Banning was initially hesitant to take on the project because he felt the often-ignored population was paradoxically ubiquitous in the world of documentary photography. The images seen were typically shot in the same manner: black-and-white, on-location, and, typically, with a sense of despair.
Banning has a history of documenting the forgotten pockets of society from the impoverished in Malawi to women forced into a life of prostitution in Asia and decided that photographing the homeless community in color and in a studio environment would be the best approach to the series.
“I wanted to photograph them in a studio setting, against a neutral backdrop, focusing on their individuality rather than on stereotypes,” Banning wrote on his website. “In essence, I want to show who they are rather than what they are labeled.”
“I’m satisfied with it,” Banning said about his photographic choices. “This is not a popular subject; it’s an extremely unpopular subject.”
Shooting in Columbia and also in Atlanta, Banning worked with an outreach worker of a homeless organization to find people to photograph. With the help of a photography assistant, he set up a mobile studio and would do a brief interview with the subjects before taking their pictures. Banning said that process helped create a more intimate portrait, something he had done in his previous work, “Bureaucratics.”
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