The first think to strike me about diCorcia's photography was the grungy, Nan Goldin-esque, style and subject. The photographs appeared to me like something the photographer snagged at the local club, a quick snap shot taken before the subject has time to react. In part, I was right in this, and in part I was drastically wrong. The first series "Hookers," the one I found most similar to Nan Goldins work was actually executed more in the style of Jeff Wall. The photographs are set up, the lighting is found or staged, Polaroid's of assistants make preliminary sketches and then finally diCorcia finds a hooker to pose for the picture. The second series, "Thousand," is comprised of a thousand Polaroids. These are all pictures that were shot as photographic sketches. Precursors to the final photograph, snapshots of family and friends, and just random pictures of everyday things. When looking at these two series, it was amazing to see how they both influence each other. Though the Hooker pictures loose the cheep flash and soft focus quality that are in many of the Polaroids, they retain much of the low-light, quick composition and muted color palate that define the Polaroids.