California-based painter Ed Ruscha’s 1960s bookworks, collections of photographs almost completely described by their titles—Twenty-six Gasoline Stations (1962), Thirty-four Parking Lots (1967), Every Building on the Sunset Strip (1966), for example—are clearly in line with the goals of typology.
In the 1960s, Ruscha published Twenty-six Gasoline Stations and made clear his intent to explore book art as primary material, not as support for his other explorations in art. Ruscha’s books have been highly sought-after, despite their original modest intent to reach a wider audience in expensive, unlimited editions.
(via Encyclopaedia of Twentieth-Century Photography)
Ed Ruscha introduced me to something that I haven't considered before and that is the angle. While I made a subconscious decision to take all my photographs facing the subject dead-on, typology can happen in all angles - aslong as you're being consistent.