Nothing else we build is so plainly a sentence: subject, span, object — this side, across, the other side. Bridges photograph well because their purpose is visible in their shape, and their shape is an argument against the gap beneath them.
The collection runs from stone arches that have outlived the empires that paid for them, to cable-stayed spans lit like instruments, to a plain footbridge in fog doing more with less.
People who keep bridges on their screens tend, in our unscientific observation, to be in the middle of something. It is good scenery for a crossing.
