People from Brooklyn; Presence by Daniel McInnis

Starting in late 2007, I began photographing denizens of New York City with an 8x10 view camera. This type of camera uses 8-inch by 10-inch photographic negatives from which either contact prints (same size as the negative itself) or enlargements are made.

Starting in late 2007, I began photographing denizens of New York City with an 8×10 view camera. This type of camera uses 8-inch by 10-inch photographic negatives from which either contact prints (same size as the negative itself) or enlargements are made. The contact prints have detail that approaches human vision and have greater resolution than many digital processes.

In the tradition of photographers such as and Rineke Dijkstra and Joel Sternfeld, I choose to work with the unwieldy camera and older, more traditional materials for the sake of the detail that such a medium renders, and for the inherent value of a single negative. Great care must be taken to avoid damage to a negative, as opposed to digital media that can be reproduced ad infinitum, with less risk of degradation to the original.

1_Clay, Ohio, 2010

The subjects I choose are often artists, and people with whom I’ve become acquainted. Since the process can be unwieldy, it is helpful to have a person’s attention, and develop a rapport with them, before shooting. This kind of photography is difficult to rush. The biggest inspiration for this work is no doubt August Sander, a well-known pre-World War II German photographer, whose seven volume photographic record People of the 20th Century was a grand attempt to not only document as many people as possible in the German culture of the day, but also to make every attempt to represent different classes, professionals and age groups. His Artists portfolio (and this demographic) was of particular interest to me, and is reflected here. Dancers, models, photographers, designers, actors and more are represented.

As the work continues to evolve, I have become drawn to the idea of recording American waiters in restaurants (who are often artists of some kind themselves). French street photographers have a long tradition of capturing the en plein air café worker. I am hoping to embark on an even more specific sub-portfolio that involves waitstaff, and hope to show a representative cross-section of race, age, gender and location.

More specifically, the photographs here document the tension (and tradition) between full-body portraiture and the subjects’ indigenous spaces. I use the term “indigenous” loosely as most of the subjects are photographed in their own neighborhoods, while a few are in spaces that have symbolic meaning to them alone.

An example of the latter would be “Clay, 2010” a photographer who technically lives in New York, but has been traveling and working in other countries for the better part of a decade. He helps lead a crusade against manufactured GMO food, and was thus captured, with a powerful pose, in front of his ubiquitous enemy here in Ohio.

The attempted balance between a photograph of a subject and how much of their surroundings should be included leads to a perceived dichotomy between two areas: competition for attention (example: the subject her/himself vs. graffiti on a wall), and a subtle revelation of clues to the subject’s chosen community and environment. These images are an attempt at intimacy, a celebration of variation, an exploration of choice (locality, clothing), and a careful consideration of personal detail.

These images are captured using Kodak 8×10 film and printed on chromogenic papers (not digital). While digital technologies are catching up fast, I continue to be struck by the abilities of analog large format to record the most minute of details and an unmatched color range. [Official Website]

This ongoing project originally focused on people from Brooklyn, New York. I have more recently expanded this project to include people from Atlanta, Ohio, Michigan, Chicago and Seattle.

2_Kacie Marie, Brooklyn, 2013 4_Mother and Children, Brooklyn, 2007 5_Geoff and Kristin, Chicago, 2012 6_Francine, New York, 2010 7_Carey, Brooklyn, 2007 8_Tony, Brooklyn, 2008 9_Monica, Seattle, 2012 10_Michael and Brian, Atlanta, 2010 11_Meghan, Brooklyn, 2008 12_Julian, New York, 2013 13_Kaylee and Allan, Michigan, 2012 14_Mike, Brooklyn, 2009 15_Beau, Seattle, 2012 16_Heather, New York, 2013 17_Kate, Brooklyn, 2007 18_Nicola, Brooklyn, 2009 19_Brett, Ohio, 2013 20_Zak, Brooklyn, 2007 3_Jamila, Seattle, 2013

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Dodho Magazine accepts submissions from emerging and professional photographers from around the world.
Their projects can be published among the best photographers and be viewed by the best professionals in the industry and thousands of photography enthusiasts. Dodho magazine reserves the right to accept or reject any submitted project. Due to the large number of presentations received daily and the need to treat them with the greatest respect and the time necessary for a correct interpretation our average response time is around 5/10 business days in the case of being accepted. This is the information you need to start preparing your project for its presentation.
To send it, you must compress the folder in .ZIP format and use our Wetransfer channel specially dedicated to the reception of works. Links or projects in PDF format will not be accepted. All presentations are carefully reviewed based on their content and final quality of the project or portfolio. If your work is selected for publication in the online version, it will be communicated to you via email and subsequently it will be published.
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