Throughout his work, Renaldi melds two classic photographic genres - portrait and landscape - into a single descriptive frame that speaks as much to a sense of the individuals before the lens as it does to the space they inhabit. The omnivorous film-plane of Renaldi's 8-by-10 camera embraces not only the individuals directly in front of it, but the environment that encompasses them as well. He photographs not only individuals we might traditionally view as Americans - a Britney Spears look-alike toting a Louis Vuitton bag through a Greyhound bus terminal, or a rodeo cowboy with elbows akimbo, hands on belt buckle, standing determinedly against the dirt-filled horizon - but also those we need to more readily consider as part of our identity. In New Jersey, Renaldi photographs a woman in a burqa and Timberland boots set against the faded geometry of a Newark street; in Los Angeles, a transgender girl works the counter of a fast food joint, lit in the sad-glamorous glow of fluorescent light. If there is truly a new center to the American social landscape, it can be found here, in Renaldi's precisely rendered portraits.