JAMES CASABERE IS A PHOTOGRAPHER in the documentary style. His subject is architecture, but instead of visiting buildings that fascinate him he builds and photographs models of them. His most recent work is about prisons. He has studied the subject thoroughly, and in conversation gives the impression that in his models—with their regular facades, the cell blocks with their enormous grids of windows, the long walls, guard towers, the barbed and razor wire—he sees 200 years of prison buildings and types, and the attitudes both toward incarceration and toward the relationship of architectural form to a building’s purpose that they reflect.

Photographers who work in direct response to a subject—a real prison, say—compress into seconds and fractions of a second the intervals in the esthetic process between experiencing the emotional and intellectual excitement a subject stimulates,

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