Keith Dannemiller is a photographer known for his black and white street photography in Mexico City over the past two decades. He captures candid moments that showcase daily life in the bustling city. Dannemiller is fascinated by how people interact in public spaces and the interpersonal dynamics visible on the streets. His photos have focused on social issues in Mexico and documented festivals, religious practices, and those living in poverty.

2. KEITH DANNEMILLER, A NATIVE OF
OHIO, HAS BEEN ONE OF THE
PREMIER PHOTOGRAPHERS OUT
OF LATIN AMERICA FOR TWO
DECADES NOW. HIS BLACK AND
WHITE STREET SHOTS FROM
MEXICO CITY ARE STRANGE AND
DAZZLING.
https://magazine.rice.edu/2018/06/the-new-
agave/

3. CAREER PATH• KEITH DANNEMILLER CURRENTLY LIVES IN MEXICO CITY.
• KEITH SAYS, “THE NAME OF THE PROJECT IS OF MY INVENTION AND A PLAY ON A COUPLE OF SPANISH WORDS:
CALLE – STREET; AND GRAFÍA – WRITTEN OR DRAWN. I USE IT TO MEAN “WHAT THE STREETS WRITE.” ON
THESE AVENUES AND ALLEYWAYS OF MEXICO CITY’S GREAT CENTRO HISTÓRICO I WALK, I WATCH, AND I WAIT.
THAT PROCESS OF MAKING PHOTOGRAPHS ACKNOWLEDGES THE IMPORTANCE OF THE EVER-CHANGING
REALITY OUT THERE, AND HOW I RELATE TO IT.
• MEXICO CITY IS AN INSANELY HUMAN CITY. THE LEVEL OF COMMUNICATION AND INTERACTION BETWEEN
PEOPLE IS STREET. THINGS HAPPEN HERE, PEOPLE DO THINGS IN THE CENTRO LIKE FEW OTHER PLACES. I AM
FASCINATED BY THE FACT THAT I CAN WALK DOWN A CROWDED PEDESTRIAN WALKWAY AND SEE A WOMAN
SEATED ON IT’S EDGE AGAINST A 17TH CENTURY BUILDING DOING HER MAKE-UP. ALL SHE NEEDS IS A LITTLE
MIRROR AND AN EPHEMERAL AREA SHE HERSELF HAS CLAIMED FOR THE MOST PERSONAL MOMENT. IN FIVE
MINUTES WHEN SHE HAS FINISHED AND LEFT, THE SPACE WILL BE TRANSFORMED BY A NEW OCCUPANT AND A
NEW ACTIVITY. THE CITY IS IN CONSTANT, VIBRANT FLUX AND IT PROVIDES, NOT JUST THE BACKDROP, BUT THE
RICH, VISUAL NARRATIVE OF LIGHT THAT I TRANSLATE INTO UNIQUE IMAGERY WITH FILM.”

4. Career Path
• Keith Dannemiller has a degree in Biochemistry from
Vanderbilt University
• He has been a freelance editorial photographer for
publications such as Time, Newsweek, Business Week, New
York Times, Vanity Fair, National Geographic, Al Jazeera and
numerous other international media.

5. ERA
• HE CURRENTLY SPENDS HIS TIME PHOTOGRAPHING PERSONAL PROJECTS OF SOCIAL IMPORTANCE IN
MEXICO CITY SUCH AS THE CULT TO SAINT JUDE THADDEUS, EDITORIAL PROJECTS IN THE CONTENTIOUS
SOUTHERN STATE OF GUERRERO AND TRADITIONAL RELIGIOUS FESTIVALS THROUGHOUT THE COUNTRY.
• HE CONTINUOUSLY EXHIBITS HIS WORK THROUGHOUT MEXICO AND RECENTLY PUBLISHED CALLEGRAFÍA
A BOOK OF DOCUMENTARY IMAGES FROM THE STREETS OF MEXICO CITY, HIS HOME FOR THE LAST 30
YEARS. HIS WORK IS INCLUDED IN THE PRESTIGIOUS WITTLIFF SOUTHWESTERN AND MEXICAN
PHOTOGRAPHY COLLECTION IN SAN MARCOS, TEXAS.
Keith Dannemiller takes those kinds of photographs, capturing split second tableaux of
visual confusion frozen into complex film stills in the movie of life. Each are painted with
totems of our time: graffitti, posters, advertising, street signs and hold emotions that connect
us to the human experience.

6. MOTIVATION
• “THE REASON THAT I MAKE PHOTOGRAPHS AS I DO, IS A VISUAL FASCINATION WITH
THE INTERPERSONAL DIALECTIC AND ENSUING SYNTHESIS (PERCEIVED AS
UNINTERRUPTED) BETWEEN THE SOCIAL (COLLECTIVE) AND THE PSYCHOLOGICAL
(INDIVIDUAL): THE SPATIAL AND EMOTIONAL RELATIONSHIP THAT RESULTS IN A
PHOTOGRAPH WHEN THE INDIVIDUAL IS PORTRAYED AS BEING A PART OF HIS
ENVIRONMENT (INTERCONNECTED), OR THAT WHEN HE OR SHE IS REVEALEDTO BE
APART FROM THEIR SURROUNDINGS (ALIENATED).”

7. TECHNOLOGY
• THE MAJORITY OF DANNEMILLERS PHOTOGRAPHS ARE IN BLACK AND WHITE.
• HE CAPTURES RAW IMAGES THAT ARE NOT EDITED, YOU GET WHAT YOU SEE.
• HE RELIES ON THE STREETS OF MEXICO CITY FOR HIS SUBJECT MATTER AND INSPIRATION

8. ETHICS
• “FOR ME, MAKING PORTRAITS OF THE ‘PEPENADORES,’ LIKE OTHER GROUPS I’VE CHOSEN TO PHOTOGRAPH,
(PACHUCOS Y RUMBERAS, BOXEADORAS), IS ANALOGOUS TO THE ART OF CUTTING FOR SIGN. THIS IS THE
WORK OF A SIGN CUTTER OR TRACKER WHO SEARCHES FOR DETAILS, MAKES NOTE OF WHAT HE FINDS AND
CREATES A PLAUSIBLE NARRATIVE THAT HELPS TO INTERPRET WHAT HE’S SEEN. THE PROCESS IS THE
SEARCH. THE END IS THE UNDERSTANDING. I WANT YOU TO SEE CLEARLY AND DIRECTLY THE VISUAL
INFORMATION I’VE GATHERED AND PRESENTED, BUT I ALSO WANT YOU TO HAVE THE POSSIBILITY OF CREATING
YOUR OWN NARRATIVE.
“AND IN THAT PROCESS OF CREATING YOUR OWN NARRATIVE FRAMEWORK, HOPEFULLY THE IMAGES WILL
GENERATE SOME EXTRA-PHOTOGRAPHIC QUESTIONS. MAYBE MAKE YOU WONDER ABOUT THE ROLE THESE
MEN AND WOMEN PLAY IN A SOCIETY THAT STIGMATIZES THOSE UNFORTUNATE ENOUGH TO BE BORN WITHOUT
ANY INSTITUTIONAL BUFFER FROM THE VAGARIES OF LIFE MUCH LESS WITHOUT WEALTH, POWER OR
INFLUENCE. THROWAWAY LIVES THAT EXEMPLIFY THE SOCIETAL INCONSISTENCIES BETWEEN HISTORICAL
ENTITLEMENT – THE CONTINUING BIRTHRIGHT OF THE FEW HERE IN MEXICO – AND MODERN DAY
DISENFRANCHISEMENT – THE LOT OF THE MANY.”

9. BIAS
• KEITH DANNEMILLER COVERS MOSTLY ISSUES THAT INVOLVE MEXICO. HE COVERS ISSUES OF POVERTY,
IMMIGRATION, AND WHAT HAPPENS ON THE STREETS OF MEXICO
• “EVERY SINGLE DAY OF 4 YEARS I HAVE BEEN LIVING IN MEXICO CITY HAVE SEEN ME ACHING TO
PHOTOGRAPH SOMETHING. MAYBE IT’S A FAMILY DRESS IDENTICALLY ON THE METRO GOING TO THE
GAME OR MAYBE A BEGGAR WITH AN INCREDIBLY ETCHED FACE THAT I CAN’T TEAR MY EYES AWAY FROM,
MAYBE IT’S THE HODGEPODGE SKYLINE THAT EXTENDS OUT IN FRONT OF ME FROM MY ROOFTOP. I
USUALLY CHICKEN OUT WHEN IT COMES TO SHOOTING PEOPLE AND STAND IN AWE OF THE
PHOTOGRAPHERS WHO ARE BOLD ENOUGH TO ASK THAT SIMPLE QUESTION: “CAN I TAKE YOUR
PICTURE?”

10. IMPACT
• I THINK THAT KEITH DANNEMILLER’S PHOTOGRAPHY WAS IMPACTED BY WHAT WAS GOING ON IN HIS
COMMUNITY. HE TAKES PICTURES OF MEXICAN RESIDENTS IN THEIR EVERYDAY LIFE. HE HAS DIFFERENT
PROJECTS PINPOINTING DIFFERENT ETHICAL ISSUES THAT ARE HAPPENING IN MEXICO.
• SOME OF HIS PROJECTS ARE:
• CALLIGRAPHY = CALLEGRAFÍA IS THE SEMIOTIC CODE OF THE STREETS MADE IMAGE. PRIVATE MOMENTS IN THE MOST
PUBLIC OF PLACES, INTERPRETED, JOINED INTO A VISUAL WHOLE WITH OTHER SEEMINGLY DIVERSE, FOUND SEGMENTS
AND GIVEN COHESION, HARMONY AND MEANING WITH LIGHT AND FILM. THE PROJECT IS SIMPLY A SERENDIPITOUS
CONFLUENCE OF DISPARATE ELEMENTS FROM THE HEART OF MEXICO CITY.
• OF LOST CAUSES- ON THE 28TH OF EACH MONTH, MANY RESIDENTS OF MEXICO CITY HEAD TO ONE CHURCH TO PRAY TO
SAINT JUDAS, THE SAINT OF LOST CAUSES. THE REASONS FOR THEIR SUPPLICATIONS VARY, SOME LACK DECENT LIVING
CONDITIONS, SOME NEED RESOURCES FOR HEALTH CARE, BUT ALL LIVE WITH A WEIGHTY SENSE OF INSECURITY – ONE
THEY WISH TO BE RELIEVED OF.

11. PHOTOGRAPHIC STYLE-
CALIGRAPHIA
• BLACK AND WHITE- THE IMAGE WAS TAKEN IN BLACK AND WHITE CAUSES
A MORE DRAMATIC EFFECT. THE DARK AND LIGHT TONES EMPHASIZE THE
LADY ON THE BUS. HOWEVER, THE LADY SITTING ON THE BUS SEEMS TO BE
THE ACTUAL MAIN SUBJECT OF THIS PHOTOGRAPH
• RULE OF THIRDS- WHEN YOU FIRST LOOK AT THE PHOTOGRAPH, YOU THINK
THAT THE MAIN SUBJECT IS THE LADY PHOTOGRAPHED ON THE BUS BUT IN
ACTUALITY, THE MAIN SUBJECT IS THE LADY SITTING INSIDE OF THE BUS.
THIS WOMEN IS A NATIVE, DOING DAILY ACTIVITIES AND DEALING WITH
THE STRESSES OF LIFE.
• QUALITY OF LIGHT- THE PHOTOGRAPH HAS QUALITY OF LIFE BEING USED TO
SHOW THE DARKNESS AND BOLDNESS OF THE LADY SITTING IN THE BUS.
THE WAY LIGHT IS USED IN THIS IMAGE DRAWS YOU AWAY FROM THE
BUSYNESS OF THE PHOTOGRAPH AND DRAWS YOU CLOSER TO THE LADY
SITTING ON THE BUS.

12. • IMAGE IS IN COLOR- THE IMAGE IS TAKEN IN COLOR, WHICH IS
A RARE THING FOR KEITH DANNEMILLER. I THINK THIS IS DONE
TO SHOW THE CLARITY AND PURENESS OF THE WHITE COLOR
ON THE WALL WHILE THE PICTURE OF JESUS STANDS OUT
MORE.
• THE IMAGE GIVES A FEELING OF RELIGIOUS DEDICATION.
PEOPLE IN LATIN AMERICA ARE SO DEDICATED TO THEIR FAITH
THAT THEY WOULD GIVE THEIR LIFE TO CATHOLICISM AND THE
CHURCH
• KEEP IT SIMPLE- THE PHOTOGRAPH IS SIMPLE. NO CLUTTER,
NO EXCESS ITEMS IN THE PHOTOGRAPH WHICH MAKES THE
SUBJECT EASIER TO ACKNOWLEDGE
An interior view of the house. Photo by Keith Dannemiller

13. PHOTOGRAPHIC STYLE-OF
LOST CAUSES
• IN OR OUT OF FOCUS- THE IMAGE AT FIRST GLANCE IS
HARD TO DISTINGUISH. IT TAKES A MOMENT TO REALIZE
THAT THE IMAGE IS JESUS WITH PEOPLE IN THE
BACKROUND
• BACKGROUND DETRACTS FROM COMPOSITION- THE
IMAGE IS VERY BUSY AND THE BACKGROUND MAKES IT
HARD TO FOCUSON WHAT THE IMAGE IS TRYING TO
SHOW
• FEELING- THE IMAGE MAKES YOU FEEL LIKE THERE IS SO
MUCH GOING ON, ITS SO BUSY AND OVERWHELMING
BUT I GUESS THAT THAT IS HOW RELIGION IS. RELIGION
IS BUSY AND HARD TO CONCENTRATE ON WHAT IS
GOING ON.

14. • EXPOSURE TIME- THE PHOTOGRAPH WAS
TAKEN WHILE THERE WAS MOVEMENT
HAPPENING. THE PHOTOGRAPH WAS TAKEN IN
FAST SHUTTER
• IN AND OUT OF FOCUS- THE IMAGE IS NOT IN
FOCUS. THE WHOLE PHOTOGRAPH IS BLURRY
AND HARD TO SEE THE SUBJECT, HOWEVER,
YOU KNOW WHAT THE IMAGE IS
• OBVIOUS MAIN SUBJECT- THE MAIN SUBJECT
IN THE IMAGE IS IN CENTERED IN THE
PHOTOGRAPH.
A shipment of Riazul tequila is loaded onto a container
for transport to New York. Photo by Keith Dannemiller

15. MY MAJOR AT AIC
• I THINK THAT THIS PHOTOJOURNALIST RELATES TO MY MAJOR BECAUSE I AM ALSO FROM LATIN
AMERICA. PART OF WATCHING POVERTY IN THIRD WORLD COUNTRIES AND SEEING POVERTY UNFOLD
ALSO MOTIVATED ME TO WANT TO BE A NURSE SO THAT I CAN ONE DAY GO BACK TO MY COUNTRY AND
HELP MY PEOPLE WITH VACCINATIONS AND HEALTHCARE. THERE ARE SO MANY ECONOMIC DISPARITIES
IN CENTRAL AND LATIN AMERICA THAT NEED IMMEDIATE ATTENTION BUT UNFORTUNATELY ARE SWEPT
UNDER THE RUG. WITH MY NURSING DEGREE, I CAN HELP GIVE THOSE A VOICE AND HELP THOSE WHO
CANT HELP THEMSELVES.

16. KEITH DANNEMILLER PODCAST
• HTTPS://SOUNDCLOUD.COM/SAMQUINONES/KEITH-DANNEMILLER

17. CITED SOURCES
• HTTP://SAMQUINONES.COM/REPORTERS-BLOG/2017/01/30/KEITH-DANNEMILLER-PODCAST/
• HTTPS://WWW.KEITHDANNEMILLER.COM/CONTENT.HTML?PAGE=2
• HTTP://LENSCRATCH.COM/2016/08/KEITH-DANNEMILLER-CALLEGRAFIA/
• HTTPS://STREETPHOTOGRAPHYMAGAZINE.COM/ARTICLE/INTERVIEW-WITH-KEITH-DANNEMILLER/
• HTTP://MEXICOCITYSTREETS.COM/2016/09/12/VISIONS-OF-THE-CENTRO-HISTORICO/
• HTTPS://MAGAZINE.RICE.EDU/2018/06/THE-NEW-AGAVE/