USD Magazine, Fall 1995

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"I'm always interested in people's reaction to animals, especially people that don't often get to see them," McCosker says. "We fool ourselves with idealized pictures of animals, so it is fascinating when country meets city."

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"The fair is hard to work because your eyes can't rest. There's so much going on that it's hard to extract a singu– lar image from all the noise," he says. "On the other hand, photography is a forgiving medium, and there is often a lot contained in the photos that wasn't my intention. That's the gift of the medi– um, it adds other layers." Although the images change from year to year, McCosker has seen patterns emerge, some positive, some not. He doesn't philosophize too much about these trends, preferring to let the pho– tographs speak for themselves. But he does note that the behaviors he sees with his camera often are reflected in the world outside the fairgrounds. "People are moving faster and faster, and their appetite is changing," he says. "The longest lines at the fair are for the hair-raising rides, while the more con– templative rides don't draw the crowds. I think that's a product of our 'remote– control' society." Although the fair has become a regu– lar stop for McCosker, he also has followed and photographed crowds in other places, including a series on beach– goers. Clearly people and their passions have become his passion. "Ultimately, photography is about life," says McCosker. "It's what's important to you, the photographer, as a person. It's a matter of connecting with the subject - using your mind, your heart, your intel– lect and your intuition."

THE CROWD As he flips through his photographs from recent expeditions to the fair, McCosker reflects on each one from a technical standpoint, but also on the story that each tells. They are not ideal– ized or romanticized visions; they are real expressions of joy, anger, curiosity, hope, sadness and euphoria. Although he tries to remain inconspicuous, McCosker notes that the reactions of people who happen to see him snapping pictures are often as interesting as the ones who don't know they're being photographed. Either way, he has a simple measure of success. "The way to judge success is to take your pictures, rub them up against life and ask yourself if they are as interesting as life," says McCosker, whose work has been displayed in USD's Founders Gallery, San Diego's Museum of Photo– graphic Arts and numerous other galleries and museums. "If not, then you have to go back and try again." Capturing those slices of life at a place like the Del Mar Fair is both frustrating and rewarding, McCosker notes. Although the fair is a boon from a technical stand– point, because the ample light allows him to obtain clear prints in a large size, he says the atmosphere is often overwhelming.

FOLLOWING

Duncan McCosker's creed is simple: Follow the crowds. Where they go, he believes, interesting things are happen– ing. And while he is neither a sociologist nor a philosopher by training, the insights about people he has gained are just as keen. His wisdom comes from years of studying people through the lens of a camera. "What attracts people says something about their lives, their wishes, their affection for things," says McCosker, who has taught photography in USD's fine arts department for the past 18 years. "It also says something about our culture." What attracts some of the biggest crowds in Southern California is the annual Del Mar Fair, attended by about a million people over 20 days in June and July. For 15 years, McCosker has fol– lowed the crowds at the fair, chronicling the seemingly limitless array of emo– tions, activities and interactions that make up the human condition. "All these people rubbing elbows with each other are from different backgrounds, but they have this one event in common," says McCosker. "It's a real cross section, a microcosm of American life."

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