Philip-Lorca DiCorcia

Just a few notes on DiCorcia’s working methodology:

  • Dicorcia’s work is a mixture of documentary and staged tableaux for which is best known
  • Well known for his use of lighting in street photography
  • While shooting Hustlers, he paid his subjects, causing controversy in the photographic community
  • DiCorcia only plans stages his photographs up to a point and then relies on something unexpected to happen
  • He does digitally manipulate some of his images by removing or adding items
  • He does not direct people
  • Very often he does not know his subjects
  • He usually has his camera on a tripod
  • Sets his photos up so that the viewer can assert his/her own interpretation to the image – open narrative

DiCorcia has no patience for visual passivity. “I’ve been trying to create photographs in which the emotional and psychological content is time-released… From the very beginning, I was fighting against this media-created idea that imagery is so disposable that it’s exhausted within a very short amount of time.” His tendency is to slow time down, an apprehension that has nothing to do with entropy. Instead, it is a seduction into the act of looking.



Enright, Robert and Walsh, Meeka (2008). Attentive Contradictions: The Photographic World of Philip-Lorca diCorcia [online]. BorderCrossings. Available from: [Accessed 27 February, 2016]

Philip-Lorca diCorcia: Photographs 1975 – 2012 [webcast, online]. Hepworth Wakefield 19/02/2014. 6 mins 41 secs. (accessed 27/02/2016)

Quine, Oscar and Palumbo, Daniele (2014). Philip-Lorca diCorcia interview: ‘My Hustlers series was not unethical’ [online]. Independent. Available from: [Accessed 27 February, 2016]

Rosenberg, Karen  (2015). Philip-Lorca diCorcia on Capturing the Inequality of the Great Recession [online]. Artspace. Available from: [Accessed 27 February, 2016]


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