The vintage neon sign for Farr Better Ice Cream rises above a brick storefront in Ogden, Utah, its white and red lettering catching a moody blue sky. The Asael Farr & Sons Co. marquee anchors the facade below.
The weathered facade of the Crane Co. building in Salt Lake City, shot through a veil of spring trees. A large rooftop sign spells CRANE against a pale, hazy sky in warm filmic tones.
An abandoned brick dealership in Beaver, Utah, its painted Ron’s Chevrolet sign fading above boarded garage doors. Weeds push through cracked pavement. The sky is wide and indifferent.
A shuttered storefront with a tilted Welcome to Ed’s Place sign, red-fringed awning peeling, windows papered over with old posters. A lone red shopping cart sits in the overgrown lot beside it.
A small No Trespassing sign mounted slightly off-center on a weathered brick wall. Nothing else. The wall fills the frame.
A boarded commercial building at address 745, its long shadow stretching across an empty gravel lot. Mountains sit quietly in the distance under a dramatic cloud-streaked sky.”
A Hitachi excavator tears into the facade of an ornate brick building, rubble scattered across the foreground. The building’s arched windows and decorative brickwork remain intact above the destruction.
A long brick warehouse at blue hour, its windows glowing amber. Graffiti runs along the roofline. Gold-edged clouds drift above in a deepening blue sky.
An empty brick-paved street dissolves into fog, streetlamps burning soft halos of light. Holiday lights glow faintly in the mist. No one is there.
An overhead view of a geometric urban plaza — wood decking, brick pavers, a cone-shaped topiary casting a long shadow. A single person sits at the edge of the platform, looking down at their phone.
The ornate clock tower of Salt Lake City Hall rises above a canopy of dense summer trees, glimpsed through branches under an overcast sky. The stonework detail is lost and found in the leaves.
Looking straight up at the sharp corner of a dark ornate high-rise, its decorative stonework receding into a near-black sky. Two globe lights glow at the building’s base, small against the mass above.
A modern glass curtain-wall tower fills the left half of the frame while an older decorative brick building occupies the right, its ornate cornice facing the sky. Two eras in conversation.
A white cylindrical light fixture mounted on a concrete wall, casting a sharp angular shadow that cuts the frame into geometric planes of light and dark. A railing repeats the pattern below.
The cantilevered roof of a contemporary building juts into a pale sky, glass walls reflecting the surrounding landscape. The Wasatch Mountains rise in the distance, framed between architectural forms.
The pyramidal sign tower of Salt Lake City’s Walker Center building rises against a stormy black-and-white sky, the letters W-A-L-K-E-R stacked vertically in illuminated panels. An American flag catches wind to the right.