by the uncontrollable city, but by the camera itself—a tool whose principle has remained unchanged and unwavering for over a hundred years. It almost sounds science fiction, a quantum phenomenon: to capture light and stop time.

Every day, things happen. Monotonous things, momentous things. These events occur whether we ask them to or not. We have decisive action in some encounters, yet oftentimes they are out of our hands. Whether we choose to believe all events are connected is outside the point.

While the study of religious activity on a societal scale is called ‘Theology,’ I find this incredibly curious, being The Ology. So I have aptly named my own study of these events—these daily, sometimes worldly, moments that deserve to be captured.

Freeze time. Stop light.