DAVID BRANDON GEETING, 21, NEW YORK

You work in both 35 and 120 mm. Yet the work you produce in both mediums is very different. Why is that, do you think? 

I started shooting 35mm about 5 years ago, bringing my camera everywhere and always searching for moments that couldn’t possibly be replicated unless they were stolen as they were taking place. It has also always been important for me to photograph anything and everything that surprises me. I became very comfortable with this sort of “on-the-go” method of shooting and I think that is the vibe that 35mm captures best. As for my 120mm work, I wanted to try something quite different (the opposite?) and “make” photographs instead of taking them. I shot with the Mamiya 7 for this work, and I am still not very comfortable with this camera or any rangefinder for that matter. As a result, it takes me a lot longer to set things up and focus them. The photographs have a very still quality to them; they are very obviously staged. I don’t prefer one type of work to the other. I can’t make up my mind. I have always had a strange obsession with duality, partly because my astrological sign is two fishes swimming in opposite directions. My whole life is based on contradictions.

What is the most useful thing you learned at SVA?

The best part about SVA is seeing what other work you have to “compete” with. I’m not a competitive person at all but it’s nice to see the work that other kids are making in comparison to the work that you’re making. Also all my teachers are working professionals - it’s great to get opinions from people that have actually had their work in exhibitions and published books as opposed to people you follow on flickr or tumblr. There’s nothing wrong with the internet (I’m an addict) but I mean, I’m going to be in so much debt after graduating, I might as well take advantage of what I’m paying for.

Your work seems to capture even the smallest detail. What is the photograph you took you’re most proud of?

Thank you! I am big on subtleties and I’m glad that translates through my work. As far as my favorite photograph… that’s like the hardest thing ever! I’m so bad at self-editing, It’s so hard to separate myself from my work, and I’ve taken way too many photos for me to choose one. I guess some current favorites would be the ones featured in this interview.

How does NYC interfere with your own work?

The biggest influence that New York City has had on my work is that it makes me try to hide the fact that I live in New York City. It is possibly the best place to go to school for photography and the worst place to take photographs. I like when my work remains sort of timeless. I have an aversion to shooting company logos, modern cars, modern buildings, cell phones, laptops, etc. Basically anything that will make you think more about where and when the image was made, rather than just thinking about the image itself. New York has a lot of this. Now go trifle through my work, find the shit I just mentioned, and talk to me about contradictions.

Who do you look up to?

My friends, colleagues, anyone who is genuinely creative, anyone who has a hard time talking about their work because they’re too modest. People who “get it.” I don’t know what that means.

www.davegeeting.com